By William Boyd
"Rich in personality and incident, An Ice-Cream War fulfills the ambition of the ancient novel at its best."
—The long island occasions ebook Review
Booker Prize Finalist
"Boyd has greater than fulfilled the intense promise of [his] first novel. . . . he's able not just of a few very humorous satire but additionally of seriousness and compassion." —Michiko Kakutani, The ny Times
1914. In a resort room in German East Africa, American farmer Walter Smith desires of Theodore Roosevelt. As he sleeps, a railway passenger swats at flies, regretting her choice to come back to the darkish Continent—and to her husband. On a far flung English riverbank, a jealous Felix Cobb watches his brother swim, and curses his sister-in-law-to-be. And within the heritage of the world's day-by-day chatter: rumors of an Anglo-German clash, the likes of which not anyone has ever seen.
In An Ice-Cream War, William Boyd brilliantly conjures up the non-public dramas of a iteration upswept via the winds of struggle. After his German neighbor burns his crops—with an apology and a smile—Walter Smith takes up hands on behalf of serious Britain. And whilst Felix's brother marches off to shield British East Africa, he pursues, opposed to his larger judgment, a forbidden love affair. because the sons of the area fit wits and guns on a continent millions of miles from domestic, desperation makes bedfellows of enemies and traitors of family and friends. by way of turns comedian and quietly clever, An Ice-Cream War deftly renders lives capsized by way of violence, likelihood, and the irrepressible human skill for love.
"Funny, guaranteed, and cleanly, expansively informed, a seriocomic romp. Boyd offers us stories of individuals stuck within the part wallet of calamity and dramatizes their plights with humor, element and grit." —Harper's
"Boyd has crafted a quiet, seamless prose within which tale and characters move easily out of a fertile mind's eye. . . . The reader emerges deeply moved." —Newsday
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Additional info for An Ice-Cream War
Instead of combining these varied concerns at once in the act of reading, Burke contends that a layered approach functions best to illuminate one’s interpretation of the text. In this system, Burke links Poetics with Grammar, Rhetoric, and Ethics, while cautioning that each should be used distinctly, not in concert, during critical analysis. For Burke, Grammar relates to content, to literature as a source of information; Rhetoric focuses on response, or upon the power a given text may have to enact change; Poetics attends to the aesthetic, to the idea of what may be defined as beautiful; and, finally, Ethics involves moral value, the way a text may capture the ethical dimensions of a given life.
Despite Brook’s assertion in ‘The Formalist Critic’ that ‘form and content cannot be separated’ because ‘form is meaning’ (72), modernist humanism resides at the heart of formalism. While form and content cannot be parsed from one another and clearly form has a direct impact upon meaning, nonetheless, formalist critics do not choose indiscriminately the forms they praise. Instead, humanist principles appear to direct the critic in the kinds of art studied and the elements praised. ‘The whole story is the meaning,’ Flannery O’Connor declares, ‘because it is an experience, not an abstraction’ (Mystery and Manners 73), and the experiences that formalist critics doggedly seek after tend to be those that carry the reader toward a contemplation of human struggles and triumphs, emotional toil and joy.
2 Russian Formalism, Mikhail Bakhtin, Heteroglossia, and Carnival There can be neither a first nor last meaning; it always exists among other meanings as a link in the chain of meaning, which in its totality is the only thing that can be real. In historical life, this chain continues infinitely, and therefore each individual link in it is renewed again and again, as though it were reborn. (Mikhail M. Bakhtin, Problems of Dostoevsky’s Poetics 1) As with American and British variations of formalist criticism, the historical confluence of Russian Formalism, the Moscow Linguistics Circle, and the Prague Structuralists in the first three decades of the twentieth century acted as one of the most significant and formative influences upon the direction of literary theory and criticism during the latter half of the century.