By Patrick White
In the course of the crumbling ruins of the as soon as fabulous Xanadu, omit Hare wanders, half-mad. within the wasteland she stumbles upon an Aborigine artist and a Jewish refugee. They position themselves within the care of an area washerwoman. In a global of pervasive evil, all 4 were independently broken and discarded. Now in a single shared imaginative and prescient they locate themselves certain jointly, realizing the potential of redemption.
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Extra resources for Riders In The Chariot (Vintage Classics)
Sample text
During the years that Alcott, Dickinson, Douglass, Fuller, Hawthorne, Melville, Poe, and Thoreau were writing their best work, the very de¤nition of being an intellectual in polite society was to evince “a cosmopolitan susceptibility to other nations,” above all to British culture (453). 34 Piqued by this state of affairs, Herman Melville, in “Hawthorne and His Mosses” (1850), resorted to a crude, only half-facetious appeal to his readers’ patriotism: “believe it or not England, after all, is, in many things, an alien to us.
Arrested Development When Hart Crane ¤rst began writing poetry in the 1910s, he was a precocious adolescent living in Ohio, and he was unashamedly under the spell of the British ¤n de siècle. 13 The “expansive rhythms” of early works such as “Annunciations” and “The Moth That God Made Blind” are records of this period of apprenticeship (Lewis 16): The anxious milk-blood in the veins of the earth, That strives long and quiet to sever the girth Of greenery. . Below the roots, a quickening quiver Aroused by some light that had sensed,—ere the shiver Of the ¤rst moth’s descent.
For permission to reuse this work, contact the University of Alabama Press. how american 31 eration, a mix of di- and trisyllabic feet. Crane proves unable to renounce his ¤rst literary role model fully. Not much time passed between this public act of expiation and a dramatic, private act of backsliding. In the spring of 1919, Crane undertook the positively Herculean task of reading the whole of Swinburne’s Complete Poetical Works (Unterecker 137). Swinburne would remain a part of his literary range of reference until the end of his life—as indicated by a December 1929 postcard he wrote to Samuel Loveman while en route to England: Gorgeous weather all the way.