Download A Home at the End of the World: A Novel by Michael Cunningham PDF
By Michael Cunningham
From Michael Cunningham, the Pulitzer Prize-winning writer of The Hours, comes this largely praised novel of 2 boyhood associates: Jonathan, lonely, introspective, and uncertain of himself; and Bobby, hip, darkish, and inarticulate. In big apple after collage, Bobby strikes in with Jonathan and his roommate, Clare, a veteran of the city's erotic wars. Bobby and Clare fall in love, scuttling the plans of Jonathan, who's homosexual, to father Clare's baby. Then, whilst Clare and Bobby have a toddler, the 3 circulation to a small condominium upstate to elevate "their" baby jointly and, with a wierd buddy, Alice, create a brand new form of kinfolk. A domestic on the finish of the World masterfully depicts the charged, fragile relationships of city lifestyles today.
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Extra resources for A Home at the End of the World: A Novel
The boundaries between emotion and feeling and mental image are among those definitively blurred by somaticity. Hence my preference, when writing about somatic phenomena, to use Hegelian “becoming” constructions like body-becoming-mind or emotional-becomingmental. Damasio writes of being told of a horrible accident, Tolstoy of being told the story of an encounter with a wolf: these are oral narrations, obviously, channeled through the spoken word, which, as we see in chapter 4, Hegel analyzes as the rational synthesis of one’s own body language (gesture, facial expression, body posture, intonation) and another’s “corporeal sign,” which would include at the very least the other person’s body language, the external signs of internal body states.
As Jahn adds, “It is justifiable to amplify this list of examples still further by saying that even the subject matter usually associated with the purview of thought may pass over into the purview of feeling when it is regarded other than from the point of view of the objective reason. For example, the statement that two plus two equals four belongs basically to the objective reason, but if it becomes an object of hatred, as it does for Dostoevsky’s Underground Man, it passes over into the purview of feeling” (62).
The form or craft or technique should be smooth enough not to draw attention to itself, so as to make the “efforts of the artist invisible” (“On Art”), because, as Denner explains, “complicated, belabored form hampers . . the transference of emotion by making laborious the process of experiencing art” (288). This is an extremely important point to note here because it is precisely where Shklovsky will reverse Tolstoy: belabored form is important for Shklovsky because it hampers the transference of feeling and makes laborious the process of experiencing art.