Futility Novel
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Worldlines: A "Many Worlds" Novel
When Gary Jackson, a bright academic student, suffers life changing injuries in a road traffic accident, his world begins to unravel. Having taught himself to lucid dream, he now spends considerable time in bed, living out fantasies in his own mind that he could never experience in the waking world. However, when a relative with dementia claims to have witnessed a murder he committed in a dream, Gary starts to question the nature of reality, and wonders if his actions in the dream world have real life consequences. Meanwhile, in another place, Physics student Gary Jackson finds himself in prison for a murder he has no memory of committing. Can the dreamer help the student get acquitted for a murder everyone saw him commit? Or will Gary spend his life in prison for someone else's crime?
Samuel Beckett and Recent Irish Fiction
This volume considers Samuel Beckett’s fiction and drama as major aesthetic and thematic influences on the work of Irish authors Eimear McBride, Keith Ridgway, Emma Donoghue, and Kevin Barry in the post-crash period of 2009–2015. Through cross-comparisons between the aesthetics and form of Beckett’s Trilogy, Mercier and Camier, Footfalls and Not I, and those of a range of post-crash Irish novels including Beatlebone, Hawthorn and Child, Room, and A Girl Is A Half-Formed Thing, this book establishes Beckett’s continuing influence on Irish fiction. With particular reference to these newer authors’ treatment of scarcity, trauma, indeterminism, gender and sexuality, and confinement in the context of major societal changes and traumas in Irish society since 2009, topics include the imposition of austerity, collapse of faith in institutions, and the increasing recognition of LGBTQIA+ and reproductive rights.
Virginia Woolf’s Portraits of Russian Writers
Author: Darya Protopopova
language: en
Publisher: Cambridge Scholars Publishing
Release Date: 2019-02-05
Virginia Woolf always stayed ahead of her time. Championing gender equality when women could not vote; publishing authors from Pakistan, France, Austria and other parts of the world, while nationalism in Britain was on the rise; and befriending outcasts and social pariahs. As such, what could have possibly interested her in the works of nineteenth-century Russian writers, austere and, at times, misogynistic thinkers preoccupied with peasants, priests, and paroxysms of the soul? This study explains the chronological and cultural paradox of how classic Russian fiction became crucial to Woolf’s vision of British modernism. We follow Woolf as she begins to learn Russian, invents a character for a story by Dostoevsky, ponders over Sophia Tolstoy’s suicide note, and proclaims Chekhov a truly ‘modern’ writer. The book also examines British modernists’ fascination with Russian art, looking at parallels between Roger Fry’s articles on Russian Post-Impressionists and Woolf’s essays on Chekhov, Dostoevsky, Tolstoy, and Turgenev.