By Sarah Orne Jewett
A party of the prior in tales facing lady friendships and stories that painting the resilience with which her woman characters reply to poverty. contains "The city Poor," "Miss Peck's Promotion," "The Passing of Sister Barsett," "The Denham Ladies," "Miss Tempy's Watchers," and five extra.
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Bestselling writer Jodi Picoult is a masterful storyteller, who “writes with a very good contact, a pointy eye for aspect, and a company seize of the delicacy and complexity of human relationships” (The Boston Globe). Now, during this unique brief tale, to be had solely as an e-book, Picoult introduces Serenity Jones, one of many attention-grabbing characters from her eagerly awaited new novel, Leaving Time.
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Additional info for A White Heron and Other Stories
What makes Mahjoub’s novel special in relation to Mukherjee’s is that The Carrier frames its transcultural, migratory discourse or hybridising mode of representation, thus problematising the assumptions of doubleness and in-betweenness in the migrant’s vision. In The Carrier the migrant hero’s stereoscopic vision is evidently reduced to a one-eyed telescopic vision. In Naipaul’s novel, there is also a self-conscious discourse that highlights its own conjecture, but whereas a discourse of difference is framed in The Carrier, the discourse framed in The Enigma of Arrival is predominantly a discourse of sameness.
Like the epic, the root-book is concerned with origins, authenticity and the rooting of identity and reality. It operates from the centre of ‘a strong principal unity’, like the trunk of a tree, from which the world is judged, measured and compared, choking indeterminacy and multiplicity with binarisms, stability and closure of meaning (see Deleuze and Guattari, 1980, 4–6). However, the overstated contrast with the root-book brings Deleuze to speak of the rhizome in hyberbolic terms as having no fixed order or unifying axis: it is an open system in constant movement without any stable centre, it is ‘heterogeneity’ and ‘can be connected to anything other’ (Deleuze and Guattari, 1980, 7).
This manoeuvre causes heterogenising and homogenising forces to show. In The Carrier forces of centrifugality and centripetality are explicated primarily in the reduction of the stereoscopic vision to a telescopic vision. In Jasmine the high speed transformation and discontinuity on the surface of the novel turns out to be contaminated by so many continuities and homogenisations at a silent formal and semantic level of the text, slowing down the novel’s capacity for generating high speeds of becoming and actually causing its intentional hybridity to be subliminally governed by the centripetality of organic hybridity or the domestication of difference into a cultural sameness.
A White Heron and Other Stories by Sarah Orne Jewett