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ambi­ valences so that one acquires a heightened sense of relatedness to all living thrings. Contrasting moods, like Nature's ambivalences, characterize Judith's whole life. She never becomes a competent housekeeper, nor does she fully accept the monotonous, shanty-bound loneliness of wifely

In: Minor American Fiction 1920-1940
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fullness of life. The view of the ocean through the floor-to-ceiling windows of his house is a reminder of his living now at the edge of the earth and, as he waits to find out if his treatment is working, at the edge of life. Yet this proximity to death brings a new clarity, an absoluteness and a sense

In: Morality, Identity and Narrative in the Fiction of Richard Ford

. For Kit Moresby, a "feeling of solid delight" had once been "a natural condition of life,"2 but the "joy of being" has disappeared with her coming of age. Eunice Goode is motivated by her "nostalgia for the early years of life."3 When John Stenham first came to Morocco, at the 1. The Spider

In: The Fiction of Paul Bowles

noting how it connects to the music of their life. By using this approach, students can read the words of a living artist and discover how Knight once ago, and not too long ago, read and connected to The Grapes of Wrath. In this text, they can read the interview with the songwriter (first published

In: The Grapes of Wrath (2 vols.)

eat, how fast or slow they drive. When Grampa dies (significantly, in the Wilsons’ makeshift tent), the novel suggests that the ability to shift the center of life and activity and to adjust to a space predicated on constant movement—movement motivated by necessity and fear rather than by desire

In: The Grapes of Wrath (2 vols.)
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shows the extension of literary naturalism into committed proletarian fiction. Her basic naturalistic assumption is that fear structures all life. Men, animals aI\d insects are all motivated by, or compelled to react against, the pressures of fear. In lordanstown she uses a telling metaphor to show

In: Minor American Fiction 1920-1940
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brutality. The intensity with which Hemingway conceived Harry Morgan may have given him larger-than-life-size dimensions. but the challenge which could have motivated this giant meaningfully was lacking, and so Hemingway failed to humanize him. Morgan's response to violence and death remained violence

In: Fiction as Survival Strategy
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village life. Then New England charm and coldness ostracize her. But her latest isolation brings peace when, she learns, like the heroine of Arrogant Beggar, that the quality of one's living depends on the quality of one's giving. A pattern of acceptance and rejection typifies Fanya's whole life

In: Minor American Fiction 1920-1940

conscience) demonstrates his mistrust in a higher power early in the text. Although he has a moral conscience, an ethical sense that helps him determine right from wrong, he has somehow been able to silence its call to acknowledge God’s effort to direct his life and to promote a better world. Indeed he

In: Robert Penn Warren’s All the King’s Men
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-8). MacLeod, like Hardy, conceives the cosmos as a stage; men, women and all living things are actors upon whom the spotlights of his narrative sequences fall. MacLeod attempts in his novels to capture life's ceaseless interflow "of many elements, spiritual and earthy" (T