By Cynthia Ozick
In her new selection of essays, Cynthia Ozick, in all places acclaimed as a critic, novelist, and storyteller, examines many of the world's such a lot illustrious writers and their paintings, tackles compelling modern literary and ethical concerns, and appears into the wellsprings of her personal lifelong engagement with literature.
She writes--quarrelsomely--about Crime and Punishment, approximately William Styron's Sophie's Choice, concerning the publication of activity. She inquires into the subterranean tendencies and quandaries of Kafka and Henry James. She discusses the problems inherent within the translation of serious books, no matter if into movie or into one other language.
She explores what she calls "the selfishness of art" and courts controversy together with her perspectives on The Diary of Anne Frank and its transformation for the level. Her reflections at the "rights of history" and the "rights of imagination" faucet a profound situation for fact in regard to the Holocaust. She considers the transferring splendors of latest York urban, previous and current. and she or he revisits her early life extra deeply and with extra feeling--and comedy--than ever earlier than, in essays that exhibit many of the formative stories of her existence as a author.
Quarrel & Quandary is a literary occasion and a reason for occasion.
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Additional info for Quarrel & Quandary: Essays
But Bloom casts off the chill, attributing it to ‘morning mouth’. He turns his attention to the houses around him and the pleasing breakfast to come. Sunlight returns and a golden-haired girl runs past. Back home, Bloom finds the morning mail on the floor of the hall—a letter to himself from Milly, his daughter, a letter and a card for his wife. Sadly he notes the handwriting on the letter to Molly: it is Boylan’s (Molly’s lover). He goes into the bedroom and gives his wife her mail. Molly glancing at the envelope, puts the letter under the pillow.
He prefers the simplicity and solemnity of the vernacular Anglican Prayer Book, quoting, ‘I am the Resurrection and the Life’, but Bloom is preoccupied with something less dignified, that breaking-down of the heart’s pumping system which constitutes death. He is concerned with the physical finality of death: the idea of a general resurrection on the last day—‘every fellow mousing around for his liver and his lights and the rest of his traps’—does not move him. Corny Kelleher, the undertaker, seeks commendation for the smoothness of the proceedings.
Molly smells something burning, and Bloom rushes off to rescue the kidney. He eats his breakfast in the kitchen and now reads Milly’s letter carefully. Milly is learning photography at Mullingar. She mentions the young student, Bannon, referred to by the young man bathing (p. 18/26). Milly was fifteen yesterday, 15 June. Bloom recalls her being born, the midwife, then his son Rudy who didn’t live and who would now have been eleven. Various memories of Milly’s girlhood recur, mingling with a slight apprehension about what her reference to the ‘young student’, Bannon, might mean in her now opening sex life.