By B. G. Hewitt
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From the Introduction:This publication is . . . dedicated to the 1st literature of North the US, that of the yankee Indians, or local american citizens. The texts are from the North Pacific Coast, simply because that's the place i'm from, and people are the fabrics i do know most sensible. the aim is basic: All conventional American Indian verbal artwork calls for consciousness of this sort if we're to appreciate what it really is and says.
They've got stalked the horizons of our tradition, wreaked havoc on moribund ideas of lifeless and never lifeless, threatened our experience of id, and endangered our own security. Now zombies have emerged from the lurking shadows of society’s fringes to wander the sacred halls of the academy, feasting on delicate minds and hurling rot throughout our highbrow panorama.
An elevated, totally illustrated, and updated variation of the vintage cultural heritage of vampiresVampyres is a accomplished and generously illustrated heritage and anthology of vampires in literature, from the folklore of jap Europe to the Romantics and past. It contains extracts from a massive diversity of sources―from Bram Stoker’s distinctive learn notes for Dracula to penny dreadfuls, to Angela Carter’s The Bloody Chamber (new to this variation) that is analyzed by means of the writer in a broader cultural context.
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It is from Eve's curse that Maud Gonne has suffered. Her silence in this conversation poem is used to great effect a counterpoint, like the "moon, worn as if it had been a shell", which undermines the speaker's masculine complaints. In the second stanza of "Subject for a Lyric", the semi-lineated prose draft written about 1901, Yeats's equivocal attitude towards marriage is both acknowledged and absolved: o my beloved. How happy 1 was that day when you came here from the railway, & set your hair a right in my looking glass & then sat with me at my table, & #\e [then] lay resting in my big chair.
Hanrahan has "reckoned up every unforeknown, unseeing / Plunge, lured by a softening eye, / Or by a touch or a sigh, / Into the labyrinth of another's being". The sexual character of the plunge and the essential nature of the labyrinth are unambiguous and the image is now entirely positive. Having measured himself against his creation,68 Yeats is doubly self-accused of weakness, cowardice, failure to act: the sole qualification is the repeated conditional, "if ... if". He insists that the woman was "lost" not by any action of her own, but through his own failure to act: "Cowardice, some silly, over-subtle thought / Or anything ca11ed conscience once".
59. 37 in shades, void of all understanding, precipitous and sinuous, for ever winding round its own blind depth, eternally in marriage with a body that cannot be seen, inert land] lifeless" - The Chaldean Orades (London and Benares: Theosophical Publishing Society, 1908) H, 86-7. Yeats had owned this version: see Edward O'Shea, "The 1920s Catalogue of W. B. Yeats's Library", YA 4 (1986).