In Hilary Mantel‘s award winning Tudor trilogy, she has a grand total of five characters named Thomas, three Catherines, three Marys, and two Annes. How does Mantel juggle the task of writing these characters without confusing the reader? For The Atlantic, Nina Martyris examines books that are rife with characters with similar-sounding names, including One Hundred Years of Solitude and Anna Karenina. “The overlapping of names is an all-too-common occurrence in life,” writes Martryis. “True, it can cause confusion (especially for the accounts department), but if fiction’s grand purpose is the mimesis of la condition humaine, shouldn’t writers be nudged to accommodate this inconvenient reality, rather than dodge it for fear of taxing the reader?”
On bad days, when his writer’s block was at its worst, Hart Crane wrote bizarre, feverish prose poetry as a way of juicing his creative synapses. Understandably, he never published this poetry, but now, thanks to the Harry Ransom Center, we can read it in its original form. Sample quote: “I held the crupper by a lasso conscripted from white mice tails spliced to the fore-top gallant.”
Move over, Mr. Darcy and Edward Cullen: The readers of Mills & Boon romance novels (the UK’s answer to Harlequin romances) have voted Mr. Rochester of Charlotte Bronte‘s Jane Eyre the most romantic hero in literature.
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