By Margaret Atwood
A powerfully and brilliantly crafted novel, physically damage is the tale of Rennie Wilford, a tender journalist whose lifestyles has began to shatter round the edges. Rennie flies to the Caribbean to get well, and at the tiny island of St. Antoine she is faced through an international the place her ideas for survival now not follow. by means of turns comedian, satiric, relentless, and terrifying, Margaret Atwood's physically damage is eventually an exploration of the lust for energy, either sexual and political, and the necessity for compassion that is going past what we regularly suggest through love.
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Sample text
Do what thou canst for attention, For hearts of truest mettle Absence doth join, and time Doth settle. Of course, missing also occurs when the absence of the other is lamented simply because one has grown accustomed to his sheer "being around," as it were, even if his "thereness" exudes hostility and indifference. One may decide it is better to be lonely within a relationship than lonely all alone, as the following refrain ofC. E. S. Norton's implies: I do not love thee - no! I do not love thee!
19 While giving, and in particular generous giving, is normally considered a condition sine qua non for love, if not its essence, for Sartre, "to give is to enslave" the other. " Thus, he maintains that "the craze to destroy which is at the bottom of generosity is nothing else than a craze to possess," all of which means that such bountifulness is in reality totally acquisitive. "22 This "solitude" is decidedly not the positive kind of aloneness referred to above as solitude nor is it one that betokens mere physical separateness from others.
Is merely an abstraction from the total response in the mind of the reader or spectator, brought into being by written or spoken words" (quoted in Holland 265). F. R. Leavis echoes these sentiments - or should I say anti-sentiments - by writing, "A novel, like a poem, is made of words; there is nothing else one can point to. We talk of a novelist as 'creating characters,' but the process of 'creation' is one of putting words together" (quoted in Holland 265-66). Structuralism, which has been so influential in the latter half of this century, also refuses to accept characters in stories as persons or even pretended persons.
