A Home at the End of the World: A Novel by Michael Cunningham

By Michael Cunningham

From Michael Cunningham, the Pulitzer Prize-winning writer of The Hours, comes this extensively praised novel of 2 boyhood buddies: Jonathan, lonely, introspective, and uncertain of himself; and Bobby, hip, darkish, and inarticulate. In big apple after university, Bobby strikes in with Jonathan and his roommate, Clare, a veteran of the city's erotic wars. Bobby and Clare fall in love, scuttling the plans of Jonathan, who's homosexual, to father Clare's baby. Then, whilst Clare and Bobby have a child, the 3 movement to a small residence upstate to elevate "their" baby jointly and, with a wierd buddy, Alice, create a brand new form of family members. A domestic on the finish of the World masterfully depicts the charged, fragile relationships of city lifestyles today.

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But the idea and its exposition are not easily separated in Bakhtin. " The formal structure and streamlining of the critical EDITOR'S PREFACE Q xxxi essay, at least as we know it in the English-speaking world, is simply not his mode. He is often at his most provocative in the tiny fragment, in his jottings for future projects not yet worked out or beyond hope of publication; on the other hand, his longer worked-out pieces seem loosely structured, even luxuriously inefficient. Available evidence suggests4 that Bakhtin did not conceive even his published books as concise, self-sufficient theoretical statements.

4]. 32. See, for example, Bakhtin's unimaginative interpretation of the Epilogue to Crime and Punishment, which he calls a "conventionally monologic ending" [this volume, p. 39]. 3 3. These readings can be found in the following essays, translated in The Dialogic Imagination: of Pushkin's Eugene Onegin, in "From the Prehistory of Novelistic Discourse," pp. 43-49; of Dickens' Little Dorrit, in "Discourse in the Novel," pp. , pp. 317-20. 34. "Toward a Reworking of the Dostoevsky Book," Appendix II in this volume, p.

25 In Bakhtin's case, however, there are deeper and more energetic structures at work that shape his utterance. Above all else, Bakhtin is sensitive to authority in discourse: who is speaking, when, how, to whom, through how many intermediaries—and how these levels of authority are represented in hybrid constructions. His own prose, I should add, is often a fabric of such hybrids. In one sentence he will represent direct speech, indirect speech, quasi-direct speech, his own voice interwoven with the voices and arguments of his opponents and fellow-travelers.

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