By Michael Cunningham
From Michael Cunningham, the Pulitzer Prize-winning writer of The Hours, comes this commonly praised novel of 2 boyhood associates: Jonathan, lonely, introspective, and uncertain of himself; and Bobby, hip, darkish, and inarticulate. In manhattan 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 toddler, the 3 flow to a small condominium upstate to elevate "their" baby jointly and, with a strange buddy, Alice, create a brand new type of relatives. A domestic on the finish of the World masterfully depicts the charged, fragile relationships of city lifestyles today.
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Extra resources for A Home at the End of the World: A Novel
Concerning the text’s production and reception, how are the narrative and its author and critics responding to their historical milieu? The range of possibilities represented in these (at least) three modes of operation not only offers greater precision when critically positioning a magical realist text, but it also suggests the broad potential of the mode, the diverse ways in which the codes of magic and realism might be made to interact. The first mode of operation includes instances when narrative magic performs the role of the heroic agent of subversion.
The hermeneutical approach developed in this study is employed with a focus on identifying the crucial role that strategies of belonging play in a set of magical realist novels and the historical world in which they are situated. However, without a sufficient understanding of the wide ambit of the mode’s functional capabilities, something I have tried to demonstrate in this chapter, this key aspect would likely go undetected, lying as it does outside the bounds of the deconstructive magical realist critical paradigm.
How do the two codes correspond with the text’s other narrative elements – aspects such as characterization, narration, and thematics – as well as in relation to the entire narrative web? Concerning the text’s production and reception, how are the narrative and its author and critics responding to their historical milieu? The range of possibilities represented in these (at least) three modes of operation not only offers greater precision when critically positioning a magical realist text, but it also suggests the broad potential of the mode, the diverse ways in which the codes of magic and realism might be made to interact.