By Barbara Abercrombie
During this selection of anecdotes, classes, charges, and activates, writer and writing instructor Barbara Abercrombie presents a delightfully various cornucopia of notion — nuts-and-bolts strategies, hand-holding commiseration, and epiphany-fueling insights from fellow writers, together with Nobel and Pulitzer Prize winners and Abercrombie’s scholars who've long past from paralyzed to released.
Read Online or Download A Year of Writing Dangerously: 365 Days of Inspiration and Encouragement PDF
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Additional info for A Year of Writing Dangerously: 365 Days of Inspiration and Encouragement
Universality and interiority are perfectly balanced within the poem and the Church; the effect is as monstrous as it is attractive, as overwhelming as it is frightening. The poem is an imaginative response to the monumentality of the Sphinx: its form and structure is immense and exacting, utilising the full range of possible poetic devices – assonance, alliteration, parallelism, internal rhyme. ’44 Like de Vere’s Ireland, sitting at the world’s feet as a cultural mystery none can penetrate, Wilde’s Sphinx can have a series of questions put to her she will refuse to answer, retaining her secrets in the face of the most persistent interrogations.
22 These folk-customs proved surprisingly resilient, and the ‘peasants cling to them with a mysterious reverence . . 23 The vengeance of the dead is precisely that which is falling on the speaker of Wilde’s poem: having buried Isola in Edgeworthstown graveyard without the attendant wake orgies which celebrate life and ensure that peace is maintained, it is little wonder that the speaker should be so haunted by the vision of his dead sister, for ‘she is not dead, only sleeping’. Even the speaker’s desire to have earth heaped upon him may have its source in folk-Catholic belief.
He was tempted by the beauty of the Church . . [and] by the power of its poetry to transform his consciousness . . 58 Hanson points to a Catholic milieu in which Wilde worked, a milieu very important in aesthetic and personal terms to Wilde. 59 There has been, then, much excellent research done on both Wilde’s Irishness and his Catholicism. However, the key point is that these two aspects of Wilde’s work have been kept apart. Those who have looked at the Irish Wilde have emphasised what was largely a Protestant cultural inheritance; those who have looked at Wilde’s Catholicism have emphasised either an English or a French Catholic angle.