I have attempted and failed to penetrate past the first chapters of Nostromo at least four times. The scene painting was too suffocating, and Nostromo himself seemed to be an operatic puppet way too empty to thrust a crowded, long narrative upon. Recently, however, as I am writing fiction again, I resolved to past the coastline of the novel, knowing that it is one of the rare English English novels of the twentieth century that has actually effected writers in other literatures (Gadda, Garcia Marquez, etc.). The English English novel – as compared to the Irish and American English novel – lacks the cosmopolitan air, the epic sloppiness, as it busied itself tucking in corners and marking the chasms opened up by the minute violation of the decorum based on class distinctions. This, at least, is the reputation – which isn’t quite fair, but does represent a distinct trend. Going back to Henry Green or Elizabeth Bowen, one sees how those chasms, explored with a high intelligence, inter
“I’m so bored. I hate my life.” - Britney Spears
Das Langweilige ist interessant geworden, weil das Interessante angefangen hat langweilig zu werden. – Thomas Mann
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