By Michael Dirda
From Pulitzer Prize-winning booklet critic Michael Dirda comes a suite of his such a lot own and interesting essays at the literary life—the excellent spouse for any lover of books.
Michael Dirda has been hailed as "the best-read individual in America" (The Paris Review) and "the most sensible booklet critic in America" (The big apple Observer). as well as the Pulitzer Prize he was once provided for his reports in The Washington Post, he picked up an Edgar from the secret Writers of the US for his newest booklet, On Conan Doyle.
Dirda's most recent quantity collects fifty of his witty and wide-ranging reflections on literary journalism, ebook amassing, and the writers he loves. achieving from the classics to the post-moderns, his allusions dance from Samuel Johnson, Ralph Waldo Emerson and M. F. okay. Fisher to Marilynne Robinson, Hunter S. Thompson, and David Foster Wallace. Dirda's themes are both different: literary pets, the misplaced paintings of cursive writing, ebook inscriptions, the pleasures of technology fiction conventions, writer photos, novelists in previous age, Oberlin university, a yr in Marseille, writer's block, and masses extra, to not put out of your mind a couple of rants approximately Washington existence and American tradition. As admirers of his prior books will count on, there are annotated lists galore—of excellent booklet titles, nice experience novels, favourite phrases, crucial books approximately books, and liked children's classics, in addition to a revealing peek on the titles Michael retains on his personal nightstand.
Funny and erudite, sometimes poignant or indignant, Browsings is a party of the interpreting lifestyles, a fan's notes, and the right present for any booklover.
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Additional info for Browsings: A Year of Reading, Collecting, and Living with Books
What of the audience of the drama? The spectators – perhaps as many as 16,000 – were ranged in wedge-shaped sections in the amphitheatre. The front seats were reserved for dignitaries. It is also likely that the seating was arranged by tribal division, with each tribe seated in a particular wedge. The theatre thus mapped the city in its space as it addressed the city in its plays. Over the years, foreigners attended the Great Dionysia with increasing frequency, Drama and the city of Athens 19 and, after the transfer of the treasury from Delos, the ambassadors who brought the tribute to Athens sat in the theatre to watch its display.
641–5); and the chorus sings that (Cho. 931) ‘Dik¯e came to the sons of Priam in time . ’ and so to the house of Agamemnon has come dik¯e, the daughter of Zeus. Electra, The Oresteia 29 however, expressly introduces a distinction: when she is exhorted by the chorus to pray for the arrival of a saviour, she asks if they mean (Cho. 120) ‘a juror or someone who brings retribution’, a dikastes or a dik¯ephoros. The chorus retorts that they just want someone to kill in return, but Electra’s distinction looks forward to the Eumenides, where the Furies’ pursuit of dik¯e, retribution, leads to a trial, dikai, before jurors, dikastai, who evaluate the justice, dik¯e, of the case.
I have mentioned that there is no public position from which a woman can speak without being out of place – except religion. The extensive performance of religious rites in this play is co-extensive with Electra’s speaking role. As the revenge approaches, she is sent inside by Orestes. And so to silence. She is thus returned to the proper place of the unmarried daughter – on the inside – to await the outcome of the man’s attempt to reorder the oikos. In terms of the normative expectations of gender roles, then, Electra is set in opposition to Clytemnestra.