Swimming Home by Deborah Levy

By Deborah Levy

Shortlisted for the 2012 guy BOOKER PRIZE.

Swimming Home is a subversive page-turner, a cruel stare upon the insidious damage that melancholy could have on it appears sturdy, well-turned-out humans. Set in a summer season villa, the tale is tautly dependent, happening over a unmarried week during which a bunch of lovely, fallacious travelers within the French Riviera come unfastened on the seams. Deborah Levy's writing combines linguistic virtuosity, technical brilliance and a powerful experience of what it capability to be alive. Swimming Home represents a brand new path for an incredible author. during this e-book, the wildness and the risk are the entire extra robust for resting simply underneath the skin. With its deep psychology, biting humour and deceptively gentle floor, it wears its darkness frivolously.

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With apparent disdain for romanticism, in ‘Hamlet and His Problems’ Eliot conceives of a technique that serves as the foundation for his poetics of impersonality – the objective correlative. As he explains, ‘the only way of expressing emotion in the form of art is by finding an objective correlative; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked’ (789).

When studying the poem or fiction, the archetypal critic, like the formalist, assumes that the art object represents a special space, one that is more or less selfcontained, and in some fashion outside the strictures of history or personage. But Frye differs from some formalists in his understanding of literature as permanent and universal, applicable to and connected with human life throughout time. ‘The true father or shaping spirit of the poem is the form of the poem itself,’ Frye explains in Anatomy of Criticism (1957), ‘and this form is a manifestation of the universal spirit of poetry, the “onlie begetter” of Shakespeare’s sonnets who was not Shakespeare himself’ (98).

Eliot’s tradition is exclusive and hierarchical and does not account for the many other cultural forces that might make a popular novel or rock lyric or situation comedy as important in the creation of a given text as Dante’s Inferno. Aren’t all of the forces the artist experiences important in the culminating art object? Eliot responds with a resounding ‘no’ and asserts that if we approach a poet with his idea of tradition in mind, ‘we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously’ (784).

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