A Loaded Gun: Emily Dickinson for the 21st Century by Jerome Charyn
By Jerome Charyn
“Remarkable perception . . . [a] precise meditation/investigation. . . . Jerome Charyn the unpredictable, elusive, and enigmatic is a average fit for Emily Dickinson, the quintessence of these." —Joyce Carol Oates, writer of untamed Nights! and The misplaced Landscape
We imagine we all know Emily Dickinson: the Belle of Amherst, virginal, reclusive, and probably mad. yet in A Loaded Gun, Jerome Charyn introduces us to another Emily Dickinson: the fierce, awesome, and sexually charged poet who wrote:
My lifestyles had stood—a Loaded Gun—
...
Though I than He— may perhaps longer live
He longer must—than I—
For i've got however the strength to kill,
Without—the energy to die—
Through interviews with modern students, shut readings of Dickinson's correspondence and handwritten manuscripts, and a suggestive, newly came upon picture that's imagined to express Dickinson along with her lover, Charyn's literary sleuthing finds the nice poet in ways in which have simply been hinted at formerly: as a girl who was once deeply philosophical, intensely engaged with the area, interested in individuals of either sexes, and ready to write poetry that disturbs and delights us today.
Jerome Charyn is the writer of, such a lot lately, sour Bronx: 13 tales, i'm Abraham: a singular of Lincoln and the Civil conflict, and the key lifetime of Emily Dickinson: a singular. He lives in New York.
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MacDonald's Condominium and Ross Macdonald's The Underground Man and movies like the Airport Literary Heritage 27 film series and Earthquake, all made during Clavell's days in Hollywood. Clavell captures the power and arbitrariness of elemental forces of nature that undo human schemes. In Tai-Pan, the destructive fury of a typhoon decimates the original Hong Kong colony and kills the novel's main characters; in Shogun, a typhoon sweeps away a village and an earthquake swallows up many; and in Noble House, monstrous Hong Kong mudslides bury the cardboard shacks of the poor and topple twentystory luxury apartment buildings.
His class hatred makes him a willing tool of the Japanese prison guards. Even though Marlowe and the Americans regularly point out that the rules Grey enforces have been put in place by the Japanese guards and that he is, in effect, cooperating with the enemy, he cannot be swayed from his position. He spies on his fellow prisoners and plots to justify the ones he likes least being sent to the notorious Utram Road death camp. Yet he is firmly convinced that he is right and they are wrong, even though what they do benefits their fellow prisoners and what he does injures them.
Both writers depict treachery, intrigue, sex, and violence in unique foreign settings. Like Michener's works, Clavell's historical adventures are notable for their energy and scope; they provide a sweeping panorama, sometimes with as many as thirteen crisscrossing plots, involving a truly international mix and encompassing all strata of society. However, as a writer, Clavell is both more thrilling and more serious than Michener. Partly this is because Michener tries to cover so large a time period—for instance, 12,000 years of the history of Palestine or the story of Hawaii from geological creation to statehood.