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The Solitude of Nathaniel Hawthorne
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Feb 20, Sandy Evangelist rated it did not like it. This is a jumbled mess. This story does not flow smoothly. You will be reading about one thing and then you would be reading about something else. This is a waste of money.
PDF The Lost Memories of Innocence (Hawthorne Family Book 1)
It should of been free. Reagen rated it did not like it Jan 02, Tay rated it it was amazing Jan 09, Stefanie Molock rated it it was amazing Sep 09, BlueSalvatore rated it it was amazing Sep 25, Mspraise50 marked it as to-read Sep 27, Daniki Boxx marked it as to-read Mar 12, Marise Kaldas is currently reading it Feb 25, Usoleil added it Jun 26, There are no discussion topics on this book yet. And that was the very last thing she wanted. Make me an offer. Her brother Tom writes her an officious letter, declaring that the hotel will be sold by auction unless she has any objections.
If this were a morality play which it in some ways resembles , it would fall to Vera to act the part of Morality; to Tom and Mary Jane, the parts, by turns, of Hypocrisy, Cynicism and Greed; to Marcia, the part of something like Passive Complicity. In a state of profound depression, Vera heads for the wrong side of town, the New Estate — the Punjab, people call it — in search of an adolescent sweetheart, the illegitimate Finbar Reilly, a knacker who makes a partial living hawking religious medals made of tin.
Vera conjures up memories of her doomed romance with Finbar, but whatever residue of innocence he might have held onto, the intervening years of social discrimination, poverty and absent love have wiped clean away. Finbar lives in appalling, dysfunctional squalor — just the sort of place, Vera determines, in which to ride out her depression. Vera takes up secret residence in the closed-down hotel, alone with the confusion of her thoughts.
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For Murphy, the town is a larger version of the family, governed by rules of hierarchy and protocol which cannot be broached without serious consequence. Everything that follows is about the joys of surrender to transgression and of allowing the self full rein. Taboos broken and atoned for, Vera and her family are once more reconciled — repositioned, rather, to maintain a moderate, survivable distance from one another. Murphy has an ear well-tuned to the speech of his people, and a capacity to embrace them despite their hypocrisy. Characters are sometimes wicked he seems to be saying, but their wickedness is just symptomatic to the greater wickedness of the marketplace and the Church.
The trouble with the book is that for all its arresting passages and excellent moments, abstraction has grabbed too much of the land.
They in turn conform so much to type as to preclude any sustained interest. Finbar the Medal Man remains mired in the role of social out cast, moulded by the forces of social oppression, and even Vera herself, billowy, accepting earth mother though she may be, is exasperatingly ungraspable, a figure caught only momentarily, as if in the headlights of a passing car. The kind of ellipsis Murphy allows for here fares better on the stage, where intangibles — the movements of bodies; the nuances of speech — fill in the blanks.
The speech of the characters in much of his work is fractured and at cross-purposes, but then inarticulateness has a poignancy that has got lost here. The most vivid character is The Greek, who is very reminiscent of J.
He is emblematic of the complexities of Ireland and sounds its spiritual confusion in the face of a waning belief in God, and its bewilderment at the encroachments of progress more fully than anyone else in the book.