Page Turners May 2018 Next Meeting: T Uesday, June 12Th at 1Pm at the Senior Center

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Produced by Chris Powloka Page Turners May 2018 Next Meeting: Tuesday, June 12th at 1pm at the Senior Center Fiction: Less by Andrew Sean Greer (2018 Pulitzer Prize Winner) A humorous novel about a struggling gay novelist who travels abroad to avoid his ex’s wedding Love and Ruin by Paula McClain For fans of historical fiction and those interested in learning about Martha Gellhorn and Hemingway Circe by Madeline Miller An empowering retelling of the story of the Greek goddess Circe The Overstory by Richard Powers A sweeping and hopeful epic about trees and the humans who interact with them You Think It, I’ll Say It: Stories by Curtis Sittenfeld Reese Witherspoon’s Hello Sunshine Book Club Pick… a collection of engaging short stories Two Steps Forward by Graeme Simsion and Anne Buist A tale of growth and personal discovery… for fans of Simsion’s The Rosie Project Nonfiction: The Year of Less by Cait Flanders (153.8) A motivational reflection about finding meaning by consuming less Protecting Your Internet Identity: Are You Naked Online? By Ted Claypoole and Theresa Payton (302.3) The lowdown on how to protect your identity on the Internet I’ll Be Gone in the Dark: One Woman’s Obsessive Search for the Golden State Killer by Michelle McNamara (364.15) Haunting and compelling journalism that may have led to the Golden State Killer’s capture The Feather Thief: Beauty, Obsession, and the Natural History Heist of the Century by Kirk W. Johnson (364.162) Stolen plumes? True crime and natural history collide! The Recovering: Intoxication and its Aftermath by Leslie Jamison (616.8603) “A blend of memoir, cultural history, literary criticism, and reportage” Rocket Men by Robert Kurson (629.454) The story of the three astronauts from Apollo who landed on the moon .

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Form As Theme in Richard Powers' the Overstory
“The tree is saying things in words be- fore words”: form as theme in Richard Powers’ The Overstory di Pia Masiero* Abstract: Richard Powers’ 2019 Pulitzer Prize-winning book, The Overstory, is a very ambi- tious work which purports to raise the awareness on the life of trees proposing an eco- centered way of being revolving around the enlargement of the concepts of agency and crea- tivity. This article focuses on the formal ways in which Powers has strived to give voice to the-other-than human. Specifically, it presents the structuring of the plot according to the ex- tended metaphor of the tree and its rhetorical functioning according to the parabolic form. These macro principles are translated into two micro choices – the positing of a nonhuman narrator and the present as the dominant tense – that sustain and mirror the novel’s thematic concerns. The close readings of the existential trajectories of two female characters open up to a reflection on Powers’ gender politics. Richard Powers’ 2019 Pulitzer Prize-winning book, The Overstory, contains the ingredients that according to the foundational book by Lawrence Buell, The Envi- ronmental Imagination, “comprise an environmentally oriented work” (7), namely, 1. The nonhuman environment is present not merely as a framing device but as a presence that begins to suggest that human history is implicated in natural history. 2. The human inter- est is not understood to be the only legitimate interest. 3. Human accountability to the envi- ronment is part of the texts’ ethical orientation.. 4. Some sense of the environment as a pro- cess rather than a constant or a given is at least implicit in the text.
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100 Best Last Lines from Novels
100 Best Last Lines from Novels 1. …you must go on, I can’t go on, I’ll go on. –Samuel Beckett, The Unnamable 22. YOU HAVE FALLEN INTO ARt—RETURN TO LIFE –William H. Gass, (1953; trans. Samuel Beckett) Willie Masters’ Lonesome Wife (1968) 2. Who knows but that, on the lower frequencies, I speak for you? –Ralph Ellison, 23. In your rocking-chair, by your window dreaming, shall you long, alone. In your Invisible Man (1952) rocking-chair, by your window, shall you dream such happiness as you may never feel. –Theodore Dreiser, Sister Carrie (1900) 3. So we beat on, boats against the current, borne back ceaselessly into the past. –F. Scott Fitzgerald, The Great Gatsby (1925) 24. Go, my book, and help destroy the world as it is. –Russell Banks, Continental Drift (1985) 4. …I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the 25. It was the devious-cruising Rachel, that in her retracing search after her missing Moorish wall and I thought well as well him as another and then I asked him with children, only found another orphan. –Herman Melville, Moby-Dick (1851) my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could 26. The knife came down, missing him by inches, and he took off.
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What Happens When the Bird and the Fish Fall in Love?
Faculty of Arts and Philosophy 2006-2007 WHAT HAPPENS WHEN THE BIRD AND THE FISH FALL IN LOVE? A thematic exploration of identity and racial issues in Richard Powers’ The Time of Our Singing Supervisor: Dissertation submitted in partial fulfilment of the Prof. Dr. Kristiaan Versluys requirements for the degree of ‘Licentiaat in de Taal - en Letterkunde: Germaanse Talen’ by Tessa De Smet ACKNOWLEDGMENTS This dissertation could not have been written without the help and support of a few people. I am particularly grateful to my supervisor, Professor Dr. Kristiaan Versluys, for his encouraging words, helpful comments and constructive feedback. Thanks also go to Romanie for introducing me to the work of Richard Powers, to Froya, Jordi and my parents for their support and unconditional trust (thanks Dad for proofreading!) and to all my friends in Bruges, Ghent and elsewhere for making spare time as carefree and enjoyable as possible! Thank you all! Tessa Ghent, May 2007 CONTENTS INTRODUCTION 1 PART 1 : Theoretical Framework 4 CHAPTER 1: Race 5 What’s in a Name: The Many Meanings of Race 5 A Historical Framework: Past and Present Race Theories 8 A Future Beyond Race? America’s Hopeful Dream 12 CHAPTER 2: Identity (& Race) 16 2.1 Who is it that can tell me who I am? Identity m/Matters 16 2.2 The Persistent Effects of Colour Labelling: Racial Identity 22 2.3 Neither Black nor White yet Both: Crossing Racial Boundaries 28 PART 2 : Literary Analysis 35 CHAPTER 3: Characterisation: A Composition in Black & White 36 3.1 Interracial Literature: A Literary Tradition 37 3.2 The Portrait of a Family: Fish or Bird? 41 3.3 Racial Identity: The Theoretical Models applied 49 CHAPTER 4: Grand Novels have Grand Ideas: Race, Culture & History 55 4.1 Culture: Who Gets to Sing What? 55 4.2 History: Uncanting the can’t 60 4.3 Race: Older Than History and Build to Outlast It 67 CONCLUSION 74 REFRENCES 76 INTRODUCTION Richard Powers, sometimes characterised as ‘the greatest author you’ve never heard of’ (in Flanders §1), was born in Illinois, in June 1957.
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OLLI Spring 2020 the Novels of Richard Powers: an Overview
Regier – Syllabus for The Novels of Richard Powers: An Overview - 1 OLLI Spring 2020 The Novels of Richard Powers: An Overview Instructor: Willis Goth Regier E-mail address: [email protected] Course Description: Authors like to hear that their latest book is their best. When saying that about a Richard Powers novel we should always add “so far.” Every new novel makes some advance upon the others, and who is to say that one step is more important than another? Yet some novels seem to be strides rather than steps, and his latest, The Overstory (2018) is such a stride. This course will survey each of Powers’ twelve novels in chronological order, from Three Farmers on Their Way to a Dance (1985) to The Overstory. I will feature favorite passages in each novel, reflect their glories, and indicate what is distinctive about each. Powers’ readers will be reminded of novels they wish to reread. The course will also consider Powers’ novels as twelve parts of a whole which, properly put together, gives us a large look at Richard Powers. I will propose theses about the novels: They refuse to succumb to the predictabilities of a genre. They change themes, structures, and tones, though some themes recur and reassert their importance. The twelve take up complex issues and pose problems of individual responsibility. They have in common Powers’ resolution to make each unique and his determination in every case to “get it right.” Recommended: Richard Powers, The Overstory (New York: W. W. Norton, 2018). Regier – Syllabus for The Novels of Richard Powers:
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Addition to Summer Letter
May 2020 Dear Student, You are enrolled in Advanced Placement English Literature and Composition for the coming school year. Bowling Green High School has offered this course since 1983. I thought that I would tell you a little bit about the course and what will be expected of you. Please share this letter with your parents or guardians. A.P. Literature and Composition is a year-long class that is taught on a college freshman level. This means that we will read college level texts—often from college anthologies—and we will deal with other materials generally taught in college. You should be advised that some of these texts are sophisticated and contain mature themes and/or advanced levels of difficulty. In this class we will concentrate on refining reading, writing, and critical analysis skills, as well as personal reactions to literature. A.P. Literature is not a survey course or a history of literature course so instead of studying English and world literature chronologically, we will be studying a mix of classic and contemporary pieces of fiction from all eras and from diverse cultures. This gives us an opportunity to develop more than a superficial understanding of literary works and their ideas. Writing is at the heart of this A.P. course, so you will write often in journals, in both personal and researched essays, and in creative responses. You will need to revise your writing. I have found that even good students—like you—need to refine, mature, and improve their writing skills. You will have to work diligently at revising major essays.
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THE DEAD IN THEIR VAULTED ARCHES: TOP ! A Flavia de Luce Novel PICK by Alan Bradley (Delacorte Press) “Flavia de Luce is still on the loose! This time, the almost-twelve-year-old prodigy explores some tantalizing mysteries involving her own family. Flavia uncovers surprising secrets about the characters we know and love and meets some fascinating new people, including a precocious distant cousin. You’ll enjoy seeing new depths in Flavia—this novel takes the series in an exciting direction.” —Nancy Russell, Columbus Metropolitan Library, Columbus, OH The top ten books published this month that librarians across the country love. JANUARY 2014 A STAR FOR LOST LAKE: A Novel THE DAYS OF MRS. BLAKE: A Novel by Sarah Addison Allen ANNA MADRIGAL: by April Smith (St. Martin’s Press) A Novel (Knopf) “I was thrilled to find out that by Armistead Maupin “A little-known slice of American Sarah Addison Allen had a new (Harper) history receives meticulous, book out, and it did not disap- “So good to see all these elegant treatment in this point. Allen’s trademark magic beloved characters again! And compelling novel about a is woven throughout the story we finally get the true story of group of mothers who travel and can be found in the lake, Anna Madrigal. If you’re either to post-WWI Europe to visit the town, and the people, but a fan of the Tales of the City the graves of their fallen at its heart, this story is about series, Burning Man or both, soldier-sons. Cora Blake, finding home—something we this is a fun Sunday-afternoon grieving the loss of her only child, pulls the group can all relate to.” kind of book.” together to provide support on their difficult pilgrimage.
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Pynchon’s Bequest Robert L. McLaughlin Stephen J. Burn and Peter Dempsey, eds. Intersections: Essays on Richard Powers. Champaign: Dalkey Archive P, 2008. Paper, xxxix + 336. $29.95. Although Thomas Pynchon has famously avoided the spotlight, he and his work—especially Gravity’s Rainbow—nevertheless cast a large shadow over contemporary American fiction. In a Bloomian anxiety of influence, a subsequent generation of fiction writers—I’m thinking of writers like the late David Foster Wallace, William T. Vollmann, Rick Moody, Bradford Morrow, Mary Caponegro, Michael Chabon, A. M. Homes, Colson Whitehead, and the subject of the collection of essays under review, Richard Powers—has been inspired to write by Pynchon’s great novels but has also sought to find a way out from under their shadow. This anxiety is made more acute by the concomitant sense that the postmodernism exemplified by Pynchon and his fellow experimental writers of the sixties and seventies (Barth, Coover, Sorrentino, Gaddis, Barthelme, Reed, and so on) has reached something of a dead end. That is, postmodernism’s consciousness of language, its iconoclasm, and its questioning of all master narratives, which in the 1960s played an important role in exposing and debunking many long-held social conceits and hypocrisies, by the late 1980s and 1990s had devolved into an all-purpose irony, the rolling of the eye and the nudging in the ribs that mocks any assertion that eschews irony’s game and aspires to sincerity. As Wallace explained in a 1993 interview with Larry McCaffery, “Irony’s useful for debunking illusions, but most of the illusion-debunking in the U.S.
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Page Turners May 2018 Next Meeting: T​ Uesday, June 12Th at 1Pm at the Senior Center

Page Turners May 2018 Next Meeting: T Uesday, June 12Th at 1Pm at the Senior Center