DOCSLIB.ORG

Time of Our Singing Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Time of Our Singing Free FREE TIME OF OUR SINGING PDF Richard Powers | 640 pages | 05 Feb 2004 | Vintage Publishing | 9780099453833 | English | London, United Kingdom Face the music | Books | The Guardian There is no other contemporary American writer quite like Richard Powers. He is, as Sir Cliff Richard once said of Elvis, "a phenomena". The Time of Our Singing is his eighth novel since the boy-genius published Three Farmers on Their Way to a Dance inand, just into his mids, he is a long way from "dropping the Time of Our Singing, as they say. Powers is the best example of an American novelist who straddles CP Snow's "two cultures": a Time of Our Singing musician who began a degree in physics and then switched to literature, who programmed computers while writing his first novel, Powers is at home in the arts and the sciences, and takes the divide between them both as the subject matter and the structural principle of his fiction. His work exemplifies Samuel Johnson's famous description of metaphysical poetry: "heterogeneous ideas yoked by violence together". Take the jaw-dropping intellectual daring of The Gold Bug Variations Here Powers weaves together the four-note motif of Bach's Goldberg Variations, the four nucleotides don't ask described in the structure of DNA, and the tetragrammaton, the four-letter Hebrew word for God. He then folds these themes into three separate narratives which touch only obliquely, linked mainly by the characters' love of the Bach piece. Oh yes, and as an ambient background, there is the ghostly presence of Edgar Allan Poe's tale of the power of decoding and interpretation, "The Gold-Bug". It is this kind of complexity that gets Powers his reputation for writing on the higher frequencies, where only the literary equivalent of a hound dog can hear him. In one sense Powers's novels are like Beethoven symphonies; admirers much prefer the odd-numbered ones. What, then, of this, the eighth novel? It seems at first a very different kind of book from its predecessors. Like Jonathan Franzen's The Corrections, it takes the form of a family saga. With his interest in isolated, atomised individuals and his attempts to Time of Our Singing together seemingly incompatible disciplines, Powers has probably got EM Forster's humanist cry from Howards End, "only connect", hanging over his writing desk. But the phrase has an added poignancy in the new work, for Powers, a writer who knows no fear, takes on what Time of Our Singing Du Bois called America's "problem of the 20th century - the colour line". Powers's story addresses Time of Our Singing tone and shade in the arguments over race in the postwar US. The plot concerns a family essentially brought into being by racism. Inthe Daughters of the American Revolution refused the outstanding black contralto Marian Anderson use of the premier concert venue in Washington DC. As a result, she gave a free open-air concert to 75, people on the steps of the Lincoln memorial. At the concert, Powers's characters David Strom, an exiled German Jewish mathematician and expert on quantum time, and Delia Daley, a talented African American singer, meet. They later marry, an illegal act in half the states of the union inand have three prodigiously talented children: Jonah, who will become a leading classical singer, possessed of a voice that "could make David and Delia make a brave but finally doomed attempt to bring up their children "beyond race". As David, the scientist, puts it: "There is no such thing as race. Race is only real if you freeze time. David and Delia school their children at home, and there are long and sometimes frankly mawkish accounts of familial and musical harmony as they all sing together around the piano. The young mixed-race family, however, is welcome neither in the white nor black districts of 40s New York City. But almost worse Time of Our Singing the racism is the effect of their mixed-race status. As the young Jonah asks: "Mama And Da's some kind of Jewish guy. What exactly Time of Our Singing that make me, Joey and Root? After winning their first important music competition, light-skinned Jonah and Joey are asked: "What exactly are you boys? Powers, in an act of narrative brio, develops an isomorphic relationship between the content and structure of the book by making the most of notions of hybridity or "mixedness". Jonah, too, has his greatest triumph in Time of Our Singing "hybrid" Tippett opera A Child of Our Time, and of course hybridity informs both the politics and the art of Time of Our Singing novel itself. Powers argues for a celebration of multicultural mixing in a book that itself mixes the novel of ideas with the family saga, for it is from David Strom's concept of time as looping back on itself that the book takes its narrative technique. The story is told in short episodes that move Time of Our Singing and forth across five decades, so that we return again and again Time of Our Singing the same events. The novel begins with the competition triumph of Jonah and Joey, but when we return hundreds of pages later to this same Time of Our Singing, it is enriched by the new context in which it is placed. The novel also resists simple linearity by the resonant use of a number of recurring themes. For example, we may guess early on that Time of Our Singing and clock time are being yoked together, but the reader realises with a jolt that notions of frequency and wavelength shape the text, too, because they bring together music, time and, as light waves get their identity from frequency, issues of colour, too. It is a sign of how good Powers can be that this is not his best work. The female characters are by and large a little stereotyped and Time of Our Singing is no Elmore Leonard when it comes to dialogue. But there is barely a page where the reader is not brought up by a startling image or a carefully worked idea. You would have to go back to Thomas Mann's Doctor Faustus to find the experience of playing and listening to music so beautifully caught in words. Others may give us more complex characters, but it is rare to find a novel as intellectually and emotionally engaging as this. Face the music. Peter Dempsey. Topics Books Fiction Music books reviews Reuse this content. The Time of Our Singing - Wikipedia The most accessible, and powerful fiction yet from a major American writer who, against all odds, just keeps getting better. The power of music in its relation to a racially divided family and culture is dramatized with unprecedented Time of Our Singing in this panoramic novel: the eighth from the protean author of, most recently, Plowing the Dark And, as a grace note of sorts, Powers demonstrates that he knows as much about musical technique, theory, and history as he seems to know about almost everything else. The talented Bennett fuels her fiction with secrets—first in her lauded debut, Time of Our Singing Mothersand now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. The novel opens 14 years later as Desiree, fleeing a violent marriage in D. Marrying a dark man and dragging his blueblack child all over town was one step too far. Time of Our Singing, ensconced in White society, is shedding her fur coat. Jude, so Black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her White persona is a tour de force of doubling and confusion. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress. A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc. The first hints come with the reading out of a pig who instigated the building Time of Our Singing a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old Time of Our Singing followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies A basic statement of the Time of Our Singing of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political Time of Our Singing. Already have an account? Log in. Trouble signing in? Retrieve credentials. Sign Up. Pub Date: Jan. No Comments Yet. More by Richard Powers. New York Times Bestseller. IndieBound Bestseller. Inseparable identical twin sisters ditch home together, and then one decides to vanish.
Load more

Recommended publications
  • 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:
    [Show full text]
  • Richard Powers and the Post-Postmodern Novel of Ideas: Part 1: the First Four Novels
    Texture: A Journal of Humanities and Social Sciences 2017 Richard Powers and the Post-Postmodern Novel of Ideas: Part 1: The First Four Novels Martin Kich Professor of English Wright State University Lake Campus Abstract In producing a very substantial body of highly regarded work, Richard Powers has established himself as one of the major American novelists of the late 20th and early 21st centuries. Powers has taken the novel into new territory, and his work very clearly represents an acute awareness of and a conscious synthesis of the traditions in the American novel, and the novel more broadly. This essay treats Powers’ first four novels which stand as a substantial and noteworthy body of work. They demonstrate the things that make his novels distinctively his: the daunting range of interests and preoccupations; the gradual enlargement of his sensibilities, or his sense of the world, and of his place as a novelist within that world; and the continuing refinement of his skills as a novelist and his increasing sense, I think, of a cumulative legacy—of how each new novel complements his earlier efforts and yet extends it in terms of the selection and treatment of subjects, structure, characters, themes, and style. Keywords: Richard Powers, Postmodernism, Novel of Ideas, Dos Passos. Introduction Since 1985, eleven of Richard Powers’ novels have been published. His output has been very regular, with each new novel following the previous one at an interval of two to three years, with the exception of his most recent novel, Orfeo, which appeared five years after the novel that preceded it, Generosity.
    [Show full text]
  • Ty and Multiplicity in the Novels of Richard Powers
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenEdition European journal of American studies 2-1 | 2007 Spring 2007 Surviving in the Particular? Uni(versali)ty and Multiplicity in the Novels of Richard Powers Heinz Ickstadt Electronic version URL: http://journals.openedition.org/ejas/1119 DOI: 10.4000/ejas.1119 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Heinz Ickstadt, « Surviving in the Particular? Uni(versali)ty and Multiplicity in the Novels of Richard Powers », European journal of American studies [Online], 2-1 | 2007, document 1, Online since 22 May 2007, connection on 30 April 2019. URL : http://journals.openedition.org/ejas/1119 ; DOI : 10.4000/ ejas.1119 This text was automatically generated on 30 April 2019. Creative Commons License Surviving in the Particular? Uni(versali)ty and Multiplicity in the Novels of... 1 Surviving in the Particular? Uni (versali)ty and Multiplicity in the Novels of Richard Powers Heinz Ickstadt 1 Although some of the ‘masters’ of postmodernism are still producing ‘postmodern’ narratives (e.g. Robert Coover with his recent Lucky Pierre), contemporary American fiction has largely moved ‘back’ into realism’s territory of the everyday that the postmodernists had been so determined to abandon. It is true that, as in the case of Don DeLillo, this new realism is not grounded in any ontological notion of the ‘real’ but in an experienced ‘hyper-reality’ of surface and of image. Yet it makes nevertheless use of familiar conventions of realism: its emphasis on everyday experience, the importance of family, and the question (explored in conversation and communicative interaction) of shared values.
    [Show full text]
  • Pynchon's Bequest
    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.
    [Show full text]
  • Defending Literary Culture in the Fiction of David Foster
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Texas A&M University NOVEL AFFIRMATIONS: DEFENDING LITERARY CULTURE IN THE FICTION OF DAVID FOSTER WALLACE, JONATHAN FRANZEN, AND RICHARD POWERS A Dissertation by MICHAEL LITTLE Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2004 Major Subject: English NOVEL AFFIRMATIONS: DEFENDING LITERARY CULTURE IN THE FICTION OF DAVID FOSTER WALLACE, JONATHAN FRANZEN, AND RICHARD POWERS A Dissertation by MICHAEL LITTLE Submitted to Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved as to style and content by: David McWhirter Mary Ann O’Farrell (Chair of Committee) (Member) Sally Robinson Stephen Daniel (Member) (Member) Paul Parrish (Head of Department) May 2004 Major Subject: English iii ABSTRACT Novel Affirmations: Defending Literary Culture in the Fiction of David Foster Wallace, Jonathan Franzen, and Richard Powers. (May 2004) Michael Little, B.A., University of Houston; M.A., University of Houston Chair of Advisory Committee: Dr. David McWhirter This dissertation studies the fictional and non-fictional responses of David Foster Wallace, Jonathan Franzen, and Richard Powers to their felt anxieties about the vitality of literature in contemporary culture. The intangible nature of literature’s social value marks the literary as an uneasy, contested, and defensive cultural site. At the same time, the significance of any given cultural artifact or medium, such as television, film, radio, or fiction, is in a continual state of flux.
    [Show full text]
  • The Race of Sound Refiguring American Music a Series Edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles Mcgovern, Contributing Editor the Race of Sound
    The Race of Sound Refiguring American Music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor The Race of Sound Listening, Timbre, and Vocality in African American Music Nina Sun Eidsheim Duke University Press Durham and London 2019 © 2019 Nina Sun Eidsheim All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by Courtney Leigh Baker and typeset in Garamond Premier Pro by Copperline Book Services Library of Congress Cataloging-in-Publication Data Title: The race of sound : listening, timbre, and vocality in African American music / Nina Sun Eidsheim. Description: Durham : Duke University Press, 2018. | Series: Refiguring American music | Includes bibliographical references and index. Identifiers:lccn 2018022952 (print) | lccn 2018035119 (ebook) | isbn 9780822372646 (ebook) | isbn 9780822368564 (hardcover : alk. paper) | isbn 9780822368687 (pbk. : alk. paper) Subjects: lcsh: African Americans—Music—Social aspects. | Music and race—United States. | Voice culture—Social aspects— United States. | Tone color (Music)—Social aspects—United States. | Music—Social aspects—United States. | Singing—Social aspects— United States. | Anderson, Marian, 1897–1993. | Holiday, Billie, 1915–1959. | Scott, Jimmy, 1925–2014. | Vocaloid (Computer file) Classification:lcc ml3917.u6 (ebook) | lcc ml3917.u6 e35 2018 (print) | ddc 781.2/308996073—dc23 lc record available at https://lccn.loc.gov/2018022952 Cover art: Nick Cave, Soundsuit, 2017. © Nick Cave. Photo by James Prinz Photography. Courtesy of the artist and Jack Shainman Gallery, New York. This title is freely available in an open access edition thanks to generous support from the ucla Library. This book is published under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 United States (cc by-nc-nd 3.0 us) License, available at https://creativecommons.org/licenses/by-nc-nd/3.0/us/.
    [Show full text]
  • Defending Literary Culture in the Fiction of David Foster
    NOVEL AFFIRMATIONS: DEFENDING LITERARY CULTURE IN THE FICTION OF DAVID FOSTER WALLACE, JONATHAN FRANZEN, AND RICHARD POWERS A Dissertation by MICHAEL LITTLE Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2004 Major Subject: English NOVEL AFFIRMATIONS: DEFENDING LITERARY CULTURE IN THE FICTION OF DAVID FOSTER WALLACE, JONATHAN FRANZEN, AND RICHARD POWERS A Dissertation by MICHAEL LITTLE Submitted to Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved as to style and content by: David McWhirter Mary Ann O’Farrell (Chair of Committee) (Member) Sally Robinson Stephen Daniel (Member) (Member) Paul Parrish (Head of Department) May 2004 Major Subject: English iii ABSTRACT Novel Affirmations: Defending Literary Culture in the Fiction of David Foster Wallace, Jonathan Franzen, and Richard Powers. (May 2004) Michael Little, B.A., University of Houston; M.A., University of Houston Chair of Advisory Committee: Dr. David McWhirter This dissertation studies the fictional and non-fictional responses of David Foster Wallace, Jonathan Franzen, and Richard Powers to their felt anxieties about the vitality of literature in contemporary culture. The intangible nature of literature’s social value marks the literary as an uneasy, contested, and defensive cultural site. At the same time, the significance of any given cultural artifact or medium, such as television, film, radio, or fiction, is in a continual state of flux. Within that broad context I examine some of the cultural institutions competing with literature for public attention, as well as some of the cultural developments impacting the availability of public attention for literary concerns.
    [Show full text]
  • European Journal of American Studies, 2-1 | 2007 Surviving in the Particular? Uni(Versali)Ty and Multiplicity in the Novels Of
    European journal of American studies 2-1 | 2007 Spring 2007 Surviving in the Particular? Uni(versali)ty and Multiplicity in the Novels of Richard Powers Heinz Ickstadt Electronic version URL: https://journals.openedition.org/ejas/1119 DOI: 10.4000/ejas.1119 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Heinz Ickstadt, “Surviving in the Particular? Uni(versali)ty and Multiplicity in the Novels of Richard Powers”, European journal of American studies [Online], 2-1 | 2007, document 1, Online since 22 May 2007, connection on 08 July 2021. URL: http://journals.openedition.org/ejas/1119 ; DOI: https:// doi.org/10.4000/ejas.1119 This text was automatically generated on 8 July 2021. Creative Commons License Surviving in the Particular? Uni(versali)ty and Multiplicity in the Novels of... 1 Surviving in the Particular? Uni(versali)ty and Multiplicity in the Novels of Richard Powers Heinz Ickstadt 1 Although some of the ‘masters’ of postmodernism are still producing ‘postmodern’ narratives (e.g. Robert Coover with his recent Lucky Pierre), contemporary American fiction has largely moved ‘back’ into realism’s territory of the everyday that the postmodernists had been so determined to abandon. It is true that, as in the case of Don DeLillo, this new realism is not grounded in any ontological notion of the ‘real’ but in an experienced ‘hyper-reality’ of surface and of image. Yet it makes nevertheless use of familiar conventions of realism: its emphasis on everyday experience, the importance of family, and the question (explored in conversation and communicative interaction) of shared values. White Noise would be an early case in point; yet more recently, Jonathan Franzen and Jeffrey Eugenides have pushed this tendency even farther away from postmodernist narrative deconstructions into the direction of the (ethnic) family (if not the ‘national’) epic – resuming the almost forgotten search for the great American novel.
    [Show full text]
  • Music in the Fiction of Richard Powers
    Faculteit Letteren en Wijsbegeerte Masterproef Taal- en Letterkunde Master Engels Music in the Fiction of Richard Powers Pim Verheyen Promotor: Professor Luc Herman Assessor: Professor Geert Lernout Universiteit Antwerpen Academiejaar 2011-2012 ACKNOWLEDGEMENTS First of all, I would like to take this opportunity to acknowledge the impact of Professor Luc Herman, who has been an inspirational mentor. His advice and careful readings have seen the thesis through to this stage. He guided my textual analysis in directions that I would not have discovered on my own and challenged me to think through and refine my ideas into a compelling, well-argumented text. A special thanks to Professor Geert Lernout, who generously agreed to help guide this project. During my studies at the University of Antwerp, he provided valuable advice that helped me to view the analysis of literature in a different perspective. A number of friends and family members stand out for their ongoing encouragement and support they gave. They have my undying gratitude. Dad, thank you for your unconditional support and for always believing in me. I could not have wished for a better sister than Dobby, who has been a great source of inspiration for me. Frank, little brother, thank you for your advice and your patience. Hobbs, I would not trade you away for all the tea in China! Your loving character is exactly what I needed. Many thanks go to Dario Zicari for being such a good friend. We talked for hours about music and literature, and these conversations were not only enjoyable but also educational.
    [Show full text]
  • Music in Richard Powers' the Time of Our Singing
    MASTERARBEIT Titel der Masterarbeit „Music in Richard Powers’ The Time of Our Singing“ Verfasserin Maria Valencia Cuberos,BA angestrebter akademischer Grad Master of Arts (MA) Wien, Oktober 2011 Studienkennzahl lt. Studienblatt: A 066 844 Studienrichtung lt. Studienblatt: Masterstudium Anglophone Literatures and Cultures Betreuerin oder Betreuer: Ao. Univ.-Prof. Dr. Rudolf Weiss To all who made this possible with your unwavering support, patience, encouragement and help. 1 INTRODUCTION ........................................................................................... 1 2 RICHARD POWERS’ THE TIME OF OUR SINGING ........................................ 3 2.1 RICHARD POWERS ..................................................................................... 3 2.2 THE NOVEL –– PLOT STRUCTURES .................................................................. 5 2.3 NARRATOLOGICAL ISSUES ......................................................................... 11 2.4 THEMES ................................................................................................... 18 2.4.1 Race .............................................................................................. 19 2.4.2 Music .............................................................................................. 21 2.4.3 Time ................................................................................................ 23 3 THEORY OF INTERMEDIALITY ..................................................................... 25 3.1 LITERATURE REVIEW ..................................................................................
    [Show full text]
  • Reading Series Margarettfeaturing Season Ticket Benefits Include: Esi Edugyan —— Seating in the Reserved Section for Each of the Seven Carmen Giménez Smith Readings
    INPRINT PAID US Postage Non-Profit Org. Non-Profit 2018–2019 Houston, Texas Houston, MARGARETT 1002 No. Permit Season Tickets 2018–2019 ROOT $215 INPRINT a value of more than $400 sold until supplies last BROWN Reading Series MARGARETTfeaturing Season ticket benefits include: Esi Edugyan — Seating in the reserved section for each of the seven Carmen Giménez Smith readings. Seats held until 7:25 pm, at which time all INPRINT unclaimed seats will be released to the general public. Tayari Jones — Signed copy of Barbara Kingsolver’s new novel Unsheltered available for pick-up at the reading. Those MAIN WEST 1520 ROOT Fady Joudah who purchase two season tickets per household will 77006 TX HOUSTON, receive a signed copy of Gary Shteyngart’s new novel Barbara Kingsolver Lake Success as the second book. Jonathan Lethem — Free parking for all seven readings. — Access to the first-served “Season Subscriber” Valeria Luiselli book-signing line. BROWN Tommy Orange — Two reserved section guest passes to be used during the 2018–2019 season. Reading Series Richard Powers — Recognition as a “Season Subscriber” in each reading Claudia Rankine program and on the Inprint website. INPRINT MARGARETT ROOT BROWN INPRINT MARGARETT ROOT Reading Series Gary Shteyngart 2018–2019 season ticket information enclosed To purchase season tickets online or for Meg Wolitzer more details on subscriber benefits, visit inprinthouston.org To pay by check, fill out the form on the back of this flap. This is a bookmark 2018–2019 The Inprint Margarett Root Brown Reading Series, now inits Series,now Reading Brown Root Margarett The Inprint and The City of Houston through the Houston Arts The Alliance.
    [Show full text]
  • Novelty, Pattern, and Force in Richard Powers's Orfeo
    orbit. Article How to Cite: Hume, K 2017 Novelty, Pattern, and Force in Richard Powers’s Orfeo. Orbit: A Journal of American Literature, 5(1): 1, pp. 1–19, DOI: https://doi.org/10.16995/orbit.202 Published: 18 January 2017 Peer Review: This article has been internally reviewed by an editor of Orbit: A Journal of American Literature, which is a journal of the Open Library of Humanities. Copyright: © 2017 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Orbit: A Journal of American Literature is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Hume Kathryn, ‘Novelty, Pattern, and Force in Richard Powers’s Orfeo’ (2017) 5(1): 1 Orbit: A Journal of American Literature, . orbit DOI: https://doi.org/10.16995/orbit.202 ARTICLE Novelty, Pattern, and Force in Richard Powers’s Orfeo Kathryn Hume Penn State University, US [email protected] Richard Powers’s Orfeo pits novelty against familiar pattern, and explores the destructive effects of forcing something new to fit known patterns in art, science, and politics. The protagonist’s dedication to writing truly new music wrecks his marriage and damages his personal life.
    [Show full text]