In opposition to Elizabeth Bowen, the superbly gifted Irish-English short story writer, who was not enticed by the idea of art as self-expression, other novelists believe that writing is autobiographical. The characters in the six stories that comprise Iridescent Stumbles are based on actual encounters. Their physical and psychological make-ups vary. Men and women either appear as shadowy reflections or are more sharply exposed depending upon the background into which they are set. In The upstairs Studio a woman, no longer in her thirties and her younger lover, a well over six feet tall runner, go late at night to their hide-out, an artist‘s studio in a semi rural location. During their love-making the enticing female‘s body appears in dreamlike sequences as a coveted symbol of a medieval monk‘s forbidden sexual cravings, and also changes into Selene who seduces Endymion in his sleep. In the runner‘s arms his inamorata whispers about a swim in the shark-infested Red Sea where she‘s encircled by a pod of dolphins that resemble a gam of sharks. The lovers erotic trysts end when the sprinter gets married again and his second young wife produces two healthy offspring. If a reader has enjoyed The upstairs Studio, he/she will most likely take pleasure too in March Mornings and Nights (a second richly varied love story), Hawaii (a mother-daughter team taking thrilling glimpses at the Aloha State‘s intrinsic, natural splendor and the diversity of Kanaka Maoli people), Tous les jours d‘Europe (fictionalizes a woman‘s journey into past personal occurrences in Europe), Lush Summer Days at Gaby‘s in the Birkshires (recalls annual holidays spent in Masschusetts) and Arizona with Sabine (explores parts of the United States enticing West). The author‘s style, the signature, if not the soul of a writer, so slippery, so hard to catch, remains the same. Her style unerringly aims for its most important goal: beauty.
Eleven short stories are united by the common theme of a woman's journey. Her voyage begins with a repressive childhood in an authoritarian, war-torn society and continues through periods of awakening and self-discovery in which she finds the hidden strength to support herself in new worlds and raise a family. Although the stories are quite different in time and place, in mood and color, there is a thread that connects the main character with each happening, each new encounter, each mishap and each joy. The tales show a woman enamored with the ideal of love yet unable to understand and enjoy sex. It is a woman who adores men but is afraid of their physical power, their superior muscular strength, a woman who had many lovers, not to mention two husbands, but was unable or unwilling to hold on to them.
In this history of materials, the authors link chemical science with chemical technology, challenging our current understandings of objects in the history of science and the distinction between scientific and technological objects. They further show that chemits' experimental production and understanding of materials changed over time, first in the decades around 1700 and then around 1830, when mundane materials became clearly distinguished from true chemical substances.
In opposition to Elizabeth Bowen, the superbly gifted Irish-English short story writer, who was not enticed by the idea of art as self-expression, other novelists believe that writing is autobiographical. The characters in the six stories that comprise Iridescent Stumbles are based on actual encounters. Their physical and psychological make-ups vary. Men and women either appear as shadowy reflections or are more sharply exposed depending upon the background into which they are set. In The upstairs Studio a woman, no longer in her thirties and her younger lover, a well over six feet tall runner, go late at night to their hide-out, an artist‘s studio in a semi rural location. During their love-making the enticing female‘s body appears in dreamlike sequences as a coveted symbol of a medieval monk‘s forbidden sexual cravings, and also changes into Selene who seduces Endymion in his sleep. In the runner‘s arms his inamorata whispers about a swim in the shark-infested Red Sea where she‘s encircled by a pod of dolphins that resemble a gam of sharks. The lovers erotic trysts end when the sprinter gets married again and his second young wife produces two healthy offspring. If a reader has enjoyed The upstairs Studio, he/she will most likely take pleasure too in March Mornings and Nights (a second richly varied love story), Hawaii (a mother-daughter team taking thrilling glimpses at the Aloha State‘s intrinsic, natural splendor and the diversity of Kanaka Maoli people), Tous les jours d‘Europe (fictionalizes a woman‘s journey into past personal occurrences in Europe), Lush Summer Days at Gaby‘s in the Birkshires (recalls annual holidays spent in Masschusetts) and Arizona with Sabine (explores parts of the United States enticing West). The author‘s style, the signature, if not the soul of a writer, so slippery, so hard to catch, remains the same. Her style unerringly aims for its most important goal: beauty.
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