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Chapter Twenty-Two

Scott Russell Sanders Indiana University Press ePub

Whatever was groaning apparently did not feel much need of breathing. Phoenix calculated it was likelier to be a machine than a beast, for what beast could bellow so mournfully without pausing to inhale? Still, in the wilds you could never be sure. Mutants cropped up all the time. Who knew what roomy lungs some of them might have? Maybe he should put on his antlers and go frighten the thing into silence. Nothing like a fierce pair of horns to stiffen the old backbone.

“It’s getting louder,” he observed, twisting round to glance at Teeg. Her haggard look unsettled him. What if it was a beast? “Maybe we should pull over?”

“It’s probably just a drone they put in to scare people off the river.”

“What people?”

“Anybody. Us, for example.”

“Well,” he admitted, “I think it’s done a pretty good job on me.” His playfulness did not erase the pinched look from her face.

According to the map that lay crumpled over his knees, they were passing through the suburbs of Portland now. But there was nothing remarkable on the shore, except some queer mounds of brush and saplings. Did they cover the ruins of buildings? Where the first bridge was supposed to be, crumbling cement piers thrust up from the river. Grass and brush had rooted on the crowns, where electric shuttles used to run. How odd, to have lived in a city that was open to the sky, with plants actually growing in the yards.

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Chapter Twenty-Three

Scott Russell Sanders Indiana University Press ePub

Phoenix was a welcome sight as he came plodding through the avenues of roses, loaded down with two packs like some long-suffering donkey. Seeing him toil past the goldfish pools and over the Japanese bridge, Teeg felt a great tenderness. Love for her had tugged him up the brick path from the river, as it had tugged him from Oregon City and Jonah Colony. Could she stretch his love so thin it would snap? What if one time she ran away and he didn’t follow?

Three hours of quarreling with her mother had left her so upset that she could only manage to offer a numb greeting when Phoenix reached the front steps. The stranger who wore her mother’s face greeted him with open hostility. Vile offspring of the Enclosure, her mother had called him. But how could she look at Phoenix and find him hateful?

Teeg motioned him to a rocking chair and served him tea, ignoring her mother’s withering stare. For a long spell only the rockers made any noise as the three of them sat on the porch, sipping from cups of translucent china, looking out over the formal gardens. What little there was to say, after seventeen years of absence, Teeg and her mother had already said.

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12. Dreams and Dialogues: Wiesel's Holocaust Memories

Edited by Steven T Katz and Alan Rosen Indiana University Press ePub



I WILL BEGIN MY reflections about Wiesel's memories by recounting some early memories of him. A few summers ago I had an interview with an extraordinary eighty-five-year-old woman, Gaby Cohen, a French woman of Alsatian origin who lives in Paris.1 We see each other every year when I go to Paris. She is a close friend of Wiesel's and has become a dear friend of mine as well. She was known to Wiesel right after the war as Niny Wolf. Niny was what was called an éducatrice, an educator and counselor in charge of the boys at the maisons d'enfants, homes or orphanages in France to which surviving children from the camps as well as hidden children who had lost their parents were sent in June 1945. These homes were set up by l'Oeuvre de Secours aux Enfants (l'OSE), a Jewish rescue organization originally founded in Russia, and established in France in the 1930s to help refugees and specifically children.

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Iliad of Abject Europe: Airwar, Literature and Compassion

Iain Bamforth Carcanet Press Ltd. PDF

Iliad of Abject Europe

A, L  C

And it is different, different – you have understood

Your world at last: you have tasted your own blood.

Randall Jarrell

A year ago, Germany’s ‘conscience’ and grand old man of letters

Günter Grass published his boldest novel in years. Crabwalk tells the story of the sinking, off what is now the Polish port of Gdynia, of the Wilhelm Gustloff, a converted Kraft durch Freude

(Strength-through-Joy) cruise ship, by a Soviet torpedo in January

. Gustloff was a Nazi propagandist and intelligence officer in

Switzerland who had been shot in  by a Jewish student from the Balkans: the party promptly made him a martyr to the cause.

The ship launched with his name in  carried workers on mandatory state-financed holidays to Norway and the

Mediterranean: this was the socialist part of the Nazi programme.

In January , having been transformed into a hospital ship, it was crammed with refugees, some of them soldiers, fleeing the advancing Red Army: about , people, many of them women and children, lost their lives in the Baltic, making it the worst maritime disaster ever. The central female character in the book,

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1 The Yale New Statutes Manuscript and Medieval English Statute Books: Similarities and Differences

Rosemarie McGerr Indiana University Press ePub

The Yale Law School manuscript of the Nova statuta Angliae (Goldman Library MS MssG +St11 no.1) contains almost four hundred leaves, so it offers many margins and centers for readers to explore. Modern readers coming to a manuscript copy of a medieval text discover the complexity and the potential to empower that the reading process offered in earlier times: letter forms and abbreviations in handmade books could be ambiguous, words might be rearranged or missing, and authorship could be uncertain; but medieval readers could select what texts, decoration, and illustrations were put into new manuscript books, and medieval readers often added to or removed texts or images from their books over time. Examining the layout and content of the text and decoration in a medieval manuscript, as well as the structure of the manuscript as a whole and the relationship of its components to other manuscripts, can help modern readers understand when, where, and for whom a medieval manuscript was made, as well as the process by which the texts within the manuscript were read. As Malcolm Parkes and Ian Doyle have argued, “Layout and decoration [in a medieval manuscript] function like punctuation: they are part of the presentation of a text which facilitates its use by a reader” (Parkes and Doyle 1978, 169). In this chapter, we will examine what evidence the Yale Nova statuta manuscript offers about when and where it was made, who made it, and how the parts of the manuscript construct several frames for its presentation of English law.1 We will also consider its relationship with developments in the history of medieval English statutes manuscripts. In the process, we will begin to see how the Yale manuscript transforms the New Statutes of England into a Lancastrian mirror for princes.

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