By Jean Harfenist
Lillian Anderson is a strong-minded, backwoods-Minnesota lady, well-versed within the fundamentals of survival. she will be able to locate air to respire lower than a capsized boat, force in a snow fall, or trap a wild duck. As a part of a wide suffering kin, she tiptoes round her explosive father whose most sensible days consistently come correct after he's poached anything and her neurotically confident mom whose bursts of power deliver extra chaos. Lillian barrels via youth without illusions approximately her destiny, honing her clerical talents whereas operating the nightshift as a salad lady within the airport kitchen. simply as she's on her toes and relocating out, their home is actually sinking into the marsh. Stunningly sincere, this tale explores the fierce love that binds kinfolk together.
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Additional info for A Brief History of the Flood
It surrounds religion with thousands of original superstitions, poetry with countless picturesque fantasies. * Sometimes it casts into Christendom’s hell the hideous ﬁgures conjured up by the austere genius of Dante and Milton, sometimes the absurd creatures among which Callot, that burlesque Michelangelo, ﬁnds amusement. When it turns from the ideal world to the real one, it unleashes countless parodies of human foibles. Its fancy creates Scaramouches and Crispinos and Harlequins–– grinning silhouettes of mankind, types utterly unknown to solemn antiquity, even though they arose in Classical Italy.
Don’t you understand that Art ought to improve on Nature? that things have to be ennobled? that you have to pick and choose what you do? Did our predecessors ever put ugly and grotesque things into their works? Did they ever mingle comedy and tragedy? Consider the writers of the ancient world, sir! And what’s more, Aristotle. And what’s more, Boileau. ’ These are, no doubt, signiﬁcant arguments (their most notable merit being their originality). But I don’t have any obligation to answer them. I’m not erecting any system here–– God preserve us from systems!
The author never has deviated from it, and never will. It can be reconciled readily enough with ‘the ugly ought to be imitated, the grotesque ought to be a component of art’. The two statements aren’t contradictory. The distinction between beauty and ugliness in art doesn’t correspond exactly to that in nature. In the arts, only the execution of a work can make anything beautiful or ugly. When faithfully and poetically transposed into the domain of art, something that is distorted, horrible, and hideous becomes beautiful, admirable, and sublime–– without losing any of its monstrous quality; on the other hand, when the most beautiful things in the world are falsely and systematically arranged in an artiﬁcial composition, they become ridiculous, absurd, hybrid, ugly.
A Brief History of the Flood by Jean Harfenist