By Robert Stone
A New York Times ebook assessment Editors' Choice
At an elite university in a once-decaying New England urban, Steven Brookman has decide. a super yet careless professor, he has decided that for the sake of his marriage, and his soul, he needs to finish his dating with Maud Stack, his electrifying pupil, whose papers are regularly overdue but continuously incandescent. yet Maud is a tender lady whose passions should not simply curtailed, and their union will fast yield tragic and far-reaching consequences.
Death of the Black-Haired Girl is an impossible to resist story of infidelity, responsibility, the attract of youngster, the promise of absolution, and the thought that insanity is in every single place, in undeniable sight.
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Additional resources for Death of the Black-Haired Girl
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.
Death of the Black-Haired Girl by Robert Stone