By Trebor Healey
Award-winning novelist Trebor Healey depicts San Francisco within the Eighties and '90s in poetic prose that's either ribald and poignant, and a crossing into the yankee West that's dreamy, mythic, and visionary.
When twenty-one-year-old Seamus Blake meets the powerful and self-possessed Jimmy (just arrived in San Francisco through bicycle from his homeland in Buffalo, New York), he feels his existence could ultimately be taking a flip for the higher. however the resulting romance proves short-lived as Jimmy dies of an AIDS-related ailment. The grieving Seamus is obliged to maintain a promise to Jimmy: "Take me again the way in which I came."
And so Seamus units out through bicycle on a picaresque trip with the ashes, hoping to carry them again to Buffalo. He meets truck drivers, waitresses, university young ones, farmers, ranchers, Marines, and different travelers--each one giving him a brand new viewpoint on his personal lifestyles and on Jimmy's loss of life. while he meets and turns into concerned with a tender local American guy whose mom has lately died, Seamus's grief and his tale turn into common and redemptive.
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Extra info for A Horse Named Sorrow
Such hypertextuality offers not a theory of frames-a supervening or hypotactic ordering principle-but an art of transition through and among frames. Call it the art of parataxis, where the elements set side by side are critical methods rather than images or ideas: an art of practice, which provides not answers but paths of reading and provisional connections among these paths. The alternative to frame fixation is context sensitivity; that is, allowing different contexts to suggest different interpretative approaches while at the same time flipping among several frames, or at the least, acknowledging the provisionality of any Single-frame approach.
The products of official verse culture are no more interesting or valuable than the products of Madison Avenue. ) However, poetry can also be a form of cultural studies that incorporates reading the products of Madison Avenue; call it, Social Expressionism. Yet the university as a professional environment remains hostile to this type of approach both in its creative writing programs and in its normalizing writing practices. There is no art, only signifying practices. Or rather, who's to say what's just a signifying practice and what a work of art?
Yet, it turns out that those most likely to defend the importance of great art are themselves the major perpetrators of a disastrous lowering of standards. Indeed, it's a wild irony to see The New York Times run article after article debunking the new university barbarians for abandoning the great works of our cultural heritage, when in its own book supplement it primarily promotes literary works that make no claims on the most resonant cultural traditions of Europe or America. "High" "middle" "low"-there are no fixed meanings for these terms and I mean to use them against themselves.