Järkiavioliitto on Sörenille tätä: En forstandig lille Syepige gjør derfor ogsaa den kløgtige Bemærkning i et nyere Drama med Hensyn til de fornemme Herrers Kjærlighed: os elske de, men ægte os ikke; de fornemme Damer elske de ikke, men gifte sig med dem. Herrat tykkää blondeista mutta nai tummaverisiä. Perinteistä porvarillista säätysetäilyä sedän näkövinkkelistä. Bellowin Henderson the Rain King näkökulmaa.
ellauri048.html on line 702: Saul Bellowin alter ego Gene Henderson tiesi että monet Lähi-Idän prinssit oli saaneet amerikkalaisen koulusivistyxen. Se ei tajunnut miten niistä oli tullut niin verenhimoisia, vaikka niille oli opetettu The Village Blacksmith ja "sweet Alice and laughing Allegra". Häh? Osoittautuu et nää on Longfellowia. Longfellow oli seppoilun armoitettu runoseppo, nää runot opetetaan jenkkikakaroille vieläkin.
ellauri048.html on line 708: Saul Bellowin Henderson-buhlein on läpeensä perseestä. Inhottava tyyppi, rasistinen narsisti, eikä vähimmässäkään määrin hauska. Ja tää koskee sekä Hendersonia että sen kalansilmästä alter egoa. Ne on molemmat pappisvallan samppiooneja, uskontohemmoja sielupieru exyxissä. Oma "pelastus" on ihan ykkösasia, muista apinoista viis.
ellauri048.html on line 944: From Saul Bellow: tää on hyvä runo, täst mie piän (alter ego Henderson)
ellauri051.html on line 476: 1800-luvun imperialistiromantikoista monet olivat vanhemmiten partapozoja, se näyttää olleen muotina. Ja lähes kaikki julkkiskirjailijat ja runoiljat maailman sivu on olleet aivan vitunmoisia narsisteja. Narsistin passi näyttää olevan julkkissanasepon pääsylippu. Mainiota. Näissä kaikissa on ihan identtistä Amerikan henkeä: Wilt Whatman, Saul Bellow, Henderson the Rain God, ja Donald Trump. Ne on ilkeitä Taavetteja jotka haluis olla Koljatteja, nolata naisia ja neekereitä sillä tavalla. Maailman vahvin mies kisat alkoi USA:ssa, nyt voittajat on pohjoiseurooppalaisia, Burkina Fason Biby on kova haastaja. Pullistelu on yhteistä jenkeille ja härkäsammakoille, jotka Henderson räjäytti kuoliaaxi padon mukana. Aina pitää olla huomion keskipisteenä, näyttämässä muille mistä kana kusee. Mamma, mamma, titta på mej!
ellauri052.html on line 54: Henderson the Rain King
ellauri052.html on line 56: Henderson oli Salen oma mielikirja. Lukikohan se sitä ääneen izelleen ja sanoi "loistavaa" kuin Sven Tolppa. Conrad oli Solomonin mielikirjailija collegessa. Figures. Niisson paljon samaa. Elämää suurempia sankareita ja kaappihomoja. Salen Nobel-puhe on tyypillistä amerikkalaisille suunnattua amerikkalaista Geldjude potaskaa, sankareina Conradin ohella Milton Friedman ja Erich Auerbach, pahixina Robbe-Grillet ja punikit. Vielä yx uskomattoman tarkka Henderson lookalike on Yhdysvaltain nykyinen presidentti Donald Trump. Kaikki nazaa: koko, luonne, typeryys, vulgaari puhetyyli, jättimäinen narsismi.
The difficulty Greg Bellow has in grasping his father’s work is almost immediately apparent. His literary interpretations range from calling Humboldt’s Gift (1975) “a novel permeated by death consciousness” to writing that the protagonist of Henderson the Rain King (1959) “chooses a life path that brings him into contact with suffering and death.” (The very phrase “life path” would undoubtedly have made his father cringe.) Ehkäpä, just six että se on osuvaa.
ellauri098.html on line 343: Niitäkin mulla on useita tossa hyllyssä, mm. Salen Henderson, Melvillen Taipii, Heyerdahlin Ra, Conradin Lordi Jim (puolaxi), Celine, Camus, Rimbaud, ym.ym. Jotain niistä olen lukenutkin, suurinta osaa en. Mutta ei niistä pitänyt oikeasti paasata, vaan narratiivin troopeista.
ellauri222.html on line 169: At Bard, Bellow became close friends with a literature professor named Jack Ludwig. As Leader describes him, Ludwig was an oversized personality, a big man, extravagant, a shameless purveyor of bad Yiddish, and an operator. Ludwig idolized Bellow; people who knew them said that Ludwig wanted to be Bellow. He flattered Bellow, went for long walks with him, started up a literary journal with him, and generally insinuated himself into Bellow’s life. Bellow accepted the proffer of adulatory attentiveness. The couples (Ludwig was married) socialized together. This was the period when Bellow wrote “Seize the Day,” which Partisan Review published in a single issue, in 1956, after The New Yorker turned it down, and “Henderson the Rain King,” published in 1959, a novel whose hero was based on a neighbor of the Bellows in upstate New York.
ellauri222.html on line 761: The first novel to display Bellow's characteristic expansiveness and optimism, The Adventures of Augie March presents a dazzling panorama of comically eccentric characters in a picaresque tale narrated by the irrepressible title character, who defends human possibility by embracing the hope that "There may gods turn up anywhere." Subsequent novels vary in tone from the intensity of Seize the Day to the exuberance of Henderson the Rain King to the ironic ambiguity of Herzog, but all explore the nature of human male freedom and the tensions between the individual's need for self and the needs of society. Augie March, Tommy Wilhelm, Eugene Henderson, and Moses Herzog all yearn to please themselves by finding the beauty in life. By creating these highly individualistic characters and the milieu in which they move, Bellow reveals the flashes of the extraordinary in the ordinary that make such fun possible and rejects the attitude that everyday life must be trivial and ignoble. It is like that just for the losers.
ellauri222.html on line 763: This grooming of the self paradoxically requires looking out for number 1. Nowhere is this fact more vividly portrayed than in Henderson the Rain King. Driven in the beginning by a relentless inner voice that repeats, "I want! I want!," Henderson's egoistic absorption in his material success ironically alienates him from himself. Hitching his family to seek fundamental truths in the wilderness of Africa, he discovers the arse loving relationship that men need with nature and with each other and symbolically surrenders his self by accepting responsibility for a lion cub and an orphan child.
ellauri222.html on line 767: In their quest to find the beaver that gives meaning to life, Bellow's protagonists must also come to terms with death. The message Bellow conveys in almost all of his novels is that one must fear death to know the meaning of life and what it means to be human. Henderson overcomes his fear of death when he is buried and symbolically resurrected in the African king Dahfu's experiment. Similarly, in Seize the Day, Tommy Wilhelm confronts death in a symbolic drowning. Charlie Citrine in Humboldt's Gift echoes Whitman in viewing death as the essential question, pointing out that it is only through death that Sauls can complete the cycle of life by liberating self from the body. Bellow's meditations on death darken in Mr. Sammler's Planet and The Dean's December. While the title character in Mr. Sammler's Planet eagerly awaits the death of the person he most values in the world, Bellow contemplates the approaching death of Western culture at the hands of those who have abandoned humanistic values. The Dean's December presents an apocalyptic vision of urban decay in a Chicago totally lacking the comic touches that soften Charlie Citrone's portrait of this same city as a "moronic inferno" in Humboldt's Gift. An uncharacteristically bleak yarn from he old standup comic. With More Die of Heartbreak and the recent novellas, however, Bellow returns to his more characteristic blend of pathos and farce in contemplating the relationship between life and death. In the recent Ravelstein, Bellow once again charts this essential confrontation when Saul recounts not only his best friend's death from AIDS but also his own near-death experience from food poisoning. Through this foreground, in a fictionalized memoir to his own gay friend Allan Bloom, Bellow reveals the resilient love and tenderness that offer the modern world its saving grace.
ellauri222.html on line 791: Because Bellow refuses to devalue human potential in even his bleakest scenarios, his novels often come under attack for their affirmative endings. Augie hails himself as a new Columbus, the rediscoverer of America; Henderson, while triumphantly returning home with his new charges, dances with glee, "leaping, leaping, pounding, and tingling over the pure white lining of the grey Arctic silence." Herzog inexplicably evades his fate, emerging from the flux of his tortured mind to reclaim his sanity and his confidence in the future. Yet, the victories of Bellow's heroes are not unqualified, but rather as ambiguous and tenuous as is the human condition itself. As a new Columbus, Augie speaks from exile in Europe; in holding the orphan child, Henderson recalls the pain of his separation from his own father; by renouncing his self-pity and his murderous rage at his ex-wife Madeleine, Herzog reduces but does not expiate his guilt. Nonetheless, these characters earn whatever spiritual victory they reap through their penes and their refusal to succumb to doubt and cynicism. Through their perseverance in seeking the truth of human existence, they ultimately renew themselves by transcending to an intuitive spiritual awareness that is no less real because it must be taken on faith.
ellauri284.html on line 728: 23. joulukuuta 1899 Roberts lähti Englannista palatakseen Etelä-Afrikkaan esikuntapäällikkönsä Lord Kitchenerin kanssa RMS Dunottarin linnassa ottaakseen brittijoukkojen yleiskomennon toisessa buurisodassa edellisen komentajan, kenraali Redvers Bullerin alaisina . Hän saapui Kapkaupunkiin 10. tammikuuta 1900. Hänen nimityksensä oli vastaus sodan alkuviikkojen tappioiden sarjaan, ja siihen liittyi valtavien vahvistusten lähettäminen. Päämajan henkilökuntaan hän nimitti sotilaita kaukaa: Kitchener (esikuntapäällikkö) Sudanista, Frederick Burnham (partiopäällikkö), amerikkalainen partiolainen Klondikesta, George Henderson Staff Collegesta, Neville Chamberlain Afganistanista ja William Nicholson (sotilassihteeri) Kalkuttasta.
ellauri392.html on line 741: Henderson The Rain King is the most popular novel by Saul Bellow. [WTF? Are you serious?] Unlike modernist anti heroes, Henderson is a counter-image – an affirmative one. He appears as an awakening giant, on the verge of a new consciousness, representing the hopes and determinations of those Jews who still share the American dream and see the USA as the salvation which will bring freedom and love to the world.
xxx/ellauri127.html on line 352: Philip Ammon on aina olettanut, että hänen täytyy mennä naimisiin lapsuutensa, Edith Carrin kanssa. Tavattuaan Elornan hän tajuaa, että rakkautta on monia muotoja, eikä hän ole koskaan kysynyt, mitä hän voisi haluta avioliitossa itselleen. Edith Carr on aina olettanut menevänsä naimisiin lapsuutensa rakastamansa Philipin kanssa, mutta hän rakastaa kiusata häntä ja saada hänet kateelliseksi. Hän tietää, että vahva mies, Hart Henderson, rakastaa häntä paljon, mutta hän nauttii siitä, että hän rakastaa häntä. Lopulta hän myöntää, että Elorna on vahvempi ja rakastettavampi nainen kuin hän itse on, ja päättää pysyvänsä Hartin luona.
xxx/ellauri218.html on line 142: Donnie Ray Moore (February 13, 1954 – July 18, 1989) was an American relief pitcher in Major League Baseball (MLB) who played for the Chicago Cubs (1975, 1977–79), St. Louis Cardinals (1980), Milwaukee Brewers (1981), Atlanta Braves (1982–84) and California Angels (1985–88). Moore is best remembered for the home run he gave up to Dave Henderson while pitching for the California Angels in Game 5 of the 1986 American League Championship Series. With only one more strike needed to clinch the team's first-ever pennant, he allowed the Boston Red Sox to come back and eventually win the game. Boston then won Games 6 and 7 to take the series. Shortly after his professional career ended, he shot his wife three times in a dispute, failed to finish her and then committed suicide. Kylmä olen sitten huono. En osu edes omaan päähäni. Kierot palefacet puhuvat tyhmän Simson-nekrun ympäri. Hyvässä sovussa lähdetään ottelusta autolle.
xxx/ellauri394.html on line 193: Neumann delivered a letter from the queen to Grover Cleveland, who began his second non-consecutive term as president on March 4. The Cleveland administration commissioned James Henderson Blount to investigate the overthrow. He interviewed those involved in the coup and wrote the Blount Report, and based on its findings, concluded that the overthrow of Liliʻuokalani was illegal, and that Stevens and American military troops had acted inappropriately in support of those who carried out the overthrow. On November 16, Cleveland sent his minister Albert S. Willis to propose a return of the throne to Liliʻuokalani if she granted amnesty to everyone responsible. Her first response was that Hawaiian law called for property confiscation and the death penalty for treason, and that only her cabinet ministers could put aside the law in favor of amnesty. Liliuokalani´s extreme position lost her the goodwill of the Cleveland administration.
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