ellauri064.html on line 81: Benjamin's luscious Berlin Childhood around 1900 recalls his experience of the city's material culture as a boy. His family was commercially successful (rich) but relations with his parents and sister were poor, although he had a better relationship with his younger brother, because he died in a concentration camp. His bleak verdict on school life contrasted with that of his schoolmate Gershom Scholem, who become Professor of Jewish Mysticism at the newly established Hebrew University of Jerusalem. Benjamin impressed some as reserved, discreet and modest, others as oversensitive and uncompromising.
ellauri095.html on line 80: Shine, and blue-bleak embers, ah my dear, kiiltämään, ja sinervästä umpimähkästä, kultaseni!
ellauri192.html on line 531: The award of the Nobel Prize for Literature in 1984 to Jaroslav Seifert — a poet identified with reformism and not favored by the Husák regime—was a bright spot in an otherwise bleak cultural scene of the time. Tuttua ruozalaisten peukutusta länkkäreille taas. Philip Rothin kotizhekki, beatlesien näköinen Ivan Klima ei sopinut ruozalaiseen klimaattiin, eikä Philipkään.
ellauri210.html on line 78: His best known play The Playboy of the Western World was poorly received, due to its bleak ending, demeaning depiction of Irish bloody peasants, and idealisation of parricide, leading to hostile audience reactions and riots in Dublin.
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.
ellauri322.html on line 358: The view of this wild coast, as we sailed along it, afforded me a continual subject for meditation. I anticipated the future improvement of the world, and observed how much man has still to do to obtain of the earth all it could yield. I even carried my speculations so far as to advance a million or two of years (!) to the moment when the earth would perhaps be so perfectly cultivated, and so completely peopled, as to render it necessary to inhabit every spot, yes, even these bleak shores. Imagination went still farther, and pictured the state of man when the earth could no longer support him. Whither was he to flee from universal famine ? Sitten se kezu söi ize izensä ja sixi ei enää ole kezuja.
xxx/ellauri086.html on line 767: Ah, distinctly I remember it was in the bleak December; Se oli joulukuuta muistan kyllä, oli talvinuttu yllä,
xxx/ellauri125.html on line 485: With Walton's support, he began Call It Sleep in about 1930, completed the novel in the spring of 1934, and it was published in December 1934, to mostly good reviews. Yet the New York Herald Tribune's book critic Lewis Gannett foresaw that the book would not prove popular with its bleak depiction of New York's Lower East Side, but wrote readers would "remember it and talk about it and watch excitedly" for Roth's next book. Call It Sleep sold slowly and poorly, and after it was out-of-print, critics writing in magazines such as Commentary and Partisan Review kept praising it, and asking for it to be reprinted. After being republished in hardback in 1960 and paperback in 1964, with more than 1,000,000 copies sold, and many weeks on the New York Times bestseller list, the novel was hailed as an overlooked Depression-era masterpiece and classic novel of immigration. Today, it is widely regarded as a masterpiece of Jewish American literature. With Walton's support, he began Call It Sleep in about 1930, completed the novel in the spring of 1934, and it was published in December 1934, to mostly good reviews. Yet the New York Herald Tribune's book critic Lewis Gannett foresaw that the book would not prove popular with its bleak depiction of New York's Lower East Side, but wrote readers would "remember it and talk about it and watch excitedly" for Roth's next book. Call It Sleep sold slowly and poorly, and after it was out-of-print, critics writing in magazines such as Commentary and Partisan Review kept praising it, and asking for it to be reprinted.[ After being republished in hardback in 1960 and paperback in 1964, with more than 1,000,000 copies sold, and many weeks on the New York Times bestseller list, the novel was hailed as an overlooked Depression-era masterpiece and classic novel of immigration. Today, it is widely regarded as a masterpiece of Jewish American literature. After Muriel's death in 1990, Roth moved into a ramshackle former funeral parlor and occupied himself with revising the final volumes of his monumental work, Mercy of a Rude Stream. It has been alleged that the incestuous relationships between the protagonist, a sister, and a cousin in Mercy of a Rude Stream are based on Roth's life. Roth's own sister denied that such events occurred. Roth attributed his massive writer's block to personal problems such as depression, and to political conflicts, including his disillusion with Communism. At other times he cited his early break with Judaism and his obsessive sexual preoccupations as probable causes. Roth died in Albuquerque, New Mexico, United States in 1995. The character E. I. Lonoff in Philip Roth's Zuckerman novels (The Ghost Writer and Exit Ghost in this case), is a composite of Roth, Bernard Malamud and fictional elements.
xxx/ellauri420.html on line 289: A pervasive numbness prevails; a numbness not just of emotion, but of dick and balls. I’m convinced that’s why some pastors turn to porn. It’s their way of treating their own unbearable emotional and psychic pain. It jolts them out of their bleak, numb world of acedia. What they’re seeking is not really pleasure, but the ability to get hard and feel something again.
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