By William Boyd
"Rich in personality and incident, An Ice-Cream War fulfills the ambition of the ancient novel at its best."
—The big apple instances ebook Review
Booker Prize Finalist
"Boyd has greater than fulfilled the intense promise of [his] first novel. . . . he's able not just of a few very humorous satire but additionally of seriousness and compassion." —Michiko Kakutani, The long island Times
1914. In a resort room in German East Africa, American farmer Walter Smith desires of Theodore Roosevelt. As he sleeps, a railway passenger swats at flies, regretting her choice to come to the darkish Continent—and to her husband. On a far flung English riverbank, a jealous Felix Cobb watches his brother swim, and curses his sister-in-law-to-be. And within the history of the world's day-by-day chatter: rumors of an Anglo-German clash, the likes of which nobody has ever seen.
In An Ice-Cream War, William Boyd brilliantly conjures up the non-public dramas of a iteration upswept by means of the winds of struggle. After his German neighbor burns his crops—with an apology and a smile—Walter Smith takes up hands on behalf of significant Britain. And whilst Felix's brother marches off to protect British East Africa, he pursues, opposed to his larger judgment, a forbidden love affair. because the sons of the area fit wits and guns on a continent millions of miles from domestic, desperation makes bedfellows of enemies and traitors of family and friends. by way of turns comedian and quietly clever, An Ice-Cream War deftly renders lives capsized by way of violence, likelihood, and the irrepressible human skill for love.
"Funny, guaranteed, and cleanly, expansively advised, a seriocomic romp. Boyd offers us reviews of individuals stuck within the facet wallet of calamity and dramatizes their plights with humor, aspect and grit." —Harper's
"Boyd has crafted a quiet, seamless prose within which tale and characters circulation without difficulty out of a fertile mind's eye. . . . The reader emerges deeply moved." —Newsday
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This is not, in fact, far from the experience of the fragile child in The Son of a Servant, or any of Strindberg’s naturalist ﬁgures. They, too, are at the mercy of the forces of society, genetics, the environment. They, too, consist not of a single identity or will but of confused and chaotic and unconscious desires, fears and misapprehensions. The protagonist in Inferno and the Unknown in To Damascus stand at the centre of a universe in which they are addressed directly, but in mysterious signs that must be interpreted, not unlike the position of the child’s evolving consciousness in the autobiography.
001 Cambridge Companions Online © Cambridge University Press, 2013 linda haverty rugg and stream-of-consciousness narration. In the later stages of his authorship, particularly, he sets the stage for modernism. In Thomas Mann’s words: As poet, thinker, prophet, and originator of a new world of feeling, Strindberg is so far advanced that even today [a half-century later] his work does not seem in the least exhausted. Standing outside and above schools and movements, he unites them all. A Naturalist as well as a neo-Romantic, he anticipates Expressionism, making the entire generation working under that name indebted to him.
Indeed, Inferno (1897) ranks as perhaps the most compelling act of self-dramatization in Strindberg’s œuvre. Drawing on Dante’s Inferno and Emanuel Swedenborg’s mystical theology, Strindberg’s protagonist wanders the streets of Paris with a growing awareness that he is being guided, punished, inspired, threatened and chosen – by unseen Powers that speak to him through street signs, cloud formations, the words and actions of strangers, snatches of music overheard, a chance piece of paper dropped on the sidewalk.