By May Sarton
A robust and lovely novella of 1 lady, consigned to a dreary retirement domestic, who wages a defiant conflict opposed to the dulling forces round her
After seventy-six-year-old Caro Spencer suffers a middle assault, her relatives sends her to a personal retirement domestic to attend out the remainder of her days.
Her reminiscence transforming into fuzzy, Caro comes to a decision to maintain a magazine to record the day-by-day goings-on—her emotions of confinement and tedium; her mistrust of the home’s proprietor, Harriet Hatfield, and her daughter, Rose; her pity for the extra incapacitated citizens; her resentment of her brother, John, for leaving her on my own.
The magazine entries describe not just her frustrations, but in addition small moments of beauty—found in a welcome stopover at from her minister, or in staring at a fowl within the backyard.
But as she writes, Caro grows more and more delicate to the informal atrocities of retirement-home existence. whilst she recognizes her brain is starting to fail, she is set to struggle again opposed to the injustices foisted upon the home’s occupants.
This book good points a longer biography of could Sarton.
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Extra resources for As We Are Now: A Novel
Vi); ‘Molanna’ was the name of Harriot’s estate on the Blackwater near Youghal, held of his friend and patron Ralegh. Harriot invented his own phonetic alphabet as a means of recording, and perhaps later teaching, the Algonquin language he observed in Virginia in the 1580s. See W. A. 29 Spenser’s Legal Language career, and were to set him apart even from the select group of great Elizabethan poets who acknowledged him their ‘prince’. Unfortunately, Spenser never published a prose treatise on a linguistic or even a poetic topic.
3. 1 and 10. 2; and Erasmus, De ratione studii, passim. For a critical introduction to the theory and practice of imitation in the Renaissance, and its consequences for reading and interpretation, see Thomas M. Greene, ‘Petrarch and the Humanist Hermeneutic’, in Italian Literature: Roots and Branches, ed. Giose Rimanelli and Kenneth John Atchity (New Haven: Yale University Press, 1976), pp. 201–24; and G. W. Pigman III, ‘Versions of Imitation in the Renaissance’, Renaissance Quarterly, 33 (1980), 1–32.
S comments on archaisms and dialect words have been the primary focus of critical accounts of Spenser’s diction throughout the twentieth century;32 30 31 32 Wallace, ‘John White, Thomas Harriot and Walter Ralegh in Ireland’, The Durham Thomas Harriot Seminar: Occasional Paper No 2 (1985). It does not matter to my argument whether ‘E. ’ was a pseudonym for Spenser himself, for Edward Kirke, or for some other friend of Spenser’s. If the Epistle and glosses were written by Spenser, so much the better; if by someone else, we know from the citation of Spenser’s English Poete (Introduction to ‘October’) that this friend had heard and read Spenser’s own views, which could not have been much different.