By Robert Stone
An emotional, dramatic and philosophical novel approximately americans drawn right into a small significant American state on the point of revolution.
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144. Nordau, Degeneration, Book I, pp. 231, 357. Nordau, Degeneration, Book I, p. 535. See Coulson Kernahan, The Red Peril, p. 48. See Joseph Conrad, ‘The Informer’, from The Lagoon and Other Stories (Oxford and New York: Oxford University Press, 1997), p. 105. See Michael Denning, Cover Stories: Narrative and Ideology in the British Spy Thriller (London: Routledge & Kegan Paul, 1987), p. 3. See John Carey, The Intellectuals and the Masses: Pride and Prejudice Among the Literary Intelligentsia, 1880–1939 (London: Faber and Faber, 1992), pp.
1. – Dynamite and Dynamiters’, The Strand Magazine, Vol. VII, Jan–June 1894, pp. 119–32, p. 119. 3. Richard Henry Savage, The Anarchist: A Story of To-Day (Leipzig: Bernhard Tauchnitz, 1894), 2 vols, Vol. 1, p. 86. Subsequent quotations are from this edition. 4. The responses of writers to September 11th differ from those of their nineteenth-century counterparts, as novels like Ian McEwan’s Saturday, John Updike’s Terrorist, Claire Messud’s The Emperor’s Children and Don De Lillo’s Falling Man can hardly be considered as penny dreadfuls.
London’s chaotic metropolitan character renders it an unreadable ‘hieroglyph’ (p. 59), the result of its status as the centre of empire and of having absorbed much belonging originally to the cultures that Britain has colonised. 10 Here, they enter a transgressive world of nightwalkers, tramps and lodging houses, where ‘the continual stream of passers-by . . the sealed fronts of houses . . the posters that covered the hoardings, and . . every lineament and throb of the great city’, contain ‘the elements of adventure .
A Flag for Sunrise by Robert Stone