By Kenzabur? ?e
Kenzaburo Oe is without doubt one of the most unusual and critical writers of our occasions, and nowhere is his genius extra obvious than in A Quiet Life-an uncanny mixture of the true with the imagined, of memoir with fiction.
A Quiet lifestyles is narrated by way of Ma-chan, a twenty-year-old lady. Her father is a well-known and engaging novelist; her older brother, notwithstanding significantly brain-damaged, possesses a nearly magical reward for musical composition; and her mother’s existence is dedicated to the care of them either. Ma-chan and her more youthful brother locate themselves emotionally at the outdoors of this oddly developed extended family. but if her father accepts a vacationing professorship from an American collage, Ma-chan reveals herself unexpectedly the pinnacle of the loved ones and on the heart of kinfolk relationships that she needs to start to redefine.
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Extra info for A Quiet Life
These include found poems, aleatory poems (written according to randomly generated decisions), and poems written according to predetermined rules. It is true that the novelty of such processes does not guarantee the literary value (however determined) of the result, but, as any other formal constraint, they can serve as fruitful devices. Moreover avant-gardists might point to the mainstream lyric’s continued absorption in the individual subject as a significant limitation paralleling the avant-garde’s absorption in language.
The poem features a wealth of subtle suggestive symbolism, also characteristic of Thomas, which contributes to the poem’s dark unsettling undertones. There is the fallen tree, which cannot be removed until the war’s end has spared the necessary labor. The horses’ “head brass” refers to the decorative medallion on their harnesses, and there is the ironic implication of a military charge with their slow stumbling approach as if to tread him down. Some of the symbolism, however, lends itself to more optimistic explanations.
Tuma, Keith, ed. Anthology of Twentieth-Century British and Irish Poetry. Oxford: Oxford University Press, 2001. Katherine Gannett “THE BANK CLERK” R. S. THOMAS (1970) R. S. THOMAS’s large output includes several tributes to fellow writers, particularly Welsh ones. This is one: a memorial to the Anglo-Welsh poet Vernon Watkins (1906–67). While the poem never names Watkins, it uses his profession as a bank clerk as an extended metaphor for describing his relationship to Wales and his poetic craft.