By Geraldine Meade
Felicity Costello, aka Flick, is pretty well like all different sixteen-year-old - apart from one distinction. A distinction she doesn't wish a person else to understand approximately. A distinction she rarely admits even to herself. now not for the faint-hearted, Flick is a searingly sincere depiction of adlescent existence because it is lived this day.
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A brazen sunlight theft at Christie's turns into the controversy of London, yet Sherlock Holmes and Dr Watson aren't any longer within the enterprise of fixing crime. Holmes has retired to Sussex, to maintain bees, and Watson, lately widowed, has back to basic perform. but if Watson, determined for distraction, consents to accompany his outdated pal to Vienna, to go to eminent neurologist, Sigmund Freud, it's not lengthy sooner than the pair are pulled again into the murky global of ruthless criminals bent on abduction, intimidation, and homicide.
From one among Iran’s so much acclaimed and arguable modern writers, his first novel to seem in English—a dazzlingly artistic paintings of fiction that opens a revelatory window onto what it’s wish to reside, to like, and to be an artist in today’s Iran.
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Additional info for Flick
Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-15 20 21 ‘auto-representation . . with its view that there is no presence, no external truth which verifies or unifies, that there is only self-reference’ (Hutcheon 1988: 119). According to the logic of ‘double-coding’, which Hutcheon (and others) insists is typical of postmodernism, the distinction between realist and postmodern fiction is not a binary opposition: postmodern fiction is both realist and non-realist at the same time.
More importantly, the whole question of representation was at the top of the intellectual agenda. For if we had to pinpoint one issue at the heart of late twentiethcentury literature, theory and philosophy, surely this would be it: the gulf between language and what it represents. This is a question – as we can see from Murdoch’s philosophical work – which stretches back to the philosophy of Plato and the fledgling literary theory of Aristotle, but it has been more directly resonant in the period of literature which can justifiably be called ‘modern’.
She affirms our need to maintain a belief in certain a priori truths, however difficult they are to establish. Some concepts, like the Good, endure despite the untenabilility of the Christian metanarrative. In the first of the Platonic dialogues Murdoch published as Acastos (1987), Mantias claims that ‘really there’s no such thing as “reality” or “nature”, it’s not just sitting there, we make it out of words – ideas – concepts’. com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-15 16 Revisiting the Sublime and the Beautiful 17 Given the status of Socrates in the play, and given Murdoch’s similar pronouncements elsewhere, it is clear that he is speaking for his creator.
Flick by Geraldine Meade