By Ethan Hawke
From the actor, director, and author Ethan Hawke: a piercing novel of affection, marriage, and renewal.
Jimmy is AWOL from the military, but--with attribute fierceness and terror--he's approximately to embark at the largest dedication of his lifestyles. Christy is pregnant with Jimmy's baby, and she's made up our minds to go domestic, without or with Jimmy, to withstand her previous and get ready for the longer term. one way or the other, barreling throughout the United States from Albany to New Orleans to Ohio and Texas in a souped-up Chevy Nova, Christy and Jimmy are reworked from passionate yet conflicted enthusiasts right into a younger relations on an impressive journey.
Ash Wednesday is a singular of blazing emotion and memorable grace, a story that captures the intensity--the pleasure, worry, and joy--of being at the threshold of the mysterious state of marriage and parenthood. robust, guaranteed, huge of center, and punctuated by means of moments of super humor, it represents, for Hawke the novelist, a huge bounce forward.
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Extra resources for Ash Wednesday
2. It is worth pointing out, that, however, apposite this argument is for neoliberal and fully globalized systems and societies, there are other contexts, notably Cuba, where neither the nation-building project nor the state has completely abandoned Bauman’s idea of the “alternative solution,” if only as a desire: “that of rendering freedom of self-assertion truly universal, by providing to every individual the resources needed and the self-confidence which goes with them, and thus rendering compensation redundant” (Bauman 1999, xl).
Perhaps the most obvious structural factors are technology, social institutions, and economic factors; all are themselves interrelated and all of them function to reproduce, modify, or contest ideology. CULTURE AND IDEOLOGY If all culture is to some extent historically determined and all artists bear the trace of specific value systems and the structures that reproduce or contest them, works of art are inevitably bound to particular ideas and beliefs which “originate in material activity, and in the human capacity to reflect on such activity” (Wolff 1990, 50).
12 However, this movement is, of course, possible—and perhaps more easily achievable—when the reader interprets non-fictional narratives such as memoirs, autobiographies and diaries and relocates “not to an alternative possible world but to a possible world that is an earlier—and perhaps competing—version of the world deemed actual” (Herman 2002, 15). The storyworlds of non-fictional narratives, then, create a different relationship between themselves and “actual” storyworlds, and, likewise, their relationship to other textual storyworlds is also necessarily different, calling on different evaluative criteria.