By Judith Frank
Instructed with the storytelling strength and emotional constancy of Wally Lamb, it is a searing drama of a latest American family members near to dissolution, person who explores adoption, homosexual marriage, and love misplaced and found.
For years, Matthew Greene and Daniel Rosen have loved a quiet household existence jointly in Northampton, Massachusetts. Opposites in lots of methods, they've got grown jointly and made their courting paintings. but if they study that Daniel’s dual brother and sister-in-law were killed in a bombing in Jerusalem, their lives are unexpectedly, completely transformed.
In facing their households and the necessity to decide approximately who will increase the deceased couple’s childrens, either Matthew and Daniel are faced with demanding situations that strike on the very center in their courting. what's Matthew’s position in a longer relations that doesn't thoroughly settle for him or the dedication he and Daniel have made? How do Daniel’s questions about his id as a Jewish guy have an effect on his existence as a homosexual American? Tensions simply accentuate once they research that the deceased mom and dad sought after Matthew and Daniel to undertake the children—six-year-old Gal, and child Noam.
The impression this quick new kinfolk has on Matthew, Daniel, and their courting is refined and heartbreaking, but now not with out glimmers of wish. they need to learn how to reinvent and redefine their bond in profound, occasionally painful methods. what sort of mom and dad can those males quite be? How does a kinfolk develop into robust adequate to stick jointly and undergo? And are there limits to honesty or commitment—or love?
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Extra resources for All I Love and Know: A Novel
C. C. ” ® That there was a relatively ancient sixth-century Athenian recension at the root of our present texts of the Iliad and Od yssey seems to have been demonstrated from a close study of the dialect of the poems. ” A Pisistratean Homer poses two problems. C. How much was the text changed from the time of Pisistratus, through copyists’ errors, censorship, or any of the other ills that plague all ancient texts in their transmission by hand? The answer, based primarily on a comparison with the extensive quotations from Homer in Plato, Aristotle, and other Greek writers, is: substantially little; and remarkably little indeed, apart from verbal changes of interest only to the philologist.
The age of heroes, then, as Homer understood it, was a time in which men exceeded subsequent standards with respect to a specified and severely limited group of qualities. In a measure, these virtues, these values and capacities, were shared by many men of the period, for otherwise there could have been no dis tinct age of heroes between the bronze and the iron. Particularly in the Odyssey the word “hero” is a class term for the whole aristocracy, and at times it even seems to embrace all the free men.
Even the motivation of the gods differs; in the Iliad it is per- Bards and Heroes 25 sonal, the expression of the likes and dislikes of individual deities for one hero or another, whereas in the Odyssey the personal element has been supplemented, in part and in still rudimentary fashion, by the requirements of justice. The Iliad is filled with the action of heroes. Even when it de parts from its central theme, the wrath of Achilles, its attention never wavers from heroic deeds and interests. The Odyssey, although shorter, has two distinct and essentially unconnected themes: the fairy-tale wanderings of Odysseus and the struggle for power in Ithaca.