Download Dorothy Parker Drank Here by Ellen Meister PDF

By Ellen Meister

The acid-tongued Dorothy Parker is again and haunting the halls of the Algonquin together with her piercing wit, audacious voice, and by surprise soft wisdom.

Heavenly peace? No, thanks. Dorothy Parker may fairly wander the well-known halls of the Algonquin lodge, drink in hand, trying to find an individual, an individual, who will maintain her corporation in this facet of eternity.

After 40 years she thinks she's came across the correct candidate in Ted Shriver, an excellent literary voice of the Nineteen Seventies, silenced early in a promising profession by means of a devastating plagiarism scandal. Now a prickly recluse, he hides away within the outdated lodge slowly demise of melanoma, which he refuses to regard. If she will be able to simply persuade him to signal the notorious guestbook of Percy Coates, Dorothy Parker could possibly convince the jaded author to spurn the white mild along with her. Ted, even though, should be the single individual residing or useless who's extra obdurate than Parker, and he rejects her concept outright.

When a tender, formidable television manufacturer, Norah Wolfe, enters the lodge looking for Ted Shriver, Parker sees one other chance to get what she wishes. in its place, she and Norah have the capacity to discover such startling secrets and techniques approximately Ted's prior that the long run alterations for all of them.

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Psychic ambivalence, as Angus Fletcher reminded us in his superb, path-breaking book, Allegory, does not mean mixed feelings but rather a mixture of diametrically opposed feelings, usually related to a concept of taboo. If the extreme degree of ambivalence is, as Fletcher said, irony or allegory, we need to remember that for Freud the masterpiece of psychic ambivalence was the Oedipal conflict. This conflict emerged for Freud most vividly both in the taboo and in the psychoanalytical transference, but I think that Freud always repressed his rather shady basing of the structure of the transference upon the structure of the taboo.

Yet I will assert for it a greatness that few contemporary critics might grant, and part of that greatness is the book's near-perfection in a particular kind of romance invention, as once it would have been called, that kind we have agreed to call fantasy. I am moved by Eric Rabkin's insight when, in his recent anthology of fantasy, he places A Voyage to Arcturus together with Alice in Wonderland in his range (10) category of fantasy, meaning the outer limit of the mode, after which I suppose we would pass into a strange new Scripture, a revelation like that of the Gnostic Valentinus or of Joachim of Flora.

I invoke Carlyle deliberately, because he is the tutelary spirit who Page 2 informs Lindsay's frightening romance, which is a direct descendant of Sartor Resartus. Indeed Carlyle himself, I take it, is the perhaps unconscious model for the god or demi-god Krag, just as Walter Pater and his disciple Oscar Wilde served Lindsay as repressed models for Krag's adversary, Crystalman or Shaping. But I will postpone an account of the Carlyle-Pater agon in A Voyage to Arcturus until I have explored some opening aspects of my clinamen or ironic swerve into a beginning for a theory of fantasy.

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