By Rebecca Cantrell
In Rebecca Cantrell's A urban of damaged Glass, journalist Hannah Vogel is in Poland together with her son Anton to hide the 1938 St. Martin competition whilst she hears that 12,000 Polish Jews were deported from Germany. Hannah drops every thing to get the tale at the refugees, and walks at once into danger.
Kidnapped by means of the SS, and pushed around the German border, Hannah is rescued through Anton and her lover, Lars Lang, who she had presumed useless years ahead of. Hannah doesn't be aware of if she will belief Lars back, along with her middle or along with her lifestyles, yet she has little selection. Injured within the get away test and sought after via the Gestapo, Hannah and Anton are trapped with Lars in Berlin. whereas Hannah works on an go out approach, she is helping to go looking for Ruth, the lacking little one of her Jewish buddy Paul, who was once disappeared in the course of the deportation.
Trapped in Nazi Germany together with her son simply days prior to Kristallnacht, the evening of damaged Glass, Hannah is familiar with the hazards of staying to any extent further than wanted. yet she can't flip her again in this one little woman, whether it plunges her and her relatives into possibility.
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Extra resources for A City of Broken Glass (Hannah Vogel, Book 4)
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. Gasiorek suggests that such logic comes from realism itself, because of the ‘doubleness’ inherent in mimesis: ‘Janus-faced, these texts look both outward to an external world that they attempt to depict in all its complexity and inward to the very processes by which such depiction is brought into being’ (Gasiorek 1995: 14–15).
Sartre’s is the logic of ‘romantic rationalism’ which ultimately demystifies the individual and the strangeness of the contingent world by following ‘a deliberately unpractical ideal of rationality’ (S 111). Freedom from the noumenal world is neither possible nor desirable, and building ‘a general truth about ourselves which shall encompass us like a house’ (S 113) is short-sighted and solipsistic. Murdoch’s Platonism is visible in her distrust of consolatory theorizing, but we can also detect the presence of another of her main philosophical influences, Ludwig Wittgenstein.
As the post-Marxist, ‘cultural materialist’ wing of theory dominant in British criticism since the 1980s has made clear, the question of literary value is endlessly relative. Murdoch’s approbation of the classic realist novel is frequently supported by pronouncements which seem straightforward and commonsensical, but are in fact loaded with questionable terms. She claims that ‘the novel, the novel proper that is, is about people’s treatment of each other, and so it is about human values’ (S 138), without explaining why this should be the novel proper, or which values she has in mind.