By Alice Adams
"Alice Adams writes with appealing economic climate, an infallible experience of the telling detail--she can show extra in a number of sentences than so much writers do in a bulgingly over-fed chapter." --San Francisco Chronicle
Once back, Alice Adams demonstrates her mastery of the relations maze, her awesome belief of the fragile and intricate threads that bind us to at least one another.
Caroline Carter, "almost wealthy and virtually old," has 5 daughters from 3 marriages. As she assesses precisely what it ability to be a mom to grownup daughters, we stick to them over the process a 12 months, in terms of their husbands and enthusiasts. We see their deceptions, pleasures, triumphs, and setbacks. And we watch Caroline, as her personal lifestyles alterations irrevocably.
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Extra info for Caroline's Daughters: A Novel
The next day, ready to duel, both their faces change color, paling as if they were spear hunters waiting for a lion or a bear. Then they are dueling, not like men, but Dwelling Places of Chivalry and Nature 27 metamorphically, like “a wood leon,” “a crueel tigre”—like wild boars “That frothen whit as foom for ire wood” (line 1659). Close to death, Palamon and Arcite have reached the bottom of their descent. Deep in the grove and ankledeep in blood, they are like the Minotaur at the center of his labyrinth, surrounded by his own inner darkness, his human reason utterly submerged.
While the theater is sixty paces high, the pyre is twenty fathoms broad. After the wood is piled on, Arcite is laid among cloth of gold, garlands, jewels, and spices—“richesse” analogous to the carvings and other expensive adornments Theseus lavished on the theater. The Greeks assemble in a “huge route” like the tournament audience, and as before, “goon / Hoom to Athenes, when the pley is doon” (lines 2963–64). Like the theater, the funeral pyre gathers to itself the world of chivalry in a ritual celebration.
As private dreams become public acts, in other words, the hunters become the hunted. We are going to find that the Miller’s Tale works in similar ways. To begin with, the house contains Alysoun, and so it becomes the setting—or better, the goal—of all the significant action in the tale. Each of the five episodes begins with one of the characters leaving or having left the house, creating an apparent opportunity for Nicholas or Absalom to approach Alysoun. Each time, the following interaction ends with a kind of music, which may or may not indicate harmony with Alysoun.