Communion by Graeme Gibson

By Graeme Gibson

Completely to be had from Anansi electronic, Communion is without doubt one of the misplaced, nice works by way of a Canadian literary titan.

Originally released in 1971, Communion keeps the tale of Felix Oswald that all started in 5 Legs. We meet Felix Oswald back, a self-mocking and obsessed hero, a voyeur, and all-time loser, after he graduates from university and accepts a task as a part-time veterinarian’s assistant.

A groundbreaking paintings of experimental fiction, Communion is a must-read for enthusiasts of Canadian literature.

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Dryden effectively set the stage for Swift’s later developed treatments, positing reading as perhaps the culturally, politically, and theologically central phenomenon of the time. Ostensibly a defense of and apology for the Established Church, Religio Laici, which bears various marks of the essayistic as it does of the Horatian satires that Dryden notes in his extensive Preface, confronts imagined defenders of the nascent rational religion known as Deism, of Roman Catholicism (here referred to as Papists), and of radical or extreme Protestantism (called “Fanaticks”).

Swift’s Satires on Modernism: Battlegrounds of Reading and Writing. New York: Palgrave Macmillan, 2013. 1057/9781137311047. 1057/9781137311047 The Priesthood of All Readers 23 Reading lies at the heart of the Reformation. The printing press had perhaps begun—at least it fueled—the process of accommodation, access, and democratization. Newly enfranchised, freed from the shackles of an allegedly self-seeking clergy, and with texts at least potentially available to them, laymen could read Scripture for themselves.

S. 25 A somewhat different position appears in the important but sadly neglected book by Walter A. Davis published in 1978, The Act of Interpretation: A Critique of Literary Reason. ” Davis, in fact, opens his book with this radical redefinition of form, beginning with the notion that the literary work is a gestalt in which the intrinsic nature of the whole determines the parts which compose it. For lack of a better word I shall call this concept the principle of form. In contrast to the popular use of form to denote artistic techniques and linguistic properties distinguishable from a work’s “content,” I employ the term in its traditional philosophic sense to signify that principle of unity which determines the nature of a concrete whole.

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