By Ron Rash
“A lovely, brutal writer.”
—Richard expense, New York instances bestselling writer of Lush existence and Clockers In Burning shiny, Pen/Faulkner finalist and New York Times bestselling writer of Serena, Ron Rash, captures the eerie good looks and stark violence of Appalachia throughout the lives of unforgettable characters.
With this masterful choice of tales that span the Civil battle to the current day, Rash, a supremely gifted author who “recalls either John Steinbeck and Cormac McCarthy” (The New Yorker), solidifies his acceptance as a massive modern American literary artist.
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Extra resources for Burning Bright: Stories
Frost swerves from failure once again. With the entrance of the buck, twoness reasserts itself, not as the end of correspondence but as its motor. While the poem does not explore the sexual difference between the couple, the emergence of the buck becomes a ﬁgure for it, which makes the crossing now a perpendicular one. ” But, as the narrator insists, this is not mere repetition (“not the same doe come back”). This time the comma has been removed. Is the exchange less hesitant? Difference allows the narrative of exchange to continue, and the confrontational male presence marks difference just as the female invites sympathy.
Against an ethos that stresses the value of deep roots and origins, she presents the virtues of rhizomatic connections, ad hoc maneuvers, and entrepreneurial actions. Her geographic restlessness becomes a model for the pulsive energy she ﬁnds in herself and nature. Ammons’ early work expresses a longing for Emersonian transparence and the unity of landscape with being. He tries repeatedly to throw away consciousness of the mediating self, until that gathering and dispersing of the image becomes its own structure of identity.
If what he pities in the moth is “something human,” it relegates the moth to an allegorical status. Apostrophe is too ambitious; it aims “across the gulf of well nigh everything,” and inevitably reiﬁes the gulf. ” If the gloveless hand cannot touch the moth and must relinquish its presence, the language hints at reciprocity even though the representation denies it. ” The poet may be empty-handed at the end, and resigned to the isolation of the lyric position, unable to locate kind-ness in the world; but the crossing in this line, even with the negatives, suggests a congruence which the poem does not pursue but which establishes completeness.