By Marcia Muller
The bestselling writer of until the Butchers reduce Him Down provides her most up-to-date secret starring Saron McCone. Investigating a terrorist bombing on the Consulate of an Arab Emirate, Sharon is pondering in basic terms of the million-dollar-reward--until she meets the consul general's daughter. whilst the woman disappears, Sharon dangers every little thing to avoid wasting her.
Read or Download A Wild and Lonely Place (Sharon McCone, Book 15) PDF
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Extra resources for A Wild and Lonely Place (Sharon McCone, Book 15)
As James McLaverty writes, “the audience has no real encounter with the work” in Bateson’s model (87), but I think it important to add that the same is true of the author, once that ephemeral drama of the mind has taken place. The drama of the mind cannot be located, cannot be re-created; if that’s the case, it’s difficult to see how it can be said to exist, and particularly to exist physically, as Bateson tells us it does (8). Bateson’s model might tell us where Hamlet comes from, but it really doesn’t begin to answer the question of where Hamlet is to be found: if what he says is true, it certainly isn’t anywhere today, and perhaps it never was.
But in fact the medium changes nothing in the first two cases. The relationship of the copy to the original is the same as with the photograph: the copy is not the original, whether the difference is visible on first sight or is only discernible to a specialist’s eye. The copy pays homage to the original, and in so doing explicitly distances itself from it, telling us (or trying very hard to avoid telling us, which in this case comes to the same thing) that it is not the original. The third case, an artist’s duplication of his or her own work, or indeed of someone else’s (a Roman copy of a Greek sculpture, for instance) is less straightforward, for here the copy approaches the status of a work of art in itself.
And there’s no reason why we shouldn’t; if we’ve read the book, we know what it is, and no doubt we have more important questions to ponder than that. Still, a question does not cease to exist merely because it needn’t be posed, and I’d like to pose it now, as a beginning, because I believe that the curiously difficult problem of defining what the text is offers us a first, and fundamental, notion of this or any novel’s strange existence—and the strangeness of a novel’s existence is precisely what I hope to show in these pages.