By Jennifer Weiner
Readers fell in love with Cannie Shapiro, the clever, sharp-tongued, bighearted heroine of Good in Bed who discovered her satisfied finishing after her mom got here out of the closet, her father fell out of her existence, and her ex-boyfriend all started chronicling their ex-sex existence within the pages of a countrywide journal.
Now Cannie's again. After her debut novel -- a fictionalized (and hugely sexualized) model of her lifestyles -- grew to become an in a single day bestseller, she dropped out of the general public eye and became to writing technology fiction lower than a pseudonym. She's fortunately married to the tall, captivating vitamin health care professional Peter Krushelevansky and has settled right into a lifestyles that she reveals splendidly predictable -- knitting within the entrance row of her daughter Joy's drama rehearsals, volunteering on the library, and taking over-forty yoga periods together with her ally Samantha.
As arrangements for Joy's bat mitzvah commence, every thing turns out correct in Cannie's global. Then pleasure discovers the radical Cannie wrote years earlier than and without notice unearths herself confronted with what she thinks is the reality approximately her personal belief -- the tale her mom concealed from her all her lifestyles. while Peter surprises his spouse by way of asserting he desires to have a child, the family members is compelled to re-evaluate its historical past, its destiny, and what it capability to be actually chuffed.
Radiantly humorous and disarmingly delicate, with Weiner's whip-smart discussion and sharp observations of contemporary lifestyles, Certain Girls is an unforgettable tale approximately love, loss, and the iconic bonds of relations.
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Additional info for Certain Girls: A Novel
187–195) Page 24 O my poor father, wert thou such an eyesore That nine the greatest princes of the earth Must be confederate in thy tragedy? . Peter's chair, Though clad in all his pontificalibus. 256–269) I am content to suck my sorrows up, And with dull patience will attend the time, Gaping for every opportunity That may present the least occasion, Although each minute multiply mine anguish, And to my view present a thousand forms Of senseless bodies in my father's shape, Yelling with open throat for just revenge.
Produce the devil; let your Strotzo come. With what? These, these Must, will, can only quit my heart of guilt. 35), represent only the most violent of the play's assaults upon speech as a viable medium. Set in a Gothic atmosphere of thunder and lightning, bleak seascapes, caves, sepulchral hermitages, and dismal groves, where cadavers are hung up in chains until their flesh rots off, the play mounts a crescendo of dissimulations and killings that ends only in the final moments when the violence recoils upon Hoffman and his treacherous accomplice Lorrique.
You'd be lost for words. You'd be tonguetied. Like a mute in a monologue. Like a nightingale at a Roman feast. Your diction will go to pieces. Your lines will be cut. To dumbshows. And dramatic pauses. That Stoppard should have employed the grim joke of the extirpated tongue, at the same time invoking the image of "a Roman feast," is richly suggestive of Hamlet's less celebrated predecessor on the boards. 338–342). 125–128). 73]), and even after his return from the sea journey when much of the inner tension seems to have been resolved, we are aware of painful silences.