By Margaret Atwood

Ever in view that her engagement, the strangest factor has been occurring to Marian McAlpin: she can't consume. First meat. Then eggs, greens, cake, pumpkin seeds--everything! Worse but, she has the loopy feeling that she's being eaten.

Marian should think fed on with ardour, yet she fairly simply feels...consumed.

A fantastic and strong paintings wealthy in irony and metaphor, The suitable for eating girl is an unforgettable masterpiece by means of a real grasp of up to date literary fiction.

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Etc. ” (Lawton 1988: 51). The mission statement from the Hylaea group, soon to become Cubo-Futurism, left no doubt that its main concern was with the predicament of the language of Russian poetry. “We order that the poets’ rights be revered,” the manifesto declared, specifically identifying the right to “enlarge the scope of the poet’s vocabulary with arbitrary and derivative words” and “to feel an insurmountable hatred for the language existing before our time” (Lawton 1988: 51–2). While these two demands account for Cubo-Futurism’s linguistic program, those that follow merely strengthen the sense of anger contained in the manifesto’s title.

There exists no science of word creation,” according to “Our Fundamentals” (Khlebnikov 1987: 376), although some, largely subjective, principles can be found in “Teacher and Student,” Khlebnikov’s most revealing contribution to the theory of non-poetic language (277–87). g. “lack of agreement in case, number, tense, and gender” (Lawton 1988: 226, 61, 58, 73, 73, respectively), to which one might retrospectively add the Russian Formalist terms “shift,” “de-familiarization,” “laying bare” and “deformation” (on the importance of these terms for both Russian Formalism and an understanding of the Cubo-Futurists’ experiments, see Steiner 1984).

Steiner, P. (1984) Russian Formalism: A Metapoetics, Ithaca, NY: Cornell University Press. White, J. (1990) Literary Futurism: Aspects of the First Avant-Garde, Oxford, UK: Clarendon. Zola, É. (1880) Le Roman Expérimental, Paris: Charpentier. 35 RICHARD MURPHY 3 THE POETICS OF ANIMISM Realism and the fantastic in expressionist literature and film Richard Murphy No-one doubts that the genuine thing cannot be that which appears as external reality. Reality must be created by us. (Edschmid 1918: 369; my translation) I.

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