By Brian Hart

Bandy Dorner, domestic from Vietnam, awakes along with his vehicle mired in a canal, his cabin decreased to ashes, and his pregnant spouse getting ready to depart city together with her lover. inside moments, a cop lies bleeding within the road.

Eighteen years later, Bandy's son -- a stranger bearing his identify -- returns to town, the place the reminiscence of his father's crime nonetheless hangs thick. whilst an twist of fate brings the relations -- paroled father, widowed mom, injured son -- again jointly, the 3 needs to confront their previous, and fight opposed to their fate.

Like a standard Greek tragedy, suffused with the dust, ice, and rock of the uncooked Idaho panorama, Then got here the night is tautly plotted and emotionally complicated -- a beautiful debut

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Thus it is certainly true, even taking familiar literary examples, that parody does not have to have a polemical relation to the texts that are ‘quoted’. For example, in section III of The Waste Land, Eliot makes a parodic allusion to Spenser’s ‘Prothalamion’: The river’s tent is broken; the last fingers of leaf Clutch and sink into the wet bank. The wind Crosses the brown land, unheard. The nymphs are departed. Sweet Thames, run softly till I end my song. The river bears no empty bottles, sandwich papers, Silk handkerchiefs, cardboard boxes, cigarette ends Or other testimony of summer nights.

However, the cultural situation of a Greek writer five hundred years after Aristophanes or Plato was very different from his Athenian forebears. Lucian was writing in a period known as the Second Sophistic, a period of conscious revival of Greek culture, where the practice of mimesis or imitation of great literary predecessors formed a staple of education. Parody here becomes almost a manner of learning; certainly this was a period which was very conscious of its belatedness in relation to a past golden age.

As for that tradition of literary parody, for the most part it surely justifies that suspicion of parody as an essentially parasitic mode—a bearer of ‘pleasant liberties’, in Quiller-Couch’s phrase—whose polemical direction remains to be specified but which does not fundamentally enter into the creative energies of any of the major writers of the period. So, with the possible exception of Thackeray, the nineteenth century, while being the Golden Age of a certain kind of parody, is not a period in which the mode contributes to any of its major cultural achievements.

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