By Mark Asquith
This name provides an obtainable and informative creation to 2 texts from certainly one of America's so much experimental and provocative authors. This consultant to Annie Proulx's novel "Postcards" and her brief tale "Brokeback Mountain" contains a biography of the writer, a full-length research of the texts, a precis of the their well known and demanding reception, a dialogue of the hot movie model of "Brokeback Mountain" and its reception and greatly extra. if you are learning both textual content, studying them on your publication membership, or in case you easily need to know extra, you will discover this consultant informative, clever, and priceless.
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Extra resources for Annie Proulx's Brokeback Mountain and Postcards (Continuum Contemporaries)
There is nothing unusual in this, since this is what ﬁction writers do, but in Proulx’s work this literary fragmentation is taken to extremes. There is an extreme elasticity in her narrative focus: 26 Annie Proulx’s Brokeback Mountain and Postcards Loyal’s travels as a uranium prospector, ‘ROAMING OVER THE DUSTY Colorado Plateau, following the Morrison formation to Utah’s Uinta range, to Wyoming into the Great Divide basin and up to the Gas Hills . ’ receive less page space than Mrs Big Pinetree’s preparation of a chicken sandwich (pp.
However, within the body of the 32 Annie Proulx’s Brokeback Mountain and Postcards text the reader is offered extra information which leads to another possible interpretation. In the late 1970s, Loyal ﬁnds a picture of a man called Walter Hairy Chin in a collection of discarded patient ﬁles from a mental asylum in Fargo, North Dakota, and identiﬁes it as the Indian he picked up (p. 276). So who is the man picked up by Loyal: conman, Native American herbalist, or psychiatric patient? We never ﬁnd out, but our process of piecing together the clues offers a guide to the interpretative strategy of the novel as a whole.
By the end of the novel, the beauty in nature is only to be found in the ‘laminated scenes of hunting’ which adorn the walls of cheap road-side cafes, while the land eroticized by Loyal in feminine form is ‘erupting with sores’ (pp. 327–8). The whole ‘What I see’ section in Chapter 54 catalogues these sores, as his journey takes him over a ‘crumbling bridge, exposed cable in frayed rust ﬂowers, past twisted mufﬂers and black half-moons of tires’. God is no longer a presence on the airwaves; radio voices now warn of escaped rapists and polluted drinking water.
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