By C. S. Forester
ISBN-10: 0141959215
ISBN-13: 9780141959214
November 1810 – June 1811
This quantity within the Hornblower sequence opens with Captain Horatio Hornblower a prisoner within the French fort of Rosas, having needed to hand over his send, the Sutherland, after an extended and bloody conflict. inside days he and his first lieutenant, Bush, who was once crippled within the final struggle, should be taken to Paris to be attempted on trumped-up fees of violating the legislation of battle, and most likely carried out as an test by way of Napoleon to rally the war-weary empire at the back of him. whether Hornblower escapes this destiny, and by some means reveals his as far back as England, he'll need to face courtmarial there for his hand over of a British send. purely the inimitable Hornblower may be able to triumph over this most modern set of demanding situations. Fears for his lifestyles and his acceptance compete in Hornblower's brain with concerns approximately his pregnant spouse and his potentially widowed lover, as he impatiently awaits his probability to make a move....
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Additional info for Flying Colours (Hornblower Saga, Book 8)
Sample text
While the work refuses the language of adults (since its predominant lexicon avoids abstract terminology and consists of words that express the direct, concrete experiences of children), it does not yet declare war on the words/worlds of the Page 27 opponent as does, for example, Les Guérillères. As a matter of fact, the pronouncements of the adults are incorporated into the text on a number of occasions. However, because Wittig (perhaps affected by the work of Nathalie Sarraute) has eliminated the use of quotation marks or any other markers that differentiate what is said from what is told or that indicate a change in speaker (such as the dash in French), even the pronouncements of the adults can be considered to be filtered through the language of the children, and thus appropriated by the children.
However, her treatment of the question of language has the merit of simplicity and absence of jargon that characterizes her entire communication, and she appeals, once more, to the imaginative potential of her public. To begin with, language is defined as the primary ingredient of the writer's craft (that is, his/her "raw material"), and as such, it is comparable to the sculptor's clay, the painter's colors, or the musician's sounds. In order to differentiate words from these other raw materials though, Wittig again uses the key image of her text: Words are, each one of them, like the Trojan Horse.
Although some critics attribute Wittig's treatment of fictional time primarily to a refusal of "phallocentric" linear concepts,13 it seems more appropriate here to consider her obvious preference for a use of temporal notions that characterize childhood and are in contrast to those of adults. The latter, it has been pointed out, are inevitably associated with loss, degeneration, decrepitude, death, or what has been Page 14 described as the "fall into time, 14 while the child's experience emphasizes duration, continuity, endlessness, and an eternal present.
Flying Colours (Hornblower Saga, Book 8) by C. S. Forester
by Jeff
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