By Andrew Pyper
Ross River is a city clinging to the surface global on the finish of the Yukon's loneliest highway. it's also the hiding position of Miles McEwan, the town's hard-drinking, fist-fighting hearth leader. however the sluggish burn of Miles'self-imposed exile is set to blow up. As a looking get together monitoring one of many final big grizzlies confronts a unique, extra chilling enemy and an inferno ignited via human fingers races towards town, Miles embarks on a determined rescue mission— not just for the lifetime of his daughter yet for his personal salvation.
Andrew Pyper returns to the panorama of the final precise barren region during this blockbuster paintings of storytelling, a menacing mental mystery that still explores what binds us to judgment of right and wrong, kinfolk and the average world.
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Sallust’s Sempronia is written into a particular form of literary discourse, for, in the context of his historical monograph, she is structured as a female counterpart to Catiline. Her features also belong to a larger historiographic tradition in which the decline of Roman uirtus and the rise of luxuria are commonly associated with aberrant female sexuality. Sempronia’s qualities contradict the norms for a matrona. The villainous features of this prosecution witness are put together from the stock characteristics of the comic meretrix and the tragic Medea.
The romantic view that Propertian love-elegy is a sincere expression of its author’s feelings and a realistic representation of an Augustan girlfriend is clearly facilitated by poems in which narrative realism predominates. There the virtual absence of historically documented or even named addressees, the frequent shifts between second- and third-person reference, and the general lack of a well-deﬁned occasion for enunciation prohibit for the reader any easy transition from the text to an extra-textual reality.
Has tibi fatalis cecinit mea pagina diras: euentum formae disce timere tuae! 15–18) [Shut out in turn—may you suffer arrogant contempt, and of deeds that you’ve done may you complain—an old hag! g. Nethercut (1970), 385–407. 1–7, see Nethercut (1970), 387, and Fedeli (1985), 90. 38 The two Cynthias of the fourth book take on Homeric rather than Horatian shapes. Although multiple literary inﬂuences on the features of these Cynthias may be noted (such as comedy, aetiology, tragedy, epigram, and mime) their pairing takes up the literary challenge recently issued by Virgil.
The Wildfire Season by Andrew Pyper