By Angela Lambert
First released in 1992, a slightly English Marriage tells of Roy Southgate and Reginald Conynghame-Jervi, who've not anything in universal yet their loneliness and their wartime memories.
Roy, a retired milkman and Reggie, a former RAF Squadron chief, are widowed at the related day. to appease their grief, the vicar arranges for Roy to maneuver in with Reggie as his unpaid manservant. To their shock, they shape a wierd alliance, in keeping with obedience, desire and the strangeness of unmarried lifestyles. Then Reggie meets Liz, a colourful yet near-bankrupt girl of impossible to resist attraction, whereas Roy and his son's kinfolk develop progressively nearer. Marriage, it kind of feels, despite the fact that faraway from perfect, could be a nice protector opposed to isolation.
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Extra info for A Rather English Marriage
The whip was long. It curled in the air before it landed on the woman’s shoulder. Another soldier was kicking down trays of fruits, squashing papayas with his boots and laughing. (p. 44) The descriptions of the soldiers’ thoughtless brutality and Eugene’s assaults on his family suggest a parallel between national and domestic violence that is made explicit in several other passages in the novel. In addition to the similarity in the bullies’ acts and the likeness between their weapons, the comparison is amplified by the use of identical wording: ‘it landed’ followed by a prepositional phrase functioning as a circumstantial Adjunct of location.
Chapter 4 deals with Ben Okri’s second novel, The Landscapes Within (1981), and the author’s rewriting of this early Künstlerroman under the title Dangerous Love (1996). After a short survey of the main changes implemented by the writer between the two versions of the narrative, the analysis focuses on the linguistic expressions of metaphor in the books. Using conceptual metaphor theory, I examine the linguistic representation of the artistic process in the novels, and argue that metaphor is used more creatively and consistently in the revised version.
The second part of the sentence, ‘the baby is gone’, follows the same pattern as ‘the figurines broke’ in Halliday and Matthiessen’s model, and does not leave any room for an Agent in the ‘Medium + Process’ structure either. As Debra Beilke has observed, the silence around Eugene’s implication in these traumatic events suggests that his abuse ‘not only maims [his family members’] bodies but it also serves to control their tongues’ (2006: 2). 44 Of Palm Oil and Wafers Kambili repeatedly deploys indirect, euphemistic tactics to describe her father’s acts of violence in the course of the novel.
A Rather English Marriage by Angela Lambert