By Susan Mallery
The unrelenting cheer in Fool's Gold, California, is bringing out the humbug in dancer Evie Stryker. She realized early on that Christmas miracles don't take place, not less than no longer for her. And this yr feels like no exception. An harm has pressured her to come to the family members fold, regardless of that they're estranged. She won't upload to the awkward situation by means of being seduced by way of the bad-boy charms of her brother's ally, the final guy she should still ever are looking to date. even if she's recruited to degree the Fool's Gold wintry weather pageant, she vows to do as promised, then circulate ahead along with her lifestyles at any place yet here.Jaded attorney Dante Jefferson is being used to the backwater city he now reluctantly calls domestic, however the pounding of little dancers' ft above his transitority workplace is greater than any guy must have to take! whilst he confronts their beautiful instructor, he's unprepared for the allure that sears him right down to the soul. Evie is his top friend's sister--off-limits except he's keen to danger his middle. Dante has constantly believed that love is the main risky strength within the universe, yet that was once earlier than he needed to reckon with the magic of a definite small city, the place miracles do appear to happen....
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Additional info for A Fool's Gold Christmas
In practice, the incommensurability among these frames has led to a Balkanization of theory. The normalizing tendency, resisted by some of the most resourceful practitioners of cultural studies, is to elect one interpretive mode and to apply it, cookie-cutter-like, to any given phenomenon. On the one hand, this can be defended on scientific or religious grounds, and, on the other hand, as a form not of faith or positivism but of specialization. Frame fixation bears a family resemblance to aspect blindness, as described by Wittgenstein in part 2 of Philosophical Investigations, where the single figure that can be interpreted as a duck and a rabbit is discussed.
Of course if poetry is above the fray of competing social discourses then its special status is secure. But there is no Poetry, only poetries. The patchwork quilt of works I have in mind insists on its reflectiveness as a means of refracting the pull of commodification or, to put it more historically, zeitgeistization. The works of social expreSSionism-whether by Bruce Andrews or Hannah Weiner, Ron Silliman or William Burroughsare neither the unreflected products of their period nor the lyric expression of individual selves.
CB: What Henry's done is to create a soundtext-soundtrack-by splicing together small bits of sync-sound film, often just a few seconds each. It's an incredible mosaic, which exemplifies the sort of constructed aurality I've been discussing. One way I write poems is to assemble, create an order for, an AN IN T E RV lEW WIT H MAN U E L B R ITO 29 increasingly wild variety of bits, units, bytes, hits, sections, units, phrases-segments. Hills shoots in sync sound then cuts the shoots into short "scenes".