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By Gerald Murnane

The most important paintings of fiction during this assortment, ‘A heritage of Books’, explores the connection among analyzing and writing in twenty 9 sections, every one of which starts off with the reminiscence of a ebook that has left a picture within the writer’s brain. The reminiscence of the books themselves may have pale, however the photographs stay of their readability and import – scenes of discord and insanity, a stern-faced guy, a tender girl on a swing, a pitcher of beer and rays of sun, mountain and forest and horizon – photos which jointly embrace the anxieties and aspirations of a writing lifestyles, and its indebtedness to what has been written and browse. ‘A heritage of Books’ is followed via 3 shorter works, ‘As It have been a Letter’, ‘The Boy’s identify was once David’ and ‘Last Letter to a Niece’, within which a author searches for an amazing international, an amazing sentence, and an amazing reader.

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The human body, then, was the site at which conflicting cultural impulses met and clashed. It was that conflict that made the Jews more than just a People of the Book. They also became a People of the Body. Notes 1. I would like to thank Robert Cohn, Ronald Hendel, Martin Jaffee, Louis Newman, and Riv-Ellen Prell who all made helpful suggestions on an earlier draft. I also profited greatly from conversations with Tikvah Frymer-Kensky. 2. This idea has an affinity with Victor Turner's (1967, 54-55) insight that physiological processes are often symbolic of more abstract cultural The Problem of the Body 39 messages because they lend those messages a power that they otherwise would not have.

27. Scarry offers a provocative reading of biblical texts in the context of her larger argument about the relationship of voice, body, and pain. She sees a dialectic set in play by the fact that God is imagined as disembodied, as only a voice, whereas humans are embodied. This distance is frequently transversed by a weapon, which mirrors the relationship between a torturer, who magnifies a regime's voice through torture, and the victim, who loses his or her voice through the magnification of bodily pain.

In another context, I hope to explore how God's face, or more specifically the divine mouth, is treated as a genital organ because of its generative role in creation. 26. Some feminist writers have assumed that God's sex is male on this basis. For example, in Beyond God the Father, Mary Daly, in a section entitled "Castrating 'God,'" writes that "I have already suggested that if God is male, then the male is God .. . " Trible and others have noted the feminine images of God. But none of these writers have argued that Israelites would have imagined God as being female, that is, as having a body with breasts, vagina, and womb.

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