By Ann Hood
Her characters as though via a couple of binoculars, Ann Hood captures the extreme within the traditional. A pregnant girl left by way of her husband chefs obsessively to deal with her loss, yet by no means tastes a morsel. In an try to remain sober, a tender alcoholic seduces her priest and embarks on a journey of caverns with him. a teen woman alternatives up bird-watching as a pastime and, in her newfound behavior of gazing others, discovers a budding romance among her mom and her neighbor. those tales, many released in The Paris overview, Glimmer teach, Story, and The Colorado Review, are packed with characters looking an break out from their lives whereas uncovering small moments of knowing that regularly have large implications and results. They become aware of that they could purely locate peace when they cease trying to find a manner out. via diversified voices and vigorous storytelling, Hood creates genuine, own, mystery worlds choked with eccentric aspect.
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Additional resources for An Ornithologist's Guide to Life: Stories
50 Like Burke's animal cry that invokes "great ideas" at the limits of consciousness, Hegel's animal initiates a dialectics of death from which it is nonetheless excluded. For Hegel, the animal cry erupts from outside the confines of "natural life"; it marks death but only as an event beyond the capacities of animal being. "51 The logic here remains impeccably Hegelian: (1) Nature cannot surpass itself by its own means; (2) death intervenes from beyond the limits of nature to push nature past itself; (3) this exteriority, in 46 | Philosophy and the Animal World turn, gives nature its essence.
32 What the animal lacks is not intelligence but imagination, which is to say, language. Imagination and language are linked, for Rousseau, in the capacity to perfect oneself. Efforts toward self-perfection, in turn, force one to consider fmitude and thus death. "34 The inability of the animal to proceed toward death results from its inability to imagine and fear death, which, in turn, limits its capacity to perfect itself. What Rousseau has added to the human reason/animal instinct dialectic is a supplementary capacity for imagination.
Always remains so," and that "animals are not born and do not die. . "19 According to Leibniz's physics, what he calls in 1714 the "Monadology," only the souls of rational creatures are prone to creation and destruction, whereas the souls and bodies of "brutes" form a limitless continuum, an expanse of life and matter that neither begins nor ends, but rather transforms itself into further material figurations. "21 Thus all animals and souls are imperishable, but only "rational animals" are equipped with the apperceptive faculties that are required to experience or anticipate death.