...the real war will never get in the books: Selections from Writers During the Civil War

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The book then proceeds to cover, year by year, the major political, social, and military events, highlighting two important themes: how the war shifted from a limited conflict to restore the Union to an all-out war that would fundamentally transform Southern society, and the process by which the war ultimately became a battle to abolish slavery. Masur explains how the war turned what had been a loose collection of fiercely independent states into a nation, remaking its political, cultural, and social institutions. But he also focuses on the soldiers themselves, both Union and Confederate, whose stories constitute nothing less than America's Iliad.

In addition, his own poverty and that of the struggling men and women he encountered pushed him to embrace socialism. In he began publishing stories in the Overland Monthly. The experience of writing and getting published greatly disciplined London as a writer.

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From that time forward, London made it a practice to write at least a thousand words a day. London found fame and some fortune at the age of 27 with his novel The Call of the Wild , which told the story of a dog that finds its place in the world as a sled dog in the Yukon.

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The success did little to soften London's hard-driving lifestyle. A prolific writer, he published more than 50 books over the last 16 years of his life. The titles included The People of the Abyss , which offered a scathing critique of capitalism; White Fang , a popular tale about a wild wolf dog becoming domesticated; and John Barleycorn , a memoir of sorts that detailed his lifelong battle with alcohol. He charged forth in other ways, too. He covered the Russo-Japanese War in for Hearst papers, introduced American readers to Hawaii and the sport of surfing, and frequently lectured about the problems associated with capitalism.

In London married Bess Maddern. The couple had two daughters together, Joan and Bess. By some accounts Bess and London's relationship was constructed less around love and more around the idea that they could have strong, healthy children together. It's not surprising, then, that their marriage lasted just a few years. In , following his divorce from Bess, London married Charmian Kittredge, whom he would be with for the rest of his life. For much of the last decade of his life, London faced a number of health issues.

This included kidney disease, which ended up taking his life. My father got off the train, followed by a group of passengers. They found no one on the tracks. This happened twice more. The screeching halts are unanticipated and come one by one. Looting remainders and finding people guilty by association was a feature of the Francoist modus operandi. Each scene requires a not insignificant degree of suspension of disbelief, the combination of violent imagery and unlikely outcome propelling our narrator, like a ragdoll, into the next scene.

After the Spanish Civil War, Rodoreda took several years to return to writing novels.

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In the mids, she claimed that pain in her right arm prevented her from writing. She suddenly took up painting, and, over the next decade, would complete some canvases — watercolors and collages, never oils. Like the scenes that make up War, So Much War , her paintings revealed their meaning less in their pictorial subjects than in the thick and blurry lines that gave them shape. And that certainly appears to be true in War, So Much War. Despite the promise of the title, she never addresses the Spanish Civil War directly. She explains in the prologue, which was unfortunately left out of the English translation, that her original title for the novel was El soldat i les roses ; in English, The Soldier and the Roses.

https://ceuchycolo.tk We instead see its wreckage. Repetition becomes a mode of survival.

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  7. She placed it on the ground, and the two of them started poking it with twigs. The slick, red worm kept squirming. The bricklayer said it was to beat back the enemy, but then the carpenter pointed out that, to our enemies, we are the enemy.

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    The hearth builder joined us and said that we could cry all we wanted and there would still be nothing to plow, we were all cannon fodder, nothing but cannon fodder. He sees the working classes rebuild houses flattened by bombs and large estates rotting next to their wealthy owners. Not ten minutes had elapsed since the rowboat had headed out to sea when we heard an airplane engine.

    Both the light in the bay and the distant red light stopped signaling each other.