By John Lanchester
Essentially the most referred to books of the 12 months, Capital is a sweeping social novel by means of the author hailed at the hide of the recent York occasions booklet assessment as "a brainy, pleasure-loving polymath."Celebrated novelist John Lanchester (author of The Debt to excitement) returns with an epic novel that captures the obsessions of our time. It's 2008 and issues are falling aside: endure Stearns and Lehman Brothers are going lower than, and the citizens of Pepys street, London—a banker and his shopaholic spouse, an previous lady demise of a mind tumor and her graffiti-artist grandson, Pakistani store vendors and a shadowy refugee who works because the meter maid, the younger football megastar from Senegal and his minder—are receiving nameless postcards examining "We wish What You Have." who's in the back of it? What do they need? Epic in scope but intimate, taking pictures the standard dramas of very diverse lives, this can be a novel of affection and suspicion, of monetary cave in and terrorist probability, of estate values going up and fortunes happening, and of a urban at a second of awesome pressure.
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Additional resources for Capital
25). 24 Representing Women and Female Desire from Arcadia to Jane Eyre While a figure such as Arabella who sees herself as besieged by male attention is comic, even women who revise the fishing image to deny the deviousness associated with entrapping male hearts risk convicting themselves of such deviousness by self-consciously manipulating a rhetorical figure. How can women express their desire and act on their own initiatives without being caught in such paradoxes? Yet, how can they not have desires and act on them if they are to be understood as the protagonists in their own stories?
Independent wills though virtue is a good guard [for women]: yet it doth not always protect their persons, without human assistance: for though virtue guards, yet youth and beauty betrays, and the treachery of the one, is more than the safety of the other. (Margaret Cavendish, ‘Assaulted and Pursued Chastity’)45 In this section it is our argument that while some of the central characters, such as Basilius, Gynecia, and Helen of Corinth (whom we come to later) approximate Elizabeth I, other key figures such as Pamela and Philoclea can be seen to represent the position of women and female desire in more general terms.
Gynecia’s character, in contrast, is marked as tragic, and serves a different purpose from Basilius’s comedy. ’37 A comparison of Old Arcadia and New Arcadia is instructive in illustrating how Gynecia’s character is developed by Sidney in his revisions of his original work and how she is associated with the tragic as understood by Sidney. While, as Helen Hackett argues, many of the central issues raised by Gynecia are present in Old Arcadia,38 there are two key changes made by Sidney that alter the tone, significance, and affect of Gynecia’s roles.