By Fraser, H M
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This publication grapples with questions on the center of philosophy and social thought – Who am I? who're we? How are we to reside? that's, questions of what people are in a position to, the ‘nature’ of our relations to one another and to the realm round us, and the way we must always dwell. they seem like either prohibitive and seductive – that they're finally irresolvable makes it tempting to go away them by myself, but we can't do this both.
Within the interval coated via this richly specified assortment, T. S. Eliot used to be to set a brand new path for his existence and paintings. The calls for of his expert existence as author and editor turned extra complicated and exacting. the distinguished yet financially-pressed periodical he have been modifying due to the fact that 1922—The Criterion: A Literary Review—switched among being a quarterly and a per thirty days; as well as writing various essays and editorials, lectures, reports, introductions and prefaces, his letters exhibit Eliot concerning himself wholeheartedly within the enterprise of his new occupation as a writer.
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The next day Mandelstam was released. ” But if Mandelstam was in fact released, as this account would have it, it was not for long. 18 In Cherdyn he attempted to kill himself by leaping from a hospi tal window, but the result was no more than a broken arm. At this point his wife’s appeals to the Central Committee were answered to the extent that Mandelstam was permitted to choose another place of exile. The permis sion is said to have come from Stalin himself. Mandelstam chose Voro nezh. To exile a poet is one thing; to prevent him from writing poems is quite another.
Not only the Polish laundry, but one of the central figures in the scene at the laundry— Father Nikolay Aleksandrovich Bruni— is also drawn from the personal life of the author. This is the actual name of a priest who was a close friend of Mandelstam. He was the brother of the artist Lev Bruni, who painted a portrait of Mandelstam, and a member of the prom inent family which included the more famous artist Fyodor Antonovich Bruni (1 799-1875), known for his immense academic canvases on biblical and historical subjects.
The presence of the dentist is also prob ably to be explained by the doctor in each of the earlier works, though the question of why it was precisely a dentist who was chosen is perhaps to be explained by Mandelstam’s own pathological dread of dentists, of which more later. But there is more to the lineage of Parnok and his story. If the parallels with The Nose and The Double account for some elements of the story (they would appear to account almost entirely for Krzyzanowski), they leave others unexplained.