... so, it also engages with a complex of intertexts ranging from the Qur’anic and biblical versions of the Yusuf/Joseph story to Joseph Conrad’s Heart of Darkness . This essay adds V. S. Naipaul’s A Bend in the River to this mix by reading Gurnah’s historical attentiveness as an overwriting of Naipaul’s...

... but, rather, a painful process of self-negation. Traversing a world profoundly shaped by colonialism, the writer and his characters are at a loss to make sense of their historical lineage and their place in a rapidly changing landscape. Through a reading of The Loss of El Dorado (1969) and A Bend in the River...

..., an equation between “conditions of consciousness” and the “conditions of erosion in which we five and think” (15) and notes that often in the poems “an apparent narrowing into limits allows for a sense of expansion” (23), just as a river carving a narrow channel through rock forms the expanse...

.... — Robert Graves (287) terrain is what remains in the dreaming part of your mind. — Ernest Hemingway, Across the River and into the Trees (92) P a u l Fussell argues that World War I was an inescapable part of post­ war poetry. For instance, he says that Eliots...

... her intention to correct early Islamic historians who, she claims, were “habitually inclined to let any female presence be overshadowed” (quoted in Elsayed 2013 , 93). By coupling Djebar’s complex portrayal of pervasive torture with Barker’s representation of the historical figure Dr. Rivers...

... basin (68-69). Later, wounded by shrapnel at the Piave River (276), he identified with the Indian woman being held down for penetration by the steel of his father’s knife. The Caesarian had to be severely dam­ aging, intensifying his natural fear of castration. Followed immediately...

... jointed; it flows. A ‘river’ or ‘stream’ are the metaphors by which it is most naturally described. In talking of it hereafter, let us call it the stream of thought of consciousness, or of subjective life .” It was his sense of the continuous appearance of consciousness to the conscious subject—how...

... contaminate rivers that, in turn, pollute the oceans out of which the clouds that produce fresh water are created. Joyce connects the two degenerating cycles through Anna Livia Plurabelle (ALP), an Eve-like figure who is presented as being both a progenitor and the Liffey, the river that washes...

..., sandwich papers / Silk handkerchiefs, cardboard boxes, cigarette ends” (36), it “sweats / Oil and tar” (39), “The river’s tent is broken” (36), the “nymphs are departed” (36).The tent—interpreted as either sup­ porting framework or dilating absorbent—fails to provide the city...

... an affirma­ tion of the maternal voice is aligned with a subtle and cumulative interroga­ tion of the hollowness of the colonial enterprise itself. The text’s disenchantment with conventional rhetoric and social inter­ course culminates, during the up-river sequence, in a stylized collapse...

...-time offers a different view: Given a year, I walked on the roof of the West Street Jail, a short enclosure like my school soccer court, and saw the Hudson River once a day through sooty clothesline entanglements and bleaching khaki tenements. ( CP 187) Here, Lowell’s view from prison...

... love the great rivers like the Amazon and the Orinoco, where crazy men like Moravagine float on through dream and legend in an open boat and drown in the blind mouths of the river. (Tropic 232) This Moravagine navigating through Tropic of Cancer appears at the very end of a chapter...

... Land, “The Fire Sermon” and “Death by Wa­ ter.” “The Fire Sermon” begins: The river’s tent is broken; the last fingers of leaf Clutch and sink into the wet bank. The wind Crosses the brown land, unheard. (11. 173-75) The section closes with the image of Carthage in flames, and repeats...

... alone, through their own idiosyncratic vocal gazes. The opera Ballad of Jamie Allan premiered in the land of its bandit protagonist at the Sage Gateshead theater on the south bank of the Tyne River. In book form, it was published in Chicago and distributed widely only in the United States. 15...

... are from the 1980 Macquarrie and Robinson translation): Once when “Care” was crossing a river, she saw some clay; she thoughtfully took up a piece and began to shape it. While she was meditating on what she had made, Jupiter came by. “Care” asked him to give it spirit, and this he gladly granted. But when...

... flows into the river Acheron; Boston and Lowell’s ancestors become part of a “familiarized” classical mythology. Bishop greatly admired what she called Lowell’s “family life” poems (One Art 361), but his tendency toward the mythopoeic is challenged by the poem with which Bishop closes her...

... narrowing of description to landscape and artworks makes perfect sense. But a contemporary such as Derek Walcott, for example, can open his poem “The Glory Trumpeter” with the lines “Old Eddie’s face, wrinkled with river lights, / Looked like a Mississippi man’s.The eyes, / Derisive...

... the river from Norfolk. My Brooklyn-Oxford surroundings do not yield much; though if anyone at Pratt library should ‘push the bashful stranger to his food’ your queries will not be deferred” ( SL 342). Moore did return to Norfolk in the summer of 1935, and it seems likely that she went to that small...

...” with rivers, streams, seas, and ships. In Yeats’s early work, “Ireland is a tributary of the maritime and archipelagic [in which] rivers and seas carried the freight of locality to remote regions and created a network of associations that complicated set ideas of nationality.” This water-suffused, late...

... for the British Blofeld in a Buddhist monastery in Sikkim, as it is for the German Lama Govinda in Tibet. Another chapter, “Peter Matthiessen’s The Snow Leopard and Nine-Headed Dragon River ,” analyzes a canonical American author in terms of his commitment both to the genre of travel writing...