By Amos Oz
Tragic, comedian, and completely sincere, this awesome memoir is straight away an excellent relatives saga and a paranormal self-portrait of a author who witnessed the beginning of a kingdom and lived via its turbulent history.
It is the tale of a boy growing to be up within the war-torn Jerusalem of the 40s and fifties, in a small residence crowded with books in twelve languages and relations talking approximately as many. His parents, either impressive humans, have been ill-suited to one another. while oz. was once twelve and a part years outdated, his mom dedicated suicide, a tragedy that used to be to alter his existence. He leaves the limitations of the relations and the neighborhood of dreamers, students, and failed businessmen and joins a kibbutz, alterations his identify, marries, has little ones, and eventually turns into a author in addition to an energetic player within the political lifetime of Israel.
A tale of clashing cultures and lives, of discomfort and perseverance, of affection and darkness.
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Extra info for A Tale of Love and Darkness
One might have supposed dialogue to be far older, given that verbal duelling and antithetical argument feature so prominently throughout Greek literature; but, while a number of antecedents to the genre have been identified, there is no evidence that anyone wrote prose dialogues before these so-called Sôkratikoi logoi – Socratic ‘dialogues’, ‘discourses’ or ‘texts’. 1 What is not in doubt, however, is the sudden and late appearance of prose dialogue in Greek literature, as well as the role that Socrates played in the first specimens of the genre.
61) is set at the house of Epicrates, the very place where Phaedrus claims to have heard Lysias perform (Phaedrus 227b). 38 The fecundity of this period in generating new kinds of prose and the evident appetite of the public for such writings are a main reason that Socratic logoi are so hospitable to other prose genres and why they range so readily beyond the question-and-answer format. 39 The danger emerges clearly in an interesting passage from Isocrates which lists a number of recognisable prose genres (Antidosis 45–47).
And it would be going too far to say that Socratic logoi functioned merely as conversation manuals, for their agenda always involved working through, with more or less pertinacity and success, ‘some philosophical or civic topic’. But the self-presentation of Plato and Xenophon suggests that, over and above preparing readers to undertake philosophy, dialogue was valued for its models for negotiating 31 Prot. 336b. Xenophon Mem. 4 also opposes private discussion (idiai … dialegesthai) to ‘competing before a multitude’ (en plêthei … agônizesthai).