By Jaime Clarke
Fiction. Charlie Martens is determined for balance in an another way peripatetic existence. An explosion that killed his mom and dad while he was once younger robbed him of normalcy and he used to be shuttled from relative to relative, left on my own to decipher the realm he encountered so one can cobble jointly a solution as to how he might reside. Ever the outcast, Charlie acknowledges in Olivia, a global pupil from London, the feel of otherness he feels and their dating turns out to vow salvation. but if Olivia abandons him, his determined brain fixates on her favourite author, Vernon Downs, who turns into a logo for reunion with Olivia. Charlie's quest takes him from Phoenix to ny urban and while likelihood brings him into proximity to Vernon Downs, he fast ingratiates himself into Downs's international. Proximity invitations convinced temptations, although, and it isn't lengthy sooner than Charlie strikes dangerously from fandom to apprentice to outright possession.
"VERNON DOWNS is a gripping, hypnotically written and unnerving examine the darkish part of literary adulation. Jaime Clarke's tautly suspenseful novel is a cautionary story for writers and readers alike—after completing it, you could begin to imagine that J.D. Salinger had the perfect thought after all."—Tom Perrotta
"Moving and edgy in exactly the precise method. Love (or loss of) and relations (or loss of) is on the center of this splendidly obsessive novel."—Gary Shteyngart
"All powerful literature stems from obsession. VERNON DOWNS belongs to a convention that comes with Nicholson Baker's U and that i, Geoff Dyer's Out of Sheer Rage, and—for that matter—Pale hearth. What makes Clarke's very good novel stand out isn't simply its rueful intelligence, or its playful semi-veiling of definite infamous literary figures, yet its startling disappointment. VERNON DOWNS is first rate."—Matthew Specktor
"Jaime Clarke's VERNON DOWNS is an excellent meditation on obsession, paintings, and famous person. Charlie Marten's mounting fixation with the titular Vernon isn't just pushed via the burn of heartbreak and the entice of status, but in addition a misplaced younger man's fight to find his position on the planet. VERNON DOWNS is an intoxicating novel, and Clarke is a blinding literary talent."—Laura van den Berg
"An engrossing novel approximately longing and impersonation, that's to claim, a narrative in regards to the distance among people, distances inside ourselves. Clarke's prose is infused with song and intelligence and deep feeling."—Charles Yu
"VERNON DOWNS is an engaging and sly tribute to a definite interesting and sly author, yet this novel additionally completely captures the lonely distortions of a real obsession."—Dana Spiotta
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Additional info for Vernon Downs
Wolff ’s entire theory of psychology is based on the imaginative power of the soul, which manifests itself in a passive state as sensation (‘Empﬁndung’). In the case of self-reﬂective entelechies (‘Geister’) the behaviour of the being in question is determined through the implementation of the imagination or other faculties of the active mind (intellectus agens). The seat of pleasure shifts for Wolff from animal instinct to the mental sphere. Perceptions of perfection give rise to pleasure while views of the imperfect and distorted cause displeasure.
Neither essentially material in nature nor subject to externally deterministic laws, the monad thus appears as the expression of the principle of self-realisation. Leibniz uses garden, plant and animal metaphors to illustrate this (§§, ). While every monad is different (§), operating like organic matter (§§ –) or germinating seeds (§), its nature is representative, and is thus a mirror of the universe as a whole. As such the individual monads are connected directly to God, ‘who is the cause of this correspondence between their phenomena’, and thus are indirectly connected to one another.
McCarthy aesthetic experience. Especially inﬂuential were Winckelmann and Lessing. Winckelmann re-established kalokagathia (‘the good and the beautiful’) as the anthropological ideal with its qualities of ‘edle Einfalt und stille Gr¨oße’ (‘noble simplicity and quiet grandeur’). Lessing identiﬁed the essence of aesthetic experience, whether in the ﬁne arts or belles lettres, as residing in movement either implicit or explicit, since nature is always changing. As a consequence, Lessing urges the artist to think ‘in transitions’ (‘transitorisch denken’), in keeping with the movement of nature (LW III, ).