Accordion Crimes by Annie Proulx

By Annie Proulx

The 3rd novel from the Pulitzer Prize-winning writer of 'The delivery News', 'Accordion Crimes' spans generations, continents and a century and confirms the hallucinatory strength of Proulx's writing. 'Accordion Crimes' is a masterpiece of story-telling that spans a century and a continent. It opens in 1890 in Sicily, while an accordion-maker and his son, wearing little greater than his most interesting button accordion, commence their voyage to the teeming, violent port of recent Orleans. inside of a 12 months, the accordion-maker is murdered through an anti-Italian lynch mob, yet his tool incorporates the radical into one other neighborhood of immigrants: German-Americans founding a brand new city in South Dakota. relocating from South Dakota to Texas, from Montana to Maine, the 9 immediately compelling and intricately attached sections of the unconventional remove darkness from the lives of the founders of a country, descendants of Mexicans, Poles, Germans, Irish, Scots and Franco-Canadians. during the track of the accordion they convey their fantasies, sorrows and enthusiasm.

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More lines are lean and streamlined, composed of one or two words; and there are frequent references to birds, mountains, stairs, and other appropriately rising phenomena” (“Ronald Johnson” 154). While these sections continue to address much of the thematic material introduced earlier, they are more concerned with the sound of words, the “swell round of vowels” (“ARK 52”) and play of consonants that “compose sonorities / past sense” (“ARK 54”). Musical elements make up a good deal of Johnson’s language.

Both Eliot’s and Pound’s theories of poetry turn on concepts drawn from modern philosophy and science and from vast overarching theories of the unity of culture; their point of opposition is the locus of order and meaning. Eliot is the more conventional theoretician in locating order in the mind alone, a Christian concept, whereas Pound places order in the natural world, aligning his esthetics with the tradition of Greek preSocratic pantheism and pagan literature. From these two theories, American poetry evolved along separate courses, one turning inward toward the poet’s subjectivity and emotional complexity, the other turning outward to attentive observations of the natural world.

More lines are lean and streamlined, composed of one or two words; and there are frequent references to birds, mountains, stairs, and other appropriately rising phenomena” (“Ronald Johnson” 154). While these sections continue to address much of the thematic material introduced earlier, they are more concerned with the sound of words, the “swell round of vowels” (“ARK 52”) and play of consonants that “compose sonorities / past sense” (“ARK 54”). Musical elements make up a good deal of Johnson’s language.

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