Fiction 2

Olivia (Logan Family, Book 5) by V. C. Andrews

By V. C. Andrews

Olivia continuously knew her more youthful sister could get into difficulty. yet she by no means learned the undercurrents of catastrophe could develop to a raging flood....
Olivia was once constantly the practical one. The liable sister. She took after their father, a guy as chilly and pushed because the Cape Cod wind, a guy possessed by means of an internal must be revered and winning. She often is the one to take over his million-dollar companies. She may develop into the unwavering compass and resilient caretaker of the Logan relations -- even if she desired to or not.
But Belinda belonged merely to herself. Flighty, flirtatious, and possessed of a attractiveness that promised her a privileged existence, Belinda used to be lavished with realization. father and mother, relations associates, boys from college, all of them cherished Belinda. And as she matured right into a younger lady, her good looks turned much more haunting. She vowed by no means to develop up, to stay without end a fascinating little woman to be worshiped and cared for.
Then got here that fateful evening, while Olivia was once woke up via the low whistle of the wind off the ocean...a whistle that turned an unearthly wail coming from Belinda's bed room. It used to be the tragic evening that their father could forbid them to talk of ever back. The evening they might always remember. The evening that may ship generations of Logans down an unavoidable direction of lies, deceit, and heartbreak.

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Olivia (Logan Family, Book 5)

Olivia consistently knew her more youthful sister may get into difficulty. yet she by no means discovered the undercurrents of catastrophe may develop to a raging flood. .. .
Olivia was once consistently the practical one. The accountable sister. She took after their father, a guy as chilly and pushed because the Cape Cod wind, a guy possessed by way of an internal have to be revered and profitable. She may be the one to take over his million-dollar companies. She could turn into the unwavering compass and resilient caretaker of the Logan family members -- no matter if she desired to or not.
But Belinda belonged simply to herself. Flighty, flirtatious, and possessed of a attractiveness that promised her a privileged lifestyles, Belinda used to be lavished with recognition. mom and dad, kin buddies, boys from tuition, all of them loved Belinda. And as she matured right into a younger girl, her good looks turned much more haunting. She vowed by no means to develop up, to stay eternally a fascinating little woman to be worshiped and cared for.
Then got here that fateful evening, while Olivia was once woke up via the low whistle of the wind off the sea. .. a whistle that turned an unearthly wail coming from Belinda's bed room. It was once the tragic evening that their father might forbid them to talk of ever back. The evening they'd always remember. The evening that might ship generations of Logans down an unavoidable course of lies, deceit, and heartbreak.

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Extra info for Olivia (Logan Family, Book 5)

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O: L'Opoponax. Paris: Editions de Minuit, 1964. " Feminist Issues 4, no. 4 (1984), 4549. V: Virgile, non. Paris: Editions de Minuit, 1985. Page 3 Prologue "Tout Geste Est Renversement" (Les Guérillères) Renversement, in all its multiplicity of meaningsupheaval, overthrow, reversal, and subversioncan be considered the key to Monique Wittig's writing. From the very start, Wittig's use of this concept has spelled the annihilation of existing literary canons and the creation of highly innovative constructs.

Other interesting examples of Wittig's work with language can be found in her use of verbs. In L'Opoponax, as has been seen, these are all in the present tense (except for one instance in the very last phrase). And whereas in a later work, Le Corps lesbien, she experiments with intransitive verbs and the passive voice, here the verbs are predominantly transitive and used in the active voice. This is a fitting choice since these verb forms aptly render the atemporal quality of childhood and the active nature of a child's life.

A scant five pages long and not easily available,9 it is nevertheless a key document that provides fundamental and invaluable insights into her entire work. Here, Wittig states her basic outlook, unequivocally defines her stance as a writer, and destroys a number of misconceptions that have frequently flawed discussions of her fictions. As a backward glance by an author at his/her own writingafter having reached maturity as an artistit is as valuable for the critic as, for example, Céline's Entretiens avec le Professeur Y, Ionesco's Notes et contrenotes, and Sarraute's L'Ere du soupçon.

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