By Sarah Gray
What's Arcadium? Florence understands yet she’s no longer telling somebody, and it will probably simply be the main to the survival of the human race. Sixteen-year-old Florence West needs to trip throughout a disorder ravaged Melbourne together with her nine-year-old sister, Liss, and she’ll do whatever to outlive. often that suggests staying away from everyone, the fit ones at the run and the contaminated ones hungry for human flesh. but if she meets a guy that speaks no English and a defiant set of brothers, Florence may be compelled to question her methods. simply because there’s merely thus far you could move by myself, correct? Arcadium is a heart-stopping trip of desire throughout a ravaged city land the place survival continually comes at a heavy expense.
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Additional resources for Arcadium
The first may be a response to civil war in England; the second broaches a subject used equally by chansons de geste and insular romance. The romans antiques are quickly followed by – indeed, may be contemporary with – two talented and unrelated poets called Thomas, whose romances may unequivocally be called Anglo-Norman, though their settings and heroes are decidedly insular. The authors of Horn and Tristan could have written any time between the 1150s and 1170s; there have been persuasive attempts to link them to the royal court but (despite Tristan’s praise of London) no firm evidence (Short 1991: 231).
Yet there is little comment on the qualities of a good ruler, or on political issues; these are much stronger in some later versions of the story, most noticeably in Shakespeare’s Pericles, Prince of Tyre. Most strikingly, Apollonius is no warrior, and fights no battles; instead, his main characteristic is his learning, which helps him to solve the initial riddle and causes the princess to fall in love with him. Both the female protagonists are very learned too. This is not a feature of other ancient romances, and makes one wonder all the more where this story was produced, and for whom.
It is certainly true, however, that they are not interested in insular material: ‘‘the new intellectual vitality of the twelfth century’’ (Short 1991: 231) has led them to take their stories from classical writers such as Virgil and Statius, and their representations of the tortures of love from Ovid, even if characters and combats are frequently still indebted to the chanson de geste. In several ways these romans antiques remind us of the vernacular histories: their authors make us aware of their presence through comments on the action and on the importance of demonstrating one’s learning by a story worthy of memory (as in the Roman de The`bes), and through their desire to instruct their audiences.
Arcadium by Sarah Gray