By Kate McGovern
Seventeen-year-old Rose Levenson has a choice to make: Does she need to know how she's going to die? simply because whilst Rose turns eighteen, she will be able to take the try that tells her if she contains the genetic mutation for Huntington's ailment, the degenerative that's slowly killing her mother.
With a fifty-fifty shot at inheriting her family's genetic curse, Rose is skeptical approximately pursuing something that presumes she'll reside to be a fit adult-including her dream profession in ballet and the opportunity of falling in love. but if she meets a boy from a equally mistaken genetic pool and will get an audition for a dance scholarship around the nation, Rose starts to query her rigorously laid ideas.
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Extra resources for Rules for 50/50 Chances
You must lend me these, Basil,’ he cried. ‘I want to learn them. ’ ‘Oh, I am tired of sitting, and I don’t want a life-sized portrait of myself,’ answered the lad, swinging round on the music-stool, in a wilful, petulant manner. When he caught sight of Lord Henry, a faint blush coloured his cheeks for a moment, and he started up. ’ ‘This is Lord Henry Wotton, Dorian, an old Oxford friend of mine. ’ ‘You have not spoiled my pleasure in meeting you, Mr. Gray,’ said Lord Henry, stepping forward and extending his hand.
Ian Small (Oxford: Oxford University Press, ). –––– Studies in the History of Renaissance (), revised and expanded as The Renaissance (), repr. in The Renaissance: Studies in Art and Poetry––The Text, ed. Donald L. Hill (Berkeley and Los Angeles: University of California Press, ). Hill’s edition notes the textual variants in the four editions of The Renaissance that Pater published during his lifetime. Suetonius, Lives of the Caesars, ed. and trans. Catharine Edwards (Oxford: Oxford University Press, ).
Basil, this is extraordinary! ’ Hallward got up from the seat, and walked up and down the garden. After some time he came back. ‘Harry,’ he said, ‘Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I ﬁnd him in the curves of certain lines, in the loveliness and subtleties of certain colours. ’ asked Lord Henry. ‘Because, without intending it, I have put into it some expression of all this curious artistic idolatry,* of which, of course, I have never cared to speak to him.
Rules for 50/50 Chances by Kate McGovern