By Theodore Roszak
Julia Stein, a super gerontologist, is entrusted with an excellent case. Aaron Lacey is a baby being affected by progeria, a situation that upfront a long time the boy and dooms him to an early dying. utilizing tremendous unconventional tools, Julia treats the boy and reveals that Aaron undergoes a chain of metamorphoses which rework him right into a being of infrequent attractiveness and intelligence. The doctor's makes an attempt to remedy the affliction of time leads to the boy's breaking freed from time, shattering the hourglass and stepping into aggravating components of life. This posthumous novel maintains Roszak's critique of a society captive and captivated through a strictly rationalistic clinical worldview. The Crystal baby is an unsettling mirrored image at the physique, getting older and the passage of time.
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Extra info for The Crystal Child: A Story of the Buried Life
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.
The Crystal Child: A Story of the Buried Life by Theodore Roszak