By Skyler White

ISBN-10: 0425232344

ISBN-13: 9780425232347

An edgy, erotic combination of fable and romance-from a debut writer whose big name is at the upward thrust.

In a gloomy and seedy underground of burned-out rock stars and angels- turned-vampires, a progressive neuroscientist and a fallen angel needs to pit drugs opposed to mythology in an try to erase their tortured pasts...but at what expense?

Olivia, vampire and fallen angel of wish, is hopeless...and damned. because the fall from Eden, she has hungered for romance, yet fed simply on hope. Dominic O'Shaughnessy is a neuroscientist suffering from very unlikely visions. whilst his study and her melancholy collide at L'OtelMathillide- a subterranean hell of good looks, demons, and dreams-rationalist and angel unite in a conflict of wish and damnation that threatens to break them either.

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Extra info for and Falling, Fly

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Dante’s ‘hard and uncouth phraseology’ (The Vision, 11) comes from the effort to 44 Dante and the Romantics give ‘a permanent stamp and character to the language in which he wrote’ (The Vision, 11). Dante’s Catholicism and the religious significance of his allegory are toned down on the same grounds. The Divine Comedy, according to Cary, ‘comprises a description of the heavens and heavenly bodies; a description of men, their deserts and punishments, of supreme happiness and utter misery, and of the middle state between the two extremes’ (The Vision, 10).

Each episode portrays a strong passion either in the features of a sinner (Ugolino in Inferno, XXXIII, Gianciotto in Inferno, V) or of Dante (Inferno, X, XXIV–XXV, XXXIII). The need to emphasise emotions, claimed in different ways by Fuseli’s Swiss friend Bodmer and by Johann K. Lavater’s physiognomy, also satisfies the Pseudo-Longinus’ requirements for the sublime. Critics have pointed out the centrality of the debate on the sublime and the beautiful in the second decade of the eighteenth century.

28 The three supplementary essays are interesting evidence of a translator’s use of paratexts as a means of domestication of a foreign text. By foregrounding the allegorical dimension of Dante’s poetry, Boyd sees his role as ideological as well as literary: to render the source text acceptable to his Protestant readers. Cary, while distancing himself from Boyd’s work for its ‘latitude in its interpretation’ still admitted a debt to his predecessor ‘for the only view that has as yet appeared in English of the whole of the Divina Commedia’ (Inferno, viii).

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and Falling, Fly by Skyler White

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