We Need New Names by NoViolet Bulawayo

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By NoViolet Bulawayo

A extraordinary literary debut — shortlisted for the guy Booker Prize! The unflinching and strong tale of a tender girl's trip out of Zimbabwe and to America.
Darling is simply ten years previous, and but she needs to navigate a delicate and violent global. In Zimbabwe, Darling and her buddies thieve guavas, attempt to get the newborn out of younger Chipo's stomach, and clutch at thoughts of ahead of. earlier than their houses have been destroyed by way of paramilitary policemen, prior to the college closed, earlier than the fathers left for risky jobs abroad.

yet Darling has an opportunity to flee: she has an aunt in the US. She travels to this new land looking for America's well-known abundance in basic terms to discover that her concepts as an immigrant are perilously few. NoViolet Bulawayo's debut calls to brain the nice storytellers of displacement and arrival who've come ahead of her-from Junot Diaz to Zadie Smith to J.M. Coetzee-while she tells a vibrant, uncooked tale all her personal

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Extra resources for We Need New Names

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In his lectures, translated into English in 1846, Schlegel identifies characterization as one of Shakespeare’s most dominant qualities: Never, perhaps, was there so comprehensive a talent for characterization as Shakspeare. It . . grasps every diversity of range, age and sex, down to the lispings of infancy. . the king and the beggar, the hero and the pickpocket, the sage and the idiot, speak and act with equal truthfulness; not only does he transport himself to distant ages and foreign nations .

Of Richard II, Dowden notes: Life is to Richard a show, a succession of images; and to put himself into accord with the aesthetic requirements of his position is Richard’s first necessity. He is equal to playing any part gracefully which he is called upon by circumstances to enact. But when he has exhausted the aesthetic satisfaction to be derived from the situations of life, he is left with nothing further to do. He is an amateur in living; not an artist. (1875: 195) By contrast, Bolingbroke is a practical, self-controlled and powerful figure.

Thus Richard III is seen to ‘display the working out of God’s plan to restore England to prosperity’ (1969: 205); ‘Shakespeare conceived his second tetralogy as one great unit’ (1969: 240) and this ‘epic’ run of plays must therefore be treated as ‘a single organism’ (1969: 242); and Genre 35 ‘Richard II does its work in proclaiming the great theme of the whole cycle of Shakespeare’s History Plays: the beginning in prosperity, the distortion of prosperity by a crime, civil war, and ultimate renewal of prosperity’ (1969: 267).

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