By Homer Hickam
The long-awaited prequel to the number 1 manhattan occasions bestselling memoir Rocket Boys—the foundation for the motion picture October Sky
Elsie Lavender and Homer Hickam Sr.—the destiny mom and dad of Homer Hickam Jr.—were highschool classmates within the West Virginia coalfields, graduating simply because the nice melancholy begun. while Homer requested for her hand, Elsie as a substitute headed to Orlando the place she sparked with a dancing actor named blood brother Ebsen (yes, that blood brother Ebsen). but if blood brother headed for brand new York, Elsie's goals of a lifestyles with him have been beaten and at last she chanced on herself again within the coalfields, married to Homer.
Unfulfilled as a miner's spouse, Elsie used to be reminded of her carefree days in Florida each day as a result of Buddy's strange marriage ceremony present: an alligator named Albert who lived within the in simple terms toilet of their little condo. ultimately Homer gave Elsie an ultimatum: "Me or the alligator!" After giving it a few notion, Elsie concluded there has been just one factor to do—carry Albert home.
Carrying Albert domestic tells the candy, humorous, and infrequently heartbreaking story of a tender couple and their distinct puppy on a loopy 1,000-mile trip. advised with the heat and down-home appeal that made Rocket Boys a liked bestseller, Homer Hickam's rollicking novel is actually a testomony to that unusual and fantastic emotion we name love.
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Additional resources for Carrying Albert Home: The Somewhat True Story of a Woman, a Husband, and her Alligator
We all agree with Girard that "the stereotypical crimes of which [Oedipus] is accused ... 68 Thus it appears for a moment as though Apollo is abetting a persecution after all. But this interpretation presupposes that Apollo's words differ from the other two oracles mentioned in the play. " (hypoth. 2, Aesch. Sept. [= pars 2 fasc. 2 p. i Smith]), Apollo replies that he is ordained to die at the hand of his child (713). In response to Oedipus's question concerning his parents' identity, Apollo says that he will murder his father and sleep with his mother (789-93).
The question of guilt cannot be treated in so cavalier a manner; we should distinguish more clearly than does Girard between the victim either of an annual scapegoating ritual or of a spontaneous eruption of persecution on the one hand and the "fall-guy" made to shoulder all the blame by his fellow conspirators or the self-confessed criminal legitimately punished for his crime on the other; the first category is separated from the second by the all-important issue of guilt. Girard's curious double reasoning on the matter of guilt persists in his treatment of the Oedipus story.
Nub. 89 But tragedy was less liberal in its use of mask changes. 90 Moreover, a change of mask generally indicates a change of character and so suggests that Oedipus has become a new "person" in the etymological sense of the word. 91 The transformation of his character and the inconstancy of his situation contrast in the sharpest possible way with Apollo's constant, unswerving presence. " If the answer is yes (as it might well be), then now for the first and only time in the play Oedipus will leave the threshold of his palace and approach the property altar that has attracted so many other characters to it.