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By Paul Neilan

The single factor Shane cares approximately is leaving. often on a Greyhound bus, correct earlier than his existence falls aside back. similar to he deliberate. yet this time it's advanced: there's a sadistic company climber who thinks she's his female friend, a rent-subsidized affair along with his landlord's spouse, and the bizarrely beautiful deaf assistant to Shane's cosmically risky dentist.

When one of many girls is murdered, and Shane is the one suspect who doesn't care sufficient to behave like he didn't do it, the query turns into simply how he'll transparent the great identify he by no means had and doesn't quite wish: his personal.

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Example text

For the antagonism between country and city is located here  Romantic imperialism internally, within the city, and not only in the external relations of town and country (as explored so memorably in Raymond Williams’s book). ’’ The city and the crowd in The Prelude are symbiotically related, produced by each other. The crowd largely constitutes London through the spatial stories woven by its individual participants (from which, again, Wordsworth distances himself as merely an uncontaminated ‘‘outside’’ observer), while the city is filled up by the multitude of individuals composing the crowd.

Put back into the context of the crowd, from which they have been separated, they either fade into the background, or else the background itself looms large and threatens to overwhelm this solitary observer. There is, indeed, a very fine line in The Prelude between the London crowd and its politically charged Janus-face, the mob of the revolutionary panic of s London. Part of Wordsworth’s ongoing effort to distinguish individual faces in the crowd is an attempt to keep the crowd from working any sudden (and not quite understood) transformation into a mob – as though to reassure himself, as he wanders through the streets of London, that what he sees is still ‘‘only’’ a crowd, and not yet the mob of his nightmares.

At street level and from the perspective of the viewing subject, however, that logic is nowhere to be seen; all that is left in the shower of spectacles is a terror of excess. Ultimately, the abortive project undertaken and abandoned by Wordsworth in Book  of The Prelude approaches a kind of cognitive mapping of the vast colonial network and the experience of modernization as they unfold in London. It is an attempt to see and to comprehend the imperial world-system from the vantage point of the individual subject, at street level, from within Wordsworth’s London and the spot of time  .

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