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Brother

為了解決free hip hop beats的問題，作者Chariandy, David 這樣論述：

"A brilliant, powerful elegy from a living brother to a lost one, yet pulsing with rhythm, and beating with life." --Marlon James "Highly recommend Brother by David Chariandy--concise and intense, elegiac short novel of devastation and hope." --Joyce Carol Oates, via Twitter WINNER--Toronto Book Awa

rdWINNER--Rogers' Writers' Trust Fiction PrizeWINNER--Ethel Wilson Prize for FictionEsquire Best Books of the YearKirkus Best Books of the YearGuardian Best Books of the YearNew York Public Library Best Books of the Year Aspen Words Literary Prize Finalist PEN Open Book Awards LonglistOrwell Prize

for Political Fiction LonglistThe Believer Book Awards Longlist"Every sentence feels like a polished stone." -Entertainment Weekly"Elegiac and incendiary" -Boston Globe"A dwarf star of mourning and regret" -Wall Street Journal"Elegant, vital, indubitably dope" -Guardian"An important, vital and groun

dbreaking book" -Medium"An absolutely mammoth literary talent" -KIESE LAYMON"Riveting, composed, charged with feeling" -MADELEINE THIEN In luminous, incisive prose, a startling new literary talent explores masculinity, race, and sexuality against a backdrop of simmering violence during the summer of

1991. One sweltering summer in the Park, a housing complex outside of Toronto, Michael and Francis are coming of age and learning to stomach the careless prejudices and low expectations that confront them as young men of black and brown ancestry. While their Trinidadian single mother works double,

sometimes triple shifts so her boys might fulfill the elusive promise of their adopted home, Francis helps the days pass by inventing games and challenges, bringing Michael to his crew's barbershop hangout, and leading escapes into the cool air of the Rouge Valley, a scar of green wilderness where t

hey are free to imagine better lives for themselves. Propelled by the beats and styles of hip hop, Francis dreams of a future in music. Michael's dreams are of Aisha, the smartest girl in their high school whose own eyes are firmly set on a life elsewhere. But the bright hopes of all three are viol

ently, irrevocably thwarted by a tragic shooting, and the police crackdown and suffocating suspicion that follow. Honest and insightful in its portrayal of kinship, community, and lives cut short, David Chariandy's Brother is an emotional tour de force that marks the arrival of a stunning new litera

ry voice. David Chariandy grew up in Toronto and lives and teaches in Vancouver. He is the author of I’ve Been Meaning to Tell You: A Letter to My Daughter, and the novels Soucouyant, which received nominations from eleven literary awards juries, and Brother, winner of the Rogers Writers’ Trust Fi

ction Prize, the Ethel Wilson Fiction Prize, and the Toronto Book Award.

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美國式詩學拼貼：論鮑勃·迪倫〈荒蕪街區〉中結構、語文和歷史的破碎感

為了解決free hip hop beats的問題，作者蕭百倫 這樣論述：

This thesis is an in-depth examination of Bob Dylan’s “Desolation Row” in order to examine the song’s use of the ballad form, collage, and fragmentation in verse, structure and metaphor. Though scholars such as John Gibbens, Clinton Heylin, Christopher Ricks, Lawrence Wilde, Andrew Gamble, Michae

l Gray, Anne Margaret Daniel, John Hughes, Thomas S. Johnson, Mark Polizzotti and Donald Brown have researched the history of the song’s composition as well as performed lyrical analysis, only one chapter has been dedicated to examination of the song, in Gibbens’s work. As of May 20th 2016, no singl

e analysis has ever attempted to probe as deeply into the poetics of “Desolation Row” as this thesis. This thesis aims to approach its study from three different angles spanning over three chapters. In the first chapter, “Ballad Form, Folk History, Cubist Collage and the Structure of ‘Desolation Row

’”, the thesis examines the rhymes, structure and metre of the song. It argues that “Desolation Row” is not only a ballad but also a cubist collage. This structural fusion not only alludes to the mythos and practices of the American folk music tradition but also generates structural fragmentation as

a means of expanding the song’s narrative and metaphors. The second chapter “Metaphysical Fragments, Modernism, Beat Poetics and Literary Collage in ‘Desolation Row’” performs an extended close reading of the song while examining its literary references and influences. Collage is again revealed to

be the song’s central device, one which functions not only as a means of narration, but also as the means of assembling its central metaphor, that of “Desolation Row” as a metaphysical space. Placement of the song’s cast on or off of “Desolation Row” both broadens the symbolic depth of the space its

elf and deepens the poetic commentary linked to each character. The third chapter, “Ever Occurring Issues: 1960s America and Historic Collage in ‘Desolation Row’” examines the song’s linguistic ability to suspend itself from linear chronology and position its events, some of which are peppered with

loose historical references, in a timeless, ever occurring state. The chapter also asserts that the song utilizes lyrical ambiguity to strip away temporally anchoring specificities and distil its symbolic narratives to abstract embodiments of poetic and social issues. Finally, the chapter examines s

everal historical movements and events within the decade wherein the song was written in order to apply these poetic issues to a historical context. However, the chapter never makes the argument that the song makes reference to any specific historical event. All three chapters generate the unifying

argument that through its collaged, fragmentary structure and lyrics, as well as its abstract, timeless depiction of social issues, “Desolation Row” creates a fragmentary poetic cipher, or series of interpretive tools, which permit the listener to abstractly better comprehend America on a macro and

micro poetic level simultaneously.