By David Zimmerman
Fifteen-year-old Lynn Marie Sugrue is doing her most sensible to make it via a tricky summer season. Her mom works lengthy hours as a nurse, and Lynn suspects that her mother's pill-popping boyfriend has enlisted her in his petty felony companies. Lynn unearths safe haven in on-line flirtations, ultimately assembly up with a afflicted younger soldier, Logan Loy, and alluring him domestic. while he's pressured to stick over in a space for storing obtainable via her closet, and the military for that reason lists him as AWOL, she realizes that he's the single factor in her existence that she will be able to keep watch over. in the meantime, her mother's boyfriend is at the receiving finish of a sequence of more and more violent threats, which areas Lynn squarly within the cross-hairs.
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Extra info for Caring Is Creepy
In the same vein, his associated expression of amazement (miror magis), conforms with another standard eulogistic topos— the “thauma motif,” which is such a conspicuous feature of the Pindaric encomium. 9 Meliboeus’ admiratio, coupled here with the disavowal of phthonos (invidia), points to the divinely elected situation of Tityrus—in sharp contrast to that of the hapless Meliboeus, who then goes on to draw a perturbing picture of his own dismal fate, marked by dispossession, and disease-ridden, infertile flocks (12–17).
The agency of an unnamed deus (Pindar’s theos tis) is often behind the miraculous event (thauma) that captivates the laudator. The ethical self-correction of Meliboeus also strikes a chord with the sentiment expressed in Gnom. Vat. 53: “One should envy no one. ” (Tr. Inwood et al. p. 39). ” The conventional reading of iste deus framing a dialogue on vicissitude 23 By this reading, Meliboeus is adverting to what is, at bottom, a theological nuance. 11 Tityrus’ rejoinder makes perfect sense12 in terms of an attempt to illuminate his unfamiliar, if presumptively idiosyncratic, cult.
5 The locution sub tegmine fagi is the first of the dense Lucretian allusions that pervade the linguistic environment of the Eclogues. , who traces its first extant use to Cicero’s translation of Aratus. 1016—on which see also Lipka, p. 67. 6 I employ the term “resonance motif” for this so-called “echo” relationship between poet and bucolic habitat after the key verbs sonare and resonare that usually, but not invariably, occur in these contexts. I decline to use the terms “echo” and “re-echo,” though these are valid denotations of the words, because they fail to capture the less mechanistic model that Vergil develops in the Eclogues.