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By Lisa Lutz

 “How to begin a Fire will retain you captivated from commencing to end.”—Town & Country

“Excellent . . . Over the process the radical we come to understand in detail those 3 complex women.”—Chicago Tribune
 
“Whip clever and crafty, deeply humorous and profoundly relocating . . . A knockout.”—Megan Abbott, writer of The Fever
 

while collage roommates Anna and Kate locate Georgiana Leoni handed out on a garden, they wheel her to their dorm in a procuring cart. two decades later, they assemble round a campfire at a brand new England mansion. What got here between—the wild adventures, unstated jealousies, and one evening that modified everything—is the witty, poignant tale of our most powerful friendships, the folk who understand us larger than we all know ourselves. Anna is the de facto chief, as fearless as she is reckless. Quirky Kate is the dependable sidekick, until eventually she’s driven too a ways. And lovely George is often wanted, yet simply as usually dumped. Alive with Lutz’s crackling discussion and propulsive storytelling, How to begin a Fire pulls us into the tangled bond shared by way of 3 clever, unique, and deeply actual girls and can pay homage to the abiding, irrational love we've got for the relations we choose.
 
“Lutz joins the ranks of authors who write deeply and sensitively concerning the shadowy but life-affirming terrain of woman friendship.”—Globe & Mail
 
“Lutz hits a house run during this wonderful exploration of friendship . . . [she] portrays 3 totally drawn, mistaken, and compelling ladies with clean perception into the mysterious terrain of woman friendships—a mixture of shared reports, affection, empathy, jealousy, anger, and love.”—Publishers Weekly, starred review

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Sample text

Quand Swann descend de voiture, il aperçoit le petit peuple des grooms et oublie un instant son chagrin en les contemplant: Swann prit plaisir à voir les héritiers des ‘tigres’ de Balzac, les grooms, suivants ordinaires de la promenade qui, chapeautés et bottés, restaient dehors devant l’hôtel sur le sol de l’avenue, ou devant les écuries comme des jardiniers auraient été rangés à l’entrée de leurs parterres. (RTP, i, 317) Ces tigres sont ef fectivement présents chez Balzac, dans Les Secrets de la princesse de Cadignan, auquel renvoyait déjà le pastiche déclaré intitulé ‘Dans un roman de Balzac’, appartenant à la série des pastiches Lemoine que Proust rédige entre 1908 et 1909.

J’en proposerai cinq à l’œuvre dans les exemples 1 Nous lui avons consacré un ouvrage intitulé Proust lecteur de Balzac et de Flaubert. L’imitation cryptée (Paris: Champion, 2000). 40 Annick Bouillaguet retenus, et qui permettent chaque fois le décryptage de l’imitation. L’indice le plus fréquent et le plus évident est le nom (quand il subsiste, mais sans jamais être explicitement désigné comme l’élément d’une inf luence) de l’écrivain subrepticement pastiché ou de l’un de ses personnages. Ces noms suscitent alors l’émergence de fragments imitatifs dans leur environnement (les lignes qui les entourent).

133. 28 Of course, here Dante’s complaint about the artist’s subservience to aristocratic patronage comes to mind: ‘e come è duro calle | lo scendere e l salir per l’altrui scale’ [how hard the path to descend and mount by another man’s stairs] (Paradiso, xvii, 58–60).  140. 26 Catherine O’Beirne des encorbellements d’édifice’, stays in the memory of this stone-mason’s son who in homage to his father’s life-long manual work frequently uses many such architectural comparisons in his writings. Among the ‘corbellike’ souls oppressed by the weight of the stones which they must carry as penitence for their stif f-necked and haughty deportment on Earth are various exponents of prideful demeanour.

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