By Stewart O'Nan
At nighttime on Halloween in a cloistered New England suburb, a motor vehicle sporting 5 young ones leaves a winding highway and slams right into a tree, killing 3 of them. One escapes unhurt, one other suffers serious mind harm. A yr later, summoned through the thoughts of these closest to them, the 3 that died come again on a final chilling undertaking one of the dwelling.
A unusual and unsettling ghost tale within the culture of Ray Bradbury and Shirley Jackson, "The evening Country" creeps throughout the leaf-strewn streets and quiet cul-de-sacs of 1 bed room neighborhood, attaining into the desperately hooked up but remoted lives of 3 humans replaced perpetually via the coincidence: Tim, who survived but misplaced every thing; Brooks, the cop whose accountable mystery has destroyed his lifestyles; and Kyle's mother, attempting to love the hot son the medical professionals back to her. because the day wanes and darkness falls, one in every of them places a bad plan into impression, they usually locate themselves stuck in a collision of want and wish, watched over by means of the figuring out ghosts.
Macabre and relocating, "The evening Country" elevates each small town's undesirable highschool crash into fable, discovering the deeper human fact underneath a shared and intensely American tragedy. As in his highly-prized "Snow Angels" and "A Prayer for the Dying," once more Stewart O'Nan offers us an intimate examine humans attempting to carry directly to desire, and the implications once they fail.
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Additional resources for The Night Country
This is hardly an easy claim to advance within our present order of knowledge and the possibilities it dictates for us. Paranormal phenomena, after all, dramatically violate those firm epistemological boundaries that, since Descartes, have increasingly divided up our university departments (and our social reality) into things pertaining to matter and objective reality (the sciences) and things pertaining to human experience and subjective reality (the humanities). well, whatever that is. Paranormal phenomena, however, bring the subjective component back in, and with a vengeance—the return of the repressed in all its fury.
Paranormal phenomena, however, bring the subjective component back in, and with a vengeance—the return of the repressed in all its fury. Whatever they are, it is clear that such events cannot be understood without reference to consciousness and the material world: Wolfgang is in town and the laboratory instruments fizzle and fry; the physical location of Elizabeth’s harp is pegged by a mind over a thousand miles away; my analyst colleague feels a sharp stabbing physical pain in relationship to an emotional story she has not yet heard; and so on.
This is how they escape the various social, political, and intellectual censors of their own social surround—by being serious by not being serious. Essentially, popular culture “flies low,” well under the radar. It is also worth underlining the fact that Partridge’s central notion of reenchantment requires for both its logic and energy an earlier and equally Off the Page 29 profound disenchantment. Occulture is not a matter of naive belief, much less of orthodox faith. ” Like Owen’s occultism, then, Partridge’s occulture is a very modern phenomenon that has already incorporated the secular and the scientific.