By Keith Ablow
Contre les barreaux de sa cellule, le docteur Trevor Lucas tente de briser son bras droit qu'il dit possédé par devil. A Lynn, petite ville voisine de Boston, le procès Lucas défraye los angeles chronique : quatre des sufferers du chirurgien ont été sauvagement assassinés...
Le commissaire Emma Hancock, qui privilégie los angeles piste du plagiaire, fait appel à Frank Clevenger, un ami psychiatre dont los angeles brillante carrière a été détruite par l. a. cocaïne. Mais ce qu'elle forget about, c'est que Clevenger partage un poor mystery avec le docteur Lucas : ils connaissent tous deux le véritable coupable... Alors, quand le chirurgien, avec l'aide d'une horde de tueurs psychopathes, prend l'hôpital en otage et réclame l. a. présence de Clevenger, le psychiatre comprend qu'il va devoir régler ses comptes avec le passé.
Il accepte de se rendre dans l'antre de l'enfer pour négocier avec Lucas, tout en luttant contre un threat encore plus grand ses propres démons
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The “old incurable untimeliness” may provide a pretext for the poet’s effort of connection with the moth, 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 4 6 7 9 0 4 6 7 9 0 4 6 7 9 0 4 6 7 9 0 28 L S H I F T I N G G R O U N D but the “untimeliness” of poetic representation itself, the temporality of rhetoric behind this rhetoric of temporality, prevents it. If what he pities in the moth is “something human,” it relegates the moth to an allegorical status.
Yet a transaction has occurred—“two had seen two whichever side you spoke from” (and the chiastic poem speaks from both). ” Now the split boulder of the Cartesian world can be made whole again, beyond confusion. Our love for the earth is validated in a universal principle. But that principle may be death. As with so many closing moments in Frost, the risk of extravagant sentiment is hedged here by linguistic ambiguities. A great wave from it going over them, As if the earth in one unlooked-for favor Had made them certain earth returned their love.
Although not a landscape poem, it suggests a set of problems that Frost’s landscapes will address. Again, apostrophe evokes an unsustainable lyric aspiration to escape isolation and temporal limits. As Jonathan Culler has shown in The Pursuit of Signs, narrative is apos- Frost’s Crossings L 27 trophe’s repressed other, the sequential structure that ecstasy seeks to transcend but to which it inevitably succumbs. No trope has an essence— apostrophe or chiasmus—but Culler’s theory is borne out at least in the practice of many post-Romantic poems, including Frost’s early ones.