Corridors of Power (Strangers and Brothers, Book 9) by C. P. Snow

By C. P. Snow

The corridors and committee rooms of Whitehall are the surroundings for the 9th within the Strangers and Brothers sequence.
They also are domestic to the manipulation of political energy.

Roger Quaife wages his ban-the-bomb crusade from his seat within the cupboard and his place of work on the Ministry.
The stakes are excessive as he employs his persuasiveness.

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Additional info for Corridors of Power (Strangers and Brothers, Book 9)

Sample text

Her dissertation explores the creation and role of character in the novels of Victor Hugo. Her research interests include Hugo, his fiction, and French Romanticism. She has published articles in The French Review and French Forum. Roche teaches at Benning ton College in Vermont. Preface Some years ago, while visiting, or rather exploring, Notre-Dame, the author of this book discovered in an obscure corner of one of the towers this word, carved upon the wall: 舖ANƓTKHa These Greek characters, black with age and cut deep into the stone with the peculiarities of form and arrangement common to Gothic calligraphy that marked them the work of some hand in the Middle Ages, and above all the sad and mournful meaning which they expressed, forcibly impressed the author.

Through the numerous narrative interventions that refer the reader to recent or 舠present舡 history舒including the July Revolution of 1830 (during which Hugo was at work on the novel)舒the dangers of blind temporal progress, of the unfolding of one regime into the next, are underscored. While much attention has been given to the shift in Hugo舗s political views over the course of his lifetime, from royalist to republican, and of his political engagement (witnessed, for example, by his nineteen-year exile in reaction to the regression of Napoleon III舗s regime), progress for Hugo is, above all, ideological.

If, strictly speaking and by modern definition this declaration rings false, since all of Hugo舗s novels do meet the criteria to qualify as 舠historical,舡 it is more significant that this disavowal舒which was made while Hugo was in self-imposed exile in protest of the unfolding history of the Second Empire and its emperor, Napoleon III舒underscores the complex understanding of and relationship to history that characterizes all of Hugo舗s work. In The Hunchback of Notre Dame, Hugo舗s first real attempt to tell this universal story, this complexity finds its ideal expression in the symbol of the cathedral.

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