By Michael Stanley
Smashed cranium, snapped ribs, and a cloying scent of carrion. go away the physique for the hyenas to devour—no physique, no case.
But whilst Kalahari video game rangers discover a human corpse mid-meal, it seems the homicide wasn’t excellent in any case. adequate proof is left to signify foul play. Detective David “Kubu” Bengu of the Botswana felony research division is assigned to the case.
Kubu’s character and body fit the moniker. His nickname is Setswana for hippopotamus—a possible docile creature, yet one of many deadliest at the continent. underneath Kubu’s friendly floor lies an analogous unwavering get to the bottom of that makes the hippopotamus so deceptively risky. either will trample every thing of their route to achieve an goal. And starting with the suspicious carrion dying, the shrewdpermanent detective battles to solve the tangle of crime and corruption.
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Additional resources for A Carrion Death (Detective Kubu, Book 1)
The role of “Theory” in the classroom then is to make the “rhetorical” reading of the nineteenth-century author’s own rhetorical reading available. This is because, in treating language as language, it asks the student to take seriously the power with which language is invested. “Theory” and the Novel 35 IV A final anecdote, this time from my own teaching practice and set in a class on literary theory, an “introduction” placed somewhat idiosyncratically in the senior or fourth year of a North American institution, and placed there also as one of two quasi-compulsory courses (quasi- because you had to take one or the other; there was a limited choice through a kind of institutional get-out clause, making sure that students could avoid encountering “pure” theory if they so chose, or thought they chose).
Misha Glennie, author of McMafia – a book on organized crime – observed that students were forced to read theory before reading “actual” works of literature. Maggie Gee responded that with the introduction of theoretical materials “something hideous began . . this mad language of . . ” Whilst she was searching for the word “poststructuralism,” Andrew Marr gleefully interjected “structuralism,” which sounded as if it had an exclamation mark after it, if not being spelt in capital letters. ” It was as if a David Lodge novel had suddenly broken free of its parallel universe and stepped into mine.
P. 257) As the ability to read criticism critically is an acquired skill – and one which is underdeveloped in many of our undergraduates – we need to equip the reader with a set of specific directives to apply to Oliphant’s text. Clear guidance will also ensure that the students’ attention is focused firmly on a range of issues relating to the operations of canonicity. The following are a useful point of departure for the consideration of any contemporary piece of criticism: 1. Who is the author and what level of authority do they represent themselves as possessing?