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By Albena Stambolova
Albena Stambolova’s idiosyncratic debut novel, every little thing occurs because it Does, builds from the concept that, because the identify indicates, every little thing occurs precisely the means it needs to. as a consequence, the seven characters of the novel—from Boris, a tender boy who's basically at peace while he’s round bees, to Philip and Maria and their twins—each play a selected position within the lives of the others, binding all of them jointly right into a unusual, but logical, knot. As characters are picked up, explored, after which swept apart, the novel’s beguiling constitution turns into obvious, forcing the reader to concentrate on the styles created through this accumulation of occasions and relationships. this isn't a unique of attaining ethical excessive flooring; this isn't a publication approximately resolving relationships; this can be a tale whose mysteries are mysteries for a reason.
Written with an actual, succinct tone that calls to brain Camus’s The Stranger, every little thing occurs because it Does is an enthralling and detail-driven novel that explores how intensity isn't as instantly available as superficiality, and the way every little thing will run its direction within the specified demeanour it was once continually intended to.
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Additional info for Everything Happens as It Does
Unity of form might be present in these texts after all, but it would reside not in an ‘organic unity’ but, paradoxically, in diversity and juxtaposition – in plenitude of expression and in the skilful arrangement of disparate and disjunctive literary materials. Just as the sculpture of the medieval mason might frame a saint’s visage alongside the anarchic grotesquerie of the Green Man, so the medieval writer might take equal delight in blending earnest with game, sacred with profane, comedy with tragedy, high style with low.
T. Shepherd, ‘Troilus and Criseyde’, in D. S. ), Chaucer and Chaucerians: Critical Studies in Middle English Literature (London: Thomas Nelson and Sons, 1966, pp. 65–87), pp. 77–81. 7 One of the most widely used text-books in the sixteenth century was Erasmus’s De duplici copia verborum ac rerum, of which there were sixty editions between 1512 and 1536: see T. W. Baldwin, William Shakespeare’s Small Latine and Lesse Greeke, 2 vols (Urbana, IL, 1944), I, 99; II, 176. 8 As You Like It, V. i. 52. 9 Minor Poems, ed.
Moreover, Vincent ‘ordinated’ materials in relation to chapters, books and tituli, whereas Chaucer ‘ordinated’ materials in relation to tales and tellers; both a b entertainment and instruction. Universal History. 8 It is as if Chaucer derived certain principles of order from compilations and from the explanations of ordinatio which accompanied them, principles which he chose to apply in his own way. Moreover, Chaucer and Vincent (among other compilers) shared the principle of the reader’s freedom of choice (lectoris arbitrium).