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By Emma Donoghue

Goldminer. Counterfeiter. Slave. Dishwasher. Prostitute. legal professional. Sculptor. Mercenary. Elephant. Corpse.

The vibrant, interesting characters that roam the pages of Emma Donoghue's tales have all long gone off track: they're emigrants, runaways, drifters, fans outdated and new. They move different borders, too: these of race, legislations, intercourse and sanity. They go back and forth for romance or funds, incognito or below duress.

With wealthy element, the prestigious writer of Room takes us from puritan Massachusetts to the Yukon gold rush, antebellum Louisiana to a Nineteen Sixties Toronto street. off course deals us a shocking and relocating heritage for stressed occasions.

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Extra resources for Astray

Sample text

9. 9. 8, Guiglielmo Borsiere, is first named in the Commedia in Inferno 16, after the cited invective from that canto (“La gente nuova e i subiti guadagni,” 73–5). Iacopo Rusticucci asks Dante if “cortesia e valor” still exist in Florence, as their fellow Florentine, Guiglielmo Borsiere, has reported disturbing news about the state of contemporary Florentine society to his fellow citizens located among the sodomites in the Seventh Circle: ché Guiglielmo Borsiere, il quale si duole con noi per poco e va là coi compagni, assai ne cruccia con le sue parole.

7 At the same time, Italian elites, who had developed a great appreciation for the chivalric literature of the West and its code of “courage, honor, strength, liberality and elegance in manners,”8 brought together the images of the Carolingian epic hero and the knight in love in their attempt to fashion an image of knighthood in a time when the legitimacy of noble claims was in question. 9 Because the thirteenth-century Florentine elite, in particular, was not neatly divided between merchants and non-merchants, the culture of knighthood, Najemy suggests, allowed specific elite families to distinguish themselves by referencing a distant feudal past.

2) identifies this moment as the beginning of the conflict between the Florentine Guelphs and Ghibellines at the very beginning of his chronicle; however, his account of Gualdrada Donati’s words differs. In all of these moments, elite families are shown as prone to outbursts of violence over small offences16 (which are parodied by Boccaccio in Dec. 8). This elite ideology was countered by the popolo with specific legislation to curb magnate power (such as the Ordinances of Justice from 1293, as I will discuss at the end of this chapter), and also in literature, with an ideology of civic responsibility that was based on Roman thought.

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