The Convicts (Curse of the Jolly Stone, Book 1) by Iain Lawrence

By Iain Lawrence

Book Details:

ISBN: 0440419328
EAN: 9780440419327
ASIN: 0440419328
Publisher: Laurel Leaf
Publication Date: 2006-08-22
Number of Pages: 208
Website: Amazon, LibraryThing, Google Books, Goodreads

Synopsis from Amazon:

After seeing his father hauled off to debtor's legal, Tom Tin units out to take revenge on Mr. Goodfellow, the guy liable for his family's misfortunes. however the fog-filled London streets are teeming with sinister characters. Tom encounters a blind guy who scavenges the riverbed for treasure-and desires what Tom digs up; Worms, a physique snatcher who finds a stunning shock; and a bad gang of younger pickpockets who mistake Tom for somebody ominously referred to as the Smasher. And finally, Tom comes up opposed to the harsh hand of the legislation.

Accused of homicide, Tom is given a seven-year sentence. he's to be transported to Van Diemen's Land with different juvenile convicts. yet Tom can't abide lifestyles at the Hulk, the outdated send the place the lads are quickly held. He makes a decision to flee. but when he's to be successful, his good fortune must flip. . . .

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Additional info for The Convicts (Curse of the Jolly Stone, Book 1)

Sample text

What has given rise to singing here is not alcohol but spiritual experience, though this is left out of the narrative. It is as if such a tender moment is so alien to the men’s lives that even the narrating voice cannot find words to utter it. In retrospect the characters are so embarrassed to have revealed so much, they could not admit it happened. In the context of A Child of the Jago, neither the hymn (as a genre) nor the voice are in themselves signifiers of spirituality. But at that moment spiritual experience is articulated by means of religious song.

In a Latin sonnet written in honour of the singer Leonora Baroni, Milton tells her: ‘The music of your voice bespeaks the presence of God. 27 For Hegel in 1830, the best and highest way of expressing inner sentiments was by means of singing, wailing and moaning – all sustained vocal sounds that allow the soul to rid itself of feelings that are causing irritation. 29 This small number of examples suggests that symbolically, experiences of vocal meaning which lie beyond speech might be read in profoundly mystical ways over extensive historical periods.

30 The singing voice, then, has been in a unique musical position to merge different worlds of meaning: self-authority, human emotion, and the most slippery of them all, the soul itself. 32 However, they are set apart from other working-class fictional characters by their ability to sing. 33 Unlike middle and upper-class singers, Thyrza and Margaret perform simple songs in public houses and damp rooms. These locations are associated with poverty, and differ significantly from comfortable drawing rooms and concert halls – spaces that function as shrines to High Art.

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