An activity like climbing is particularly well designed to facilitate an engagement with place. A climber has to move on nature’s terms. If there isn’t a handhold for the right hand then he or she will have to work out how to climb without one. A climber is intimate with the texture of the rock under the fingertips, with the sound of the wind, the smell of sweat mixed with dirt, a lizard moving across vertical ground as if immune to gravity, the rock crystals close to the face, and the sheer physical pull of the earth. Through the senses, climbers are bodily involved and if they don’t move in sympathy with the features of the cliff then it will spit them off. There is a literal reciprocity between climber and cliff: hands and feet change, if microscopically, the features of the rock; scraped knuckles and barked knees leave blood and skin for bacteria and other organisms to eat. On reaching a ledge, the climber can sit and look out at the world, shifting from a concentration on the minute to a contemplation of the vast. When Sara draws Rick out into the world again, it is through engagement with nature that Rick begins to rebuild himself. On the first climbing trip with Sara, Rick is terrified, but slowly the power of place begins to work on him:Underhill, Miriam: GIVE ME THE HILLS: Methuen; 1956: 1 st edition. 252 pages, 36 plates (4 colour), 22.5cm. Front endpaper partly browned, very slight foxing to top-edge of pages, VG+ in (a little very minor edge chipping) bright d/w. Miriam Underhill (nee O'Brien) was a pioneer of 'man-less' climbing in the Alps before the war; she also climbed in the Dolomites, the Rockies and the White Mountains of New Hampshire: ?15.00Birtles, G, compiled by: ALAN ROUSE. A MOUNTAINEER'S LIFE: Unwin Hyman; 1987: 1 st edition. 224 pages, 8 colour plates, photographs, 24cm. Fine in (crease down spine) d/w now protected in a loose plastic sleeve. Biography of well-known climber who died on K2 in 1986 (aged thirty-four), after making the first British ascent: ?15.00Yoa no?aieoa — aey oao, eoi oi?ao eniieuciaaou iaoa?eaeu (oaeno eee a?aoeeo) ec i?iaeoia Wikimedia — ia nai?i naeoa, a ia?aoe eee eae-oi au?. Iu aoaai aiai?eou i?i Aeeeneeaa, eioi?ue neo?eo eieeaeoeae ioeuoeiaaea aey naiaiaiiai eniieuciaaiey .I’m currently deciding between Boston College, William & Mary, and Notre Dame. Molly’s help was invaluable to me during my senior year. Thank you.sample law essayBy Molly KleinThrough a brief discussion of the choice of title, this chapter flags The Rope Dancer’s main thematic concern: how can we cope with our existential reality? D.H. Lawrence observes that, “…Because a novel is a microcosm, and because man in viewing the universe must view it in the light of a theory, therefore every novel must have the background or the structural skeleton of some theory of being, some metaphysic” (Lawrence in Allot 1968, p.104). The structural skeleton of Nietzsche’s Thus Spake Zarathustra gives The Rope Dancer its theory of being. Indeed, there is a strong intertextual relationship between my novel and Nietzsche’s great work. I have always believed that Nietzsche’s ideas are life affirming, and that the criticisms of him as a pessimist miss the point. “Live dangerously,” he says, in order to live a fulfilled life. Nietzsche was, I believe, referring to intellectual adventure, but the concept fits nicely with the rationale behind the more extreme forms of mountaineering. Thus, Nietzsche’s existential messages about how to live, marry well with the use of mountains as metaphors. Drawing on examples from the work of Jack London, Milan Kundera and David Yalom, this chapter shows that The Rope Dancer is part of a tradition of using Nietzsche’s ideas in fiction.
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