The Horse new BookNew book about the horse
Raphaelff wants to solve the shape issue by dividing his materials into four major categories: While the first deals with living stories that examine the use of the horse in urban and rustic environments, its omnipresence in humankind's advancement, and its demise as a weapons of war, the second section deviates more radical from conventions as it follows scholarly narratives, horse stud books, horse studies, and research; the third deals with the horse as a mark and icon of death, sex, terror, and innocence, especially in literary works; and the last section asks "Why the horse?
"and reflects on what else we could have learned from this living and dying living in servitude since its first domestication. Raulff's approach to the issue of historicality and narration is mainly due to the curious and wonderful way in which he tackles it. By grinding, winding and tracing back discourses, he touches on hundred themes, among them philosophical, etymological, anti-Semitic, disciplinary, Poles military troops, sounds and smells that have been forgotten, theatre.
Laying down the facts about the legend about the militant story about the soldier's story about the Darwin about Napoleon about Napoleon about Tolstoy about Gehlen until the book looks like an olive tree of immense complexities so thick ly loaded with color that it would take years for it to be scratched onto its empty screen. Raulff comments on historic stories and writes: "History is narrated in the indictive atmosphere, but lives and remembers in the optional - the graceful atmosphere of desire.
" It could even be said that the optional is the wellspring of the suggestive natures of nominative stories. An accomplished historian, Raulff rejects to surrender to a simplified chronicle and instead passes on incidents without imposing them in an artifical order. On the side, his necking felt uncommon, but profoundly intimate, even self-evident, because he mimicked the discoursive exercises of the spirit and not slave lines of thought, trying to organise story into excessively patternsed or logic states.
Rightly this arduous work - the work of compassion - is for the readers and does not require any didactics or tampering to help it, only the facts: eight million deaths in World War I, 1. 8 million Germans in World War II alone, and then the innumerable deaths left behind by the traces of man's advance, which killed animals in numbers beyond comprehension, and which are both impossibly to grasp and almost impossibly to sense.
However, encapsulated likenesses of the deceased help unleash our entrenched emotions: Raulff's account of Reinhart Koselleck's war experiences of a horse that gallops with his face blowed off, a visions of "deadly desperation", tears the readers out of every possible sense of smugness. Writers' minds and readers' hearts come together on the page they write, and here is exactly where so much of the might of writing is located.