By Sophie Kinsella
Rebecca Bloomwood simply hit all-time low. yet she's by no means seemed better....
Becky Bloomwood has a wonderful flat in London's trendiest local, a troupe of glamorous socialite pals, and a closet brimming with the season's must-haves. the single difficulty is that she can't really find the money for it—not any of it.
Her activity writing at winning discounts not just bores her to tears, it doesn't pay a lot in any respect. And in recent years Becky's been chased by way of dismal letters from Visa and the Endwich Bank—letters with huge purple sums she can't endure to read—and they're getting ever more durable to disregard.
She attempts reducing; she even attempts making more cash. yet none of her efforts succeeds. Becky's merely comfort is to shop for herself whatever ... slightly something....
Finally a narrative arises that Becky really cares approximately, and her front-page article catalyzes a sequence of occasions that might rework her life—and the lives of these round her—forever.
Sophie Kinsella has brilliantly tapped into our collective patron moral sense to convey a unique of our times—and a heroine who grows enhanced at any time when she weakens. Becky Bloomwood's hilarious schemes to pay again her accounts are as endearing as they're determined. Her "confessions" are the ideal pick-me-up whilst lifestyles is striking within the (bank) stability.
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Extra resources for Confessions of a Shopaholic (Shopaholic, Book 1)
Conclusions and consequences This reading of the Clouds parabasis creates a new starting point for a study of the plays which arguably relies on categories of intention formulated by the poet himself. These involve (1) intellectual orientation (against Socrates and towards the ‘sophists’); (2) poetic rivalry (which is essentially political); (3) political stance (on the side of one radical democrat, Hyperbolus, against another, Cleon, and opposed to the conservatism of such groups as the Knights); (4) the use of disguised caricature.
The chorus’ dance at 321f. is possibly a kordax (cf. Clouds 540). The following features also connect it with other comedy. It has a parabasis which deals directly with the contrast between Aristophanes’ own comedy and that of his rivals (729–74). The figure called Trygaeus has a name the root of which is not only pertinent to his claimed expertise as a vine-grower (190), but also to comedy (cf. the use of the trug- root at Ach. 499–500). Clouds The text we have is a revision of the play which came third at Dionysia 423.
Fr. 89), but also those of their rivals (Cratin. fr. 213, Eup. fr. 89, Plato fr. 86). Even though we lack almost any clue about the nature and content of almost all the plays against which Aristophanes competed, nonetheless, it is a premiss which we can work with, precisely because it locates quite specific material from which we can begin to test it. It does, of course, have repercussions for our understanding of other plays besides Clouds. It predicts, for example, that the Thracian scene in Acharnians, with its use of the circumcised phallus (158f ), will be a parody of something in Eupolis.