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By Marlayna Glynn Brown

Following the author's wildly loved award-winning Overlay and town of Angeles memoirs, substantial As All Hell And 1/2 Texas maintains the author's tale. This ultimate quantity candidly explores the pertinent societal query: how does an ill-equipped grownup baby of alcoholics navigate existence after a youth fraught with abuse, shortage and neglect?

Continuing her engrossing trip from the instant urban of Angeles ends, the writer stocks the vignettes of her lifestyles - replete with enlightening errors, edifying effects, forgiveness and private redemption. massive As All Hell And 1/2 Texas is a good and inspirational account of the author's finally profitable battles with melancholy, divorce, unmarried parenting, and ill-fitting love affairs.

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Iii (second paragraph, penultimate sentence), “illusion” has been emended to “allusion,” as in the 1891-92 printings. ii (third paragraph, first sentence), “beside” has been emended to “besides,” as in the 1891 American edition. In the present edition, all compound words hyphenated at line-end are to be considered hyphenated forms. Ambiguous line-end hyphenation in the copy-text has been adjudicated based on the occurrence of the word elsewhere in the 1908 and/or 1891 editions. ii, second paragraph, last sentence); “quicken-berry” (Dhoya III, penultimate paragraph, eleventh sentence).

He chose as a pseudonym “Ganconagh,” the name of an Irish fairy, and composed an “Apology” to explain this persona. But the problem of anonymous publication may well have been one of Yeats’s reasons for adding to the volume Dhoya, an expansion we first hear of (under an earlier title) in late June 1891: My novel has gone to press but does not come out until September. I have sent in with it, to be put in the same volume, a short tale of ancient Irish legendary days and called the book John Sherman and The Midnight Ride.

Perhaps the most complimentary review of John Sherman and Dhoya was published anonymously in the prestigious Saturday Review of Literature (5 December 1891): John Sherman and Dhoya, by “Ganconagh” (Fisher Unwin), must charm all who appreciate artistic work that is delicate, unobtrusive, and intuitive. Of material that has been a thousand times employed in fiction, and often grievously marred in the using, the author of John Sherman has called forth a new heaven and a new earth—“Ganconagh,” in brief, has the creative faculty and the imagination that vitalizes the gift.

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