By Juliet Blackwell
Lily Ivory isn't really your regular witch. She runs a classic outfitter known as Aunt Cora's Closet and has the paranormal skill to feel vibrations of the earlier from garments and jewellery. while scholars are spooked on the San Francisco university for the humanities, Lily is termed in to go looking for paranormal task. She unearths a lifeless physique - and a closet jam-packed with outdated outfits with a few very undesirable vibes.
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Additional resources for A Cast-Off Coven (Witchcraft Mystery, Book 2)
All of this contributes to the sense of a forcing of the material world into being, precisely as an emblem. As such it announces the poem’s more general, rather strange theme. It is not sufficient for Coleridge speculatively to envisage a scene; the absent friends who behold it must be felt, like the 30 Coleridge and the Philosophy of Poetic Form convalescent, to appreciate it for the negativity from which it has been won. So even while envying his able-bodied friends, Coleridge projectively identifies with Charles Lamb, the poem’s addressee, through his capacity to retrieve sensuous experience from passive captivity (‘[i]n the great City pent’ (30)).
When Coleridge concludes that ‘[n]o sound is dissonant which tells of Life’, he grants as much. By it he means no shallow platitude, but rather that harmony and dissonance need not be opposed. An unused draft of ‘The Eolian Harp’ showed that even that most melodious poem grasped the fact: One infinite and intellectual Breeze, In diff’rent Heights so aptly hung, that All In half-heard Murmurs and loud Bursts sublime, Shrill discords and most soothing Melodies, Raise one great Concert67 The remaining conversation poems struggle increasingly to render such ‘[s]hrill discords’ harmonious through poetic form.
Durr remarked of the earlier apostrophes that ‘nature is all active . . 66 But how ‘active’ can such intransitive actions really be? Only in this concluding passage does nature finally win a transitive life. The apostrophic dismemberment of nature that we earlier witnessed now gives way to a concession of relation, signaled by the prevalence of prepositions (the branches gleam through, the bat wheels by, the bee sings in the bean-flower). The ‘blest’ (although unapostrophised) rook, in its homeward course, signals that the captive mind had finally learned to admit departure; for the bird restages the eclipse that was lately dreaded, as its ‘black wing .