unconsoled


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unconsoled

(ˌʌnkənˈsəʊld)
adj
without comfort
References in periodicals archive ?
This is why someone must come to the border forest and stand among the ghosts that still roam, unconsoled, and nod at them in recognition.
Critics viewed The Unconsoled, a surreal, dreamlike novel about a pianist in an unnamed European city, as magical realism when it came out in 1995.
The Unconsoled was written during the 1990's, which was followed by When We Were Orphans in 2000 and 2005's Never Let Me Go followed a group of students at a boarding school living in a dystopian future.
His other work includes A Pale View of Hills, An Artist of the Floating World, The Buried Giant, The Unconsoled, An Artist of the Floating World.
The 84-page work echoes the dreaminess of Kazuo IshiguroCs The Unconsoled ; instead of dream-logic, however, there is memory-logic .
Works and writers examined include The Drowned Man, The Unconsoled, Eaven Boland, and Jacob Polley.
The Unconsoled is inspired by the work of Japanese authors Kazuo Ishiguro, Haruki Murakami, and Kobo Abe.
Then the young daughter Yasomati, seeing such a superb marvel and miracle impressive to devas and men, (30) fell at the feet of the Blessed One with her whole body, just like a tree with the roots severed, and began making an aspiration (pranidhana): "By this arising of the thought [of awakening] with its wholesome root, and by the donation of a gift, (31) in a blind world bereft of a leader, bereft of a guide, may I become a Buddha, a saviour of unsaved beings, a deliverer of the undelivered, a consoler of the unconsoled, the one who leads to parinirvana those who have not yet attained parinirvana.
Irena appears unconsoled by "the Virgin's story, and that of Christianity, .
Far better for you to stay here, Ion, my boy, I was thinking in my simple mind, than weep unconsoled and wither away longing for the love of someone only I know
The Unconsoled (1995), Kazuo Ishiguro's fourth novel, received decidedly mixed reviews at first, some reviewers declaring it a masterpiece, others a failure, but all agreeing that it is a deeply enigmatic work.
However, while in A Pale View of Hills (1982), An Artist of the Floating World (1986), The Remains of the Day (1993) and The Unconsoled (1996) the narrators' storytelling is ultimately a passive account of their victimization, in When We Were Orphans and Never Let Me Go, the narrators' storytelling allows them to, painfully, become the active protagonists of their own life-stories while their tales fulfil the collective responsibility towards the voiceless victims of history.