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By Bernard Malamud

"An missed masterpiece. it might probably nonetheless be undervalued as Malamud's funniest and so much embracing novel." —Jonathan Lethem

In a brand new existence, Bernard Malamud—generally considered a rather ny writer—took at the American fable of the West as a spot of private reinvention.

When Sy Levin, a highschool instructor beset by way of alcohol and undesirable judgements, leaves the town for the Pacific Northwest to begin over, it's no shock that he conjures a imaginative and prescient of the intense new lifestyles looking ahead to him there: "He imagined the pioneers in coated wagons getting into this valley for the 1st time. even though he had lived little in nature Levin had continually enjoyed it, and the feel of getting performed the perfect factor in leaving big apple was once renewed in him." quickly after his arrival at Cascadia university, besides the fact that, Levin realizes he has been taken in via a mirage. The disasters pile up anew, and Levin, fired from his put up, unearths himself again the place he begun and little the wiser for it.

A New Life—as Jonathan Lethem's advent makes clear—is Malamud at his top: together with his trust in good fortune and new beginnings Sy Levin embodies the thwarted craving for transcendence that's on the middle of all Malamud's paintings.

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Surviving documentation is often inconsistent, and conclusions often hinge on a best guess. The story of Salem Village's "witch cake" nicely illustrates the issue. Perhaps no other cake in American histo- 26 Dark Eve ry has had so much written about it. This was the cake made early in the episode, before matters went to the judiciary, to determine who was bewitching the afflicted children. Generally, various versions of this story can be traced back to two differing accounts, one by the Reverend John Hale and one by Robert Calef.

While describing a lurid world of witchcraft, she had resisted broadening the net of accusations. She would produce no new names. In 1700 Robert Calef published his "More Wonders of the Invisible World" and reported there that Tituba's confession had resulted from beatings and other abuse from her master, the Reverend Samuel Parris. " 28 No one else seems to have been suspected, and Titu- 24 Dark Eve ba could have little hope of legal protection from abusive treatment. Instead, she would have every reason to follow the advice heard in Ann Petry's fictional depiction of her life.

Nor were all the "girls" girls: When Up ham defined a "circle of girls" he left an image so strong, a myth so powerful, that in the face of all evidence, the image stuck. Thus, to take an example from two of the preeminent scholars of Salem, Paul Boyer and Stephen Nissenbaum, we find them making reference in their indispensable threevolume Salem Witchcraft Papers to "four afflicted girls not actually accused of witchcraft, but against whom skeptical testimony was directed: Sarah Bibber (or Vibber, as she was often called), Elizabeth Hubbard, Susannah Sheldon, and Abigail Williams" (SWP I: 33).

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