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That sense of displacement, physical and psychological, informed both A Goat's Song and its follow-up, Sudden Times (1999).
Sudden Times is a sometimes doggedly intense read, a report from inside the troubled mind of a young man driven back to rural Ireland by a sense of dislocation that has unhinged him.
His next book, Sudden Times, drew on his experiences as an teenage Irish exile in London, as did his acting debut, as the ageing Irish emigrant narrator of Nichola Bruce's film, I Could Read the Sky (1999), an ambitious adaptation of Timothy O'Grady and Steve Pyke's photographic novel of the same name.
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Towards a sudden time when the internet seems as baroque as wax-sealed parchment.
"Sudden Time" begins like a collection of clocks and watches, each set in its own way.
There were random changes in points of view, sudden time travel and some awful pacing.
March 30 at 8: Bartók's First Piano Concerto (with Pierre-Laurent Aimard), Sibelius's Second Symphony, and the New York première of George Benjamin's "Sudden Time".
New to most of us was George Benjamin's "Sudden Time," a title certain to get the interpretive side of the brain working.
Sudden Time crystallises this phase of Benjamin's composition, a 15-minute essay in the art of orchestral transition, music that flies with gossamer lightness and billows into gigantic cloudstorms and thunderbursts.
A sudden time jump (not the only overlap between the novel and Downton Abbey) reintroduces us to the characters as neo-Georgians in 1914, from where the main action takes place over eight years.
They also introduce a new directness and energy into Benjamin's music, so that instead of the music's drama coming from a state of ceaseless and sensuous transition as it does in Sudden Time, the momentum is driven by the presentation of different but distinct musical objects or characters.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com