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By Lois Lowry

Thirteen-year-old Meg envies her sister's good looks and recognition. Her emotions don't make it any more uncomplicated for her to deal with Molly's unusual sickness and eventual demise.

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It indicates the fusion, in the hermeneutics of the medicine of palliative care, between understanding and friendship. The understanding is directed toward the life coming to an end and its recourse to the essential. The friendship helps not just the person dying but this understanding itself. 3. Jorge Semprun's book, like that of Primo Levi, Survival in Auschwitz, forces me, somewhat against my will, to deal with the designation of death itself as an active character as a third make-believe (conceptual) configuration.

Hence, my question: Would Death be more real than life apart from the prosopopoeia of "absolute Evil"? This poses, it is true, another problem that I shall undoubtedly encounter later on: my conviction that the figures of evil do not form a system, like what one can do in thinking of the good. Auschwitz and the Gulag are distinct. The one is not the other: they are incomparable in terms of their degree of evil. Is this an objection to an enumeration put together in a manner other than through comparison?

But Heidegger's not saying anything is our own, so long as the phantom of death that kills is not reconnected to its status as an appearance in regard tQ absolute Evil, the other of its other, fraternity. The silence of the insistence and consistence of Evil, the only "truth" of the phantom. Is it because Paul Celan's request-einer Hoff nung, heute-was not heard that the poet killed him- • self, like Primo Levi? What is difficult and arduous-Spinoza would have said-the road that Cl. E. Magny indicated to the future writer: "No one can write unless his heart is pure, unless he has sufficiently cast off his own personality (294).

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A Summer to Die by Lois Lowry


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