By Andrew J. Robinson
For almost a decade Garak has longed for only one factor -- to head domestic. Exiled on an area station, surrounded by way of extraterrestrial beings who detest and mistrust him, going again to Cardassia has been Garak's one dream. Now, ultimately, he's domestic. yet house is an international whose panorama is full of demise and destruction. Desperation and mud are consistent partners and comfort is a pitcher of fresh water and a hot position to sleep.
Ironically, it's a letter from one of many extraterrestrial beings on that area station, Dr. Julian Bashir, that evokes Garak to examine the cloth of his lifestyles. Elim Garak has been a scholar, a gardener, a undercover agent, an exile, a tailor, even a liberator. it's a existence that used to be charted via the forces of Cardassian society with little or no figuring out of the individual, or even much less compassion.
But it's the tailor that is familiar with who Elim Garak used to be, and what he might be. it's the tailor who sees the ruined textile of Cardassia, and who is familiar with tips to deliver this ravaged society again jointly. this is often unusual, simply because a tailor is the single factor Garak by no means desired to be. however it is the tailor whom either Cardassia and Elim Garak want. it's the tailor who can placed the items jointly, who can take a sew in time.
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Extra info for A Stitch in Time (Star Trek: Deep Space Nine, Book 27)
But among the ‘sondry thynges’ which books treat of are women, and here we not only have ‘other preve’, but we find the books themselves at variance; in opposition to the antifeminist tradition which is represented in the Legend’s Prologue by the Troilus, there are the ‘sixty bokes olde and newe’ in Chaucer’s possession which the God of Love cites as containing innumerable stories of women who chose to die rather than be unfaithful (G 273–310). How can the notion of literary authority survive such contradictions?
Chaucer must have known perfectly well that Troilus and Criseyde, for the reasons I have already outlined, is not an antifeminist work. Yet he also knew (as his picture of Jankin’s use of his ‘book of wikked wyves’ makes clear) that the subtleties of authorial intention are all too often submerged in the crude interpretations of the reading public. This being so, he both is and is not contributing to the antifeminist tradition in telling of Criseyde. He therefore avails himself of the conventional polarities of the ‘woman debate’ in order to make an equivalent contribution to the opposing stereotype of the suffering ‘good woman’.
At the end of Troilus and Criseyde, he not only apologizes for his story to the female members of his audience12 – Bysechyng every lady bright of hewe, And every gentil womman, what she be, That al be that Criseyde was untrewe, That for that gilt she be nat wroth with me. Ye may hire gilt in other bokes se; 12 The audience addressed may be the implied rather than the actual audience, since Richard Green (1983–4) has shown that the number of women at court was probably small. Such apologies to women for anti-feminist material are frequent enough in medieval literature to be regarded as conventional (Mann, 1991); but Chaucer’s use of the convention is differentiated from that of other writers by his immediate addition of remarks critical of men.
A Stitch in Time (Star Trek: Deep Space Nine, Book 27) by Andrew J. Robinson