Abstract This paper reads Fiona Sampson’s recent Little Toller monograph, Limestone Country, beneath the lens of one of her modernist forebears, Lawrence Durrell. Both writers share common modes and styles and methods to solicit the genius, or the genii, of place. Somewhat of a “prose study” of both authors, the essay compares aspects and facets of their writerly techniques, including the use of topographical and geographical facts; the vibrant use of character and dramatis personae, giving a sense at times of novelistic dramatized narrative; the interpolation of myth and lore; the extension and intension of meditation and reflection; and the use of different modes of memoir, from diary-like entries to more sustained narrative non-fiction. Much like the mixed-genre nature of the works under analysis, this paper – both in shape and in intention – offers a dialectic between Sampson and her forebear, showing a line of continuity between their sensibilities, despite differences in time and/or place. Much like limestone countries, this paper shows-up pertinent analogies, and an elective, elected affinity.

中文翻译：

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动画场所：在 Durrellian 镜头下阅读 Fiona Sampson 的 Limestone Country

摘要 本文阅读菲奥娜·桑普森 (Fiona Sampson) 最近的小托勒 (Little Toller) 专着《石灰岩乡村》(Limestone Country)，在她的一位现代主义先驱劳伦斯·杜瑞尔 (Lawrence Durrell) 的镜头下。两位作家都有共同的模式、风格和方法来吸引地方的天才或天才。这篇文章有点像两位作者的“散文研究”，比较了他们写作技巧的各个方面，包括地形和地理事实的使用；对人物和戏剧人物的生动运用，在小说式的戏剧化叙事中给人一种感觉；神话和传说的插值；冥想和反思的延伸和内涵；以及使用不同模式的回忆录，从类似日记的条目到更持久的叙事非小说。就像所分析作品的混合流派性质一样，这篇论文——无论是在形式上还是在意图上——都提供了桑普森和她的前辈之间的辩证法，尽管时间和/或地点不同，但在他们的情感之间表现出一种连续性。Much like limestone countries, this paper shows-up pertinent analogies, and an elective, elected affinity.