Identify the AUTHOR of the following passage: In proportion as I gain power over words, shall I lose dominion over sentiments; in proportion as my tale is deliberate and slow, the incidents and motives which it is designed to exhibit will be imperfectly revived and obscurely pourtrayed.

Identify the AUTHOR of the following passage: For intricacy such a knot he had never seen in an American ship, or indeed any other. The old man looked like an Egyptian priest, making Gordian knots for the temple of Ammon. The knot seemed a combination of double-bowline-knot, treble-crown-knot, back-handed-well-knot, knot-in-and-out-knot, and jamming-knot. At last, puzzled to comprehend the meaning of such a knot, [he] addressed the knotter: “What are you knotting there, my man?” “The knot,” was the brief reply, without looking up.

Identify the AUTHOR of the following passage: Inside [the old scarred box] there were three hand-carved masks, rust to dark brown, ivory I was sure. Each one was about five inches from crown to chin and three inches from one cheekbone to the other. They were simple images with sloping foreheads and slitted eyes. One was smiling, one possibly feral, and one looked like he was whistling through an O-shaped mouth.

Identify the AUTHOR of the following passage: I am interested in certain [sites] that have the curious property of being in relation with all the other sites, but in such a way as to suspect, neutralize, or invent the set of relations that they happen to designate, mirror, or reflect.

Identify the CHARACTER represented in the following passage: “I don’t recognize any organized form of law enforcement, or government for that matter, as valid,” he stated simply. He might have been a prime minister or anarchist. He could have even been some advanced form of alien life, looking down on humanity as we might look on a mob of ants. “But even if I did, there is no crime that I could be tried for in this country. Well, maybe some laws having to do with money. But I would never allow the hypocrites on our benches to stand judgment over me.”

Identify the AUTHOR of the following passage: He was a slaver of souls in the twentieth century. He was a killer and a liar and a thief, but that didn’t matter to me. […] My domination of him came from a personal conflict we were having. I didn’t want to be another one of his slaves. I was foolish enough to believe that I could take his money and keep my freedom.

Identify the AUTHOR of the following passage: [T]he formal features of the ruin are situated in an ambiguous zone, whereby what remains is defined by what is absent.

Identify the AUTHOR of the following passage: The ghosts shudder, but they do not leave. They sway with open mouths again. Kayla raises one arm in the air, palm up, like she’s trying to soothe Casper, but the ghosts don’t still, don’t rise, don’t ascend and disappear. They stay. So Kayla begins to sing, a song a mismatched, half-garbled words, nothing I can understand. […] And the ghosts open their mouths wider and their faces fold at the edges so they look like they’re crying, but they can’t. 

Identify the AUTHOR of the following passage: The heterotopia is capable of juxtaposing in a single real place several spaces, several sites that are in themselves incompatible.

Identify the CHARACTER represented in the following passage: ____ leaned himself wearily against the wall of the upstairs hall, his head resting against the gold frame of an engraving of a ruin. “I keep thinking of this house as my own future property,” he said, […] I keep telling myself that it will belong to me someday, and I keep asking myself why.” He gestured at the length of the hall. “If I had a passion for doors,” he said, “or gilded clocks, or miniatures; if I wanted a Turkish corner of my own, I would very likely regard Hill House as a fairyland of beauty.”