O’Connor’s “A Good Man Is Hard to Find” takes a different approach in a good story by introducing a slew of crazy irony. All the irony gives the piece a vast dynamic in characters and themes. The first irony found in this story is the whole idea of the “Good Man”. The Grandma throughout many different scenarios in the story skewed the definition of a “Good Man” by using it until it became meaningless. She used it to describe Red Sammy after he let two people screw him over by letting them charge their gasoline.
According to the Oxford English Dictionary a phony is someone who is not real or fake. In the novel The Catcher In The Rye by J.D Salinger, Holden the protagonist has mental standards genuine people and if they are not met he goes as far as to label them phonies. Holden continuously labels individuals as phony, but he himself I guilty of phoniness creating a theme of hypocrisy. An instant of when his hypocrisy is seen is when he calls Mr. has phony, for using people to his advantage. Another example is when Holden calls his brother D.B a phony for wasting money.
An antagonist like Arnold has surpassed the typical traits of a killer or a psychopath, or some combination of both; he lives in a disguise that distorts his appearance and behavior. He becomes a Satan-like figure, arriving in his gold car and honking "as if this were a signal Connie knew" (Oates, “Where” 142) like a demonic second coming. Arnold, a physical manifestation of evil, sees the weaknesses in the flirtatious, carefree identity Connie presents to him. Brenda Daly suggests that the shiny exterior of the van summarizes the identity of Arnold, stating that the exciting, intriguing person he seems to be is nothing more than a false identity (34). By using Arnold to represent the devil, Oates is quietly commenting on the duality of everyday life, saying that the world is full of people like Arnold who are pretending to be something they are
In the short story, Where Are you Going, Where Have You Been,” by Joyce Oates, Arnold Friend, a disgusting pediphile character, tries to seduce a teenager named Connie to come on a car ride with him. Arnold was peculiar he hung around teen spots even though he was years out of high school and he drove around in his gold colored car. Arnold is a walking imposter he was an idol to many teens, but in reality he was pediphile looking for his next victim. Throughout the short story Arnold acted fake by every standard he would fool people into thinking he was a great person, but in reality it was a disguise. People need to realize that some people may use them and disguise themselves to achieve their personal desires.
Flannery O’Connor’s short story, Good Country People, is a masquerade of characters who pretend to be something they are not. The wisdom of Mrs. Hopewell and Mrs. Freeman hide only shallowness, the pious Manley Pointer is a cunning, deceptive trickster with a perverse hobby, while the nihilist Hulga hides, behind of seeming indifference towards faith and contempt for the simple-minded people surrounding her, a much profound and repressed need for the spiritual side of life. The first clue to Hulga’s spiritual side is her resemblance to O’Connor herself. The author’s “crippling, killing disease” (Horner), lupus, forced her to stay at home, and her life might have taken an entirely different direction had she not had this condition. Her many academic accomplishments point towards her intellectual life, much like Hulga, who had a Ph.D. in Philosophy.
Edgar Allen Poe once said, “without a certain continuity of effort-without a certain duration or repetition of purpose-the soul is never deeply moved.” Edgar Allen Poe claims that repetition can move a soul and in the Tell-Tale Heart it does. The reader is often moved by fear or emphasis on the main character’s madness because of repetition. Edgar Allen Poe, the author of The Tell-Tale Heart, used repetition in his story to put more of an emphasis on the main character's madness, in hopes to create more suspense for the reader. At the heart of this suspense is the narrator, a madman, who uses repetition to emphasize the deterioration of his mind. When the madman explains his actions or his thoughts he uses repetition to either put emphasis on how crazy he is going over the old man's eye or how his actions are justified.
In the novel, “The Kite Runner,” by Khaled Hosseini, the imbalance in Hassan and Amir's relationship is obvious throughout the content. Amir regularly utilized his knowledge as a way to criticize Hassan. Hassan's insight is self-evident, however, his absence of schooling implied that he was ignorant and incapable to gain the delight of perusing, instead, he needed to depend on Amir as the reader. As the writer states that Amir’s malevolence gets to be obvious through his part where he states that his favorite part of reading to Hassan was when he didn’t know the meaning of the big words. “I’d tease him, expose his ignorance.
Wilhelm Reich once wrote “A little man does not know he is little and is afraid to know. He hides his pettiness and narrowness behind illusions of strength and greatness”(). So then, what does that say about societies that hide their pettiness and narrowness between the covers of time-honored works of literature? Axiomatically, one must deduce that such social orders are cast within a matrix of irrational fears. Phobias that in maturation bring forth the illusion of greatness and strength by reactionary hostility, hatred, and violence.
It is human nature for a person to quickly fall victim to the powers of desire and lust. Even if the victim understands his or her actions, consequences remain inevitable. Typically a lesson is learned from one’s furtive behavior. John Updike’s short story, “A&P,” expresses the trouble of one young man named Sammy who struggles to impress attractive women and he fails to realize what potentially lies ahead. The story has a surprising ending that leaves the audience curious to the fate of the naïve Sammy.
John Steinbeck said himself that this was going to be “The book” (Steinbeck). The critic states that it is “clumsy in structure and defaced by excessive melodramatics and cheap sensationalism though East of Eden on the whole successful effort to grapple with a major theme” (Critical). They think Steinbeck is a moralist. His portrayal of good and evil are oversimplified and exaggerated. The critic also says although it has compositional failings, the novel does continue to affect people today.
I replied to the yells of him who clamored. I reechoed – I aided – I surpassed them in volume and in strength.” (Poe 1112-1113) Not only does Montresor bury Fortunato alive, but he mimics his screams as he entombs, taking sheer delight in Fortunato 's terror. Montresor is also an unreliable narrator, which, as defined by our text, is “a fictional character... whose knowledge or judgment about events and other characters is so flawed or limited as to make him or her a misleading guide to the reader.” (Charters 1745) The audience cannot count on Montresor to give an accurate depiction of the events in the story. What are the “thousand injuries”? (Poe 1108) What is the “insult” that finally pushed Montresor over the edge?