Chimimanda Adichie's The Danger Of The Single Story

When you see, your parents fight always and you cannot do anything, also if you exposed to domestic violence, and no one take care of you this is a bad environment to live in. pecola lived in that kind of environment and she get mad at the end because of her family, “An experience of violence can lead to lasting physical, mental, and emotional harm, whether the child is a direct victim or a witness.”

" Recreating an imaginative geography of west versus east, us versus Muslims, cultures in which first ladies give speeches versus others where women shuffle around silently in burqas." Ibid.784 She argues that this concern is artificial. Much like Cultural ecology it focus on the fact their there is a problem without any relation to history or a solution to the problem that would work to improve the problem within the realm of the community being painted as a victim that needs saving. Lila Abu-Lughod concludes her point with saying people should be suspicious whenever messy history is reimagined to paint a different narrative.

Iranian writer, Firoozeh Dumas, in her narrative essay, “The F Word,”illustrates the challenges of having a different name in America. Dumas’ purpose is to represent the importance of accepting one’s identity and other’s. Having a different name brought her a great challenge to fit in with her peers. Through the story, she learned how to accept her own name and how should others accept people’s differences. She portrays this idea in a humorous way.

“We know what we are but not what we may be” is what William Shakespeare wrote for the character Ophelia to say when referring to the uncertainty of consensus in a knowledge claim. With such an inspirational quote, as an inquirer it could be interesting to analyze in what ways “Robust knowledge requires both consensus and disagreement”. Just like all knowledge claims they can be looked upon from an infinite number of perspectives, thus creating an undefined number of possibilities, nevertheless, to prove the validity of this assertion, it requires to be discussed with reference to two Areas Of Knowledge. The word “robust” according to the Cambridge English Dictionary is essentially the “strong and unlike to break” nature of something. Consequently,

Tim O’Brien never lies. While we realise at the end of the book that Kiowa, Mitchell Sanders and Rat Kiley are all fictional characters, O’Brien is actually trying to tell us that there is a lot more truth hidden in these imagined characters than we think. This suggests that the experiences he went through were so traumatic, the only way to describe it was through the projection of fictional characters. O’Brien explores the relationship between war experiences and storytelling by blurring the lines between truth and fiction. While storytelling can change and shape a reader’s opinions and perspective, it might also be the closest in helping O’Brien cope with the complexity of war experiences, where the concepts like moral and immorality are being distorted.

War veterans have been misunderstood and mistreated since the days of the ancient Greeks. Other men tried to steal the wives of soldiers back in ancient Greece, and America’s Vietnam veterans returned and were labeled as “baby killers”. The experience of war and serving in the military changes veterans. The only people who have experienced what they have are other soldiers. They feel like no one understands what they have been through when they return home.

“Where I Come From Is Like This” is an essay that primarily is addressing the people who have misinterpreted the significant roles that Modern American Indian women played in traditional American Indian culture. Paula Allen sets up her argument in the first paragraph and states that American Indian Women are “deeply engaged in the struggle to redefine themselves.” (1.) They struggle with the fact that they have to incorporate both the traditional tribal and modern definitions of Indian women in their lives.

Mona Hatoum has experience with being confronted with patriarchal power structures and experiencing both a feeling of displacement and of being marginalised. Hatoum is a Palestinian artist born in the Lebanon. Although she was born in the Lebanon she was never able to obtain a Lebanese passport. She was later exiled to London where she stayed because she was unable to return to Beirut because of the war. "If you come from embattled background, there is often an expectation that your work should somehow articulate the struggle - I find myself wanting to contradict those expectations."

(Tan 388). The main reason why she has a hard time doing this is because she never showed love to anyone directly with anyone in the first place. It was impossible for Ruth to tell Art that she loved him when she could barely say the same thing to her mother. Though Ruth does not believe that discussing such matters with Art is critical, it is actually separating them

She gives precedence to deep, complex characters. While writing In the Time of the Butterflies, she took the time to describe the passions, dreams, and feelings of each character in order to help the story impact everybody, not just the people touched by the problem presented in the book (Smith). Alvarez claims that she sacrificed correct dates, events, and different characters while writing her novel in an effort to fully immerse her reader in the story, believing that an understanding of a true tragedy can only come from fiction (Alvarez In the Time of). Along with giving priority to characterization, Alvarez also strives to not advocate for political change in her writing. In her opinion, stressing political points and diatribes makes the work only relevant to a certain time period.