Subsequently, the reader can make different predictions on what will occur throughout Don’t Get Caught, and the ability to predict and analyze uniquely is one of the principal ideals of Postmodernist literature. Ultimately, the central purpose of an author’s novel is to engross the reader, by writing in a genre and movement that is appropriate the book. Appropriately, Kurt Dinan engages the reader with both a Mystery genre and Postmodernist elements in his novel, Don’t Get Caught. Postmodernists believe that traditional authority is false and corrupt, and the central theme of Don’t Get Caught is that the powerful students play pranks and humiliate the less influential students. There exists a social elite club known as the Chaos Club that plays pranks on the school and faculty, and nobody can figure out the leader of the club is or who the members’ are.
Choosing between right and wrong reveals our true character. Frightened by the possible consequences of making the wrong choice, we all attempt to make decisions that will be most beneficial to our situation. However, making the right choice isn’t always easy, especially when the right choice may mean giving up something that is important to us. This is the conflict the barber faces in Hernando Téllez’ “Just Lather, That’s All.” When the man who has been executing rebels walks into his barbershop, the barber, a secret rebel himself, is faced with the responsibility of determining whether his enemy deserves to live or die. By establishing whether his own morals and beliefs match those of the man beneath his razor, the barber may not only jeopardize his pride but also change his life forever.
It interrupts the storyline and causes the reader to lose track of what they have just read. Not only does it distract from the novel but also it takes a narrative and alters it into a nonfictional work. Adding more information causes the reader to become sidetracked and can cause them to lose interest in the ongoing events throughout the novel. Overall, the use of intercalary chapters affects not only the novel but me in a positive way. They have the power to provide the reader with background information on what they will soon be reading.
There are several evident distinguishments between Frederick Douglass’s The Narrative of the Life of Frederick Douglass and Kate Chopin’s The Awakening. Douglass’s narrative is an autobiography while Chopin’s novel, on the other hand, is classified by realistic fiction. Both incorporate intricate structural, technical, and rhetorical choices in order to effectively convey a struggle against society. However, attributed to their different literary genres and subjects, they hold significantly more differences concerning how these stylistic aspects affect the portrayal of the story. It is essential to recognize how neither text is superior in terms of the effectiveness of the author’s choices in conveying a message; rather, the methodologies used
There is also a sense of irony at the end of the story. The narrator’s eyes are closed and he is being led by a blind man, yet he is able to see. Carver never explains what it is the narrator sees, but there is the sense that he has found a connection and is no longer detached or isolated. The narrator is faced with a stark realization and glimmer of hope.Hope for new views, new life and probably even new identity. Even the narrator’s wife is surprised by the fact that her husband and Robert really get along together.And this is an undoubtful argument that the narrator changed throat the story, Robert unconsciously succeeds in bringing new psychological and spiritual opening to
The novel Legend by Mari Lu stands out from others. Mari Lu uses a protagonist and antagonist to add a conflict in her novel. Doing this shows that “narratives contain a primary protagonist, who is the focus of the narration. In contrast, antagonists are usually portrayed in a negative fashion, and thus, viewers may feel a sense of counter empathy toward them”(Magliano 1). The antagonist should be at least the equal in strength of the protagonist, and preferably stronger.
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. “How to Tell a True War Story” and “Ambush” are stories that both explore on topics: truth, the real definition of a true war story, and the role of truth. O 'Brien starts off “How to Tell a True War Story” with “This is true.” Starting this story with such a bold sentence not only makes it seem more true, but to some extent, it acts as a comfort statement to the narrator’s own doubts, as if there were unspeakable uncertainties and lies of the narrator. The title of this story also comes into play, with a meta-fictional name “How to Tell a True War Story”, as if it were a guide, a manual, having a true war story tell the readers how to tell a true war story. However ironically, towards the middle of the story, us as
Although Atwood does not directly share her own opinions throughout the novel, her powerful writing allows the reader to understand the deep implications of these concerns for themselves. As a result of this, the novel delivers a clear message that our current actions can have a detrimental effect on our
Through its contrasting scenes in the absence or presence Jim, Isherwood’s “A Single Man” suggests that George has a critical view of the people around him as he sees himself as a minority which affects his thinking process. “Reaction formation secures the ego against the return of repressed impulses from within…”. From the novel, George hints traces of conscious and unconscious reaction formation due to his dissatisfaction in life. Consciously, George portrays this defense mechanism towards Doris, a fling of Jim’s past, when he visits her on her deathbed in a hospital.
The author used the technique of simply addressing his ideas to the readers by breaking the formality. The masterpiece was Fitzgerald’s way of not only escaping the darkness that he felt surrounded by but also being helpful for those reading his essays. The crack-up contains Fitzgerald’s personal breakdowns that were the key to connection with the audience. He struggled to keep balance which lead him to making a masterpiece for his faithful readers and not only. The Crack- up was Fitzgerald’s way of sharing his philosophical ideas about life.
It only takes a little mistake to damage the quality of the overall story. Hart notes, “Too much reportage and we cross into scholarship or journalism. Too much imagination and we cross into fiction,” (Hart 223). Writing non-fiction is a challenge, yet a doable one. However, the author needs to make sure that the information that they are providing is concrete and even if they are unsure to not alter it.
Jane Smiley in “Literature’s Dual Life in the Case of Huckleberry Finn” explains that “when a nation’s history is fraught with conflict” it is best to “talk it out” because these subjects are meant to be difficult and the only way to bring true understanding of it is to analyze it (Source K). The Adventures of Huckleberry Finn is an irreplaceable tool to help understand the true historical context of such difficult issues. David Matthews in “Dumbing and Numbing Down Jim” clarifies that even removing the offensive words in the novel takes away from the actual meaning and history behind the story (Source F). When you take out all of the offensive parts of Huckleberry Finn, you are left with a runny, watered down version of history. The reason why it is offensive is to make you angry and shocked and embarrassed about your