Throughout history, there have been many controversies concerning books causing them to either be challenged or straightforwardly banned. For a lot of these books, they are banned in certain regions due to viewer discretion, such as the case with the mature topics noted in J.D. Salinger’s, The Catcher in the Rye. The Adventures of Huckleberry Finn, a picaresque novel by Mark Twain, however, is generally distinguished as a racist, due to diction, and for that reason one of the most challenged books of all time. Despite the negative connotation surrounding banned books, such as The Adventures of Huckleberry Finn, their people who will argue the book's impact on the world.
The initial reception of the novel was that it’s racists because of the usage of the “N” word and the stereotypes, currently the book has mixed views and many places has banned it, and I believe that this book is not racists. When this novel first came out in 1885, some people found it racists. The novel used the “N” word to describe slaves back in the 1800’s. People viewed the word as negative towards slaves and it didn’t correctly define them. Some critics got the wrong message, “...they straightway proceeded to inform the reading public that the book was gratuitously coarse, its humor unnecessarily broad, and its purpose crude and inartistic” (The Atlanta Constitution).
Nevertheless, literary journalists, usually, omit the explicit projection of the authorial subjectivity through the use of fictional point of view to ensure a sense of historical objectivity. They overcome the borderlines between public events and their intersubjective experiences by approaching “public fact through a frank, obtrusive, liberated assertion of their private consciousness” (Hellmann, “Postmodern Journalism” 52). In other words, literary journalists indulge themselves in an intersubjective experience of narrating public historical facts from an individual perspective that problematizes the dichotomy between the public and private, between the historical and the personal, and consequently between the journalistic and the literary. The autobiographical trope can be traced in The Armies as the narrative opens a window of intersection between a highly intersubjective experience and reporting a historical event. Through the formal division of the book into two parts, Mailer seeks to establish an inquiry about the status of genres traditionally polarized as fiction and history, literature and journalism, novel and history.
Some of the recurring themes in works of postmodern literature turned out to be paranoia, minimalism, metafiction and twists on heroism. Heroism came to be a debatable topic in analysis of postmodern literature because of the arguable diversity between the novels. However, it’s sole purpose was not just to entertain, but like most art, for the author to express themselves in a way they haven’t been able to. As a result, Catch-22 presents Yossarian as an anti-hero used by its author, Joseph Heller, to introduce his opinion on war, war heroes and the current social status of the United States. The altered perception of heroism, believed to be present in only some works of postmodern literature, is used to convey the author’s state of mind to the reader in an
But it can also be seen as a piece of literature that tries to tell a story and evoke emotion through symbolism rather than be a historical recording. Either way that the History is viewed, there are many theoretical implications that can be drawn from it. This essay will look at three things: Human nature and its relationship with power and justice, human nature and how its struggle with power leads to anarchy, and human nature’s savagery during anarchy. A common saying and compelling argument for the analysis of history is “Those who do not learn from history are doomed to repeat it.” Human nature and its history has always been one of cruelty and an ironic lack of justice. A lust for power has been one of the primary drives for human cruelty.
The contrast between these two sub-sets of fiction is controversial among critics and scholars. Neal Stephenson has suggested that while any definition will be simplistic, there is a general cultural difference between literary and genre fiction today. On the one hand literary authors are nowadays are frequently supported by patronage, with employment at a university or similar institutions, and with the continuation of such positions determined not by book sales but, by critical acclaim by other established literary authors and critics. On the other hand, he suggests, genre fiction writers tend to support themselves by book sales. However, in an interview John Updike lamented that "the category of 'literary fiction ' has sprung up recently to torment people like me who just set out to write books, and if anybody wanted to read them, terrific, the more the merrier.
ing such a type of narrative represents a danger, as not always readers do understand that a narrator is not the final voice of truth and authority.Some readers might even confuse the author with the narrator, further deluding themselves. The unreliable author is most present in mystery novels, where their unreliability is often revealed as a part of the final resolution. Numerous cases of unreliable narrators have been recoreded through history in literature.When speaking about European literature in accordance with the concept of unreliable narrators, there are quite a few present-day works of fiction that fit. However, when talking about unreliable narrators in the theoretical modernist timespan, two representative figures are the authors James Joyce (2 February 1882 – 13 January 1941) and Joseph Conrad (3 December 1857 – 3 August 1924), with their respective pieces of work, ” Joseph Conrad Joseph Conrad was
Multiculturalism and Oral History The older position in history is that history should be expressed scientifically with facts and reliable data; however a newer opinion is that all history is subject to vagaries of perception and interpretation. This relativism is the root of most post-modern thought in the field and such relativism is vehemently denied by traditionalists. The issue with relativism is the absurdity that it can take when not restrained by logic; such as refraining to ascribe higher truths to certain histories and insisting on the possibility of exploring every possible gap between the past as it may have been and it’s rendering. In this scenario history could become an endless battle of subjectivity with no acceptance of scientific facts and fail to ever reach at least preliminary conclusions. It is nevertheless critical that certain aspects of post-modernism begin to be embraced by all historians, especially multiculturalism and Reconstructionist methods in light of new global perspectives.
Goldsmith is completely condemning the new social changes that are taking place, he radically expresses his feelings against the rule of England through the medium of poetry. This is a fictional poem despite the fact that it is an account of an event that took place in history; it is Goldsmiths take on the effect of the enclosure acts on the lives of the peasants in England. Goldsmith gets his message across by describing the effect that these Enclosure acts are having on both the rural village of Auburn and indeed the impoverished peasants who once farmed the land. It can also be argued that Goldsmith was being completely over-dramatic when he wrote this poem some critics say that he idealized the English peasantry far too much and that the rural life he described in ‘The
The Kite Runner is a book written as fiction yet possibly read as reality; some readers might even question the veracity of the events narrated throughout the story before realizing its categorization as a novel. This comes exclusively due to the story’s evident partial factual basis, even when said facts only reside in the Afghan and American history cited in the book. But how different can readers truly interpret the text? Knowledge of the novel’s internal and external context can help a reader understand more about the book, and hence possibly even find new hidden meaning in passages that were before just fiction; however, the writer’s understanding of his readers might also help him guide said audience towards a specific message. Is the book more than it seeks to feign?