He shows how people become as bad as the thing they obsess over, and since his obsession is infinite there is no hope for redemption. Both examples depict human life and obsession as inescapable, a pessimistic view. The narrator
Although both Perry and Dick had committed terrible crimes, Capote focuses instead on emotionally humanising Perry, and to a lesser extent Dick; therefore Capote claims that immoral acts alone do not make a person inherently evil. Capote reveals how deeply emotional, and how quickly Perry can get emotionally attached to someone with an analogy: “But he was afraid to leave Dick; merely to consider it made him “sort of sick,” as though he were trying to “jump off a train going ninety-nine miles an hour.””(124) The juxtaposition between Perry as a murderer and Perry as child who is controlled by his emotions is a recurring idea in the second part of In Cold Blood, and it exemplifies Capote’s current purpose of humanising Perry. Capote’s main
Extremely powerful central system stimulants.” (Gibson 129-130) Using uppers allows him to feel the different kinds of feelings that he has not been able to due to his weakened state, which gives him a similar type of excitement. This type of enjoyment has been lost on Case because he feels trapped in his body by the lack of pleasure. Therefore, instead of allowing his body to health, which he was previously offered, he abuses it with harder substances that further entrap him within his body, with no means for an escape. He attempts to fix his dilemma of being trapped in his own body by replacing his bodily
Conversely some believe, he should not have confessed in the beginning. Dimsdale should have confessed in the beginning. There are three reasons to support this argument, physical pain, lives changed, and a guilt ridden conscience. Physical pain was largely demonstrated when Dimsdale would whip himself as a form of punishment. He was extremely ill due to the fact that his guilt was eating away at him.
One can’t be happy or attempt to be happy if that person is suffering depression; therefore, expressing agony is a starting point in achieving happiness. As Weiner also says, “A love of language may not guarantee happiness, but it allows you to express your despair eloquently, and that is worth something. As any poet (or blogger) knows, misery expressed is misery reduced” (Weiner 158). During his travel, Weiner discovers that in any language, there are more words describing sadness than words describing happiness. People tend to express their grief more strongly than their happiness.
It could be that he is cursed in the life he’s been given. Or perhaps, it is because he is damned for his choices and by his actions. Possibly, it is because he is an unlimited package of flesh too soft for the hardness of this life. He is a spectrum of bruises coalesced (the only wholeness he has ever felt), a railway map of scars stitched together into a being that is half-formed. His mind battles with itself in a rhythm of endless constancy.
This scarcity helps him devalue himself and feel he is ceasing to exist and with this starts using irregular sentence structures as seen in the quote “I was nothing but ash now” (Wiesel 54). Notice in this sentence the simplicity of all the words except the word nothing. He is adding emphasis on the word nothing because he himself believes that he has deterred into nothing. This helps readers understand how little life he has left and he is not in fact truly living but just surviving. At times he does not even want to be doing the simple task of breathing but just quit.
A Disappointing Crime “Mistakes are always forgivable, if one has the courage to admit them.” -Bruce Lee. Everyone knows that minister Dimmesdale was guilty, but some people feel that it was right for him not to confess, while others strongly believe he should have taken ownership of his actions and confessed his sin. Minister Dimmesdale should have confessed his sin for these reasons, he would bear less shame, the people trusted him to confess, and Hester should not have to bear both of their burdens. The minister should have confessed his sin since he would bear less shame. Unfortunately, most of the minister’s shame came from the fact that he was hiding his sin.
However, since Russell used imagery to flesh out his character as a boy consumed by guilt, a layer of realism is added to the story. For example, the image of Waldo’s recurrent nightmare highlights the fact that he places the guilt solely on his shoulders, even though he could not control what happened to Olivia. Everyone knows someone that has been or is in a similar situation to Waldo -- someone unrelenting cruel towards themselves due to an outcome they could not control. In fact, many readers can personally attest to feeling the same guilt that Waldo is in the story, whether it be regarding a similar type of tragedy or something else entirely. This sense of relatability helps the reader to connect to the themes and characters Russell portrays in a way that is impossible if she wrote it any other