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.
All in all, Leonard attempts to educate readers on the Joyce’s style of writing while also telling readers about the hidden messages behind those writing, including Irish nationalism. Joyce use of epiphany in his writing is what makes in so successful in the writing industry. However, the way Leonard presents his argument is confusing. Any form of unnecessary information should be cut out in order to keep readers invested in the
when the ending is taken in light of Miss Prism’s commentary, one should start to wonder what Wilde is trying to say in ending his play in such a clichéd manner. Though the main characters’ actions portray them to be scatterbrained and foolish, taking trivial matters seriously and serious matters trivially, they haven’t necessarily done anything terrible, as their actions do little to harm others inside or outside of their social circles, and they haven’t done much good, either. Not only does Wilde’s ending follow the “rules of fiction”, he follows these rules so judiciously that Earnest takes on the air of parody. Earnest’s plot follows an outline of a cheesy romance story—two or more individuals fall in love at first sight, some conflict
By using his dystopian fiction, Bradbury is able to create a fictional, but realistic world, allowing the reader to see what grim future awaits should his issue remain unresolved. Once the reader knows more about their bleak future, he or she will be more proactive in combating the issue. Conversely, Henry speaks to his audience rather than present his arguments in a textual format because he wants to personally encourage revolution and form a direct connection with the people. Only then will his audience be able to make a stand. In contemporary society, we must all examine how we feel on the inside in order to decide if we want to tackle an issue or not: When, if ever, is the right time to challenge authority?
One of the most important qualities within a story is whether or not the narrator is reliable. In most cases, the reader never takes this “narrator” into question as it is some omniscient being who is easily forgotten. The cases, in which the narrator comes into play in the reader’s mind, are typically when the narrator is of homodiegetic narration. This is a common device in more narrative texts and can even be used as a tool to make the reader feel a more personal touch to the story. If this trust between the narrator and the reader is breached the whole story it can take a different look towards the reader.
The two alternate endings are not possible for a narration that should adhere to the laws of verisimilitude but John Gardner in The Art of Fiction provides some relief to just such an argument: “The reality of the world of the tale, in other words, is that of a moral universe. What ought to happen, possible or not, does happen” (73). He states, what should happen does happen. And moreover in the very beginning, Fowles states that “I must conform to the definition of freedom for me as well as for my characters” and shows the pleasure that he finds in allowing his words to break from convention that has been almost shown on every page, especially at the close of the book with two separate endings for Charles and
Shelly is also showing the importance of how knowledge is not everything and that a person should not always strive to learn all that he or she can learn. Shelly is also showing the element of romanticism on how the main narrator Victor is showing the importance of intelligence is not as important as instinct. Victor teaches Robert to not make the same mistakes as him, “You seek for knowledge and wisdom as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been.” (Shelly 14). Mary Shelly grand purpose of opening this story with these letters is an attempt to communicate to the reader the mistakes that the narrator has made and to later discover what those mistakes
It’s like patting yourself on the back and saying, ‘My nonfiction is creative.’ Let the reader be the judge of that. “ According to Cristina Hildago, a writer of creative nonfiction should not alter the accuracy of the narrative but in order to write an interesting story, a writer must also use of “devices and strategies available to the fictionist.” Generally, writers conduct researches, interviews, and immersion to effectively maintain the validity of the factual elements on the subject
McGiveron’s critical review of Fahrenheit 451 concerns the symbolic importance of Montag’s hands. McGiveron claims that Montag’s hands are representative of his conscience and Montag only fully controls them when he “has decided to do good”, making them “reflectors of conscience.” His argument is very convincing, but I think Montag’s hands represent more than just his conscience, and, later in the novel, they do not represent conscience at all. Montag’s hands and their seemingly independent actions represent his subconscious mind: his emotions and, sometimes, his moral drives. In the beginning of the book, Montag finds a special pleasure in burning books and defines his hands as those of “some amazing conductor,” (Bradbury 3).
The reality of the universe of this particular work in One Hundred Years of Solitude by García Márquez erases the boundaries between the fantastic or imaginary and the real in order to present a situation in which both coexist in harmony. Although literary critics who see the novel as a totality unto itself, with its own declared ends bearing only an analogous relationship to society 's activity, may well object to this kind of test. Such critics may seek to judge novelists, not according to how well they depict real life, but in terms of how they create a new reality in an independent literary world. But since the novelist has an impact upon society, we argue that his work must also be judged on its view of "reality" and its interaction with human events. The characters in One Hundred Years of Solitude speak as if at a long and phenomenal party.
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.
What makes the book worth reading, however, is not to revel in the action, nor to mock the seemingly haughty narrator, but to analyze the author’s portrayals of human nature. Wells riddled the plot with examples of the moralistic slump that may occur in the worst of circumstances. To think that “life is an incessant struggle for existence,” is void of all morals and emotion, a raw notion that reveals our most basic purpose in life, simply existing, rather than feeling (Wells 208). His startling displays lead me to wonder whether he is pessimistic or realistic about the human race. This aspect of the text is the only reason the book managed to keep my
George Gascoigne publishes A Hundred Sundry Flowers, as a collection of various works by unnamed authors, while in fact being his stories. One of his stories, The Adventures of Master F.J., gains quick recognition because it is the tale of an anonymous man who falls in love with an elite married woman. While it may seem like an insider’s view of the events taking place among the higher classes, it remains a fictional story. However, because A Hundred Sundry Flowers is later banned, it demonstrates its similarity to non-fiction. Regardless of Gascoigne’s intentions of editing the story into a conventional manner in the following years; his initial publication suggest to readers the gossip-like qualities of his story are meant to attract readers.
In Confetti Girl by Diana Lopez, the narrator has a very different viewpoint of the situation than her dad. First, they definitely do not agree on priorities. I the story, it states, “Nothing’s more important than his books and vocabulary words. He might say I matter, but when he goes on a scavenger hunt for a book, I realize that I really don’t.” This shows that the narrator’s dad doesn’t take her opinion into account when he is choosing books for her.
The True Meaning of The Road Throughout the novel The Road by Cormac McCarthy, a man and a boy live in a post-apocalyptic world where they endure countless hardships. The new troubling Earth is lifeless, hopeless, and radiates destruction. However, the novel does not simply teach of the despair of the world, but rather the strong will that these survivors require. They must have the perseverance to endure the initial shock of their new world, to live despite their circumstances, and to keep their own humanity intact, but also be able to limit their compassion. However, some might argue that their will to survive means nothing.