Schulz’s first major argument is the lack of emotion in the novel. This dispute is declared false with evidence such as Nick Carraway’s relationship with Jordan Baker. There is a lot of affection that is displayed between these characters, that help prove Schulz wrong. Also, Schulz claims the book to be too unrealistic regarding “human struggles.” What Schulz did not understand is that Fitzgerald purposely wrote the book to emphasize the “Great” in The Great Gatsby. The achievements and luxuries of the book are to be depicted, more than the strife of characters.
The Princess Bride is presented as an abridgement by William Goldman of a book by S. Morgenstern. However, S. Morgenstern was not a real person and there was no such book. Goldman has frequent commentary throughout the novel about scenes he has “removed.” Of course, the book came expressly from the mind of Goldman.
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.
Golding through his use of symbolism clearly shows the movement from order to chaos throughout the novel. Unfortunately this idea that life can slip into chaos from order is not only fiction like Golding’s novel but the truth is that it has been a reality in some countries throughout the world. But hopefully in these cases in the future happy ending stories will be true ones rather than fictional ones. Nevertheless it is usually good that conquers evil and that more positives should be taken from stories rather than negatives. Stories should be judged by the level of interest it inspired in the reader and their consideration of its main theme.
It is unusual in a story for the setting to serve the function of a character. In the novella Ethan Frome, the setting takes on a major role by mirroring the evolving mental state of Ethan Frome, the story’s reticent protagonist. The author Edith Wharton, uses the literary element of imagery to incarnate the inanimate setting in order to serve as an additional character. The imagery Wharton uses describing the snowy New England countryside, gives the reader the ability to observe Frome seeing the world at first, as colorless and hopeless. Later, Wharton uses imagery about the setting again, to reveal Frome’s transition to seeing that same world as brilliant and auspicious.
Not only does Nick serve as a vessel that Fitzgerald uses to narrate the story, but also is placed amidst the climactic plot-- “where he is and where he stands is as important to the story’s import as Gatsby… like Marlow, Carraway provides a moral center” (Eble 40). Nick’s mesmerizing voice and physical presence in the book urges readers to examine his presence in peculiar ways. This is another indication of how Fitzgerald manipulated scenes and excerpts of the novel to get the effects he wanted. To conclude, with the use of Nick’s unreliability due to his lack of self-constraint, the reader is forced to differentiate between reality and fantasy as Nick Carraway provides not only a
He displays this with his novel, The Scarlett Letter which contains a connection to Hansel and Gretel. At first glance the Scarlett Letter may not seem similar to Hansel and Gretel at all. There may not be a witch, bread crumbs, or lost children; however, each of these aspects is present in the Scarlett Letter,
In the short story "Cathedral" by Raymond Carver his choice of narrative point of view is a glance into a cruel, non filtered mans first-person outlook on life. It provides a more depth view into the emotions, and stray of the narrator. When the narrator “speaks,” his mood and inner traits are revealed by his tone of “voice.” This adds to the powerfulness of the story because we hear things he doesn't directly or intentionally reveal; as a result, we know him at a deeper level. For instance, the narrator’s sulkiness of others’, close relationships with his wife (who is never named) is apparent from comments he makes. The unnamed narrator is self-absorbed, concerned only with how the visit with Robert will affect him.
He is the most important minor character because he allows the plot of the story to continue. The novel’s main focus is not on Croy, but he points out the strengths and weaknesses of Tally. This continues one of the main events in the following text evidence found on page 237. “Some Smokies were suspicious of her, worried that she might be a spy. Tally had thought they all accepted her by now.
“2081” tells an inspiring story of change and rebellion against oppression, lead on by the embodiment of hope and the human spirit while “Harrison Bergeron” serves as a reminder of the dangers of restricting potential in the name of protection. Both Vonnegut and Tuttle tell the same story, but the tone of the ending is altered by changing seemingly insignificant details to influence the way the audience percieves the events of the story. Audiences of both can easily agree that the emotions inspired by the two different works are very different. Although the integrity of the plot and the dialogue is almost comepletely untouched, the message and theme are undoubtedly the works of two different people, proving that there are truely two ways to tell the same