The fictional world is full of chaos, as people tend to prefer unstable theories to countless philosophies. Specifically, there is a literary shift from linearity and order to randomness and fragmentation. Consequently, Postmodernist writers understand that their works are subject to interpretation; however, they believe that the flexibility of understanding in texts is the basis for the development of innovative ideas in society. Moreover, Kurt Dinan writes in a nonlinear, flexible fashion by writing with a component of Mystery. 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.
When reading a novel, a reader will often imagine the outcome of the story based on the scenarios built by the author or narrator. In Pudd’nhead Wilson, The Great Gatsby and The Reservation Blues, however, the distinction between the expectation of the readers and the outcome of the story generates a sense of irony. The authors in all three texts use foil pairs to create that kind of conflict. They plot the story so that what we expect to happen on one person, according to one’s characteristics, actually happens on the other. The contrast between readers’ mind set and the ending of the stories suggests that all readers judge the characters based on their actions and assume a denouement for them.
Historical fiction, loved by many. Historical Fiction tells a story through fictional characters who are placed in a real time in history. Hearing/watching a historical event through the eyes of a character, and sometimes an unexpected author of history seems to draw people in more than one would expect. The historic events are told in a more relatable and comprehensible way appeal to people. The Book Thief by Markus Zusak does just that, draw people into the story.
The twin brothers respond with an "honour killing" of Santiago to defend Angela 's honour. Marquez wrote the novel in a journalistic style; thus, it keeps to the facts of what had happened. However, Marquez occasionally strays from this style through using surrealistic elements with a clear purpose. Chronicle of a Death Foretold is realistic as it 's based on a real story. Yet, Garcia Marquez altered some information on where it takes place and the names of the characters in the story.
Q1- Speculative fiction texts frequently have a clear political critique at their center, offering warnings about the present and the future. How can dystopian fiction go beyond warning to testimony? Use texts by both American or European and Middle Eastern or North African (MENA) authors to explore how dystopian fiction can be a medium for testimony or bearing witness, as well as criticism. Are there aspects of dystopian speculative fiction that make it particularly appropriate for testimony? Focus your analysis on three or four novels, though feel free to reference other books from your list.
But in this novel, the narrator uses dark, solemn puns like “Out-With” and “Fury” to convey certain meanings. Bruno is simply mispronouncing the real words, but the author is clearly asking the reader to consider a double meaning to these words. Discuss the use of this wordplay as a literary device. What is the narrator trying to convey to the reader? How do these puns further communicate the horror of the situation?
Furthermore, Diaz also uses conflict to characterize the personalities of each character. Junot Diaz uses various methods to project his stories that allow the readers to understand the stories vividly. Junot Diaz begins his book with an epigraph by Sandra Cisneros in which it states : Okay, we didn’t work, and all memories to tell you the truth aren’t good. But sometimes there were good times. Love was good.
Tim O’Brien never lies. While we realise at the end of the book that Kiowa, Mitchell Sanders and Rat Kiley are all fictional characters, O’Brien is actually trying to tell us that there is a lot more truth hidden in these imagined characters than we think. This suggests that the experiences he went through were so traumatic, the only way to describe it was through the projection of fictional characters. O’Brien explores the relationship between war experiences and storytelling by blurring the lines between truth and fiction. 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.
Fiction is defined as written stories about people and events that are not real: literature that tells stories which are imagined by the writer. Nonfiction is however based on true facts and a real story. Works of nonfiction are meant to be factual. This means magazine articles, newspaper stories, encyclopedia entries, interviews and textbooks are all nonfiction. Like the article “Adler’s Psychoanalytic ideas on development”.
Dom Casmurro is narrated in the first person narrative by the self-proclaimed protagonist Bento, nicknamed Dom Casmurro for his stubborn nature. The story is told solely from his perspective and therefore automatically creates a biased view of the events that come to pass in the novel. The flawed narrator (Bento) writes the story from his point of view completely muting out the opinions and speech that do not directly support his case in order to rally sympathy and build trust between himself and the reader. Despite the fact that all we have to believe is Bento’s thoughts and what he writes down, because of Machado’s writing technique we are able to see what Bento tries to do, which is to play the victim in the story. Driven by jealousy and
“It doesn 't deter crime, but merely cheapens human life and gives rise to more murders.” This is one of the many quotes that reflects Truman Capote’s view on capital punishment. In writing his novel, In Cold Blood, Capote’s primary purpose is to convey his opposition towards the death penalty. Through the stylistic elements of rhetorical appeals, diction, and a selection of detail, Capote reveals the attitude he holds against this unreasonable form of justice. Tying into the events of the trial, Capote uses the rhetorical appeal pathos to highlight his point by appealing to the emotions and sensitivities of his audience. He argues an unfair trial by referring to the M’Naghten rule in which “Kansas law allowed nothing more than a yes or no
“Shitty First Drafts” definitely caught my attention because of its use of profanity in the title. It was eye catching and chose to read it first over Stephen Kings, “What Writing is”. Lamott’s and King’s ideas on writing are different from one another. King compares writing to telepathy and how pictures in people’s minds are portrayed through writing. While Lamott’s ideas are that writing is a process and it takes many attempts.
In Unredeemed Captive, he made it clear that he wrote this historical novel based on research, also, journals and diaries left by the Williams family. Moreover, the evidence that he had in hand was incomplete, leaving him stuck in times. Yet, he managed to turn it into a novel based on history by drawing hypothesis from the incomplete evidence. He significantly drew hypothesis from two distinct sources, one from common senses and one from references. When he provided a piece of history that limited his path to continue his novel, he started to question the evidence and answered the question himself from his own common sense.