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.
Even tough we see him arguing with himself and feeling disgusted, showing that he is very much humane, and his only fault being way too ambitious. That was interesting because we get the feeling that something out of the ordinary is coming up and our anticipation gets into the story straightaway. At the very end, in the beginning of Macbeth’s downfall we didn 't expect that a murderer like him would, even in defeat, display conscience and bravery. "I will not yield to kiss the ground before young Malcolm 's feet,... And damn 'd be him that first cries 'Hold, enough! '" (Line 32-39, Pg 249).
‘Positive characters … usually prove miserably ineffectual when contending with ruthless overwhelming powers’ claims Amin Malak, noting on such protagonists as Winston Smith and Offred in George Orwell’s Nineteen Eighty-Four and Margaret Atwood’s The Handmaid’s Tale, and, when looking at the dystopian genre as a whole, he certainly seems to be correct. Dystopian fiction does seem to portray the worse side of human nature than the better, leaving the positive traits to the struggling protagonists. While utopian writers seemed to think that the essence of human nature was to do good, dystopian writers seem to think very differently and it is from this notion that these novels seem to be written. Nineteen Eighty-Four certainly seems to do this, with almost every member of the society representing one or more negative aspects of humanity. Throughout the novel, Winston constantly references the fact that ‘Today there were fear, hatred and pain’ and that in this society of Ingsoc ‘No emotion was pure, because everything was mixed up with fear and hatred’ and this is displayed in many, various ways.
As Rachel Hawthorne once said “Deception may give us what we want for the present but it will always take it away in the end.” In the short novel The Pearl By John Steinbeck, there are many themes presented like the theme that things are not always what they appear to be also know as the theme of deception. This quote shows how if you try to be deceitful you may get what you want at one point but in the end it will most likely vanish.The short novel is about how Kino our protagonist, who finds the pearl of the world. While Kino undergoes many difficulties such as how people keep lying and deceiving him Kino does fight back but he ends up hurting many people. The theme of Illusion vs. Reality is present in many different people, places, and
She did not have much hope left anyways for her life because she annoyed the misfit with her ugly and selfish ways. In another quote the grandmother implies that the misfit is a good man by stating, "Yes it's a beautiful day," said the grandmother. "Listen, " she said, "You shouldn't call yourself the misfit because I know you're a good man at heart. I can just look at you and tell" (421). The grandmother doesn't know the misfit from Adam, yet she already gave him a persona that he has to match.
Anagrams Response An anagram in the traditional sense is a word that can be scrambled into another word. What Lorrie Moore’s Anagrams does is put a narrative inside a narrative, which places the characters in different scenarios as the time jumps forward. There isn’t a perfect way to put another story within a story, which is demonstrated by Moore’s use of literal imaginative characters when Benna is confronted about her fake daughter (Moore, 201). The overall meaning of the novel is somewhat confused by the end, though the use of Benna’s imagination is a clever way to explain the struggles of a lonely, envious, and lustful adult woman. Moore’s use of comedic tangents is one of the saving graces of the novel, and perhaps demonstrates the
The Help “If you want to tell the untold stories, if you want to give voice to the voiceless, you’ve got to find a language.”-Salman Rushdie. This quote says that if you want new interesting stories, then you should let the voiceless write them or have someone else write it for them. In the book The Help, the quote is exemplified perfectly, because Skeeter gives the voiceless maids a voice to be heard. Additionally, the book includes terrifying and sweet stories that the voiceless have to tell. In novelist Kathryn Stockett’s historical fiction, The Help (2009), she portrays the voicelessness of the maids in the 1960’s through the portrayal of their social inequalities to the white superior, their unjust firings by the people in power, and
“Irony is the foundation of a well written short story”. Shirley Jackson is the author of famous short stories such as “The Lottery” and “The Possibility of Evil”. Shirley is well known for her dark and sometimes humorous style of writing. Her themes and conflicts are usually pertaining to the peculiar things that humans, will do upon one another. When “The Possibility of Evil” and “The Lottery” were introduced in 1948 the public were not pleased with Jackson’s gothic, controversial style of writing.
James’ use of suspense withholds the true intent of the ghosts, how Miles and Flora are seduced by them, and for people who believe that the governess is insane, the truth of the ghosts is never fully realized. The only truth the reader can rely on is the written word and the vision of governess, which becomes muffled when there is silence, a predictor of the governess’s supernatural visions. However, the integration of the common platitude “seeing is believing” is enough to ensure that the ghosts are, in fact,
Many people argue that Robert Cormier’s literature is dark, un-optimistic, and that young adults should not be reading his stories. Sylvia Patterson Iskander argues in her article Reader, Realism, and Robert Cormier that: The almost universal distress about Cormier's work springs directly from the power and consistency of his imagined world, which convinces readers that it bears a recognizable relationship to the "real world" and yet appears to leave no room for anything but pessimism about the survival of Cormier's protagonists. Because of this, several school boards and parental groups in New York, Massachusetts, South Carolina, and Arizona have tried to ban Cormier's novels from the classroom. (Par. 2) Some people can not find any good in Robert Cormier’s novels and prefer to have their children watch or read stories with happy endings and happy characters.