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.
Indeed, it is true that this book is based on a true account, but Capote’s descriptions seem too detailed to be true. How is he fully confident to include conversations between Nancy and Kenyon Clutter when he never met them? How is it possible that Capote knows that Perry and Dick’s confessions are true? To conclude that his book is nonfiction lacks plausible evidences. Even though, books need to contain factual evidences for the writing to be nonfiction, but Capote’s writing style is too detailed to be accurate.
The syntax in the book is disordered in part to replicate dialogue and the way people in the book, brought up mostly as slaves, would speak. Some sentences are not full sentences, but fragments to show the way people might have told this story orally rather than in writing. Also, the confused syntax expresses the confusion and disorderly nature of the characters
He often attended business conferences in Miami and threw lavish parties in hopes of making friends. To his dismay, the same people who accepted his courtesies would ridicule him in the press and in private. It becomes increasingly difficult to separate fact from fiction, but Al Capone’s legend sure lives on and his trademark fedora of influence, still casts its shadow over the Windy City to this
No other cities come to mind that have such a well-known history of both tragedy and multicultural interaction. While other cities have experienced similar acts of terror and devastation, the event of 9/11 stands out due to its impact on American culture. Additionally, New York has a large population consisting of many different cultures. It is home to many different stories and lives that overlap and intersect every day. Famous phrases about New York such as it being “the city that never sleeps” are exemplary of the city’s endless activity, providing an atmosphere of “spin” for the novel.
Also, it is a similar situation with Gatsby as his life seems to restart as well as he attempts to regain Daisy’s love for him. Joy and fun come along with the chaos that summer brings. All the parties Gatsby throws in his house are not your typical house party. “People were not invited--they just went there. They got into automobiles which bore them out to Long Island, and somehow they ended up at Gatsby’s door.
Both authors cleverly use metaphors to enhance the value of their beautifully written short stories that appeared as articles in the magazine, The New Yorker. The original version, The Swimmer was written by John Cheever, which was first published in 1964 has many complex metaphors throughout the story. A modern adaptation,The Swimmer: Manhattan Edition (written by Carolyn Kormann), that was published in 2014, features a protagonist inspired by Neddy in the original version. The article is filled with hidden metaphors that enhance the quality of the work and gives the reader a good background. The original version, written by Mr Cheever has many subtle metaphors present in the story.
Irony can be seen throughout the story in the words and phrases of the character. The irony can create a disturbing, yet slightly humorous scene with the audience not knowing what’s coming for the characters. In the short story, The Cask Of Amontillado, irony can be seen through the conversations of the two characters, Montresor and Fortunato. Although, Montresor is the character with most literary devices. Verbal irony can be seen in the story when Montresor told the “attendees” to stay in the house while he was gone.
A normality in the literary world is that texts deeply nestled in the crosshairs of biopolitics, gender, nationalism, and other identity particularities often fall victim to one sided and dogmatic cultural critiques. Critic after critic find difficulty regarding how to analyze and essentially read a novel where intersectionality is intrinsic to its framework such as Kindred, because it does not fit the fairly common singular literary theory mold. This notion is articulated and defended in “"Some Matching Strangeness": Biology, Politics, and the Embrace of History in Octavia Butler's "Kindred"” where Robertson explores Butler’s usage of Dana’s body to confront universal truths and to cement the idea that Dana is in a historical paradox due
Although it can be expected from a fiction writer that the representation can be highly subjective, it seems to be not the case with Mitchell: her portrayal of the subject under discussion departs only insignificantly from the one presented by such contemporary historians as Gail Collins, George C. Rable and Bertram Wyatt-Brown. To show this conformity/congruity of opinion, examples from both the literary text and the scholarly texts are provided in this and the following sections of the paper. At this point, it must also be mentioned that due to the small size of this paper and the frequency of comments on the following topics in the novel, it seems expedient to examine more closely three issues regulated by the code of honor of Southern ladies: dependent status, marriage and