Early on, as children, we are influenced directly as well as indirectly by an innumerable amount of outside forces. These forces later dictate our train of thought and blend in with or own unique character. Seamus Deane’s experiences with vivid, picturesque novels and truthful, simple writings clearly impacted him and his style of writing shown by his choice of diction, syntax, imagery and the way he regards both the novel and essay. Overall his diction is simple and easy, but there are moments when he shifts to “long and strange words”. His simple diction, such as “good”, “bad” and “many” are all solid words, with no need for imagination when interpreting.
The Great Gatsby Passage 2 Commentary F. Scott Fitzgerald gave his novel The Great Gatsby much more depth than is first observed by the reader. One can read the novel, and be completely enthralled by the story without noticing the complexity it contains. A closer look at the novel reveals so much more to the reader than could be imagined, by examining the careful word choice chosen by the author. In this passage, Fitzgerald makes particular use of his language to make evident the theme of pride. Pride can be a good thing, but it can often have negative connotations.
This passage could have easily been written as a dull, simple descriptive paragraph but Yoshimoto has made it much more lively. Through the use of one sentence paragraphs and sudden changes in topic, the whole passage is fragmented and is sudden and unexpected as the previous passage ends with Mikage going to sleep. One would expect the next passage to be about what she did the next day, but instead she starts with “I had a dream.” This transient nature of the story creates a suspenseful effect which makes the reader constantly guess what will happen next. The first sentence contains four words. It is short and absolutely to the point and allows the reading to know exactly what is going on, giving it a straightforward effect.
However, readers do not notice this unoriginal style. Instead, readers notice his ability to put his own mark on the old Elizabethan style, and with a quietness to his style with versatility and insight, with humor and spontaneity. Certainly, there are many points in which Lamb imitates the Elizabethan writers. However, he employs a unique way of telling his stories so they conjure fond memories of a happier time. For example, Bridget remembers the great joy of the day when Ilia bought the Folio Edition of the plays of Beaumont and Fletcher and presented it to her after many days of eying the book displayed in the stall and after many thoughts about how the money spent on the book could be managed by curtailing some of the provisions of their life.
When you do this, it turns a boring topic into an interesting and fun essay for the audience. The author also talks about colorless words that they are words we use in everyday conversations, colorless words use are nothing and how student also use every day slang adjectives. He also added in their colorful words which means finding the right word in the right place, writers often struggle with this. I agree with the author on how we write essays, I must say everything he wrote in this story is true for me. I often have a hard time trying to figure out what words fit where to make complete sense of the sentences or paragraphs.
Nicholas Carr is giving voice to these concerns. This article is about one skill that he believes is being eroded, that of reading: "I'm not thinking the way I used to think. I can feel it most strongly when I'm reading. Immersing myself in a book or a lengthy article used to be easy. My mind would get caught up in the narrative or the turns of the argument, and I'd spend hours strolling through long stretches of prose.
I personally agree with Nabokov’s theory about good readers. If we don’t detach ourselves a little from the story we will be too blinded by our emotions to appreciate the real art of the story. A good reader needs a great writer and vice versa. A good reader must comprehend the story through the proper use of his imagination, memory, and artistic sense. Having an imagination is necessary to get deeper in the story, and a good memory is also required to tie the pieces of the story together.
The switches from who is narrating the story makes the plot more intriguing and exciting for the readers. The author keeps the audience interested and never bored by switching the timelines and the setting, leaving them with no idea of what will happen next in the plot. The fact that half of the book is narrated by the author of it, gives an certain imitation of a non-fiction book. The writer is
Through the bewitching stories we see that Barth is exploring an entirely new style of writing, sometimes confusing, sometimes fragmented, but always captivating. The Literature of Exhaustion is said to be a contradicting document due to the fact that it comes from a novelist, however John Barth has made it his responsibility to change the face of literary art, and the movement known as postmodernism. In his essays he discusses the importance of a flexible literature a genre that can be continually reinvented with out changing grammar or words. He attempts to do this in the form of novels, such as The Sot-Weed Factor, and novellas collectively known as Chimera, and a collection of short stories, Lost in the Funhouse. The collection of short stories is a great example of his idea of Postmodernity.
The purpose of chapter one, Fitzgerald introduces the reader the key theme of the novel, which will become prevalent throughout: the division between gender and social class. Furthermore, Fitzgerald introduces us to the major characters through Nick’s narration and perception. The first character we are introduced to is Nick Carraway, the narrator. The reader immediately knows that they are reading from his observation and perspective and so the novel is written through Nick’s memory. Fitzgerald aims to build a sense of trust and so portrays characters as well educated and enlightened, as such that Nick is ‘inclined to reserve all judgments’ and being ‘privy to the secret grief of wild, unknown men’.