Another example would be, “Chipmunk-like, my cheeks packed with warm nuts, I cocked my head” (Journey 2). Also, Sedaris’s comparison with how the spiders on the window were like “tenant on a building” and how the dark isle is like “corridors”, and flight attendant are “nurses. Both “April & Paris” and “Journey” are a compelling piece of work. I have never read a book with such interest. His humor in “Journey” is outstanding as well as his compassion in “April” His writing style as well as him being a funny wordsmith may have been the root to his success in attracting such a wide range of audience that admire his works.
Michael Gordon illustrates Jan Marrow falling in love with Brad Allen and keeping her antagonistic telephone 'relationship' with her enemy in “Pillow Talk”, in order to convey that dishonesty can fool an individual into mistaking one’s identity as people can be totally different from who they were once perceived to be. Day and Hudson are a delightful pair and are pure magic. The dynamics of their relationship, whether it is love or hate relationship, are never without that special spark that fuses them together. This movie is truly a charmer, there’s an abundant amount of comedic enlightenment that virtually jumps off the screen and makes the audience laugh. Even a clever split screen technique was used to put them in compromising positions, each in his/her own bed or in the bathtub, talking intimately on the phone.
Candy calls her a "tart" and warns George against her, causing George, Lennie and the reader to see Curley's wife through Candy's eyes on their first encounter. When she finally appears for the first time, she certainly seems to live up to the image the reader expects from Candy's gossip. "She had full, rouged lips and wide spaced eyes, heavily made up. Her fingernails were red.... She wore a cotton house dress and red mules, on the insteps of which were little bouquets of ostrich feathers." Red is known to represent love, lust and danger.
Appearances in the play[edit] The audience is introduced to Puck in Act 2 Scene 1 when one of Titania's fairies encounters Puck and says: Either I mistake your shape and making quite; Or else you are that shrewd and knavish sprite Call'd Robin Goodfellow: are not you he That frights the maidens of the villagery; Skim milk, and sometimes labour in the quern And bootless make the breathless housewife churn; And sometime make the drink to bear no barm; Mislead night-wanderers, laughing at their harm? Those that Hobgoblin call you and sweet Puck, You do their work, and they shall have good luck: Are not you he? Puck replies, Thou speak'st aright; I am that merry wanderer of the night. I jest to Oberon and make him smile When I a fat and bean-fed horse beguile, Neighing in likeness of a filly foal: And sometime lurk I in a gossip's bowl, In very likeness of a roasted crab, And when she drinks, against her lips I bob And on her wither'd dewlap pour the ale. The wisest aunt, telling the saddest tale, Sometime for three-foot stool mistaketh me; Then slip I from her bum, down topples she, And 'tailor' cries, and falls into a cough; And then the whole quire hold their hips and laugh, And waxen in their mirth and neeze and swear A merrier hour was never wasted there.
Fairy Tale Stereotypes in Anne Sexton’s “Cinderella”: Raggedly Ever After Anne Sexton’s parody on the age-old fairy tale “Cinderella” provides insight into the stereotypical characteristics that are ingrained into the minds of millions of children, characteristics that govern the perception and definition of both men and women. These fairy tales distort the way in which young children view the world, encouraging them to fit their lives into these storybook candy coatings. Girls make every painstaking effort to become either the dainty princesses longing for when their chivalrous princes will come or the obedient maids taking care of the household because these are the heroines’ roles just prior to reaching eternal happiness. In contrast, boys strive to become the “knights in shiny armor” who undertake a daunting quest to save the kingdom or the heroic gentlemen destined to be the kings of vast and wealthy realms. Sexton targets this concept of inequality--especially in the enormous gulf between female and male roles--to illustrate how fairy tales are far from “happily ever after.” In the introductory section of “Cinderella,” Sexton derisively conveys formulaic examples of “once upon a time” fairy-tale success stories.
As the readers, we laugh at Josephine but also with her. For example, page 59-63 when Jacob Coote gives Josephine a lift home on his motorbike while Josie is in her best dress. The author describes the Italians as experts on gossip but she describes it in such a way that the readers find it humorous, which links to the theme of culture. Sarcasm is also used throughout the novel, mainly when Josie is talking to her friends. The use of sarcasm amuses readers and also is appropriate because they are teenagers.
In the House on Mango Street written by Sandra Cisneros, a unique style of writing is used to show various themes throughout the book. The abrupt and disconnected way Cisneros writes conveys a child-like mindset which contrasts the adult issues being discussed in order to show the theme of growing up too fast. Throughout the book, examples are presented to the readers of growing up too fast. Esperanza sees Sire and his girlfriend Lois. Often, she hears them “laughing late” with “beer cans” and such, and is warned by her momma, “Those girls are the ones that go into alleys”.
A couple of nice police officers are here to ask us a few questions.” With a great amount of coaxing, Hannah crawled out from under the bed like a scared cat. Her eyes were huge bowls of light. “How long will this take?” “It will only take a few minutes.” I paused. “Hannah, you have been the bravest little girl tonight than I have ever known. I love you.” Hannah’s eyes lit up like a thousand stars as she clasped me for what seemed like an eternity in a sweet embrace.
Compare how the Character is created in the poet ‘Medusa’ and ‘The Clown Punk’ In the poem Medusa and Clown Punk the characters have many similarities and big differences. Both poets have a sense of violence/threat but also sympathy and pity. Medusa is a dramatic monologue, a jealous, angry woman who is comparing herself to the Greek myth of Medusa. The Clown Punk is seeing this ‘clown punk’ in another perspective, a more close up way. Medusa can be related to the Clown Punk because although she was once accepted amongst people; beautiful and in love.
For example, in the story ‘Pillow Fight’ I play the role of a sister aged around the age of 6 whereas in the story ‘Make and Mend’ I play a middle aged narrator who loves to gossip. In order to make clear my change in character I must enhance the differences in vocal range and physicality. For example in the scene where the sisters are actually having the pillow fight, improvised lines are said using high-pitched, childlike and excited tones, my posture is upright, and I often giggle and laugh to show my age. This contrasts with the character I play in ‘Make and Mend’. In this story I play a middle aged gossiping narrator.