Perhaps the most engaging and stimulating technique Bierce uses in his story is the blending of fantasy-imagination and reality – the mixing of the external world, with a future consisting of only death, with Farquhar’s internal world, which cries out for life. Although it might seem like Bierce wrote this story to ultimately play a “trick” on the reader at the end, for providing a lack of distinction between the two worlds, it is apparent that Farquhar’s death is noticeable throughout the tale if the reader is able to pay attention to the clues and focus
moment. I like how the author stated that a certain abnormality may be just that- a certain abnormality. But, apply that abnormality to a character, especially in literature, and you get a unique hero/heroine who'll make an amazing impact on the story. I also found it ironic how characters of stories with abnormalties are discriminated against in the story, yet they end up being the hero/heroine of the story. Also, in the real world, we'd feel sorry for these people, sympathize, or even evade them, viewing them as different, and maybe even discriminate against them (meaniieeess!).
John Steinbeck made the plot interesting and the themes behind the work were truly brilliant. The book had its points were they were very descriptive but didn’t keep me interested enough. Reading through those boring parts is completely worth it though. Steinbeck makes the book easy to understand and i like that quality a lot about this book. In my opinion, I got the idea that this book was written more for the workings of the mind but at the same time Steinbeck wanted to make you feel something as you read this.
Project Two Part One (Similar use of Elements of Form) Laurie Walsh The best element of form to achieve what the author is thinking and to get a better description of their emotions at that moment in time is Internal monologue. I personally picked this element, because it helps me as the reader to have a better understanding of how the author is feeling, and gives me a sense of how there voice sounds. Ti’yana Hall’s “I’ve Gone Through the Fire” she quotes ”Wow, grandma is really staying the night with us. I was thinking this was pretty strange, it was one of the many times I felt so happy and surprised” (para. 11).
The symbolism of the holocaust is engaging as fairy-tales are always considered to have a happy ending but using such a dark topical matter which seems to have no happy outcomes is able to surprise the audience and to keep them reading as the audience is waiting to see the “Happily ever after” (pg. 239). Yolen has used topical/subject matter and intertextuality to great effect to produce a novel which is engaging and intriguing to the
Yolen’s decision to write Briar Rose in a fairy tale forum helps provide another viewpoint that can help you comprehend such a gruesome period of history like the Holocaust. “Briar Rose reinscribes memory, and shows us what an important role storytelling can play in the acts of surviving and transcending horror.” (Wells 1) The very last article that I was able to find on the Briar Rose was a short one, but clearly had a positive reaction towards Yolen’s book. It states that Briar Rose regardless of the fact that it is a work of fiction speaks the truth and is brutally honesty. “Despite whatever connections we may or may not have to this dark period in history, there is a part of us that is only able to comprehend the true enormity of such stories when they are hidden in depts of older tales, for these old tales exist in
A Reality Check With the use of symbolism, Aldous Huxley creates a beautiful novel that in essence warns his audience of the future. Huxley’s clever use of symbols in the Brave New World, is often apparent, but just as often, they are deeper and less apparent. With his satirical references to sex, drugs, technology and the naming of his characters, Huxley relates his novel back to his readers and their future. Without recognizing these symbols, the readers could find this novel confusing and ridiculous; but with each symbolic object and person comes a clearer picture of what Huxley us really trying to convey. When reading the Brave New World, the sexual references are often the first things that stand out to the audience.
Well, let me set you all straight: not every Chick Lit book is a winner; some of them really are boring, predictable and just a plain waste of time! However, some earlier novels are exciting, light and frankly a breath of fresh air for anyone who wants escapism with a practical sense of reality. And as the genre evolves, the standard of writing has too. Writers such as Lindsey Kelk and Scarlett Bailey stride ahead with novels that are glamorous but realistic and genuinely get their audience excited about what they are reading. Sub-genres such as; “Marriage Lit” and “Christian Lit” have started springing up across the literary
Or, are ghosts just figments of our imagination, something we dream up, in hopes of excitement in our boring lives? Ghosts are questionably true visions, believed to emerge from humans or animals that were once alive, but are now dead, usually represented by the sight of something unexpected or remarkable, but often indicated their presence through sound, smell, or touch (Ghosts 2007). We have all heard many ghost stories in our lifetime and the purpose of this paper is to educate the readers of the truth behind ‘ghosts.’ The idea of ghosts exists in all cultures. Ghost sightings have been happening, and have been reported and have been documented, since one of the first notable ghost stories was reported in the first century A.D. Pliney the Younger was a well-respected Roman statesman and author. In the first century A.D., he reported seeing the ghost of an old man with rattling chains and a long beard at his house in Athens (History Channel 2012).
We can live vicariously through romantic fictions, much as we can through daydreams. Terrifying novels and nightmares affect us in much the same way, plunging us into an atmosphere that continues to cling, even after the last chapter has been read — or the alarm clock has sounded. The notion that dreams allow such psychic explorations, of course, like the analogy between literary works and dreams, owes a great deal to the thinking of Sigmund Freud, the famous Austrian psychoanalyst who in 1900 published a seminal essay, The Interpretation of Dreams. But is the reader who feels that Emily Bronte's Wuthering Heights is dreamlike — who feels that Mary Shelley's Frankenstein is nightmarish — necessarily a Freudian literary critic? To some extent the answer has to be yes.