He explains that adults are inevitably phonies, and, what’s worse, they can’t see their own phoniness. Phoniness, for Holden, stands as an emblem of everything that’s wrong in the world around him and provides an excuse for him to withdraw into his cynical isolation, a defense mechanism to help him deal with his loneliness. Holden expends much of his energy searching for phoniness in others, yet at the same time, while he is a self-admitted compulsive liar, he never acknowledges his own phoniness. This is not only ironic, but hypocritical, since phoniness is what Holden claims to detest more than anything else in the world. Holden is further hypocritical because while decrying the abhorrent nature of adulthood, he spends much of his energy trying to behave like an adult, as evidenced by his actions such as hiring a prostitute, spending money
Although Holden thinks his self-imposed alienation is helpful, he is wrong. It causes him to be an uncomfortable, unconnected person; he constantly reflects on how lonesome he feels. Holden is uptight on the topic of sex. He admits “sex is something I really don’t understand too hot” and that he is a virgin. He believes that if you don’t not having genuine, loving feelings towards a girl, you shouldn’t have sex with her.
Lucas Harder In the novel Kiterunner by Khaled Hosseini, betrayal leads to foregiveness which eventually becomes love. Betrayal, which can be considered a form of sin, is enduring and becomes cyclical in The Kite Runner. For almost all of the novel, Amir deals with his guilt by avoiding it. But by doing this clearly does nothing toward redeeming himself, and thus his guilt endures. That is why he still cringes every time Hassan's name is mentioned.
As an infant, Grenouille was born into the harsh world that tried and tried to exterminate exterminate is a very harsh word for this context, you may want to try something a little lighter him. From the start, this protagonist Grenouille was layered in negativity and absolute disdain from the majority of people in his life. Never was he shown the love or as the innocent child he should have been portrayed as and that leaves the hole that Grenouille desires to fill. You can mention that he was never given the affection that most children receive, but again, “innocence”
4. June 19, 1942, two weeks after she turned 16, so that she would not have to return to an orphanage or foster care 5. Three years later after her marriage she became a model at age 19 years-old 6. She became one of Blue Book's most successful models, appearing on dozens of magazine covers, screen test for her with 20th Century Fox 7. In 1946 she created her stage name known as Marilyn Monroe 8.
What they're doing, how they're doing it. Not knowing causes discomfort and it brings anxiety to people because they do not know what to expect. In both short stories "The room" and "Battle Royal" the protagonists discover that at any moment an unexpected event can happen that will change the way a person thinks on how much control they have over their lives. Even though the narrator in "Battle Royal" learns this lesson because of racism and the narrator in "The room" learns it because of the place where he works, they both come to understand that nothing they do is certain and not everything that happens is under their
Paul’s Case “Paul was quite accustomed to lying; found it, indeed, indispensable for overcoming fiction”. His lying was a constant source of frustration in his life which Paul could never fully understand. Paul’s battle within himself, along with the people surrounding him, is what eventually led him to his death Paul could never really show who he was because he was always trying to live up to what his father always wanted him to be like. When someone would try to help Paul, he would alienate himself from them. On his way to New York Paul hides himself from the passengers because he wants to ride alone.
‘I was alone before the mirror. The elegant stranger in the glass regarded me with a doubtful, almost haunted expression.’ Tobias Wolff’s, ‘This Boy’s Life’ chronicles the desire Jack feels to assume a façade, but also the bare truth that seeps through, no matter how many ‘coats’ are applied in an attempt to conceal the appalling faults of his personality. Jack knows himself, he understand his flaws and weaknesses, however he does not like these traits about himself and therefore despises who he is. It is these feelings of inadequacy and self-dislike that eventually lead to Jack putting up a front to preclude the undesirable characteristics about himself from being exposed. Growing up among the social pressures of the 1950’s, Jack feels
Patrick McMurphy is an ornery, loud, idiosyncratic individual. He believes he should act whichever way he feels like. This turns around to have a negative impact on his life however, because of his rash, exaggerated actions he ﬁnds him self being scrutinized. He still sticks to his own ways though, which Bromden points out when he says, “Maybe that’s it he never gave the Combine a chance [..] because a moving target is hard to hit”(92). McMurphy doesn’t let ’the Combine’ of people outside the ward get him down or change who he really is.
He is also kind of a loner. None of his relationships with people last long, because is always jumping from school to school. When Holden gets to the hotel in New York he is quite disappointed with the quality of it. When he is sitting in his room he says that “After [the bellboy] left, I looked out the window for a while, with my coat on and all. I didn’t have anything else to do” (Salinger 61).