Knowing Tom has a violent temper which was previously seen when he lashes out at Myrtle the reader therefore fears trouble. After Tom’s exposure of Gatsby as a bootlegger and a numbers racketeer, Gatsby’s sinister criminal activities prove to be the cause of Daisy’s ‘lost voice’ and, Gatsby’s loss of Daisy herself. The second narrator, Michaelis, along with the police officer, tells the reader of the events surrounding Myrtle’s death. This use of a stranger to narrate the story is a change in style, as Fitzgerald usually either uses Nick as the narrator or has other characters relate matters to him, which he subsequently retells. In this case, Nick does not speak with Michaelis, nor indeed know what Michaelis knows, until the inquest.
Passion there was none. I loved the old man…Now this is the point. You fancy me mad”(37). As a result of this specific first person style of writing, the audience assumes insanity. By the narrator already assuming psychological judgment from the reader, the reader can also feel to question and doubt his sanity through just the first-person perspective.
He’ll always doubt her, for ever. So far, Iago has given us the idea that he acts only in the rush of revenge and so, that he doesn’t really think through his ideas. The audience doesn’t know if he really has a plan, structured plan but we realise that he thought everything through and that he has quite a sick mind… It seams like he thought exactly what to say and how to say it before his conversation with Othello. We also realise that he predicts what could and could not happen and all his thoughts are resumed to his plan and it’s not totally right to call him “evil” because he’s actually using the truth “And what’s he then that says I play the villain? When this advice is free and honest”.
Franz Kafka once wrote that “All language is but a poor translation.” He meant that true meaning, true communication, cannot be conveyed through simple words alone. The idea of the inadequacy of plain text is most evident in Kafka’s short stories “The Judgment” and “In the Penal Colony”. Within those works, Kafka asserts that language is but a tool; in the hands of a simpleton, it will accomplish nothing. An expert however, can use language to share his thoughts in a manner as close to perfection as is possible with such a cumbersome instrument. The torture machine of the story “In the Penal Colony” is a symbol of the authority language has.
DA. Miller begins his book The Novel and the Police with a discussion of the representation of the criminal world in Oliver Twist, stressing the "coherence of delinquency, as a structured milieu or network," the "systematic nature of delinquency," the "closed-circuit character of delinquency" in Dickens's novel. Miller suggests more generally that nineteenth-century omniscient narration allows the author and reader to participate in the detective surveillance of the enclosed criminal world. Yet not everything can be known, at least until the very end, for the detective play of the reader must lose its interest when the secrets of the underworld stand fully revealed. The literary consequence in Oliver Twist is a sphere of coherent, but cryptic, delinquency, whose structures are open not only to investigation but also to interpretation.
He has odd obsessions and habits, which in turn allows the audience to somewhat comprehend the motive for the crime. He fits the mold for the typical crime fiction criminal. * There is no formal detective, but the father (Jack), and daughter (Lindsey) take this role. * One questions the real criminal, when multiple moral crimes come to the surface. * The ‘detectives’ (Jack & Lindsey), are far from the conventional detective, and hence allows the audience to only be subconsciously aware that the text revolves around a crime and that of the crime genre.
In chapter two, Nick joins Tom and his mistress, Myrtle, on their trip to New York, where Myrtle’s sister has an apartment, and they have shrill, vulgar party with Myrtle’s sister, Kathleen. As a result, Nick contradicts his previous statement of him “never getting drunk”, and gets drunk. As the chapter goes on, Fitzgerald makes Nick’s narrating far more vague, giving the reader the impression that he is drunk and is therefore not a reliable source as his account of events is far less trustworthy than they would be if he was sober. Another structural technique that Fitzgerald uses to tell the story in chapter two is the use of flashbacks. Fitzgerald uses flashbacks very frequently in the novel, and by doing this Fitzgerald immediately has the reader questioning Nick, as accounts of the past are not as reliable as descriptions of the present.
It is a humorous story because one would not think that an office truly runs on the system illustrated in the story. When in truth this is what reality has come to, a circus. The author introduces the story with a skewed sense of humor. He is trying to mock the system by setting up a list of rules that must be abided by or else “you may be let go”(484). “Orientation” meets the criteria for Goldwag’s rule of postmodern fiction story telling due to the way the character contradicts himself within the same sentence, “ This is your phone.
This shows Bateman’s break down of sanity and that he thinks he is living his life is like he is in a film. This then leads us to question the reliability of the narrator and question whether anything that Bateman says is real, or it is all just in his head, especially the more gruesome murders he commits. What also leads us to question whether anything he Bateman says is real. Ellis’ use of ellipses at the end of each paragraph shows how ‘Chase Manhattan’ is like a story and each paragraph is like a chapter. This further backs up the idea that the whole ‘Chase Manhattan’ is in Bateman’s head and does not actually happen.
It is here that Jordan tells Nick that Tom is having an affair with Myrtle Wilson, George Wilson’s wife. A few days later, Tom invites Nick to a party in New York City. On the way, Tom picks up his mistress, Myrtle Wilson, the wife of George Wilson, the owner of an auto shop an industrial area between West Egg and New York City called the Valley of Ashes. As the party drags on, Myrtle becomes intoxicated from the liquor and mocks Daisy. Tom punches her and breaks her nose.