Abigail is well aware of the heavy regard for herself that she has bred into John, and thus uses this pre-established respect to heighten her own position to inform him. Her rhetorical appeal to her prestige in the eyes of her son paves the way for motiving her boy, as she stresses her importance to him, and thus the importance of her will. She also reminds him of his submission to her in past, using it as a tool to exhibit her importance to him in future as well as present matters. Although her self-glorifying approach may seem to simply due to unnecessary self-exaltation, her use of this rhetorical strategy is simply to create an effective voice for the advisement of her boy, as she obviously cares for him deeply and feels she knows best for him in his further conquests. Throughout her letter to John, Abagail Adams employs constant appeals to the importance of knowledge in her boy’s life; as she readily uses her position as his mother to encourage promote the significance of learning.
Author O’Brian also confuses the reader by writing his novel as if everything that was told took place in the real world. For example, just by saying “this is true” (64) doesn’t always make it true. O’Brian leaves it up to the reader to distinct what they see the story as: reality or fiction. It is said that “a true war story… makes the stomach believe” (74). Author and character O’Brian tell the story in such a way to make it believable that the two different people are really the same person.
Williams has read The Adventures of Huckleberry Finn, and where Julius Lester does not understand the novel, Williams does. He begins bye recapping the book’s long, history of censorship. “The earliest censors… believed the novel would corrupt the young” (Williams 98). In the story, Huck would spit and do rude things that were believed to be unsuitable for young readers at the time. These opinions have, however, changed.
In addition, Susan is further out of the loop by not being closer to the participations/royalties and payroll clerk offices. She is further hampered by being involved in "a lengthy analysis of all transactions posted to the "intercompany" accounts," and assuming that Anita does not want this task delegated. Susan and Anita both want the same outcome; however, each has failed to communicate well with the other. Susan is a diligent worker, as evidenced by her performance review. She is willing to do what Anita asks, she simply is not aware of Anita's desires.
Although the author offers several facts, which seems to be compelling to substantiate his conclusion, these facts actually lend little credence to the author’s claim after close scrutiny. First, take the merchants report in P cited by
The Lottery Plot- The conflict in this story is a simple one, do you follow traditions laid before you even if you know them to be wrong. The story is told in a forthcoming manner which creates foreshadowing to the death of Tessie, and how it will happen. While reading, the beginning of the story you simply overlook many foreshadowing items because you don’t really think twice about it. Your point of view on the story and your attention to detail do not come into the story until you’ve read the story a second time because in all honesty you are kind of shocked at what you just read. The climax in the story is when Tessie begs for her life and no one says anything to stand up for her, instead they all go grab a rock to stone her to death.
Though Capote’s method of data gathering is questionable at best (authorial assertion comprises the sole proof of Capote’s fantastic memory that captures everything in an interview without a tape recorder), and the fact that a lot of his research was passed from witnesses to Harper Lee to the her notes and finally to Capote and his interpretation of these notes, it would still be inappropriate and unfounded to label his book a pure fiction; instead, we should modify his statement to say that everything in the book is factual to him. If anyone else had written the book, even using the same research and evidence that Capote used, the novel would read quite differently; the book as Perry’s personal memoir would also change it drastically; a first-person account of the effects of the murder on Holcomb by a member of the community would also have a different message. Yet all of these books, if executed properly, would be truthful: they all would just contain different truths, or different interpretations of the truth. Whether or not In Cold Blood is as factual as it contends to be, then, is an issue muddled by varying definitions of truth. The problem lies in a definition of
By calling into question the truth of his stories, he disorients readers who are expecting to read a standard fiction, where the events are undoubtably false. He also shows readers why reinventing a story may be more important than telling the story just as it is remembered. Norman Bowker disapproves of O’Brien’s first attempt to describe a horrific battle, and, therefore, O’Brien feels the need to rewrite the story. Essentially, O’Brien must remember the event in a new way that makes the story more real for Bowker and other readers. Finally, O’Brien explains to readers why stories must be told, even with the risk telling the story the “wrong” way.
Modern stories are often told in an objective, distant, even ironic voice, whereas nineteenth-century stories were usually told by passionate narrators who infused their own strong opinions. Because we are not used to encountering this brand of subjective third-person narration, it is tempting to conclude that Hawthorne and the narrator of “The Birthmark” are the same person. In recent years, however, critics have suggested that Hawthorne never put himself into his stories but consciously created narrators who had distinct voices of their own. These critics argue that although Hawthorne’s narrators are often pious and preachy, we shouldn’t automatically conclude that he shared these characteristics. It would be a
Fardad Hajirostami Mr. Henry A.P. Literature 24 March 2013 The Meticulous Carpenter Throughout the early stages of the novel, other characters perceive Cash as an apathetic perfectionist who busies himself in what seems to be unnecessary deeds. In the early parts of the novel, Cash does not narrate much and even when he does, not much is revealed past his outer shell. Cash’s intentions and philosophical views are further revealed in chapter 53, where he takes the place of Darl’s role as the main narrative. Earlier in the novel, Cash expresses himself through his actions rather than his words.