In letters, as opposed to conversation, things can be written and explained that could never be spoken in a social situation. Darcy's letter conveys his character to Elizabeth in a way in which his speech did not. Letters can be studied and re-read and the attitudes to the writer can mature and change." She was in a fair way of soon knowing it by heart, she studied every sentence". Darcy comment that he was not sufficiently "master" of himself to reveal in conversation what he has put in the letter, He asserts that his "character required it to be written and read" Darcy may not be much of a conversationalist, but he writes a strong and intelligent letter, to which Elizabeth is surprised.
In all honesty, I was shocked at the good feedback a received because I felt like I hadn’t made it anything special. The feedback on my draft helped me to understand that papers aren’t all about fancy terms and over analyzing yourself, but instead, just simply understanding the text, breaking it down for yourself, and writing about it in a way that
Essay “Surprise ending” Students Name Institution Course Date A surprise statement is a statement that has been written or said by the writer that the reader did not expect. The author talks about the boulevard kids and the beggars’ in the streets. However, in his essay there are a lot of statements that have come as a shock or surprise to the reader. There is the ending that the writer has only one kid and can’t get another (Napoli 2005). The writer instead of concentrating on the whole issue of beggars and the unable he criticized them as people who are requesting for sympathy for their kinds.
II. Introduction A. Matt Herman relates an anecdote about an instance in one of his classes whereby a student voiced out his interpretation to “fiction” despite the fact that it is considered as unbearably “authentic.” B. Hathaway writes that she wishes her students could be as astute to that of Herman’s student. C. Hathaway finds the vulnerability of the students to Touristic Reading, a fallacious practice whereby a reader assumes, when presented with a text where the writer and the group represented in the text are ethnically different from herself, that the text is necessarily accurate, authentic, and authorized representation of that “Other” cultural group (169). D. Touristic Reading can be similar to that of a tourist visiting a certain foreign place and this tourist assumes a certain reality about the place, and thus “selectively edits out signs of dynamism and contention, both within the text and within the culture” (Hathaway 169). III.
The Virgin Suicides and the Writing Self Usually our voice for telling a story is our own writing self. A person that understands the situation at hand and speaks in a manner relevant to the situation. We don't normally create a separate narrator to make our writing more interesting. We simply write our thoughts and opinions to convey our ideas. But Jeffery Eugenides writing the Virgin Suicides brought out a separate part of himself to narrate for him.
Since there is no mention of key factors to point at Sir Lanka, readers are to take the novel as a commentary about several places that experienced post-colonial trauma. Western readers who never experienced trauma on the level of Sir Lanka – readers will see that trauma is as definable as the disappearances of people during civil wars. Ondaatjee uses his novel to send a message: trauma is incapable of being accurately described and people can only attempt to understand trauma. Yet, readers will never quite understand the mental strain on a person unless the person has dealt with something traumatic themselves. Ondaatjee uses Anil to start off the narration of Anil's Ghost, using her as the equivalency to a Western reader.
To Elude by Allusion Titles of great literary works are not often slapped on with no forethought; in fact most of the time the author saves the title for last, because they want it to have relevance to the plot or story of their work. Some titles' relevance is easy to see and understand, while others can be horribly vague and hard to grasp. Sometimes one must simply trudge through the whole of the work before the title's meaning shines through. In both John Steinbeck's The Grapes of Wrath and in T.S. Eliot's "The Waste Land," allusions to turmoil within society and the individual are made within the works, and these ideas are only realized when the full length of each work is read and related to ourselves using the metaphors of wrathful grapes and the wasteland nearly all of us unknowingly live in.
If you asked me how much I valued literature a few months ago, I’d have probably laughed it off and proclaimed it has no value because it doesn’t affect me. What kind of value could literature possibly have? It’s just books. Random characters dealing with their random problems. What could that possibly offer me except giving me something to kill time?
A great example of a book being somewhere on the border of fiction and autobiography is Jane Eyre by Charlotte Brontё. As it was first published under the name of Currer Bell, the readers had a harder time to make the connection with the author when it was published, as they thought it was written by a man, but some regarding places (where the story took place) were made. Today, knowing Brontё’s life story, we can draw many parallels between the author herself and her heroine. First, it may seem, that it was not Brontё’s intention to write real life into her greatest work, but to use it merely as an inspiration. Her friend Elizabeth Gaskell (2001:262) has said: “We were talking about the description of Lowood school, and she was saying that she was not sure whether she should have written it, if she had been aware how instantaneously it would have been identified with Cowan Bridge.” I think it is only understandable that using real life experience gives a more believable description and due to that it is more enjoyable to readers.
The author is one who, leaving upon an undertaking, does not comprehend what to do. Composing is a procedure of managing not-knowing, a constraining of what and how. We have heard writers vouch for the way that, starting another book, they are totally puzzled with reference as to how to continue, what ought to be composed and how it may be composed, despite the fact that they may have completed many already. Best case scenario there's a slim instinct, very little more prominent than a tingle. The tension joined to this circumstance isn't insignificant.