He is autistic and does not show or tell his feelings to others. The way that Haddon writes this book is informal. This is effective because the intended audience is young people and they would prefer to read an informal book as opposed to a formal one. In this book some of the literary devices employed are: foreshadowing, symbolism, having a plot and the helpful use of writing in the first person. In the book, from the very start Christopher’s father does not want him to try and solve the mystery of the dead dog.
Boor shows this when he writes, “So you figured it would be better if I just hated myself” (265). The only reason his parents told him the truth is Paul confronted them. While they admitted that he had a right to know, they justified their reason for not telling him earlier. Paul may have understood that his parents’ love led to their over protection but he probably distrusted his parents and their ability to tell him the whole truth. Paul’s parents’ choices changed the direction of his life.
However, the relationship is one-sided, because his father expects him to be obedient and not argue with him. This a disappointing relationship because Henry's father tries to force Henry to do something he doesn't want to, also Henry decides not to go and disappoints his father. Another scene that shows the complexity of the relationship between Henry and his father is on page 263. His father is on his deathbed, and he tells Henry “I did it for you”, mentioning the letters that Henry had sent and received. Henrys’ father acted selfishly by stopping the communication between Henry and Keiko.
His sentences are always blunt and factual, there are never long describing words as Christopher thinks that it is far more logical to just say what you want to say without putting fancy adjectives in there. He also does not understand lies, and he does not like jokes because he thinks they are lies and lies aren’t the truth so they confuse him. Christopher changes in a slow way that a reader would only notice if they compared the Christopher at the start to the Christopher at the end of the novel. The development flows and does not suddenly happen; it progresses over the book. Christopher does not change an awful lot, but it is noticeable that his attitude has become slightly more lenient towards things he did not previously accept at the beginning of the novel.
It is obvious that he has betrayed his principles but he has not become as engagé in the war as Pyle. During the novel we learn that Fowler’s main principle is his detachment. This is incredibly important for Fowler along with his ability to deal with external things and not his own thoughts and feelings and the fact that he has “no real opinion about anything”. He tries to hide his expressions of emotions and opinions from those around him particularly Phuong and Pyle. He is very quick to correct himself if he believes he is beginning to take a side or become involved.
The Misfit is “good” because she believes he wouldn’t shoot a lady. She realizes her expectation proves to be not true because the one thing “good” about the Misfit is his theory in living out his moral code of
The audience is caused to fear Othello's transformation into the ''green-eyed'' monster, then pity him when he claims his title in blood. The most significant flaw that Othello possesses is jealousy, however, he was not moved to it immediately. “She has deceived her father and may thee.” Iago says to him in Act 1, Scene 3. This was an attempt to convince Othello that Desdemona has or could commit adultery since she has already proved to be capable of going against her father's will with their marriage. However, Othello informs Iago that he is not a jealous man.
Amir and Hassan where both concealed of the fact that Hassan was Baba’s true son despite Baba’s himself stating that ‘lying is stealing someone’s right to the truth’. The fact that Amir was finally told this information by Rahim Khan only highlights the idea that he was the only supportive male figure he had in his life, and the lack of communication between Amir and Baba makes Amir question the true identity of his father. In the same way, Amir fails to admit to his father as to what really happened in the winter of 1975, and now feels even more burdened with his ‘past of unatoned sins’ that have haunted him ‘for the last 26 years’. Secondly, many may see that joy was never present in some relationships because of the impact of their fathers on their lives. In Amir’s case, Baba was disappointed not to be graced with the archetypal Afghan son of the 1970’s that was tall, strong, sportive, willing to carry on the family name, but perhaps more importantly being able to stand up in himself.
He does not show any outward sign that he is grieving too much over the death of his brother, but traces of his sadness could be seen in the times when he recalls memories of his brother, “the baby cooed and rocked the pram” and “lay in the four foot box as in his cot”. Heaney delivered the poem shrouded in mystery. His introduction in the first stanza does not give the audience a clue about what would happen next. It had a relaxed, happy tone, and gives us the impression that he had all the time in the world to spare. This was shown by the act of “Counting bells knelling classes to a close”, making the first stanza seem to last a long time.
Even though he witnessed many horrible things, he could not believe in his Father’s true work. He died because he was not aware of what was happening in the concentration camps. (Boyne, page 213) it states, “He assumed that it had something to do with keeping the rain out and stopping people from catching colds.” This shows that Bruno had no idea that he was taken to a gas chamber. Standing in the big room, in between skinny, shaved head men, he was more concerned on catching cold than the vision in front of him. Another example of how Bruno was avoiding thinking about what was happening around him was when he said, “I expect we’ll have to wait here till it eases off and then I’ll get to go home” (Boyne, page 212).