Told by the blurb that we have here "one of the most unique and exciting books in the history of American letters," one bridles both at the grammar of the claim and at its routine excess. The grammar stays irreparable. But I have a hunch that the assertion itself is valid. Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values, by Robert M. Pirsig (Morrow), is as willfully awkward as its title. It is densely put together. It lurches, with a deliberate shift of its grave ballast, between fiction and philosophic discourse, between a private memoir and the formulaic impersonality of an engineering or trade journal. As it stands, it is a very long book, but report has it, and fault lines indicate, that a much longer text lies behind it. One hears of an eight- hundred-thousand-word draft and feels perversely deprived of it by the mere sanity and worldliness of the publisher. Zen and the Art is awkward both to live with and to write about. It lodges in the mind as few recent novels have, deepening its grip, compelling the landscape into unexpected planes of order and menace.
The narrative thread is deceptively trite. Father and son are on a motorcycle holiday, traveling from Minneapolis toward the Dakotas, then across the mountains, turning south to Santa Rosa and the Bay. Asphalt, motels, hairpins in the knife-cold of the Rockies, fog and desert, the waters dividing, then the vineyards and the tawny flanks of the sea. Mr. Pirsig is not the first ever to burst: Kerouac has been here before him, and Humbert Humbert, a clutch of novels, films, stories, television serials of loners on the move, lapping the silent miles, toasted or drenched under the big skies, motelling from one neon oasis to the next, and glidin...
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... exception. The cracker-barrel voice grinds on, sententious and flat. But the book is inspired, original enough to impel us across gray patches. And as the mountains gentle toward the sea with father and child locked in a ghostly grip-the narrative tact, the perfect economy of effect, defy criticism.
A detailed technical treatise on the tools, on the routines, on the metaphysics of a specialized skill; the legend of a great hunt after identity, after the salvation of mind and soul out of obsession, the hunter being hunted; a fiction repeatedly interrupted by, and meshed with, a lengthy meditation on the ironic and tragic singularities of American man- the analogies with Moby Dick are patent. Robert Pirsig invites the prodigious comparison. It is at many points, including, even, the almost complete absence of women, suitable.
What more can one say?
In the short story “The Hunter” the author Richard Stark introduces Parker, the main character of this book. The main character is a rough man, he’s a criminal, a murderer, and even an escaped convict. He’s described as crude and rugged and though women are frightened by him, they want him. Parker is not the classic criminal, but rather he’s intelligent, hard, and cunning. In this story the author carefully appeals to his audience by making a loathsome criminal into a hero, or rather, an anti-hero. The author, Richard Stark uses ethical appeal to make his audience like Parker through the use of phronesis, arête, altruism and lastly the ethos of his audience.
The next morning a man named Jack Dodd called and told the Hardy's to come quickly. The police were looking for someone who had stolen a car. The police thought they found their man. They found Jack Dodd's fishing rod in the trunk of one of the stolen cars. Jack told the police that he had not put it there and that he was being set up. The cops handcuffed Jack and his father and took them down to headquarters. Later on the police chief came to the Hardy's home telling them that the Dodd's had taken off in their station wagon. The Hardy's had known the Dodd's for a very long time and it just didn't seen like them to break the law.
McQuade, Donald, ed. The Harper American Literature. Harper & Row Publishers: New York, 1987, pp. 1308-1311. This paper is the property of NetEssays.Net Copyright © 1999-2002
The novel is organized in an unusual manner that can make it seem unclear to the reader. Krakauer does not introduce the work as a whole, yet he pieces together the story through different chapters. McCandless’s journey is described out of chronological order, requiring the audience to pay careful attention in order to understand the events that unfold.
Zen in the Art of Archery, by Eugen Herrigel describes the ritualistic arts of discipline and focus that the Zen religion focuses around. In this book, Herrigel describes many aspects of how archery is, in fact, not a sport, but an art form, and is very spiritual to those in the east. The process he describes shows how he overcame his initial inhibitions and began to look toward new ways of seeing and understanding. In the beginning of the book Herrigel tells us that he is writing about a ritual and religious practice, “whose aim consists in hitting a spiritual goal, so that fundamentally the marksman aims at himself and may even succeed in hitting himself.” (Herrigel p. 4) Through his studies, the author discovers that within the Zen ritual actions, archery in this case, there lies a deeper meaning. Herrigel explains throughout this book that it is not through the actual physical aspect of shooting arrows at targets that archery is Zen, but through the art and spirituality through which it is performed. It is not merely shooting an arrow to hit a target, but becoming the target yourself and then, in turn, hitting yourself spiritually. By meeting this spiritual goal, you will then meet the physical goal. The struggle then is, therefore not with the arrow or the target but within oneself.
Updike, John. “A&P.” Literature Craft and Voice. Ed. Nicholas Delbanco and Alan Cheuse. 2nd ed. New York: McGraw, 2013. 141-145. Print.
The story starts out with Kevins birthday party, at his birthday party kevin receives a camera from his family. A few days later Kevin learns that the camera doesn't work quite right. At first whenever he took a picture it came out as the same thing over and over. It was a big black dog running in front of a white picket fence. Then Kevin and his father have a discussion on wether or not to keep the camera, Kevin decides to keep it. The next day Kevin brings the camera into Pop Merrill the man who owns the shop where the camera was bought. Pop tells Kevin to bring the camera back in the morning and he will take a look at it. So Kevin goes home and has an idea he tries three other brands of film to see if that changed anything. He took five pictures a piece with each film, they all came out as the dog picture.
My brother and I push the rusty metal of the way and we climb through the hole and finally we start running. The guy starts chasing us then my brother and I climb over a fence and run into the forest. When me and my brother go into the forest we find this dog. My brother say’s it’s so cute then I say do you want to keep him and my brother say’s yes. So we start walking with the dog then we see the dust and we try to find a place to hide. Then the dog runs away and my brother and “I say comeback.”
Billy went on to explain that the man planned to work Brown really hard and so he took him and fed him first. Billy started talking to the guy and asking him all about the difference in real gold and fool's gold. Billy said that they went off and found real gold and showed him what it was and real gold is obvious what it is now. Billy Brown said the miner put thumb sized nuggets of gold in his hands until there were so many that they fell onto the
“A dream doesn't become reality through magic; it takes hard work, and determination.” Colin Powell In the story Where the Red Fern Grows by Wilson Rawls the theme of the novel is that hard work pays off.
Into the Wild by John Krakauer is a rare book in which its author freely admits his bias within the first few pages. “I won't claim to be an impartial biographer,” states Krakauer in the author’s note, and indeed he is not. Although it is not revealed in the author's note whether Krakauer's bias will be positive or negative, it can be easily inferred. Krakauer's explanation of his obsession with McCandless's story makes it evident that Into the Wild was written to persuade the reader to view him as the author does; as remarkably intelligent, driven, and spirited. This differs greatly from the opinion many people hold that McCandless was a simply a foolhardy kid in way over his head. Some even go as far as saying that his recklessness was due to an apparent death-wish. Krakauer uses a combination of ethos, logos and pathos throughout his rendition of McCandless’s story to dispute these negative outlooks while also giving readers new to this enigmatic adventure a proper introduction.
It’s fair to say that life on the road is something most people do not desire, as a way to live out their days; but a young man named Chris McCandless believed it was necessary to avoid the venomous grips of society. McCandless goes as far as to venture out to the rest of the United States and even crossing borders to achieve his true destination, Alaska. He shows us living such a life can hold many unique and wonderful experiences. Consequently, he also shows us the difficulties that most do not expect upon leaving for such a journey. Many speak about the advantages, like the freedom they enjoy, and the wondrous relationships formed along the way; but even so, some disadvantages outweigh the advantages, like the
of how John Steinbeck uses extraordinary circumstances to create appeal and realism to the reader.
rule each was given a section of the island to rule. Atlantis had a huge
The language used in the first two paragraphs outlines the area to which the book is set, this depicts that it is almost perfect and an. an idyllic place to be. The mood is tranquil and takes the reader to a place “where all life seems to live in harmony”. In the first two paragraphs. Carson uses language of melodrama to inspire the reader’s.