In her significant article on Tom McCarthy’s Remainder (2005) and Joseph O’Neill’s Netherland (2008), for the New York Review of Books, Zadie Smith praises Remainder’s adherence to its own principles of “minimalist narrative refusal” (Smith). She reports laughing out loud at the narrator of Remainder (whom she titles “the Re-enactor”) when after days of confinement in his reenactment space he gets “an urge to go and check up on the outside world [himself],” but has “Nothing much to report” (McCarthy 165). Through this offhand dismissal of the novel’s traditional duty to achieve fulfillment in descriptions of the protagonist’s interactions with the world, the text continues a presentation of what Smith describes as “an alternate road down which …show more content…
Like the Re-enactor, who sees the tire shop take “on the air of something interesting,” whereas he previously found it so mundane as to be unnoticeable, the text obsessively notes details of the tire shop and the Re-enactor’s visit to it with loving attention. While the oldest boy repairs the tire, his smallest movements are recorded and transmitted to the reader in paragraphs of repetitious yet elevated descriptions of blue collar work. The boy presses pedals, then presses other pedals. His hand, personified, “rose and flipped a lever at the lathe’s side [...] the hand didn’t need help: it knew just where it was” (169). Like the brothers and the Re-enactor, who “stood still, reverent as a congregation at a christening, watching him at his font” (169), the text worships the boy mechanic with religious devotion. However, the simile comparing the audience to a congregation is the only figurative language in the passage. By choosing to carefully describe each of the boy’s movements without embellishment, the text—and the narrator, according to his role—departs from the traditions of lyrical realism and presents the reader with a beige image of a mundane event. There are no skies reflecting the narrator’s inner turmoil or other baroque language
The timeline carries on chronologically, the intense imagery exaggerated to allow the poem to mimic childlike mannerisms. This, subjectively, lets the reader experience the adventure through the young speaker’s eyes. The personification of “sunset”, (5) “shutters”, (8) “shadows”, (19) and “lamplights” (10) makes the world appear alive and allows nothing to be a passing detail, very akin to a child’s imagination. The sunset, alive as it may seem, ordinarily depicts a euphemism for death, similar to the image of the “shutters closing like the eyelids”
Academic colleagues like, David Greenburg, would have been exasperated, part from envy of McCullough’s ability in not only story telling but to sell and he would object to the approach of this book. The colleagues would tear at the lack of compelling rationale for an overused topic, as well as the scene setting, and meager analysis.
Chatman, Seymour, "Existents." Story and Discourse: Narrative Structure in Fiction and Film. Ithaca: Cornell UP, 1978. 107-126, 131-145.
The narrator writes from a participant-limited point of view allowing him to have a certain writing style to make the tone of the story more believable. A carefree and reckless attitude can be described as the tone and it is apparent in certain terms that are repeated. Terms such as, “Motherfucker” and when he says “we were bad” referring to himself and his friends allows the reader to imagine times when they too may have used diction similar to these young teens (T. Coraghessan Boyle, 168).
The following lines also give us a better look into the boy’s imaginative possibilities. “I wore my space helmet / to catechism?” (17, 18). “Sister Mary Bernadette / pointed towards the door / and said, “Out! Come back / when you’re ready.”(21-24) and from this point it is a fantastical retelling of the boy floating up through the roof of the church and escaping the church. Perhaps he left the church because he wasn’t allowed to wear his space helmet. And that might be his reasoning. But it was all a grand metaphor with the space helmet being his imagination and spirit and the Church not being the best place for him to express that. The poet again explores the conflict between an innocent free-thinking childhood and the restriction of
When the poem is read aloud, the explicit rhyme and rhythm of the lines becomes extremely obvious. In fact, the bouncy rhythm is so uplifting, it occasionally makes the audiences feel like it is too predictable and straight-forward. An example would be “bright with chrysolite”, the word “chrysolite” feels like it is forcefully implemented for the sake of the rhyme. This is somewhat similar to a children’s tale. Most children’s tale as we know it, conveys messages straightforwardly and are easily understood by children, it also has an amiable tone and a merry mood that engages the children 's attention. Similarly, the rhyme and rhythm of this poem is very obvious and explicit, creating a delightful, casual mood that appeals to a young audience. Even though the legend dealt with deep insights about parenting that are intricate and puzzling, the father delivered it in such a gratifying, simple manner that made even the most dark and dreadful matters: like the description of precarious beasts and vicious monsters to sound like a blissful adventure of friendly animals. The sole purpose of this contradiction between the tone and message is to make this seemingly strong and serious topic more tolerable and captivating to the son of the father. Unsensible, impulsive youth is very similar to restless children, a long insipid lecture about deep insights is very difficult for them to buy into. In the same time, a harsh, threatening warning will only make them obey unwillingly, and creating a doubtful relationship will make them uncomfortable to communicate or appeal to their parents. Clearly, the percipient father recognized the ineffectiveness of these unsuitable parenting methods. Instead, he conveyed the message in a uncomplicated, friendly way that made his son to accept his teachings more comfortably. A
The tone is set in this chapter as Krakauer uses words to create an atmosphere of worry, fear, and happiness in McCandless’s mind. “The bush is an unforgiving place, however, that cares nothing for hope or longing”(4). McCandless is on the path of death, which creates worry and fear for the young boy. “He was determined. Real gung ho. The word that comes to mind is excited,” (6). Alex is very excited and care free, which Krakauer used to his advantage in making the tone of Alex’s mind happy. The author creates tones to make the reader feel the moment as if the readers were sitting there themselves. Krakauer uses dialogue and setting to create the mixed tones of this chapter. As one can see from the quotes and scenery the author uses tones that are blunt and are to the point to make the reader feel as though the emotions are their own. Krakauer uses plenty of figurative language in this chapter. He uses figurative language to support his ideas,to express the surroundings, and tone around the character. To start the chapter he uses a simile describing the landscape of the area, “…sprawls across the flats like a rumpled blanket on an unmade bed,” (9). This statement is used to make reader sense the area and set the mood for the chapter. The use of figurative language in this chapter is to make a visual representation in the readers mind. “It’s satellites surrender to the low Kantishna plain” (9).
Another emotion portrayed through the narrators language is disappointment. The center of the work is where the story takes a deep turn downward - and the black cloud presents itself. Mr. DonLeavy's presence was insult enough, but to say he was "glad to be here to see the work going on just as it was in the other schools" (838)...
Pike, Gerald. “Excerpts from Criticism of the Works of Short Fiction Writers.” Short Story Criticism. Ed. Thomas Votteler. Vol. 6. Detroit: Gale Research International Limited, 1990. 90. Print.
10. What form of figurative language does the author use in lines 4 & 5 of page 215 to make his writing more
The somber and effusive tone of the selected passage from Their Eyes Were Watching God, by Zora Neale Hurston, is shown through its general diction and imagery. Hurston uses skillfully chosen words to enhance the imagery, and both devices contribute to the tone of this scene.
During the March 1986 edition of the Journal of Modern Literature, Lee Clark Mitchell of Princeton University opens his article “‘Keeping His Head’: Repetition and Responsibility in London’s ‘To Build a Fire’” by critiquing naturalism’s style of storytelling. Mitchell claims naturalism as a slow, dull, and plain way of capturing an audience; and Jack London is the epitome of this description. Mitchell states, “[London’s] very methods of composition prompt a certain skepticism; the speed with which he wrote, his suspiciously childish plots…have all convinced readers to ignore the technical aspects of h...
The speaker reflects on the teenage girl’s childhood as she recalls the girl played with “dolls that did pee-pee” (2). This childish description allows the speaker to explain the innocence of the little girl. As a result, the reader immediately feels connected to this cute and innocent young girl. However, the speaker’s diction evolves as the girl grew into a teenager as she proclaims: “She was healthy, tested intelligent, / possessed strong arms and back, / abundant sexual drive and manual dexterity” (7-9). The speaker applies polished language to illustrate the teen. This causes the reader not only to see the girl as an adult, but also to begin to grasp the importance of her situation. The speaker expresses what the bullies told this girl as she explains: “She was advised to play coy, / exhorted to come on hearty” (12-13). The sophisticated diction shifts towards the girl’s oppressors and their cruel demands of her. Because of this, the reader is aware of the extent of the girl’s abuse. The speaker utilizes an intriguing simile as she announces: “Her good nature wore out / like a fan belt” (15-16). The maturity of the speaker’s word choice becomes evident as she uses a simile a young reader would not understand. This keeps the mature reader focused and allows him to fully understand the somberness of this poem. The speaker concludes the poem as she depicts the teenage girl’s appearance at her funeral: “In the casket displayed on satin she lay / with the undertaker’s cosmetics painted on” (19-20). The speaker elects not to describe the dead girl in an unclear and ingenuous manner. Rather, she is very clear and
It is a serious and quiet event. She sees the boys as "short men" gathering in the living room, not as children having fun. The children seem subdued to us, with "hands in pockets". It is almost as if they are waiting, as the readers are, for something of importance to take place.... ... middle of paper ...
To begin, the reader may gather that the poem has a very dark and saddened tone. Due to Lowell's vivid imagery, a mental image of a dark urban setting is created. It also seems very cold, with the mentioning of wind and nighttime. Readers may be able to relate to urban places they know, adding to the reality of the poem. Connections can be made. The imagery is left in such a way that the reader can fill in the gaps with their own memories or settings. Also, since the poem uses free verse, the structure is left open to interpretation. This makes the poem more inviting and easier to interpret, rather than reading it as a riddle. However, though simple in imagery, the poem still captures the reader's interest due to the creation it sparks, yet it never strays away from the theme of bei...