The quote, “writing in English is the most ingenious torture ever devised for sins committed in previous lives. The English reading public explains the reason why,” by James Joyce; points out that any novelist, historian, or author writing about our previous failures as humans in history affects any reader in a way that brings up painful memories and leaves the reader with past knowledge. To be honest, I had to grab a chair and think for what seemed like hours before I could actually comprehend what the quote was saying. I thought to myself, “How can writing about the past bring pain to the reader? I understood how writing can bring knowledge to a person, but how can it affect anything in the present?” As Vladimir Nabokov said, “In reading, one should notice and fondle details.” So, I opened up my mind and started to analyze the quote.
The sensational novel is usually a tale of our own times. Proximity is indeed one great element of sensation. A tale which aims to electrify the nerves of the reader is never thoroughly effective unless the scene be laid out in our own days and among the people we are in the habit of meeting. In keeping with mid-Victorian themes, Lady Audley’s Secret is closely connected to the street literature and newspaper accounts of real crimes. The crimes in Braddon’s novel are concealed and secret.
So an insane person’s writing would sound much like ‘I Felt a Funeral in my Brain’ because of the fact that insane people can’t produce technical pieces of art. Also, when at the end of the poem, Dickinson states on lines 15-16 “And I, and Silence, some strange Race, / -Wrecked, solitary, here-“it leaves many readers having to go back and read it again. The words seem to be placed in horrible spots and seem like bad writing. There was a big intention behind writing in these ways. Dickinson has a huge amount of wisdom when it came to this poem and the reason behind everything she did completely put it over the top for the expression of insanity.
The reader of a metafiction raises the question-which is the real world? The ontology of “any fiction is justified/validated/vindicated in the context of various theories of representation in the field of literary art and practice. Among these theories the seminal and the most influential is the mimetic theory. The theory of mimesis (imitation) posits that there is a world out there, a world in which we all live and act, which we call “the real world”. What fiction does (for that matter any art) is to try and (re) present this world using narrative techniques (or artistic techniques)” (Thaninayagam 12).
Overlooked embellishments and whole fabrications were found to exist within their alleged creative nonfiction works – stirring angst within the nonfiction community (Bradley 208). Allegations arose and investigations ensued, all revolving around the question: who is to blame? As a result, the entire creative nonfiction genre received negative publicity and harsh criticism (Bradley 203). For creative nonfiction to restore its legitimacy and veracity as a genre, authors, and not publishers, are to be held responsible for ensuring their creative nonfiction books are truthful. Creative nonfiction, often labeled the “fourth genre” (Bradley 203), requires the depiction of factual events and happenings through past memories, with a literary touch.
In such novels, there is a tendency to lack a chronological or even logical narrative and there are also frequent breaks in narratives where the perspectives jump from one to another without warning. Because there are many points of view and not all of them are explained, therefore, modernist novels often tend to have narrative perspectives that suddenly shift or cause confusion. This is because modernism has always been an experimental form of literature that lacks a traditional narrative or a set, rigid structure. Therefore, E. M. Forster, author of A Passage to India, uses such techniques to portray the true nature of reality. The conflict between Adela, a young British girl, and Aziz, an Indian doctor, at the Marabar Caves is one that implements multiple modernist ideals and is placed in British-India.
Stages of Life in My Antonia In the past, critics have demoralized and brutalized every writer they could get their pen on. This is seen from criticisms of Henry Adams to William Butler Yeats. These critics critique everything about the writer and his/her works. For instance, many critics criticize Willa Cather's novel, My Antonia. Their criticisms lie on the basis that My Antonia is based on cyclical themes with no structure holding each of My Antonia's books.
In We So Seld... ... middle of paper ... ...ase's outlook on reality should be like. The capacities on a variety of reality levels and its attitudes show throughout Neuromancer and We So Seldom Look on Love. Each story is able to incorporate diverse realities shown by the main character as well as the culture around them. When living in a different reality, one places as the odd-man-out to everyone else because of idealistic perceptions of reality. One can understand the reality of a fragmented mind when entering the unusual world of realism themselves as well as understanding the personality of those who are open-minded and accepts diverse levels of realism.
This quote seems to coincide with Faris' statement that the "wonders are recounted largely without comment, in a matter-of-fact way, accepted - presumably - as a child would accept them, without undue questioning or reflection" (177). From class discussion, I have found that there are also many ways to interpret the meaning of magical realism stories. "A dream is a sequence of moving images, based on a significant thought which may be either conscious or unconscious" (Hearne and Melbourne 42). Anthony Stevens says, "from the standpoint of dream psychology, the most extraordinary capacity of the human psyche is it's genius for fabricating images" (176). He states an image becomes a symbol when it is endowed with meaning (176).
Deconstructing Henry James's The Turn of the Screw To those readers uninitiated to the infinite guises of critical literary theory, Henry James's The Turn of the Screw might be interpreted as a textbook case of an anxiety-ridden Governess fleeing an unpromising reality and running right into the vaporous arms of her imaginary ghosts. But to the seriously literate, the text is more than the story does or does not tell; it can be read in light of many - not just one - literary theories. Modern in the sense that ambiguity seems to be the text's organizing principle (a conventional, formalist reading), the text also contains numerous binary oppositions that structuralists might point out as defining the langue of gothic ghost stories or of Jamesian novels or the parole of excitable young ladies. But strict formal and structural readings of this text are incomplete in and of themselves because they do not question their own premises or conventions. No reading of the text would be adequate without at least a nod to deconstructionism.