The descriptions of the action and characters provided by the authors of Corrie Ten Boom: Keeper of the Angels’ Den creates a vivid story of great courage and faith. The biography’s vitality was shown through Geoff and Janet Benge’s usage of vivid descriptions. Action was thoroughly described from Corrie’s point of view, giving the reader a thorough understanding of what she experienced while imprisoned by the Nazis. For instance, the text illustrates, “… Ravensbruck was running out of food to feed all the prisoners, so it had been decided to reduce the number of prisoners in the camp by gassing the older ones (Benge & Benge, 1998, p. 164).” This quote is an example of the horrors that took place in the concentration camps in which Corrie …show more content…
One example of the emotions shared with the reader was Corrie’s internal conflict of hating the Nazis and later trying to forgive them. After the war had ended, Corrie gave a sermon in Munich, speaking about how God asks people to forgive one another. When she was done speaking, a previous SS Guard in Ravensbruck, whom she did in fact recognize, came up to shake her hand. The book states, “The man thrust out his hand to shake Corrie’s, and as he did so, hatred filled her heart. She would not and could not lift her hand to shake his…Her arm stretched out as though she had no control over it , and she shook the man’s hand. As she did so, all the hatred she felt melted away, and she knew she had forgiven him (Benge & Benge, 1998, p. 192).” This depicts the emotional conflict that Corrie was undergoing to the reader, showing a powerful story of strength and forgiveness. Another way the story’s vitality was shown was by the authors’ portrayals of the characters in such a way that the reader gets to discover many aspects of them. Descriptions of the characters appearances and actions showed many facets of their personalities. One example of a character’s personality being shown was when the text states, “These desperate Jewish people had come to them for refuge, and they would not
Judging a book by its cover is like judging a person by the words that describe him or her. Some of them are accurate, but the physical being of a person can tell you a story untold. In Frank McCourt’s memoir Angela’s Ashes, the reader witnesses what the description of a single character can do to the voice of a piece. Frank’s use of pathos and characterization when it came to Angela, his mother, spoke volumes in his memoir, but when applied to the big screen, her character was amplified. It was then the reader realized that Angela’s true effect and purpose in Frank’s life was to be his main influence.
Readers develop a compassionate emotion toward the characters, although the characters are detached and impersonal, due to the tone of The Road. The characters are unidentified, generalizing the experience and making it relatable – meaning similar instances can happen to anyone, not just the characters in the novel. McCarthy combined the brutality of the post-apocalyptic world with tender love between father and son through tone.
The conflict that the individual faces will force them to reinforce and strengthen their identity in order to survive. In “The Cellist of Sarajevo” all the characters experience a brutal war that makes each of them struggle albeit in different ways. Each of them have their own anxieties and rage that eventually makes them grow as characters at the end of the book. When looking at what makes a person who they are it becomes obvious that the struggles they have faced has influenced them dramatically. The individual will find that this development is the pure essence of what it truly means to be
Between Night and The Hiding Place, comradeship, faith, strength, and people of visions are clearly proved to be essential in order to survive in these death camps. Corrie, Elie, and other victims of these harsh brutalities who did survive had a rare quality that six million others unfortunately did not.
"Nominated for a 1998 National Book Award for Young People's Literature, No Pretty Pictures: A Child of War is Anita Lobel's gripping memoir of surviving the Holocaust. A Caldecott-winning illustrator of such delightful picture books as On Market Street, it is difficult to believe Lobel endured the horrific childhood she did. From age 5 to age 10, Lobel spent what are supposed to be carefree years hiding from the Nazis, protecting her younger brother, being captured and marched from camp to camp, and surviving completely dehumanizing conditions. A terrifying story by any measure, Lobel's memoir is all the more haunting as told from the first-person, child's-eye view. Her girlhood voice tells it like it is, without irony or even complete understanding, but with matter-of-fact honesty and astonishing attention to detail. She carves vivid, enduring images into readers' minds. On hiding in the attic of the ghetto: "We were always told to be very quiet. The whispers of the trapped grown-ups sounded like the noise of insects rubbing their legs together." On being discovered while hiding in a convent: "They lined us up facing the wall. I looked at the dark red bricks in front of me and waited for the shots. When the shouting continued and the shots didn't come, I noticed my breath hanging in thin puffs in the air." On trying not to draw the attention of the Nazis: "I wanted to shrink away. To fold into a small invisible thing that had no detectable smell. No breath. No flesh. No sound."
It is vital for an author to warrant that his or her characters’ emotions are outwardly expressed. Therefore, William Osborne writes without constraints when conveying emotion: “Adrenaline was making Leni’s heart thud…her stomach came rushing up to her throat as the plane dropped like a stone” (Osborne 48-49). The descriptive language in the quote provides a raw perspective of a situation of great magnitude. Restricting emotion creates a bland story that prohibits the reader from comprehending the amplitude of the scenarios presented in the book. For this reason, Osborne uses his liberties as a writer to communicate the fact that a young girl is preparing to be dropped from a plane into an unfamiliar frontier. Simply stating the girl’s situation would not drive the reader to feel empathy; however, Osborne includes the girl’s sentiments, virtually insisting that the reader enter the fictional world to partake in the event. Further, Osborne’s expressions of emotion are effective because they are not simple assertions. Instead, they encompass the character’s surroundings and mental state. In addition, they even foreshadow future events: “Leni’s mind was racing, on the edge of panic. She had to do something, and fast” (Osborne 105). Superficially, this quote shows that Leni is scared. However, thorough analysis suggests that Osborne is using Leni’s
James Wood in his book, How Fiction Works, analyzes various essential elements of fiction. Most fascinating of which, is his critique of “Character” and “Sympathy and Complexity”. These two chapters are perfectly exemplified in Ian McEwan’s novel Atonement. The novel demonstrates what Wood calls Sympathetic Identification. When a reader is able to create an emotional connection to particular characters. Author Ian McEwan uses free indirect style to evoke sympathetic identification with characters.
The reader is put in the middle of a war of nerves and will between two men, one of which we have grown up to learn to hate. This only makes us even more emotional about the topic at hand. For a history book, it was surprisingly understandable and hard to put down. It enlightened me to the complex problems that existed in the most memorable three months this century.
I could hear her soft voice saying it. His timing is perfect. His will is our hiding place. Lord Jesus, keep me in Your will! Don’t let me go mad by poking about outside it.” I like this quote so much because it makes the title of the book have a different meaning. Throughout the whole book I thought the “Hiding place was the Beje, their home, because they were hiding Jews there. Or maybe it was the organization the Corrie Ten Boom was leader of. When I read that, it brought the whole book together. Without that simple paragraph, the book would lose a whole level of
Corrie ten Boom writes a book called The Hiding Place, and it explains how she and her family helped Jews during the Holocaust. It took a lot of bravery and courage for the ten Booms to put their lives on the line to save the lives of nearly 800 Jews. The ten Booms show that instead of disregarding the jews and not helping them, they open their home for anybody who needs help. Even through the dark times, the ten Booms always have a strong feeling that something good will happen and continue spread the love of Jesus. The ten Booms hope that Jesus can deliver the soldiers from evil and keep spirits of everyone who is suffering from the Holocaust. The ten Booms respond to their environment by providing a temporary home for Jewish people and
The dictionary defines “Emotion” as instinctive or intuitive feeling as distinguished from reasoning or knowledge, storytellers use “Emotion” as a way to get the message across for the reader, in this case that seems to be evidently true. In every story, there lies a purpose; a message. O’Briens purpose for storytelling is to clear his conscience of war and to tell the stories of soldiers who were forgotten by society. He shows the emotional struggles and happy times of the soldiers through their journey in Vietnam. It was these events that led to great human emotions. Simply writing facts is easy, but writing so that emotions will be felt to the reader is more important. That is exactly what Tim O’Brien does to make this novel unique. As
Morrison, Jack G.. Ravensbrück: Everyday Life in a Women's Concentration Camp, 1939-45. Princeton, NJ: Wiener, 2000. Print.
In doing so, the author can give real emotions to a character that will help portray their personality. In the short story “You, Disappearing,” the author reveals the personality and inner conflict of the main character by showing her dependence and attachment to her former boyfriend she’s moved away from. However, by using a first person narrative, the author gives the reader little outside knowledge of the character’s true personality and the reader must make this determination based solely on what the character says or does. What highlights her uncertainty and lack of self identity as the story progresses is how she ponders her old relationship and does not have a plan for the end of the world. In this situation, an example of her instability shows when she recalls how “[he was] the sort of person that [kept] it all going, and [she] was the other kind” (You, Disappearing). Furthermore, this seemed to conflict her and was something that compelled her to move
With so many distortions, many readers may not appreciate Brontë's book. She takes common elements and greatly exaggerates them. She turns love into obsessive passion, contempt into lifelong vindictive hatred, and peaceful death into the equivalent of burning in hell. In doing so, she not only loaded the book with emotions, but vividly illustrated the outcome if one were to possess these emotions.
Corrie ten Boom deserves a biography because she was to risk everything in order to help those that were in need. Corrie ten Boom lived in a small “Beje” above her family’s watch shop with her father and sister Betsie when World War Two started. Two years after the fall of Holland, Corrie, at the age of 50, started to get involved in the underground. Her family started to take in Jews, which put them in extreme danger, but they did it without a second thought in order to protect these people: “She carried a small suitcase and- odd for the time of year- wore a fur coat, gloves, and a heavy veil.