He does this by means of hinting the plot and sharing some elements of mystery, and Gothic elements of the novel. The second role of the preface was however more towards his disadvantage, although I would imagine he never intended this to happen. The preface served as a frame in which Walpole disguises himself as an objective, third party translator, or he is also known as William Marshal. This same frame which served him benefits also proved to be a large indicator that the novel could not have been written two hundred years ago. It had all the key aspect of many eighteenth and nineteenth century novels, authenticity, authority, antiquity and art... ... middle of paper ... ... rather interesting foretelling of the story, whilst still not giving too much of it away.
Holden makes the comment, ‘what really knocks me out is a book, that when you're all done reading it, you wish that the author who wrote it was a terrific friend of yours and you could call him up on the phone whenever you felt like it (Salinger 18).” But Holden’s mistake is that a book is not its author. Therefor the theme of this story can not be found within J.D. Salinger but within the text. Holden may not have been in any war battles, but he takes the reader through battles of his own. In the text, the items and objects that hold symbolic meaning, can be a way that Holden gets the reader to see the world through his eyes, to empathize, and to make the conclusion that this classic novel is revolved around
Unlike the other modernist novels, Maurice does not experiment much with language, form or style. However, its modernist ethos lies in its transgressiveness – dealing with homosexual themes in the way Oscar Wilde anticipated modernism in the previous century. Michel Foucault in his essay “A Preface to Transgression” writes: “the whole of modern thought is imbued with the necessity of thinking the unthought…for modern thought, no morality is possible” (qtd. in Tambling 4). It is hereby interesting to look at Forster, a homosexual author, and his novel Maurice which raises and/o... ... middle of paper ... ... Cambride UP.
Critics have found no unifying element to the parts to affirm the sense of wholeness readers feel after completing O'Brien's novel. Nevertheless, the reader senses that the seemingly random construction of the novel serves to underscore the random nature of the Vietnam war. However, to lightly dismiss O'Brien's organization as simply fragmentary does great disservice to this American author. A critical examination of a traditional element found in American Literature since its inception--the symbolic use of Nature--unifies Going After Cacciato and places the work firmly in the Romantic tradition. Just as Romanticists have always relied upon Nature to unify and add substantial depth to their novels so, too, has O'Brien.
In attempt to tug at the audiences heartstrings through his poetic language of love and romance it makes it difficult to look past the beautiful language and see the unraveled events of Lolita in their true light: vulgarity. In conclusion, by incorporating such rich detail and full imagery through scholarly grammar and vocabulary, Humbert Humbert participates in the act of manipulating his audience through his clever use of wordplay, confrontation, and delusions in order to escape fault for his immoral acts against an innocent girl. Although he is writing a memoir, Humbert does not hold back when it comes to his choice of words. Through his beautiful writing and poetic prose, H.H. is successful in influencing the horror of the true events in Lolita – concluding that through art, beauty can be found even in the most tragic occurrences.
Focusing on the novel as a piece of literature and exploring setting, characters, and plot, Rubin is able to break the stigma that Tom Sawyer is strictly a historical story. While there are some slight overlooks and complications with Rubin’s “Tom Sawyer and the Use of Novels”, the essay is able to critique and evaluate the novel’s real purpose outside of being a snapshot of American history. Rubin ends his essay by writing: “It may not provide us with all the facts we want about American life, but it can… tell us what American life means” (216).
Literature is brought together to signify meaning through the use of purpose and form; without purpose and form, there is no meaning to an author’s text. When an author is motivated, they decide whether they want to inform, entertain, explain, or persuade the reader; thus finding their purpose of writing. After the decision of the purpose, the writer chooses what form their story will take. It is then the reader’s job to take the aim and form of the story and create meaning. The novels, The Great Gatsby, written by F. Scott Fitzgerald, and The Wars, written by Timothy Findley, support the phrase, the purpose of the text and the form it takes generate meaning.
In reference to Capote?s obsession for accuracy, Gerald Clark wrote In Cold Blood may have been written like a novel, but it is accurate to the smallest detail, ?immaculately factual? Truman publicly boasted. Although it has no footnotes, he could point out to an obvious source for every remark uttered and every thought expressed. ?One doesn?t spend almost six years on a book, the point of which is factual accuracy, and then give way to minor distortions.? (358) Because Truman had to devote much of his time to the research and writing of this novel, he wanted to be thorough.
In the Columbia University Forum, Charles Alva Hoyt pointed out that what was called a "new literary genre," was simply a plain old reinterpretation of the art of writing history. What Mr. Capote thinks he has discovered is already known to the world by a different name: history. History is the art of telling the truth, selectively (so that the reader may not strangle on vast accumulations of data) and gracefully (so that the reader will want to read in the first place). Another critic who also takes the stance that Capote has invented nothing new is Rebecca West. Despite this criticism, West had nothing but praise for Capote's way of presenting his character's as truthfully as possible, while at the same time making them interesting to the reader.
Whitman argued the public was placing too much emphasis on the sexual content and not fully embracing his work as a whole. He held too much pride to blatantly change or censor his work but over time did make subtle alterations and omission of lines (Killingsworth). Early on, Whitman was inspired by Ralph Waldo Emerson’s 1843 essay, The Poet (“Author Profile.”). Emerson called for an American poet to also celebrate the spirit and nature of man, to celebrate individualism instead of embracing the social order of things (Willcox). Whitman, optimistic with the new changes in American literature, set out to answer Emerson and embarked on a journey of becoming a very unique and great American poet (“Author Profile.”).