Eaters of The Dead
“Eaters of the Dead” by Michael Crichton is a fiction but with historical background. Through this piece Crichton hopes to express the way of life for the Vikings in the year 922 AD while at the same time creating an entertaining story. Using a manuscript written by Ibn-Fadlan Crichton pieced together a book filled with adventure and excitement. Michael Crichton was born in Chicago, 1942 and always knew he had a talent for writing. He attended Brown University and has since published many books such as “Jurassic Park”, “The Rising Sun”, “Disclosure”, and many more. Several of his books have been made into movies, for example, “Jurassic Park”, “The Lost World”, “Sphere”,
“Congo”, and “Eaters of the Dead” is coming to theatres this summer starring Antonio Banderas. Michael Crichton is also the writer of the hit TV show “ER”. Ibn-Fadlan is a refined Arab courtier representing the powerful Caliph of Baghdad and the whole story line is based on his travels. He is a Muslim and is sent to the Bulgar land to instruct the king in the Islamic religion, acquaint the king with Islamic laws, and build a Mosque in the city. Little does Ibn-Fadlan know where his travels will lead him. Wyglif is the present chief of the Northmen (at the time) he has fallen ill and is believed to have no chance of recovery. Once he dies, shortly after becoming ill, Buliwyf is made the new leader. Buliwyf is a young noble chosen to be the Northmens new leader once Wyglif dies. He is a courageous warrior, very tall and strong, and skin, hair, and beard of pure white. Herger, one of the Northmen warriors, also became Ibn-Fadlan’s friend.
He helped him to translate the words of the Northmen and also helped Ibn-Fadlan become accustomed to their way of life and how to act around the Northmen. “The Wendols” are characters in the story who, as told by Ibn-Fadlan, do not seem fully human. They ride on the back of a black horse and have the head of a bear. They are extremely fierce warriors and are quite vindictive. They give off a stench so strong it hurts to breathe because they consume human flesh and it is always on their breath. They come with the mist, a dark fog that encircles the land when the Wendols come.
This article is a narrative. It does not aim to analyse the topic. It describes the author's experiences at the mortuary and the resulting disturbing thoughts she had.
Right from the beginning of “Horror and the Maternal in Beowulf,” Paul Acker’s ambition in writing is clear. In the span of only a few sentences, he boldly refutes J.R.R. Tolkien’s interpretation of the monsters in Beowulf, stating “Tolkien also deflected certain avenues of interpreting the monsters” (702). This immediate claim, straight from the first paragraph of Acker’s essay, sets a tone for the rest of the paper, one that is plagued by unethical rhetorical strategies in order to satisfy its ambitions. Though Acker does present a fair argument in regards to his ideas and thesis, that same validity does not carry over to his rhetoric. I will argue that Acker constructs his essay in an unethical fashion, something which evidences itself
Damrosch, David, and David L. Pike. “Beowulf.” The Longman Anthology of World Literature, Compact Edition. New York: Pearson, Longman, 2008. 929-970. Print.
The drive to colonize the continent of Africa in the 19th centuries brought the European imperial powers against difficulties which had never been encountered before. One such difficulty is that of the local wildlife in Africa, such as lions or other big game animals. In The Man-Eaters of Tsavo, by Colonel John Patterson, a railway bridge project in East Africa is terrorized by a pair of man-eating lions. This completely true story shows the great difficulty in colonizing Africa by demonstrating the somewhat harsh environment of Africa.
Beowulf outlines turmoil between three opponents: Grendel, Grendel’s mother, and the Dragon. These separate discords each serve to fulfill different metaphoric purposes. Grendel’s character epitomizes the adverse persona of how an Anglo-Saxon warrior should not be. His mother represents everything that a woman during the time era should seldom be. Lastly, the Dragon embodies all the values that an Anglo-Saxon king should not dare retain. Without a doubt, the symbolic implications of the monsters in Beowulf bring the context to a new level of understanding.
In more recent years more contemporary Beowulf enthusiasts are publishing a version in Hungarian (by Gyorgy in1994); doing photographic representations of the poem (Swearer, etc. in 1990, etc.); doing a meditative translation (Hudson in 1990); doing an Augustinian translation (Huppe in 1994); a translation based on syllabic meter (Greenfield in 1982); writing a novel, Eaters of the Dead, based on th epoem (Crichton in 1978); retelling the poem as a rock musical (Wylie in 1974); and the list is endless. Each approach strives to reinterpret Beowulf in the local and contemporary idiom (Osborn 341).
In this book, Dr. Bass takes us behing the scenes of the Body Farm. An engaging storyteller, he reveals his hardest and best cases. While this book tells about Bass’s life, it is centered around the Body Farm itself because it tells of how it was started. This book is very informative and it tells you that even though it is a dead body, it can still tell many tales and it can mean a lot to history, This book shows just how the dead can come to
In Night of the Living Dead, the zombies were eventually eliminated. Or were they? Theorists argue that the monster’s elusiveness is due to its physical, psychological and social characteristics that cross the lines of classification. Human’s innate fear of the unknown is due to their inability to make a distinction or draw a clear conclusion. This is explained further in Jeffrey Cohen’s second thesis in “Monster Theory” that claims that; “the monster never escapes” (Cohen, 14). The zombie as a monster can never be destroyed completely and if it is, it leaves a remnant the make people feel uncertain of its destruction. Base on Cohen’s theory, the zombie’s different interpretation allows it to emerge in other forms (a faster, smarter zombie?)
Tolkien, J.R.R.. “Beowulf: The Monsters and the Critics.” In Beowulf – Modern Critical Interpretations, edited by Harold Bloom. New York: Chelsea House Publishers, 1987.
The postwar England of the twenties and thirties was the setting of Evelyn Waugh’s first satirical novels, among which was the Vile Bodies. Waugh, an author mostly known for his highly satirical fiction, published his novel Vile Bodies in 1930 right in the middle of the time-period between the Great Wars. Because of the historical evens that occupied England at that time, much of British Literature of the late 1920’s and early 1930’s was concerned with the Modernist movement, which was occupied with the idea of individualism of the young generation. Through the use of prominent and yet highly satirical characters, Waugh strives to criticize his Modernist generation for its unsuccessful movement into Modernism, both on the individual and political/institutional level. He does so by defining his type-characters as ignorant, self-centered and hypocritical in their disastrous movement toward individualism.
"So,” begins poem. “The Spear-Danes in days gone by/ and the kings who ruled them had courage and greatness./ We have heard of those princes’ heroic campaigns” (1-3). What follows is a brief history lesson, the story of “Shield Sheafson, scourge of many tribes,/ a ...
The second section of the book is titled The Bones and tells the story of the archeological remains of the ancestors of humanity. Wills creates a fascinating tale as he describes the lives, feelings and desires of the people involved in finding these bones. Not only does he describe the find and its significance to the understanding of evolution, he also tells the story of the finder making the section more of a human drama than a dry telling of facts.
Literature plays an important role as a part of the cultural heritage. Thus, literature is the soul of our civilization, the center of our religion, and the machine we can travel back in the time of our old civilizations. In addition, literary works are able to take the readers beyond the limited experiences of readers’ lives. They show the lives of others. The literary works covey the social, political, and cultural backgrounds of the time when the stories or novels were written. The author of the book, “The Death of the Author,” Roland Barthes expresses that authors are always the agents of their times. According to the statement conducted by Roland, to get the fully understanding of the text, he recommends
A. Michael. Matin. Introduction to Heart of Darkness and Selected Short Fiction. New York: Barnes & Noble Classics, 2008. Print.
Jorge Luis Borges’ thought provoking and fantastical literature stems from his philosophical mind. His stories, especially “Death and the Compass”, focus on labyrinths and identity. Borges fascinates his audience with his analysis of reality. He combines fact and fiction to create the perfect genre of mystery. His characters’ conquest for the unknown defines his use of detective fiction.