Ira Levin's A Kiss Before Dying Ira Levin was twenty-two when he wrote his first novel, the award-winning thriller “A Kiss Before Dying”. He was twenty-five when he, fresh from military service, wrote his first play; the smash-hit adaptation of Mac Hyman’s “No Time for Sergeants”. In the years since, he has continued to work both sides of the literary street. His plays include the comedy hit “Critic’s Choice”, the musical “Drat!”, “Cat!” and the thriller “Veronica’s Room”.
Eric Rauchway’s Murdering McKinley: The Making of Theodore Roosevelt’s America is an examination of the events, social conditions and dramatic political changes taking place in America immediately prior to and during the birth of the 20th century that led to the assassination of William McKinley and the rise of progressivism. It is furthermore an investigation of the motives behind the assassination, and an analysis of the events leading up to what made possible “Roosevelt’s America,” arguably the first recognizably modern period in American history from a 21st century perspective: the progressive era.
Kerry Kletter is the author of The First Time She Drowned. She has a degree in literature and has background in theater. Kletter has been in film, on television, and onstage performances. During her free time, when not writing, likes to surf, run, and work with animals. Kletter was born in New Jersey, now lives in Santa Monica California, where she writes with her partner David Zorn.
A short, fat man who owns a little band of sheep on the flats at
The sympathy of loss is persuaded as a devastating way on how a person is in a state of mind of losing. A person deals with loss as an impact on life and a way of changing their life at the particular moment. In the book My Losing Season by Pat Conroy he deals with the type of loss every time he plays basketball due to the fact, when something is going right for him life finds a way to make him lose in a matter of being in the way of Pat’s concentration to be successful.
Imagine a time where every detail about your life (credit score, personality ranking, “hotness” ranking, etc.) was available to anybody around you through something similar to the present-day iPhone. Now imagine this world being reality. In Gary Shteyngart's Super Sad True Love Story, this idea is reality. Everybody in the world has an äppäräti, and everybody knows everything about one another. But is knowing everything about your friends and neighbors really a good thing, especially when the world around you is crumbling because of this knowledge? Perhaps it isn’t. As Bertrand Russell, a British philosopher, once said, “In all affairs, love, religion, politics, or business, it’s a healthy idea, now and then, to hang a question mark on things you have long taken for granted.” The relationship between Lenny Abramov and Eunice Park, the main characters of Super Sad True Love Story, could have used a question mark on how culture, media, business, and technology impacted their personal relationships throughout the book.
In the novel “Shane”, by Jack Schaefer, Marian, the wife of Joe and the mother of Bob is initially played out to be a very simple character. She cooks and cleans and cares for her family. She starts to develop a more complex character as Shane arrives. You can tell from the beginning that Marian wants to impress her guest with her cooking and her curiosity of the latest fashions. But as the novel progresses you begin to see that Marian may want more from Shane than originally shown.
Of course I do not consider myself to be a racist, or a bigot, but I am aware of socially conditioned stereotypes and prejudices that reside within. That awareness, and the ability to think for myself, has allowed me to approach issues with clarity of mind and curiousness at the social interactions of various movements. Buried in the Bitter Waters, by Elliot Jaspin, has easily awakened my sensibilities and knowledge of modern era race relations in the United States. I read each chapter feeling as if I had just read it in the pages before. The theme of racial cleansing - of not only the colonizing of a people, but the destruction of their lives and livelihood – was awesome. The “awesome” of the 17th century, from the Oxford English Dictionary, as in “inspiring awe; appalling, dreadful.” Each story itself was a meditation on dread and horror, the likes of which my generation cannot even fathom. It is with that “awe” that I reflect in this response paper.
There are plenty of different kinds of books written, and published today. It’s a interesting form of entertainment that still holds up along side modern adaptations, like television or games. Books have a wider open door to visualization and interoperation. People can read things differently according to their own experiences. It’s up to the author to still allow that room for interoperation while keeping the books characters and plot on track. Looking at a book from the point of one main character, people may want to relate themselves to that character. That way they can feel and experience that change the character does.
Love is essentially the key that unlocks all aspects that are carried throughout friendships. Friendship without love is like having an imaginary friend because it is not actually there. Rat Kiley and Curt Lemon's companionship was a prime example of how love is disturbed in friendship. They were two peas in a pod and would do everything together so when Lemon died Kiley took it hard. He had wrote a letter to Lemon's sister explaining how good of a man Lemon was as a way of trying to show that he really loved Lemon. He also killed a harmless animal as his way of retribution to show that he had not forgotten about his best friend. Love in Friendship is having that other person with you even when they are not actually present. Lt. Cross had a
"We have to start treating Vietnam as a country and not a war. It'll take the old age and death of all veterans before it stops being our 51st state (Alvarez, 2013)." In the story "The Man I Killed", Tim O'Brien, who served in the U.S military in Vietnam, describes the guilt many American soldiers felt about the atrocities they committed in Vietnam. "Vietnam is not an appendage of America. That sort of thinking got us into the mess in the first place. Were bound together by some painful history, but it’s not our liver or our appendix- it's a country (Alvarez, 2013)."
Filmmakers are granted artistic license because filmmaking is an art and because film and literature are not always exactly compatible. There are many artistic components in the making of a film. The plot or the story behind the film is one the most important of these components. The makers of The Joy That Kills in making a film version of Kate Chopin's short story The Story of an Hour took artistic license to its limits. The entire story was dismantled and then completely reinvented. Many characters that are barely present or do not even appear in the story emerge to play important roles in the life of this young woman with heart trouble in the film. Louise along with the other characters has changed drastically in the transition to celluloid. The filmmakers in trying to make a more appealing movie have forgotten the story they were supposed to be telling.
In Thomas Nagel’s “Death,” he questions whether death is a bad thing, if it is assumed that death is the permanent end of our existence. Besides addressing whether death is a bad thing, Nagel focuses on whether or not it is something that people should be fearful of. He also explores whether death is evil. Death is defined as permanent death, without any form of consciousness, while evil is defined as the deprivation of some quality or characteristic. In his conclusion, he reaffirms that conscious existence ends at death and that there is no subject to experience death and death ultimately deprives a person of life. Therefore, he states that Death actually deprives a person of conscious existence and the ability to experience. The ability to experience is open ended and future oriented. If a person cannot permanently experience in the future, it is a bad or an evil. A person is harmed by deprivation. Finally, he claims that death is an evil and a person is harmed even though the person does not experience the harm.
Usually when someone is murdered, people expect the murderer to feel culpable. This though, is not the case in war. When in war, a soldier is taught that the enemy deserves to die, for no other reason than that they are the nation’s enemy. When Tim O’Brien kills a man during the Vietnam War, he is shocked that the man is not the buff, wicked, and terrifying enemy he was expecting. This realization overwhelms him in guilt. O’Brien’s guilt has him so fixated on the life of his victim that his own presence in the story—as protagonist and narrator—fades to the black. Since he doesn’t use the first person to explain his guilt and confusion, he negotiates his feelings by operating in fantasy—by imagining an entire life for his victim, from his boyhood and his family to his feeling about the war and about the Americans. In The Man I Killed, Tim O’Brien explores the truth of The Vietnam War by vividly describing the dead body and the imagined life of the man he has killed to question the morality of killing in a war that seems to have no point to him.
In the story, “Loves Executioner”, Yalom treats and old woman named “Thelma” that is overly obsessed with her a former therapist from ten years ago named Matthew. Yalom feeling though that he is drawn to the facets of her dilemma decides to do everything he can to empower Thelma move past the obsessions that had been wrecking havoc on her mental health. Although Thelma’s love obsession with her therapist, and her subjective experiences on life of what is preventing her from living in the present, Yalom attempts to treat a 70-year-old woman only to learn that being love executioner more complicated as he had anticipated.
William Faulkner's novel "As I Lay Dying" centers on the death and ensuing burial of the matriarch of the Bundren family, Addie. The book is written in first person point of view and is narrated by family members and acquaintances of Addie. It is through the narratives of the other characters that her personality is revealed. Few clearly defined details about Addie are given in the novel, and as such, the reader must learn about her through the narrations of the other characters. Addie Bundren is a complex woman with many conflicting personality traits that often influence others.