To be Extremely Loud & Incredibly Close
Jonathan Safran Foer’s novel, “Extremely loud & Incredibly close” opens with the narration of Oskar, the novel’s main character. Oskar’s narration starts with his thoughts, he indulges himself in “what about” and “what if” questions. Oskar opens the novel saying, “what about a teakettle? What if the spout opened and closed when the steam came out, so it would become a mouth, and it could whistle pretty melodies, or do Shakespeare, or just crack up with me?” In this brief introduction, Oskar can be seen as a critical thinker with a very imaginative side, engaging the readers and giving them insight into his adolescent mind. “I could invent a teakettle that reads Dad’s voice, so I could fall asleep….”
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Saal notes, “The Holocaust has today come to stand as a universal "moral touchstone,” a sensitive subject to the large public. Saal is correct, the holocaust is a moral touchstone, we don’t tolerate, "The evils of genocide and the moral responsibility not to stand by and witness the murder of innocent civilians." The holocaust is a part of the history that is taught in schools globally. With the Holocaust becoming our moral touchstone, as a collective, we agree what is right and what is wrong (the Holocaust being wrong) and that we as humans should never have to experience something as traumatizing as the Holocaust again. Saal gives her own insight into “Extremely loud and Incredibly Close.” “Foer's Extremely Loud & Incredibly Close trauma transfer operates on two levels: on the level of composition, narrative structure, and tropology (nondiegetic), and on the level of character perception and plot development (diegetic). Notably, these two levels do not coincide in their assessment of trauma transfer; if the nondiegetic level seems to affirm its capacity for transgenerational/transnational communication, then the diegetic level denies that very
Darryl’s life is worth fighting for. “You can’t buy what I’ve got.” ‘The Castle’ directed by Rob Sitch, about one man, his family and neighbours on the verge of being homeless. Darryl Kerrigan, the “backbone of the family” won’t stand for that. Of course no one can buy what he has. He’s spent almost his entire lifetime building what he has, why should he give it up? Darryl’s way of life is simple yet filled with family values. 3 Highview Crescent is the home to Darryl, his wife Sal and their 3 children: Wayne, Steve, Tracy and Dale. (Wayne currently being in jail.) The house is made up of love, and simple family values. Darryl’s also added bits and pieces to it. He’s added on so much to the house, his own personal touch. His neighbours, also in the same bout are almost family to the Kerrigans. Jack and Farouk are another reason why Darryl’s ready to take matters into his own hands.
Extremely Loud and Incredibly Close by Jonathan Safran Foer is a non-fiction novel written by an American author. The book mostly follows the three main characters, Oskar, his grandmother, and his grandfather, Thomas Schell, Sr. Oskar is a nine-year-old boy from New York whose father died in the World Trade Center on 9/11. He is exceptionally intelligent and curious and goes on a quest through New York City’s five boroughs to find the lock which belongs to a key his father had in his closet. Between chapters, a separate story is told of his grandparents marriage and life in Dresden, Germany. His grandfather, Thomas Schell Sr. is mute and collects stacks of daybooks in which he writes what he needs to say. His first love, Anna, died in a bombing while pregnant with his child. Shortly after starting his new life in the United States, he runs into Anna’s sister, they get married, and he leaves her after he found out his wife was pregnant. His wife, Oskar’s grandmother, lives across the street from Oskar and his mother and helped raise him.
Every one is scavenging for the next big gadget- the future is a standard that society strives to have in their grasp. However, Joel Achenbach a former humor columnist solves the mystery of the future in his article, “The Future is Now: it’s heading right at us, but we never see it coming” .he presents a sense of urgency describing that the future is not something that society needs to wait for it happens behind closed doors. He argues that the future is a fast pace entity that occurs all around us. Achenbach proves this point by sticking to his humorous style, with the use of witty allusions to Sci-Fi films.
“I swore never to be silent whenever and wherever human beings endure suffering and humiliation. We must take sides. Neutrality helps the oppressor, never the victim. Silence encourages the tormentor, never the tormented.” (Elie Wiesel) The Holocaust is a topic that is still not forgotten and is used by many people, as a motivation, to try not to repeat history. Many lessons can be taught from learning about the Holocaust, but to Eve Bunting and Fred Gross there is one lesson that could have changed the result of this horrible event. The Terrible Things, by Eve Bunting, and The Child of the Holocaust, by Fred Gross, both portray the same moral meaning in their presentations but use different evidence and word choice to create an overall
The holocaust was truly a dark time in recent human history. Families were torn apart. Those who had at least family member had someone to look to for strength when they didn’t feel like they could carry on. As much as family can be a burden, the positives outweigh the negatives.
After a reader first notices the title of Firoozeh Dumas’ essay, “The F Word”, it may be hard to believe her writing is not about curse words. Her writing is about her experience moving to America and living in a society that is unwilling to accept outsiders. Immigrants face hardship when they come to the United States and she knew that before she moved. But she never thought living with a foreign name would be so challenging. Dumas brings light to those difficulties and how she dealt with them through sentence structure, excellent word choice, and well-written metaphors and similes.
Life is a complicated process. It’s filled with many things that keep it interesting but at the same time, very dull. Life’s what you make it and for many, it’s something we all strive for. In the story, The Space Between, the author takes full advantage of the premise as there’s rarely a dull moment- as in life. The book is filled with many literary devices that work nicely with the plot and dialogue. These include; metaphors, similes, irony, personification, and many more. We follow a young man who is finding his way in the world. He has only a week to change his life for the better. But he will face many obstacles on the way that brings the readers into a startling and fun journey.
Elie Weisel once said this: “I know and I speak from experience, that even in the midst of darkness, it is possible to create light and share warmth with one another; that even on the edge of the abyss, it is possible to dream exalted dreams of compassion; that it is possible to be free and strengthen the ideals of freedom, even within prison walls; that even in exile, friendship becomes an anchor.” Compassion is not something that is easy to understand, or even easy to show sometimes. The Holocaust was a difficult time to comprehend: how could one man have so much power and hate towards a society of people that he started a genocide? There may never be the right emotional explanation to describe the disturbing events that happened during the Holocaust, but Elie Weisel was able to share his. His message was that compassion and friendship can refrain someone from sinking so deep into a dark sea like the Holocaust.
The events which have become to be known as The Holocaust have caused much debate and dispute among historians. Central to this varied dispute is the intentions and motives of the perpetrators, with a wide range of theories as to why such horrific events took place. The publication of Jonah Goldhagen’s controversial but bestselling book “Hitler’s Willing Executioners: Ordinary Germans and the Holocaust” in many ways saw the reigniting of the debate and a flurry of scholarly and public interest. Central to Goldhagen’s disputed argument is the presentation of the perpetrators of the Holocaust as ordinary Germans who largely, willingly took part in the atrocities because of deeply held and violently strong anti-Semitic beliefs. This in many ways challenged earlier works like Christopher Browning’s “Ordinary Men: Reserve Police Battalion 101 and the Final Solution in Poland” which arguably gives a more complex explanation for the motives of the perpetrators placing the emphasis on circumstance and pressure to conform. These differing opinions on why the perpetrators did what they did during the Holocaust have led to them being presented in very different ways by each historian. To contrast this I have chosen to focus on the portrayal of one event both books focus on in detail; the mass shooting of around 1,500 Jews that took place in Jozefow, Poland on July 13th 1942 (Browning:2001:225). This example clearly highlights the way each historian presents the perpetrators in different ways through; the use of language, imagery, stylistic devices and quotations, as a way of backing up their own argument. To do this I will focus on how various aspects of the massacre are portrayed and the way in which this affects the presentation of the per...
Weird. If the relationship between the characters of Grandpa and Grandma could be described in one word, it would be weird. Then again, Jonathan Safran Foer’s novel, Extremely Loud and Incredibly Close is a shining example of everything unconventional, exploring the nuances of grief through multiple and varying perspectives, each with a unique approach that attempts to achieve recovery and solace. The relationship of Grandpa and Grandma is an example of one such attempt at recovery, one that tries desperately to reconcile past traumas, yet ultimately acts as a futile effort that harbors more grief and denial.
Trauma: an emotional shock causing lasting and substantial damage to a person’s psychological development. Linda Krumholz in the African American Review claims the book Beloved by Toni Morrison aids the nation in the recovery from our traumatic history that is blemished with unfortunate occurrences like slavery and intolerance. While this grand effect may be true, one thing that is absolute is the lesson this book preaches. Morrison’s basic message she wanted the reader to recognize is that life happens, people get hurt, but to let the negative experiences overshadow the possibility of future good ones is not a good way to live. Morrison warns the reader that sooner or later you will have to choose between letting go of the past or it will forcibly overwhelm you. In order to cement to the reader the importance of accepting one’s personal history, Morrison uses the tale of former slave Sethe to show the danger of not only holding on to the past, but to also deny the existence and weight of the psychological trauma it poses to a person’s psyche. She does this by using characters and their actions to symbolize the past and acceptance of its existence and content.
One’s identity is influenced by many things. It’s something that one has a choice of what he wants to become. One has a personal choice as to what identity he possesses; for instance, he can choose what he likes, who he wishes to be friends with, and what he wears. After all, “Fashion is an expression of personal identity” (Latterell 11). Queen Latifah states, “All things start inside your soul and work outward” meaning that it is one’s choice as to what he lets work its way out (Latifah 34). People have even made personal choices that affect their identity by changing their name. Just as Firoozeh Dumas describes in The “F Word”, “Thus I started sixth grade with my new, easy name and life became infinitely simpler” (Dumas 86). People made fun of Dumas’ name, Firoozeh, and thus made her want to change her name to fit in; she changed her identity. An identity is mainly comprised of personal choice.
...urvivors crawling towards me, clawing at my soul. The guilt of the world had been literally placed on my shoulders as I closed the book and reflected on the morbid events I had just read. As the sun set that night, I found no joy in its vastness and splendor, for I was still blinded by the sins of those before me. The sound of my tears crashing to the icy floor sang me to sleep. Just kidding. But seriously, here’s the rest. Upon reading of the narrators’ brief excerpt of his experience, I was overcome with empathy for both the victims and persecutors. The everlasting effect of the holocaust is not only among those who lost families÷, friends,
Powder, a short story written by Tobias Wolff, is about a boy and his father on a Christmas Eve outing. As the story unfolds, it appears to run deeper than only a story about a boy and his father on a simple adventure in the snow. It is an account of a boy and his father’s relationship, or maybe the lack of one. Powder is narrated by a grown-up version of the boy. In this tale, the roles of the boy and his father emerge completely opposite than what they are supposed to be but may prove to be entirely different from the reader’s first observation.
This is the hot issue of all cinematic adaptation when trying to decide whether or not a piece was a successful adaptation. Fidelity will be critical when examining how critics and audience members justify their complaints or praises. According to Blumenfeld (1995) in his essay “Fidelity as a criterion for practicing and evaluating narrative inquiry”, fidelity is contrasted with truth and characterized as moral in character. Fidelity is further characterized as a betweenness construed as both intersubjective (obligations between teller and receiver) and as a resonance between the story told and the social and cultural context of a story. Fidelity abandons any techniques of simple matching through media for a creative transformation. Andrew (1984) added that it might be better to examine the overall adaptations in terms of being true to the spirit than to look deeper and seeing something as being faithful. Fidelity has also been seen throughout the ages as having a single correct meaning and it is up to the filmmaker to capture this meaning or fail entirely (McFarlane, 1996). The examination of two sets version of Alan Paton’s novel Cry, The Beloved Country will show that the elusive single meaning is an impossibility in