Structure The contemporary reviewers of Bleak House fall into two categories when discussing its structure. There are those who like it and there are those who do not. More specifically, those who dislike the novel’s construction complain of the absence of plot and lack of connection between characters and their actions. Opposing this view are the reviewers who find the characters in Bleak House remarkably intertwined in the story, especially since it was written as a series for a literary magazine. One of the strongest of these critics is George Brimley, who, in his article entitled “Dickens’s Bleak House” published in The Spectator in 1853, writes that “Bleak House is, even more than its predecessors, chargeable with not simple faults, but absolute want of construction”(161).
The result was a book written in a chatty, informal style that contrasts sharply with that of its serious successors. The narrator makes frequent patronising and intrusive asides, such as "And what would you do, if an uninvited dwarf came and hung his things up in your hall without a word of explanation?" (H, 18). The language approximates baby-talk at times (nasty, dirty wet hole oozy smell"), and modifiers ("terribly", "lots and lots") abound. Many critics, including Tolkien himself, have viewed this as the chief weakness of the book.
Eight Early Reviews of The Catcher in the Rye Published in 1951, J. D. Salinger's debut novel, The Catcher in the Rye, was one of the most controversial novels of its time. The book received many criticisms, good and bad. While Smith felt the book should be "read more than once" (13), Goodman said the "book is disappointing" (21). All eight of the critics had both good and bad impressions of the work. Overall, the book did not reflect Salinger's ability due to the excessive vulgarity used and the monotony that Holden imposed upon the reader.
This statement is one most indicative of the unique authorial style found in all of Kundera?s works, particularly his most famous novel The Unbearable Lightness of Being. Unlike previous traditional, non-autobiographical novels, Kundera chooses to indirectly reveal himself as the narrator, who, while omniscient in the control of his characters, poses questions of deep philosophical interest that even he cannot answer. This method has become problematic, however, as many critics have wrongly proclaimed this technique to represent the author?s hatred for the totalitarian regime under which his novel was written; in doing so, not only have they wrongly labeled Kundera ?a passionate defender of Western culture? (Angyal 4), but they also have ignored the larger, philosophical issues that Kundera attempts to accomplish in the novel. While many of the themes in the novel undoubtedly reveal the totalitarian regime for what it is, it will be argued that the role of the intrusive author serves to create a sense of play and freedom of movement that digs deeper than history or politics to get to the heart of more important philosophical issues.
The famous authors and writers who are behind such writings seem to be quite callous with the prevailing miseries all over the world. In fact, they are just confined into shells of their own ego. As our thesis statement, “Contemporary writers no longer feel duty bound to follow major historical and social changes”, this paper reviews Cat’s Cradle written by Kurt Vonnegut, Jr. Kurt Vonnegut, Jr.'s Cat's Cradle demonstrates the particular effectiveness of the genre as an instrument of social criticism. A close study of Kurt Vonnegut's fiction reveals his interest in the epistemological question of mankind's ability to distinguish between reality and illusion. In Cat's Cradle, Vonnegut's attempt to resolve this question is basically pragmatic and pluralistic.
George Orwell writes, “No one would deny that Gulliver 's Travels is a rancorous… book… it often descends into political partisanship of a narrow kind.” Implying that the novel as great as it is it engages in a very strong bias to Swift’s political bias and standing. Orwell does not agree with the bias shown and believes that it shows an immaturity in Swift that follows throughout the novel, especially in the parts I and II, but is not totally unexpected. However Swift’s satire in Lilliput is seen as almost subtle and difficult to notice because it is so well versed. Hazel Rochman in her work, Review of Gulliver’s Adventures in Lilliput, states, “The satire is gentle, the humor never condescending.” (Rochman) Rochman views the satire in Lilliput in an extremely positive light. Shown through the comical political conquests of the King, Swift effortlessly shows his satirical criticism of the 18th century regime that he lived in.
Another critic, Kim Wells, asserts Miller's opinion on the novel because as he states the novel has many "variations from a theme" (Wells 1). For instance the section about the hired girls and also the part when Peter and Pavel, two lonesome Russian Settlers, tell Jim and Antonia a tragic tale that horrifies and fascinates the children. (1. THIS IS A SENTENCE FRAGMENT. 2.
Both poets prove that the darkness of which they speak of is greatly misconceived by many, they convey that the “dark” (Dickinson 1) or “night” (Frost 1) is often misunderstood and that something’s are “neither wrong nor right” (Frost 14). These poems of great darkness attempt to shed “newness of the night” (Dickinson 2) to their audience, or in Dickinson’s case never intending to publish her works, her own self. They attempt to enlighten their readers,, a loose term,, and gain a new understanding of the unknown darkness and night that society has black-labeled and ostracized. Even more, there are a few common reoccurring archetypes in literature that stay consistent in most literary works, universal patterns such as; the rise and the fall, the mentor and the student, the journey and the ending, and the most pertinent and commonly used; the good and the evil, with light always being embodied by good and darkness always being the symbol of evil. But really what is darkness and light?
Some literary critics of the time preferred to ride the fence on this controversial book. An essay published in Douglas Jerrold’s Weekly Newspaper stated it was a “strange book – baffling all regular criticism” (WH 302). While not committing to actual criticisms of either story or author the writer alludes to the disturbing themes of the piece and closes his article by saying, “We strongly recommend all our readers to who love novelty to get this story” (WH 302). Other critics are more than willing to attack both the work and Ellis Bell. A writer for the Examiner stated, shortly after the publication of the book, “it is wild, confused, disjointed, and improbable, and the people who make up the drama…are savages ruder than those who lived before the days of Homer” (WH 303).
But instead dilutes the true them of the book, and the reason for which is was made. In conclusion, one finds that because of problems found within the characters, plot, and theme of the novel To Kill a Mockingbird, that this piece of classical literature is not perfect. Clearly by realizing its faults one can see that even a well-known and loved book is often no better than any of the mediocre novels of today. Classical works can indeed be judged, and many are far from perfect. Work Cited: Harper Lee, To Kill a Mockingbird.