The most prominent grotesques can be seen in the stories, Hands, The Strength of God, and Paper Pills. These stories show what makes the characters a grotesque and no one person is a grotesque in the same way. Sherwood Anderson depicts all the characters throughout his 24 short stories as a grotesque. He prefaces most of the stories with the old writer’s definition of what it means to be a grotesque. This definition frames how the book is to be interpreted throughout the different stories.
Howells' portrayal of Twain facilitates some understanding of Twain's fiction, but by no means is Mark Twain's literature as simple as four personality traits. The traits of Twain's literature transcend simple entertainment, and he enlightens the reader about the need to reform literature, religion, society, and the individual. In the midst of the dishonesty, greed, and corruption of his time, Mark Twain's characters and stories display great candor. Candor is the ability to express frankly, openly, and unabashedly an opinion or depict a situation, and the letters that William Dean Howells received from Twain are brimming with candor. Howells recounts, "He has the Southwestern, the Lincolnian, the Elizabethan breadth of parlance which I suppose one ought not to call coarse without calling one's self prudish [.
While Irving may poke fun at the idea of a simplistic moral, a clear maxim that one can easily digest, he nevertheless infuses his work with a message. If any “moral” could be taken from “The Legend of Sleepy Hollow,” it is that there are some places where reason cannot guide us. The possibility of a place where reason and rationality are no longer useful is a direct and sharp critique of the ideals of the Enlightenment. Through his “tools of the trade” as a storyteller, Irving effectively denounces the limits of Enlightenment thinking, and opens the door for the possibilities of Romanticism and the Gothic.
Conrad, from my perspective, courageously revealed the commonly misinterpreted – and usually hidden – ideology of imperialism in his novella, proving him an anti-imperialist thereof. “The locus of the human mystery is perception of this world. From it proceeds every thought, every art.” (Marilynne Robinson). Heart of... ... middle of paper ... ...was able to alter the “frame of reference” (Achebe, p. 188) of the readers’ subjective reality, thus keeping their judgments out of the way. The seemingly quiet and benevolent ambience that Conrad was able to bring to existence in his novella was just a technique to avoid the judgments of the imperialists.
His novel inhabited with clever little detailed hints. As a reader we can easily define his words and notice that he remains to continue ironic behavior. Once noticing his irony we can prove his belief in wars throughout the story. Vonnegut believes wars can’t be preventable, however he believe they can inhabit less destructive. When Vonnegut time jumps in his book he illustrates that throughout the time he’s in, in doing so he prov... ... middle of paper ... ...es like,“So it goes” and at the end of certain sentences repeating certain words in the paragraph.
Realism is a style of literature in which familiar aspects of life are represented in a straightforward or plain manner. Many authors, including Richard Connell use realistic ways of writing, as well as materialism, Darwinism, and Marxism to criticize the ideas of people at that time. With this type of writing style, the story is capricious, meaning that the outcome cannot be predicted as easily as one might think. Connell uses dominant mood, setting, and naturalism to criticize the way people thought in “The Most Dangerous Game”. He also uses historic events such as Darwinism, big game hunting, and the Russian Civil War to develop a story mirroring what was happening between the years of 1845 and 1945.
In Perchance to Dream, Franzen writes about his struggle to “engage with the culture” in his writings and subsequently ends up “torturing” his story by overloading it with every possible social issue, yet Baker produces an culturally engaging novel seemingly effortlessly, without agonizing over the need to incorporate and satirize dozens of social ills. However, what is meant by ‘cultural engagement’ and the standards for achieving such a lofty goal are under debate. Simmons describes The Mezzanine as being so exclusively personal and mundane “that any larger historical frame…is gestured at only through the irony of its absence.” Other critics have diagnosed Baker’s writing in The Mezzanine with ‘descriptivitis,’ regarding Baker’s digressions as a “general clogging or stalling” in which "one thing leads, not to an end, but to another." And many have lamented The Mezzanine’s lack of plot, character development, and emotional interplay, three features that usually distinguish great stories, yet the beauty of the Mezzanine is its success in spite of the lack of these traditional fea...
Through doing so, our narrator is setting us up for developing predisposed notions about the character when Nick has just described to us how glad he is that he is “inclined to reserve all judgments” (2) until he is sure of what are that known facts. ... ... middle of paper ... ...mpaired. When it comes to Jay Gatsby, he only sees him through a pair of rose tinted glasses. He then is not able to be the objective narrator that he claims to be, for he has the ability to sway the reader’s view of Gatsby in his favor and almost forces upon us the need to be more than understanding of him. Thus we are asked to be like Gatsby’s rare smile.
When reading about Mary Anne in Rat Kiley’s story, O’Brien tells the reader, “Whenever he... ... middle of paper ... ...amined, because they “seem” true due to their normality. The story about Mary Anne is difficult to believe, because of the bizarre elements. However, those are most likely the truest parts of the story, making it fit the criteria of a true war story. Tim O’Brien’s ultimate purpose is to detract the fine line between fiction and reality. In order to fully grasp what a true war story consists of, the definition of true must be deciphered.
This leads to some speculation as to whether or not O’Brien’s stories are true or false. One of the later entries in the book called “Good form”, helps alleviate the suspicion of dishonesty in the stories by bluntly telling the reader that all the other entries are a mix of both fact and fiction. O’Brien feels the need to make up parts of his stories due to the fact that he wants the reader to experience emotions as opposed to mental visuals. He describes these emotion-laden scenes as “story-truth” due to the fact that they are part story and part truth. The parts that are only for emotio... ... middle of paper ... ...or himself with fillers to shape and create the people that he imagined them to be.