Room 101 - Original Writing One frosty winters evening Owen was watching his favourite wildlife show he was so concentrated watching the programme he couldn’t hear any footsteps or his front gate opening. Then suddenly he heard a noise it sounded like someone was knocking on the door Owen uncared for it then a couple of minutes later he heard it again so he opened the door. Owen slowly opened the door and there was a man the man said to Owen ‘Can I speak to Owen please?’ Owen then replied ‘yes that’s me’. It was so dark that’s when Owen had opened the door to see who the man was Owen asked him ‘who are you?’ the man then just grabbed Owen and put his hand over his mouth Owen tried to shout his Mum but she was in the shower so she couldn’t hear him the man dragged him over to this white van where inside there were two men the two men pulled him in and pushed him onto this chair where they strapped his hands and legs to the chair. They also put tape across his mouth so he couldn’t squeal or cry and they also blindfolded his eyes really tight that wounded his eyes. They took him to this very old factory, which hasn’t been used for a long time it was very misty and dark inside Owen was feeling really petrified. The two men unstrapped his hands and legs he had rope marks on his hand you could tell that his hands were hurting him. They then untied the blindfold but his eyes were really watery because the
and to top it off an orange tie. He jumps up from his seat and smoke
for few seconds but then he let it all out, what he had been bottling
and be able to see further than my nose. But, as I spun around, my
In this world, I hate a lot of things. One of these is the simple teenager, but I'm not going into that because most everybody knows the reasons. I am, instead, going to tell you about three of the more interesting things I truly hate and believe deserve be banished to room 101.
I was bored and had nothing else to do, so I followed Ron and we
In A Room of One’s Own, Virignia Woolf presents her views evenly and without a readily apparent suggestion of emotion. She treads softly over topics that were considered controversial in order to be taken seriously as an author, woman, and intellectual. Woolf ensures this by the use of humor, rationalization, and finally, through the art of diversion and deflection. By doing this Woolf is able to not alienate her audience but instead create a diplomatic atmosphere, as opposed to one of hostility that would assuredly separate the opinions of much of her audience. As Woolf herself says, “If you stop to curse you are lost” (Woolf 93). Because of this, anger is not given full sovereignty but instead is selected to navigate the sentiments of her audience where she wills with composed authority and fascinating rhetoric. That being said, Woolf is not without fault. She occasionally slips up and her true feelings spill through. Woolf employs a stream-of-consciousness narrative, satire, and irony to express her anger towards male-controlled culture in what is deemed a more socially acceptable way than by out rightly saying that they suck.
Throughout history, women writers used pen names and pseudonyms to avoid the eyes of the patriarchal society. The female writers were no strangers to harsh criticism from the gender-biased readers regarding their artistic works. However such emphasis on gender discrimination coined the words, feminism and sexism, which now reflect on the past and the present conflicts. In the book A Room Of One’s Own, Virginia Woolf tracks down the history of women and fiction to find the answer. She argues, “A woman must have money and a room of her own if she is to write fiction”. She chants on and on about the topic of “women and fiction”, contemplating the role of women in the traditional domain and the virtues of women writers. Although, Woolf may have contemplated over such awareness that a woman needs an atmosphere of her own in which nobody can intrude, the modern world has prevailed over such hindrances throughout technological innovations that offer freedom of speech. Also, economical affluence is not a necessity for women to engage in the fictional world but rather a sufficient condition in the modern world. Thus Virginia Woolf’s predictions failed to represent the current vantage point revolving around women and fiction.
I'm going to get my hair done later on so I better get mum to make an
arguing over him “As I turned the key in the front door I could hear
I had to find somewhere to hide. If I didn’t, I would be caught. I
hand to grab the keys from the lock. As he leant over to grab the
Jack tried many times to start the car, but there was no hope the car
Virginia Woolf, a founder of Modernism, is one of the most important woman writers. Her essays and novels provide an insight into her life experiences and those of women of the 20th century. Her most famous works include Mrs. Dalloway (1925), To the Lighthouse (1927), Orlando: A Biography (1928), The Waves (1931), and A Room of One's Own (1929) (Roseman 11).
In Virginia Woolf’s feminist essay “A Room of One’s Own,” Woolf argues that “a woman must have money and a room of her own” (16) if she is to write fiction of any merit. The point as she develops it is a perceptive one, and far more layered and various in its implications than it might at first seem. But I wonder if perhaps Woolf did not really tap the full power of her thesis. She recognized the necessity of the writer’s financial independence to the birth of great writing, but she failed to discover the true relationship to great writing of another freedom; for just as economic freedom allows one to inhabit a physical space---a room of one’s own---so does mental freedom allow one to inhabit one’s own mind and body “incandescent and unimpeded.” Woolf seems to believe that the development and expression of creative genius hinges upon the mental freedom of the writer(50), and that the development of mental freedom hinges upon the economic freedom of the writer (34, 47). But after careful consideration of Woolf’s essay and also of the recent trend in feminist criticism, one realizes that if women are to do anything with Woolf’s words; if we are to act upon them---to write the next chapter in this great drama---we must take her argument a little farther. We must propel it to its own conclusion to find that in fact both the freedom from economic dependence and the freedom from fetters to the mind and body are conditions of the possibility of genius and its full expression; we must learn to ‘move in’: to inhabit and take possession of, not only a physical room, but the more abstract rooms of our minds and our bodies. It is only from this perspective in full possession of ourselves that we can find the unconsciousness of ourselves,...
‘It’s always best when the light is out, I am the pick in the ice