By gradually giving the reader background info on the problems of the modern dysfunctional family, and then stating the thesis at the end, he very clearly gets his argument across. The author clearly shows how his childhood effected his adulthood, making in a living example of what he is writing about allowing the audience to more easily trust what he is writing about. Instead of using factually evidence from other dysfunctional family incidences, the author decides to make it more personal, by using his own life and comparing family ideas of the past to the present.
According to Duckart’s Instructional Website, the author is to “disappear into one of the characters who tells the story in the first person.” In order to vanish into this culled character, Stegner had to let his sentinel down to become one with this character and be emotionally involved with the story. This tactic sanctions the reader to aurally perceive Stegner’s voice pellucidly because of how he opted to utilize his own life experiences to mold these fictional characters into people who may appear authentic. He quotes in an interview with James R. Hepworth that,” If I prosper, I get the tone of voice and the quality of mind that will persuade a reader to optically discern and aurally perceive an authentic and credible human being, not a mouthpiece or a construct. As Henry James verbally expressed, if fiction is going to be prosperous, it depends helplessly upon that sense of reality” (Interview). Albeit he integrated a strain of autobiography, he managed to pull himself out of the book to where it is still considered a novel.
In Kennedy and Gioia 299). Kafka said this as a rebuttal to a friend trying to pry information out of him about The Metamorphosis. Kafka meant that the true burden of art is that a person’s experiences will always heavily influence their creations, and that is horrifying. It is clearly shown in his writings that his personal experiences helped shape the story The Metamorphosis. Every little detail about Gregor’s life is a reflection of Kafka’s own life.
Some literary analysts claim it serves as an outlet for his distraught life. Based on the events of Gregor Samsa’s life, it can be deduced that Franz Kafka used his personal experiences as an inspiration for The Metamorphosis. Kafka portrays the relationship he had with his father through the relationship of Gregor and Mr. Samsa. Kafka’s father, Hermann Kafka played a large role in Franz’s life. Kafka considered his father “an overbearing power of some kind, one that could easily break the will of men and destroy their sense of self-worth” and Samsa’s father presents the same qualities (Bio).
Ondaatje records events as they are told to him, exaggerated by the storytellers and distorted by time, and further transformed through his transcription good. Interestingly, it is his father, Mervyn Ondaatje, and not Michael Ondaatje himself, who captures most of the attention in Running in the Family. Of this, literary critic and professor Winfried Siemerling states, "the connection between the self and the other is directly patronymic in Running in the Family … the book can be read as a biography. Representing the story of Mervyn Ondaatje through the eyes of his son Michael, however, the biography is, at the same time, autobiography." Ref This a convention which mayead the reader to surm... ... middle of paper ... ...needed to find him in one form or another" (Jewinski, 13).
However, Defoe's novel was somewhat autobiographical. "What Defoe wrote was intimately connected with the sort of life he led, with the friends and enemies he made, and with the interests of natural to a merchant and a Dissenter" (Sutherland 2). These similarities are seen throughout the novel. "My father...gave me serious and excellent counsel against what he foresaw was my design," says Crusoe (Defoe 8-9) . Like Crusoe, Defoe also rebelled against his parents.
To influence readers’ comprehension of the narrative, Sacks utilised the point of view strategy of subjective narration, atypical in this short story in that a characterisation or representation of Oliver Sacks is the narrator and Oliver Sacks the person is the real author. The story is character-driven rather than plot-driven and regardless of how accurate a depiction of the real people the characters are, they are constructions. Sacks gave the characters of Doctor P. and his namesake admirable and sympathetic trait... ... middle of paper ... ...tation test where a person were to read the story without the knowledge that the real author is also the narrator and a character, it would probably be read as a detailed work of fiction. Because readers have the knowledge that Oliver Sacks is in fact a neurologist, it changes the meanings in the text. This is how the real author is distinct from the implied author; the implied author is what the reader can deduce from the material presented in the text, without any knowledge of the real author’s context.
The audience will try to make sense of Mr. Wakefield’s actions, but they will not find a logical explanation. The story may seem unreal but the reader must take the story as it is and focus on the charact... ... middle of paper ... ..., would argue that Hawthorne was showing his modernism by writing about the strange habits of human nature. Others, such as Morsberger would argue that the story of Wakefield simply mirrors many of Hawthorne’s other works. I do not disagree with either viewpoint, but I feel that Hawthorne simply wanted to create an intriguing story that dealt with people’s motivations. I would argue that he wrote this story to examine a side of human nature that is often forgotten or intentionally left out of a large portion of literature.
Pip's Shadow Parents in Charles Dickens' Great Expectations Both Miss Havisham and Magwitch are powerful influences on Pip's life, in a psychological, and to some extent physical, manner. In this essay, I hope to explore these influences, and investigate what affects they have on Pip's development. Naturally, the fact that Pip is an orphan, and never knew his parents, means there is space for characters to come in and exact a definite, parental control. The novel echoes many of Dickens's own life experiences- he had a strained relationship with his parents when they were condemned to imprisonment for debt difficulties. The sense of abandonment and sudden awareness of the fragility of class distinctions he experienced during this time was to haunt him for the rest of his life, and this is mirrored by the great contrast in, "shadow parents."
Yet, the self-reflexive labour of life writing engenders a discursive shaping of a self or subject, to elevate the understanding of the life represented. In Life Studies, Robert Lowell redefines himself against his father and the social discourse of orthodoxy in an act of recreation through spectrality and supplementation. The supplementary use of Freudian tropes allows him to shape a particular sense of self to introduce the ‘ghostly’ presence of his past in representing his relationship with the men in his life. In Grandparents, Lowell’s grandfather symbolises the patriarchal male. He expresses this through exclamatory tones “Grandpa!