The Inaccessible Inner Life of “Wakefield”
“All these—all the meanness and agony without end I sitting looking out upon, See, hear, and am silent.” –Walt Whitman
We are presented with a piece of gossip of a man named Wakefield who leaves his wife for twenty years to live in a house the next street over. If this story were workshopped in a present-day fiction writing class, it would be argued that this story has interesting elements but is not, as a whole, an interesting story-- that the story lies within Wakefield’s motivation for leaving or within the reaction of Wakefield’s wife upon the return of her presumed-dead husband, or that the point of view ought to be reconsidered in order to tell the full story. Much of contemporary fiction attempts to tell the story that satisfies the collective urge to know another human being entirely, to finally understand another person’s story. The story of “Wakefield,” however, admits in the Puritan vein that the story we all want to know is actually unknowable, and can only be imagined. Through examining the whims of others in fiction, the meaning that can be extracted, however universal it may seem coming from the voice of the narrator, is in the end a projection out of our own selves.
“Wakefield” is not about the narrator, the curious plotline, or even about Wakefield himself. “Wakefield” is about the telling of these things. The first sentence presents the entire plot of “Wakefield,” obtained from “some old magazine or newspaper,” stating from the beginning that the story that follows is not only based on heresy but is, in fact, entirely heresy itself. Why would a reader continue reading when the ending is spoiled in the first line and the story is admittedl...
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...ng in our lives, and we prove it by finding meaning in his. With his grand conclusion, the narrator warns us that if you step outside the norms of a system, you may become the Outcast of the Universe. But what is it that really makes Wakefield the Outcast of the Universe? Perhaps every man is the Outcast of the Universe when the community attempts to interpret his whims.
Why write a story that cannot be told? Why read a story that cannot be told? To feel as though one can tell a story, that one can read a story and be one with a narrator, to feel united, and yet to know, on some level, that we all are Outcasts of the Universe. It is both terrifying and comforting to realize that the community, united and whole, in which we pretend to reside, is in fact a façade for the community of outcasts that struggle to find meaning in one another in order to survive.
Judging a book by its cover is like judging a person by the words that describe him or her. Some of them are accurate, but the physical being of a person can tell you a story untold. In Frank McCourt’s memoir Angela’s Ashes, the reader witnesses what the description of a single character can do to the voice of a piece. Frank’s use of pathos and characterization when it came to Angela, his mother, spoke volumes in his memoir, but when applied to the big screen, her character was amplified. It was then the reader realized that Angela’s true effect and purpose in Frank’s life was to be his main influence.
The concern of this paper is the “happy ending,” typical in Women’s Fiction according to Harris (46), present in A New England Tale, in which Jane Elton sacrifices her autonomous self through marrying Mr. Lloyd. I will critique this ending by applying several of the points Harris makes, including the conflict between theme and structure, the “extended quest for autonomy” (50), and the issue of the self-willing and “socially determined self” (54); also, I will discuss the sexual and religious politics Jane faces, as well as the importance of her role as educator. Readers can understand the autonomous self to which I refer in a nineteenth-century context: this do...
In every story, regardless of length or genre, an attempt is made to portray and decipher reality. In James Joyce’s abstract short story “Araby”, the beliefs of a young boy about life and the ones around him and their change over time are represented. In “Cathedral”, Raymond Carver’s short story about the relationship between a blind man named Robert, the narrator and his wife, we see the blind man massively impact the way that the narrator views the world around him. These stories each present drastically different relationships and world views in a similar manner and though each story ends on a much different note, they both have poignant messages about the world around them and end with the main
It is said that fiction is an essentially rhetorical art and that the author tries to persuade the reader towards a specific view of the world while reading. This is evident in both short stories, A Secret Lost in the Water by Roch Carrier, and He-y Come on Ou-t by Shinichi Hoshi. Although through A Secret Lost in the Water, Roch Carrier displays how fiction is an essentially rhetorical art better than Shinichi Hoshi in He-y, Come on Ou-t (awkard sentence), Shinichi Hoshi demonstrates it better through the use of prognosis. Furthermore, by utilizing the characters, such as the farmer from A Secret Lost in the Water, and the use of symbolism such as the hole from He-y, Come on Ou-t, it is evident that the author makes an endeavour towards persuading
The Turn of the Screw by Henry James is usually read as a ghost story in which the central character, the governess, tries to save the souls of two children possessed by evil. However, the short-story can be also analyzed from many different perspectives, as we come upon a number of hints that lead to various understanding of certain scenes. One of the possible interpretations is the psychoanalytical one, in which we interpret the events either from the point of view of the governess or from the perspective of the two children. I will concentrate on the problem of the governess who, restricted by her own problems and moral dilemmas, projects her fears on her pupils and in this way harms the children. What causes her moral corruption and gradual maddening lies deep in her psyche. Both the Victorian upbringing and the social isolation of a poor village tell her to restrict her sexual desires evoked by the romance reading. The result is tragic. The governess becomes mad and the children psychologically destabilized and scared of the adults. The story ends with the governess strangling the boy in a hysteric fit. The Turn of the Screw is a very popular work of literature, with reach history of critical interpretations where not much can be added, therefore my essay is mostly based on The Turn of the Screw. A History of Its Critical Interpretations 1898 1979 by Edward J. Parkinson.
... man that was trying to have an affair with his wife. Carver uses this story “Cathedral” to open the readers eyes and send the profound message of intolerance and ignorance and how one can be blind mentally not physically. The narrator is so hostile to the idea of a visit from Robert because he is blinded by jealousy, anger, and confusion.
The following essay is concerned with the frame structure in Mary Shelley`s Frankenstein and its’ functions as it is suggested by Beth Newman`s "Narratives of seduction and the seduction of narratives". To start with, the novel Frankenstein is a symmetrically built frame narrative with a story at its center. This is not always the case with frame structured novels, as there are examples without a proper center (e.g. Heart of Darkness). The elaborate system of frames indicates that this center reveals some kind of a mystery. However, it would be wrong to asume that the center alone contains the meaning of the novel. On the contrary, the meaning of the novel is brought about by the relation between the different stories at the center and the frames around it.
1. Growing up we all heard stories. Different types of stories, some so realistic, we cling onto them farther into our lives. Stories let us see and even feel the world in different prespectives, and this is becuase of the writter or story teller. We learn, survive and entertain our selves using past experiences, which are in present shared as stories. This is why Roger Rosenblatt said, "We are a narrative species."
A narrative is constructed to elicit a particular response from its audience. In the form of a written story, authors use specific narrative strategies to position the ‘ideal reader’ to attain the intended understanding of the meanings in the text. Oliver Sacks’ short story The Man Who Mistook His Wife for a Hat is an unusual short story because it does not display conventional plot development; the story does not contain conflict or resolution of conflict. The genre of the story is also difficult to define because it reads as an autobiographical account of an experience Sacks had with a patient while working as a neurologist. Although it is arguable that the narrative is a work of non-fiction, it is nevertheless a representation, distinct from a reflection of the real events. It is a construction, Sacks chose the elements that were included and omitted in the narrative and used narrative strategies to position readers to process the signs in the text and produce reach the dominant understanding. This blurring of truth and fiction is similar to that in the genre of ‘new journalism’. Although, rather than being a journalist writing a fictional piece of journalism, Sacks is a doctor writing a fictional medical analysis. 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...
A successful writer is he who is able to transmit ideas, emotions, and wisdom on to his readers. He is cable of stirring emotions and capturing the reader's attention with vivid descriptions and clever dialogues. The writer can even play with the meanings of words and fuse reality with fiction to achieve his goal of taking the reader on a wonderful journey. His tools are but words, yet the art of writing is found in the use of the language to create though-provoking pieces that defy the changing times. Between the lines, voices and images emerge. Not everyone can write effectively and invoke these voices. It is those few who can create certain psychological effects on the reader who can seize him (or her) with inspiring teachings, frightening thoughts, and playful games with the language. These people are true writers…
'Young Goodman Brown,' by Hawthorne, and 'The Tell Tale Heart,' by Poe, offer readers the chance to embark on figurative and literal journeys, through our minds and our hearts. Hawthorne is interested in developing a sense of guilt in his story, an allegory warning against losing one's faith. The point of view and the shift in point of view are symbolic of the darkening, increasingly isolated heart of the main character, Goodman Brown, an everyman figure in an everyman tale. Poe, however, is concerned with capturing a sense of dread in his work, taking a look at the motivations behind the perverseness of human nature. Identifying and understanding the point of view is essential, since it affects a reader's relationship to the protagonist, but also offers perspective in situations where characters are blinded and deceived by their own faults. The main character of Poe?s story embarks on an emotional roller coaster, experiencing everything from terror to triumph. Both authors offer an interpretation of humans as sinful, through the use of foreshadowing, repetition, symbolism and, most importantly, point of view. Hawthorne teaches the reader an explicit moral lesson through the third person omniscient point of view, whereas Poe sidesteps morality in favor of thoroughly developing his characters in the first person point of view.
Throughout the tale, one sees clearly the binding ties between house and inhabitants. What was once a proud family mansion is reduced to a crumbling house, whose inhabitants are scarcely less changed. From the wasting disease of the lady Madeline, to her brother's nervous affliction, one discerns a tangible connection with their dark family home. As it weakens, so also do both brother and sister diminish, until both finally perish in a horrible demise no less fantastic then that of their house. And it is these singular features which have contrived to brand the tale upon the mind of the reader, and so inspired generations of both readers and writers. There can be no doubt that future readers will also be inspired by this tale of the horror and mysterious connections between a house and its inhabitants, “The Fall of the House of Usher.”
In other works of fiction where the oppressive circumstances of protagonists usually arise from failures of society and within the specific individual there is often an optimism to the extent that it is suggested that progress might eventually lift the individual or mankind beyond the scope of the type of situations depicted. In Washington Square', however, James' depiction of Catherine's tragedy could well be interpreted, at a universal level, as our susceptibility to the manipulative and domineering elements in human nature combined with those factors which drive us with passionate longing for another. Our hopes for an enlightened perspective of Catherine's situation diminish as she confronts an environment of emotional, psychological and motivational disregard and cruelty displayed in numerous situations of dialogue, interviews and conniving. We recognize, however, that Catherine's sufferings are intrinsic to human nature as she is depicted also as a protagonist who displays substance and a willingness to develop her perceptions of human behaviour at the cost of being isolated physically, psychologically and emotionally.
The biographies about Jane Austen describe the facts of her life in a step-by-step manner. They tend to be repetitive since she did not leave behind a rich fabric of day-to-day life. Yet Jane Austen is known not because of the factual details of her life; she is not remembered two hundred years after her death because she had six siblings and was a wonderful aunt to her nieces and nephews. Rather, Jane Austen is remembered because of what she wrote, her "ouvre." Only through reading her literature does one get a taste of the real Jane Austen, the Jane Austen who dreamed and made plans for the future that failed to materialize. Therefore, I have attempted to describe the life of Jane Austen by interpreting her novels and picking three main characters who I feel most closely serve as her alter ego. A writer writes from his or her own experiences; only by analyzing Jane Austen's characters do we get an understanding of the true author.
Literature is rarely, if ever, merely a story that the author is trying to tell. It is imperative that the reader digs deep within the story to accurately analyze and understand the message the author is trying to portray. Authors tend to hide themselves in their stories. The reader can learn about the author through literary elements such as symbolism, diction, and structure. A good example of this is Robert Frost’s poems The Road Not Taken and Nothing Gold can Stay in which he uses ordinary language unlike many other poets that became more experimental (Frost, Robert. “1.”).