Because of this narration style, there is no final truth or final universal meaning in the novel, as everything that happens is open to an individ... ... middle of paper ... ...onally narrated novels. With all of these different internal thoughts and external conversations of each narrator, readers are left with even more to decipher for themselves individually, instead of being able to follow along with collective ideals laid out by having a single, traditional narrator. All in all, Faulkner’s choice to digress from following the traditional formula of having a single, reliable narrator permitted him to widen the scope of his novel by allowing for multiple perspectives of emotions and events, the distortion of time, and the ability to see two sides to every character rather than just a few. Because of this wide range of various people, events, and thoughts, there is no actual universal meaning to his novel as he simply just touches on all of these things, leaving the reader to interpret what he presents for his or herself individually.
In writing The Sound and the Fury, Faulkner pays no attention to normal literary work. He often uses incoherent and irrational phrases to bring the reader into the minds of the characters. This background, together with a believable plot, convincing characterization and important literary devices enables William Faulkner in The Sound and the! Fury to develop the theme of the regression of the family. The structure of The Sound and the Fury leaves much to be desired.
In order for the writing to be effective, the story must revolve around only one character, and that character must be developed extensively as a believable person through realistic thoughts and actions. The following of Holden's stream of consciousness is the reason that many seemingly unnecessary facts find their way into Salinger's writing. They are a direct result of Holden's roaming teenage mind. Many other works of literature have used the stream of consciousness writing style, so this alone does not make Salinger's work unique. What makes The Catcher in the Rye a unique literary work is Salinger's combination of stream of consciousness along with several other literary contrivances.
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.
I have both negative and positive things to say about William Faulkner’s novel As I Lay Dying. In the book Faulkner uses a very unique approach for narration. He has very strong sentences and vocabulary, but the story itself was too strange and warped for my enjoyment. Nevertheless there is a vibe given off in this Faulkner Novel that make it a timeless classic. When I started reading this book it only took me the first few chapters to notice that the vocabulary and sentence structure are superb.
Novelists strive to tell stories. They use specific words, phrases and literary devices to ensure that the story they are telling is an exceptional one. Occasionally authors paint the picture for us with their words and other times they force us to paint the picture ourselves. Ernest Hemingway had a style that can be described as minimalistic. He gave you only the surface of the story using specific word choice and dialogue and you had to put the pieces together to complete the idea.
His overall tone and strategy of writing was relatable and the least bit overwhelming, which quickly grabbed my attention and made me interested in things I would not normally be interested in. The ending of the novel was inspiring. The author suggests the reader to look into great novels, and even supplies a list of novels a personally suggests. He ended with a very ... ... middle of paper ... ...orcist” and look how many spin offs came from it. The spin off movies grew from the same idea, but had a little twist, just to give it a hint of originality, like “The Exorcism of Emily Rose.” While everyone’s minds are vastly different, we still get some of the same ideas.
Language is undoubtably one of mankind’s greatest inventions — a series of sounds and symbols that are capable of transferring thoughts from one mind to another. However, even language falters in the face of comprehensively communicating the human experience. Chronicling the journey of Charles Marlow, Heart of Darkness, authored by Joseph Conrad, explores both demonstratively and implicitly the inadequacy of language. The ambiguous nature of the novel has led many readers to try fruitlessly to bring its arguments into focus. His points really lie in the peripherals of the text, as part of the vagueness and misrepresentation of reality itself.
A story that uses a decent amount of ambiguity is like reading half of a story, in the sense that the reader can "fill in the blanks". The author leaves several details out in order for the reader to make his or her own interpretations. Heart of Darkness, written by Joseph Conrad, expresses ambiguity in a variety of ways. These include several details throughout the story, themes such as dark and light, and in characters including both Marlow and Kurtz. Conrad was one of the first writers to use this technique and by doing so, inspired many other 20th century writers to do the same.
In both Parliament of Fowls and Troilus and Criseyde, Chaucer employs narrators who serve as characters within the texts, a narrative invention credited to him. Although these characters are initially presented as first person narrators, their influence and roles in the text frequently varies, and they often operate in repeatedly fluctuating ways. When combined with a reversal of observational and personal action, Chaucer is able to continually manipulate the expectations of even modern readers familiar with character narrations. And while presented as complete tales, the narrators are shown as helpless and the poems maintain a lingering sense of incompleteness, reminding readers that Chaucer, the author, is in the position of power. These two works present the development of a narrator, and in many ways, the narrator of Troilus and Criseyde can be seen as the maturing narrator of Parliament of Fowls.