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Blindness jose saramago analysis
Reading habits
Literary analysis essay
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While I was in the process of choosing a novel to read, I had much difficulty. When asked what genres of books I enjoy, I could not give an answer. As a child, I was an avid reader, however, the only times I pick up a book now are when I am required to for school. Reflecting back on my experiences in those mandatory readings, I realized the only instance where I truly enjoyed the reading, was when I read The Poisonwood Bible in the previous year. I had discovered many philosophical answers to questions I had not known I even had before reading it, especially regarding human nature. It opened up a new lens for me to see the world with, without forcing the author’s views on me. I was able to interpret the words however I chose, and take whatever amount of meaning from it that I wished. Following a classmate’s recommendation, and after doing a brief reading of its synopsis, the novel Blindness seemed to fit under this preference that I have for philosophical literature. José Saramago does not spare any details in his speculative fiction novel, which explores a deeper and harsher truth of humanity that we often choose to ignore and conceal because of its undesirable qualities. It is a fascinating, frightening, and satisfying experience that wakes us up from our illusion of superiority as humans, bringing us back to the reality of our existence as animals, and exposes all the flaws and beauty of human nature, by means of a dystopia.
In works of speculative fiction, the subject of human psychology, an intriguing topic for me and one that I have recently come to greatly enjoy analyzing in literature, is often found. The way speculative fiction “tells a story that is pleasing and opens disturbing questions that the reader may or may n...
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...dness, it has become apparent to me that my preferences in reading lie in speculative fiction. By reading books of this genre, many different perspectives of human nature are exposed to me, and I am left to analyze them as I wish, taking in meaning about the reality that I exist in. Though Saramago is as devoted to his belief as society is to their fabricated reality, his “myopia has nevertheless helped others to see more clearly” (Langer). A text’s ability to convey insightful messages and allow the reader to determine their own understanding of it, though not forcing these messages upon the reader, is something I find to be highly appealing. Having profound answers to my existing wonderings of the reasoning behind human behaviour, and having new questions created, I enthusiastically digest literature of this style, wanting to be able to see more clearly as well.
In our contemporary civilization, it is evident that different people have somewhat different personalities and that novels behold essential and key roles in our daily lives; they shape and influence our world in numerous ways via the themes and messages expressed by the authors. It is so, due to the different likes of our population, that we find numerous types and genres of books on our bookshelves, each possessing its own audience of readers and fans. In this compare and contrast essay, we will be analysing and comparing two novels, The Chrysalids and Animal Farm, and demonstrating how both books target the general audience and not one specific age group or audience of readers. We will be shedding light at the themes and messages conveyed to us in both books, the point of view and the style of writing of the authors as well as the plot and the format used by the authors, in order to demonstrate how both books are targeting the general audience.
With literature, the characters in what we read, become our closest friends and our most feared enemies; we see ourselves within the characters and struggle to imagine if we would act in the same way as the characters, or if we would struggle to handle a situation differently. Easily, their faults become our own, and whatever tragedy befalls them we could, with no difficulty, conceive happening to us. Literature, in all of its genres, has sought to compel us, entertained us, educated us, and drove us to madness. It has served as life instruction, by using the characters as the lesson plan, and we-- the students. It is sometimes blunt, sometimes ugly, and in Truman Capote’s case, is sometimes so gruesome that we do not dare forget it.
The modern novel, the serious novel, does tend toward either two extremes: either it is a tight metaphysical object, which wishes it were a poem, and which attempts to convey, often in mythical form, some central truth about the human condition or else it is a loose journalistic epic, documentary or possibly even didactic in inspiration, offering a commentary on current institutions or on some matter out of history (264).
This theory is not only credible in literature, to discuss the intentions of an author, but is also effectively used in film, to discuss the intentions of a director. One benefit of this theory is that it can help with many literary problems. For example, Freudian critics not only “stress distinction between the conscious and the unconscious”, but also uncover “the unconscious motives of characters” as well as see “an embodiment of classic psychoanalytic conditions” within literary works (Barry 101). By drawing connections between concepts in the text, we are able to further enrich our understanding of the work and, if we plan to discuss it with others, are able to yield a meaningful, coherent interpretation of the
Milan Kundera contends, “A novel that does not discover a hitherto unknown segment of existence is immoral” (3). In this it is seen that the primary utility of the novel lies in its ability to explore an array of possible existences. For these possible existences to tell us something of our actual existence, they need to be populated by living beings that are both as whole, and as flawed, as those in the real world. To achieve this the author must become the object he writes of. J.M. Coetzee states, “there is no limit to the extent to which we can think ourselves into the being of another. There are no bounds to the sympathetic imagination” (35). Through this sympathetic faculty, a writer is able to give flesh, authenticity and a genuine perspective to the imagined. It is only in this manner that the goal of creating living beings may be realized. Anything short of this becomes an exercise in image and in Kundera’s words, produces an immoral novel (3).
Cain’s novel is no doubt full of social commentary, but he has also focused on a very underrated facet of realistic fiction, which is the exploration of flaws in human nature which are constant in every person; this specific emotional chord will strike anyone who reads it profoundly, even in its opening
In her article “The Rise of Fictionality”, literary critic Catherine Gallagher sources an etymological modification of the term ‘fiction’ with the rise of the novel in eighteenth-century England, where it emerged as “a supposition known to be at variance with fact, but conventionally accepted” (347). This occurred at a time when an extensive homology between the ubiquitous use of speculation in modern society and that of belief that operates in the novel arose. The former required “the kind of cognitive provisionality one practices in reading fiction” (347). Through its frequent application and encounter, the “readers developed the ability to tell [fiction] apart from both fact and (this is the key) deception” (338). Its “earlier meaning of “deceit, dissimulation, pretence” became obsolete” (338). This paper will identify the effect of the synchronously burgeoning field of psychology, and its use of speculations and hypotheses in studying the mind, on this modification of fiction’s meaning, and its consequent influence on the formal and the thematic structure of Samuel Richardson’s Pamela. While it does not assume a unidirectional, causal alliance between the two, for the scope of this paper more attention will be paid on how the novel was configured in its scientific environment. This will be
In conclusion Haruki Murakami exposes an insight to a world never heard of a mind blowing novel with hard to miss signs. This story unfolds in such a way that keeps the readers in suspense and finally leaving them an idea that can make them appreciate the world they leave in and the people in it. Fiction does fall into reality and expands the idea of what is really out there.
Darko Suvin defines science fiction as "a literary genre whose necessary and sufficient conditions are the presence and interaction of estrangement and cognition, and whose main formal device" (Suvin 7-8) is a fictional "novum . . . a totalizing phenomenon or relationship" (Suvin 64), "locus and/or dramatis personae . . . radically or at least significantly" alternative to the author's empirical environment "simultaneously perceived as not impossible within the cognitive (cosmological and anthropological) norms of the author's epoch" (Suvin viii). Unlike fantasy, science fiction is set in a realistic world, but one strange, alien. Only there are limits to how alien another world, another culture, can be, and it is the interface between those two realms that can give science fiction its power, by making us look back at ourselves from its skewed perspective.
When defining the word blindness, it can be interpreted in various ways. Either it can be explained as sightless, or it can be carefully deciphered as having a more complex in-depth analysis. In the novel Blindness, Jose Saramago depicts and demonstrates how in an instant your right to see can be taken in an instant. However, in this novel, blindness is metaphorically related to ‘seeing’ the truth beyond our own bias opinions.
In literature, blindness serves a general significant meaning of the absence of knowledge and insight. In life, physical blindness usually represents an inability or handicap, and those people afflicted with it are pitied. The act of being blind can set limitations on the human mind, thus causing their perception of reality to dramatically change in ways that can cause fear, personal insecurities, and eternal isolation. However, “Cathedral” utilizes blindness as an opportunity to expand outside those limits and exceed boundaries that can produce a compelling, internal change within an individual’s life. Those who have the ability of sight are able to examine and interpret their surroundings differently than those who are physically unable to see. Carver suggests an idea that sight and blindness offer two different perceptions of reality that can challenge and ultimately teach an individual to appreciate the powerful significance of truly seeing without seeing. Therefore, Raymond Carver passionately emphasizes a message that introduces blindness as not a setback, but a valuable gift that can offer a lesson of appreciation and acceptance toward viewing the world in a more open-minded perspective.
Another key cornerstone of the genre, as described by Adam Roberts in The History of Science Fiction (2005) , is the encounter with ‘otherness’. Roberts argues that science fiction is a symbolist genre, different from other symbolist genres due to the fact that the symbols are rooted in science and pseudoscience. The point of the symbolic mediums used is to connect the voyage of the un-encountered with our own experience of being in the real world. This is the same effect Wells is trying to elicit from his readers by adhering to his law of science fiction writing.
The human imagination is a very powerful thing. It sets humanity apart from the rest of the creatures that roam the planet by giving them the ability to make creative choices. The imaginary world is unavoidably intertwined with the real world and there are many ways by which to illustrate this through literature, either realistically or exaggerated. Almost everything people surround themselves with is based on the unreal. Everything from the food we eat to the books we read had to have been thought of by someone and their imagination. The imagination empowers humans.^1 It allows people to speculate or to see into the future. It allows artists to create, inventors to invent, and even scientists and mathematicians to solve problems. J.R. Tolken wrote “Lord of the Rings” by sitting in his backyard and imagining everything coming to life.^2 He thought about all the “what if” possibilities. But this method of storytelling can be used in much more subtle and/or sophisticated ways than in science fiction or fantasy novels. Through such works as the short story Dreams and the novel “Headhunter” by Timothy Findley, the film “the Matrix”, and the short story the Telltale Heart by Edgar Allan Poe, one can see how a writer can use the concept of the imaginary invading reality to write their story.
I must say that this book is a hard read. I am sure that there are many nuances and ideas that I missed along the way. It does take sometime to get accustom to the style of writing since we are some use to the linear approach to reading and seldom do we engage a book written in a poetic or prose structure. I am sure that if I read the book two or three times again, I will find new things that I missed on the first read. This book, in my opinion, is not a book that is written for public consumption, rather I think that this is a niche book and finds a home in the hands of philosophy or religion students who are looking for a challenging yet thought provoking read. For those who might have a hard time understanding the book and the ideas within it, researching the author before reading the book might prove beneficial and add context and background to the readings.
Paris, Bernard J. Imagined Human Beings: A Psychological Approach to Character and Conflict in Literature. New York: New York University Press. 1997.