Analysis Of Highsmith Moved Into The Yaddo Artist 's Retreat

In Strangers on a Train, it was interesting seeing the differences in Bruno and Guy. The first thing we see about Bruno is his black and white wingtip shoes, which are in stark contrast to Guy’s plain shoes. Guy dresses in a very simple, but nice manner, whereas we have Bruno with his lobster tie, and tie clip with his name on it.

The brother’s lover helps him deal with all the ignorance that people show towards the disease that his brother is dying from. He calms him down and shows him that the attitude towards homosexuals they are seeing is common.

Strangers on a Train (1951), is a typical film noir built around the central characters Bruno Antony (Robert Walker) and Guy Haines (Farley Granger). Mariam (Laura Elliot), the unfaithful wife is killed by Bruno, a homosexual maniac. Bruno hates his despotic father due to his excessive attachment with his mother. Bruno, a psychic meets the famous tennis player Guy Haines in a commuter train. Bruno invents a strange idea that he will kill Miriam if Guy would kill his father in return, so that the crime won’t be detected due to lack of motive. Guy agrees mainly to placate the persistent Bruno. In an extended and grisly scene Bruno strangles her to death. The police suspect Guy and they follow him. Bruno blackmails Guy that he will plant

If the reader were to simply read The Stranger, only taking all of Meursault’s narration as it is word for word, they would view Meursault as the first paragraph portrayed him a rational unfeeling man. Due to this, society can be viewed as the reader who does not think about what Meursault could be feeling as he narrates. Society, or the reader, then finds him problematic; there is no reason for his character to be as he is and conflict inside society and the reader forms. Ultimately, society and the reader cannot accept his character and he is harshly rejected by

The Girl on the Train, directed by Tate Taylor and based off of Paula Hawkins’ novel, is all about how people are as they seem and even those that seem as if their life is perfectly put together, it’s far from it. This movie does agree and fit into the crime and mystery genres, but it is important to note that this movie does also fit into the psychological thriller genre. The Girl on the Train shows multiple ways of how Tom Watson has signs of being a psychopath. This movie should be classified as a psychological thriller because Rachel endures emotional abuse, as well as the physical abuse, Tom is a pathological liar, and a psychopathic killer.

The Stranger starts off by telling the story of Meursault the main character, who lives voluptuous of the instant moment, free of any beliefs. Instead of behaving in conformity with civil norms, Meursault tries to live sincerely as he can, doing things that he loves to do and puts those that get in his way and keep him down aside. Meursault also refuses to resemble feelings that he does not acquire, and thus he refuses himself to cry at his mother’s funeral or to grieve for her death. There are a serious of events that leads to the crucial moment of when Meursault aimlessly kills an Arab at the beach. The successive trail at court criticizes him not so much of the murder he committed but for his inadequacy of responsibility to the rules of

Everyone has felt the pressure of societal expectations during their lifetime. The negative effects society brings on one’s life can lead to a feeling of rejection towards the people who do not conform to meet those standards. Gabriel García Márquez, author of Chronicle of a Death Foretold, and Albert Camus, author of The Stranger, both construct the external moral conflict of society versus the protagonist in order to critique the way society fails to accept the moral values of the people who differ from the norm.

When Bruno finds out that he and his family is moving from Berlin to “Out-With” he’s devastated and it doesn’t get better when they arrived to “Out-With”. Bruno is sad because he has no friends at their new place, until one day when he’s out exploring. Behind the big fence he finds a boy in his own age sitting on the ground, they become friends and you get to follow their friendship during the whole book. You read the book from Bruno’s perspective, how he sees and experience the war. Since he’s just 9 years old he doesn’t understand everything about the war, for example he doesn’t understand why Schmuel can’t be with him on the other side off the fence. The author have written the book in a way so you understand the facts about the war even though you read about it from Bruno’s perspective. It’s easy to understand that Schmuel is on a concentration camp even if Bruno doesn’t, therefore

However, these suspicions regarding the narrator’s heterosexuality were invalidated when a former boyfriend, Crazy Frank was introduced halfway in the book (92). At this point, the reader is forced to accept that the narrator is bisexual and is reminded that sexual differences exist.

When they arrive Bruno finds that the house is very small and disconnected from the outside world. He see’s that there is nasty smelling smoke barreling through the air, he doesn’t know what it is, yet. As Bruno surveys his new home he comes to his room where he peers out of the window and sees a fence surrounding a ton of children and adults all wearing the same clothing. He confronts his sister Gretel and tells her that they all look lonely and unfriendly. But they weren’t the only people looking unfriendly. Bruno immediately becomes enemies with one of the young soldiers that works for his father. But his sister is starting to develop a crush for the young man. For weeks the smoke continues to fill the air.

The relationship between the two is your average sibling relationship. They fight and bicker. In the end, Bruno and Gretel's relationship is dissected and displayed. The reader gets a sense of Bruno's naiveness, and how Gretel is hit by the disappearance of Bruno.

The Stranger was originally written by Albert Camus in French. It was later translated into English and some of its meaning must have been lost. The original title was L'etranger which translates loosely to many different words. Meursault is a character of scarce conversation, as well as emotion. But Meursault shows clear evidence of sociopath that is not conscious of his mind or his emotions. “Maman died today Or yesterday maybe, I don’t know” (Camus 3) That doesn’t mean anything, Maybe it was yesterday.” The opening sentences of the stranger exemplify Meursault's existential character. Which therefore leaves him with an emotional indifference and a detachment from the people around him and his complete detachment from the rest of society around him.

We are going to describe factors associated with the suicidal process in lives of Sarah Kane and Sylvia Plath as reflected in the late works of these two female authors who committed suicide when they were 27 and 30 years old. Antoon Leenaars and Susanne Wenckstern (1998) have written: ?Suicide notes are probably the ultrapersonal documents. They are the unsolicited productions of the suicidal person, usually written minutes before the suicidal death.? Literary works of suicidal authors written in the time before their death can be read as such suicide notes.

In Strangers on a Train, by Patricia Highsmith two men, Bruno and Guy, meet on a train. Over their meal Bruno tells Guy about his perfect murder plan. Guy does not seem interested, but Bruno continues to plan. Bruno wants Guy to kill his father, and Bruno will kill Miriam, Guy’s wife. Guy didn’t not agree to this, but ten days later he hears Miriam has been murdered. We find out it was Bruno, who killed her and now Bruno keeps pressuring Guy to kill his father. Eventually, Guy kill’s Bruno’s father, but the guilt destroys him and at the end Guy admits his crime and is taken. Patricia Highsmith uses the character of Bruno to reveal that you can’t trust everyone.

As if predicting her own influence on postwar poetry in general, mainly women’s Plath instructs herself: “Be stoic when necessary and write – you have seen a lot, felt deeply, and your problems are universal enough to be made meaningful – WRITE”(Plath 137-38). Uncannily she seems here to anticipate the aesthetic probable of the ‘problems’ which if they prove tragically self-destructive in her own case, vibrate elsewhere. Among women’s interest in health issues perhaps because of physical incapacitation recalls other forms of female disempowerment, a distinct strand of what might be called neurotic poetry emerges with surprising force in this period. Observing that both Plath and Sexton there are as many as nine female poets have killed themselves. In this reference the American critic Suzanne Juhasz contends that the: ‘particular tension’ of the woman poet’s position ‘can lead to destruction as well as creation”, and boldly links their madness and ultimate suicide ……….. to the conflict and strain experienced in trying to be both woman and artist” (Juhasz 3). Further John Brannigan advocates that ‘tropes of breakdown, suicide, displacement, madness, dissolution and death in women’s fiction represent an important dispute with cultural politics of consensus and consolidation” (Brannigan