Analysis Of The Ravishing Of Lol Stein

Through a qualitative comparative literature analysis, this research will look into the influence that Reyna Grande’s personal experience depicted on her memoir influences her novel Across a Hundred Mountains while paying close attention to the role that liminality plays on the identity construction of both Grande and her fictional character

Lee’s writing is littered with descriptive and flowery visuals that truly capture both the environment and his emotions. In one such case, he recalls an evening where he “[stared] at the brightest star, viewing it not so much on this night as a beacon, something [he] wanted to believe would lead [he] out of this dark tunnel, but instead as a place [he’d] rather be” (155). His juvenile wistfulness is tangible in the words and the reader can almost feel the chill of the night air. He continues, wishing to be “anywhere but here…[wishing to have] been born anywhere but here.” (155). His yearning twists the heart with sympathy for his lonesome and pitiable plight. This moment is but a minute fraction of the incredibly intimate tale that Lee

Toni Morrison’s Sula revolves around the relationship of her two main characters, Sula and Nel. The childhood friends grow apart with age. Although it is indicated that their friendship is the most important relationship they participate in, they eventually betray each other and lead dishonest lives. Throughout the novel, we see their constantly deteriorating relationship as a result of absence of a family life. Sula is a novel about the influence family may have on the make up of someone’s personality. In particular, the novel examines the effect parents can have on their children and the conscious effort the main characters make to be unlike their mothers.

At first glance, one might find it difficult to draw comparisons between the two protagonists: James Gatsby, from The Great Gatsby, and Humbert Humbert, from Lolita. Gatsby’s is the tragic story of a self-made man who built himself an empire for a woman who would never love him. Humbert Humbert, on the other hand, is a manipulative and witty pervert who lusts after the vulgar nymphet, Lolita. Both men are extremely similar in one key aspect, however. Both Gatsby and Humbert have idealized an encounter from their youth and that idealization has become a driving obsession in each of their lives.

In the short story “From Behind the Veil,” written by Dhu’l Nun Ayyoub, the author changes how we feel about the main character throughout the sequencing of the plot. We as the readers learn more about how the protagonist really thinks coupled with what her motives are. The author also presents language that clearly expresses how the protagonist feels and uses examples to show an overall theme in the story.

The writer composes the story from the perspective of an analyst. She alludes to occasions later on, facts, and information that no character could have known in the setting of the story. Incorporated into the content are genuine quotes said or composed by the general population she expounds on, including the primary character. She utilizes an extremely objective voice, giving successive analysis of distinctive individuals' outlook and continually alluding to insights to demonstrate her point. Since the book does not focus on the point of view of any single character, it peruses more like a news article than a story, which frequently exhausting its groups of readers. Accordingly, Hillenbrand's written work style once in a while obstructs the correspondence of her thoughts because she regularly includes actualities, quotes and investigation in the book; it usually bores audience on the grounds that it peruses more like a news article instead of a

The books and reading materials we read and encounter can have an impact in our education and in who we are. This is because our ideas, beliefs, imaginations and way of thinking can change based off how we react to the material. In Julia Alvarez’s poem “On Not Shoplifting Louise Bogan’s The Blue Estuaries” the author uses various literary devices, such as tone, imagery and selection of detail to convey the speaker’s intriguing and suspenseful discoveries of her voice and her talents.

2. Why does the narrator talk about himself in the Because he considers the body he’s in

Upon her arrival Steinbeck uses pathetic fallacy of the ‘rectangle of sunshine in the doorway was cut of’ this immediately sets a dark, hostile, clouded feeling and tone which reveals her dangerous side and how she cut of the warmth and light from the room. Despite Steinbeck warning us of her flirtatious side he refers to her as ‘a girl’, young and innocent. This is his first faint hint that not all is as it seems. Steinbeck also describes her as having ‘wide spaced eyes’ suggesting that she could possibly be scared or maybe even intense and seductive

When the narrator first encounters the girl, his friend's older sister, he can only see her silhouette in the “light from the half-opened door”. This is the beginning of his infatuation with the girl. After his discovery, he is plagued by thoughts of the girl which make his daily obligations seem like “ugly, monotonous, child's play”. He has become blinded by the light. The narrator not only fails to learn the name of his “girl”, he does not realize that his infatuation with a woman considerably older than himself is not appropriate. He relishes in his infatuation, feeling “thankful [he] could see so little” while he thinks of the distant “lamp or lighted window” that represents his girl. The narrator is engulfed by the false light that is his futile love.

Mansfield’s description throughout the narrative is intriguing and captivating, pulling the reader into the drill hall and making them sway to the “oft, melting, ravishing tune” as though they themselves could have been Leila. Moreover, her use of description allows her to create the character of the “fat man” and utilise him to portray the idea that “happiness [doesn’t] last for ever.” Because she describes him as the fat man, who is old and wearing a coat that “looked dusty with French chalk”, she creates an evident contrast between the beautiful characters she initially described. Through this imagery, Mansfield subtly portrays Leila’s fears of losing the beauty of this first ball and emphasises that in fact, beauty doesn’t last. However, Mansfield plunges the reader back in to the dance, such that the almost

The use of rhetorical questions, expresses the narrators anger and confusion at the experience she has had to endure.

It not only threatens, but also breaks through. Betrayed by love once in her life, she nevertheless seeks it in the effort to fill the lonely void; thus, her promiscuity. But to adhere to her tradition and her sense of herself as a lady, she cannot face this sensual part of herself. She associates it with the animalism of Stanley's lovemaking and terms it “brutal desire”. She feels guilt and a sense of sin when she does surrender to it, and yet she does, out of intense loneliness. By viewing sensuality as brutal desire she is able to disassociate it from what she feels is her true self, but only at the price of an intense inner conflict. Since she cannot integrate these conflicting elements of desire and gentility, she tries to reject the one, desire, and live solely by the other. Desperately seeking a haven she looks increasingly to fantasy. Taking refuge in tinsel, fine clothes, and rhinestones, and the illusion that a beau is available whenever she wants him, she seeks tenderness and beauty in a world of her own making.

I make up an identity, I invent a context” (DeLillo 225). Once again, Jack shows his desire to be someone other than himself, to escape his life. In losing his total love and trust in Babette, Jack also loses more of his own

She (the narrative mostly borders around Dimple’s feminine side, rather than her masculinity) is multifaceted and deep, as also sad and lonely, almost haunting the environment she dwells and converses in. Her being a eunuch is nothing more than a part of her general being, it is never elevated to the core of her character, of who she is. This restraint on the part of the novelist gives her presence in the novel a beautiful dignity. At times when she takes over as the narrator, lending life and dynamism to the plot and preventing it from drying up till she talks. It is Dimple that lends the novel the proverbial silver lining in the otherwise overpowering dark clouds that have been purposefully made to overcast in the entire plot. Despite the bleakness of her surroundings, she continues to search for beauty in all places surrounding her—at the movies, in pulp magazines, and even in a new burka-wearing