Boo's Use Of Language In Annawadi

In the end, the two boys are faced with the grim reality that the girls have no desire for their company. This is their awakening of themselves. It shows how despair can be both disheartening and uplifting at the same time. The gifts each young man offered his love interest are not well received. No matter their efforts, both young men fail miserably in their attempts to win their respective ladies. Sammy knows what he has done will change his life forever and that nothing can change that now but, is also very exited at what the future holds. The boy from "Araby" is left alone, in the middle of the bazaar, realizing the foolishness of his thought. The final line of "Araby" summarizes the feeling that both boys share, "Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger".

Authors write for many reasons; most often because they want to tell a story. This is definitely the case with Sherman Alexie, “a poet, fiction writer, and filmmaker known for witty and frank explorations of the lives of contemporary Native Americans.” He grew up on the Spokane and Coeur D’Alene Indian Reservations, and has devoted much of his adult life to telling stories of his life there. Alexie expertly uses language and rhetorical devices to convey the intensity and value of his experiences.

When he shows that he isn 't a bad person, it shows how gossip has affected him so much that he needs to prove them wrong and show the good of his heart. Jem and Scout are fascinated and long to see Boo, but Scout is not sad when she sees that Boo isn 't freakishly large and bloody, but is glad to see a human, that might of just saved her and Jem 's life.

Amir’s mother, Sofia, dies in childbirth; Amir inherits her love of literature and probably her looks to some extent, but, her being dead, never receives any motherly love or guidance, which could have helped him out of the cowardly hole he later digs himself into. Amir’s father’s best friend and business partner, Rahim Khan, tries to give Amir the motherly love he clearly needs, fostering Amir’s love of writing and steadfastly standing up for him when Amir’s father, Baba, criticizes him, but Rahim Khan does not do enough to instill honesty, courage, and strength of conviction in young Amir. Amir’s best friend, Hassan, a servant a year younger than Amir, is everything Amir is not: athletic, brave, loyal, honest, and kind, inciting jealousy in Amir. Assef, a local bully, poses a real threat to Amir, hating Amir for the crime of befriending a Hazara (oppressed ethnic minority), but Amir is protected by Hassan, allowing young Amir to freeze and not stand up for himself in Assef’s presence. Last, but most importantly, is Amir’s father, Baba, and his views on Amir: he blames Amir for Sofia’s death,

All the while, he wept soundlessly.(126) ” Instead of isolates himself from the society, undoubtedly, Boo realizes the importance of being relied by other.

From this, one can see that Scout is still in a juvenile state of mind. Furthermore, one can see how the beliefs of the townspeople have been transferred to Scout, who had taken them as they are considered the social norm. She unknowingly accepts their racism when she thinks of Dolphus Raymond as a “sinful man” because he associates himself with black people and “…had mixed children and didn’t care who knowed it.” (201) She does not understand why he freely displays his transgression to the town when it is acknowledged as a wrong thing to do in Maycomb. However, Scout slowly starts to develop her own sense of right and wrong and create her own judgments of others. Boo was once the monster of her childhood, but after witnessing his cordial and courageous actions, she realizes that “he hadn’t done any of those things…he was real nice.” (281) In the end, Scout matures and sheds her childhood nickname to become the young lady called “Jean Louise” by family and friends. (211, 224, 229) This change in Scout is a result of her loss of innocence and is a focal point in the novel to give a thought-provoking perspective on the events of the book.

Joyce’s “Araby” and Bambara’s “Lesson” pose surprising similarities to each other. Despite the narrators’ strikingly clear differences, such as time period, ethnicity, social class, and gender the characters have important similarities. Both narrators are at crucial developmental stages in their lives, are faced with severe adversities, and have a point of clarity that affects their future.

Row, in “ Without Reservation” emphasizes that Alexie is a storyteller and not a prose fiction writer. A story teller, he defines, has work that, “... contains, openly or covertly, something useful …” (Row 1). Row goes on by giving evidence to why Alexie is a storyteller, and not your usual Indian writer. As he explains, Alexie reinstates the fragmented and ruptured Indian life instead of the political topics associated with them. With this idea in mind, Row believes that Alexie instills this behavior in his writing to give way for his sharp moral endings. These genuine moral endings, installment of stereotypes and Indian beliefs with consequences

Roberts organizes his book based on certain themes, such as culture and day-to-day life, paying special attention to the pre- and post-War periods so as to emphasize the evolution of the slum throughout the period of time covered. He divides it into chapters that cover specific aspects of society and day-to-day life in order to accentuate certain points. His writing style is a unique and well-chosen blend of personal reminiscences and historical research. Much of his writing, including his own experiences, is presented in a very matter-of-fact way. The impact this style has on the reader is great because he is able to state such horrors so bluntly, as only someone who was truly there can. Occasionally, however, his emotions break through, as is evident in his explanation of his parents' separation and subsequent death on page 238. Lastly, the work is scholarly and concise, as Roberts chooses to get straight to the point and elaborate on it rather than saying the same thing in many different ways.

Amir’s misadventures begin as a boy living in an affluent Afghanistan world. On the day of his birth, his mother hemorrhages to death. Robbed of any feminine influence or comfort, he goes to his overshadowing Baba for love and acceptance. His father denies his only son the tenderness he desires, leading Amir to believe his father despises him. After all, Amir’s

I really connected with that statement because I feel like the majority of people judge what they do not understand rather than getting to know and asking questions. Jem and Scout were just kids but they formed their opinion about Boo because they were influenced by the gossip around the neighborhood. When Jem and Scout were attacked it made a difference because Boo was the only person that saved them, and it showed them there was more to Boo than what they heard. Even every day in high school I see it. Judging. People not accepting those that are different. That's why I personally connected to this book because I understand exactly how isolated Boo is from the other

While with West we were lead into the experience, we were in her perspective, hearing about her life; with Boo we were immediately in the situation, and not even with her but with a boy that lives in Mumbai. As a reader we are given no reason to trust her, there is no background as to why she is there or how she got this information. Boo also doesn’t have the benefit of time that West has. The narrator that Boo chooses is a young boy whom she interviewed, we can imagine, just a few years ago. Readers are constantly aware that we could check with this boy to see if this is what actually happened, there doesn’t need to be that inherent trust that there is with West. The inclusion of words such as, think, feel, understand, are also a turn off in these piece. There is no way she could have verified that this was exactly what he was feeling at this moment. The reason that this comes into play is also because of the vast cultural difference. We trust West to tell us about European figures, because she herself is a white women who grew up in the same culture. The same thing cannot exist with Boo, she is a white women from America telling the story of a young man in Mumbai, she cannot understand the cultural ambiguities that exist but she seems to be presenting that

Joyce uses diction to support the overall tone of “Araby,” through his use of words and phrases such as “had grown somber. . .” (Joyce 400) and “musty. . .” (Joyce 400). The verbiage he uses constructs a dull and increasingly gloomy image as if darkness is enclosing the town being depicted. Word choices like “waste. . .” (Joyce 400) and “useless. . .” (Joyce 400) convey the stagnant environment that encases the lifeless neighborhood the boy lives in. Joyce communicates the dreariness that cloaks Dublin by using dreadful adjectives to describe the setting. The young boy’s short lived “confused adoration” (Joyce 401) for his friend’s sister, is depicted using feminine words in association with her, such as “petticoat. . .” (Joyce 401) and “soft. . .” (Joyce 400). When the speaker is professing Mangan’s sister’s control over him, he proclaims, “[m]y body [is] like a harp and her words and gestures [are] like fingers running upon the wires” (Joyce 401). The boy reveals his ignorance by incorrectly calling harp strings, “wires. . .” (Joyce 401). This simple error portrays his confusion about his own feelings and the reasoning behind them. The author uses diction to support the tone of the short story, “Araby,” through his choice of words that reveal both the glum atmosphere of the setting and the naive affection being displayed by the speaker.

As the main protagonist of the story, it is important to examine Dicky’s relationship to his environment, and the related ideas of poverty and responsibility. Dicky isn’t able to exercise any control over the terrible slum environment. He is a subject, rather than an active agent, in his own life due to the overwhelming depravity of his setting and the futility of his attempts to escape it. The poverty of the slum environment proves stifling for Dicky – a contemporary critic wrote that “the novel, as a story of the career of a child of the slums, does not give enough space to the principal character” (Cubitt 170), forcing the reader to look more closely at the space of the Jago as one of poverty, and only realise the degradation and loss of innocence in the protagonist when it is too late. Furthermore, Morrison’s physical description of the child is limited to discussion of his poverty, as his only noticeable characteristic is that he is wearing a “ragged jacket” (Morrison 14) – these rags relate him to other presentations of street children but strip him of his individuality. Dicky is presented as a ‘type’, one of many other children living in this destructive environment of poverty and crime. However, Dicky starts the text with a clear knowledge of the Jago environment and the role that he will be forced to play as a child of poverty. He is well-suited to the slum environment as he knows no different, and his mother’s attempts to prevent him from entering a life of crime

Author, he’s asleep. You couldn’t if he was awake, he wouldn’t let you…’ I found myself explaining” (Lee 372). Scout talks to Boo as if she does everyday, this is because she does not want Boo to feel left out of alone anymore than he already does. Scout is a very outgoing person who can make anyone feel as though they belong even if that person does not think they do and we can see that here with her discussion with Boo. Succeeding this encounter, Boo makes the request for Scout to walk him home. Once they reach his house and he goes inside, Scout stands on the porch and views the world as he does. Replaying the events of the past summers through his eyes, Scout finally understands the ways of Boo’s world (Lee 374). This helps Scout mature by the reason of her interpreting his life. She now knows that Boo sees her life as an example, she has a loving family and a superior life which he wishes he could have. However, he knows that this is not a possibility.