Commentary on Bernie McGill's No Angel

Sudden deaths can cause a loved one to question their whole belief system as they try to come to terms with their loss.

(2) The narrator knows does not know very much about what is happening because in the story it states in paragraph one sentence one " It looked like a good thing: but wait till i tell you". When i read this I realized that the narrator could

The Two-Track Model of Bereavement is a model that states loss is conceptualized along two axes. Track I pertains to the biopsychosocial functioning in the event of a loss and Track II pertains to the bereaved’s continued emotional attachment and relationship to whoever is deceased. The effect of Track I is seen through the bereaved’s functioning, including their anxiety, their self-esteem and self-worth, and their depressive affect and cognitions. Noting the ability of one to invest in life tasks after experiencing a loss indicates how they are responding to the loss of the deceased. This Track is seen as an expression similar to one of trauma, or crisis. Track II holds that the bereaved has difficulty physically separating from the deceased. This can be seen in emotional, interpersonal, or cognitive ways. It is shown through imagery and memories that the bereaved experiences surrounding the deceased, whether positive or negative, as well as the emotional distance from them. These pictures in the bereaved’s head explain both the cognitive and emotional view of the person who has died (Rubin, 1999).

The story is written as a second person narrative. This style puts the reader in the position of the main character. We are never told the main character’s name, making it easier for the reader to relate to the character. Writing in the second person also challenges the reader, putting them in the position of the main character.

From the narrator’s point of view in the short story A&P, it’s told from the actual

The narrator through out most of the short story comes of as a pretty shallow character. Besides his stereotyping tendencies he comes of as callous and un-imaginative. He shows his lack of

There are still minor difficulties that I can’t comprehend in the text. One of it is how the author still uses the technique to relay a story in a

The author writes the story in a very interesting way. The way that there are only a few descriptions scattered about and that it focuses on dialogue is what allows us to figure out what the characters are speaking about and to find the intentions behind their words. The subject of this short narrative stands out boldly. Though it was written in

For instance, Vladek retells his strenuous POW work, in which he had to clean an entire stable up within an hour. He then interrupts himself and interjects, “But look what you do, Artie! You’re dropping on the carpet cigarette ashes. You want it should be like a stable here?” (Maus I 52). Joshua Brown identifies this incident as one out of the numerous “interstices of testimony,” in which the readers learn more about Vladek and Artie (Brown 95). These narrative “breaks” remind the reader that Vladek’s account is not “a chronicle of undefiled fact but a constitutive process” and that remembering is a “construction of the past” (Brown 95). When Vladek describes his daily work schedule at Auschwitz, the panel depicts the prisoners marching in an orderly fashion right next to an orchestra, and Spiegelman had put it in there as he had “just read about the camp orchestra that played as” the prisoners “marched out the gate” (Maus II 54). Vladek tells him that he “remember[s] only marching, not any orchestras,” despite Artie’s claim that the Auschwitz orchestra was “very well documented” and reiterates the first panel within the third one but without the orchestra (Maus II 54). In short, Spiegelman has used the advantages stemming from the conventions of a comic book to create a coherent presentation. Manifesting these verbal parallels of the past and the present would be incredibly complicated in a book and would most likely confuse the readers due to the

Mike van Graan uses the style of flashbacks to tell the story because it shows that we all have to go back to the past to grow as a person. This style of flashbacks also falls part of the idea of reminiscing; that we all have a story to tell. The other style used is simultaneous scenes. This style is modern because it adds to the idea of life not being how we want it to be. Life does not really have a certain beginning and end; yes we are born and we die

Scorsese and Layton both use narrative perspective and narrative structure to reveal their central ideas in a way that would leave the audience with many unanswered questions. While both texts follow a chronological structure, building the audience’s belief that what they are seeing is the truth, the directors use flashbacks or reenactments, to gradually reveal parts of the plot or back-story. However, while Scorsese uses dreams and flashbacks to reveal images and experiences in Teddy’s past, which

One of these innovations is the use of fragmentation and juxtaposition of ideas, images , scenes, settings, sentences and even sentences. Benefiting from the cinematic technique of montage, his narrative came to be suffocating with fragmentary sentences that flash back to other events. The obscurity is very high in the first chapter with Benjy’s narration. As a severely retarded man he cannot distinguish past and present and in this way all his words juxtapose with every change in nostalgic images, sounds and even smell.

As mentioned earlier, the each part of the story is conventional to the section in which it occurs in the poem. The poem has no flashback or flash-forward

The short story opens up in medias res. The reader is thrown into the story without any knowledge of what is happening or what has previously happened.