Descriptive Language in John Updike’s A & P and Anton Chekhov’s The Lady with the Dog

For example, after a family has arrived on an unfamiliar environment through a rocket, n the text, it states, “The wind blew, whining. At any moment the Martian air might draw his soul from him, as marrow comes from a white bone.” This means that a party of humans had reached some environment that was unfamiliar because in the text we learn that the humans had emerged from a “rocket” that came from Earth and that they were currently in a “Martian” setting. Further into the text, when the family is told that they cannot return to their home, it states, “For a long time there was only the sound of the wind in the late afternoon. Alone, thought Bittering. Only a thousand of us here. No way back. No way. No way.” This text means that the humans who had approached Mars as their new home would be forever lost there, and this is because in the text we learn that “atom bombs hit New York,” causing all the “space rockets” to explode. This text also means that the silence that was roaming the family was due to the fact that they were speechless because in the text we learn how that their old and favored home was gone. This is important because it shows how the author chose to mention that the wind was whining, how the martian air was threatening, and only the sound of the wind because he wanted to lay out the mood of “foreboding” for the readers. Many of the decisions that the author made involving the mood were to include several minor details that add to the reader’s feelings and signal some upcoming events in the

Literary devices will be a primary source used to compare and contrast the narrative and stylistic choices made in the short story, “Harrison Bergeron” by Kurt Vonnegut, and the film 2081 directed by Chandler Tuttle. In the film the director is able to express visuals, sounds, and physical characters, to establish a firm idea of how the characters within the story act and feel based on their surroundings and what is happening around them. However, an Author in a short story is reliant on his words alone to paint the picture for the reader to understand the movement of the plot and its impact on the atmosphere. The literary devices used in creating and shaping pieces of literature will heavily impact the point of view of the

Conversely, some writers have a rare style of writing that the reader may find it difficult to understand the premise of the writer (Kim,166). For example, Cha starts the book on an unpromising note that can repel a reader especially when they find it uninteresting. For example, the use of foreign languages in a single setting can only attract multilingual people since they can comprehend the information that the author wants to pass. In this context, the author uses French language in a form of writing that can be understood as dictation (Cha, 1). In some instances, she mentions groans and bared noises that can be equated to a character speaking. Evidently, the author spells out Inverted commas and full stops and provides translation to English subsequently. At some point, there is direct translation or mistranslation in distinct paragraphs, and this is of assistance to the reader as they can recollect the information to grasp the

Willa Cather’s My Antonia and Mary Austin’s The Land of Little Rain are two literary works that effectively recreate the landscape of the stories they are telling. Their writing styles have a few similar characteristics, such as their word choice and their usage of visual elements; however, they take advantage of various writing elements that make their writing styles distinct, such as the use of figurative language, emotion, and rhetorical questioning.

Central to this analysis of spatial semantics in To the Lighthouse are her essays Modern Fiction (1925), Mr. Bennett and Mrs Brown (1923), What is a Novel? (1927), On Reading (1919) and Character in Fiction (1924), which discuss aspects relevant for a semantic analysis of her own work. In addition to a great variety of other opinions published on the structure of To the Lighthouse, these essays shall be also considered. Qualities known to be important for Woolf’s composition of a ‘novel’ are her rejection of Victorian materialism (Bell 1980a 159), which does not preclude the importance she sees in a fruitful building of characters, opposing what Virginia Woolf called a lack of “real, true and convincing” characters” (Bell 1980b

“She was a diminutive, withered old woman of sixty, with sharp mean eyes and a sharp little nose. Her colorless, somewhat grizzled hair was thickly smeared with oil, and she wore no kerchief over it. Round her thin long neck, which looked like a hen’s leg, was knotted some sort of flannel rag, and, in spite of the heat, there hung flapping on her shoulders a tattered fur cape, yellow with age. The old woman coughed and groaned at every instant” (44)

For example, the text says, “Mr. Summers was very good at all this; in his clean white shirt and blue jeans, with one hand resting on the black box, he seemed very proper and important as he talked interminably to Mr. Graves and the Martins” (pg. 2). This is very descriptive. It is easy to imagine a very proper guy in simple but nice clothing with his hand resting on the black box talking with other people from the village. The reader gets sense of what is happening without having to dig too deep. Also, the story says, “The children had stones already.

Perhaps one of the most challenging aspects of writing fiction is figuring out how to write dialogue with vivid subtext. The character’s words must have different layers to them: what they are actually saying, what they are trying to say, and why they are saying it. People very rarely speak without intention, even if they themselves are not consciously aware of what that intention is. Maile Meloy’s collection of short stories titled Both Ways is the Only Way I Want It is filled with rich dialogue that drives the story forward and delivers information in a natural and deliberate way. One specific story that demonstrates this well is “O Tannenbaum,” where what is being said very rarely coincides with what the characters are actually thinking,

Secondly, the use of figurative language is crucial for an impressive pleasurable short story. For instance, in “The Yellow Wallpaper “ Charlotte uses delicious garden, atrocious nursery, blessed little goose, mysterious deep-shaded arbors, the riotous old-fashioned flowers, gnarly trees etc. About the paper she expresses her feeling as “ this paper looks to me as if it knew what a vicious influence it had, the pattern lolls look like a broken neck and two bulbous eyes. Up and down and sideways they crawl, and those absurd unblinking eyes are everywhere”. Afterward, she thinks that it is like a woman stooping down and creeping

How can a book and a movie differ if they are telling the same story? Through the analysis of the literary components in the modern selection, the reader concludes the author and producer had much to compare. After evaluating three contemporary selections from Washington Irving, Nathaniel Hawthorne, and Katherine Anne Porter, the reader can detect several literary components in the text and the movie to compare and contrast between.

Hemingway and Fitzgerald are both modernist writers, but their novels The Old Man and the Sea and The Great Gatsby (respectively) have completely different atmospheres given by the authors’ writing styles. While Hemingway writes a story of an old man at peace with his calm life of fishing on the sea, Fitzgerald writes of the lavish life of Jay Gatsby and those who live around him in a life full of commotion and parties. So how do these two write in such a way to portray the mood they want? The uses of different word choice contributes immensely to how the reader feels once enveloped in the worlds created

An example of this was when the author depicts the image of the bus settled on Stella's front garden, " Weeds nudged up around the tyres, snails made silver trails and a pair of sparrows nested in the engine". The benefits of writers using precise vocabulary besides creating experiences for

In the creation of literature and fictional stories, elements from the “outside” or “real” world are often incorporated in order to deepen the meaning of the events that occur throughout the story, as well as to more effectively enlighten the audience in regard to the message that is being relayed or the intent behind the author’s choices. These elements often include the inclusion of “real-life” individuals as characters within the text, the placement of fictionalized aspects of the story within true historical events, or even the use of non-literary elements such as music (and its characteristics) to enhance the storytelling abilities of the author and to interest the audiences more thoroughly into the story, the characters, the setting,

The text I have produced is a narrative, which has been transformed from a picture book. The components of my text, which differ from the original one, consist of the description of each object, and character included, the absence of images, and pictures, the invented introduction, and ending, the altered dialogue, and the use of transitional phrases. I decided to maintain the intended audience of the original picture book by targeting children between the ages of five to ten. I believed that the best way to represent this specific genre was to turn the text into a narrative, as it would allow my young audience to develop the capabilities of picturing each character, and scene by analysing the adjectives used within my narrative. My use of words was in fact, quite simple, and easily understandable. There was never a precise time, or place in the story of the original book, which I personally think was introduced to allow the readers to utilise their creativity, to imagine how the setting would appear.

Many writers often use specific words and details to help bring the reader “into” the story. By using these words the writer helps develop a setting, and it brings the reader into, and be able to experience it as if they were there. In the story, “The Monkey’s Paw” by W.W Jacobs, and the novel, The House of the Scorpion by Nancy Farmer, the author uses descriptive adjectives to help develop the setting.