Essay on the Use of Third Person and Innocence of Language in Ake

Children’s literature is the precedent for the development of all children. Children’s literature varies from poetry to children’s picture books. Every aspect of children’s literature gives an ability to grow a child mentally and develop their ideas and imagination. In early literature, children were romanized to be perfect and well behaved. Author Maurice Sendak counters the idea of a perfect child in his book “Where The Wild Things Are”. Sendak uses his picture book to illustrate a child’s ability to have feelings of anger, resentment, and frustration. The interviewer, Patrick F. Roughen of Red Feather Journal states that“Where the Wild Things Are (1963) contains some of the earliest attempts in children’s literature to represent the intrapsychic challenges of the lives of children. Anger, frustration, and the complexities of parent-child relationships can be found throughout its pages”. “Where the Wild Things Are” reinforces the idea that children are capable of emotions that one would imagine are only depicted in the adult world.

The characters of the novel are fit to the theme of man’s intuitive evilness, as the boys are under the age of 14. When they continue to enjoy torturing others, they reveal their enjoyment of being savages. They do not desire any order or law of directing force in their state of savagery.

The author also effectively supports his thesis through pathos. To evoke strong emotion in his readers, Jones appeals to the audience’s feeling of vulnerability in their youth. Recognizing that during adolescence most people feel powerless, he tells engaging stories of his own and his son’s rise to power through comic books to give the audience something to connect to. As these stories are told, readers reminisce about those days, and feel joy in knowing that there was a happy ending. The feelings created make the audience look positively at the essay and relate to it.

Some discoveries may be the result of significant experiences that one undergoes. In moving on from these experiences, the discoveries can be provoked and have the ability to open the eyes of individuals. Gwen Harwood’s “Father and Child” explores the growth and maturation of a child. Harwood shows the juxtaposition between innocence and maturity and the way that discovering this deepens the perception one has of the world. The

In his autobiographical narrative A Summer Life, Gary Soto vividly recreates the guilt felt by a six- year-old boy who steals an apple pie. Through Soto’s reminiscent he has taken us on a journey of his guilt, paranoia, and redemption through the usage of tone, allusions, and imagery.

The English language is particularly complex in almost all aspects. Many of the words in the English language have different meanings for the same word. This is not unlike the definition of the different levels of usage. McCrimmon defines the three levels, formal, moderate, and colloquial, by their sentence structure, diction, and tone (McCrimmon 193). ¹ Using McCrimmon’s definitions, authors can determine what type of writing is applicable to each of the three levels. For the formal writings, an adequate example of where readers can find it is in a professional journal, and an appropriate place to find an example of the moderate level is in a weekly news magazine. Also, the best place to look for an example of the colloquial level is in certain sections of the newspaper. All of the levels of usage apply to these different types of writings and assist in defining what each level involves.

Throughout the autobiographical narrative written by Gary Soto, many different literary elements are used to recreate the experience of his guilty six-year old self. Different elements such as contrast, repetition, pacing, diction, and imagery. Soto narrates this story as a young boy at a time when he seems to be young and foolish, Soto foolmaking mistakes, but at the same time hoping to learn from them. Soto uses each of these devices to convey different occurrences in the narrative.

Children's speech at this boundary develops quite a lot.at this age children begin to ask and answer simple questions such as ‘what's that noise? and who's that?'. They start to use plurals such as shoes and past tense as I did It.

The story is seen through the innocent eyes of a 13 year old boy called Charlie Bucktin. The first person central point of view helps us to understand Charlie, to identify with him and his attitudes and values and for reader positioning. Silvey uses language

Few relationships are as deep as those between child and parent. While circumstance and biology can shape the exact nature of the bond, a child’s caretaker is the first to introduce them to the world. And as they grow and begin to branch out, children look to their parents as a model for how to interact with the various new situations. Through allusion, potent imagery, and nostalgic diction, Natasha Trethewey constructs an idolized image of a father guiding their child through life’s challenges only to convey the speaker’s despair when they are faced with their father’s mortality in “Mythmaker.”

In “The Ones Who Walk Away From Omelas” by Ursula Le Guin, the informally-speaking narrator depicts a cookie-cutter utopia with perpetually happy citizens that sing and dance in the music-filled streets during the Festival of Summer. However, under one of the beautiful public buildings lays a child, no older than ten years-old, who lays in its own excrement. Although the citizens know the emancipated child is there, they refuse to act upon the child’s suffering, for their happiness depends entirely on the child’s abominable misery. Through ethos, the narrator illustrates this utopian society with a casual tone and frequently asks the audience for their input. Le Guin’s fairy-tale introduction of the story establishes her credibility through her extensive knowledge and understanding of the people of Omelas. Le Guin utilizes logos through the narrator’s second person point of view which incites the audience to draw their own conclusions about the city of Omelas and question their own justifications of the child’s existence. The concept of the happiness of many relying on the necessary suffering of one forces the reader to question their own morals and their justifications for the child’s physical and mental condition. Through ethos, logos, and pathos, Le Guin presents the contrast and divide between the citizens of Omelas and the child in the cellar in order to challenge the reader’s capacity for moral self-conception.

In A Single Shard, the fictional character, Tree-ear and in “Orphan Lonely Beginnings Reveal How Parents Shape a` Child's Brain” the nonfictional character, Ruckel are both orphans. Although centuries apart, each deal with their circumstance differently. Tree-ear helps his family gather water/food. Ruckel has to deal with many other people that makes him frustrated. There always a difference and a similarity between each person in this case Tree-ear and Ruckel.

Using this childhood persona, which is wrapped in innocence and simplicity, the horrors and realities of his upbringing and hometown are put in sharp relief with the casual relaying of the information and

Personal pronouns and anecdotes from a parent supports the author’s writing, making it understandable to most people, and enticing for mothers and father alike. In addition to this, Pastan is able to creatively express her writing through free verse poetry, allowing her to portray her story in one elongated sentences. Through the incorporation of elements such as imagery, the author allows her audience to feel, hear and see the flashbacks the parent was having in her poem, to make them feel as if they were standing beside the parent when these instances were occuring. Within this type of writing, the audience is able to feel the scared, sad and even happy emotions that a parent experiences watching their child become independent. This can be detected through the parents hesitant and anxious motions.

One similarity between Soyinka’s and Clark’s poems is the belief in incarnation. Both discuss the Abiku, which is a young child who dies before reaching puberty and continues to haunt his mother after his passing. First, Soyinka’s poem contains specific instances in which the Abiku torments his previous