Examples Of Alienation In The Road

In the novel, The Road, Cormac McCarthy illustrates the expressions, settings and the actions by various literary devices and the protagonist’s struggle to survive in the civilization full of darkness and inhumanity. The theme between a father and a son is appearing, giving both the characters the role of protagonist. Survival, hope, humanity, the power of the good and bad, the power of religion can be seen throughout the novel in different writing techniques. He symbolizes the end of the civilization or what the world had turned out to be as “The Cannibals”. The novel presents the readers with events that exemplify the events that make unexpected catastrophe so dangerous and violent. The novel reduces all human and natural life to the

Poetry can follow your life all the way through, from the innocence of a child, to the end of your days. The comfort, seduction, education, occasion and hope found in poems are elaborated in Poetry Should Ride the Bus by Ruth Forman. As the poem reads on, you not only travel through the life of a person from adolescence to being elderly through vivid imagery, but also hit on specific genres of poems through the personification of poetry as the characters in the stages of life. This poem’s genres hit on what poetry should do and be, by connecting the life many of us live.

Achebe produces a theme throughout “A Dead Man’s Path” based on the conflict of change through the path, a barbed wire fence, a biblical allusion, and setting throughout the story. The literary devices allow for the reader to establish a strong interpretation of the effects of change and how people within society refuse to adapt from their traditional ways. This story accurately captures the struggle between a new generation and traditional way of life. Even with forced modernization, the refusal of change causes conflict in an ever-changing

In the Robert Frost poem ‘’The Road Not Taken’’ there is a pervasive and in many ways intrinsic sense of journey throughout. In such, the poem explores an aspect associated with human decision, or indecision, relative to the oxymoron, that choices with the least the difference should bear the most indifference, but realistically, carry the most difficulty. This is conveyed through the use of several pivotal techniques. Where the first such instance is the use of an extended metaphor, where the poem as a whole becomes a literary embodiment of something more, the journey of life. The second technique used is the writing style of first person. Where in using this, the reader can depict a clear train of thought from the walker and understand

The Coen Brothers’ film Miller’s Crossing and William Kennedy’s novel Legs revolve around the endeavors of underground criminal societies during Prohibition. This draws similarities with Joseph Campbell’s work, The Hero With a Thousand Faces, because the criminal underworld corresponds to suppressing the Freudian id. On Kennedy’s bookshelf, “‘The Nietzsche-Wagner Correspondence’ abuts ‘Naked Mind’ and ‘The Catholic Missal’ cohabits with ‘The Tibetan Book of the Dead,’ flanked by a score of volumes on Joyce” (Suplee 2). The Tibetan Book of the Dead, also known as the Bardo Thodol, expresses Buddhist teachings on death, rebirth, and the state of pause between the two. Along with Campbell’s work, the Bardo Thodol gives readers the ability to analyze both Legs and Miller’s Crossing on a more personal level. In fact, the central purpose of the Tibetan Book of the Dead is to inform readers of the importance of introspection and humility. In a more menacing way, gang narratives follow the model of the Bardo Thodol because the sinister underworld allows for pause between life and death.

People preach peace and love around the whole world, but at the same time practice the opposite of what they believe, and such behaviors cause the Road happened. It will eventually even become a cycle: the more people hurt each other, the less they believe in God and social morality, and the more they become soulless, the more likely people will express irrigation with violence. With enhancing wars and revenges on earth, it gradually turns to the world described in the Road: “No sign of life. Cars in the street caked with ash, everything covered with ash and dust. Fossil tracks in the dried sludge. A corpse in a doorway dried to leather” (McCarthy). In the Road, the world lacking of food and materials is not created by people with belief and faith; instead, faithless politicians and authorities who preach the gospel of power compete against each other and, disregarding the death of thousands and the significance of natural balance, converse the world into a miserable circumstance, which leads to the extermination of belief of those who are still alive.

The Road is a grim book set in an even more grim place. With the fall of civilization, the struggle for the human race is to preserve what it means to be human and not to get caught up in surviving by any means necessary. The magic of The Road is that even in such a world filled with unspeakable violence and fulfilled taboo, the reader is never as far removed from the characters in the book. Through the use of the battle for humanity and taboo, the reader is connected to the book at an uncomfortably close distance.

Cormac McCarthy’s novel, The Road, contains a plot with an underlying meaning beneath the words on the paper. In this post-apocalyptic world, there are many motifs, symbols, and metaphors that can be picked apart and analyzed through a psychoanalytic perspective. It is based on the idea that the unconscious story does not directly express its moral ideas, and does so through subtle clues in the text. It is up to the reader to interpret certain areas of the book and find its true meaning. The plot of the novel follows a father (the protagonist), and his son while they struggle for survival after the end has come, leaving the world in ashes. McCarthy is able to express his talent for detailed imagery description in his writing. His words allow the reader to easily shape the world of the story and understand the raw material. But with a second look at the book, symbols such as fire, the boy-father relationship, and dreams reveal the conscious story. Of the many areas of analysis, a very detailed aspect in the story is the father character. The author displays his cleverness in writing when depicting the man in mysterious ways about his feelings and desires. The psychoanalytic perspective would ask the questions about his desire to survive and how it can be interpreted using his relationship with his son. In life, the father-son bond can be a powerful tool for motivation, strength and guidance. His desires, beliefs, and character can reflect

Chinua Achebe was a Nigerian novelist, poet, professor and critic. He is mainly known for his trilogy that investigates, using fiction, the history of Nigeria. The trilogy begins with Things Fall Apart, followed by No Longer at Ease and ended with Arrow of God. Furthermore, in this critically analytical essay, through a feminist perspective, a chapter of his second novel, No Longer at Ease, published in 1960, will be discussed. The setting of the novel is Lagos, Nigeria and Umuofia, Nigeria during the 1950s, before Nigeria attained independence from Great Britain. The novel, No Longer at Ease begins with Obi Okonkwo on trial, charged for accepting a bribe. However, using flashback, the author takes us back to the point before Obi’s departure

Thesis: In the poem “A Road Not Taken”, Robert Frost shares how sometimes in life one has to make decisions rather they’re good or bad. However there are consequences following one’s decisions and choices. One can use their second chance by looking forward and choosing to take the right paths in life.

In the poems “The Wanderer” and “The Dream of the Rood,” anonymous authors give way to the idea that an Almighty God will solve every problem a person has by doing two things: 1) drawing upon the memories of a warrior who has lost everything near and dear to him due to war, and 2) entering the dream of a man who has been exiled and isolated. Each piece takes its reader through the trials and tribulations that one may not relate to in this era, yet the reader is still there alongside the character wanting them to find peace with their world and themselves. Initially, it is believed that the characters will overcome their hardships and achieve the happiness they seek. However, as the reader delves deeper into the character’s story, there is an overwhelming sense of incompleteness. What actually happens at the end of each piece is not written in stone - telling us the story is not whole - nor has a conclusion been reached. The intrapersonal thoughts being shared with the reader reveal the obstacles that keep an overall wholeness from occurring.

TOPIC: Who is , Elesin Oba or Olunde? Please give reasons for your answer in a carefully written essay. Please use “Being, the Will, and the Semantics of Death” by Henry Louis Gates, Jr. (Criticism 155-164) and “Tragedy, Mimicry, and the African World” by Olakunle George (Criticism 207-222) in your essay.

Elisabeth says then there will never be any solution to the problem of novel in Africa if the Africans wanted a ‘living voice’. The main problem faced by them was because the African writers unlike the French and the English were not acting as writers but were actually behaving like interpreters of their exotic cultures and that the root of their problem was ‘ Having to perform your Africanness at the same time as you write.’

It is interesting to read two pieces of literature on the same topic, but written in different manners to get a new perspective. For example, Clark’s focuses on the circular manner of the reincarnation, while Soyinka’s stanzas demonstrated the many lives of the child. While there are

Wole Soyinka (1934), Nobel Prize winner in literature, in his novels such as ‘King’s Horseman’ and ‘The Years of Childhood and Death’ portrays his life experiences and thoughts about Africa as well as Nigeria.