Kosinski's Being There and the Existential Anti-Hero Essay example

Tobias Wolff’s short story, “That Room” is a very suspenseful story that has the reader on the edge of their seat while reading it. Suspense and excitement is created through the plot and theme of the story which are both developed through four main literary devices. In the story, the narrator is put into what is potentially a life or death situation and it is at this point that he becomes aware that one is never really in full control of his or her own life. Throughout this literary analysis I will discuss the plot and theme of the story in terms of how Wolff uses setting, tone, characterization, and symbolism to enhance both the theme and the plot.

There is no doubt that the popularity of the anti-hero as we know it has increased in recent times. With unlikely, yet popular moral gray protagonists like Jack Bauer, Dexter, and Gregory House leading some of the most popular TV shows and characters like James Bond, Lisbeth Salander, Tyler Durden (from Fight Club), and Jack Sparrow being some of the most memorable in movies, it is not surprising that there has been an increased interest to understand what causes this characters to be so popular (Peter Jonason in et al., 193). What is it that makes them as likeable, if not more, than a normal hero? How come we relate to characters that perform actions that, if done in real life, would cause us to see them in a whole different light?

In David Sedaris’ “Nuit of the Living Dead”, we at first see only a story about a slightly strange night at a home off the beaten path where our author lives. Through the first person narrative, there is much to learn of David and his perspective and with this comes an understanding of how we ourselves perceive things. Context is perhaps the greatest tool used to show us these mental processes. We are given the benign details with David’s explanation of them and then reflect on those details from another point of view without context yet still coming from the narrator himself. This very simple and elegant short story illustrates that things are not always what they seem and it ranges from things that go bump in the night, the reasons for those bumps, and to the assumptions we make when we do not have all of the information.

Friedrich Nietzsche’s own skepticism symbolized the secular changes in contemporary Western civilization, in which he details mankind’s break away from faith into a new rule of chaos. In Book 5 of The Gay Science, Nietzsche establishes that “God is dead”, meaning that modern Europe has abandoned religion in favor of rationality and science (Nietzsche 279). From this death, the birth of a ‘new’ infinite blossoms in which the world is open to an unlimited amount of interpretations that do not rely on the solid foundations of faith in religion or science. However, in contrast to the other philosophers of his age such as Immanuel Kant and Georg Wilhelm Friedrich Hegel, Nietzsche deviates from the omniscient determinism of history towards a

Throughout the story the protagonist is left nameless. This provides the reader with another question of identity. Without a name to attach to the character, we are left without an identity.

Superman, Wonder Woman, Spiderman—what do all these characters have in common? They are all products of the human aspiration to be saved. The word hero is passed around too much these days. A hero is not a football player that scores the game-winning touchdown or the goaltender who saves his team from a loss. A hero is usually an ordinary person that did extraordinary things. A true hero is really never a hero at all; at least not in their own mind. However, there are various cases today in which we see the exact opposites of these characters, the anti-heroes. The anti-hero is one who cannot be classified as a hero, for that said character lacks natural heroic qualities. However, the anti-hero cannot be described as a villain either.

Automatically, the reader knows that serious issues are about to be discussed and that the outcome may not be positive. This novel challenges the material ideology discussed above. It does this by bringing the issues to the forefront and reporting on them in a fictitious yet realistic manner. The reader is not led to believe that the ending will be happy, he is supposed to expect the consider the harsh realities of the world throughout the piece.

The narrator is not the only story character without a name. The narrator's parents are also unnamed. The unnamed are all individuals who fit within the black community in expected, responsible ways. Sonny and the other named characters, such as Creole and Isabel, all have names due to their deviance. Each of these characters don't quite fit into the normalcy embraced by the narrator. Creole, in particular, gains his name by providing a parental figure to Sonny. He usurps the place that otherwise would have been filled by Sonny's nameless father.

In his novel, The Stranger by Albert Camus, translated by Matthew Ward, irony within the protagonist’s ( Meursault ) contrasting perception of the human condition is used to illustrate and invoke the reader to question the contradictory nature of societal expectations. His indifferent and unprecedented reactions to experiences - relative to the characters that Camus laid before him - aid in displaying the absurdity of a world constrained by the chains of conventional wisdom. The contrasting nature of Meursault's demeanor in defying conventional wisdom in experiences such as love and death not only reveals the underlying hypocrisy of the human condition but further illustrates the arbitrary essence of defining a human life.

Fyodor Dostoyevsky’s Notes from the Underground (1864/2008) comes across as a diary penned by a self-described “spiteful” and “unattractive” anonymous narrator (p. 7). The narrator’s own self-loathing characterized by self-alienation is so obvious, that he is often referred to by critics as the Underground Man (Frank 1961, p. 1). Yet this Underground Man is the central character of Dostoyevsky’s novel and represents a subversion of the typical courageous hero. In this regard, the Underground man is an anti-hero, since as a protagonist he not only challenges the typical literary version of a hero, but also challenges conventional thinking (Brombert 1999, p. 1).

This miscommunication was caused by Chance’s attempt to follow social cues and mirror the actions he saw depicted on television. Although he did not always understand social situations fully, Chance’s ability to adapt to the change in his social environment is due to the skills and norms he learned from watching television at the Old Man’s home. Despite a few moments of confusion, Chance acting as Chauncey was able to convince those around him that he was a businessman with insight on economics, not that he was just faking it. The character Chance takes on the public role of Chauncey Gardiner in Jerzy Kosinski’s novella Being There, showcasing Goffman’s dramaturgical analysis of the social production of the self identity through symbolic character names, defined situational social roles, and a social and public script, thus resulting in Chance having two separate identities, a personal and a

To this effect, I shall explore this text’s connections to Nietzsche's key intellectual influences. First, I shall address the impact of the Schopenhauerian view of the world on The Birth of Tragedy, in particular as regards the opposition between Apollo and Dionysus and the nature and goal of tragic art. Subsequently, I shall refer to the influence of Richard Wagner's thought in order to explore the relationship between metaphysics and art as humanity's "true metaphysical

In his play, No Exit, Jean-Paul Sartre examines basic themes of existentialism through three characters. The first subject, Garcin, embraces existentialist ideas somewhat. The second character, Inez, seems to fully understand ideas deemed existential. Estelle is the third person, and does not seem to understand these ideas well, nor does she accept them when they are first presented to her. One similarity amongst the three is that they all at some point seem to accept that they are in Hell for a reason.

In his 1946 essay Existentialism, Jean-Paul Sartre undertakes the task of defending existentialism against what he defines as “charges” (341) brought against it. Sartre begins to outline the “charges” brought against existentialism and further, existentialists. Following the medieval quaestio-form, Sartre begins with the statement of the objection, a short discussion, and then his reply to each.

Widely recognized for philosophical writings as a French essayist and playwright, Albert Camus is a major contributor to exploring the absurd in modern Western literature. Characterized by highlighting the human condition, Camus’ writing style focuses on the everyday lives and inner psyche of individuals in both ordinary and extraordinary circumstances. Such a character-driven writing style is most notably displayed in his 1946 work, The Stranger, a tale of an emotionally-detached man known as Meursault, who lives in French-colonized Algiers during the intermission of the two World Wars. Consisting of two parts—The Stranger first explores his daily life as a free man, and in the second, delves more into the character’s own philosophy as Meursault contemplates during his remaining time in jail. At its core, the story explores the relationships and interactions of the odd Meursault through the character’s inner monologue and dialogue with those around him. The story itself is very ambiguous in its’ nature, and the idea of contemplating the meaning of life and purpose is prevalent throughout The Stranger. Evidently, Camus writes Meursault as a man who believes that life has no meaning, and therefore people are free to do as they please. To supplement the protagonist’s view, the author also presents Meursault alongside various personalities of key supporting characters, each with their own unique personality, and differing outlooks on life. Doing so thus enables Camus to get readers to contemplate about meaning through multiple perspectives. Stylistically, through many devices that emphasize diction, imagery, and story themes. Ultimately, The Stranger is a way for Camus to convey that there are multiple ways to perceive the meaning of life, using Meursault to directly project a different view than what readers are used to. Surely, with the intent of crafting a protagonist so strange, that Meursault becomes comparable to other characters; less so as a reflection of what the author personally believes the meaning of life is, but more of what such exploration of the idea could be.