Literary Usage in Haroun and the Sea of Stories by Salman Rushdie

The unwanting desire to face reality and confront the isolation in which one is living is a struggle that both Gabriel and a little boy encounter. Jame Joyce’s works portray his characters to display both inner struggles and difficulty being socially accepted. During the party, Gabriel is anxious and nervous because he wants to uphold this reputation of a confident man. Therefore, he creates a script allowing him to have a sense control and comfort which he lacks. In Contrast, the little boy perceives himself to be self-assured and sociable when in reality these ideas are inflicted by his imagination. James Joyce’s “The Dead” and “Araby” features characters who struggle with internal emotions, revealing their alienation, separation with

In "Araby" by James Joyce, the narrator uses vivid imagery in order to express feelings and situations. The story evolves around a boy's adoration of a girl he refers to as "Mangan's sister" and his promise to her that he shall buy her a present if he goes to the Araby bazaar. Joyce uses visual images of darkness and light as well as the exotic in order to suggest how the boy narrator attempts to achieve the inaccessible. Accordingly, Joyce is expressing the theme of the boys exaggerated desire through the images which are exotic. The theme of "Araby" is a boy's desire to what he cannot achieve.

I will be writing my essay on innocence and experience to show how it relates to “Araby” by James Joyce. While reading the story, and what I’ve understood is that it’s a very depressing story about a young boy that is between 12 to 17 years of age who had his first experience in feeling loved and perhaps having a life alone. Later on in the story towards the end the experience will be very sad as we talk about it.

Would you rather have awareness of the world around you or just be completely oblivious? In Ray Bradbury’s novel, Fahrenheit 451, you clearly don't have a choice. Bradbury uses figurative language, symbolism, and biblical references in the book to express Bradbury’s concern about how powerful governments manipulate citizens.

In addition, symbolism is shown to portray redemption at the climax of the book. Amir has rescued Hassan's son, Sohrab, from captivity in Kabul. However, a recent life of sexual abuse has rendered his emotions inert. Attending an Afghan summer celebration, Amir notices a kite-fighting tournament taking place. Purchasing a kite for him and Sohrab, they accomplish in cutting another. Looking down at Sohrab, Amir sees the vacant look in his eyes is gone. “Whistles and applause broke out. I was panting. The last time I had felt a rush like this was that day in the Winter of 1975, just after I had cut the last kite, when I spotted Baba on our rooftop, clapping, beaming. I looked down at Sohrab. One corner of his mouth had curled up just so. A smile. Lopsided. Hardly there. But there” (Hosseini, 391). Thus Amir redeems himself, and thus it is shown that symbolism portrays redemption throughout the story.

In his short story "Araby", James Joyce portrays a character who strives to achieve a goal and who comes to an epiphany through his failure to accomplish that goal. Written in the first person, "Araby" is about a man recalling an event from his childhood. The narrator's desire to be with the sister of his friend Mangan, leads him on a quest to bring back a gift from the carnival for the girl. It is the quest, the desire to be a knight in shining armor, that sends the narrator to the carnival and it's what he experienced and sees at the carnival that brings him to the realization that some dreams are just not attainable.

The writing style of Khaled Hosseini in A Thousand Splendid Suns is both sympathetic and disgusted. He feels pity on those that bear the burden of the war. He shows this mostly through the use of two major literary devices: Symbolism and Imagery. These two literary devices impact the reader because it gives a deeper insight and understanding of the pain and fear these characters were forced into dealing with every day.

Chraibi’s book Muhammad: A Novel is a fantastic, powerful read because it is just that: a novel. It is a fictional story, but written by an author who had an unusual, mystical calling himself to write the book. By using original aspects from the traditional biographies of Muhammad and then adding his own personal, esoteric twist on these characteristics, Chraibi creates a work of literature that is truly compelling and shows Muhammad’s journey to becoming a prophet in a mystical light. Two central distinctions, namely Muhammad’s relations with Khadija and Bahira, add the spice in this novel that really help the reader grasp what is mystical about both this literature and most importantly, Muhammad himself.

James Joyce, the author of both “Araby” and “The Dead,” exploits a sense of imagery throughout both short stories. “Araby” and “The Dead” both share and differ from each other in the ways the imagery is shown. The vivid imagery in “Araby” is applied to express feelings and expressions from one character to another. The main character, an unnamed boy, has an undying admiration for Mangan’s sister. James Joyce describes the boy’s obsession with Mangan’s sister in vast imagery. “The Dead” also includes many senses of imagery, but shows kinesthetic imagery rather than vivid imagery. Kinesthetic imagery is an imagery that is portrayed through the movement and physical tension. In “The Dead,” Gabriel, the main character, dislikes the country of Ireland he lives in, so he flees. Throughout this, Gabriel describes how Ireland is boring and cold, displaying kinesthetic imagery. “The Dead” and “Araby” both include vivid imagery, kinesthetic imagery, and auditory imagery.

Goals and working hard are often viewed as good, and are encouraged. However, one can also be trapped in a mindset, as Aylmer from “The Birth-Mark” by Nathaniel Hawthorne, and the narrator from “Araby” by James Joyce are. Aylmer tries to control nature by having an “operation for the removal of the birthmark” (Hawthorne), on his wife’s cheek. The narrator from the story “Araby” has a huge crush on this girl and promises to buy something for her if he goes to Araby. Both characters are so focused on their missions that it impacts they way they think, and the way they act in every day situations.

James Joyce’s short stories “Araby” and “The Dead” both depict self-discovery as being defined by moments of epiphany. Both portray characters who experience similar emotions and who, at the ends of the stories, confront similarly harsh realities of self-discovery. In each of these stories, Joyce builds up to the moment of epiphany through a careful structure of events and emotions that leads both protagonists to a redefining moment of self-discovery.

Recent trends in literature heavily rely on crossover between genres. Science fiction is becoming more integrated with young adult novels, and even murder mysteries are starting to incorporate romance. This crossover insures authors that they will be able to reach a broader audience, with the hopes that more people will read their books. Short stories have blended countless genres together for a long time, so it’s not surprising to see a short mystery, or a short romance. Poet James Joyce has recently become just as recognized for his prose, especially when that prose is in the form of a short story. His collection, Dubliners, includes a handful of well-recognized stories that have similar themes run throughout. One of the most famous, Araby, quickly melds between a mystery and a love story, famously ending on a cliffhanger that leads readers to interpret the finale for themselves. Throughout the brief entirety of Araby, James Joyce continues to create an aura of mystery and confusion, even going as far as to end the novel in a cliffhanger. This ambiguity allows for the reader to input their own experiences and ideas into the characters, which leads to the extensive feeling of relatability that most readers have with the little boy.

In "Haroun and the Sea of Stories", Khattam-shud is a metaphor for Ayatollah Khomeini and Rashid is a metaphor for Rushdie. Khomeini stifled Rushdie’s freedom of speech which caused him to develop writer’s block. He was forced to leave his family to go into hiding, which was the catalyst for his divorce. In the novel, Rashid experiences the same plights. He looses the Gift of Gab and his wife because of Mr. Sengupta, who is Khattam-Shud’s real-world counterpart (155). Khattam-Shud has a cult following called the Zipped Lips, who sew their lips shut as a visual opposition to speech (148). These are extremists, like the Muslim fundamentalists willing to carry out Khomeini’s fatwa. The majority of the Chupwalas do not believe in Khattam-Shud and are only afraid of him (132). Rushdie believes that most Muslims were only afraid of Khomeini, and there was only a small group of zealous extremists that endangered his life.

Although Ahab’s insanity appears to be what shuts him off from humanity, in reality it is what makes him human. Ahab desperately wants to be freed from his obsession – to not have to rely upon it to feel. It is because Ahab is no longer in control of his obsession that the reader eventually discovers that besides what the book originally seems to insinuate, Ahab is only human.

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