Pasilyo 8

Annabella teaches Kira a few things about dyeing her own threads but later dies. At the end of the story, Kira finds out that her father is actually alive, and she meets him for the first time. In this essay, you will read about the main conflict, the setting, about the characters, and some of the fantasy elements that were used.

This book report discusses the plot, significant characters, setting (e.g., time of the story took place, historical background), problems and resolutions, themes or messages of the story. A reflection of the author’s writing style will be presented followed by a conclusion.

On the story, she commented, “Explaining just what I had hoped the story to say is very difficult. I supposed that by setting a particular brutal ancient rite in the present and in my village the story’s readers with a dramatization of the pointless violence and general inhumanity in their own lives.”

The story is fairly detailed, and contains few descriptions of the environment. The reader gets thrown into the story with a flashback from Balu-ta’s childhood; hereby it excites the reader with in media res. It is told in third person from Baluta’s point of view and hence it is easy to follow Baluta’s feelings and childhood as for instance through the flashbacks from his life in Liberia.

When Equiano was younger he wanted to be just like him. He deeply loved his parents and his younger sister, Owi, who is a year younger than him. In one day, his life was taken away from him. When he was eight years old, he was playing with Owi in the sand.

He pictured Kiowa’s face. They’d been close buddies, the tightest, and he remembered how last night they had huddled together under their ponchos, the rain cold and steady, the water rising to their knees, but how Kiowa had just laughed it off and said they should concentrate on better things. And so for a long while they’d talked about their families and hometowns. At one point, the boy remembered, he’d been showing Kiowa a picture of his girlfriend. He remembered switching on his flashlight. A stupid thing to do, but he did it anyway, and he remembered Kiowa leaning in for a look at the picture – “Hey, she’s cute,” he’d said – and then the field exploded all around them.

Lindo was arranged to marry Tyan-yu. While the marriage was short-lived, Tyan-yu constantly lied to Lindo, and Tyan-yu’s mother treated Lindo like an object to be bartered between families. Lindo experiences depression being trapped in this lifestyle, so she decides to flee to America in order to escape it. When reminiscing on her marriage Lindo says, “I had no choice, now or later. That was how backward families in the country were. We were always the last to give up stupid old-fashioned customs” (Tan ). Similar to the mother in the beginning, Tan creates appeal to pathos, forcing the reader to sympathize with Lindo. The reader’s sympathy to Lindo allows Tan to expand on the larger issue of sexism, creating an emotional and educational tone in order to coax the reader into, again, understanding the true scale of sexism. Tan drilling this larger idea of sexism into readers changes the reader’s perspective. With new perspective, readers notice the need for change to establish equality between both sexes. Therefore, Tan is using her writing as a tool for a deeper subject: exciting change within the world, and thus, exemplifying Jong’s words.

The narrator, a young girl named Nea, starts the story in the middle of action. She told that she stabbed a man with knife at eleven years old in order to release her older sister, Sourdi, from the man. “I charged and stabbed the man in the sleeve” (9). This situation is not only a introduction of this story to the readers, but the further explanation of the events explains each of the characters involved in this story. The main character of this story is Ma, who willing to sacrifice Sourdi’s happiness in order to please the man in the society. Next, Sourdi is another main character in this story. She has beautiful face that attracted the attention from admirers throughout this story. Then, Nea is also main character in this story. She is impulsive young girl who reacts in rash to protect her sister from the men that can threaten their relationship.

For Esteban Trueba in chapter 2 of the House of the Spirits by Isabel Allende, after the death of his fiancee Rosa, he demonstrates his reactions to total isolation from his family, friends, and the ones he loves most. Ultimately, Esteban’s reactions to this newfound isolation help convey his character which is demonstrated through symbolism, diction, and inner conflict he faces through all these years.

The heat wave of the summer of 1952, Djinda wiped her hands against her dress. Her mother would kill her, it was dirty and the pink had faded. Her feet were bare and she hurried across the burning sand toward the small house her father had built. They’d both compromised each of their cultures; her father could do whatever he wanted that involved his culture but as long as he built her mother a house. This had been before she was born; her mother had also wanted to go to the hospital for her birth but had compromised to let the women of her husband’s tribe in there with her – much to the doctor’s protests.

They had to make camp that night without the benefit of a creek or river nearby. Charity was glad they had filled the water barrels before leaving Marilee's; at least she had water for the stock and for them to drink. By the time she stopped to set up camp, the children were bone-tired and so was she; she was glad she didn't have to cook. Marilee had fried several chickens and packed them some beans and biscuits to go with it. They filled their bellies and were asleep, before it was good and dark out.

So when the men returned with the news that the drowned man was not from the neighboring villages either, the women felt an opening of jubilation in the midst of their tears. 'Praise the Lord,' they sighed, he's ours!'” (Marquez, 1972, p. 3). The town falls in love with Esteban, treating him like one of their own, but even better. The women imagine what his life was like before, being so much bigger then everyone else and being more handsome then the rest. They make clothes and jewelry for him and imagine what their lives would be like having him as a husband. The villagers really seem to come together in their admiration of Esteban. Their faith strongly exemplifies the magical realism elements in this story, seeing as normally a reader would expect society to not so readily except something that is so unnatural and uncommon to them.

Larissa Jordan was a peppy young girl, especially for one who grew up on the Black Isles of Doracha. As a child, she had never been told of the island's’ dark history, nor had she been told of the reasons why families were forced to move away from the mainlands and onto the Isles. And what you don’t know can’t hurt you. At least, that’s what Larissa’s parents believed; and for twelve years, twelve blissfully peaceful years, they appeared to be correct.

Readers are introduced to Busayna by Aswany (2002) describing her character as an educated woman who once had a set life plan but as soon as her father passed away resulted in the dynamics of her household changing. Varying from her mother taking up a job outside the home to Busayna being pressured to put her dignity to the side to provide for her family. The text

The setting of the island Uta-jima is idealized, which creates a place where the romance between Hatsue and Shinji can seem realistic. The reader begins the novel with a description of this island and “two spots with surpassingly beautiful views.” (3).After this, the reader is introduced to a young man, Shinji, climbing up the stairs of the lighthouse. Mishima depicts this area as one of the most beautiful views on the island. The