Point Of View And Irony In Katharine Brush's The Birthday Party

In the novel, The Joy Luck Club, the author, Amy Tan, employs various rhetorical devices at numerous points in the story to achieve a specific purpose, whether the aim is to expand a character’s development, to further the evolution of the plot, or to suggest a certain theme to the reader. In particular, one of the most common rhetorical devices exploited by Tan throughout the story is perhaps the anecdote, which forces the reader to analyze the hidden significance of it as its contents are much longer and more elaborate than other rhetorical devices which typically consist of a mere sentence or two. Each anecdote in the book carries substantial importance and yet, it seems that the fact that there are so many of them in the novel does not undermine each one’s individual magnificence. The most poignant anecdote in the book may in fact be the story of An-Mei’s mother of how she lost herself and became a concubine-against her will-to a notorious mogul named Wu Tsing. An-Mei’s mother ultimately chooses to commit suicide in hopes that it will save her two children from the neglect and wrath of her husband, who initially cares very little about An-Mei and her family but is convinced by Chinese myth to improve their standards of living, “Seeing her this last time, I threw myself on her body. And she opened her eyes slowly… I shut her eyes with my fingers and told her with my heart: I can see the truth too… Because we both knew this: that on the third day after someone dies, the soul comes back to settle scores… He (Wu Tsing) promised her visiting ghost that he would raise

First, Brush starts off the story by describing the couple that were at the restaurant. “They were a couple in their late thirties, and they looked unmistakably married.” “The man had a round, self-satisfied face, with glasses on it; the woman was fadingly pretty in a big hat.” Brush has now provided us with an image of the main characters in this short story. Furthermore, he became “hotly embarrassed” when he realizes what is going on. Towards the end of the story the wife was “crying quietly, and heartbrokenly and hopelessly, all to herself, under the gay big brim of her best hat>” When her husband did not appreciate

Katharine Brush uses literary techniques in Birthday Party to convey the sense of helplessness an abused person feels in an abusive relationship.

The promise of a new life at a wedding is an optimistic rebirth; the loss of a lover is an obligatory uprooting. Allegra Goodman’s “La Vita Nuova” records the changed life of a freshly dumped bride-to-be. As she endures her altered life, Amanda occupies herself by babysitting her student Nathaniel. Amanda uses irony, dark humor, and juxtaposition as a coping mechanism; instead of facing the new life she has to live, she uses sardonic reflection to elongate her mourning period.

The situation of the story starts of splendid and merry until the wife’s “little surprise” results into a more saddening conclusion. The husband’s identity is much like a controlling, punishing introvert. The wife’s identity was opposite to her husband, a loving, open hearted extrovert. These opposing identities

Irony is a useful device for giving stories many unexpected twists and turns. In Kate Chopin's "The Story of an Hour," irony is used as an effective literary device. Situational irony is used to show the reader that what is expected to happen sometimes doesn't. Dramatic irony is used to clue the reader in on something that is happening that the characters in the story do not know about. Irony is used throughout Chopin's "The Story of an Hour" through the use of situational irony and the use of dramatic irony.

In a country where Divorce is more normalized than ever before, one can be guilty of neglecting to consider the pain it can cause, not just the couple, but also their children. The short story “Hot or Cold” by Maile Meloy is a remembrance from the author's life which communicates the divorce of her parents represented in a nostalgic memory from her past. In the piece, the author’s young self plays in a van while her parents deal with an unexpected encounter with a bear. After a brief chase, the parents escape and the family drives away. The author masterfully develops the story by hinting at the nature of the parents relationship by adding clever metaphors, until it is apparent that the parents eventually divorce and that the story is only a dream. In the short story, the author utilizes juxtaposition, a motif, and metaphors, to suggest that memories create narratives, true or otherwise, that help one comprehend events that are otherwise incomprehensible.

One night, while Lizabeth struggles to fall asleep, she abruptly wakes up to the sound of her parents arguing. Upon closer inspection, she can hear her father say “Twenty-two years, Maybelle, twenty-two years... and I got nothing for you.” (Collier 146). Her mother tries to calm his festered feelings of failure as a husband, which is to no avail. Watching her family balance go into disarray, Lizabeth panics

The short story The Stolen Party by Liliana Heker, is about a girl named Rosaura who was invited to a rich girl's birthday party, whose name is Luciana. Throughout the story people may realize that Rosaura is doing maid like things, that’s because she’s there as a maid. The Stolen Party teaches us that a person doesn’t always know who people are until they treat you for what they think one is, because Rosaura thinks she came to the party as a friend, but when she got for helping, she knew she wasn’t there as a friend. Some people think that the theme of this story is things don’t always turn out the way you want it to. But others think the real theme is people may turn out different than they expect.

“Birthday Party” by Katherine Brush uses literary devices such as tone, point of view, diction, and sensory details to achieve her purpose.

Anyone who receives notice of a loved ones death is never expected to take it lightly. In Kate Chopin’s “The Story of an Hour,” Mrs. Mallard is informed of her husbands “death” as gently as possible, and immediately she understands the enormous significance this loss will have on her life. Unlike many widow’s, her feelings of utter devastation do not last. Mrs. Mallard’s sobs of loss turn to cries of joy after she reflects upon her own character and discovers truths about her marriage.

Women are taught from a young age that marriage is the end all be all in happiness, in the short story “The Story of An Hour” by Kate Chopin and the drama “Poof!” by Lynn Nottage, we learn that it is not always the case. Mrs. Mallard from “The Story of an Hour” and Loureen from “Poof!” are different characteristically, story-wise, and time-wise, but share a similar plight. Two women tied down to men whom they no longer love and a life they no longer feel is theirs. Unlike widows in happy marriages Loureen and Mrs., Mallard discover newfound freedom in their respective husband’s deaths. Both stories explore stereotypical housewives who serve their husbands with un-stereotypical reactions to their husband’s deaths.

In the short story, “The Story of an Hour,” author Kate Chopin presents the character of Mrs. Louis Mallard. She is an unhappy woman trapped in her discontented marriage. Unable to assert herself or extricate herself from the relationship, she endures it. The news of the presumed death of her husband comes as a great relief to her, and for a brief moment she experiences the joys of a liberated life from the repressed relationship with her husband. The relief, however, is short lived. The shock of seeing him alive is too much for her bear and she dies. The meaning of life and death take on opposite meaning for Mrs. Mallard in her marriage because she lacked the courage to stand up for herself.

Within the story The Story of an Hour there is a train wreck that Louise Mallard’s husband is thought to be on and so his name is on the list of people whom have passed. Mrs. Mallard’s sister and husband’s friend, knowing that she has “heart troubles,” try to keep the news from her before they can enlighten her of the harsh news lightly and smoothly, with much success. She shows a face of how she should react, but on her own she thinks of all of the possibilities that she can do now. She actually feels better about life and wishes for it to be longer than she had when her husband is alive. Through his death she gains a sense of identity for herself. During the time of Mrs. Mallard’s world, a good wife would be one that “accepts the conventions”

people take a moment to commiserate or feel remorseful for someone, yet they rarely give it another thought. As a class, we read a short story by James Joyce called Eveline. The first time reading this story, it was a bit confusing and quite irritating. As a woman of the 21st century, one whom is “fierce” and independent, I found it tough to sympathize with Eveline. “Stop your pity party and create a happier life.” This is what I found myself saying, after my initial reading. However, I took a step back and actually looked at the story. I remembered the context, it takes place in. The year, country, and how different things were back then. Placing myself in Eveline’s shoes, a woman from the early 1900’s, assisted me in sympathizing with her.