Pros And Cons Of Didion

Another literary device that Didion uses to portray her story of New York is the use of hyperbole. By using various examples of hyperbolic statements throughout her writing, she exaggerates enough to show the reader how she truly feels about living in New York. During her first few years living in the city, she describes New York to be an infinitely romantic notion, the mysterious nexus of all love and money and power, the shining and perishable dream itself” (Didion 231). What she means by this is that New York is such a spectacular city, where it seems that everything that one

When the author arrives in New York, she is entranced by the city. The author’s love of New York is so deep that she cannot establish the years during which many of her early memories took place. Instead of being distinct, the memories are a mass jumble of imagery that captures her favourite aspects of the city. One night, Didion was running late to meet someone. Despite her rush, she stopped at Lexington Avenue, bought a peach, and ate it

In (chapters 6-13), the landscape of California changes for the worst as Steinbeck tries to describe the damage that the men have inflicted on California. Steinbeck's diction with words such as "rot", "waste", and "decay" associate the former Edenic Califronia with a deathly image. This diction corresponds with the shift in imagery that shows "meat turning dark and crop shriveling on the ground" along with "black shreds(of cherries) hanging from them(the seeds)"; further depicting the change of landscape of California. Instead of "valleys in which fruit blossoms", the valley expels an "odor of sweet decay" showing the horrible state that California has turned in to under the guidance of the "understanding" men. Steinbeck also uses strong imagery to depict plentiful pears falling "heavily to the ground and splashing on the ground"; a symbol Steinbeck also changes the main theme of colors from the beautiful pink and green of the former California to a deathly black. Steinbeck also uses the vernacular of Californians to show the panic that the farmers feel by expressing such phrases as "We can't do it." and "We can't pay wages, no matter what wages." putting the reader in to the mind of the farmers to experience that panic and

Connie has a tendency to daydream, so she daydreams about Eddie and thinks about “how sweet he always was, not the way someone like June would suppose but sweet, gentle, the way it was in movies and promised in songs” (625). She is soon snapped out of this fairy tale when a man named Arnold Friend confronts her. He actually treats her like she is the grown woman that she wants to be and this aspect is very scary for Connie. He pulls up driving a car and his car is a symbol for an underlying theme in the story. It is evident that only men drive in the story, never women. The only time a woman drove in the story is the dent in Arnold’s car and written in it was “done by a crazy woman driver”(627). Not only is Connie young, but also she is a woman and the car represents the mobility and freedom that women do not tend to have during this time period. Arnold says things to her that mirror her search for independence. He knows so much about her, from her name to her family’s name, to the fact that her whole family was gone at the time. He was the perfect package representing independence in a way that Connie was familiar with. He stood in a relaxed way, he wore clothes that she recognized, his smile was friendly and dreamy, and her talked in a “singsong way”(629). Despite all of these factors, something was still not right about him in Connie’s eyes. These factors

At the moment of its waking Sacramento lost…its character…” (Didion 173). In other words, Didion is pointing out how Sacramento is becoming more immoral as urbanization and industrialization occur. However, what is most interesting is how Didion expresses Sacramento’s loss of character through her own experiences. For instance, Didion describes her wonderful memories basking in the Californian sun, rivers, fields and valleys as a child, showcasing the real natural Sacramento. However, later on as a n adult when she returns to Sacramento, Didion finds that the Sacramento she has been seeking is no longer there, as a result of industrial development:

Lastly, the imagery present in this essay is loftier than the other literary devices evident in her story. Clair tells of many shades and complexion she remembers as a child suck as "the yellow house," "windows painted light blue," and "the putrid colored jacket." She does this to paint the crystal clear images through picturesque that she recalls from her adolescence. More importantly, Clair vividly describes the cherry bomb all through her work. She not only illustrates her "box of private things" but describes even the "strong-smelling" essence that lingers along side the images of her childhood

Connie’s first encounter with Arnold is when she spots his car “a convertible jalopy painted gold.” The notion in which Connie perceives the strange car subtly hints to the fact that she finds it peculiar, but nevertheless, dismisses it. Her dismissal easily allows the reader

Joan Didion is wearing oversize black sunglasses in a crowded, dark movie theater where the film about her life is premiering. Standing beside her nephew Griffin Dunne, who directed the documentary Joan Didion: The Center Will Not Hold (Netflix), the 82-year-old Californian’s all-black ensemble plays well with her ashy white bob: Tucked slightly under her chin, its color is stripped and striped, but its body and character are as full as ever. It serves as a reminder that no matter her age or the style of the decade, her hair always seems effortless and elegant. It was blunt and short in the ’60s, when she released Slouching Towards Bethlehem, the book of essays that put her on the literary map; long and middle-parted to fall into a slight S-shaped wave in the ’70s, around the time she penned The White Album, which included her harrowing story on the Manson murders; fringed and peppery in the ’80s, and up until the early aughts with its Bush politics. Throughout it all, her signature lengths appear as if they’ve been dried in the easy Malibu air—even when she’s physically in New York City. A place where she found her first job, at Vogue, and a place she loved and found love in, with her late husband, writer John Gregory Dunne. New York City was also a place she eventually lost, like many other people and places and things in her life.

On the route to Florida, the grandmother is quick to point out the cemeteries on the way to Florida, which means that she knows her life is limited and she will be in one soon. Finally, the grandmother is led to the misfit and tries to act as a peacemaker. This plan fails because God is the only peacemaker when it comes to trouble. The critic offers a critical analysis of the idea of imagery and foreshadowing, which this critic believes is brought on by God as payback.

The story tells about how an antisocial woman is willing to kill someone so they will not abandon her. The story also tells about how she lives in her own delusional world. The short story’s setting is a very old town that is demolished, (It [the Grierson family house] was a big, squarish frame house that had once been white, decorated with cupolas and spires and scrolled balconies in the heavily lightsome style of the seventies, set on what had once been our most select street But garages and cotton gins had encroached and obliterated even the august names of the neighborhood; only Miss Emily’s house was left, lifting its stubborn and coquettish decay above the cotton wagons and the gasoline pumps- an eyesore among eyesores” [p

With reference to the mentioned above, it is also permissible to assume that the audience to which the author directed the book is possibly medium to high class, with a basic level of education and reside in Manhattan for her direct observation of how, in the cocktail parties, people voice comments such as "I can't take Manhattan anymore" and "our citizens dream of the open spaces of Wyoming, the manicured exclusivities of Hobe Sound” just as her allusions to historic events, for example "there is much about Manhattan now that resembles Dickensian London” and “For the ancient greeks, drama taught and reinforced compassion”. This last fact among other opinions such as "We cannot deny the existence of the helpless as their presence grows” y “it is impossible to insulate ourselves against what it is at our very doorstep”, finally define that the intention of the author when executing this document was generating conscience to the population of the city in which she

Cisneros writes about her life in metaphors and symbolism, as a painting infused with strokes of colors made up with her silky words. I respect Cisneros’ authentic decision to write about herself as another character; Esperanza. In chapters like “Cuatro Arboles Flaquitos,” Esperanza sees herself reflected in Four Skinny Trees who are rooted between concrete; four trees who fight for their spot in the city and whose only purpose

The short story “The Cask of Amontillado” is filled with mood, theme, and irony. Throughout the storyline, Montresor and Fortunato set the mood, show irony, and create a theme. It’s a heavily built plot based on revenge. The theme of "The Cask of Amontillado" is a powerful message of revenge.

Through the use of the Taggart Bridge and Tunnel’s eventual demise, the plot can help illustrate what happens when society degrades the importance of the mind; whereas characterization will aid in the analysis of Francisco D’Anconia’s character and his deliberate contribution to the destruction of society that the looters have created. Lastly, Dagny’s desire to save the crumbling society through the use of her motor, directly correlates to the primary theme of the novel as an intelligent mind strives to rise up against the degradation and fix a disintegrating

The senseless violence is used to create an emotional shock to the reader. With the shock in place, the author utilizes irony to make it clear to the reader that Southern societal views are illogical to any competent person. Furthermore, O’Conner uses the development of the characters to support her critical view of the South. Through the use of macabre and irony, the author clearly employs the elements of Southern Gothic literature to emphasizes the moral blindness of the grandmother.