Reaching Understanding through Non-Verbal Communication in Timothy Findley’s “War” and “About Effie”

The story “Folie a Deux” by William Trevor explores the complexities of curiosity and maturation. The narrator, inspired by literary devices, details an important passage of the story, which portrays lunchtime conversations between Anthony, his father, and Miss Davally, and follows with the correspondence between Miss Davally and Wilby’s mother – where all involve the exchange of information. The passage is meaningful because it demonstrates an appraisal of information, and its impact on progress. Ultimately, the story suggests that information is arbitrarily powerful, and that genuine maturation is only fostered through nurtured curiosity.

The poems “A Barred Owl” and “The History Teacher” by Richard Wilbur and Billy Collins respectively, depict two different scenarios in which an adult deceives a child/children, which ranges from the sounds of a bird at night, to the history of the world itself. “A Barred Owl” depicts two parents who lie to their daughter about an owl who woke her in the night, while “The History Teacher” involves a man who tries to protect his students by using education as a tool to deceive them. Both poets use diction, imagery, and rhyme to help them convey a certain tone in their poems.

When we are first introduced to the narrator’s father we find that he has a no-nonsense view of life. He does not

The main character in Crossroads endures constant disappointment and sadness when she reveals herself to her potential suitors and realizes that they can't accept her as she is. This is shown when the woman walks away from the man, disappointed once more, and throws away the flower she brought, which served as a symbol of hope throughout the book. In NIEM, Elyria struggles to stay connected with her husband despite the internal breakdown she is enduring, which she feels like she has to hide from him, and her changing feelings toward him. She tries very hard to remain the woman he knows, despite her quickly changing identity, because she is afraid that she will lose him if he sees the struggle she is hiding. This is shown when she talks in the first chapter about how she goes on about her daily routine every day, despite her depression and anxiety. And neither of these women are entirely wrong in believing that the men in their lives won't accept them- the man in Crossroads suspects that the woman he is speaking with is the woman he knows, but finds that idea inconceivable once she is revealed to him. Elyria's husband treats her disappearance as an immature whim, instead of considering that there may be graver motives behind her leaving, and that he may have contributed to her desire to escape. When faced with

The abundant animal imagery in Timothy Findley's book The Wars is used to develop characterization and theme. The protagonist, Robert Ross, has a deep connection with animals that reflects his personality and the situations that he faces. This link between Robert and the animals shows the reader that human nature is not much different than animal nature.

The narrators in both works prove to be similar in several ways. In “The Tell-Tale Heart” the story is told through a psycho narrator; both stories contain apparent psychological imbalances within their story tellers, “

Tim O’Brien uses several rhetorical strategies in this story. A strategy that is easily found in the story is imagery. He uses a lot of sensory details to help the reader know what it feels like in a certain situation. “Except for the laughter things were quiet,” (67) and “You hear stuff

The friends of the narrator, however, do not hide in the imaginary world of childhood and are maturing into adolescents. Sally, “ screamed if she got her stockings muddy,” felt they were too old to “ the games” (paragraph 9). Sally stayed by the curb and talked to the boys (paragraph 10).

Sigmund Freud once argued that "our species has a volcanic potential to erupt in aggression . . . [and] that we harbour not only positive survival instincts but also a self-destructive 'death instinct', which we usually displace towards others in aggression" (Myers 666). Timothy Findley, born in 1930 in Toronto, Canada, explores our human predilection towards violence in his third novel, The Wars. It is human brutality that initiates the horrors of World War I, the war that takes place in this narrative. Findley dedicated this novel to the memory of his uncle, Thomas Irving Findley, who 'died at home of injuries inflicted in the First World War" (Cude 75) and may have propelled him to feel

When readers read a story written by an author they will usually think that the author likes to read books and is what led the author to writing a book. William Goldman said, “As a child, I had no Interest in reading” (Goldman 3), this can lead readers to imagining the author as a young child rather than an adult not wanting to read a book. When Readers imagine the author as a young child the image imagined can give a better sense of how the author felt as a young child. The imagination of a child giving the reader a picture to think about is less complex than that of a adult giving a reader a picture to think about.

p. 82). Therefore, the adult narrator’s ability to comment and reflect on his child-self effectively emphasizes the naïve and vulnerable nature of youth, and contributes to the mood of foreboding and suspense throughout the novel, ‘now I was over confident. I expected things to go my way’ (Chapter 1. p. 28).

For my rhetorical analysis, I read Rebecca Solnit’s essay “The Longest War,” which shed a light on the unequal treatment of men and women and the violence that women face throughout their lives, and around the world.

Through letters between Walton, a man who aspires to explore the sea, and his sister, a story is told within a larger story.

In J.D. Salinger’s Nine Stories there are many tales centered on children, who are often depicted as a symbol of hope and connected with the values that stand in contrast to the ones typical of the adults corrupted by materialism. In my essay, I would like to concentrate on the portrayal of children in “A Perfect Day for Bananafish” and “Teddy”. Even though the way these characters are depicted is similar, a child protagonist in each of the stories is representative of different things. While Sibyl can be seen as a prototype of a childlike innocence, purity and simplicity, Teddy can hardly be considered a prototypical innocent child. Despite the simplicity of Sibyl’s thinking, her presence and behavior help the reader draw many complex

His lack of social skills becomes much more apparent once he leaves the house for the first time. He has no intended destination, and wanders the streets. Once he is hurt by the limousine, he is given an injection to ease his pain. As the doctor fills the needle, he wants to show fear, not because he has had this experience before, but because "he visualized all the TV incidents in which he had seen injections being given" (Kosinski 33). Just like the prisoners in the cave, he was trying to understand a reality based on pictures in order to react to the world around him. One thing that he has never experienced is any type of a sex life. He found himself in a room with EE, where she made a sexual advance towards him. He thought back to a situation on TV where he could imitate an actor in a similar scene. He remembers a close embrace and kissing, but unfortunately