Santiago In How To Read Literature Like A Professor

In Thomas Foster’s book, “How to Read Literature Like a Professor,” readers learn how to look past the surface of a literary work to find a deeper or hidden meaning. Writers use devices, such as symbolism, imagery, foreshadowing, irony and allusion to reveal these meanings. If these are overlooked, important aspects of the story can be lost. One literary device that Foster emphasizes in his book is allusion. Every story has elements of another story, and Foster devotes Chapters Four through Seven explaining the meaning of allusion in works by Shakespeare, the Bible, and fairy tales.

Santiago comments that the marlin is “wonderful,” “strange,” “strong,” “wise,” and “that his fight has no panic in it.”(48-49) Based on his description of the marlin, Santiago loves and respects him as a worthy opponent and brother, “Now we are joined together and have been since noon.”(50) Santiago is not only literally linked to the marlin, but also figuratively because the outcome of this battle will determine both their fates.

In his book “How to Read Literature Like a Professor,” Thomas C. Foster explains that, when a fictional character is described by having a heart disease, there is almost always a sort of metaphorical meaning behind it. These metaphors will give the readers hints about the afflicted character’s true nature. Mrs. Mallard, the main character of Kate Chopin’s “The Story of an Hour” is a fine example of this. The very first sentence of the story explains that Mrs. Mallard was “afflicted with a heart trouble.” Other characters in the story, such as her sister and “late” husband’s friend, are inclined to treating her more gently than they would others. It can be argued that the deeper meaning to Mrs. Mallard’s heart trouble is her disloyalty to her

In chapter fourteen of Thomas Foster’s novel, How to Read Literature Like a Professor, when telling of Christ in our literature, he makes the all-composing assertion that we live in an overwhelming Christian culture. The common man or woman may not know all there is to understand in Christianity, but our media and minds are affected by it considerably and basic knowledge of its core is known by the majority. The figures of Jesus in literature are abstract and in no way have to be exact to Jesus in gender, morality, or actions. No literary character or real character can be as divine or perfect as Jesus was in the Bible, making it impossible to completely replicate him. Imagination is the largest

How do memory, symbol, and pattern affect the reading of literature? How does the recognition of patterns make it easier to read complicated literature? Discuss a time when your appreciation of a literary work was enhanced by understanding symbol or pattern.

In the twelfth chapter of Thomas C. Foster’s How to Read Literature Like a Professor, Foster provides various information on how to identify symbols throughout literature. The chapter stressed the individuality of identifying symbols, Foster mentions multiple times that “every reader’s experience of every work is unique, largely because each person will emphasize various elements to different degrees” (110). After learning this and also having read Extremely Loud and Incredibly Close by Jonathan Safran Foer, one thing that stood out was that the main character, Oskar, only has and only wears white clothes. Not only does Oskar often reference his various white clothes, including the white scarf that Grandma knitted

Authors tend to get very political in between the lines of their stories. In “How to Read Literature Like a Professor,” by Thomas C. Foster, there is a chapter that discusses about how almost every author gets political with their writing. “Nearly all writing is political on some level.” (“How to Read Literature Like a Professor” 118.) “Animal Farm,” “Narrative of the Life of Frederick Douglass: An American Slave,” and “Nature” are some examples that’ll be used to prove this point.

In the book “How To Read Literature Like A Professor” by Thomas C. Foster, many elements are brought to the reader’s attention. Three of these elements, happen to connect with the novel, “the curious incident of the dog in the night-time” written by Mark Haddon.

Foster discusses the idea that when two characters eat together, that moment acts as a bonding experience and causes the characters to come together. I had never noticed the significance of a meal between characters before. After reading this chapter, I can think of so many moments in stories when the characters share a meal together to form friendships or come to a peace. In one of my favorite novels, Nineteen Minutes by Jodi Picoult, Picoult writes that “Emma Alexis- who was one of the cool, beautiful girls…she rolled her wheelchair right beside Justin. She’d asked him if she could have half of his donut” (367). Splitting the donut between one of the popular girls and one of the quieter, nerdier boys was a representation of the deformation of the high school social classes. After reading this chapter, I could recall the significance of meals together in so many novels and movies but I never noticed this pattern before.

In the novel “How to Read Literature like a Professor” the author, Thomas Foster, analyzed and broke down many literary techniques and reoccurring themes in literature. One of the most widely used literary techniques as shown in the novel was Symbolism. Symbolism is heavily used in literature from precipitation and weather to politics, almost everything we read in literature is a form of symbolism.

Every character that travels down a path, that encounters obstacles on their journey, that makes sacrificial decisions faces each of these components as they undertake a life-altering quest. Often times the hero ventures out to save someone or solve a problem, but in fact, their true journey is a search for self-knowledge. Through every obstacle and road-block along the way, the character discovers more about themselves and their true identity. Though they may have journeyed across great lands to accomplish their mission, the thing they were searching for was inside of them all along; the journey and challenges only helped to reveal their real character. As explained in Thomas C. Foster’s literary criticism, How to Read Literature Like a Professor,

In the skillful novel, "How To Read Literature Like A Professor" by Thomas C. Foster, there is neither a protagonist nor antagonist. As a whole, the novel gives insights on how to pick up signs of symbolism, irony, and many other hidden details that are buried within the words of literature. Foster refers to many classis novels by classic authors to demonstrate the use of logic in writing. The novel is extremely educational, leaving many insightful questions and interpretations to the reader's opinion.

-Flight is freedom. When a character has the ability to fly they are free from the burdens of everyday life.

There are many ways for an author to utilize the literature around them to express their ideas. Such ways are explained in How to Read Literature Like a Professor, by Thomas C. Foster, a brilliant author who takes reader behind the scenes and into the world of literature. Reading the book is one thing, but using it to help provide insight on a book is another. In The Life of Pi, by Yann Martel, Martel effectively uses symbolism and a parallel to enhance both the story and the reader’s insight of the book.

Santiago is one of the main symbols of The Old Man and the Sea and is compared to Jesus. He is described as an old man with scars on his hands, similar to Christ’s stigmata. Hemingway makes a point of Santiago representing Jesus by having his hands cut numerous times. Throughout the novella, there are references to Jesus carrying the cross and dying on it. Santiago carries a heavy wooden box, slices the palms of his hands, and sleeps in the position Jesus died in.