The Epistolary Novel

Intertwined within the novel is the presence of many different genres including letters, articles and magazine clippings, and pictures. At first sight there is the

she ends one journey and starts another. Judging from the tittle, my first thought of

There are many styles of writing authors use to captivate their readers. One style in particular is the epistolary style. The epistolary style of writing seduces its readers by using the character’s documents or letters to tell a story. Ursula K. Le Guin wrote the book The Left Hand of Darkness using the epistolary writing style, in return he captures his readers by making them feel the experience one would have if they lived on the planet Winter and understand the planet’s history. The story is told by Genly Ai, a person from earth who is sent to Winter to study their forbidding, ice-bound world.

Genre: After reading the novel, I realized that the genres of the book are historical and it is an autobiography.

The excerpt begins with a harsh tone about a woman she describes to be the cause of her separation with her lover. This portrays the simplicity and disorganization of the notebook entries which downright signifies the author’s unsystematic flow of thought. It triggers the readers’ attentions as the sentence presents confusion and

In my Rhetoric and Genre essay on, Ella Minnow Pea by Mark Dunn I honestly tried my best to explain how the use of genre was ideal to explain Dunn’s rhetoric in the book. I started of by bringing out what I believe were the main points that Dunn wanted to get to his readers. This points being the importance of critical thinking, communication and language and what would happen if we lacked on each of them. When it came to writing on why I believed these points were best told in an epistolary genre was without a doubt a challenge for me. Not because I did not believe that this points were best brought up through this genre but because it was became very difficult for me to explain myself.

When a novel is revealing, witty and whimsical it unlocks the hidden truths about literature as discussed in the book How To Read Literature Like a Professor by Thomas Foster. This book is written in second person so the reader can experience Foster’s personality that is directed towards them. A reader is given a fresh and clear perception on literature to understand what is being read. Foster clarifies the way writers uses symbols and themes. He believes by analyzing the deeper meaning in literature will help foster a better reader.

The Cambridge Introduction to the 19th-Century American Novel, the traditional sentimental novel’s storyline focuses around a young woman finding her way through life, usually without the support of a conventional family. The women overcome life’s hardships, and “the key to these women’s triumphs lies in their achievement of self-mastery” (Cane 113). According to Gregg Cane, these didactic novels are targeted at young women to instill the idea that a domestic home, marriage, and family are what construct a morally good woman. The plot is used to extract an emotional reaction from the audience. Nina Baym describes all sentimental novels as having the same plot,

An immediate and notable feature of the gothic genre is the aspect of using multiple writers, or narrators. This is shown through the epistolary form at the start of the novel, and gives the audience

The epistolary form of writing allows the reader to feel as if they are receiving an actual account of the story. This type of writing makes the reader feel as if the character is writing to them. The plot seems more realistic and

“Stay Gold ponyboy stay gold” The pillow seemed to sink a little and Johnny died.

In Oklahoma, where there are bloody rumbles and serious crimes made here in this big city, but there is a tiny sixteen year old boy living in the middle of it all, and that was me, Johnny. The Greaser was like a second home for each other. They were rough, old fashion, and have been In rumbles where breaking your arm wasn’t a serious injury, but they help another out. I, in the other hand, was not like them. They say that heroes need a dark past in order to be stronger in the comics I read, but that didn’t happen to me. I was abused by my own parents and I got jumped by those rich Socs. They left scars and pain for me, I felt like I’ve gotten weaker after this, not stronger.

M. H. Abrams defines romantic themes in prominent writers of this school in the late eighteenth and early nineteenth centuries as being five in number: (1) innovations in the materials, forms and style; (2) that the work involve a “spontaneous overflow of powerful feelings”; (3) that external nature be a persistent subject with a “sensuous nuance” and accuracy in its description; (4) that the reader be invited to identify the protagonist with the author himself; and (5) that this be an age of “new beginnings and high possibilities” for the person (177-79).

the whole novel: “the linguistic pattern of choices realizes a primitive pattern of cognition, which in turn is the key to the tragic vision of the novel.”(Leech & Short, 2001: 32) Halliday being the widely acknowledged precursor of functional stylistics, the eminent German linguist-critic Leo Spitzer (1887-1960), is likewise father of literary stylistics. In his insistence that the smallest detail of language can unlock the “soul” of a literary work, he maintains the task of stylistics is to provide a hard-and-fast technology of analysis: I would maintain that to formulate observation by means of words is not to cause the artistic beauty to evaporate in vain intellectualities; rather, it makes for a widening and deepening of the aesthetic taste. It is only a frivolous love that cannot survive intellectual definition; great love prospers with understanding. (Leech & Short, 2001: 2) A question which is often asked in this connection is “At which end do we start, the aesthetic or the linguistic?” The image used by Spitzer of the “philological circle”, the circle of understanding, however, seems to suggest there is no logical staring point. Spitzer argues that the task of Linguistic-literary explanation proceeded by the movement to and fro from linguistic details to the

The paper will analyze the literary skills in the novel. The literary styles will be analyzed in the context of their significance in influencing the plot and characters. The literary analysis will include review of the major literature styles the author uses and the characteristics of characters in regards to adapting the requirements of the specific literature styles. Additionally, the review will also include a perspective of the importance of style used by the author.