The Words Of Salman Rushdie

The author uses tone and images throughout to compare and contrast the concepts of “black wealth” and a “hard life”. The author combines the use of images with blunt word combinations to make her point; for example, “you always remember things like living in Woodlawn with no inside toilet”. This image evokes the warmth of remembering a special community with the negative, have to use outdoor facilities. Another example of this combination of tone and imagery is “how good the water felt when you got your bath from one of those big tubs that folk in Chicago barbecue in”. Again the author’s positive memory is of feeling fresh after her bath combined with a negative, the fact that it was a barbecue drum.

There are many aspects for my mind to conceive while reading the articles why I write by George Orwell and Joan Didion. There are many different factors in triggering an author’s imagination to come up with what they want to write, and why they want to write it. In most writings a purpose is not found before the writer writes, but often found after they decide to start writing.

Although ethos and logos are important modes as well, this text is most effective due to White’s continuous use of pathos. His thesis statement suggests the urge to return to his childhood memories, “…this feeling got so strong I bought myself a couple of bass hooks and a spinner and returned to the lake where we used to go, for a week’s fishing and to re-visit old haunts” (“Once” para. 1).The audience is also evoked with anticipation to what will happen later. A good example of this is “I took along my son, who had never had any fresh water up his nose and who had seen lily pads only from train windows” (“Once” para. 2). The audience is left asking how the trip with his son will compare to his own memories. White goes on to describe in intricate detail his memory of the lake, cabins, and scenery. He uses visual imagery to allow the audience to place themselves in the setting he has described. “White wants to emphasize the permanence of some things, or at least the memory of some things, despite the continual change that happens in the world”

Moreover, writing about memory which is the groundwork of the traditional autobiographical genre is a problematic endeavor, since it is a project of conflating memory, imagination, and sometimes a conscious misrepresentation of the past. Likewise, it is a way to inscribe the discursive selves that they envision as “true” representations of their selfhoods.

When an author writes a book he has a message that he is trying to get across to

Orhan Pamuk once said, “The writer's secret is not inspiration - for it is never clear where it comes from - it is his stubbornness, his patience.” The writer’s general purpose is to determine the expertise that he wants to apply in his writing. The writer’s purpose and organization of writing is to persuade, entertain, inform, and draws the reader’s attention to the information. In the same way, the readers’ goals are reading the content, of seeking information, and increasing knowledge through reading. In these three articles, the authors have specific purpose and discipline the specific futures, and the reader's goal is to collect the noteworthy information. The first article, “The Nature of

Arora, Namit. “What Do We Deserve?” Emerging Contemporary Readings for Writers. 2nd Ed. Ed. Barclay Barrios. Boston: Bedford/St. Martins. 2013 87-91. Print

In order to be successful, the students must fully dive in and give themselves to writing. Though her students say that yes they do want to be writers, Dillard questions if they understand what the choice really means. She asks herself “why do I want them to mean it?”; perhaps because just as she can recognize a moth, she can also recognize that many of them will not end up becoming writers. They do not understand that writing will be hard work but relatively unrewarding. Only after the moth had died did it truly begin to burn, acting as a second wick. Only after she falls asleep do the candles in Dillard’s last paragraph flame and thrive. The true success of the writing-- the inspiration and understanding it creates for others-- will remain relatively unseen by the writer.

Writing is not a meaningless task, writers do not form a complex formula of words just because they can. A reason that writers have the drive to do what they do is because they have a compulsory force pushing them to share their viewpoint with as many as will

As I sat in the desk of my afternoon class, “Intro to Philosophy 1101,” I longed to be outside with my fellow colleagues enjoying the winter air as it turned to spring. Instead of sitting on the grassy lawn, I sat confined behind the jail-resembling cinder block walls of the classroom. My professor’s lesson contradicts the atmosphere of the classroom as she mumbles about, “Existentialism” and how it is “a philosophy emphasizing individual existence, freedom, and choice that influenced many diverse writers in the 19th and 20th centuries.” (Funk & Wagnalls 1.) At the time, I did not notice a significance to the lesson, but while reading pieces of literature in English, I understand the purpose of existentialism and how apparent it is in written works. Writings such as “Raj Bohemian,” “The Lottery,” and “Good Country People” all show evidence of an attitude of choice. The term itself suggests one major theme: the stress on the concrete individual existence and, consequently, on subjectivity, individual freedom, and choice. (Funk & Wagnalls 1.) The use of existentialism shapes the characters’ such as the Narrator in “Raj

In Hosseini’s novel, The Kite Runner, mistakes and their confrontation is a major theme. The Kite Runner takes us on the journey of life as an immigrant through the eyes of refugee Amir. It is through the mistakes of Amir and his family and friends that the novel develops. The most significant and central mistake in the novel is of Amir not standing up for Hassan whilst he is being raped. Although this mistake is the most significant and central one, I will also look into two others; Baba cheating with Ali’s wife and Soraya and her previous marriage. To confront our mistakes we may try to ‘redeem ourselves’ by doing good that we believe may make up for this mistake or even just getting this mistake out in the open and talking about it. The

Abstract: This essay reflects on the relationship of photographs, history, and memory based on a found and mutilated photo album. Photographs provide opportunities for disrupting and restructuring history with their attraction to memory; they privilege the subjective, creative power of the personal explanation and provide an emotional and even ideological grounding for memory. Photographs as manifestations of memory assist in the process of understanding the present.

To some degree, every artist creates his or her own artistic life preserver, and in doing so resequences and conserves their own artistic DNA so that it may be transferred onto another generation. Vladimir Nabokov’s memoir Speak, Memory, is not only that preserver, but the tug boat that it holds onto, heavy and cramped with the memories and history that Nabokov retells his readers against the currents of time. Speak, Memory operates thematically, not chronologically. Nabokov returns anew to his early childhood and pulls in, as it were, the memories associated with certain themes. Then he turns, changes directions, and sets off again. One such theme that resonates throughout the novel is that of exile and deteterritorialization, both

The photograph is severely cropped which presents the image as a fragment instead of a whole scene. This lack of wholeness within the photograph becomes another layer to the metaphor of memory that reverberates throughout the image. Memory often arrives in one’s thoughts in the form of fragments that must then be pieced together. The viewer of the photograph must rely on the little information that Davis did not crop out, just as a person must rely on the attainable information in

When he declares, “To tell the truth, I lied about Shiva’s death. My first-and-out lie—although my presentation of the Emergency in the guise of the six-hundred-and-thirty-five-day-long midnight was perhaps excessively romantic, and certainly contradicted by the available meteorological data” (Rushdie 510), Rushdie is breaking all expectations as a narrator. By admitting to his exaggerations, he is exposing himself as an author. However, the tone invites the audience to consider the main protagonist a friend, and therefore see his faults through friendly eyes. Instead, the colorful reality which he has created through his anxious tone serves to highlight just how unreal it is, but nonetheless necessary to meaningfully recount the history as he has experienced it.