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Recreative writing and discussion on The Woman Who Walked into Doors

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Recreative Writing Charlo bought him a bike for his thirteenth. I say bought. I have no idea where it came from, the money for it or the thing itself, nearly new as well. I nearly made the mistake of asking, I nearly screamed, the stuff we could have bought with that money. Nicola had never had a present like that, still hasn't. Neither have the other two. But I didn't ask. - Aw, da! That's brilliant! - I know, Charlo said. - Where did it, I mean where did yer - - Well see that it doesn't end up in the canal. Or at the scrappy's. - It won't I promise, Jesus it's great! Funny how he knew it was his dad that got him it. He didn't even look at me. It was a nice bike, blue with no rust. One of the brakes squeaked but it only meant that you could hear him coming. After that he'd disappear every day after school. His tea always got cold until I stopped cooking it. That bike took him to other worlds. Who knew there were other worlds a couple of streets away? Other worlds you could get to on a bike. ...read more.


Paula seems weary, and although the implications of the gift upset her, she has learned not to ask questions: "I nearly made the mistake of asking, I nearly screamed, the stuff we could have bought with that money... But I didn't ask." This is reminiscent of Chapter 28, when Charlo burns a wad of money and Paula imagines the possibilities it held. Throughout The Woman Who Walked into Doors, there is a sense of apologia; this is replicated in my piece in Paula's confession of her helplessness over the "loss" of John Paul. Paula is attempting to come to terms with these feelings, and feels partly responsible for this. The reader is encouraged to pity Paula because of the way she is represented as a victim, however, the reader could also feel contempt for Paula because of her failure to face up to Charlo, or act on the fact that she holds him responsible for the loss of two of her children. I structured the recreative piece in a way as close to Doyle's writing style as I could get. I used short sentences with very little description, as well as ominous comments that are not fully explained, from which the reader can make inferences, but not receive any clear message. ...read more.


For this reason, once Paula had alluded to the fact she holds Charlo responsible for both incidents, she moves swiftly on: "Two kids he's lost me. When he did come back..." A part of the novel that was of particular use was Chapter 9, page 38. I referred to this when writing the section about Leanne and Jack's questions, I referred to Chapter 9, page 38: - Fuck off. - Fuck off, yourself. - Fuck off. Day in, Day out. - Get your fuckin' hands off me. - Do your own fuckin' homework. This section was useful because of the nature of the remarks; they are not attributed to any person in particular, this adds impact, and increases involvement, as the reader speculates over to whom each remark belonged. Leanne and Jack would have to ask to find out. - Where'd yer get that black eye? - Did the other fella come off worse? - Where'd yer get that magazine? - Eeeh! Why's she got no clothes on? - Where's all yer hair gone? - Did yer have the nits? I replicated this in the above section of direct speech, where Paula mentions that Leanne and Jack asked questions about John Paul's new life, but only hints that these are the questions asked. 1,004 words (excluding quotations) ?? ?? ?? ?? Sophie Miller English Literature Block 5 ...read more.

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