Paul's secret of secrets was his wooden horse, that which had no name
English- Creative Writing Coursework Paul's secret of secrets was his wooden horse, that which had no name. Since he had grown too big for the nursery and a nursery governess, he had his rocking horse removed to his bedroom at the top of the house. "Paul, aren't you much too big for riding that horse"? Asked his mother. "Well you see, until I can ride a real horse, I want to make do with this toy one." Replied Paul "Do you have fun while riding the horse? Why not play with your friends; after all, it is a brilliant day? His mother questioned. "Not now, maybe after the Derby." Said Paul. "Alright then, but I hope you grow out of it soon, what will the visitors think?" The horse lay, unchanged in the corner of Paul's room. It was well used and was about to break due too the immense pressure Paul put on it. The Derby was drawing closer, with only two weeks left; Paul still had not found the winning horses. However, he would not give up hope and he still rode the horse, sometimes frantically for an answer. The voices in the house were still getting louder as everyday piles of bills and CCJs dropped onto the rough mat underneath the letterbox. Mother picked these letters up and cried, "Oh I wish, I could seal the post box, cut the telephone wire, and disable the doorbell." Mother was looked stressed out, she needed a holiday, and after all, in two months, Paul would be
Setting of "Araby"
Michelle Callaham English 102 Mr. Asbill 7 March 2005 Setting of "Araby" In James Joyce's "Araby," the narrator reminisces about his youthful hopes and desires for Mangan's older sister. He then becomes possessed and controlled by his passion for her. He promises her that he will go to the bazaar and buy her something. The setting of the story provides the readers with an insight on the young boy's mixed emotions. The author uses the setting to provide essential and vital facts to help the reader discover important details. These details are evident through the story's atmosphere, the boy's love for Mangan's sister, and his trip to the bazaar. In the first sentence of the story, the setting is created through atmosphere. North Richmond Street is introduced as a blind and quiet place. The narrator states that the house is detached from the others on the street but that, "The other houses on the street, conscious of decent living within them, gazed at one another with brown imperturbable faces" (294, paragraph 1). This description gives the readers the idea that the boy lives an isolated and lonely life. Darkness is also used to create the atmosphere. The streets around the boy's house and the room in which the former tenant died in is are described as dark. The darkness that surrounds the boy's environment symbolizes the boy's mixed emotions and his
Parallels Between Love Stories - "Eros & Psyche and Beauty & the Beast"
Thursday, the Nineteenth of December, Two Thousand-Two AD Period A Parallels Between Love Stories "Eros & Psyche and Beauty & the Beast" Written by Jackson Coakley Parallels Between Love Stories "Eros & Psyche and Beauty & the Beast" Written by Jackson Coakley Throughout all types of mythology, spoken, written, performed, or otherwise, by all types of people, similarities between myths always occur. These similarities are evident in the love stories Eros & Psyche, a Greco-Roman myth, and Beauty and the Beast, a motion picture by Disney Pictures Inc. in their themes and the actions and emotions of their characters. First of all, the theme of fidelity/faith is in both stories. In the story of Cupid & Psyche, Cupid charges Psyche with the challenge to never look upon his face. He gives her no reason for this order, so Psyche must perform an act of blind faith. But, out of curiosity, she breaks their pact and looks upon his face at night. This is similar to Belle's curiosity over the "West Wing" of the castle, in Beauty & The Beast. The Beast tells Belle to never, under any circumstances, venture to the West Wing. Like Cupid, he gives his lover no reason for this, except that "IT'S FORBIDDEN!" Belle, too, had to perform an act of blind faith, but broke her lover's rule by going up to the West Wing to view its forbidden contents. Secondly, the human characteristic of
Of Being Trapped: Male and Female Paralysis in Dubliners
Williamson Nikkita Williamson ENGL 4510 Dr. T. Thompson 27 March 2012 Of Being Trapped: Male and Female Paralysis in Dubliners A pattern that tends to emerge in each of the stories contained within Dubliners by James Joyce is characters that are paralyzed. Joyce himself would write in a letter to Grant Richards that "[m]y intention was to write a chapter of the moral history of my country and I chose Dublin for the scene because that city seemed to me the center of paralysis" (Myers 4). Dubliners, contains twelve seemingly independent stories that each deal with the theme of paralysis brought on by love. This theme is both obviously stated and subtly hinted at in the various stories. There is a difference though in the cases of paralysis brought on by love. Only four of the cases concern a major female while the rest have to deal with a major or minor male character. This could be explained by saying that Joyce had a majority of male leads because he himself was obviously male and thus he could write the character better. Evidence to the contrary though comes from the stories about the major females themselves in which Joyce had written the ladies just as well as the men. Now, it's not just the ratio of male to female stories being the main difference, there is also a difference in how Joyce represents the genders in the love-based paralysis. This secondary difference
To Be or Not to Be.
To Be or Not to Be Deciphering between dreams and reality can sometimes be quite difficult. At times our dreams feel as though they are part of our real lives. In Joyce Carol Oates story "Where Are You Going, Where Have You Been?" the main character Connie finds herself in such a condition. The entire conflict that Connie gets herself into makes sense, indicating itself as real. But, this story goes well beyond a tale about a young girl who gets raped. The true reading lies behind the separation of reality and imagination. Oates attempts to make the reader feel the same as Connie does. Just like a dream, the story is unclear and ambiguous. Oates stresses that our subconscious makes imaginary situations come to life. Each of the characters and events in the story appeared to be real, yet Connie's vulnerable subconscious allowed her mind to wander, developing her own reality into a convincingly real nightmare. The difference between imagination and reality is key to understanding the story. When read straight through, the story appears to be about a young girl that makes wrong decisions and finds herself in a hostile situation. Once one takes a closer look, they begin to question the reality of the situation Connie finds herself in. The beginning of the story describes a common Saturday for Connie and her friends. All of what occurred that night appeared normal. The
“I struggle to keep writing as much as possible in male hands as much as possible as I distrust the feminine in literature.” (T.S. Eliot). Discuss with examples.
"I struggle to keep writing as much as possible in male hands as much as possible as I distrust the feminine in literature." (T.S. Eliot). Discuss with examples. Both T.S Eliot and James Joyce are acknowledged by critics as modernist writers. The Wasteland by T.S Eliot is, like Ulysses, concerned, to varying degrees, with humankind and early twentieth century society. Both Joyce's novel and Eliot's poem utilise a range of different voices in order to convey a sense of fragmentation and incoherence. It is interesting therefore that their views on the feminine in literature should oppose each other so violently. At first glance, Ulysses, with its two male protagonists - Stephen Dedalus and Leopold Bloom, may appear to oppress the feminine voice in favour of the masculine. A closer reading of the text however soon emphasises the opposite, as Joyce's constant interweaving and conflicting of the masculine voices with the feminine can be recognised as the basis of the novel. Feminist critics such as Cixous1 have argued that modernist writing as a genre embraces the feminine aspects of literature in its characteristic flow and textual fragmentation. In order to write Ulysses it is impossible for Joyce to disregard or distrust the feminine in literature as, despite his obviously male perspective, both masculine and feminine voices are essential if Joyce is to create a convincing
In my essay, I will be writing mainly about Keawe and Paul as they are the main characters in the stories; 'The Bottle Imp' and 'The Rocking Horse Winner'.
'The Bottle Imp' and 'The Rocking Horse Winner' Introduction: In my essay, I will be writing mainly about Keawe and Paul as they are the main characters in the stories; 'The Bottle Imp' and 'The Rocking Horse Winner'. I will be writing if the characters in either story are moral/immoral and what impression the reader got of them. I will also be writing about the moral standards of the characters and what happen to them at the end of the story. You should know that these two stories are fables although they do have a moral in the stories. Both of the stories are about greed, the love for money and evil. Also both of the main character's at he end of each story die at the end. The author of 'The Bottle Imp' is Robert Louis Stephenson and the author of 'The Rocking Horse Winner' is D.H Lawrence. I will also be writing about the message and overall moral of the stories the author's are trying to put across. Keawe: At the beginning of 'The Bottle Imp', Keawe had nothing but was in search of something. When he was in San Francisco, he got tricked into buying a bottle from an old man who claimed that the bottle had magical powers. He tests the bottle's powers and then shows it to his friend Lopaka. He then makes a wish for a house just like his uncle and cousin's and gets the house at the loss of his uncle and cousin's lives. After making the Imp appear before him, he then
What sort of violence is produced by the narratives of religion and politics, their structures and responses and their link to a violent history.
What sort of violence is produced by the narratives of religion and politics, their structures and responses and their link to a violent history. Garcia Marquez's novel Chronicle of a death foretold is written similarly to a classical drama, consisting of five acts and portraying a tragedy. This ritual killing that takes place is repeated three times, with the dissecting of the rabbit guts, the killing and the autopsy. The repeated stabbing of Nasar and the alarm bells is like a calling from Marquez for the reader to wake up. The form of the narrative feels like Marquez is stabbing the reader with the memory of the book. Furthermore, each memory of each witness seems to stab in a different place. This chronicle is not straight forward, the investigating journalism runs throughout relinquishing a series of subjective accounts from witness's. These are individually unreliable, only when unified can the reader begin to address some of the truths. Also Garcia is not only the narrator but a witness and therefore is unreliable due to his emotional connection with events. Marquez wrote in first person using omniscient third person effects similar to Joyce's, but unfamiliar with the latter Marquez uses a technique of disrupted linear narrative. Marquez writes a chronicle not to unfold a mystery but to hide within it deep subversive feelings towards political and religious bodies,
Trust in Diversity.
Trust in Diversity The United States of America is infamous for being inhabited by a population with the largest variety of ethnicity, religion, and basic lifestyle. In order to live in such an environment, interaction among members of society who do not share similar backgrounds or preferences becomes an imperative factor in the success of our nation and its people. In the short narrative Along the Frontage Road, author Michael Chabon reveals the story of a man who finds himself in an intimidating world of people who make decisions and live lives that are very different from his own. The author carefully creates a pessimistic tone and presents a conflict that is plausible in our own world. People fear what is different and make assumptions about others that are influenced by the color of their skin or the accent of their tongue. Through the way in which the author resolves this conflict, it is evident that at times, the world is not big enough for everyone. The most important activity in the story occurs when the speaker encounters another family at a pumpkin stand in California. It is at this point when the true conflict of the character is spelled out for the reader. He is a white man, trying to raise his son properly in a dangerous world. Across the road, he comes in contact with a black man, who he assumes makes a living selling drugs and helps to make the world so
New Criticism of Short Story Araby by James Joyce.
New Criticism of Short Story Araby by James Joyce When analyzing Araby, by James Joyce, using new criticism, two main underlying themes stand out to the reader. The themes of isolation and of love are both revealed by the author in this short story. As it is unlikely to be both isolated and in love, there is much tension between these two themes as they each battle to become dominant. Eventually, the tensions dissolve and the main character finds himself completely isolated and alone. These themes and complexities directly reflect the inspiration and intentions of the author and allow the reader to benefit from the universal truths of isolation and love buried within the text. The theme of isolation is eminent from the opening paragraphs that describe a dark, quiet street. We are told North Richmond Street "was a quiet street"1 and that the "days of winter became dusk"2 as the story establishes its setting. The references to darkness and emptiness accurately depict the emotion of being physically and mentally isolated and are used by the author throughout the text. Death can be seen as the ultimate form of isolation and loneliness because it separates the person form the rest of the world. This explains the imagery of the dead priest on the opening paragraphs and helps give the piece a tone of isolation and loneliness. A second theme of love - or rather physical