In his book Death in the Afternoon, Ernest Hemingway says that, “When writing a novel a writer should create living people; people not characters. A character is a caricature” (153). This statement is only partially correct. The writer of a novel should certainly have the ultimate goal of creating living persons as opposed to two-dimensional characters. However, Hemingway mistakenly sets up an equivalence of character and caricature in an attempt to highlight the difference between a character and a living person. It does not follow necessarily that being a caricature negates the possibility of also being a living person. To clarify this idea, more meaningful conceptions of the terms living person, character, and caricature must be established.
Milan Kundera contends, “A novel that does not discover a hitherto unknown segment of existence is immoral” (3). In this it is seen that the primary utility of the novel lies in its ability to explore an array of possible existences. For these possible existences to tell us something of our actual existence, they need to be populated by living beings that are both as whole, and as flawed, as those in the real world. To achieve this the author must become the object he writes of. J.M. Coetzee states, “there is no limit to the extent to which we can think ourselves into the being of another. There are no bounds to the sympathetic imagination” (35). Through this sympathetic faculty, a writer is able to give flesh, authenticity and a genuine perspective to the imagined. It is only in this manner that the goal of creating living beings may be realized. Anything short of this becomes an exercise in image and in Kundera’s words, produces an immoral novel (3).
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... immensity of its horror finally makes him drop the pretense of knowing detachment he has held for so long. As he drunkenly sobs, “What’s funny? What’s so goddamned funny? I don’t get it” (Ch. 2, 23) his lurking humanity becomes evident. The subtly of interplay between The Comedian’s persona, his humanity, and even his hypocrisy strongly support his status as a living person alongside Dr. Manhattan.
To create living people should always be the goal in literature. It is how a writer can illuminate a new facet of existence and can only be achieved through the use of a sympathetic imagination. Hemingway erred however, when he argued, “A character is a caricature” (153). A caricature may be a character sometimes, but it may also be a fully realized and living person at others. As in Watchmen, when a caricature lives, it can be an extremely powerful thing.
Reading these works without the help of Langer’s introduction would be enlightening, but his statements should be considered and remembered during the “venture into disorientation” of mind and soul. Since the writers of these works were brave enough to release their experiences using an art, the reader should be brave enough to briefly imagine their experiences without transforming them into a type of fiction.
Thoughtful laughter is a technique used frequently in satirical pieces in literature. It allows for the audience to enjoy the wittiness of a work, later ponder on the meaning, and then apply the message to reality. Thoughtful laughter is often an inner experience that can only be achieved by authors who write meticulously. Two examples of satirical works in literature that display this concept explicitly are Voltaire’s Candide and C.S. Lewis’ The Screwtape Letters. Both authors explore the depths of satire and simultaneously deliver an important message to readers through skillful technique.
Alan Moore’s “Watchmen” focuses on several characters throughout the novel making the idea of a main character moot. However, one character can be described as the most influential to the plot of the graphic novel. Rorschach can be seen as such due to the fact that he narrates a large portion of the novel, and his heroic code that he follows. Not only does he influence the plot by those two reasons, but also by uniting the characters after a long silence. The Comedian is the only character that almost perfectly fits as the character with the most influence on the plot of “Watchmen.” The death of his character allows for the plot to be set in motion. He has not only has he shaped every other character in the novel, but the symbol that represents his character can be found throughout the graphic novel. Although Rorschach can be interpreted as the most influential character of “Watchmen,” The Comedian influenced more aspects of the plot than any other character of the graphic novel.
In The Heath Anthology of American Literature, Volume II. Edited by Paul Lauter et al. Lexington, MA: D.C. Heath and Company, 1991: 1208-1209. Hemingway, Ernest. A.
Throughout the 20th century there were many influential pieces of literature that would not only tell a story or teach a lesson, but also let the reader into the author’s world. Allowing the reader to view both the positives and negatives in an author. Ernest Hemingway was one of these influential authors. Suffering through most of his life due to a disturbingly scarring childhood, he expresses his intense mental and emotional insecurities through subtle metaphors that bluntly show problems with commitment to women and proving his masculinity to others.
A tragic character is someone who experiences misfortune in courtesy of poor judgment, fate or a conflicted personality. In the tragedy, Antigone, there is a heavy debate over whether Antigone or Creon is the tragic character. Creon can be classified as the tragic character of the play because he has been affected the most due to his decision of sentencing Antigone to death. For instance, a fight emerges between the king and his son, Haimon, as a result of his harsh punishment. Also, he lets his pride get in the way which triggers the suicide of Haimon and his wife, Eurydice. By the end of the tragedy, Creon is forced to live through the painful death of his family, thus being the tragic character because he suffered the most.
Stories have an opportunity to leave the reader with many different impressions. When you look a different characters within the stories the ones that leave the greatest impressions are the ones that tend to scare us. The figures in Bob Dylar’s “Where Are You Going, Where Have you been?”, in Nathaniel Hawthorne’s “Young Goodman Brown”, and Stephen King’s “The Man in the Black Suite” all instill a bit of fear in the reader. They are symbols that represent the devil or devil like attributes in people and the uncertainties of human nature.
Head, Bessie. “Life.” Literature and the Writing Process. Ed. Elizabeth McMahn, et al. 6th ed. New Jersey: Prentice Hall, 2002. 349-355.
Often times an author incorporates a thought or philosophy into a work that can shape or reshape the attitude emitted from the novel. In Albert Camus', The Stranger, the Existential philosophy that the author fills into the work give an aura of apathy. With the opening lines of "Mother died today. Or, maybe, yesterday; I can't be sure," Camus immediately sets a tone of indifference (1). Though the protagonist, Mersault, is not completely without cares, the overall attitude of passiveness he has toward himself, as well as toward others, give the entire novel a tone of apathy.
Oftentimes, the life of an author is reflected in his works. This is due to the fact that the experiences of the writer can serve as the foundation of his story line. Some of the famous authors who are known to have utilized this technique, which is also dubbed as Roman Clef, include Charles Dickens and Fyodor Dostoyevsky. Even in an unconscious manner, the author’s life is an inspiration to his writings and hence having a big impact on the entire work.
When a writer picks up their pen and paper, begins one of the most personal and cathartic experiences in their lives, and forms this creation, this seemingly incoherent sets of words and phrases that, read without any critical thinking, any form of analysis or reflexion, can be easily misconstrued as worthless or empty. When one reads an author’s work, in any shape or form, what floats off of the ink of the paper and implants itself in our minds is the author’s personality, their style. Reading any of the greats, many would be able to spot the minute details that separates each author from another; whether it be their use of dialogue, their complex descriptions, their syntax, or their tone. When reading an excerpt of Hemingway’s A Moveable Feast one could easily dissect the work, pick apart each significant moment from Hemingway’s life and analyze it in order to form their own idea of the author’s voice, of his identity. Ernest Hemingway’s writing immediately comes across as rather familiar in one sense. His vocabulary is not all that complicated, his layout is rather straightforward, and it is presented in a simplistic form. While he may meander into seemingly unnecessary detail, his work can be easily read. It is when one looks deeper into the work, examines the techniques Hemingway uses to create this comfortable aura surrounding his body of work, that one begins to lift much more complex thoughts and ideas. Hemingway’s tone is stark, unsympathetic, his details are precise and explored in depth, and he organizes his thoughts with clarity and focus. All of this is presented in A Moveable Feast with expertise every writer dreams to achieve. While Hemingway’s style may seem simplistic on the surface, what lies below is a layered...
Manhattan lacks social skills and can be even considered as an anti-social. Dr. Manhattan is rather incompetent when dealing with society. He doesn’t know how to properly address mobs and uses his power to run away from them. When defending the Whitehouse from angry protestors, Dr. Manhattan orders protestors disperse which resulted in people suffering injuries (Chapter 4, Watchmen). The situation could have been handled much better by trying to be civilized, rather than sending protestor back to their homes. Dr. Manhattan rarely interacts with the world and lacks emotions in special events. When learning about the Comedian’s death, he shows lack of remorse for a fallen comrade and does not seem to care for the situation (Chapter 1, Watchmen). Thus, Dr. Manhattan is anti-social because the methodology of deal with society and his surrounding in the Rockefeller Military Research Center.
How important is an individual that most often than not authors focus on the growth of one over the growth of the many? Is it because the growth of one symbolizes the growth of all? Or is the focus on the individual due to the image it presents which is the growth in us? In any event, this outlook of individualism is widespread in literature and different genres and techniques excavate the development of the individual. Another factor that comes into play in the development of the character is the situation and the effects of the environment. Within William Shakespeare’s play The Tempest and Michael Cervantes Saavedra’s satire Don Quixote are two different characters molded and formed or in both cases malformed to incorporate their capsules which are the genres and settings that imprison them.
In Alan Moore’s comic book “Watchmen” the author uses many references and allusions to various works of literature to help add a whole new dimension to the analysis of the characters and themes of the work for readers. Moore draws from these references to show that he is highly educated and has a certain expectation for his readership. Even if the reader is not well read, the cited quotes at the end of each passage provide an opportunity for the reader to educated themselves.
Some of most lasting works of satire exemplify such a function, most specifically through the end-states of the protagonists. Orwell’s Nineteen Eighty-Four, Voltaire’s Candide, and Jonathan Swift’s Gulliver’s Travels all exemplify end-states of protagonists that emphasize conclusions to the moral and philosophical problems posed by the authors. Yet, each also exhibits a degree of ambiguity, which allows the audience to reflect on the criticism in conjunction with literary examination. All three of the aforementioned literary works are different in content and the degree of satire employed. However, by comparing the differences and similarities between protagonist end-states in each work, it becomes possible to better understand satire as a literary genre. Namely, the characteri...