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World war 2 american literature
Literature after WWI
World war 2 american literature
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Imagine being in a war fighting for you life. Fighting for your country even though many other people think your the enemy and it’s tearing you apart. Your losing and your life is about to end but you notice something, something that is strange when you're captain saves your life from the doom that almost followed. Extraordinary power that you have seen before from an enemy coming from your captain, before you can comprehend anything you are out cold. You wake up and you see that your sister and your general now getting to know each other, and you have to convince her before her death awaits. In the book Bloodline by Kate Cary that is what happened. This takes place during the time period in World War l. In the book John Shaw was in the battlefield …show more content…
The reason for this is that Lily did not even leave the hospital in fear of her brother dying or getting worse. She stayed as close to him as she could and even had a heart attack in the hospital worrying for her brother’s life. The story is told through the eyes of almost every character in the book and is told in first person in each journal or diary of each person. The reason why Cary chose this narrative form the diaries and journals from each character is to show how each character feels and thinks about each other. In the book John shaw was saved Quincy, but had superhuman like strength and knows that Quincy is not just a ordinary man or general. During John’s delirious state John’s sister, Lily, met Quincy because he was visiting John in the hospital at the same time as Lily was. Quincy and Lily got to now a little more about each other and got more attached romantically together. This passage shows John’s point of view of Quincy, “Panic gripped me the as that of Captain Harker. There was no doubt in my mind. No mistake. Surely nobody else shared that imposing silhouette? The figure moved down the ward toward my bed. I realized incredulously that though the light was behind it, the figure cast no shadow before it on the polished ward floor. I wanted to run, but I felt frozen in place-like a frightened deer” (Cary 90). This proves that the different in point of shows that John
Many war stories today have happy, romantic, and cliche ending; many authors skip the sad, groosom, and realistic part of the story. W. D. Howell’s story, Editha and Ambrose Bierce’s story, An Occurence at Owl Creek Bridge both undercut the romantic plots and unrealistic conclusions brought on by many stories today. Both stories start out leading the reader to believe it is just another tpyical love-war senario, but what makes them different is the one-hundred and eighty degrees plot twist at the end of each story.
O’Brien, Tim. “How To Tell a True War Story.” The Compact Bedford Introduction to Literature. Ed. Michael Meyer. Boston: Bedford St. Martins, 2003. p. 420-429.
In the two novels of recent war literature Redeployment, by Phil Klay, and The Things They Carried, by Tim O’Brien, both call attention to the war’s destruction of its soldiers’ identities. With The Things They Carried, we are introduced to the story of a young Lieutenant Jimmy Cross who is currently fighting in the Vietnam War and holds a deep crush for his college-lover Martha. Jimmy carries many letters from Martha with him throughout the war, and he envisions this romantic illusion in which “more than anything, he want[s] Martha to love him as he love[s] her” (1). However, a conflict quickly transpires between his love for Martha and his responsibilities with the war, in which he is ultimately forced to make a decision between the two.
In the aftermath of a comparatively minor misfortune, all parties concerned seem to be eager to direct the blame to someone or something else. It seems so easy to pin down one specific mistake that caused everything else to go wrong in an everyday situation. However, war is a vastly different story. War is ambiguous, an enormous and intangible event, and it cannot simply be blamed for the resulting deaths for which it is indirectly responsible. Tim O’Brien’s story, “In the Field,” illustrates whom the soldiers turn to with the massive burden of responsibility for a tragedy. The horrible circumstances of war transform all involved and tinge them with an absurd feeling of personal responsibility as they struggle to cope.
Smith, Winnie. American Daughter Gone to War, On the Front Lines withan Army Nurse in Vietnam. New York: William, Morrow, and Company, Inc., 1992.
Lots of people have disagreements with their parents. “‘What did you say?’ ‘I said I’m not leaving.’” (Monk Kidd 296) I related to this so much that when I read it I kind of smirked because it reminded me of myself. Parents and their kids definitely don’t always get along. But that is only because our minds think so differently. I have never had an argument with my parents as bad as Lily did. However, I still understand the frustration she had throughout the novel when she was with her dad.
The book follows Dana who is thrown back in time to live in a plantation during the height of slavery. The story in part explores slavery through the eye of an observer. Dana and even Kevin may have been living in the past, but they were not active members. Initially, they were just strangers who seemed to have just landed in to an ongoing play. As Dana puts it, they "were observers watching a show. We were watching history happen around us. And we were actors." (Page 98). The author creates a scenario where a woman from modern times finds herself thrust into slavery by account of her being in a period where blacks could never be anything else but slaves. The author draws a picture of two parallel times. From this parallel setting based on what Dana goes through as a slave and her experiences in the present times, readers can be able to make comparison between the two times. The reader can be able to trace how far perceptions towards women, blacks and family relations have come. The book therefore shows that even as time goes by, mankind still faces the same challenges, but takes on a reflection based on the prevailing period.
Abolutionist, Fredrick Douglass once stated, “If there is no struggle, there is no progress. Those who profess to favor freedom, and yet depreciate agitation, are men who want crops without plowing up the ground. They want rain without thunder and lightning. They want the ocean without the awful roar of its many waters. This struggle may be a moral one; or it may be a physical one; or it may be both moral and physical; but it must be a struggle. Power concedes nothing without a demand. It never did and it never will”().
Literary Analysis of Audre Lorde's Power. Audre Lorde uses her poetic prose to express her feelings of anger and fury over an unfortunate incident which occurred in New York City in the late 1970's. She shares her outrage and disgust at a racist society that can allow a child's death to be buried with no true justice found to help resolve the loss of an innocent child. Audre Lorde adopted an African name at the end of her life, Gamba Adisa, which means "Warrior-She Who Makes Her Meaning Known."
Another device not frequently used before O’Connor is the transition between third-person to first-person point-of-view, the first-person being through the grandmother. In the beginning of the story, she describes how the each of the characters feel towards taking a trip to Florida, as well as hint at the relationships they hold for one another. Then the narrator goes on to describe the grandmother’s personal thoughts and feelings throughout the trip, as well as how she thinks towards the end of the story. We first see the first-person point-of-view when the narrator tells how the grandmother did not want to leave the cat at home alone because he would miss her too much and she feared he would accidentally asphyxiate himself with the burners on the stove. The reason this particular part of the story is considered first-person narration is because it goes directly into the mind of the grandmother, telling why she brought the cat along with her. We also see this first-person narration when Baily’s wife is consistently referred to as the children’s mother, rather than by her name or as Baily’s wife.
Writing in her journal is the only thing that keeps her sane; yet John takes that away from her: “I must put this away-he hates to have me write” (Gilman 41). The narrator yearns to confess to John how she really feels, but she prefers to keep her feelings bottled up: “I think sometimes that if I were to write a little it would relieve the pressure of ideas and rest me” (Gilman 42). Instead, she is passive and hides her emotions. “I cry at nothing and cry most of the time. Of course I don’t when John is here, or anybody else,” only “when I am alone” (Gilman 44). She tells us that “John doesn’t know how much I really suffer” (Gilman 41). Even when the narrator tries to communicate with him, he immediately dismisses her: “I tried to have a real earnest reasonable talk with him,” but “John wouldn’t hear of it” (Gilman 40). Instead of speaking her mind and standing up for herself, she withdraws and does “not say another word”(Gilman 47).
We could know the emotional and physical details of Eva throughout her way to the post office from the narrator, such as “Eva felt short of breath, a bit lightheaded. She'd been unable to finish her toast that morning, so eager she'd been to set off upon her errand”, and “Today she did not remember Hugh or her son. She thought only of hand-delivering the letter in her pocket. It was cold out, close to freezing, in fact, and her knuckles ached around the handle of the umbrella. Should have put on my coat. But there’s no sense in turning around” (1157, 1159). This statements imply that Quatro uses the third person limited omniscient point of view to lets readers get into Eva’s head and feel the way she feels. If the story was narrated in first person by Eva instead of a third person, the story would be unreliable to the readers to trust since Eva is old and has difficulty remembering things. The only thing she remember in the most of the story is the letter which she is going to send. Limited omniscient is very suitable for this story since there are only one main character. We know everything Eva is thinking and suffering. This is because Eva’s thoughts are the only ones necessary for us to understand the central
Tony Palmer, the author of “Break of Day”, tells a story that takes place in and out of war. The story follows a man named Murray Barrett who lives in the times of ww2. He ends up finding himself in the middle of it, down at Port Moresby. During the midst of war, Murray ends up coming across an injured Sid Archer, a childhood enemy and the man who stole Will’s (Murray’s older brother) childhood lover. Murray helps Sid instead of abandoning him, despite their childhood drama. In this book, Palmer really focuses on the themes of family, death, and bravery. He presents to us how complicated families can get, how people deal with death differently from others, and how there are many forms of bravery.
August was correct when she said that Lily must be her own mother. Lily will not always have someone to care for her. If this happens she must learn to care for herself. Lily was also relying too much on the statue of Mary. When the statue of Mary was chained up Lily could not go to her for help.
...er without all of that. Poverty is repulsive to that society and overshadows her beauty, the one thing she comes to depend upon as her saving grace. Faced with financial destitution, she is forced to attempt to reconcile with herself; with the values that have been instilled in her since childhood and with her desire for individual freedom. Her desire for individuality is strong and causes internal conflicts, as well as goes against the group mentality of the society she is a part of, leading to external consequences. The reasons for Lily's death are not fully clear, and it remains to be seen whether the overdose was intentional or an accident. Why she died is not as important as is Wharton's message to society from those who attempt to thwart its power: "You win."