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Theme of fear in novels
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Graham Swift's Waterland
In Graham Swift’s Waterland, Tom Crick says, “Children, it was one of your number, a curly-haired boy called Price… who once… asserted roundly that history was ‘a fairy-tale’… ‘What matters… is the here and now. Not the past… The only important thing about history, I think, sir, is that it’s got to the point where it’s probably about to end’”(6,7). It is very likely that we all have come to a point in our education, at one time or another, where we have encountered sentiments similar to those of Price. In most schools the subject of history is treated more or less in the same way- as a recounting of events, an examination of how the past has led to the present. This seems to be a good definition at first glance, but perhaps it is lacking in that it fails to account for the “here and now”(6). In Waterland Graham Swift not only addresses the problem of the fears his students face in the here and now, and the prospect of a nightmarish future; but, he also gives an unlikely solution in Tom Crick’s theory of history as explanation and personal story.
The here and now, as well as the future, is very troubling in the eyes of Price: “Yes, the end of the world is on the cards again- maybe this time it’s for real… It’s the old, old feeling, that everything might amount to nothing”(269). This takes form in the possibility of nuclear holocaust: “all the buildings go red hot and then they go white and all the people go red too… And I’m walking around thinking it won’t ever be, it can’t ever be…”(297). So Price forms the Holocaust Club in order to cope with these fears: ç
We want to pool people’s fear. Tell them not to hide it. Bring it out into the open. We want to say, it’s OK, show your fear, add it to ours...
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...stories”(298). The only way sometimes to cope with the fact of fear is in telling our stories. Crick asserts that “explaining… dodging the here and now… history, fairy tales- it helps eliminate fear”(241). Much like the ever present nuisance of silt, problems and crises will keep clogging up our lives; and “there’s no simple solution. We have to keep scooping, scooping up from the depths this remorseless stuff that time leaves behind”(346).
While Tom Crick and Graham Swift present us with no easy solution, they do present us one. Though fear and problems are ever present, we can cope with them through our creating of history, of our own story. We inevitably have to bring our tale to a close. Though we may not know how we will do so, let us fill it not only with drama, but laughter, hope, dignity as well. Because, at the end of things, “Someone best explain”(358).
In the year 1625, Francis Bacon, a famous essayist and poet wrote about the influences of fear on everyday life. He stated, “Men fear death as children fear to go in the dark; and as that natural fear in children is increased with tales, so is the other” (Essays Dedication of Death). Clearly, external surroundings affect perceptions of fear as well as human nature in general. Although C.S. Lewis published the novel, Out of the Silent Planet, over three centuries after Bacon wrote his theory on fear, Lewis similarly portrayed external surrounding to manipulate perceptions of fear. From the first chapter of the novel, Lewis revealed fear to be a weakness that leads to ignorance. It was this ignorance that apparently fueled the cycle of corruption and immorality on “The Silent Planet.” Using the character Ransom to reveal the effect of memory and morality on fear, C.S. Lewis demonstrates that fear is a quality of the “bent” race (humans), and only by eliminating fear in our lives can the human race become hnau.
fear, this fear persuades the reader of this idea by making the reader experiencing the horror of
The study of past events have been a common practice of mankind since the verbal telling of stories by our ancestors. William Cronon, in his article “Why the Past Matters,” asserts that the remembrance of the past “keeps us in place.” Our individual memories and experiences shape how we act in our daily lives. In addition to influencing us at an individual level, our collective history binds us together as a society. Without knowing where we have been or what we have experienced, it is nearly impossible to judge progress or know which courses of action to pursue. The goal of the historian is to analyze and explain past events, of which they rarely have firsthand memory of, and apply the gained knowledge to make connections with current and future events.
“Your imagination is your preview of life’s coming attractions”, said Albert Einstein to express how imagination can foreshadow an uncertain and ever-changing future. Imagination is a unique ability that only humans possess; it can affect an individual’s thoughts, feelings, and decisions and is a technique used by individuals towards innovation, creativity, and development. On the other hand, imagination can also influence decision making and even determine the fate of an individual’s life, which is shown in the short story On the Rainy River, by Tim O’Brien. Tim imagines himself in both situations: one of which is when he leaves to go to war and one in which Tim considers not going to war and moving to Canada. These thoughts of an uncertain
The addition of fear is sometimes too much for people to handle. As if they didn’t have enough already” (Baker 1).
Throughout A Monster Calls by Patrick Ness, Conor, the protagonist worries about many issues. He suffers through all the emotions he has to combat about his mother's battle with cancer. However, the greatest emotion Conor has conflict is with fear itself. He is so fearful of countless issues he has to struggle with such as the fact he might have to possibly live with his grandmother for the rest of his life, or if he might not stay with his father the way Conor would like to. Primarily what Conor suffers through the most is the fear of his own mother's health. Conor cannot handle the fact that his mother is not getting any better and her health is slowly failing. Conor has an incredible amount of conflict with his fear, he tries to hide it, pretend it is not there, but soon his fear will grow until his fear finally get hold of him. In similarity, it is like procrastinating on an assignment in some sort, when there is no time left the assignment must be done. When there is no time left Conor has to acknowledge and face the fear. Patrick Ness tries to say that, through the way Conor deals with all his fears, Ness says it is better to overcome his fears than hide them. Also, not acknowledging his fears will lead to painful internal conflict, and acknowledging fears is difficult, but facing them is for the better of Conor.
In her novel The Daughter of Time Josephine Tey looks at how history can be misconstrued through the more convenient reinterpretation of the person in power, and as such, can become part of our common understanding, not being true knowledge at all, but simply hearsay. In The Daughter of Time Josephine claims that 40 million school books can’t be wrong but then goes on to argue that the traditional view of Richard III as a power obsessed, blood thirsty monster is fiction made credible by Thomas More and given authenticity by William Shakespeare. Inspector Alan Grant looks into the murder of the princes in the tower out of boredom. Tey uses Grant to critique the way history is delivered to the public and the ability of historians to shape facts to present the argument they believe.
Humans crave horror to simply “dare the nightmare” (King, “Why We Crave” 1). Everyone has something that they are afraid of; even though we don’t like to admit it. The ideal life is to be fearless
Robert Morgan claims that history is not just made up of a few heros and villians.“It is natural and perhaps necessary for historians and story-tellers to view the dramatic shifts of history through
Since the beginning of early history, scholars have mourned young people’s absence of historical knowledge and advised that foolishness of the past denounces humanity into repeating the mistakes of the past. In today’s society, in the United States this dreadful outlook sparks a controversial debate about what major events, people and nations are necessary for teaching history students. Sam Wineburg argues that we are asking the wrong questions. Wineburg’s book proves his point by destroying the traditional
Fear is the emotional state that someone goes into when they feel threatened or endangered. The fact that we do not know everything makes us think that everything we do not know is feared. There are many stories that include the fear of the unknown. Each poem, story, and drama include some type of fear. In “The Yellow Wallpaper”, “Hills Like White Elephants”, and “Poof” there is an extensive amount of fear for the unknown. Charlotte Perkins Gilman, Ernest Hemingway, and Lynn Nottage all used the fear to their advantage while writing and making an entertainment for the readers.
This paper is focused on how fear as a subject is being perceived by many as a dominant and primitive human emotion. An uncontrollable energy that’s exists and created within every individual, which is directed towards an object or a given situation that does not present an actual danger. The individual then analyzes that the fear is contradictory and thus cannot help the reaction. Gradually, the phobia aims to build up and aggravate as the fear of fear response takes hold. Eventually they distinguish their fear responses as negative, and go out of their way to avoid those reactions. ‘Fear is derived as a basic feeling and therefore created by us – it is not something we have, but something we do. The principle of fear is to keep us safe.’
Since his arrival in the mid-seventies, Martin Amis has been the enfant terrible of the British lit scene. Many critics consider him to be a masterful writer enginned by a banal, unoriginal mind, while others think he is simply one step ahead. The same critics would probably argue that style and technique supersedes feeling, sensibility and morality in Time's Arrow. Indeed, there are occasions when Amis' cleverness does undercut the moralism he is trying to convey, but that is not due to faulty morals, but to the extraordinary flair that he possesses. Even if you don't want to hear what Amis has to say about the holocaust, read this book - if nothing else, going through time backwards might just teach you the good parts of life that people tend to miss going forwards.
Waterland uses history, theory, and fictional biography to address the question of history. The blurring of boundaries between history, story, and theory questions the construction of those boundaries as well as the closure and linear nature of traditional narrative. If Waterland has a beginning, it is far in the geologic past, at a time when the continents began their slow journey to the positions they now occupy; however, the novel itself does not begin at this beginning. Waterland moves forward and backward through geologic, historic, and biographic time. By denying the linearity and absolute authority of historical narrative, Swift leaves room for rupture and revision, for stories and nostalgia. The historical and biographical accounts provide a context for the philosophy and theory that the narrator interjects throughout the novel; the philosophy and theory facilitate the leaps in time between geologic, historic, and biographic past. Swift's mingling of (what appears to be) a "real" geologic history of the fens and the fictional accounts of the Crick and Atkinson families blurs the boundaries between reality and fiction, turning history into fiction and placing fiction within a "real" historical account. (footnote 1) Waterland, as a novel, makes the same proposal that Tom Crick makes to his class: to discover and reveal the purpose of history by telling a story.
Gulli, C. (2009, 10 19). Fear Factor. Maclean's, 122(40), p. 100. Retrieved April 30, 2014