How To Read Literature Like A Professor By Thomas C. Foster

Chapter 1: Every Trip Is a Quest (Except When It’s Not)
Thomas C. Foster’s novel How to Read Literature Like a Professor, helps the reader understand the beginnings of a quest by breaking down the task into five steps. A quest will always consist of 1) a quester, 2) a place to go, 3) a stated reason to go there, 4) challenges and trials en route, and 5) a real reason to go there. A quester, the protagonist, typically is not aware that they are partaking in a quest. Step two and three are thought of together usually because the protagonist is told to go somewhere to do something. However, the stated reason to go to their destination is not the real reason they go there. As Foster explains, “In fact, more often than not, the quester fails at

Aspects of fairy tales are woven into many novels as a way to bring a sense of familiarity to the reader. Foster writes, “...we want strangeness in our stories, but we want familiarity, too. We want a new novel to be not quite like anything we’ve read before. At the same time, we look for it to be sufficiently like other things we’ve read so that we can use those to make sense of it,” (Foster 36). Fairy tales will be the same year from now and therefore hold the same familiarity to the reader. Evil stepparents, a magical fairy godmother, and the ultimate rescue to the castle are all component to the perfect fairy tale that is seen in many novels. J. K. Rowling’s infamous Harry Potter Series follows the journey made by the powerful, young wizard Harry Potter. While Harry Potter is not a fairy tale, it has many subtle attributes woven in throughout the novels. The first book in the series, Harry Potter and the Sorcerer's Stone, while not a fairytale, has many attributes woven throughout the novel. Harry Potter and the Sorcerer’s Stone introduces the reader to Harry’s home life which compares to that of a fairy tale. Harry is mistreated by his step parents and wishes for his fairy godmother to save him, clearly showing the distinct evil and good characters like many fairy tales have. However, Harry’s fairy

Violence is regularly used in novels because, “It can be symbolic, thematic, biblical, Shakespearean, Romantic, allegorical, transcendent. ...Violence in literature, though, while it is literal, is usually also something else. That...punch in the nose may be a metaphor,” (Foster 49). There are two types of violence found in literature: intentional violence and authorial violence. The first type of violence is typical violence such as shootings, stabbings, drownings, and hit-and-run accidents to name a few. In this category, characters will inflict this type of behavior on themselves or on another character. The second type of violence, however, is meant solely to further the plot without another character’s intention. An example of this “narrative violence” is a death resulting from natural causes or a tragic accident that did not involve another character. Violence created by a specific injury that authors cause characters to visit on one another or on themselves. Both types of violence have similarities and differences. In both, the characters are killed off with the same goals of furthering plot or creating stressful situations for the characters. A difference between the intentional violence and narrative violence is that narrative violence does not involve a guilty party like intentional violence does. To Kill a