I view the “The Electric Ant” about a story about a confidence and successful man driven to commit suicide. We do not know that much about Garson Poole’s past excerpt that he was the successful owner of Tri-Plan Electronics with employees who respected him. With great success, come great confidence in oneself so when Poole found out he is an electric ant, he begins to lose his confidence as he considers a freak and a mechanical slave. Poole realizes that he is simply a figurehead for the real owners of Tri-Plan Electronic, Marvis Bey and Ernan Bey. Poole messes with his reality and collapses as his tape get jammed. After Poole is fixed, he cuts his tape and commit suicide in the end of the story to escape his reality. In “Neuromancer”, Case’s
confidence seem to come either his drugs or being the matrix. Case possessed great confidence before the events of the story as he was one of the best console cowboy and confidence enough to steal from his employer. After his employers capture Case stealing, they remove his ability to go back into the matrix. Case ends up as drug addicted and he has to constant worry about being killed or someone stealing from him as he live on the street.
This third case study takes place within the organization called TechnoloComm. The main character in this story is named Jessica Martinez, she was hired by TechnoloComm to work in the human resources department. Specifically, she is working on internal newsletters and publicity for the organization. Peter and Alex, are two men who are a part of her team that works together on the newsletter, communication training, maintaining the company’s website and organization publicity. Their boss’ name is Tom, he is there to check in on their progress and make sure everything is running smoothly.
Thom Jones writes of war, boxing, sickness and sorrow with a blunt air of familiarity and a cyclone of words. His characters -- much like the author himself, who suffers from epilepsy and diabetes -- have been pummeled by the world, but they refuse to be knocked out. His three short story collection -- The Pugilist at Rest, a National Book Awards finalist; Cold Snap and now SONNY LISTON WAS A FRIEND OF MINE (Little, Brown, $23) -- showcases a supreme writer in the throes of a thinking man's agony.
In the story "Antaeus," by Borden Deal, the main character T.J has three capabilities that make him different from his friends. First of all, T.J. is a very intelligent boy. His new city companions did not maintain the wisdom T.J. has about the world and how to deal with people around. T. J. is also a receptive boy, a soft-spoken person who feels an attachment to the land. Finally, T.J. is a tenacious boy who sticks to his plans once he starts it and who would reject to the idea about destroying what he has created.
Woolf’s writing in “The Death of the Moth” is focused on the essence of vitality describing the moth as, “a tiny bead of pure life and decking it as lightly as possible with down feathers, had set it dancing and sig-zagging to show us the true nature of life,” whereas Thoreau’s writing in “The Battle of the Ants” focuses on the exhilaration of the conflict that slowly tappers off as the red ant “with feeble struggles, being without feelers and with only the remnant of a leg… after half an hour or more, he...” “…divest himself of…” the black
A narrative is constructed to elicit a particular response from its audience. In the form of a written story, authors use specific narrative strategies to position the ‘ideal reader’ to attain the intended understanding of the meanings in the text. Oliver Sacks’ short story The Man Who Mistook His Wife for a Hat is an unusual short story because it does not display conventional plot development; the story does not contain conflict or resolution of conflict. The genre of the story is also difficult to define because it reads as an autobiographical account of an experience Sacks had with a patient while working as a neurologist. Although it is arguable that the narrative is a work of non-fiction, it is nevertheless a representation, distinct from a reflection of the real events. It is a construction, Sacks chose the elements that were included and omitted in the narrative and used narrative strategies to position readers to process the signs in the text and produce reach the dominant understanding. This blurring of truth and fiction is similar to that in the genre of ‘new journalism’. Although, rather than being a journalist writing a fictional piece of journalism, Sacks is a doctor writing a fictional medical analysis. To influence readers’ comprehension of the narrative, Sacks utilised the point of view strategy of subjective narration, atypical in this short story in that a characterisation or representation of Oliver Sacks is the narrator and Oliver Sacks the person is the real author. The story is character-driven rather than plot-driven and regardless of how accurate a depiction of the real people the characters are, they are constructions. Sacks gave the characters of Doctor P. and his namesake admirable and sympathetic trait...
What literary elements make one short story superior to another? Steven Dunning believes that the superior story should combine a good narrative structure with a deep psychological reality. It is quite obvious that he values psychological reality over a well-written narrative. In this paper I will be summarizing Dunnings analysis of two short stories, "Appointment with Love" and "The Chaser" the article is called "Short Stories and Taste."
Sherwood Anderson often wrote of other people's misery in his short stories and used it in ironic ways when writing his endings. After reading several of his these stories and reading several biographies of his life, I have come to the conclusion that Anderson's life experiences greatly influence the method in which he wrote them. Also, when comparing some of his stories to his life, you will see that many of them can be closely compared to difficult times in which he went through while growing up and as a grown man.
...into works of literary art. In particular, structural and textural ironies, in conjunction with other literary elements, can add dimension to short stories to help enhance their literary merit. The dynamics of these short stories are then studied for years and years in the scholarly world. Through the use of the previous four short stories the impact and influence derived from textual and structural ironies are exemplified in great detail. Zora Neale Hurston, William Sydney Porter, Guy de Maupassant, and Nathaniel Hawthorn heavily incorporate these two forms of irony into their stories in order to achieve a greater literary merit. While doing so structural and textural ironies have managed to also intrigue their audiences to read further, present a moral warning to their readers, and finally provoke discussion through adding depth and purpose to their contents.
Neuromancer is best read with an online summary to keep track of all the characters and jumbled plot. In addition to every character having at least one extra name. For example, Pauley is referred to as Flatline, Flatline Dixie, Pauley, and McCoy. Gibson further confuses the reader with his overly fast paced action and use of futuristic slang. While these stylistic choices help to create immersion and convey the speed at which Case’s mind moves, it proved to be far too ambitious for Gibson’s first full length novel. On top of the confusing main plot, several subplots work to further confuse the
As a literal deathbed revelation, William Wilson begins the short story by informing the readers about the end of his own personal struggle by introducing and immediately acknowledging his guilt and inevitable death, directly foreshadowing the protagonist’s eventual downward spiral into vice. The exhortative and confession-like nature of the opening piece stems from the liberal use of the first person pronoun “I”, combined with legal and crime related jargon such as, “ crime”, “guilt”, and “victim” found on page 1. Poe infuses this meticulous word choice into the concretization of abstract ideas where the protagonist’s “virtue dropped bodily as a mantle” (Poe 1), leading him to cloak his “nakedness in triple guilt” (Poe 1). In these two examples, not only are virtue and guilt transformed into physical clothing that can be worn by the narrator, but the reader is also introduced to the protagonist’s propensity to externalize the internal, hinting at the inevitable conclusion and revelation that the second William Wilson is not truly a physical being, but the manifestation of something
Edgar Allen Poe shows what really happens when someone experiences anxiety and terror that drives his or her mentally ill when given the obstacles inside his mind. The obstacles described inside Tell-Tale Heart bring the narrator to an ironic end. These hindrances slowly build up to a chilling end for the narrator. This end is drawn out with the beating of a heart that doesn’t go away and reminds the narrator that the old man is still haunting him. The narrator has an idea in his head that he is not crazy and in fact is too calm to be mad and has an ironic story behind it.
Neuromancer, written by William Gibson, opens with the reference to a blank television screen. This symbol of an altered, incomplete world is made reference to throughout the novel. This altered world leads to a dystopia with technologically altered human beings sleeping in coffins, and dependent on drugs. Because of this harsh life, the people are left in a harsh world where they must learn to form friendships with others who can get them the supplies that they need. Though many things evolve throughout the novel to better the lives of the characters, the novel ends with the same reference to the blank television screen. It returns to the surreal, unidentifiable existence of what life is for these people.
Death of a salesman. : McGraw-Hill, 2007. Print. The. "
Michael Henchard’s constant exercise of jealousy, pride, immature actions and overwhelming emotions bring him to his tragic end. Although Henchard might have you think he is a victim, the reader can see that his personality leads to the conclusion of his downfall and that Henchard’s inability to learn from his first mistakes takes him down a path no one wants to face. He might have been able to survive his mistakes had he not been so self-destructive. But because of the combination of his personality traits and the complexity of his character’s mind, he is eventually led to the nothingness that engulfs him.
With phrases as: “I shall have, for a special reason to deal with this dream again elsewhere, and interpret it and consider its significance in great detail” or “I shall discuss in another occasion the explanation of these animal phobias“.(p.262) It is not overstating to consider Freud a superior narrator. There are many lines throughout the story that almost encourage the reader to second guess the case conclusions which is why the successive arguments became possible. In this way the reader can understand the position of the analyst as well as the patient, as if he is directly involved. The story could sometimes be understood differently because of that. Peter Brooks suggests that Freud was completely aware of the analogies between the way he reaches to his psychoanalytic theories and detective work. In “Fictions of the Wolf Man: Freud and narrative understanding” Brooks uses Freud’s narration of this specific case to explain that there could always be recapturing of meaning. He suggests that by being written as a detective narrative could sometimes cause the case to be suggestive and misleading. Brooks divides the text in four levels of narration, one being the history of the neurosis, then the etiology, the third is the history of