Author’s Craft Essay
The phrase “author’s craft” means the tools and techniques an author uses to build a story. It’s like being a carpenter. You need tools like hammers and nails in and you need to know how to use the hammer and what the nails are for in order to build something. John Boyne uses many tools and techniques in the book The Boy in the Striped Pajamas. The first is that he calls his story a “fable.” The second is that he uses capitalization stylistically. The third is that he uses repetition. John Boyne calls his story “fable.” What is a fable, you may be asking yourself. Well, a fable is a type of story that teaches a lesson or a moral. John Boyne teaches a lot of lessons in The Boy in the Striped Pajamas. “He fell a little but didn’t land as hard this
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I thought that at any moment you were going to suffer a mischief.’
‘And I did,’ said Bruno.
‘You certainly did.’ Pavel carried him across the lawn and back towards the house, taking him into the kitchen and settling him on one of the wooden chairs” (John Boyne 79). This is one of my favorite scenes in this book because it shows that everyone can be nice no matter what situation they are in. I think that Boyne would want to write a fable about the Holocaust because he wanted to write a story through the eyes of someone who was alive during that time. John Boyne uses capitalization stylistically. Boyne’s use of stylistic capitalization shows Bruno’s personality. “There were even whole rooms - such as Father’s office, which was Out Of Bounds At All Times And No Exceptions - that he had barely inside” (John Boyne 12). Boyne would use capitalization in this way so that people understand Bruno better than anyone else in the book. John Boyne uses repetition in his writing. Boyne often repeats words and phrases throughout The Boy in the Striped Pajamas. “‘Well, I asked Father and he said we would be here for the foreseeable
Most of the time repetition is used to add emphasis, however, the kind of repetition seen in One Fish, Two Fish is mostly for drama or entertainment. Dr. Seuss writes, "One fish / Two fish / Red fish / Blue fish. / Black fish / Blue fish / Old fish / New fish" (Seuss). As you can see, fish is the repetitive word here and it appears on the end of every line. This is known as epistrophe. (Jobe and Stevens). Isocolon is another form of repetition found in this book. Isocolon can be described as, "repetition of the same grammatical structure in two or more phrases or clauses" (Jobe and Stevens). A prime example of isocolon as seen in One Fish, Two Fish is, "This one has a little star / This one has a little car" (Seuss). Almost the whole line is repeated except for the last word which makes these two lines
In the story, Bruiser, Neal Shusterman uses many different types of author’s craft. The few I’ve noticed are, how the author uses point of view, personification, similes, and symbolism. These types of craft help put the story together and move the story along. In the story everyone needs to realize to not judge someone by their appearance before you really know who they are. In “Bruiser,” by Neal Shusterman, the story is about two teenagers Bronte and Brewster. Bronte doesn’t see Brewster, but he sees her. But one day, that all changes. They meet and soon fall in love. Although, Bronte’s brother Tennyson wants nothing to do with Brewster, he is known for a bad kid. Scruffy hair, too small of clothes, and his egregious looks. Although, when Bronte sees him, she notices something different and unique about Brew which makes her want to keep seeing him. But the truth is, Brewster was
In traditional writing styles, the main element to give the story meaning is the narrative itself. However, with more modern and distinct styles such as the short stories written where the narrative is no longer the primary stylistic device, but the use of metaphors and distinctive different narrators applies meaning to the stories. Though it is easy to judge what is different from tradition as inferior, this change is no different than the rise of cubism in the art world. Even though initially many would comment on the art not being “real,” or in this case, the stories being poorly written, this style has even more of an effect. After
Boyne, John. The Boy in the Striped Pajamas. Great Britain: David Fickling Books, 2006. Print.
In The Boy in the Striped Pajamas by John Boyne, a young naive boy, Bruno, tells from his perspective how the occurrences in the Holocaust took place. In 1943, the beginning of the story, Bruno’s father, a commandant in Hitler’s army, is promoted and moves to Oswiecim with his family. Oswiecim is home to the hideous Auschwitz Concentration Camp. While Bruno is out playing near a fence at the edge of Auschwitz Concentration Camp, against his father’s orders, he becomes friends with a young Jewis...
In "The Curious Incident of the Dog in the Night-time," Mark Haddon gives his narrative as the protagonist, Christopher Boone. Christopher's style can best be described as simplistic, but complex in meaning. The author did not use big complex words in the novel. By him using the simple words which are easier for the reader to understand, the book was just overall more powerful that way. The effect of his style gives the reader a more in-depth perspective of Christopher's formulaic logic that he applies to his everyday life that impacts his decisions throughout the book. This forces you to empathize with an eccentric character that you may not normally be able to connect with. He achieves his purpose through syntax and diction, the way he organizes
This book uses a lot of repetition in which at times I can’t understand or depict on what it’s trying to say. For example: “fool, Montag, fool, fool, oh God you silly fool…..” here it uses fool as the repetitive, but this sentence I can understand it clearly. Another is, “the old man would go on with this talking and this talking, drop by drop, stone by stone, flake by flake.” (Pages 98-99). This sentence I can’t understand what it is saying or why Bradbury chose these repetitive words.
Thus, through the various distortions posed throughout The Boy in the Striped Pyjamas, John Boyne reveals many aspects of truth. Such distortions allow the author to evoke the audience’s emotion, portray the Holocaust to younger readers and communicate humans’ capacity for brutality and apathy. This is achieved by Boyne through the exaggeration of the innocence of Bruno, the misrepresented content of the novel as well as the distinctive voice of youth. Narrative, in The Boy in the Striped Pyjamas by John Boyne, is therefore presented as a device that distorts aspects of truth in order to reveal. However, in the end, it is the choice of the reader as to whether they will consider the narrative to be a ‘fable’ which reveals a message or an actual source of knowledge and truth.
During the mid-1800’s, the Southwest was a land full of adventure and legends. Cowboys led cattle drives to towns like Dodge City, and brazen gunmen such as Wyatt Earp, Doc Holliday and the Clantons walked the streets in Tombstone, Arizona. But no one ranked as one of the most notorious figures of the Western frontier as did William H. Bonney, alias Billy the Kid. Depending on whom you spoke with, the identity of Billy the Kid was sometimes questioned. Billy the Kid was born as William Henry McCarty on November 23, 1859. But during his short lifetime of twenty-one years, he would be known as William H. Bonney, William Henry McCarty and historically as Billy the Kid. There has been much controversy, speculation,
Little Albert was a subject of John Watson, in the study of conditioned responses. In class we received three articles to read and analyze. The first article is the study of Little Albert. While, the other two articles are possible ideas of what happened to Albert after he was conditioned to fear white objects.
First, Boyne’s novel fits Realistic Fiction because Auschwitz’s security was very flimsy. For example, Shmuel fled to the fence to talk with his friend for hours a day! He would have never escape the horrendous roll call taken several times a day! Also, there were towers in Auschwitz with gunmen ready to shoot anybody who strayed off. Also, it says that Bruno slipped under the fence to get to the other side. The fences were dug into the ground multipe feet down. They were electrically charged and considted of barb-wire. Also, if Bruno could get under, prisoners could escape! Secondly, the two main characters, Bruno and Shmuel were completely oblivious to their surroundings. Bruno was the son of a Nazi Commander and he did not know what a Jew was! Here we have the son of a very high in command officer in Hitler’s army and he does not know what his Father absolutely dispises! He also can not pronounce Auschwitz and the Fuhrer. He says “Out-With” and the “Fury.” Also, Shmuel spoke German, and could not pick up on what the Nazis were saying. He did not understand that when people left for work and “disappeared,” they were killed. Finally and most importantly, Shmuel, the main character, would never be alive in the first place! When trains full of
John Boyne's book "The Boy in the Striped Pyjamas" invites the readers to embark on an imaginative journey at two levels. At the first level, Boyne himself embarks upon an imaginative journey that explores a possible scenario in relation to Auschwitz. Bruno is a 9 year old boy growing up in a loving, but typically authoritarian German family in the 1930?s. His father is a senior military officer who is appointed Commandant of Auschwitz ? a promotion that requires upheaval from their comfortable home in Berlin to an austere home in the Polish countryside. The story explores Bruno?s difficulty in accepting and adapting to this change - especially the loss of his friends and grandparents.
One of the many literary devices used in this short story is the use of repetition. The author starts the story off by describing
Instead of “Auschwitz”, Bruno called it “Out-With”. After Boyne had added this term into his book, I felt as though he took Bruno’s naïvete way too far. John Boyne’s book, The Boy in the Striped Pajamas, shouldn’t be used as a teaching tool for the Holocaust. It is far too inappropriate and disgraceful for such a grave topic. The Holocaust was full of atrocities.
In life, no action is absent of a reaction. Every effect is linked to a cause, whether seen or unseen and play is no exception. As adults, play is not a foreign concept to us, we just chose not to engage in it and have diminutive space for it reserved in our day-to-day schedules. However, it is essential in the lives of young children. In the moment, the benefits to play are invisible, yet they are there working. Play, like a Newton’s cradle, remains stationary while not in use and the energy remains in a potential state waiting to be activated. Now, imagine the Newton’s cradle as you are pulling back the first ball. The first ball is play in a child’s life, and the other balls are potential benefits.