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John Koenig's Dictionary Of Obscure Sorrows

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In John Koenig’s Dictionary of Obscure Sorrows, the word “occhiolism” is defined to be “the awareness of the smallness of your perspective, by which you couldn’t possibly draw any meaningful conclusions at all, about the world or the past or the complexities of culture, because although your life is an epic and unrepeatable anecdote, it still only has a sample size of one, and may end up being the control for a much wilder experiment happening in the next room.” Koenig--a graphic designer, editor and voiceover artist from Minnesota whose work has been acclaimed by New York Magazine, The Washington Post, and The Huffington Post--wrote the Dictionary of Obscure Sorrows with a compendium of personally invented words in order to fill in the gaps …show more content…

He talks to Millie about his feelings, telling her that “for the first time I realized that a man was behind each one of the books. A man had to think them up. A man had to take a long time to put them down on paper. And I'd never even thought that thought before. It took some man a lifetime maybe to put some of his thoughts down, looking around at the world and life, and then I came along in two minutes and boom! it's all over (cite). Burn, burn, burn. This is all that Montag ever did. The symbolism of the firemen in the novel is one that contradicts the ones in modern society. The firemen in Fahrenheit 451 do not save lives from fires, but creates fire itself to destroy. This sole reason is why … Ironically, Captain Beatty, the captain of the firemen, is shown to have a large amount of knowledge of books, even paraphrasing the Constitution, saying, “We must all be alike. Not everyone born free and equal, as the Constitution says, but everyone made equal. Each man the image of every other; then all are happy, for there are no mountains to make them cower, to judge themselves against. So! A book is a loaded gun in the house next door. Burn it. Take the …show more content…

Despite the firemen’s efforts to force books into irrelevancy, the opposite effect happened; books became even more valuable, to the point of risking oneself’s life to not save the books, but to die with them. Bradbury’s use of books represent two contradictory significances: damnation and salvation. On Montag’s first mission in the novel, he confronts a woman that continues to confuse Montag even further than he already was about to truth of a roles of the firemen, and the value of books: “She was only standing, weaving from side to side, her eyes fixed upon a nothingness in the wall, as if they had struck her a terrible blow upon the head” (cite). It is heavily implied in the novel that Montag has never felt the emotion of passion. Witnessing a scene such as this, Montag is in disbelief at the thought of a person sacrificing their life for worthless and blasphemous things such as a books. This is essentially the turning point in Montag’s mentality, for it is also implied that the old woman’s death is the first that Montag ever witnessed in his ten years of being a fireman. For his entire life, Montag had been taught to be turned away from books, and that the possession of books leads to death. This sacrificial act towards books is Montag’s first exposure to the fiery passion of martyrdom, and it confuses him. During his conversation with Millie, he tells her that “[people] need to be really bothered once in

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