Narrator

fiction, “Confetti Girl,” and Jennifer Cervantes’s, “Tortilla Sun,” both the narrators have different perspectives from their parents. In the stories,”Confetti Girl,” and ,”Tortilla Sun,” the fact that the narrators have different perspectives from their parents adds tension to the conflicts by having characters disagree on a certain topic. In, “Confetti Girl,” by Diana Lopez, the author sets a scene where the narrator, a girl in school, indirectly disagrees with her father about her english homework

informally-speaking narrator depicts a cookie-cutter utopia with perpetually happy citizens that sing and dance in the music-filled streets during the Festival of Summer. However, under one of the beautiful public buildings lays a child, no older than ten years-old, who lays in its own excrement. Although the citizens know the emancipated child is there, they refuse to act upon the child’s suffering, for their happiness depends entirely on the child’s abominable misery. Through ethos, the narrator illustrates

and know about a story through the narrator, but can we totally trust him or her? The point of view of a story is how the story is delivered to the readers. It can be first-person perspective or third person. In a short story My Lucy Friend Who Smells Like Corn written by Sandra Cisneros, an estimately ten years-old girl, is telling the story of her friendship with Lucy, a daring girl equal to the narrator’s age, who’s very close to the narrator and whom the narrator admires and wants to experiences

this description of Miss Emily’s relationship with the town possesses a kind of foreshadowing not always present in stories narrated as the action unfolds. Each word takes on added meaning given that the narrator already know about Homer Barron and the room upstairs. Thinking back, the narrator recalls, “Now and

summer can be thought of as new opportunities yet, Bartleby, although still young, is motionless. The narrator continues to describe him as “pallidly, neat, pitiably, respectable, incurably forlorn!”All terms that juxtapose this young man and his new opportunities in life. He's a character that evokes pity in the narrator, but also respect. “But there was something about

The course a story takes is influenced by everything the narrator experiences. However, this also limits us to a viewpoint of the narrator and the narrator only. In the third person narrative, though it lacks the “fun” aspect, it makes up with the fact that it can expose multiple ways of interpreting a situation. In this case, it is able to show detailed

conjoined incompatible emotions can be understood by readers as indicative of madness or schizophrenia because of his “answering people” when “they were alone”. Likewise, it is abnormal in common social interactions also further suggested by dominant narrators. Zunshine’s claim that “any additional information […] would alert us to new shades in its meaning” explores reader bias as not “wrong” (Zunshine 851). Rather, it explores how readers’ pre-existing ideas and beliefs can help with meaning-making that

“Lust” by Susan Minot, I definitely became more open-minded. I began to analyze each story individually and noticed that they are all told from different points of view, but in each story a female was the narrator. “Lust”, “Boy”, and “Girl”, while all three stories are told by a female narrator; each narrator’s voice concerns different stages of life. In Rick Moody’s short story “Boy” his styles of writing was very repetitive, putting emphasis on the word “boy” and the phrase “enter the house” (238)

A simple fact of literature is that a story simply cannot be told without the presence of a nar-rator. This textual voice literally narrates the story and therefore wields the power to influ-ence it in many ways. Sometimes, it is not what the narrator reveals that is important, but what is left out. Writers can use the different aspects of narration to make their point more efficiently and it is therefore an obvious focus point when it comes to interpreting a text. Henry James’ The Turn of the Screw

Point of view is a concept about the position of the narrator in relation to a story. There are four different types of point of view to describe the narrator’s perspective. The four types of point of view are first person, objective, third person limited, and omniscient. Stories are classified into these different categories by the author’s affiliation with the characters within the novel. Point of view is determining how the story is told, not how it is written. The Most Dangerous Game, written