Reader

What makes a good story? Most people would say, a good story is one that entertains, inspires, and connects the reader to the plot. In order for these things to be achieved an author needs to engage their reader. How? Suspense. Many authors use suspense in their stories in order to keep readers engaged and on the edge of their seat while incorporating their message. Different styles of suspense reveal different aspects of the story including characterization, theme, and plot development. In the

Mat Johnsons novel, Pym challenges readers not only to view his work with a new set of eyes but also the work of all American literature with the understanding that the idea of Whiteness still has a very strong power over literature today. It is unfortunate that in today’s society, the pathology of Whiteness still holds a very strong presence in literary world. Literature from American authors versus literature from African American authors still continues to be segregated and handled with two different

It moves the reader past merely “what” another thinks about a particular topic, and into higher forms of learning that develop “why” one thinks the way they do. Insight Gained from Reading First, as previously stated, this reviewer’s deficient venture into books of this

He tells a story about a fish, appropriately named a bananafish, that eat bananas and dies, after this the little girl says she sees a bananafish, causing him to have temporary insanity and go back to his hotel room where he kills himself. The reader wonders the reasons why Seymour kills himself, and what the bananafish story really means. The story about the bananafish is the mood of the story, for the pressures of society. On page 7 it says ”’They are very ordinary-looking fish when

war. However, Brian Turner’s poem, “The Hurt Locker,” acts as a first-hand account of the true horrors and pains experienced by the American soldiers. Through Turner’s use of poetic form and structure, diction, and figurative language he enables the reader to understand the trauma and suffering these soldiers were forced to endure throughout the war. The poetic form and structure of Turner’s poem reinforce the concept of the horrific trauma these soldiers were experiencing. For example, Turner use

writers use affect what the readers may think. Looking at the structure of the dialogue of the two stories: “House on Mango Street” by Sandra Cisneros, and “Hills Like White Elephants” by Ernest Hemingway, one can see that there are many characters displaying conflicting and indecisive conversations throughout the text representing ambiguity in the stories. The possible meanings of what the characters are trying to say is complicated in both their language and actions. The reader could suggest a variety

the point of view to create confusion for the readers. The changing point of views creates confusion for the readers, trying to reflect Earl’s confusion that he experiences. The story is told by two different narrators. A first-person narrator writes to a "you," who is gradually revealed to be Earl. A third-person narrator reports on Earl's actions from outside the story-world; it’s narrative is more nonlinear. The shifts in narration confuses readers because the narration is not specific and you’re

escape it. The poverty of the slum environment proves stifling for Dicky – a contemporary critic wrote that “the novel, as a story of the career of a child of the slums, does not give enough space to the principal character” (Cubitt 170), forcing the reader to look more closely at the space of the Jago as one of poverty, and only realise the degradation and loss of innocence in the protagonist when it is too late. Furthermore, Morrison’s physical description of the child is limited to discussion of his

was a radiant morning with a sea breeze...” (Marquez 4) while others would disagree and describe the weather as “… funeral, with a cloudy, low sky and the thick smell of still waters,” (Marquez 4). This significant change in detail alters how the reader interprets the information being presented to them. Thus, changing the reader’s perception of how the story is being told. Chronicle of a Death Foretold is told as a non-linear narrative, which makes fabula more difficult to comprehend. Fabula may

from as an outsider of his interaction with Alice, Dana never seems to realize how Kevin doesn’t seem to treat her as an equal; her participation makes her ignorant. In this case, only the reader is able to actually see the inequality. This led me to analyze how the meaning of “home” changes for Dana and the reader as the novel progresses—after repeated exposure to the Weylin plantation, Dana comes to regard it feeling almost like home. Finally, the fact that the novel is presented with framed narratives