...Chapter 18: The GoST! ! SUMMARY/ANALYSIS:! ! Back to 1969, 6 policemen walking towards it: dramatic effect with this long build up.! Violence in their heart. Hunting of an animal. Long detailed description of the small things with many pauses (line breaks), a feeling of something coming, suspense.! The policemen carry batons but are thinking of machine guns.! When they arrive they have the feeling of being responsible for “Touchable futur”.! They wake Velutha with their heavy boots by kicking him.! The children wake up by: ”to the shout of sleep surprised by shattered kneecaps”. They don’t know that Velutha was there. There are paralysed by fear and disbelief.! The police beat V= extreme violence, skull cracking, broken ribs puncturing his lungs, damaged spine, broken teeth, ruptured intestine…! The twins are too young to understand. The policemen are “history’s henchmen” acting out the inevitable.! Estha and Rahel learn that blood smells "sicksweet. Like roses on a breeze”! Rahel tells Estha that she can tell that it isn't Velutha – she says it's Urumban, his "twin" who was at the march. Estha says nothing because he is "unwilling to seek refuge in fiction”. Rahel retreats into fantasy and ignorance.! The six policemen take all of Estha and Rahel's toys for their kids. The only thing they leave behind is Rahel's watch, which has the fake time painted on it. they wonder if Velutha really kidnapped them.! Climatic tragedy, violence unlike Sophie Mol’s death...
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... The two talk for quite some time; inquiring about each other’s families, and saying how much has changed since they have returned to Nigeria. Nwoye informs Ikenna that he is often visited by the “ghost” of his deceased wife, and the narrative ends with Nwoye, “listen[ing] for the sound of doors opening and closing” (73). Through the employment of narratological devices such as free indirect discourse, direct discourse, and the first-person focalization, the narrative serves to highlight the major themes of impotence, sterility, and sociopolitical gaps that arose in the aftermath of the war. Through free indirect discourse, we are given insight into the impotence and sterility afflicting the poverty-stricken country. Clustered under a flame tree are men talking amongst themselves, calling down curses upon the education minister and vice chancellor whom they believe embezzled school funds. “His penis will quench,” they say, “His children will not have children” (58). These sentiments are adapted through Nwoye as the narrator, while maintaining the grammatical third person. Through this free indirect style, we are given insight into the frustrations of the Biafran war victims. Their curses reflect their own feelings of helplessness and impotence in a country where violence and bribery has stripped residents of their agency....
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