...story “Happy Endings”, Margaret Atwood uses different literary techniques that can alter the interpretation of the story’s theme. The story starts off with a generic “fairy tale” ending in which a husband and a wife live a happy life together and eventually die. However, as the story progresses, Atwood’s style and tone of the alternate scenarios of John and Mary give off a sense of uncertainty of what main ideas she is trying to convey. Atwood displays her feelings about not only the art of creative writing, but also the equally artistic act of living one's life to the fullest. The unique manner the story is structure, a mixed-up summary of events, begins by saying, "If you want a happy ending, try A," Atwood seemingly gives the reader a choice. It is implied that Story A is the “happy ending and ahead await endings that are much more sinister. Following the first version of the “ending” are various endings, all of which seem to be quite depressing, but nevertheless end with "everything continues as in A." What is the meaning? There are five different adaptations of the “end”; however, all of the characters eventually end up at Story A. This shows Atwood’s cynical attitude about the insignificance of life and is evident in the third story when she explains that the reason John purchased a handgun is "the thin part of the plot and can be explained later" (396). Atwood does not place impact on the events leading to death but instead concentrates on the "happy ending" itself;...
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...“Not So Happy Endings” In the unusually written short story, “Happy Endings” by Margaret Atwood, Atwood gives the reader six very different possible storylines using many stereotypes and a good deal of cliché to propel a few main themes of the story. Atwood’s story is not only unusually written, it is also funny, thought provoking, and interesting despite the lack of detail and odd structure. After she has presented the six different storylines Atwood suddenly moves to the ending, which ironically, does not provoke any happy feelings as the title would indicate. The following literary analysis presented will discuss Atwood’s use of short scenarios, point of view, lack of detail, flat characters, and a flat tone which all together help to get one of her themes across. In “Happy Endings” Atwood uses theme to illustrate to the reader that everyone’s beginning and ending are the predictable skeleton of a story; the how and why you go through life to create your journey to the end are the important parts of life. Atwood’s six storylines, A through F, range from the stereotypical life in version A to the completely eccentric version F. In the first line of the story Atwood introduces John and Mary by simply stating that they meet (395). Atwood goes on to bring the reader into the story by asking the reader “What happens next?” (395), and then goes on to Version A. Version A is the “happy ending,” with John and Mary who live a flawless life. John and Mary are happy, healthy...
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...“[T]he endings are all the same however you slice it … The only authentic ending is the one provided here: John and Mary die. John and Mary die. John and Mary die. So much for endings. Beginnings are always more fun. True connoisseurs … favor the stretch in between, since it is the hardest to do anything with” (291). The speaker here forces the reader to not think about how interesting a beginning can be, and instead how the ending will happen regardless. Whether there is any love at all, or mutual love and tradition, at the end of their life people die. The only authentic ending is to realize this, and also to realize that beginnings are fun, because there are more possibilities than can be imagined. If one truly wants to analyze life, one must look at the choices made in someone’s life, and appreciate them as a connoisseur. Yet, as all endings are the same, each choice only brings one closer to the end, no matter how different the situations or choices made are. Very little can be done with what is in between a beginning and end of a life. At the beginning, one can imagine all the possibilities. However, as one continues towards death, there are less and less possibilities of how to get to the ultimate inevitability of death. Atwood’s conclusion of life “seem[s] to support the idea that an ending...
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...Dudley Randall, in The Ballad of Birmingham, contrasts the security of maternal love with a harsh event resulting from maternal concern, the death of a child, to bring into question if those concerns truly matter and if any place is sacred. In “The Lottery”, Shirley Jackson tells the story of a community that takes part in a ritual killing, but in dialogue addresses the resistance to the idea that tradition could be not worthwhile and abandoned. The fact that death will come no matter what one’s path in life is is forced into the consciousness of the reader in Margaret Atwood’s “Happy...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...Copyright © 2013 by McGraw-Hill Education. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. ISBN: 978-0-07-180360-1 MHID: 0-07-180360-2 The material in this eBook also appears in the print version of this title: ISBN: 978-0-07-180359-5, MHID: 0-07180359-9. E-book conversion by Codemantra Version 1.0 All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill Education eBooks are available at special quantity discounts to use as premiums and sales promotions or for use in corporate training programs. To contact a representative please visit the Contact Us page at www.mhprofessional.com. Trademarks: McGraw-Hill Education, the McGraw-Hill Education logo, 5 Steps to a 5 and related trade dress are trademarks or registered trademarks of McGraw-Hill Education and/or its affiliates in the United States and other countries and may not be used without written permission. All other trademarks are the property...
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...A Passage to India E. M. Forster Online Information For the online version of BookRags' A Passage to India Premium Study Guide, including complete copyright information, please visit: http://www.bookrags.com/studyguide−passageindia/ Copyright Information ©2000−2007 BookRags, Inc. ALL RIGHTS RESERVED. The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare &Contrast, What Do I Read Next?, For Further Study, and Sources. ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". © 1994−2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". © 1994−2005, by Walton Beacham. All other...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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