...Publication of The Free-Lance Pallbearers, five novels, four books of poetry, numerous reviews and critical articles, editor to five issues of major small multicultural press literary magazine, and collected two books of essays. To this day, Reed is considered to be a major literary leader of third world press, and continues to been a very affluent and busy writer. Throughout his wide-ranging works, it becomes apparent that Reed incorporates the impact of Afro Americans on the culture of the United States in the corpus of American letters. His tone and style are sometimes of satire and parody, but his intentions are deadly stern, as evidenced by his numerous essays advancing his major contribution—in the art of neo-hoodism. Recently, critics have inadequately labeled Reed’s fiction, and have deemed his collection of works as less interesting than his earlier, more notorious writings. To the naïve reader, these novels seem more straightforward in their plots and messages, and seem to have a much less tentative technique. However, the ostensive clarity is in fact part of a much more intricate and inventive style than that which can be characterized as “rhetorical” in the broadest and most enveloping sense. In Reed’s Reckless Eyeballing, the overall storyline has a such deeply developed foundation that the plot, theme, and character are built primarily on the way which the spectators will interpret and possibly misconstrue the novel. Reed stretches the definition of the...
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...A novel is a long prose narrative that describes fictional characters and events, usually in the form of a sequential story. The genre has historical roots in antiquity and the fields ofmedieval and early modern romance and in the tradition of the novella. The latter, an Italian word used to describe short stories, supplied the present generic English term in the 18th century. Further definition of the genre is historically difficult. The construction of the narrative, theplot, the relation to reality, the characterization, and the use of language are usually discussed to show a novel's artistic merits. Most of these requirements were introduced to literary prose in the 16th and 17th centuries, in order to give fiction a justification outside the field of factual history. ------------------------------------------------- Definition[edit] Gerard ter Borch, young man reading a book c.1680, the format is that of a French period novel. | Madame de Pompadourspending her afternoon with a book, 1756 – religious and scientific reading has a differenticonography. | The fictional narrative, the novel's distinct "literary" prose, specific media requirements (the use of paper and print), a characteristic subject matter that creates intimacy, and length can be seen as features that developed with the Western (and modern) market of fiction. The separation of the field of literary fiction from the field of historical narrative fueled the evolution of these features in the last 400 years...
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...describe anything from creative writing to more technical or scientific works, but the term is most commonly used to refer to works of the creative imagination, including works of poetry, drama, fiction, and nonfiction. Generally, most people have their own ideas of what literature is. When enrolling in a literary course at university, you expect that everything on the reading list will be “literature”. Similarly, you might expect everything by a known author to be literature, even though the quality of that author's work may vary from publication to publication. Perhaps you get an idea just from looking at the cover design on a book whether it is “literary” or “pulp”. Literature then, is a form of demarcation, however fuzzy, based on the premise that all texts are not created equal. Some have or are given more value than others. Most forays into the question of “what is literature” go into how literature works with the reader, rather than how the author set about writing it. It is the reception, rather than the writing, which is the object of enquiry. Largely, what we call “literature” is often a subjective value judgment, and naturally, value judgments, like literary tastes, will change. Etymologically, literature has to do with letters, the written as opposed to the spoken word, though not everything that is written down is literature. As a classification, it doesn't really have any firm boundary lines. The poet Shelley wanted to include some legislative statutes of...
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...One could be forgiven for believing that the words ‘fiction’ and ‘novel’ mean one and the same thing. The main reason for this confusion is that both of them have a common denominator; they both tell a story. In the novel, we have the theatre of life and for over two centuries it has been the most effective agent of the moral imagination. Though it has never really achieved perfection in form and its shortcomings are numerable, nevertheless one experiences from it not only the extent of human variety, but also the value of this variety. Fiction existed right from the first time man told a story and thus it is in this respect only, that it is similar to the forerunner of the novel as we know it today, which is any work of fiction in England written before 1670. Novelists express their conscious conclusions about life as they experience it and these manifest themselves not only in the characters they create and their interaction with each other, but also in the way they make them react or respond to the various situations in which they find themselves and in what they say within these situations. They are relatively free to choose their material, but their conclusions about life and the nature of their novels are dependent on their innate personality, as this affects not only the way in which they present their characters, but also our own understanding and response to their inherent values and behaviour. In this sense, novelists can be seen as mediators between their characters...
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...to amputation of his right leg, and he was forced to use crutches or a walking stick the remainder of his life (Clark and Holquist 261). After his surgery, Bakhtin was unable to find formal employment, though he was invited on occasions to deliver lectures at the Gorky Institute of World Literature. He also used his free time to finish a book on the German novel of education and to work on a number of essays on the dialogic nature of the novel, most of which were based on material culled from his lecture notes. In addition, he began writing a doctoral dissertation on Rabelais for the Gorky Institute. However, the advent of World War II interrupted his work on the dissertation, and his book on the German novel of education literally went up in smoke. The publishing house to which Bakhtin sent this latter manuscript was bombed by the Germans during the war, and due to a cigarette paper shortage at that time, Bakhtin used the pages of the book's prospectus to support his continual craving for nicotine (Clark and Holquist 273). Though only a fragment of this work has survived, Bakhtin's essays on the dialogic theory of the novel remained intact, yet were not published in the Soviet Union until 1973, well after Moscow graduate students had rescued him from obscurity. These essays were translated into English as The...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...Rebekka Westermeyer ENG Comp 1 McGough 3/12/2015 The Gothic Novel In the late eighteenth, early nineteenth century, gothic fiction arose as a new genre in the literary field. Functioning as cult literature gothic literature compels readers to think, and really consider the immense emotion writers could stimulate. Often overly dramatic with its supernatural, horrific, and suspenseful material, this melancholy form of literature prompted the use of darkness and mystery in order to spawn feelings of obscurity, secrecy, and trepidation. Gothic literature operates as a pulp genre that was often seen as an intense type of romance with its stylized, non-realistic, idealized or emblematic tales presented in the form of an adventure through the use of a discovery quest. Yet its evocative powers of horror and terror explore the gratification and titillations of shockingly perverse. Before being applied to the context of a literary form the term gothic originally referred to an ancient Germanic tribe that derived from what is now known as southern Sweden, before migrating to the shores of the Baltic Sea known as the Goths. This tribe eventually split into two factions that would be known as the Visigoths or West Goths and the Ostrogoths or East Goths. Centuries would pass before the term gothic would once again emerge this time with a different meaning. Sometime during the renaissance Greco-Roman culture was rediscovered by Europeans. In this rediscovery the term “gothic” now referred...
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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
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...Education Radical richness Artistry of form and language /described : Philosophical choice of word Truth in the telling Undeniably pleasurable Rapturous appreciation Epiphany in experience * Literature * an art whose medium is language used to affect the imagination. * words themselves can evoke a response even when they are spoken independently of a grammatical setting such as a sentence. * Fiction writers & poets share many of the techniques of literature because their effects depend or universal language art. * points up it’s relationship to other serial arts such as music, dance,& film ( Humanities) * Happens in time * In order to receive it, we must be aware of what is happening now,remember what happened before anticipate what is to come. * A Work of Literature * A construction of separable elements like a structure. * The details of the scene , character or event/group of symbols can be conceived of as the bricks in the wall of literary structure. * If we miss one detail of the story,it would be incomplete comprehension for the readers. * The most important reason why we study literature is not about “what” but “How”.(Literature statement should be beyond peripheral) * Theme * Main idea of literary work is usually a structural decision,comparable to an architectural decisions. * consistency of the chosen theme/ex:”Native”/Filipino * Literary Terms 1. Symbol 2. Simile 3.Metaphor...
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...The method of socialist realism did not develop uniformly in all literary types. Scholars generally agree that poetry in Albania suffered a greater influence from socialist realism rather than prose, unlike Kosovo, where prose was more exposed to changes from this art-leveler method. 3.1 Development of poetry One of the main reasons why socialist realism influenced more the Albanian poetry was related to the fact that this literary genre was considered a follower of partisan songs. Since they were the strongest expression of liberation cause, partisan songs embedded in the recipient, thus conveying psychological and propaganda effects. As Milazim Krasniqi explains "lyrics of partisan songs written by Andrea Varfi, Fatmir Gjata, Kole Jakova, Qamil Buxheli, Shefqet Musaraj, and even Mehmet Shehu and Shefqet Peci, began the process of changing the function of the aesthetic text and promoted that as an exclusively ideological function" (Krasniqi, 2005, p. 164). This feature propaganda function spread through poetry prevailed in a powerful way,...
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..."Mind Control: Orwell, Huxley, and Today's Reality - Zen Gardner." Zen Gardner. N.p., 03 Sept. 2014. Web. 30 Oct. 2015. Zen Gardner a literary journals on “How the World Work” wrote a literary comparison of 1984 by George Orwell and Brave New World by Aldous Huxley. Relating the dystopian novels by showing the comparison of mindcontrol from both novels. This reliable source talks about further on in the article about how today's society is Nothing like the fictional place of Oceania in the ways of how society works. But in the ways of mindcontrol use in orwell's novel is very critical and surveillance is very much like today's society. This sources is very reliable in the ways it is put with facts to back up opinions and the credentials of of the author with a degree from Stanford. This literary journal is a great source with the thesis question I picked for my project. It gives me a different view on mind control in 1984 and how mind control is in today's...
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...Prevailing Philosophies and Psychosocial Dimensions of Philippine Contemporary Novels in English Chapter I – Introduction Philippine contemporary novels or literature in general is an offshoot of the Philippine-American War or what is coined as the Philippine War of Independence which transpired from 1899 to 1902. As early as 1863, the Spanish colonizers have introduced the public elementary school system to the Philippines. During the American colonization, U.S. soldiers have started layering down the bricks as foundation of the public school system in the Philippines when they opened the first public school in the Philippines at Corregidor Island. On January 21, 1901, the Taft Commission headed by William Howard Taft, passed the Education Act No. 34 that incepted the Department of Public Instruction. William Howard Taft was also given the responsibility of expanding the public school system in and around the Philippines. On August 21, 1901; around 600 American educators or “Thomasites” were sent to the Philippines by the U.S Government aboard the USAT Thomas whose main purpose is to integrate a new and expanded public school system, to train and hone Filipino teachers with the use of English as the primary medium of instruction, and to inculcate basic education to Filipinos. The American educators taught an extensive curriculum which cover subjects on English, Grammar, Reading, Mathematics, Agriculture, Housekeeping and Related Arts (cooking, sewing, and crocheting),...
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...II Lit 3 10:30 – 12:00 What is Literature? Poems, novels, and stories; these are some of the things that first came to my mind upon pondering on the question 'What is Literature?'. And just lately I have known that literature also includes songs, speeches, plays, and many others in written and spoken forms. I have also known that things that are produced out of creative imagination can be referred as literary works which are the ones that comprise literature. Considering this description of what literature is, the coverage of literature seems very puzzling. If literary works are those produced out of creative imagining, then it would directly point to fictional works. But then, there are also non-fictional works that are considered literary. There are literary essays and novels that are non-fictional. Examples of these are those based on true stories. Thus, literature goes beyond just creative imagination. And also, one person may consider a work produced out of creativity while another person may not, so then can that work be considered literary? Another important factor to be taken with high regard in discussing literature is periods of time since people coming from different historical periods may have different perceptions on what they consider 'literature'. It is vital to tackle these questions since literature is present in our everyday life, though it is not consciously felt by many. Terry Eagleton, a literary critic and writer, had written in his essay 'What is Literature...
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...The term 'literary writing' calls to mind works by writers such as Shakespeare, Milton, or Wordsworth; definitive examples of all that the term implies. We instinctively associate the term with characteristics such as artistic merit, creative genius, and the expression of mankind's noblest qualities. In this essay I will explore some of the characteristics of this kind of writing. Literary works are primarily distinguishable from other pieces of writing by their creative, or artistic intent. A piece of literature differs from a specialised treatises on astronomy, political economy, philosophy, or even history, in part because it appeals, not to a particular class of readers only, but to men and women; and in part because, while the object of the treatise is simply to impart knowledge, one ideal end of the piece of literature, whether it also imparts knowledge or not, is to yield aesthetic satisfaction by the manner of which it handles its theme. [1] The writer of this passage emphasises the distinction between writing of didactic purpose and literary writing which has that other, aesthetic, dimension. In fundamental terms literature is 'an expression of life through the medium of language' [2], but language used more profoundly than when used simply to convey information. The following two extracts, for example, both describing one partner's response to marital problems, are different in both their form and their intent: Many critics date the crumbling of their...
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...emerged in the 1990s. His debut novel, Fight Club (hereafter: FC) reached cult status after the film adaptation by David Fincher was released in 1999, and widespread and divided critical reception was soon to follow. Much of the current debate about Fight Club focuses on the political implications of the text, but most often recourse to it by way of referencing the film. These arguments usually question or celebrate the transgressive potentials of the book (Giroux; Mendieta), or address issues of masculinity brought into the fore by their literary and cinematic representations emergent in the same decade (Tuss; Friday). However, few, if any, have addressed the literary aspirations of the text and its author. Although none of the approaches to the thematic concerns of Fight Club are unjustified, in the argument that follows I will suggest that conclusions drawn and critical judgments passed have been hasty, and not only failed to take into account the formal aspects of story-telling, but that the narrative features of Palahniuk’s text have largely went unexplored, and constitute a blind spot of the reception. Critics condemning or acclaiming the novel, and, indeed, many a cultic reader of Palahniuk ignored Fight Club as a literary narrative, and have inadvertently been repeating the catchphrases of the text, either reinforcing or trying to undermine what they have understood as their meaning. I see the significance of Palahniuk’s fiction and the literary event of Fight Club’s publication...
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