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Siri Hustvedt Living with Strangers

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‘Living With Strangers’

An enforced closeness that exclusively belongs to boyfriends and family is something you cannot run from when being on the sidewalk in New York City. So is this the definition of the so-called living with strangers? Siri Hustvedt is an American author who in 2002 wrote the personal essay ‘Living With Strangers’. She simply raises the pros and cons of living together in the big city of New York – in a very non-simplistic way. With personal experiences and thoughts throughout the whole essay, she holds on to the reader’s attention from the very first line. I will mainly focus on the choice of genre, together with the linguistic instruments that Siri Hustvedt uses in her essay.
There are a lot of basics that feature the characteristics of a personal essay. The personal essay is often focused on a belief or an insight about life. It combines elements as the narrative’s former experiences or relationships and raises questions about open answers. Only this genre permits Siri to be subjective on a topic where the essay still has a professional level of seriousness, while the intimate connection between sender and receiver creates a certain sense of ethos that helps Siri convincing her audience. This genre also gives Hustvedt the space to express her experiences in a way to convince us of her impression of “Living With Strangers”. Although, there is not a precise view being shared as the personal essay’s main argument: Instead it is more a meticulous reflection of the lives of New Yorkers. Siri Hustvedt is not advertising for moving from the small towns to New York, nor the other way around. This is an essay explaining the difficulties of accustoming oneself to move between such different environments and types of people. And Siri Hustvedt’s very descriptive language overwhelms the reader with all the uncomfortable situations’ awkwardness of the newer settlements.
The difference between rural Minnesota and the urban New York City is conspicuous, and Siri Hustvedt is eagerly drawing parallels. Greeting every passer-by as a matter of course and fearing accusations of snobbery is some of the things Siri Hustvedt associates her hometown in Minnesota with. The big difference is being strongly accentuated when Siri is introducing the reader to the streets of New York City – a place where you simply mind your own business for the sake of everyone. In such fast-paced city as the Big Apple, it is nearly impossible to squeeze in a greeting here and there, to any one of the 400 people passing you by every minute walking on the streets. Another example Siri uses to highlight the broad barrier between the two cities was when Hustvedt’s husband witnessed a man on the subway pointing out the crime of smoking in the car, to another passenger. The smoker responded with a too calm and sweet sounding “Do you wanna die?”. With Siri’s use of careful descriptions and dialogue, she successfully is able to make her and her relatives’ experiences much more convincing in a visually striking way. We already become aware of this in one of the first sentences, where she uses a total of 3 adjectives to describe a “hi”.
Every single one of the linguistic instruments that Siri Hustvedt uses in her personal essay is meant to help catching the reader’s eye. And does it work? At first sight, the reader comes across a very striking headline. Living With Strangers. A well-used paradox to the whole essay’s content, since Siri Hustvedt’s definition of living with strangers really is the opposite of living with strangers. The critics of becoming more and more isolated while being surrounded by more and more people is being raised, when she considers if private arguments and walking around naked really is her business according to her neighbours. The isolation is all about pretending that none has ever happened. But is this a result of a lack of multiplicity or is the opposite? As Siri Hustvedt mentions several times through her essay the difficulty of taking acts in public, and therefore how we easily become passive bystanders to every miserable human being or every sorry situation, which should actually be taken care of. However, because of the fear of getting killed for pointing out the law or even as simple as becoming the object of unwanted attention among your fellow New Yorkers, people mind their own business. Although, Siri comes up with a rare example of “human solidarity”, when her daughter is a “victim” of a declaration of love. The uncomfortable situation Hustvedt’s daughter Sophie, was put in, got lightened by such small thing as a humanistic comment. The realisation of not being alone in a subway filled up to the brim appears as a rarity in the streets of New York.
The personal essay genre gives Siri Hustvedt a chance to reflect on thoughts she has made and experiences she has had. Switching between various events of her and her relatives lives, gives the reader a great insight in the life of a New Yorker.

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[ 1 ]. Siri Hustvedt: Living With Strangers, page 1, line 16-17
[ 2 ]. Siri Hustvedt: Living With Strangers, page 1, line 1-5
[ 3 ]. Siri Hustvedt: Living With Strangers, page 2, line 60-65.
[ 4 ]. Siri Hustvedt: Living With Strangers, page 1, line 2
[ 5 ]. Siri Hustvedt: Living With Strangers, page 1, line 10
[ 6 ]. Siri Hustvedt: Living With Strangers, page 1, line 13
[ 7 ]. Siri Hustvedt: Living With Strangers, page 2, line 20

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