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The whole thing is performance and prowess and feats of association. That was really why you did it. He had never realized that before. It was simply that it was the greatest pleasure. It had more bite to it than anything else.
It was so damn hard to write well, too. He felt like reading.
There seems to be a misstep or lapse in the tone. Can we imagine Nick saying these words to himself? If so, could he be kidding? Is there a kind of rueful self-mockery at his bookish evasiveness?
Or, now and then, through the migration of particular words or phrases, other voices or traces of voices obtrude from earlier stories in In Our Time or from earlier passages in this story, with confusing or distracting associations.
In certain passages the writing has a studied, even pedantic posture, while in others it appears to move with the freest improvisation—until another re-reading makes these categories appear less stable.
Finally, this is a text in which both character and narrator seem to be involved in the process of writing as it goes along, self-consciously, often even playfully, trying out phrases and locutions, reaching for ways to conjure verbal consciousness out of feelings and sensations.
Questions like these, irritating or amusing from reader to reader, invite responses that deviate from our usual strategies of interpretive analysis.
Reading and re-reading this way—with a kind of perverse distractibility—tends to fragment and disperse the text, of course, and to disrupt narrative sequence.
Yet when we rough things up a bit we are more likely to spot those inconvenient details and patterns—loose ends, hiatuses, undecidables—that often embarrass readings that strain after complete coherence and certitude. It so often ingeniously declines to assent to what it so often confidently asserts.
Like it or not, writing will slip away from its official chores and dally with an excess of meaning. At the climax, when Nick has lost the big trout, we read: He had never seen so big a trout.
There was a heaviness, a power not to be held, and then the bulk of him, as he jumped. He looked as broad as a salmon. He had been solidly hooked. Solid as a rock. He felt like a rock, too, before he started off. By God, he was a big one. By God, he was the biggest one I ever heard of.
By God, this is writing! The biggest ever that got away! And is there an indication of something just slightly off-stride with the confusion over the narrative voice?Elastisch gebetteter balkan beispiel essay Snf introductions to essays animal abuse argumentative essay writing essay about global business Components of reflective essay Marker verbs for essays of analysis ap biology cellular respiration and .
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ensure only results pertaining to the works of Ernest Hemingway! metin2sell.com features critical essays, reports, and analyses of Hemingway's short stories & novels!
The parodies of Hemingway's writing style are perhaps the more fun to read because of Hemingway's ultimate simplicity and because he so often used the same style and the same themes in much of his work.
From the beginning of his writing career in the s, Hemingway's writing style occasioned a great deal of comment and controversy.
A suggested list of literary criticism on Ernest Hemingway's The Old Man and the Sea. The listed critical essays and books will be invaluable for writing essays and papers on The Old Man and the Sea.
Ernest Hemingway is easily known as a great American author. However, his critics don’t always feel the same. He is often compared to contemporaries like F. Scott Fitzgerald and William Faulkner, but he has a style all his own when it comes to writing.