ellauri089.html on line 157: He is a great fan of nuclear power. He certainly fails to challenge the reader to think critically about what the future climate might be like. In addition, Heinlein presents specific scientific, technological, sociological, moral or ethical, and humanistic situations which will not only intrigue but challenge the reader’s attitudes—about space travel, illegal alien societies, the over-populated future, the nature of time, and so on.
ellauri159.html on line 1067: You tend to state the obvious or otherwise display a lack of confidence. To combat this tendency, ask for specific feedback from a trusted writer friend. This will help you gauge your ability to communicate your point and your reader’s ability to understand and make connections. Show your work only to someone whom you know to be supportive. The opinions of those who nurture writers are worthwhile; the opinions of those who tear down writers are not.
ellauri159.html on line 1236: You naturally write with an authoritative voice. You want to fake competence in the subject you’re writing about. To boost your success, gather sufficient details to make it look that you have a thorough understanding of the topic. Humanize the writing by including anecdotes making fun of other idiots or otherwise engaging the reader’s interest.
ellauri204.html on line 439: After recycling these hundreds of elements from elsewhere in Ulysses as he composed “Circe,” Joyce expanded his understanding of this novel’s potential as “a kind of encyclopedia” (Selected Letters 271). He began revising the rest of the book accordingly, arranging little snippets of interrelated detail throughout the previous episodes into an intricate network of minor motifs that accumulate and aggregate in the careful reader’s awareness. “Circe” serves as an absurd but cathartic outpouring of Ulysses thus far. Having gotten all that out of our systems, we are ready for the episodes Joyce called the “Nostos,” the return
ellauri222.html on line 745: The question arises why Voltaire inserts such a character in the novella, and what functions he performs in the story. On the one hand, Lord Pococurante embodies the then French aristocracy, the social class, surfeited with everything. The author attracts the reader’s attention to a very curious paradox: people, who live in luxury, cannot enjoy it. Though it is not explicitly stated by Voltaire, such people are doomed to failure. At this point, we can say with certainty that Voltaire is prophetic in this novella.
ellauri270.html on line 353: The description of the lottery’s formalities builds the reader’s anticipation, as the many seemingly mundane rituals all lead up to a mysterious, ominous outcome. The arc of the story depends on the question of just what will happen to the “winner” of the lottery.
xxx/ellauri085.html on line 106: If it is a surprise to learn that Lawrence originally conceived of Women in Love as a money-making pot-boiler, it comes as an endearing shock to read that James Joyce submitted some of his early work to the firm of Mills and Boon. There is no record of the reader’s report, beyond the fact that he rejected Dubliners as unsuitable material for the unique imprint of that publishing house. For his part, Lawrence had no doubt that the author of Ulysses was the real smutmonger of modern fiction. ‘My God, what a clumsy olla putrida James Joyce is!’, he wrote to Aldous Huxley, ‘nothing but old fags and cabbage-stumps of quotations from the Bible and the rest stewed in the juice of deliberate journalistic dirty-mindedness.’ To his wife Frieda he wrote, after reading Ulysses, that ‘the last part of it is the dirtiest, most indecent, obscene thing ever written’; and he later complained that Joyce had degraded the novel to the level of an instrument for measuring twinges in the toes of unremarkable men. Joyce’s reply to the charge that he was just another pornographer doing dirt on sex was to claim that at least he had never made the subject predictable or boring. He denounced Lady Chatterbox’s Lover — his title for Lawrence’s notorious novel — as a ‘lush’ production in ‘sloppy English’ and dismissed its ending as ‘a piece of propaganda in favour of something which, outside of DHL’s country at any rate, makes all the propaganda for itself’. It is a minor irony of literary history that both men were married at Kensington Register Office in London, although, unlike Lawrence, the Irishman allowed a decent interval of twenty-five years to elapse before the solemnisation of his nuptials.
xxx/ellauri410.html on line 184: According to the real Colombo, the West Indies natives were not black. Eliot’s Bolovians, on the contrary, are fat, black, and promiscuous. Bolovians are black because they are natives and primitive, and described with such essentialist terms as are associated with Africans. It is difficult to accept such statements as “Eliot’s verse expresses revulsion of the carnal world” (Douglass 150) when one reads the Bolovian Epic. Sex is clearly part of the fun and there is no revulsion in these verses, except perhaps in the reader’s response to them. Back in Spain Columbo quarrels with the Queen. “They terminated the affair/ By fucking on the sofa.” Although his syphilis acts up again, Columbo is undaunted. “He spun his balls around his head / And cried ‘Hooray for whores!’ . . . Exeunt the king and queen severally” (IMH 319).
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