“Killings”, Andre Dubus’ short story, revolves around a father who seeks vengeance against his son’s killer. The story is about the murders committed by Richard Strout and Matt Fowler in their attempt to get retribution and ease the pain in their hearts. The circle of killings is first caused by the murder of Matt Fowler’s son, Frank, by Richard, which leads to the retaliatory killing of Richard, by Matt. This infinite, unforgiving circle of killings and attempts at retribution is what Dubus portrays in a nonjudgmental view. The readers are left to see how the act of killing affects Richard and Matt and decide how much their retribution costs them.
Living creatures are not immortal, the fact that they are living automatically has death attached to their existence. Death looms over the human population taking many lives every day, not once failing. During the Holocaust, it came in the form of the Nazis, who used concentration camps as their factories of death. By the end of the Holocaust, 11 million were left dead by the Nazis, 6 million of them being Jewish. In the novel Night, Elie Wiesel presents an insider view of the horrific event and how death took form within it.
What can a person do if their language is tainted with malevolent intentions towards others, how about after sixty millions of their own people are inhumanly slaughtered with little to no respect? Nothing can ease a person’s trauma and torment, attempting to explain an event of such horrific context is extremely for a survivor of said event. However, another problem arises, how one thoroughly explains an event that they desperately do not want to relive. Many Holocaust survivors, who are literary geniuses, use a variety of methods in order to express their opinions and experiences to the reader. Elie Wiesel’s use of repetition, Art Spiegelman’s use of a bizarre genre to create symbolism while explaining euphemisms, and many survivors opening up to the younger generation at Holocaust themed museums.
World War II has no shortage of examples demonstrating man’s inhumanity to man: the atomic bombs, the Holocaust, the fire bombings, and the war itself all evidence the horrors that humans can visit upon other humans. Night, by Elie Wiesel, establishes certain examples of cruelty, like tossing infants into fire and using babies as target practice. Fire is the common theme in these examples, as much of the death resulting from the war and genocide is attributable to fire. Thus, inhumanity and fire are linked by the human capacity for violence. When the people of Sighat learn of the horrors Moishe the Beadle witnessed, they didn’t believe it; they couldn’t even imagine one human doing the things he described to another human being.
Dehumanization during the Holocaust was the most condemnable factor as to how such cruel and inhumane acts could be brushed off as mere orders, brothers and sisters became feral towards one another, and how one’s body can become so isolated from the mind. It is difficult to imagine such horrid ideas as reality, much less as history, but Elie Wiesel describes all of these gruesome acts in Night, his autobiographical account of his experience during the Holocaust. The genocide of six million human beings is far from rational, and it seems like only monsters could be capable of such an act. The Nazi’s—however dificult it is to admit—are not monsters, but people, and a person can not kill one another with good conscience. In Night, one of Ellie’s
In this paper I will argue that through the use of diction, tone, and symbolism both authors convey the emotional toll and psychic impact of traumatic events, such as witnessing a hanging and having someone close to them die, which deeply influences the readers interpretation of the memoirs. In Wiesel’s Night the build-up of trauma is correlated with his gradual loss of faith in God, especially when he witnesses the hanging of a child. The author explains that he had grown accustom to watching the hanging of prisoners in the concentration camp, in fact he mentions being unaffected by these occurrences. This is not the case when he witnesses the hanging of a young pipel who has been commended to death for keeping his silence over the crimes of his commanding Oberkapo. Wiesel’s diction in Night is emotional for the most part; this is particularly true for the passage where he describes witnessing the hanging of the pipel.
“Liberated a day earlier by American soldiers, he remembers their rage at what they saw” (Wiesel). In the Holocaust six million Jews were killed. They were brought to the concentration camps in cattle cars. At Auschwitz one-point-six million people died. Elie Wiesel’s “The Perils of Indifference” uses ethos, pathos, and rhetorical questions in order to persuade people that the opposite of love is indifference and not hate.
Dehumanization is like a bloodsucking leech it can suck the moral life out of its victims and feed the ego of its perpetrators. But will the bloodsucker become too stuffed and its own demoralizing poison seep out on itself? Or will the helpless victims only suffer and the perpetrators prevail? During the Holocaust, Jews and other scapegoats suffered under the parasitic rule of the Nazis, where all their human rights were sucked up for the Nazi’s benefit. In their works of authentic genius Schindler’s List and Night, Steven Spielberg and Elie Wiesel demonstrate this tragedy in a clear and unadulterated way.
Many went slowly from slash wounds, watching their own blood gather in pools in the dirt, perhaps looking at their own severed limbs, oftentimes with the screams of their parents or their children or their husbands in their cars .¨(Rusesabagina 79).¨Then the entire camp, block after block, filed past the hanged boy and stared at his extinguished eyes, the tongue hanging from his gaping mouth. The Kapos forced everyone to look him squarely in the face. ”(Wiesel 62-63). These events identify similar purposes that the authors convey because Rusesabagina wanted to persuade us of the horrors of how they were killed and Wiesel also wanted to persuade us of the horrors of how they were being slaughtered.
Holocaust. Death. Suffering. These are but a few of the words that may begin to describe this tragic period in the history of man. The Perils of Indifference and Night are both publications by the Elie Wiesel, one of the many victims to the Holocaust, but one of the very few victims who lived to tell his story.
The narrator experienced loss when she felt it was her fault her mother and brother died because of gang violence. The narrator's beginning identity was frightened for example the narrator writes she was in tears and terrified before carlos got home. Another example of her being frightened is she heard a familiar sound pow!pow!pow! Like she did when her mother died and she might have been frightened because she writes this time i was ready to take action . A third reason is she could have been frightened the gang was going to kill her next.
The Disregard for Human Life At some point in everyone’s life, they have been brought to their lowest point, then kicked while down. Human life is precious, however some people feel inclined to take another human being’s life in their own hands and destroy it at their will. In Night, by author Elie Wiesel, Wiesel writes of the Holocaust and the terrors that came with it.
My’yonna Pride Professor Suderman Enc1102-20946-002 Them of Innocence/Power of Literacy Theme: “Loss of Innocence and The Power of Literacy “ To live is to die and to die is to live again, in the short story fiction “Lives of the Dead,” by Tim Obrien, either seems true. When a loss of innocence is experienced traumatic events, such as death, has created awareness of evil, pain, and or suffering. Obrien experiences a loss of innocence, by death, at the age of 9, when his childhood girlfriend dies of cancer. Physical the dead may never be able to be brought back to life but, mentally, through The Power of Literacy anything is possible. Many of the Character in “Lives of the dead” are deceased; however, they are able to live again, through the power of literacy.
The Holocaust was an execution of 8 million Europeans, and “ 6 million of the Europeans killed were Jewish women, children, and men that were brutally murdered” (Strahinich 7). It “was a catastrophe in our modern history” (Strahinich 7) now staining our history pages with hundreds of innocent people’s blood, forever lost in the grounds of the Holocaust. It took “place in Poland, Lithuania, Belarus, Latvia, and Czechoslovakia” (Altman 9) is some of the places where hundreds died. Thanks to “Adolf Hitler” (Strahinich 8) and “the Nazis government” (Strahinich 10), they “plunged most of Europe” (Allen 7) into turmoil, taking lives that did not need to go.
In Gabriel Garcia Marquez’s 1981 novella Chronicle of a Death Foretold, the narrative recounts the events leading up to the eventual murder of bachelor Santiago Nasar, a man accused of taking the virginity of the defrocked bride Angela Vicario despite the lack of evidence to prove the claim, and the reactions of the citizens who knew of the arrangement to sacrifice Nasar for the sake of honor. This highly intricate novella incorporates a range of literary techniques, all of which are for the readers to determine who is really to blame for Santiago Nasar’s death. Marquez uses techniques such as foreshadowing and the structure of narrative, along with themes such as violence, religion, and guilt to address the question of blame. Although Santiago
