Truman Capote’s tone for pages 103-104 reflects a feeling of perplexity and anecdotic. The reason of perplexity exists in consideration of being given details on the Clutter family being murdered. The apologia of the anecdotic tone exists in view of how Capote gives a vivid description on how the murders actually happened and how the assassins left them and what their intentions were. These two pages make the reader feel the irresolution of the crime scene.
The detail increases the sinister sense when the narrator describes Mr. Clutter’s murder. The deaths of the Clutter Family seemed like a terrible case, since “a total of eighteen men” had to be assigned to take care of this “case full time”. This crime was very serious because too many people were assigned to be responsible of the case. Since the homicides committed were unscrupulous, extreme vigilance was required.
The disruption to the close knit and trusting community in Holcomb, which was once a place in which doors were always unlocked, demands the readers compassion. Prior to the murders, Holcomb and it’s residents are described by Capote in an idealistic manner, trusting, low to no crime, proud of their community and friendly. This lifestyle is abruptly destroyed along with the Clutters; prompting sympathy to be extended to those left behind as well as directly to the murdered Clutter
Of course, one feels a pang of sorrow after the murder scenes, but nothing like the pain of reading the murders from Capote’s novel. Adding on to the lack of personal information of the Clutter’s is the brief analysis of the towns reactions towards the murders. One of the townspeople is written as saying, “What I hope is, I hope they keep’ em locked up good. I won’t feel easy knowing they’re in our vicinity’ (Capote 231). Observing how those who live relatively close to the murdered family react gives an impression of how this impacted those in the general area.
In the historical fiction novel To Kill a Mockingbird by Harper Lee, the issues of racial inequality and injustice towards the innocent are exposed and clearly stated. The novel is a story of a young girl and her coming of age in the Deep South. As she grows in age, she begins to understand the unjust ways of the world, and how some people who are accused, such as Tom Robinson and Arthur “Boo” Radley, are faultless. Lee’s symbol of the mockingbird is a representation of these characters. She shares her opinion that it is a sin, physically and verbally, to attack them.
To continue, there is the character of Sylvia, whose perspective brings light to the complexities of sibling bonds and survivors guilt. As the sister of the shooter, Sylvia’s emotional disturbance is intense, navigating a maze of love, confusion, and betrayal. Her guilt is increased by her struggle to reconcile the brother that she thought she knew with the one who is capable of such violence. This is an internal battle that she faces, and adds a certain depth to the narrative, challenging readers to grapple with the fact that sometimes, the people closest to us hide the darkest of secrets. Sylvia’s journey through the novel is a powerful testament to the idea that the aftermath of a tragedy is often painted in other colors rather than just black and white.
Jean Louise Finch (Scout) is a captivating narrator who compels the reader to listen to the story through her personality. In the novel To Kill a Mockingbird, the author, Harper Lee, uses narration, dialogue, and setting to unravel Scout’s courageous, touchy, and rather inquisitive nature in an inventive and thrilling way. In order to adequately understand Scout as a character, the reader must look deeper to look into her mind rather than skimming the first layer. “‘You never really know a person until you consider things from his point of view...’” (Harper Lee 39).
The novel uses the lens of a murder mystery to capture the nuances of one’s relationship with
Having lost her mother in birth and with her whole life encircled by death, Vada Sultenfuss, the gloomy 11-year-old daughter of Harry Sultenfuss, the town’s funeral parlour manager, is no wonder that death became almost an obsession to her. In addition, Vada has no friends in school, she is a hypochondriac tomboy, her grandmother has Alzheimer 's, and worst of all, her best friend is Thomas J. Sennett, another unpopular kid who is allergic to just about everything. During the summer break in 1972, Vada will have her first crush, she will join a poetry writing class, but most of all, when the cheerful and quirky Shelly DeVoto takes up the position of make-up artist at Harry’s mortuary, she will gradually find the maternal figure she always needed.
Through this letter, Shreve gives a fictional account of the life of Maren Hontvedt yet provides an entirely plausible, if not shocking, account of the events that could have happened on the night of the murders. Both stories build deadly and somewhat unexpected climaxes. 2. Shreve tells us a stunning story with great climax and mysterious plots and themes. There is plenty for the reader to reflect and savor in this accomplished inquiry into the circle of
The story opens with Mrs. Wright imprisoned for strangling her husband. A group, the mostly composed of men, travel to the Wright house in the hopes that they find incriminating evidence against Mrs. Wright. Instead, the two women of the group discover evidence of Mr. Wright’s abuse of his wife. Through the women’s unique perspective, the reader glimpses the reality of the situation and realizes that, though it seemed unreasonable at the time, Mrs. Wright had carefully calculated her actions. When asked about the Wrights, one of the women, Mrs. Hale, replies “I don’t think a place would be a cheerful for John Wright’s being in it” (“A Jury of Her Peers” 7).
Furthermore, Clare’s only reason for passing is to obtain money and social worth. She achieves these by marrying a prestigious, yet racist, man named Jack. Although Clare is considered an outsider to her race, she does not regret the choices she has made. When she does acknowledge some feelings of acknowledging her “blackness”, she merely professes a vague yearning for her “own people” (Larsen, 35). She is also a demanding and selfish person presented by her statement of , “’Why I get the things I want badly enough, I didn’t do anything, hurt anybody, throw anything away.
The women in To Kill a Mockingbird have important roles but very few of them. Many women in To Kill a Mockingbird have responsibilities to take care of the children and care for the Orr residents of the house they live in. Calpurnia for example. Calpurnia is the black female cook for the finch household. However, she does not just cook.
The dreary and lifeless patter that Jane explains in the story represents the lives of women in her time. “It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide-plunge off at
When Richard’s heard the news of her husband’s death, he assumed Mrs. Mallard would be devastated. While everyone knew Mrs. Mallard was “afflicted with heart trouble” (57), him and her sister, Josephine, wanted to give her the news with “great care” (57). Josephine broke the news to Mrs. Mallard in “broken sentences”
