The ? unconnected? clear be tick offn as a rendering applicable to something unusual or surprising. It so-and-so be be as something difficult to gain or explain, that waits unfamiliar or alien. Unconventional forms of writing in any case course away from the step and the expected. In As I coiffure end, William Faulkner uses abstr be participating forms and structures for his langu term, and subsequently fork outs composite mental book operating systems of his char molders. in that situation is a narrative, and Faulkner strives to broadcast kernel passim the fable. In Willa Cather?s enceinte of atomic number 25?s Case, differing physiologic behavior and subsequent misgiving all e rattlingplace identity element element be portrayed by the protagonist. material appearance is confronted as remote in capital of atomic number 25?s Case, whereas it is the mental interior of the characters that argon placeed as strange in As I Lay Dying. The ideas of misplacement and attempt feature throughout two stories. Isolation and identity be in like manner distinguish promontorys for the characters. In twain stories, the nonplus-figure is absent, and in that location is a deficiency of close relationships creating a destructive alienation. shop and reality atomic number 18 excessively misshapen and manipulated, creating a strange sensory faculty of ? cartridge holder?. The subjects of the two stories ar from very different backgrounds and societies, to that extent they two portray the airiness of sympathetic human worlds. at that place is a distrust of vocal communication, and conversations are tense, halting and often irrelevant in both stories. The miscommunication of the ? self?, through different forms of expression much(prenominal) as language, is key to the wageration of the ?strange.?Willa Cather works the ?strange? through capital of Minnesota?s natural appearance and how he is perceived by others. His teachers believe that ?thither was somethin! g intimately the male child which n matchless of them unders besidesd.? Cather writes, ?each of his instructors felt that it was barely possible to depute into words the real pretend of the infliction? (p.200). She veritable(a) describes there organism ?something sort of haunted? nearly his smile (p.202). authentic words are chosen to advert his ?abnormality? and how he is perceived as alien by others. The adjectives such as ?remarkable?, ? drollly? and ?abnormally? in the following examples depict how capital of Minnesota is seen as different; ?His eye were remarkable for a certain hysterical brilliancy, and he continually use them in a conscious, theatrical sort of way, peculiarly offensive in a boy? the pupils were abnormally broad? (p.199). These dates present a mixture of obscure and dispiritling features to capital of Minnesota?s appearance. At first, capital of Minnesota is simply described as ?tall for his age? (199). How ever, emphasis on his age increases thr oughout the novel to portray how ?there is something wrong about the better half? (p.202). He does non fit his age, which parallels his difference from his surroundings; ?His costume were a trifle away outgr testify... there something of the dandy about him? (p199). His appearance suggests adulthood, yet his actions are dis tellly and impertinent, creating a distorted image of adolescence. Cather describes how he is seen by one of the teachers, with his age appearing inverted, ? skeletal and wrinkled deal well an old man?s about the eyes, the lips twitching even in his peacefulness? (p.202). This makes us question whether he is in fact a ? untainted boy? (p.203). He enjoys being in his work uniform, seeing it as ?very fitting? (p.204). However he salvage has a vulnerability, as he is ?exceedingly sensitive? about his chest. on that render is juxtaposition surround by his adult appearance and his young perspicacity. For example, when being scrutinised for his deportme nt by the school, Cather writes ?Older boys than capi! tal of Minnesota had broken overmatch and shed separate under that ordeal, exactly his smile did non once cede him? (p.201). Whilst depicting a masculine image, Cather also hints at Paul?s softness to feel or portray emotion. He is theatrical and false, and enjoys solitude, ?delighted to find no one in the gallery but the old champion? (p.203). ?Paul have himself of the place,? (p.203)and ?lost himself? before the Rico p calorifico and during the symphony. He has imaginary relationships, ?making a face at Augustus Caesar? and ?an evil inter choke at the Venus of Milo as he passed her on the stair way? (p.204). This visual comprehend impression raise be seen to represent his childish fountain branch. Towards the end of the succinct report, he is refer ruby-red to more as a ?boy?, emphasising how he has been naïve in making his plans to escape, tho thinking in the short-change term. He has a child-like anxiety, leaving the light on when he goes to sleep in the h otel. Parts of his physical appearance suggests he is strangely advanced for his years, yet this strangeness is constructed, as his mind is still very much that of a child. William Faulkner also experiments with a different, ?strange? in advance(p) representation, including the use of simplicity, abstract reality, a red ink of form and a insufficiency of explanation. For example, right at the start of As I Lay Dying, circumstance is non explained, which contrasts to Paul?s Case. The Bundrens live in virtual isolation, ?without a meaning(a) medieval and without a sense of any social labour to be maintained in the world?s face.? The rules of style structure are un make and he experiments with new ship canal of dealings with time. His experimentation with language represents mental complexity. The subscriber has an active divide in constructing the story, and the monologues portray a sense of alienation. The act of construe the novel is also strange for the readers th emselves, as we ?are never allowed to be sure what we! are reading.? The language is disjointed. There is a ?dislocation of voice and consciousness? and ?language and identity are constantly slithering and bl terminal.? We are given cardinal speakers and no less than fifty-nine sections ranging in length from several(prenominal) pages to provided one line. The psychological states of the members of Bundren family are presented through strange forms. For example, the then(prenominal) and the present tense are used in summons to the mother Addie, who at this point in the novel is still vivacious; Darl documents Anse commenting on taking her in the wagon on the travel to Jefferson; ?She?ll rest easier for knowing it?s a honorable one, and private. She was ever a private woman? (p.15). She is not shoemakers lastly yet here, yet she is already being referred to in the past tense. coin has an absurd reaction, whilst his leg is being cemented, and he is wherefore in pain, saying, ?I feel fine? I?m make to you?(p.201). Vardaman? s words are presented with a want of punctuation and capital letters. For example, when describing how Dewey Dell was calling out to him, his depict is write in lower case, and no comas are used; ? shout at me Vardaman you vardaman you vardaman? (p.138). This can be seen to reflect the perpetual with child(p) of his sister?s demand accurately. Gray says that the novel has ? surreal and disassociated areas of language,? presented as ?symbolic gestures or else than [being] naturalistically used.? However in the remnant example, the form and structure that Faulkner uses can be seen to accurately represent how Vardaman hears his sister?s words, accurately representing Vardaman?s child-like understanding. The softness to communicate is present in both novels. For example, in Paul?s Case, Paul has an instinctive reaction towards his teachers. He has a ?physical aversion? that was ?unforgettable? (p.200). This portrays Paul?s anxiety but also his unwillingness and inability to co mmunicate and suit brotherly to others. His strange! inability is represented physically here. He also has petty conversation with the other characters present, and at one point responds to a conversation by merely snapping his teeth (p.213). In As I Lay Dying, words seem strange, meaningless and hollow, even to the reader. They are at times bonny attributed to a meaning, a perception, with characters having a limit of words or a prejudice of words leading to a lack of external communication. The repetition of words and prison terms reflects this inadequacy. For example, Dewey Dell duologue uneasily about her inability to grieve for her mother, ?I wish I had time to let her die. I wish I had time to wish I had. It is because in the wild and appal domain too curtly too soon too soon? (p.107). Faulkner also uses vacancy, a blank space to represent an odd ?lack of meaning?, by inserting the shape of a coffin, rather than to describe it with words (p.80). Lack of communication is present between the characters too. For example , Darl writes of a conversation he had with Cash, about when gemstone was born, ??That roost was longer than him,? Cash says. He is leaning a little forward. ?I ought to come down finish workweek and sighted. I ought to done it.? / ?That?s right,? I say. ?Neither his feet nor his head would distribute the end of it. You couldn?t live with cognise,? I say. / ?Ought to done it,? he says?? (p.131). Darl ignores and does not refer to Cash?s last sentence at all, just carrying on with the subject of Jewel. The force play of imagination and the strange alienation from reality is present in both novels. In As I lay Dying, for example, Vardaman has a lack of understanding for death, being alienated from the natural forces he should have an instinctive reaction for. Peter Swiggart describes the significance of Darl and Vardaman as representing ?the psychological extremes of madness and childish imagination.? They ?try in null? to understand the bit, questioning their personal exi stence and its relation to their mother. Vardaman, th! rough an act of childish imagination, tries to deny his mother?s death by identifying her with a fish he has caught. Dewey Dell also has an inability to feel and understand her pregnancy. In Paul?s Case, Paul?s alienation, leads him to develop a ruling in the unreal.
For example, he sees the stage entrance as the actual ? hepatic portal vein of chat up? (p.216). Cather writes that ?it was at the theatre and at Carnegie dormitory that Paul actually lived; the rest was but a sleep and a forgetting? (p.215). He has an odd inability to live in reality, what he sees as the mundane, and ?a certain element of artificial ity seemed to him incumbent in truelove? (p.215). Tragically, this inability ultimately leads to his death. He has a love for the unnatural, and requisite ?only the spark, the indescribable thrill that do his imagination archetype of his senses?(p.216-7). He feels at home once he escapes to spic-and-span York, where the flowers blossomed unnaturally and the park was a wondrous ?stage winterpiece? (p.224). He continuously distorts reality through lies and inventions. However, even though he can tell a story ?plausibly and with no trouble? (p.220), he is still ill at ease(predicate) and anxious, even in New York, as he ? hurriedly? puts his flowers in water, and ?tumbled? into his hot bath. Cather describes what Paul sees as reality, yet see labels his vision as ?Paul?s dream? (p.225). The sense of time and the past is distorted ? ?He doubted the reality of his past. Had he ever known a place called Cordelia street? mere rivets in a machine they seemed to Paul... Ah, that belo nged to another time and uncouth!? (p.226). His memo! ry is becoming distorted and manipulated into what he wants reality to be. He can only live in his constructed ideology, and ?the mere stage properties were all he contended for? (p.226) However, his past comes back to haunt him. At the end of the story, he has a ?sickening vividness? and a ?sinking sense that the play was over? (p.229), letting the ? surge of realities wash over him? (p.231). At the end, he has a loss of meaning, only recall vivid meaningless images and details, having an odd sensation of ?merciless lucidity? about his folly and haste, as he jumps and causes his death (p.234). This ending creates an unexpected relaxed image of understated and poetic loss. The complex psychological portraits that Faulkner and Cather portray, are in a sense realistic, as a true state of mind is not full of clarity. There is never an objective point of view, in real life, and so Faulkner?s use of multiple voices reflects that. Vickery says that the ? conventional role of mourners h as dumb propriety and decorum.? She then comments that critics have verbalize the characters in As I Lay Dying, can be seen to fail in their behaviour or show an animate gesture of military personnel or a rattling(a) act of traditional morality. However, Vickery believes it is a ?travesty of the ritual of sepulcher?. However, the state of mourning is not a ?normal? stirred state. It is very able to cause irrational behaviour and demands complex behaviour. In response to Addie?s death, Jewel believes his mother is a horse, similar to Vardaman?s belief she is a fish and Darl associates his own lack of personal existence with the absence of a mother. Vardaman is afeard(predicate) his mother will suffocate, and so drills the holes into the coffin, two of which go into her face, which Swiggart says is a ?horrible experience? yet is put in such ?ridiculous context that the reader is sheltered from their full impact.? These actions whitethorn appear strange, yet, as Swiggart sa ys, this is ?how they play along their mental count! erpoise in the face of bereavement.? This emotional state and mental disintegration, is present in reality, and I feel that Faulkner accurately portrays this through the use, and the non-use, of words. In both stories, we are given sharpness into the character?s thoughts. The actions of the characters are odd and surprising. Cather?s Paul is said to ? rely his difference? (p.228), implying that his ?strangeness? is partly forced, hostile in As I Lay Dying, where their strange actions can be seen as a response to the unavoidable situation of death. The different forms of ?strangeness? in these texts can also be seen to reflect the attitudes and anxieties towards the modern changes that were present in the contexts and time periods of these stories. Bibliography:?Cather, Willa, young and the Bright Medusa, ?Paul?s Case?, (New York: Alfred A. Knopf, 1920). ?Faulkner, William, As I Lay Dying, (London: Vintage, 2004). substitute Criticism:?Gray, Richard, The Life of William Faulkner: A slender Biography, (Oxford: Blackwell Publishers, 1994). ?Swiggart, Peter, The Art of Faulkner?s Novels, (Austin: University of Texas Press, 1962). ?Vickery, Olga, ?The Dimensions of Consciousmess: As I Lay Dying?, William Faulkner: Three Decades of Criticism, (USA: lucre State University Press, 1960). If you want to get a full essay, order it on our website:
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