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Anthony Burgess. A Clockwork Orange. (British version).

Anthony Burgess. A Clockwork Orange. (British version). - ðàçäåë Îáðàçîâàíèå, Ñó÷àñíà ë³òåðàòóðà êðà¿í, ìîâà ÿêèõ âèâ÷àºòüñÿ Final Chapter (21) “What’S It Going To Be Then, Eh?...

Final Chapter (21)

“What’s it going to be then, eh?”

A shot from A Clockwork Orange (1971, USA, Great Britain, dir. by Stanley Kubrick). Alex Malcolm McDowell

There was me. Your Humble Narrator, and my three droogs that is Len. Rick, and Bully, Bully being called Bully because of his bolshy big neck and very gromky goloss which was just like some bolshy great bull bellowing auuuuuuuuh. We were sitting in the Korova Milkbar making up our rassoodocks what to do with the evening, a flip dark chill winter bastard though dry. All round were chelloveks well away on milk plus vellocet and synthemesc and drencrom and other veshches which take you far far far away from this wicked and real world into the land to viddy Bog And All His Holy Angels And Saints in your left sabog with lights bursting and spurring all over your mozg. What we were peeling was the old moloko with knives to it, as we used to say, to sharpen you up and make you ready for a bit of dirty twenty-to-one, but I’ve told you all that before.

We were dressed in the height of fashion, which in those days was these very wide trousers and a vefy loose black shiny leather like jerkin over an open-necked shirt with a like scarf tucked in. At this time too it was the height of fashion to use the old britva on the gulliver, so that most of the gulliver was like bald and there was hair only on the sides. But it was always the same on the old nogas − real horrorshow bolshy big boots for kicking litsos in.

What’s it going to be then, eh?’ I was like the oldest of we four and they all looked up to me as their leader, but I got the idea sometimes that Bully had the thought in his gulliver that he would like to take over this being because of his bigness and the gromky goloss that bellowed out of him when he was on the warpath. But all the ideas came from Your Humble, O my brothers, and also there was this veshch that I had been famous and had had my picture and articles and all that cal in the gazettas. Also I had by far the best job of all we four, being in the National Gramodisc Archives on the music side with a real horrorshow carman full of pretty polly at the week’s end and a lot of nice free discs for my own malenky self on the side.

This evening in the Korova there was a fair number of vecks and ptitsas and devotchkas and malchicks smecking and peeling away and cutting through their govoreeting and the burbling of the in-the-landers with their ‘Gorgor fallatuke and the worm sprays in filltip slaughterballs’ and all that cal you could slooshy a popdisc on the stereo this being Ned Achimota singing That Day, yeah, That Day. At the counter were three devotchkas dressed in the heighth of nadsat fashion, that is to say long uncombed hair dyed white and false groodies sticking out a inetre or more and very very tight short skirts with ?? like frothy white underneath, and Bully kept saying: “Hey, get in there we could, three of us. Old Len is not interested. Leave old Len alone with his God. And Len kept saying: ‘Yarbles yarbles. Where is die spirit of all for one and one for all, eh boy?’ ” Suddenly I felt both very very dred and also full of ringly energy, and I said:

“Out out out out out”.

“Where to?” said Rick who had a litso like a frog’s.

“Oh, just to viddy what’s doing in the great outside”, I said. But somehow, my brothers, I felt very bored and a bit hopeless, and I had been feeling that a lot these days. So I turned to the chelloveck nearest me on the big plush seat dial ran right round the whole mesto, a chelloveck, that is, who was burbling away under the influence, and I fisted him real skorry ack ack ack in the belly. But he felt it not, brothers, only burbling away with his ‘Cart cart virtue. Where in toptails lieth the pop-poppicorns?’ So we scatted out into the big winter nochy.

We walked down Marghanita Boulevard and there were no millicents patrollihg that way, so when we met a starry veck coming away from a news-kiosk where he had been kupetting a gazetta I said to Bully: “All right, Bully boy, thou canst if thou like wishest”. More and more these days I had been just giving the orders and standing back to viddy them being carried out. So Bully cracked into him er er er, and the other two tripped hftn and kicked at him, smecking away, while he was down and then let him crawl off to where he lived, like whickering to himself. Bully said:

“How about a nice yummy glass of something to keep out the cold, O Alex?” For we were not too far from the Duke of New York. The other two nodded yes yes yes but all looked at me to viddy whether that was all right. I nodded too and so off we ittied. Inside the snug there were these starry ptitsas or sharps or baboochkas you will remember from the beginning and they all started on their: “Evening, lads. God bless you, boys, best lads living, that’s what you are,” waiting for us to say: “What’s it going to be, girls?” Bully rang the collocoll and a waiter came in rubbing his rookers on his grazzy apron. “Cutter on the table, droogies”, said Bully, pulling out his own rattling and chinking mound of deng. “Scotchmen for us and the same for the old baboochkas. eh?” And then I said:

“Ah, to hell. Let them buy their own.” I didn’t know what it was, but these last days I had become like mean. There had come into my gulliver a like desire to keep all my pretty polly to myself, to like hoard it all up for some reason. Bully said:

“What gives, bratty? What’s coming over old Alex?”

“Ah, to hell.” I said. “I don’t know. I don’t know. What it is is I don’t like just throwing away my hard-earned pretty polly, that’s what it is.”

“Earned?” said Rick. “Earned? It doesn’t have to be earned, as well thou knowest, old droogie. Took, that’s all. Just took, like.” And he smecked real gromky and I viddied one or two of his zoobies weren’t all that horrorshow.

“Ah,” I said, “I’ve got some thinking to do.” But viddying these baboochkas looking an eager like for some free ale, I like shrugged my pletchoes and pulled out my own cutter from my trouser carman, notes and coin all mixed together, and plonked it tinkle crackle on die table.

“Scotchmen all round, right.” said the waiter. But for some reason I said:

“No, boy, for me make it one small beer, right.” Len said:

“This I do not much go for,” and he began to put his rooker on my gulliver, like kidding I must have fever, but I like snarled doggy-wise for him to give over skorry. “All right, all right, droog,” he said. “As thou like sayest.” But Bully was having a smot with his rot open at something that had come out of my carman with the pretty polly I’d put on the table. He said:

“Well well well And we never knew.”

Give me that, I snarled and grabbed it skorry. I couldn’t explain how it had got there, brothers, but it was a photograph I had scissored out of the old gazetta and it was of a baby. It was of a baby gurgling goo goo goo with all like moloko dribbling from its rot and looking up and like smecking at everybody, and it was all nagoy and its flesh was like in all folds with being a very fat baby. There was then like a bit of haw haw haw struggling to get hold of this bit of paper from me, so I had to snarl again at them and I grabbed the photo and tore it up into tiny teeny pieces and let it fall like a bit of snow on to the floor. The whisky came in then and the starry baboochkas said: “Good health, lads. God bless you, boys, the best lads living, that’s what you are,” and all that cal. And one of them who was all lines and wrinkles and no zoobies in her shrunken old rot said:

“Don’t tear up money, son. If you don’t need it give it them as does,” which was very bold and forward of her. But Rick said:

“Money that was not, baboochka. It was a picture of a dear little itsy witsy bitsy bit of a baby.” I said:

“I’m getting just that bit tired, that I am. It’s you who’s the babies, you lot. Scoffing and grinning and all you can do is smeck and give people bolshy cowardly tolchocks when they can’t give them back.” Bully said:

“Well now, we always thought it was you who was the king of that and also the teacher. Not well, that’s the trouble with thou, old droogie.”

I viddied this sloppy glass of beer I had on the table in front of me and felt like all vomity within, so I went “Aaaaah” and poured all die frothy vonny cal all over the floor. One of the starry ptitsas said:

“Waste not want not” I said:

“Look, droogies, listen. Tonight I am somehow just not in the mood. I know not why or how it is, but there it is. You three go your own ways this nightwise, leaving me out. Tomorrow we shall meet same place same time, me hoping to be like a lot better.

“Oh,”said Bully, “right sorry I am.” But you could viddy a like gleam in his glazzies, because now he would be taking over for this nochy. Power power, everybody like wants power. “We can postpone till tomorrow”, said Bully “what we in mind had. Namely, that bit of shop-crasting in Gagarin Street. Flip horror-show takings there, droog, for the having”.

“No” I said. “You postpone nothing. You just carry on in your own like style. Now, I said, I itty off.” And I got up from my chair.

“Where to, then?” asked Rick.

“That know I not”, I said. “Just to be on like my own and sort things out.” You could viddy the old baboochkas were real puzzled at me going out like that and like all morose and not the bright and smecking malchickiwick you will remember. But I said: “Ah, to hell, to hell” and scatted out all on my oddy knocky into the street.

It was dark and there was a wind sharp as a nozh getting up, and there were very very few lewdies about. There were these patrol cars with brutal rozzes inside them like cruising about, and now and then on the comer you would viddy a couple of very young millicents stamping against the bitchy cold and letting out steam breath on the winter air. O, my brothers. I suppose really a lot of the old ultra-violence and crasting was dying out now, the rozzes being so brutal with who they caught, though it had become like a fight between naughty nadsats and the rozzes who could be more skorry with die nozh and the britva and the stick and even the gun. But what was the matter with me these days was that I didn’t like care much. It was like something soft getting into me and I could not pony why. What I wanted these days I did not know. Even the music I liked to slooshy in my own malenky den was what I would have smecked at before, brothers. I was slooshying more like malenky romantic songs, what they call Lieder, just a goloss and a piano very quiet and like yearny, different from when it had been all bolshy orchestras and me lying on the bed between the violins and the trombones and kettledrums. There was something happening inside me and I wondered if it was like some disease of if it was what they had done to me that time upsetting my gulliver and perhaps going to make me real bezoomny.

So thinking like this with my gulliver bent and my rookers stuck in my trouser carmans I walked the town, brothers, and at last I began to feel very tired and also in great need of a nice bolshy chasha of milky chai. Thinking about this chai I got a sudden like picture of me sitting before a bolshy fire in an armchair peeting away at this chai, and what was funny and very very strange was that I seemed to have turned into a very starry chelloveck about seventy years old, because I could viddy my own voloss which was very grey and I also had whiskers, and these were very grey too. I could viddy myself as an old man sitting by a fire, and then the like picture vanished. But it was very like strange.

I came to one of these tea-and-coffee mestos, brothers, and I could viddy through die long long window that it was full of very dull lewdies, like ordinary, who had these very patient and expressionless litsos and would do no harm to no one, all sitting there and govoreeting like quietly and peeting away at their nice harmless chai and coffee. I ittied inside and wait up to the counter and bought me a nice hot chai with plenty of moloko, then I ittied to one of these tables and sat down to peet it. There was a like young couple at this table, peeting and smoking filter-tip cancers, and govoreeting and smecking very quietly between themselves, but I took no notice of them and just went on peeting away and like dreaming and wondering what it was in me that was like changing and what was going to happen to me. But I viddied that the devotchka at this table who was with this chelloveck was real horrorshow, not the sort you would want to like throw down and give the old in-out in out to, but with a horrorshow plott and litso and a smiling rot and very very fair voloss and all that cal. And then the veck with her, who had a hat on his gulliver and had his litso like turned away from me, swivelled round to viddy the bolshy big clock they had on the wall in this mesto, and then I viddied who he was and then he viddied who I was. It was Pete, one of my three droogs from those days when it was Georgie and Dim and him and me. It was Pete like looking a lot older though he could not now be more than nineteen and a bit, and he had a bit of a moustache and an ordinary day-suit and this hat on. I said:

“Well well well, droogie, what gives? Very very long time no viddy.” He said:

“It’s little Alex, isn’t it?”

“None other,” I said. “A long long long time since those dead and gone good days. And now poor Georgie, they told me, is underground and old Dim is a brutal millicent, and here is thou and here is I, and what news hast thou, old droogie?”

“He talks funny, doesn’t he?” said this devotchka, like giggling.

“This,” said Pete to the devotchka, “is an old friend. His name is Alex. May I, he said to me, introduce my wife?”

My rot fell wide open then. “Wife?” I like gaped. Wife wife wife? Ah no, that cannot be. Too young art thou to be married, old droog. Impossible impossible.

“Did you used to talk like that too?”

“Well,” said Pete, and he like smiled. “I’m nearly twenty. Old enough to be hitched, and it’s been two months already. You were very young and very forward, remember.”

“Well” 1 like gaped still. “Over this get can I not, old droogie. Pete married. Well well well.”

“We have a small flat,” said Pete. “I am earning very small money at State Marine Insurance, but things will get better, that I know. And Georgina here –”

“What again is that name?” I said, rot still open like bezoomny. Pete’s wife (wife, brothers) like giggled again.

“Georgina” said Pete. “Georgina works too. Typing, you know. We manage, we manage.” I could not, brothers, take my glazzies off him, really. He was like grown up now, with a grown-up goloss and all. “You must” said Pete “come and see us sometime. You still,” he said, “look very young, despite all your terrible experiences. Yes yes yes, we’ve read all about them. But, of course, you are very young still.”

“Eighteen,” I said, “Just gone.”

“Eighteen, eh?” said Pete. “As old as that well well well. Now, he said, we have to be going.” And he like gave this Georgina of his a like loving look and pressed one of her rookers between his and she gave him one of these looks back, O my brothers. “Yes”, said Pete, turning back to me. “We’re off to a little party at Greg’s.”

“Greg?” I said.

“Oh, of course” said Pete “you wouldn’t know Greg, would you? Greg is after your time. While you were away Greg came into the picture. He runs little parties, you know. Mostly wine-cup and word-games. But very nice, very pleasant, you know. Harmless, if you see what I mean.”

“Yes.” I said. “Harmless. Yes. yes. I viddy that real horror-show.” And this Georgina devotchka giggled again at my slovos. And then these two ittied off to their vonny word games at this Greg’s, whoever he was. I was left all on my oddi knocky with my milky chai, which was getting cold now like thinking and wondering.

Perhaps that was it, I kept thinking. Perhaps I was getting too old for the sort of jeezny I had been leading, brothers. I was eighteen now, just gone. Eighteen was not a young age. At eighteen old Wolfgang Amadeus had written concertos and symphonies and operas and oratorios and all that cal. No, no cal, heavenly music. And then there was old Felix M. with his Midsummer Night’s Dream Overture. And there were others. And there was this like French poet set by old Benjy Britt who had done all his best poetry by the age of fifteen, O brothers. Arthur, his first name. Eighteen was not all the young an age, then. But what was I going to do?

Wafting the dark chill bastards of winter streets after ittying off from this chai and coffee mesto I kept viddying like visions like these cartoons in the gazettas. There was Your Humbi Narrator Alex coming home from work to a good hot plate dinner, and there was this pritsa welcoming and greeting like loving. But I could not viddy her all that horrorshow, brothers. I could not think who it might be. But I had the sudden very strong idea that if I walked into the room next this room where the fire was burning away and my hot dinner laid on the table, there I should find what I really wanted, an now it all tied up, that picture scissored out of the gazetta and meeting old Pete like that. For in that other room in a cot was laying gurgling goo goo goo my son. Yes yes yes, brothers, my son. And now I felt this bolshy big hollow inside my ploti feeling very surprised too at myself. I knew what was happening, O my brothers. I was like growing up.

Yes yes yes, there it was. Youth must go, ah yes. But youth is only being in a way like it might be an animal. No, it is not just like being an animal so much as being like one of these malenky toys you viddy being sold in the streets, like little chellovecks made out of tin and with a spring inside and then a winding handle on the outside and you wind it up grrr grrr grrr and off it itties like walking, O my brothers. But it itties in a straight fine and bangs straight into things bang bang and it cannot help what it is doing. Being young is like being like one of these malenky machines.

My son, my son. When I had my son I would explain all that to him when he was starry enough to like understand. But then I knew he would not understand or would not want to understand at all and would do all the veshches I had done, yes perhaps even killing some poor starry forella surrounded with mowing kots and koshkas, and I would not be able, to really stop him. And nor would he be able to stop his own son, brothers. And so it would itty on to like the end of the world, round and round and round, like some bolshy gigantic like chelloveck, like old Bog Himself (by courtesy of Korova Milkbar) turning and turning and turning a vonny grahzny orange in his gigantic rookers.

But first of all, brothers, there was this veshch of finding some devotchka or other who would be a mother to this son. I would have to start on that tomorrow. I kept thinking. That was something like new to do. That was something I would have to get started on, a new like chapter beginning.

That’s what it’s going to be then, brothers, as I come to the like end of this tale. You have been everywhere with your Humble droog Alex, suffering with him, and you have viddied some of the most grahzny bratchnies old Bog ever made, all on to your old droog Alex. And all it was was that 1 was young. But now as I end this story, brothers, I am not young, not no longer, oh no. Alex tike groweth up, oh yes.

But where I itty now, O my brothers, is on my oddy knocky, where you cannot go. Tomorrow is all like sweet flowers and the turning vonny earth and the stars and the old Luna up there and your old droog Alex all on his oddy knocky seeking like a mate. And all that cal. A terrible grahzny vonny world, really, O my brothers. And so farewell from your little droog. And to all others in this story profound shooms of lip-music brrrrrr. And they can kiss my sharres. But you, O my brothers, remember sometimes thy little Alex that was. Amen. And all that cal.

– Êîíåö ðàáîòû –

Ýòà òåìà ïðèíàäëåæèò ðàçäåëó:

Ñó÷àñíà ë³òåðàòóðà êðà¿í, ìîâà ÿêèõ âèâ÷àºòüñÿ

Ôàêóëüòåò ô³ëîëî㳿 òà æóðíàë³ñòèêè... Êðèíèöüêà Íàòàë³ÿ ²ãîð³âíà... Ñó÷àñíà ë³òåðàòóðà êðà¿í ìîâà ÿêèõ âèâ÷àºòüñÿ...

Åñëè Âàì íóæíî äîïîëíèòåëüíûé ìàòåðèàë íà ýòó òåìó, èëè Âû íå íàøëè òî, ÷òî èñêàëè, ðåêîìåíäóåì âîñïîëüçîâàòüñÿ ïîèñêîì ïî íàøåé áàçå ðàáîò: Anthony Burgess. A Clockwork Orange. (British version).

×òî áóäåì äåëàòü ñ ïîëó÷åííûì ìàòåðèàëîì:

Åñëè ýòîò ìàòåðèàë îêàçàëñÿ ïîëåçíûì ëÿ Âàñ, Âû ìîæåòå ñîõðàíèòü åãî íà ñâîþ ñòðàíè÷êó â ñîöèàëüíûõ ñåòÿõ:

Âñå òåìû äàííîãî ðàçäåëà:

Ïåðåäìîâà
Äëÿ ñòóäåíò³â ³íîçåìíîãî â³ää³ëåííÿ ôàêóëüòåòó ô³ëîëî㳿 òà æóðíàë³ñòèêè ÏÄÏÓ ³ìåí³ Â.Ã. Êîðîëåíêà âèâ÷åííÿ ñó÷àñíî¿ àíãëîìîâíî¿ ë³òåðàòóðè ìຠîñîáëèâå çíà÷åííÿ, àäæå ë³òåðàòóðíà òâîð÷³ñòü º âèùèì

Brooke Jocelyn. John Betjeman. – Online at : http://www.ourcivilisation.com/smartboard/shop/brookej/btjmn/.
2) John Betjeman. – Online at : en.wikipedia.org/wiki/John_Betjeman. 3) The Website about John Betjeman. – Online at : www.johnbetjeman.com. 3. On the Movement: The Movem

For further reading
1. Êðóæêîâ Ãðèãîðèé. Ãëàçîê âàòåðïàñà (Î Øåéìàñå Õèíè) / Ãðèãîðèé Êðóæêîâ // Íîñòàëüãèÿ îáåëèñêîâ : Ëèòåðàòóðíûå ìå÷òàíèÿ. − Ì. : Íîâîå ëèòåðàòóðíîå îáîçðåíèå, 2001. − Ñ. 477−486.

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It was a bright cold day in April, and the clocks were striking thirteen. Winston Smith, his chin nuzzled into his breast in an effort to escape the vile wind, slipped quickly through the glass doo

Ýíòîíè Áåðäæåññ. Çàâîäíîé àïåëüñèí.
Ïåð. Â.Áîøíÿêà− Íó, ÷òî æå òåïåðü, à?Òåïåðü ïðåäñòàâüòå ñåáå ìåíÿ, âàøåãî ñêðîìíîãî ïîâåñòâîâàòåëÿ, ñ òðåìÿ koreshami − Ëåíîì, Ðèêîì è Áóãàåì, êîòîðîãî òàê ïðîçâàëè çà òîë

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1. About the Theatre of the Absurd: 1) Culik Jan. The Theatre of Absurd. – Online at : www.arts.gla.ac.uk/Slavonic/Absurd.htm. 2) The Theatre of the Absurd. – Online at : en.wikip

Tom Stoppard. Rosencrantz and Guildenstern Are Dead.
Act Two. HAMLET, ROS and GUIL talking, the continuation of the previous scene. Their conversation, on the move, is indecipherable at first. The first illegible line is HAMLET’s, co

Drama: the main characteristics.
Drama can be divided into serious drama, tragedy, comic drama, melodrama, and farce. Drama differs from other forms of literature in that it demands a stage and performances. It can be enj

Tom Stoppard’s life and plays.
Sir Tom Stoppard (born Tomáš Straussler on July 3, 1937) is an Academy Award winning British playwright. Born in Czechoslovakia, he is famous for plays such as The Real Thing and

Works for the theatre
Stoppard’s plays are plays of ideas that deal with philosophical issues, yet he combines the philosophical ideas he presents with verbal wit and visual humor. His linguistic complexity, with its pu

Work for radio, film, and TV
In his early years Stoppard wrote extensively for BBC radio, in many cases introducing a touch of surrealism. Some of his better known radio works include: If You’re Glad, I’ll Be Frank;

The plot and the synopsis of Rosencrantz & Guildenstern Are Dead.
Rosencrantz & Guildenstern Are Dead is a humorous, absurdist, tragic and existentialist play by Tom Stoppard, first staged at the Edinburgh Festival Fringe August 26, 1966.

The themes of the play
Existentialism − why are we here? Why should Rosencrantz and Guildenstern do anything unless someone asks them to? They find themselves as pawns in a gigantic game of chess,

Literature and Resources
1. About American poetry: 1) Àìåðèêàíñêàÿ ïîýçèÿ â ðóññêèõ ïåðåâîäàõ [Ýëåêòðîííûé ðåñóðñ]. – Ðåæèì äîñòóïà: http://www.uspoetry.ru/poets/2/poems/. 2) Äóä÷åíêî Ì.Ì. ˳òåðàòóðà Âåëè

Harlem: A Dream Deferred
What happened to a dream deferred? Does it dry up Like a Raisin in the sun? or fester like a sore – and than run? Does it stink like rotten meat? or crust and suga

The Supermarket in California
What thoughts I have of you tonight, Walt Whitman, for I walked down the sidestreets under the trees with a headache self-conscious looking at the full moon.In my hungry fatigue, and shopping for imag

Like a Rolling Stone
Once upon a time you dressed so fine You threw the bums a dime in your prime, didnt you? Peopled call, say, beware doll, youre bound to fall You thought they were all kiddin you You u

The open form vs. closed form poetry.
Poetry in the 1950s was under the heavy influence of T. S. Eliot’s often misinterpreted idea of poetry being an escape from self and the Modernist focus on objectivity. Similar to this, and perhaps

Langston Hughes as a representative of the African-American Renaissance. Analysis of Harlem: A Dream Deferred.
Born in 1902 in Joplin, Missouri, Langston Hughes (1902−1967) grew up mainly in Lawrence, Kansas, but also lived in Illinois, Ohio, and Mexico. By the time Hughes enrolled at

Harlem: A Dream Deferred
The noted poet, Langston Hughes, focused primarily on race relations in America during the 1920s and 1930s. Sometimes his poetry is simplistic and degenerates into a nothing more than whining, but

The mastery of rhythm and natural imagery in Theodore Roethke’s poems. The meaning of Waking.
Theodore Huebner Roethke (RET-key) (1908–1963) was a United States poet, who published several volumes of poetry characteri

Waking.
When a poem takes dead aim on the eternal we should not be surprised that it draws many interpretations. Neal Bowers sees the key to the cryptic opening lines of The Waking, and consequently

Robert Lowell’s psychological lyricism.
Robert Lowell (1917–1977), born Robert Traill Spence Lowell, IV, was an American poet whose works, confess

The main ideas of The Supermarket in California.
Allen Ginsberg (1926−1997) was born in Newark, New Jersey, on June 3, 1926. The son of Louis and Naomi Ginsberg, two

Rock-poetry as a cultural phenomenon.
Rock is a form of popular music with a prominent vocal melody accompanied by guitar, drums, and often bass. Many styles of rock music also use keyboard instruments such as organ, p

Playing with the MEANINGS of words
Simile: a comparison using “like” or “as.” Ex. He’s as dumb as an ox. Metaphor: a direct comparison. Ex. He’s an zero.

Playing with the IMAGES of words
Imagery: the use of vivid language to generate ideas and/or evoke emotion via the five senses. Examples: · Sight: Smoked mysteriously puffed out

The life and poetry of Jim Morrison. The main ideas of People Are Strange.
James Douglas Morrison (1943–1971) was an American singer, songwriter, writer, and poet. He was best known as the lead singer and lyricist of the popular American rock band The

James Baldwin. Sonny’s Blues.
I read about it in the paper, in the subway, on my way to work. I read it, and I couldn’t believe it, and I read it again. Then perhaps I just stared at it, at the newsprint spelling out his name,

James Baldwin’s biography and major works.
James Arthur Baldwin (August 2, 1924–November 30, 1987) was a novelist, short story writer, playwright, poet, and essayist,

The plot overview.
“Sonny’s Blues” is narrated in the first-person by an unnamed character, Sonny’s brother. An algebra teacher in a high school in Harlem, this narrator is a stable family man with a wife and two son

The socio-historical setting of Sonny’s Blues and characterization of brothers within that context.
a. Growing up in Harlem: “Sonny’s Blues” takes place during the mid-20th century, probably during the early 1950s. The action of the story occurs prior to the g

The characterization.
Like with so many other stories, in “Sonny’s Blues,” the dramatic action mainly concerns the characters’ changes or lack of them. The character changes in “Sonny’s Blues” are particularly interesti

The imagery.
Following a story’s prevailing imagery can help us to understand an author’s focus or concerns. A story can have a pattern of recurring imagery as well as sentences which describe in figurative or

The themes.
A story’s themes are best and most specifically expressed as complete sentences. Thus, rather than saying “one theme of Sonny’s Blues is suffering” or even “coping with suffering” we should

The biography and works of Richard Bach.
Richard David Bach (b. June 23, 1936, Oak Park, Illinois) is an American writer. He claims to be a direct descendant of Johann Sebastian Bach. Richard Bach is widely known as the a

The seventies: the social context of his works.
Following the social cataclysm of the 1960s and the Vietnam War, Americans turned inward − initiating a decade of “self-help” and healing that some critics have called the “Me decade.” Richar

The main aspects of New Age philosophy and cosmology
Theism There is a general and abstract idea of God, which can be understood in many ways; seen as a superseding of the need to anthropomorphize deity. Not to be confused with panth

Religion and science
Eclecticism New Age writers argue people should follow their own individual path to spirituality instead of dogma. Anti-patriarchy Feminine forms of spiri

The plot of Jonathan Livingston Seagull.
The novel tells the story of Jonathan Livingston Seagull, a seagull who is bored with the daily squabbles over food and seized by a passion for flight. He pushes himself, learning everything he can

The main themes and symbols.
Several early commentators, focusing mainly on the first part of the book, see it as part of the American self-help and positive thinking culture, epitomized by Norman Vincent Peale and by the New

Ursula Le Guin. She Unnames Them
  MOST OF THEM ACCEPTED NAMELESSNESS with the perfect indifference with which they had so long accepted and ignored their names. Whales and dolphins, seals and sea otters consented wi

The appearance of soft science fiction.
Hard science fiction is a category of science fiction characterized by an emphasis on scientific or technical detail, or on scientific accuracy, or on both. The term was first used

The main themes of her books.
As it was mentioned abovethey areTaoist, anarchist, feminist, psychological and sociological themes. Much of Le Guin’s science fiction places a strong emphasis on

Changing the fantasy canon: Earthsea series.
The world of Earthsea is one of sea and islands: a vast archipelago of hundreds of islands surrounded by uncharted ocean. It is uncertain wh

The feminist aspects of She Unnames Them.
“She Unnames Them” is a mâshâl (mâshâl − a Hebrew word for a linguistic construct like a parable, satire or prophecy, but in the ancient

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