Despite narrating a personal experience, Charles Marlow fails to “throw a kind of light” on the inciting incident of his story. Rather, he resolves “not to disclose” the specifics of the “ominous something” which pervaded the “atmosphere” of the “waiting room”, despite now knowing exactly that which would later manifest from it. Such foreboding allusions…… Continue reading Pseudo-Psychics and Knitting Yarns: On Fate in Joseph Conrad’s “Heart of Darkness”
Amidst the “mendacity” and fragility of his life, Brick, deuteragonist of Tennessee Williams’s Cat on a Hot Tin Roof, faces immurement by the figurative hands of his marriage. This is not out of a lack of love for Margaret, however, but for a discontent with the way in which she treats him. For Margaret sees…… Continue reading Familial Flaws in Tennessee Williams’s “Cat on a Hot Tin Roof”
Penalty rates, first implemented in Australia in 1947, have long comprised monetary compensation for business workers undertaking shifts on Saturdays and Sundays. Only recently, however, prime minister Malcolm Turnbull has proposed a legislation that would cut these weekend-specific wages – as a result, Australian journalists have scrambled to their keyboards in the race to assault…… Continue reading Penalty Irate: A Study on Persuasive Language Techniques as used by Australian Journalists
It is the uneducated utterance of “them Indan drawrings” that first suggests a cultural divide within the otherwise idyllic “stony landscape” and “stiff-branched mountain mahogany” of Annie Proulx’s Wyoming ranges. That the “old man” – Mero’s father – cannot be less concerned with learning the correct pronunciation of the word ‘Indian’ implies a possible apathy,…… Continue reading Post-Colonial Colloquialisms: On Annie Proulx’s “The Half-Skinned Steer”
End of the trial: I lie flat onto judgement. And now, my sentence.
The ostensible antagonist of Mary Shelley’s Frankenstein – the Creature whose life Victor initiates – is compelled into committing violent acts under the false belief that doing so will allow him to assimilate into humankind. Rejected as he was by Victor from the moment of his ‘birth’, the Creature seeks, with humility, a society which…… Continue reading A Brief Summary of the Creature’s Motivations in Mary Shelley’s “Frankenstein”
Mary Shelley’s gothic horror, Frankenstein, thoroughly delves into the concept of ‘man playing God’, as can be seen through both the inner dialogue and actions of the protagonist, Victor. To Victor, God’s omnipotence is not beyond mankind, but rather a force that can be understood, harnessed, and then transcended by means of science. Thus, Victor…… Continue reading A Brief Summary of the Delusions of Grandeur Presented in Mary Shelley’s “Frankenstein”