Eliot is a poet who exemplifies it, where they throw so much at you, so many images and so many pictures that are all individually beautiful, not necessarily interconnecting, but they just come at you and they come at you, and all the way through it your head is spinning, and you think, 'oh, I'm not understanding this, why am I not understanding this, am I stupid? You're left with something beautiful. And when one will mention that book to you or that poem to you that story to you, then this beautiful thing, indescribable, intangible, image which you have drawn out of all that comes into your mind.
Are we going to die? Remember, you won't get little tags so you know who's speaking, it'll all just be strung out in a line without differentiation.
Then they wander around for a bit or run from crazy people, and we finally get the cap to the conversation: Why did terrible thing just happen? Stares off in silence Son: Nor does it seem to make much sense. The characters are always together, each the other's sole companion: McCarthy never demonstrates how such a disconnect arose between two people who are constantly intimate and reliant on one another.
But then, McCarthy confided to Oprah that the is book about his relationship with his own son, so it makes sense why the emotional content is completely at odds with the setting.
The boy is constantly terrified, and his chief role involves pointing at things and screaming, punctuating every conflict in the book, like a bad horror film. Cannibals and dead infants are an okay if cliche place to start when it comes to unsettling the reader, but just having the characters react histrionically does not build tension, especially when the characters are too flat to be sympathetic in the first place.
Another Creative Writing lesson: It's the literary equivalent of a laugh track. A child not screaming when he finds a dead infant. The young boy has never known another world--his world is death and horror. And you know what would make a great book?
A father who remembers the old world trying to prevent his son from becoming a callous monster because of the new one. The characters never grow numb to it, they never seem to suffer PTSD, their reactions are more akin to angst.
Every time there is a problem, the characters just fold in on themselves and give up. People really only do that when they have the luxury of sitting about and ruminating on what troubles them.
There is no joy or hope in this book--not even the fleeting, false kind. Everything is constantly bleak. Yet human beings in stressful, dangerous situations always find ways to carry on: Apparently, McCarthy cannot even think of a plausible reason why human beings would want to survive.John Rawls; Born: John Bordley Rawls February 21, Baltimore, Maryland, U.S.: Died: November 24, (aged 81) Lexington, Massachusetts, U.S.: Alma mater.
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