Literary Form Essay What Is A Explanatory Essay

The immediate answer is that we should study the many writers who, over decades, have taken steps and shown us many ways to do this.* My style is—or should I say styles are—shaped in part by modernism and its capacity not just to depict, but capture the flow of and embody consciousness, and yet I can say about all my writing that, like our contemporary society, it is also the product of postmodernism, with its emphasis on portraying overlapping and at times seemingly incommensurate realities.In the absence of or with a deficit in the other major components of fiction, style alone is usually not enough for a work longer than 100 pages, though there are, as always, exceptions.

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I accepted that there was a particular set of styles the US literary world found acceptable, and not only did I not want to conform to them, I found it hard to do so even when I tried. What happens when we consider how one template for now-dominant literary styles, emphasizing craft and de-emphasizing politics, that are taught in many—most?Are there styles and stylistic approaches we might label more ethical or less, and if so, why?Or might another way to speak of the ethics of style be to raise questions not just of historicity and genealogy, but also of the truth(fulness) of representations in relation to a given narrative?No style is solely the product of a given author, but a conversation with and response to a vast network of styles that preceded, parallel and follow that of the author. * Vivid literary style that overpowers content is a plain metal coat rack heavily festooned with a basement’s store of holiday ornaments; powerful content with inadequate style is a giant evergreen onto which someone has attached a few strands of Mardi Gras beads, strips of paper and a couple of Post-Its.The author is not dead, Roland Barthes, but no author ever truly writes alone. Even when you write against your usual tendencies, the imprint, however faint, may press through. We judge a work of art by its effect on our sincere and vital emotion, and nothing else. In fact, one of my first published stories heavily mimics his style, particularly his use of clauses connected by commas. In both cases, we are still compelled to look, even if momentarily.If modernism ushered in access to a grasp of human psychology that prior prose authors lacked—yet many nevertheless figured out how to represent the human mind and its complexities to readers—postmodernism and its heirs have opened a window onto the complex ontologies in which we live and move today.* “You can’t think the same way after you read a certain voice.” –Toni Morrison, “Interview with Angela Davis” * When I was younger, some years before I published my first book, , I struggled against unwritten stylistic expectations I had internalized over the years.I believe I nodded and planned to ask him more about this, but people approached both of us, and I made a mental note to contact him about it.I don’t think he was being critical as much as make a comment about a shift in styles he noticed.No style stands outside the history in which it emerges, or outside the political, social and cultural context in which the author deploys it. Books, comics, newspapers, magazines, films, TV shows, the radio, records. Yet I also adore and often return to writers for whom style, while compelling, polished and influential, is sometimes less obvious or overt, at times shifting and recalibrating within and across texts, according to the demands of the narrative at hand, resonating indelibly with the work’s content: Willa Cather, Toni Morrison, Angela Carter, Toni Cade Bambara, Paule Marshall, Ursula K. Delany, Alice Munro, Sarah Schulman, Edwidge Danticat, Tayari Jones, Bernardine Evaristo, Chris Abani, Jeffrey Renard Allen, and Bhanu Kapil, to name a few.The further outside history and context we perceive a style to be, the more likely we are to call it antiquated, anachronistic, unusual, unique, alienated, a failure, forward-looking. Jazz, R&B, rock & roll, pop, hip hop, punk, House, classical and art musics. Later self-taught Esperanto, Portuguese and Spanish, other languages, snippets, texts in other languages. Le Guin, Leslie Marmon-Silko, Juan Goytisolo, Julia Álvarez, Maryse Condé, Christine Brooke-Rose, J. Interestingly, to me at least, the first group are nearly all male writers, while the second includes many women and writers of color.

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