On 08/26/16 at 3:16pm, I Deputy Warden N. Christian was dispatched to 2454 Northem Court on two dogs at large no known owner. I arrived at location and spoke to complainant Charles Kinsey. Mr. Kinsey stated that two dogs came on his property, he is not aware of who owns the dogs. The dogs were in Mr. Kinsey fenced in backyard. I used my snare pole to take control of both dogs and place them in my van. Both dogs had red collars on them with dog owner Frank Banks contact information on it. Mr. Banks was contacted and advised that Franklin County Animal Care and Control (FCACC) had his dogs. Mr. Banks met me at FCACC Shelter to reclaim his dogs. Mr. Banks was unable to show proof of dog licenses or vaccinations for either dog. I issued…
During this novel, which takes place inside a mental institution, the setting is described as “a factory for the combine” (Kesey 32) where people are taken in and “repaired”. These industrial metaphors continue throughout the first part of this story.…
One chapter in the book, “How to Tell a True War Story,” forces the reader to start paying thorough attention. In this chapter, Tim opens up with a story of Rat Kiley and the letter he wrote to Curt Lemon’s sister after Lemon died. After that, O’Brien proceeds to tell the story of exactly how Curt died. O’Brien writes, “When he died it was almost beautiful, the way the sunlight came around him and lifted him up and sucked him high into a tree full of moss and vines and white blossoms (70).” Throughout the chapter Tim repeats the story while adding and removing details of what happened. Also, in between each story Tim tries to explain the difference between a true story and a fake one. This part of the book is where “metaficion” takes part. Tim forces the reader to decide which parts of the stories are true, and which parts are just fictions. Tim wants the reader to know that in most true war stories, the story is not completely true. Instead, false details are added in order to try and get the true point of the story across. This is also emphasized in the chapter “Good Form.” Tim writes, “I want you to feel what I felt. I want you to know why story-truth is truer sometimes than happening-truth (179).” In this chapter, O’Brien explains to the reader why it is necessary to have a difference between “story-truth” and “happening-truth.” These chapters in the book have the greatest impact on the reader. Not only is the story told well, but the placement of these chapters has a great effect on the reader. The reader is now left questioning not only everything that will be read in the rest of the book, but also everything that has been read up to that…
“Sometimes a manipulator’s own ends are simply the actual disruption of the ward for the sake of disruption” (27; pt.1). In One Flew the Cuckoo’s Nest, Ken Kesey shows us the different sides of the id, ego, and superego. Although Ken Kesey differentiates in the subconscious forces of the mind within the characters, they are all affected by the combine.…
Ken Kesey creates a forthright and rather atrabilious tone in the passage. Without hesitation Bancini’s despondent abandonment of “trying” is exemplified in the repetitive lines “I am tired” as well as the more obvious “I have given up”. The anaphoric repetition of “I” conveys Bancini’s daily inner torment dealing with his mental illness and is contrasted in an antithesis manner with the addition of “You have chances. You have it easy.” This is a direct contrast between neurodiverse and neurotypical individuals. Asyndeton is also applied to contrast short choppy phrases with slightly longer ones. Utilizing the metaphors “I was born a miscarriage” and “I was born dead”, Kesey is able to describe Bancini’s belief that he is useless to experience…
This essay will discuss how the texts , One Flew Over the Cuckoo’s Nest written by Ken Kesey and Dead Poet’s Society by Tom Schulmen, both explore similar ideas in different ways. These are through the use of the different plots, how the setting is shown, the contrasts of antagonists and the similarity and differences of the oppressed characters.…
By using a logical yet strong language for his description the author presents his characters more closely to the reader in a way that they relate to the real picture being grasped by the reader. For instance; Louisa Mae Cardinal, being the principal subject of the novel is depicted as a girl who was ever curious, strong in spirit and engaging. These attributes are innately ascribed to her father whom she seems to be a replica of. Consider the fact that, Louise had an innate believe that, the land held secrets that…
Pain. Power. Control. In Ken Kesey’s classic American novel The One Who Flew Over the Cuckoo’s Nest these themes of pain, power, and control, are intertwined and juxtaposed with femininity. Linguistic techniques combined with idiosyncratic use of character development lead the reader to simultaneously see womanhood as inadequate and manipulative. Kesey’s…
Perhaps one of my favorite parts of the reading comes from the very beginning of the passage after the description of a nucleus. Creating a setting that can only creating a setting that only could be described as the aftermath of war: pain, destruction, regret, innocence, and unknown. This paragraph set the tone for the entire passage because not only does it introduce the topic of war and its horrors but establishes an emotional aspect because the world once through a young girl’s eyes changes at the realization of what laid at her home a few blocks down. The progression and anticipation of what will come next leaves Griffin’s audience wanting to learn more.…
The author, Seamus Deane, discusses the two greatest pieces that stood out and impacted his own writing style. He does so not by just writing down what exactly changed his mind, but rather presenting his two encounters and the following reactions.…
The overall impression of the passage is that of unbearable noise and violence. The literary devices used in the passage show strong imagery, as well as appealing to the senses, by using many sensory details. Crane uses diction to convey to readers just how loud and unstructured war really…
• What is the author’s lexicon like and how does this reflect the novel’s elements?…
My theory states that the unconscious is something very deep. We as individuals do not understand what is all going on in our unconscious. We can uncover parts of ourselves that we may not have known about, but we will never be able to know or understand everything about ourselves. I believe that the unconscious is a positive reinforcement that keep us going in our daily lives. There are times we get depressed, some more than others, yet we are able to try and seek help or push through day to day. No matter how bad we know we feel we still fight.…
The descriptive nature of this passage also builds on characterisation. Dave ‘got an idea’, ‘Andy usually put Dave’s theories into practice’ and Jim sat on the sidelines critiquing both of the above. The idea of mate ship between the key characters is also developed ‘a formidable bomb - but Andy and Dave wanted to be sure’.…
... is a form that is not merely like a novel. It consumes devices that happen to have originated with the novel and mixes them with every other device known to prose. And all the while, quite beyond matters of technique, it enjoys an advantage so obvious, so built-in, one almost forgets what power it has': the simple fact that the reader knows all this actually happened. The disclaimers have been erased. The screen is gone. The writer is one step closer to the absolute involvement of the reader thatHenry James and James Joyce dreamed of but never achieved.[19]…