His experiences in learning French in paris, which occupy most of part deux, have to do much with engaging the reader. For instance, during one of the conversation with his French teacher, he would often replace words that he does not understand with inane syllables or letters, placing the readers in his position. “ If you have not meimslsxp or lgpdmurct by this time, then you should not be in this room. Has every apzkiubjxow? Everyone? Good, we shall begin” (Sedaris, 167). These scrambled words signifies his lack of understanding of the language and his way of engaging the readers. Similar examples involve proposing dreadful grammar. Thanks to his harsh teacher, he huddles in the hallways with his classmates and express his sorrow: “Sometimes me cry alone at night” (Sedaris, 172). These variations are what shape the author’s stylish writings-- albeit it doesn’t make much sense-- and distinguish him from those of other
His experiences in learning French in paris, which occupy most of part deux, have to do much with engaging the reader. For instance, during one of the conversation with his French teacher, he would often replace words that he does not understand with inane syllables or letters, placing the readers in his position. “ If you have not meimslsxp or lgpdmurct by this time, then you should not be in this room. Has every apzkiubjxow? Everyone? Good, we shall begin” (Sedaris, 167). These scrambled words signifies his lack of understanding of the language and his way of engaging the readers. Similar examples involve proposing dreadful grammar. Thanks to his harsh teacher, he huddles in the hallways with his classmates and express his sorrow: “Sometimes me cry alone at night” (Sedaris, 172). These variations are what shape the author’s stylish writings-- albeit it doesn’t make much sense-- and distinguish him from those of other