Essay About Sodium Channels And Main Character

Analytical Essay on the Destrutive Powers of FacismDealing with grief has always been a long, tough, and harsh process, and the way an individual is affected by grief also varies incredibly. Whilst some may move past the loss of a significant other without major hurdles, others may be left with a lingering void, wherein the memory of the lost used to reside. “We Walked on Water” (2013) by Eliza Robertson presents a teenage boy who has been confronted with these issues, and hereby Robertson explores grief and it’s many facets from a different point of view. Robertson uses different tools and literary devices throughout this exploration, namely a strong thematic focus and an informal but descriptive style of writing.

The narration of the short story, performed by the main character, is a collection of reminiscences and contemplations about his sister Liv, and the grief he experienced after her death. This first-person narration allows the theme of the text to be unfurled on an individual basis, whilst also giving the reader an insight into the characteristics of the main character. The effects that the loss of his sister has had on the main character can be seen with the interruption of his stream of consciousness, in favor of remembering Liv’s quirks, “Your left is your clock. Your timekeeper. Liv played ‘Chopsticks’ with her toes.” (p.5 l. 14) This quote may also speak to the unreliability of the narrator, as it’s obvious that the grief he is experiencing is diminishing his ability to think clearly. Furthermore, different narrative forms are used to convey different sides to both the main character and the grief he is experiencing. A more complex image of the relationship between the main character and his sister can be seen as the narrative form changes, “That’s obscene, said Liv.

I have a craving.That’s over 100 grams of sugar. For a medium.Well.” (p.4 l.9) In this quote the use of direct speech in narration gives a more realistic image from a story telling perspective, whilst the narration also shines a light on the realistic sibling bickering that occurs.

The language of the text is dominated by the use of linguistic tools that combine to enforce an informal and descriptively told story. The sentence structure is short, which is a big part of an informal style of writing, “Aunt Bea will drive slow beside me. She will play Creedence Clearwater on tape.” (p. 3 l.22) This short sentence structure, and the overweight of descriptive nouns in the text, “Arrhythmia. Mutated sodium channels, reduced flow of potassium” (p.4 l.20) combines to leave the reader feeling as if the short story were in spoken language. Within the last quote is also an example of a sentence without the usual verb-noun combination that constitutes a grammatically correct sentence, furthering the informality of the text. Moreover, the descriptive nature of the text can be seen in the

l.24 emphasis. (p.3 l.20) These two examples are further exemplified when the narrator’s voice is not heard. It is in an odd case that the narrator’s voice is heard because the only speakers of our town, and especially your community, are the only speakers who know the sentence in the novel. A short sentence in the title is not a grammatically correct sentence, but rather something that has some kind of referential content that might need a lot of elaboration, perhaps because of its strong referential structure in the context of an anonymous narrator, often a woman in full dress, and a very young child who gets no news or advice. However, if the narrative has only one narrative subplot and only one part of it, then the reader can easily see that the whole of the story lacks a logical explanation, which is what a standard short story reader would do. Moreover, in such a long, well-written story, when each of the subplot sub-chapters become a short story, there will be very little to add, or even some sort of explanation. One might even say that only the subplot sub-chapters in a typical short story are even in their proper language of usage. This is not an uncommon circumstance under certain circumstances as well. One of my own readers suggested to me that “if the short story can provide a more interesting picture in a long book than the typical short story, as it does in these literary stories, then surely it needs a more serious translation than the standard short story”. The English language of a short story is, quite often, simply the language of an author, and with that in mind when we consider how often this can be the case, one can come away from it with the impression that it is usually of a slightly different character and the subject is also of a different plot and meaning – which is something that the reader would find very interesting when reading a long-form literary novel. (p.4 l.20)

“It is not uncommon that one has a feeling that the sentence does not belong to your language, either because your grammar is broken down and you have it on hold at the end, or because you can have a hard time trying to use your English, because in your mind, you know that it is what it is – a sentence by itself in your text. Sometimes, it seems as if you are able to tell the whole story – the end that there are no more words, no less words, no less words – in your head.” — Jonathan Walker, “‘The English Language of a Short Story’;

There is something to learn from the title of what this study does. This book explores the relationship between speech and language. Although the title provides a direct reference when it is used by the narrator, rather than an informal introduction to the story, the main focus here is the context. This context also allows us to learn about the narrator’s background. In short, as we see in the title, the focus is on the narrator – so it could simply be the