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I've got to do a plan but I have no idea what the essay's supposed to be like.
Our teachers been off ill for a few weeks so I don't have a clue!
The topic of the essay is a chenge in a character and the book is "Shipwrecks" by Akira Yoshimura.
Thanks
Our teachers been off ill for a few weeks so I don't have a clue!
The topic of the essay is a chenge in a character and the book is "Shipwrecks" by Akira Yoshimura.
Thanks
Page:
I did Flowers For Algernon as my PS thanks to the advice of a certain Azul-like creature, and didn't do any work on it until about this time last year, and we did our essay a week later.
I failed. But, all I had to do was show some of the authors style, ie. the way he shows the change in character through the book.
'twas urine-easy, you really don't have to worry about it all taht much anyway.
Just make a note of stuff on each page, it'll take 3 or 4 days, memorise important bits, and then write it all out.
I didn't write a thing about the love interest in the story, which basically is the most important part in shoing the change in Charley, and I still managed a pass.
So, yeah, don't worry. Truely.
I failed. But, all I had to do was show some of the authors style, ie. the way he shows the change in character through the book.
'twas urine-easy, you really don't have to worry about it all taht much anyway.
Just make a note of stuff on each page, it'll take 3 or 4 days, memorise important bits, and then write it all out.
I didn't write a thing about the love interest in the story, which basically is the most important part in shoing the change in Charley, and I still managed a pass.
So, yeah, don't worry. Truely.
Hahahaha
He googles it and he gets the wrong book.
:-D
[Edit: and you said you'd given it a quick read, you stupid lying bas!]
He googles it and he gets the wrong book.
:-D
[Edit: and you said you'd given it a quick read, you stupid lying bas!]
I just googled it.
I didn't read nuffin, guvnor.
Assumed it might be useful.
I didn't read nuffin, guvnor.
Assumed it might be useful.
What book was that you read Paradox, cuz it certainly isn't shipwrecks - thanks anyway.
"Thanks for g00gling it, n00b!"
You're so frickin gracious.
"thanks for writing me it 'dox"
"You r0xors 'd0xors"
"generic name coinage"
PAH! I spit at you.
"thanks for writing me it 'dox"
"You r0xors 'd0xors"
"generic name coinage"
PAH! I spit at you.
No it's not.
They ask for the personal studies of some random people in the school, not all of them.
And it needs to be at least 1200 words, so that's too short.
They ask for the personal studies of some random people in the school, not all of them.
And it needs to be at least 1200 words, so that's too short.
He can "sample" it though.
I officially make it royalty-free.
I officially make it royalty-free.
He won't really be able to just copy that though because the personal study essay is put forward to the exam board at the end of the year.
I read the book quickly and now offer you this:
Akira Yoshimura tells a clever and detailed tail of a man who becomes paroled from a life prision sentence and now must learn to reconnect with the outside world. Yoshimura lets the reader ponder and wait through many pages before you find out why this seemingly gentle mannered former school teacher named Kikutani obtained a life sentence in prison. I enjoyed this element of suspense and found it continued throughout the book making it not only clever but compelling. Certainly, knowing that this book is a japanese translation, you still get a distinct flavor not only for the author and his style but the japanese culture through the eyes of Kikutani. Kikutani is a character that the reader neither totally likes nor dislikes. The story unfolds through his experience reintegrating his life back into society. His fears are sometimes suprising. And, I wonder if the severe embarrassment of his crime and punishment is enhanced by the japanese culture itself and the distinct element of privacy. The attention to detail lets the reader explore this culture through Kikutani''s eyes. We see his transformation in the story including the reader''s almost shocking discovery that he has absolutely no remourse for his crime. All this leads to a very satisfying ending only because it fits with the story. Yoshimura is one of the premier authors in Japan, which attracted me to this book, and this is an excellent sample of his work, which is precise, detailed, clever and distinctive.
This provocative novel from prolific Japanese author Yoshimura is only the second of his works to appear in English. The story follows a middle-aged Shiro Kikutani, who after 16 years in prison for an initially unspecified crime, is paroled and released into a Tokyo which has changed almost beyond his comprehension. For the first 100 pages or so, the reader is treated to an almost anthropological examination of his transition from the simple, regimented life in jail to a new chaotic life in the scary outside world with its myriad of options and outrageous (to him) prices. With the aid of two very humane parole "officers", he slowly starts to build a normal life with his own apartment and a job at an egg processing plant. One element that will be interesting to the American reader is the level to which being an ex-con is a stigma in Japanese society-Kikutani lives in fear that someone will discover his past and thus makes no friends. Similarly, he must stay away from his brother and his former hometown because of the shame of his crime. Another interesting element is the role of his two parole officers, who act as civilian counselors or mentors rather than the standard representative of American law enforcement. Yet, while they are clearly benevolent, they are almost Orwellian in their knowledge of his affairs, which makes Kikutani question the true nature of his new freedom.
Meanwhile, Kikutani finds that he is not in the least bit remorseful for his crime-which is alluded to, but not detailed until page 110 or so. Thus the central theme of the novel is brought forth: whether redemption can occur without true remorse and forgiveness. Yoshimura muddies Kikutani''s case by casting him as a respected member of society (a teacher), who commits a crime that is understandable if not conscionable, but in an ambiguous approach. Kikutani attempts to revisit places from his past in his quest to understand himself and how he became a murderer, and what it all means, but cannot find solace or aid, leading to a tragic and fatalistic ending. The book''s tone is not unlike Yoshimura''s other two translated novels, Shipwrecks and One Man''s Justice, check those out as well.
I liked this book very much. It appealed strongly to my emotions and to my intellect, and it stayed with me long after I finished the final chapter.
What is the nature of justice? What are the limits of freedom? What is the value of human life? Why do we find some murders less reprehensible than others and punish them with lesser sentences? When rehabilitation works, who deserves the credit? Who is responsible when it fails? How do we create our own prisons out of our past experiences? These are just some of the questions that the book raised for me. They are not questions with easy answers and, thankfully, the author does not offer any.
What Yoshimura does offer is a well-written story about Kikutani, a paroled murderer trying to adjust to life outside of prison and a freedom that is limited by the law and by himself. At many times I felt a tension between sympathy for Kikutani and disturbance by some of the things he does and thinks. The writing is excellent, and the author presents many provocative images. One of my favorite images is that of Kikutani caring for fish in an aquarium, much like his parole officer takes cares of him. As we notice the similarities between Kikutani and his fish in their worlds restricted by glass or invisible attitudes, we are invited to think about the restrictions of the parole officer''s world and of our own. Another part that resonated with me was the loneliness and feeling of separation that Kikutani felt when he returned to a favorite place from his childhood and found it barely recognizable. In these ways and many others, I found Kikutani''s story deeply moving and fascinating.
Akira Yoshimura tells a clever and detailed tail of a man who becomes paroled from a life prision sentence and now must learn to reconnect with the outside world. Yoshimura lets the reader ponder and wait through many pages before you find out why this seemingly gentle mannered former school teacher named Kikutani obtained a life sentence in prison. I enjoyed this element of suspense and found it continued throughout the book making it not only clever but compelling. Certainly, knowing that this book is a japanese translation, you still get a distinct flavor not only for the author and his style but the japanese culture through the eyes of Kikutani. Kikutani is a character that the reader neither totally likes nor dislikes. The story unfolds through his experience reintegrating his life back into society. His fears are sometimes suprising. And, I wonder if the severe embarrassment of his crime and punishment is enhanced by the japanese culture itself and the distinct element of privacy. The attention to detail lets the reader explore this culture through Kikutani''s eyes. We see his transformation in the story including the reader''s almost shocking discovery that he has absolutely no remourse for his crime. All this leads to a very satisfying ending only because it fits with the story. Yoshimura is one of the premier authors in Japan, which attracted me to this book, and this is an excellent sample of his work, which is precise, detailed, clever and distinctive.
This provocative novel from prolific Japanese author Yoshimura is only the second of his works to appear in English. The story follows a middle-aged Shiro Kikutani, who after 16 years in prison for an initially unspecified crime, is paroled and released into a Tokyo which has changed almost beyond his comprehension. For the first 100 pages or so, the reader is treated to an almost anthropological examination of his transition from the simple, regimented life in jail to a new chaotic life in the scary outside world with its myriad of options and outrageous (to him) prices. With the aid of two very humane parole "officers", he slowly starts to build a normal life with his own apartment and a job at an egg processing plant. One element that will be interesting to the American reader is the level to which being an ex-con is a stigma in Japanese society-Kikutani lives in fear that someone will discover his past and thus makes no friends. Similarly, he must stay away from his brother and his former hometown because of the shame of his crime. Another interesting element is the role of his two parole officers, who act as civilian counselors or mentors rather than the standard representative of American law enforcement. Yet, while they are clearly benevolent, they are almost Orwellian in their knowledge of his affairs, which makes Kikutani question the true nature of his new freedom.
Meanwhile, Kikutani finds that he is not in the least bit remorseful for his crime-which is alluded to, but not detailed until page 110 or so. Thus the central theme of the novel is brought forth: whether redemption can occur without true remorse and forgiveness. Yoshimura muddies Kikutani''s case by casting him as a respected member of society (a teacher), who commits a crime that is understandable if not conscionable, but in an ambiguous approach. Kikutani attempts to revisit places from his past in his quest to understand himself and how he became a murderer, and what it all means, but cannot find solace or aid, leading to a tragic and fatalistic ending. The book''s tone is not unlike Yoshimura''s other two translated novels, Shipwrecks and One Man''s Justice, check those out as well.
I liked this book very much. It appealed strongly to my emotions and to my intellect, and it stayed with me long after I finished the final chapter.
What is the nature of justice? What are the limits of freedom? What is the value of human life? Why do we find some murders less reprehensible than others and punish them with lesser sentences? When rehabilitation works, who deserves the credit? Who is responsible when it fails? How do we create our own prisons out of our past experiences? These are just some of the questions that the book raised for me. They are not questions with easy answers and, thankfully, the author does not offer any.
What Yoshimura does offer is a well-written story about Kikutani, a paroled murderer trying to adjust to life outside of prison and a freedom that is limited by the law and by himself. At many times I felt a tension between sympathy for Kikutani and disturbance by some of the things he does and thinks. The writing is excellent, and the author presents many provocative images. One of my favorite images is that of Kikutani caring for fish in an aquarium, much like his parole officer takes cares of him. As we notice the similarities between Kikutani and his fish in their worlds restricted by glass or invisible attitudes, we are invited to think about the restrictions of the parole officer''s world and of our own. Another part that resonated with me was the loneliness and feeling of separation that Kikutani felt when he returned to a favorite place from his childhood and found it barely recognizable. In these ways and many others, I found Kikutani''s story deeply moving and fascinating.
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