Word: charactersã
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...novels complete success. Ellroy’s desire to account for almost every day in the book’s nine-year time span causes the narrative to drag, and because of the novel’s extreme length, readers not completely invested in the minute details of the characters?? lives will find themselves struggling at times to keep reading...
...Petrov weave the story of the citizen’s crimes of stupidity with anti-Soviet sentiments, and they deftly use their cast of criminals to get away with it. The instant satisfaction of the characters?? crimes and the rapid dissolution of the rewards therein stand as an allegorical base for the Bolsheviks, who took power only six years before “The Golden Calf” was written. Through the use of undesirables and thieves, the authors are free to digress about their dream of capitalism’s return. The introduction of cremation...
...knowing that they are about to go horribly wrong, by the end of the play both the characters and the audience have managed to find some truth—both the basic discoveries of who loves whom and about relationships generally. The audience is left with questions about the characters?? intentions, about the meaning of a sigh or a slammed door, but this is as it should be. Chainey’s story is ultimately successful, and deserves to be performed and interpreted elsewhere...
...creative control in praising the show’s structure: “What’s interesting is that the songs are all very different, unique, and identifiable, but somehow [Sondheim] managed to weave a story from them.” The cast consists of only five, unnamed characters??a young couple, an older couple, and a mysterious observer—who convene for one night at a penthouse cocktail party. There’s little dialogue. Single words, spoken by the observer, motivate the transitions from song to song. Fortunately, every actor in the cast...
...themselves written by one another in turn, defined as characters within each others’ dramas. And throughout the text—or perhaps texts—author and creation become blurred beyond distinction. Christensen’s book collapses the so-called fact and fiction that separate the characters?? interior and exterior spaces. Like Sampel and Azorno, the five women—four of them claiming to be lovers of the author/protagonist and one of them his wife—are not quite interchangeable. Each possesses her own subtleties of speech, and yet they are constantly interchanged...