Sentences with phrase «person narrator of»

Jack, the first - person narrator of Anya's story, is a record producer during the 1970s in New York; you can virtually smell the cigarette smoke on his breath as he sighs for her.

Not exact matches

But the ideal first - person narrator always speaks in some sense from beyond the grave of his own character, and Mailer's resurrected Jesus» relating «The Events Leading Up to My Execution»» may be the purest possible literary solution.

Instead, four people are left murdered by the narrator himself, who feels not a twinge of remorse for what he has done.

It is the only first - person novel written from the perspective of a mad narrator that is truly, wholly, and terrifyingly convincing as a portrait of deep psychosis.

«You knew that you were not a violent Trotskyist,» declares the second - person narrator, the chiding voice of conscience.

In place of a clumsy exposition scene, Updike's narrator has Rabbit recall, at surprisingly appropriate times, the myriad events, people and places that shaped his life.

«UB 2020: One example of the good things that can happen when one independent senator puts people first, not politics,» says the ad's narrator, who emphasizes the word «independent.»

The narrator neglects to mention, of course, some of the ostensibly insignificant issues confronting British people at the time, such as the absence of workers» rights, child labour, slum housing and mass poverty.

But as he went on it became sort of more and more heavy and more and more and strain, and finally in the last sentence he said that the narrator of this review, the persona that he was putting on said, that Martin Gardner occasionally writes reviews under pseudonyms and one of the pseudonyms that he uses is blah, blah, blah, and that was the name of the person who was supposedly writing this review.

Retraction Watch (RW): You tell the book from the point of a view of a fictional first - person narrator, a sleep researcher in Edmonton, Alberta, Canada.

Already, this is more than we ever learn about the narrator of Jeff VanderMeer's novel, the first in his so - called Southern Reach trilogy, where each book provides a different person's firsthand account of an intense trip into «Area X,» the quarantine zone surrounding the contaminated lighthouse.

The characters are an entertaining group of misfits, of particular note is central protagonist and narrator Renton (Ewan McGregor), a young man with aspirations of stability, and of happiness in his life, but who is utterly unable to survive without «one more hit», the violent and psychotic Begbie (Robert Carlyle), who refuses to take heroin but makes up for not doing drugs by «doing people» instead, and the childlike Spud (Ewan Bremner), the innocent fool of the group, and the most vulnerable to peer pressure.

If that's not enough material, Stone also throws in a narrator in the person of Alexander's trusted adviser Ptolemy (Anthony Hopkins), whose attempts at insight are redundant and simply serve to pad out an already overlong movie.

Where Annihilation was told from the first person perspective of the Biologist, Authority jumps out to the third person for Control, telling a broader story that helps to put Annihilation into a bit more context, revealing that Annihilation is a good demonstration of an unreliable narrator — of course, how reliable can a narrator in a place such as Area X be?

Employing multiple third - person narrators, obscured quotations, and playful shifts in time, Trier (Oslo, August 31st) navigates lives in stasis: eldest son Jonah (Jesse Eisenberg), a sociology professor who doesn't want to go back home to his wife and baby; dad Gene (Gabriel Byrne), stalling before a retrospective show dedicated to his late wife, Isabelle (Isabelle Huppert), an acclaimed war photographer; and youngest son Conrad (Devin Druid), 15, living mostly in his own head, still unaware of the circumstances of his mom's death.

Playing on themes of paranoia and teasing a possibly unreliable narrator, THEY LOOK LIKE PEOPLE questions how much you can ever trust yourself.

Here the effect is at times unsettling: nearly all of the characters have something to hide as well as something to brag about, and, as in a Wong Kar - wai film, each is briefly allowed to become a first - person narrator.

Alternating with Ronit's swingin» first - person storytelling, an omniscient narrator leaps in and out of the characters» heads, and each chapter begins with a mini-sermon based on Torah, Mishnah, the prayerbook, or hand - me - down sayings.

Made by only a handful of people but featuring the polish of a AAA title, a great story and unique features like a dynamic narrator, Bastion is simply a fantastic game.

The film plays like an unholy marriage between the realist films noir of the»40s like «The Naked City» and the early independent dramas of John Cassavetes, with a narrator (uncredited Lional Stander) speaking in second person like the twisted inner voice of a soul that has been basting in antipathy and spite for years.

The point is eloquently made in the film's pre-credit sequence, where the camera zigzags its way through a crowd of people, stopping at random people as a faceless narrator ruminates on how the questions and so - called answers in life are perhaps one and the same.

And while the video starts with a pretty clear explanation of how copyright works (thankfully with the help of a narrator, rather than the cartoon characters» typical gibberish), when the video gets to the issues that most people probably do have questions about — particularly fair use and mashups — the narration runs into high speed, brushing over legalese like it's a joke.

Young people are shown being led away in handcuffs, the point being that crime can be explained on the basis of an «erosion of American core values,» as the narrator intones ominously.

I don't think using the third person was a conscious decision; I just thought of myself as «the narrator» after I'd done so many drafts!

Very possibly he and his crew are keen on sending people in the direction of the more expensive Kindle Fires and also encouraging them to buy audio books from Amazon's Audible division, as well as purchase «enhanced» versions of Fire e-books with add - on audio from human narrators.

«When people on television talk about walls and documents, I never thought they were talking about my mom,» muses Jason Riazi, the 12 - year - old narrator of Nadia Hashimi's action - packed The Sky at Our Feet.

Explicit sexuality is fine, too, but should have an educational component — whether about the awkwardness of one's «first time» (like in Rats Saw God by Rob Thomas, when narrator Steve and his girlfriend fumble through a first sexual encounter), about what being a sexual person feels like (like Norah's erotically charged feelings of desire for Nick when they're alone in a hotel ice room in Nick and Norah's Infinite Playlist by Rachel Cohn and David Levithan) or even about how to reclaim a sense of self as a survivor of sexual violence (like Melinda does after being raped in Speak by Laurie Halse Anderson).

Hubbard's well - framed and exquisitely paced debut novel, set at an all - boys boarding school, is read with compassion and sincerity by Boyer, who voices a range of characters, including first - person narrator Alex, who witnesses his friend's drowning during a night of underage drinking.

Sara and Dara, named for the Dick and Jane of Iranian children's books, are based on «real» people who the narrator follows around Tehran, and eventually confronts when one is about to diverge from the path he'd intended to write.

Narrator Emily Shepard tells her tale from a first - person point of view, with an immediacy and focus that's arguably one of the defining characteristics of YA literature.

The novel focuses exclusively on Jane's point of view, but she is not a first - person narrator.

I don't think the public is aware of most of our awards, though — in general, I think those who most appreciate the awards are the authors and publishers, we narrators, and the marvelous people in the business of books: librarians and booksellers.

It's tricky to describe the book, partly because we don't even know the gender or real name of its narrator, but try this: there are, in the world, people who inhabit other people's bodies, who can move between bodies merely by touching them.

The book opens in the grand tradition of coming - of - age novels distinguished by their hypnotic, first - person narrators, but while the voice of British teenager Holly Sykes can hold its own with those of Holden Caulfield or John Green's Hazel Grace Lancaster, it is merely the opening salvo in this multivoiced, harmonically layered narrative symphony that stretches — with occasional sojourns far back in time — from the 1980s, when Holly runs away from home, into the 2040s, when she is attempting to cope with an oil - depleted world descending into chaos.

Unlike her father, she has no ego, and doesn't mind how naïve, blind, or, most embarrassing of all, uncool she comes across in the narrative, which is more than you can say for other first - person narrators who don't think twice about manipulating events simply to make themselves look good.

Kepler, the novel's narrator, is looking for revenge on the people who killed a woman whose body Kepler inhabited for a time; Kepler discovers that there is a group of people who have dedicated themselves to eradicating the world of people like Kepler — a mission that involves, naturally, killing the ghosts» corporeal hosts.

This is creating plenty of opportunity for people who want to break into the audio publishing industry, from narrators to sound engineers.

The Terror is not perfect - the changes of narrator and tense, from third - person to first - person, can be jarring, and takes some time to get used to.

About a former celebrity, accused of killing her mother, a crime she does not remember committing, LJ says «Fans of Tana French and Gillian Flynn are going to enjoy the smart narrator and the twists and turns in the case» and PW approves of the «entertainingly caustic first - person narrative.»

I can see some of them now as possible poems looking for the discipline of line, others as the cores of stories whose people want to enact their conflicts explicitly more than repress and simmer with them, but my attempts at managing voice (both dialect and idiolect) and subtext give them a sense of kinship, and I think they have found their right scale and texture, which usually involves some linguistic quirk, kink, tic, freak, coil, something to make the narrator unique and memorable but not opaque.

For example, you might create a QR code link that sends people to your audiobook edition on Audible, plays the MP3 of the audiobook retail sample, or calls up the YouTube video of your Google Hangout with your narrator.

Amir, the son of a well - to - do Kabul merchant, is the first - person narrator, who marries, moves to California and becomes a successful novelist.

The most important one is Audiobook of the Year because every single one of them is a solid listen for people looking to discover new authors and narrators.

Luckily for Davis and the other narrators of Star Wars audiobooks, they have a great team of people behind them.

While all of the poems are written from a first - person perspective, each poem's narrator is a different child or animal.

You simply register an account and tell them about your book, the genre and what type narrator you are looking for and they will send you a list of five people who narrate the first chapter of the book, along with the price.

But the effect of these cumulative encounters is almost magical; despite being given no glimpse of the narrator, we begin to see her through the people she meets as images and themes touching her own experience begin to recur in their stories.

I make this distinction because 2 or more narrators are a necessity only for sections of the text written in 1st person.

That's what I'm planning to do as the female narrator of my 1st person novel with the male who'll be doing all of the male characters.

Authors and narrators will benefit from subscribing to 1 or more of my 5 Twitter lists of audiobook people and organizations.