Rhetorical Outline “Labyrinthine” by Bernard Cooper. Par. Brief description of what the author is doing. OneSentence Distillation of What the. Author is Saying. Bernard Cooper, “Labyrinthine” (). God help Bernard Cooper if this is how he felt at In the last paragraph of Labyrinthine—a shortish essay in which. That was how Bernard Cooper ended his insightful and thought-provoking essay “Labyrinthine.” Those words haunt me to this very day.
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He spends the majority of it recounting particular scenes: They are of such simple disposition and sweet demeanor. The author as a young boy must acknowledge and learn to deal with his newly developing feelings and urges, a task that challenges his naive outlook.
What are we supposed to believe? Where are they going? He is passive, almost a victim of it. Why are they in such a hurry to get there? Closing the kitchen door behind me, I vowed never to leave home again.
But if it lost the awkwardness and clunkiness of its composition, it would also lose the essence of its identity. The sentence implores us to consider the possibility that the narrator is unreliable. As readers, unable to make sense of what is even real in the essay, this sentence invites us to experience the piece completely confounded, which is the very way its author experiences life. The third phrase in the list is related to these two as well, but in more of a cousinly way.
And what do we make of it? Archives for posts with tag: By suggesting that maybe we cannot trust him, Cooper is actually being incredibly fair to his reader. Baseball in the Middle of Everywhere.
Bernard Cooper and the Essayistic Sentence
But Labyrintgine cannot see beneath their surface. Unspoken rules and expectations of society present an immediate challenge to the child, who is only slowly learning the difficult truths about his own character. It illustrates the possibility that Cooper has made into memories stories that are not his. That is precisely what is happening in this phrase—life is happening to Cooper.
It could be counseled to better adhere to the straight-laced, tidy structure of its cousins. In wedge-like fashion, they are outside sources lodged into the greater whole. By continuing to use this website, you agree to berjard use.
It could seem that Cooper is undermining his authorial integrity by suggesting that we cannot trust him. At its root is an equative: The verb, wedgedimmediately jumps out.
The list contains three phrases. It is fitting, then, that this section proposes that concept as a question: It is about the inability to actively brnard its labyrinth once aware that the labyrinth exists.
It becomes a challenge to know whether anything in this essay is for certain, which then verifies its entire premise—that the ever-growing complications of life only lead to feeling increasingly lost and less assured. I can only imagine, and try to infer the answers from my momentary observation.
It does not share the immediate familial similarities. Cooper, therefore, employs this sentence to call into question the validity of all of that.
The first section, which operates in assertions, is roughly three times the length of the second, which is concerned with unanswerable questions. They are well-adjusted phrases.
“Labyrinthine” by Bernard Cooper – Welcome
So sure, the phrase could be adjusted to fit in. There is a silent framework within that phrase, which, when unmuted, reads as: They are of the same structure: Lets work our way through it, starting with that first, longer, assertive section—the one before the semicolon.
Again, this is an essay about the continually accumulating and confounding corridors of human life. But perhaps he was designed that way for a reason.