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Argument: Death is defined not only by what is causing it but how the individual handles the strides of it. Claim: The disease pales in comparison to how the person chooses to live their life. If a person is encouraged and allowed to act negatively, they will be so. Finding the passion in something to throw oneself in is more valuable then giving up or submitting. Evidence: "The real question, though, is whether any lasting strength can be gained from an account like this one--strength that derives from knowing ourselves (as Morrie and Mitch do not) to be the legatees of inviolable traditions, cultural and professional alike, as well as members of a vast and enduring human community that stretches back into history and forward into the experience of those yet to come."

Although the author summarizes the novel, they add flashes of insight to each character and relate A Thousand Splendid Suns to The Kite Runner. Chua offers her opinions and literary analysis to characters and the theme of the novel.  With support, Chua offers that Rasheed, Jalil, and Hakim all foil one another, "Hosseini has adadmirably conceived him [ Hakim] as a foil to Jalil (who is weak like Babi [Hakim], but selfish) and to Rasheed (who is far from weak, and also selfish)." Each of the men represent a father figure, either to Mariam or Laila, or Laila's children. What they exemplify, which Chua does not touch on, is how a father treats his daughters. In a society where women are second to men, the way a father may dote (or mistreat) his daughter puts a twist on the gender roles in Afghani society.  Chua does touch on one of the main characters with a specific purpose. Mariam, a bastard child, often finds herself at the blunt end of trauma in the book. The author of the essay speculates that because Mariam's mother killed herself, "the defining trauma, then, teaches Mariam that to assert oneself, to dare, to take the initiative is to suffer pain, cause hurt to others, and precipitate tragedy". She accepts the hatred that comes to her from Rasheed and forces herself to live in a hardened bubble she created because she "deserves" to be punished. Mariam faces the challenged many Afghani women find themselves in and handles it much like the others. Although unhappy she remains with Rasheed and only the bravery found within herself inevitably saves Laila, but destroys Mariam's own life. The change in character after her mother dies should not be over looked and in fact Mariam's subservient attitudes should be noted and compared to whether the death of her mother had any effect on her decisions. 

In the literary critique Heroes of Our Time: The Stranger, written by Germaine Bree, the author discusses the characterization of Meursault as the "absurd" hero. She claims that he is content to live and ask no questions, refusing to make any concession to the norms of society. Meursault's development throughout the course of the novel is also tracked. Bree claims that Meursault's error lies in his disassociation from society. She describes him as an individual whose story is used by Camus to ridicule modern man's strive to put meaning to their lives, emphasizes Camus' absurdist philosophy. Furthermore, she tracks the development of Meursault's characterization in order to emphasize Meursault's innocence in the fact of society. "In L'Etranger Camus thus suggests that in the face of the absurd no man can afford passively just to exist. To fail to question the meaning of the spectacle of life is to condemn both ourselves, as individuals, and the whole world to nothingness"(Bree). "Meursault's attitude at first merely reveals how arbitrary and superficial are the codes with which we cover up the stark incomprehensibility of life" (Bree). "He is a stranger to society, because he refuses to make any concession whatsoever to its codes and rituals. He sees no relation at all between his mother's death and the fact that he goes to see a comic film two days later, and he establishes none" (Bree).

Main Idea: Basic book summary and review. Connects the story-line of this book to his other books (quote#1). Discusses how he writes, and the book's themes. Claims: There is an underlying theme present in the five people you meet in heaven, and for one more day. He uses real emotions and real life stories versus crazy fantasy made up stories, which make it perhaps easier to connect to then other fictional books. His writing style, although not that high of a reading level, seems very genuine and believable due to his is characters always facing hardships and trials just as everyone faces, i.e. death of a loved one, making mistakes..etc.  Evidence: "The underlying message of this book is certainly one that has been tackled before. It explores the notion that we are all connected to another so that an action undertaken by one person is destined to have an unanticipated and drastic influence upon someone else. Along these same lines, the book reminds us of how easy it is to fail to express appreciation or gratitude to those we love until it is too late to do so" "While [in heaven], Eddie gains insight into his life and, for the first time, sees how his actions impacted so many others"

Argument: Comparison of two authors and how they depict their characters as impassioned lovers who overcome obstacles and end up married. Claims: Jane Eyre is stuck in somewhat of a love triangle with St. John and Mr. Rochester, but returns to Mr. Rochester where she knows she will be truly happy. Jane determines he is best for her in marriage because he loves her as an educated woman, and she feels a more passionate love for him. Evidence: "Both novels here conclude with depictions of the impassioned lovers overcoming all obstacles to enter into the happy and fruitful (each with a child) estate of matrimony," (Bubel 295). "This 'death to self' enables her to break free from an imprisoning triangular desire of a different kind," (Bubel 304).

Argument In this article, author Susan Tarrow, contrary to the common belief that Meursault maintains the same passive attitude throughout the book, argues that he is instead a dynamic character who evolves through the course of the novel. She explains that Camus's clever use of language establishes a tone that forces many readers to be frustrated with Meursault. Claim Tarrow explains that Meursault is introduced as passive character whose attitude allows him to act with total disregard for others. By the end of the second part, he develops into a  staunch defender of his individuality; he maintains his right to not admit to believing in concepts that do not seem logical to him. Camus's use of passe compose, or compound past tense, maintains a passive tone and establishes the theme of absurdism. Meurasult does not make emotional connections to events which frustrates many people. His lack of language, or rationale for his action, seems insane but he simply does not feel the need for it. Evidence "If the hero Meursault has a moral message-and the reference to him as a Christ figure would suggest that he has-it is one that plays a constant role in Camus's thought; there are no absolutes to which one can adhere, only limits, and the vital nuances are played out within those limits. Total indifference and apathy allow others to act without limits. Meursault develops from an acquiescent figure who admits no limits to a combatant who claims the right to be different" (Tarrow). "When The Stranger was first published in 1942 the aspect that evoked the most interest among critics was the use of the passé composé, the compound past tense, since the traditional tense used in literary narrative is the passé simple. Sartre, in his review of the book, comments that the effect of the passé composé is to isolate each sentence, to avoid giving any impression of cause and effect" (Tarrow). "Meursault, who places no reliance on language, throws down

Argument: The Giver is not just a 'controversial' and 'banned' book, but it also has much more depth in it that meets the eye; set within a distopic setting, Lowry uses the setting to construct a way to see into today's morality code as well as the reader's. Claims: *Irony over the censorship of the book *different views on what the book's meaning(s) are Evidence: *Lowry foreshadows this perplexing but hopeful ending when she describes Jonas as Keeper of the "memories of the whole world." Her message, finally, is that one cannot ignore uncomfortable memories; one must embrace a "whole" vision, which contains joy as well as pain, if one (or one's children) is/are ever to feel "at home" in the world. *Through Jonas, Lowry argues for the preservation of a kind of creative vision, a vision which every community needs if it is to benefit from its citizens' differences and input. *The irony of censorship attacks on the novel is that The Giver dramatizes the plight of an individual living in a society that censors its peoples' language, emotions, and behaviors. This irony is compounded by the fact that most who would like to see The Giver censored confess that they have never read the novel in its entirety.