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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- This article basically discusses the treatment of children in fiction works such as Charles Dickens. It also compares the treatment to how children are treated today and how they are different, both in good and bad ways. Claims- This article focuses on the treatment of children, their welfare condition, psychological problems, and role as money earner for the family. It uses examples from authors from the 1830 on to the mid-19th Century including Dickens. It also discusses how the abuse stories written in the news could have been simply chapter headings in the books about the conditions in the past. Evidence- "Headlines and accounts of custody and foster care cases in newspapers read like episodes in fiction: "Escaping Abuse But Not Neglect: Languishing in Foster Care"; "Mom Would Pick Jail Over Giving Up Son"; "Mom Wins Long Fight for 2 Kids; Woman Regains Custody After Children's Services Gives Up 3-Year Battle"; "Mother, 24, Arrested After 6 Children Are Found Alone." Better funding and more vigorous implementation of the Adoption Assistance and Child Welfare Act of 1980 would probably help, but it is hard to believe that the stories will have happy endings as long as family poverty is compounded by lack of education, hopelessness, and drug and/or alcohol abuse, and the children's environment at home, school, and play is violent and unwholesome"(Bremmer 1). "Novels and stories depicting the social condition of children and exploring their psychological problems played an important role in arousing concern for children at a time when childhood was virtually without rights or protection. The works discussed are worth recalling because they reflected prevailing attitudes and practices in child care, inspired sympathy for and understanding of children, and contributed to a hostile stereotype of adult child welfare workers. The authors' favorite remedy for children's problems--keeping them with or getting them back to their own parents or, if that w

In a literary criticism by Charlotte Hadella, she states that the Eden biblical allusion plays a major part in the development of characters and the American Dream. Nearing the end, the Eden myth haunts Lennie and George because of Curly's wife, a woman dictates the failure of their dream. Hadella claims that even before they enter the ranch that their dream begins doomed. While in the ranch, the fact that the land owners that he wants to buy from have to sell raises a red flag on their dream, that if they could make it off the land, how could they possible accomplish that same feat. Yet, that breaking point fact gets overlooked in the pursuit of their dream because if they think on their plan George will see that they are banished from Eden before they can enter. Usable Quotes: "When George talks about the actual farm that he intends to buy for himself and Lennie, he explains to Candy that he can get the place for a really cheap price, "for six hundred bucks. The ole people that owns it is fiat bust." Apparently, the present owners of George's dream farm are not able to live "off the fat of the land," a detail that both he and Candy conveniently overlook,"(Hadella). "The Garden of Eden myth "looms large" in Of Mice and Men, and Steinbeck appropriates Edenic elements to convey his personal interpretation of the American Dream,".

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.

Argument: Powerful and mezmorizing, The Adevtnures of Tom Sawyer cannot be traced to just one specific audience. Claim: As a book that portarys the adventures of boyhood, The Adventures of Tom Sawyer is also a book for adults, as well as young children. Adults and younger kids can relate to any part of the story from adventure, to love, to a life of secrets. Evidence: The Adventures of Tom Sawyer is also for those who have long since passed from boyhood: "[It] is not a boy's book at all. It will be read only by adults. It is written only for adults" (4). The Adventures of Tom Sawyer is a delicate balance of the romantic and realistic, humor and pathos, innocence and evil, the book defies simple analysis (4). In contrast to Huck's self-reliant, unschooled, parentless existence, his passive preference for being a follower, and his abhorrence of civilization, Tom is adventurous, shrewd in the ways of civilization, and a leader (4).

-Main Idea: Discusses Albom's book, For One More Day. Explains why Albom wrote the book and what he hopes people will learn from reading this story.  -Claims: After he got off the phone with his mother, Albom realized that his mom was getting older and that time was precious with her and close people in his life. Mitch Albom hopes that readers will be influenced to never take people and moments for granted.  -Evidence: "Albom said he wrote the story in honor of his own mother after speaking with her on the phone one day as he was working on another book. The call was nothing out of the ordinary, he said, but it struck him that his mom was getting older and would not always be there" (Elliott). "In real life people don't come back and spend a day with you," Albom said "so you should try to grab that day now" (qtd. in Elliott). 

Argument: While often describes as an angry, and early feministic character, Jane Eyre is actually quite shameful in her narration. Claims: Jane Eyre's character is introduced into the story with the exclamation "For shame! For shame!" directed at her. Later, throughout the story, she narrates with the angry and feminist attitude that many critics quote her for, but also with a sense of shame that Charlotte Bronte could probably relate to. Evidence: "This cry 'for shame' suggests that shame constitutes both an introduction of 'Miss Eyre' to the reader and an interpellation of Jane into the contours of gendered interiority and social relations," (Bennett 1).

Argument: Narration to medical ethics comes in two forms: the use of stories for their content and methods of analysis. Claims: Picoult uses both forms of narration in medical ethics in her two books, "My Sisters Keeper" and "Handle With Care". She uses multiple narration in "My Sisters Keeper" to develop the story of ethical issues for Anna and the analysis of the daughters medical condition and ethical issues presented from the mother in "Handle With Care". Evidence: "The contributions of narrative to medical ethics come primarily in two ways: firstly, from the use of stories (narratives) for their mimetic content-that is, for what they say; and secondly, from the methods of literary criticism and narrative theory for their analysis of diegetic form-that is, for their understanding of how stories are told and why it matters." "During the past two decades, stories have been important to medical ethics in at least three major ways: firstly, as case examples for the teaching of principle based professional ethics, which has been the dominant form of medical ethics in the Western world; secondly, as moral guides to living a good life, not just in the practice of medicine but in all aspects of one's life; and thirdly, as narratives of witness that, with their experiential truth and passion, compel re-examination of accepted medical practices and ethical precepts." "In the past decade, scholars have begun to use the methods of literary criticism and narrative theory to examine the texts and practices of traditional medical ethics. What are now referred to as narrative approaches to medical ethics, or narrative contributions to medical ethics, use techniques of literary analysis to enhance the practice of principle based medical ethics. In contrast, what has become known as narrative ethics has reconceptualised the practice of medical ethics, seeking to replace principlism with a paradigmatically different practice."

Argument: Novels can be classifies as dystopian if it contains certain factors that reveal language and discourse as a fundamental device of power. Claim: The society portrayed in Fahrenheit 451, shows that ignorance is shared amongst all the people in order to make sure that happiness is attainable for all. The use of language and power and discourse portrays the society's flaws and the need for change. In addition, the difference of power and language between each character displays the need to rebel against society Evidence: "The government of this society has perverted the meaning of happiness into basic hedonism so that happiness is attainable for anyone who is willing to buy into the array of commercial products" (valentine). "...discourse on commercial happiness feeds into the narcissism of people by depriving them of emotions and awareness beyond their own needs"(Valentine).

Argument: The author in his review, "Teen Angel" conceives the idea of tragic romances and how they make for the best love stories, specifically concentrating on "A Walk to Remembers" emphasis on religion coming between a forbidden love. Claims: Religion makes for an interesting love conflict Setting change to modern times makes a difference to the style of writing and overall effect Spark's writing is predictable and follows similar themes in multiple texts Evidence: "Normally, the insurmountable problems in teen love stories are differences in money, class or race. Religion rarely enters the picture as a reason for a couple to stay apart or to try and get together. What is intriguing about A Walk to Remember, which is loosely based on the 1999 novel by Nicholas Sparks, is that one member of the couple is initially considered undesirable and unattractive because of her devout Christian beliefs. The question is: Is her faith an insurmountable obstacle to romance?" "Whereas the novel takes place in the 1950s, screenwriter Karen Janszen (Digging to China) sets the romance amid the permissive and sexually overt teen culture of today." "Those familiar with the other books by Nicholas Sparks (including Message in a Bottle) may guess what the couple's real insurmountable problem turns out to be."

Argument: In his article, Wm. Laird Kleine-Ahbrandt, argues the motives behind Edmond Dante's reason for his actions as well as his motive behind his seeking revenge on all those who had hurt him. Claims: Along with a summary of the novel itself, Kleine-Ahbrandt also makes inferences that suggest that the author of the novel, Alexandre Dumas, saw him self as a version of Dantes, the main character of the novel. Kleine-Ahbrandt also gives more background as to why Dumas wrote the plot the way he did. Evidence: "Dantes is so consumed with a passion for revenge that he does not realize that he is in danger of losing his soul." "The official morality in Dumas's time was to punish the wicked and force sinners to atone for their sins" "Such satisfaction is worth a little moralizing"

Argument: In the literary critique Confession and Desire in L'Etranger, written by Gilbert d. Chaitin, the author argues that Meursault should not, first and foremost, be seen as a Christ figure. He argues against the belief that the main character's ability to live outside the temporal flow allows him to reach a deeper level of enlightenment at the end of the novel, suggesting that there is only a reaffirming of his previous beliefs. Chaitin dismisses claims that the bipartite structure of the novel aids in the characterization of Meursault as an absurd hero. Claims: The author claims that Meursault development as a character stems from his firm belief in the absurdity of life. While other critics notice a change in the character's persona in the second half of the novel, Chaitin claims that Meursault actually reaffirms his beliefs while waiting for execution, only becoming more vocal about his convictions. He states that Meursault only takes pleasure in remembering past events due to his desire to replace the situation he finds himself in the present. Evidence: "The only plausible conclusion to be drawn from this evidence is, therefore, that Meursault's famous 'prise de conscience' does not indicate a change of attitude, but a reconfirmation of his earlier posture" (Chaitin). "Instead of looking back on his past with the eyes of a romantic wishing to resuscitate and preserve it for posterity, Meursault takes an interest in the past only insofar as it informs or replaces his present" (Chaitin). "The actual mode of narration used in the novel corresponds to the Meursault who has become cognizant of his discourse. What matters, therefore, is not the specific nature of the events of his life, but their degree of presence for him; hence the often apparently trivial nature of many of the events that he records, especially in Part I" (Chaitin)

Argument: The author explains that though Camus was labeled as an existentialist, he rejected the title and called himself an absurdist. Claims: Camus believed that life was devoid of meaning and purpose and rejected any idea that attempted to apply meaning to life beyond physical existence and human connection. What was most important was living in consciousness of the absurdity; he criticized existentialists for merely recognizing the absurdity of life and often taking a pathetic leap of faith to apply meaning. Camus disagrees with the idea that life is not worth living simply because it has no meaning. Sysiphus is Camus's depiction of a man of full consciousness, aware of his reality. Such a life may seem torturous and worthless to many, but Camus was a staunch believer in the value of life. Evidence: "Absurdism is an off-shoot of Existentialism and shares many of its characteristics. Camus himself was labeled as an 'Existentialist' in his own life, but he rejected this title. He was not the first to present the concept of Absurd but it was owing to him that this idea gained popularity and influence, and it transformed into a proper philosophical movement of Absurdism" (Aftab). "Kierkegaard describes the Absurd as a situation in life which all thee rational and thinking abilities of a person are unable to tell him which course of action to adopt in life, but in this very uncertainty he is forced to act or make a decision. He has to do something but his reason offers him no help. He writes in one of his journals: "What is the Absurd? It is, as may quite easily be seen, that I, a rational being, must act in a case where my reason, my powers of reflection, tell me: you can just as well do the one thing as the other, that is to say where my reason and reflection say: you cannot act and yet here is where I have to act"" (Kierkegaard qtd. in Aftab) "Even in the latter case, the question arises: what is the purpose of God? And it is this question which a

-Main Idea: Describing what Albom's purpose of writing the book; how divorce affects the children. Themes: man vs society, and man vs himself. Learn to forgive yourself. -Claims: Makes readers relate to the story, his themes in other books including this one always seem to be universal. Everyone goes through disappointment, sadness, or loss one point or another in their life. "Many people are hanging on the past, so it would be nice to read something that would go back to it and learn the things that you never learned in your past life." -Evidence:  "This book let me explore how children, when their parents split, chase after the love thateludes them. That chase often haunts you right into adulthood" "He always gives inspiration to thereaders and this time an eye opener to the children who always took their parents for granted. " "You can find lessons that arealready seen by your own eyes but not yet felt by your hearts"

Argument: Paul Marchbanks, in his three part literary criticism of Dickens novels, From Caricature to Character: The Intellectually Disabled in Dickens Novels, make the assertion that Dickens usage of intellectually and physically disabled protagonists (as well as smaller secondary and even background characters) brought these otherwise hidden character types to the forefront of the Victorian literary scene. Main Idea of Argument: -Victorian authors spun disability into a spectacle, like a freak show in a circus, but Dickens used the disabilities of the characters as a conflict that tried to hold them back, that they had to either over come, or grow to accept. Evidence: -"The physically disabled character's very distinctiveness can lead, not only to isolation from those other fictional persons who react with distancing pity or disgust, but to a kind of representational disconnect from those real-world individuals with disabilities whose numbers-recognized within the boundary of the novel or short story-would strip the character's exceptional disability of its rhetorical power" (Marchbanks 1). -"Dickens's first three novels bespeak a ready advocate for victims of many kinds of social injustice. The Pickwick Papers (1836-7), Oliver Twist (1837-9), and Nicholas Nickleby (1838-9) together establish what will become life-long, very loud sympathies for the destitute, the orphaned, the poorly educated, and the imprisoned debtor" (Marchbanks 1-2). -"Dickens appears unable, or unwilling, to present a coherent portrait of Smike's mental faculties. Here, the narrator prevents unequivocal praise of Smike's heroic intentions by mixing proof of his valor with doubt about whether the boy's scattered "thoughts" are even worth the name. Other inconsistencies emerge if one considers the former evidence of Smike's faulty memory in conjunction with his surprising ability to navigate London's winding streets, not only those walked multiple times with

Argument: In the literary critique Camus' The Stranger, written by Arthur Scherr, the concept of Meursault's characterization and the misinterpretations that result due to this characterization are discussed. The author discusses and dismisses the various viewpoints of literary scholars in regards to discussing the intellectual competence of the main character. Claims: The author claims that many literary scholars view the existential hero as an "irrational, unintelligent child" due to his inability to emphasize with others and rationalize his own actions. However, Scherr claims that no such correlation between Meursault's irrationality and intelligence exist. More so, the author discusses how Camus actually presents the stranger as an individual of high intelligence, citing interactions Meursault has with other characters as prime examples. Evidence: "Meursault's ephemeral comrade…Raymond Sintes…trusts that Meursault possesses sufficient intellect and verbal acuity to compose a convincing letter for Raymond to send to his unfaithful girlfriend" (Scherr). "Meursault's boss recognizes his abilities and offers him a promotion" (Schell). "Appropriately enough, the last person to remark on Meursault's intelligence is the prosecuting attorney at his trial for murder. 'The prisoner is an educated man,' he tells the jury. 'You havee observed the way in which he answered my questions; he is intelligent and he knows the value of words'" (Scherr).

Argument: This article simply gives background to Martel's influences and mindset behind the writing of the novel. Written by Martel himself, he describes the mix of three elements in which books come from: influence, inspiration, and hard work. Claims: Martel writes that most books come from the same mix of three elements:influence, inspiration, and hard work. His influence for this novel was an interest in a novel after reading a somewhat skeptical review over it. Seemingly, Martel became enveloped in the critic's reasonings for such a harsh review. He was disappointed that such "a brilliant premise [was] ruined by a lesser writer", therefore suggesting he could have done better. While in India, the remembrance of this review he read came to him, and while observing Indian ways, all aspects of the story flowed to him. In a place with many animals and various religions, Martel created Life of Pi. All aspects didn't come easily though; he found himself spending over a year doing extensive research and observations in order to create the memorable novel Life of Pi became today. Evidence: "most books come from the same mix of three elements: influence, inspiration, and hard work" "brilliant premise ruined by a lesser writer" "the novel emerged fully formed: the lifeboat, the animals, the intermingling of the religious and the zoological, the parallel stories" "theme that reality is a story and we can choose our story and so why not pick 'the better story'?"

Louisa Ermelino's article comprises an interview done with Khaled Hosseini, author of A Thousand Splendid Suns and The Kite Runner. Expressed in the text and through Hosseini's own words, a picture of not only his personality, but his conception of Afghan culture arrives in strong concentration. And although the article focuses on his 'up and coming' novel A Thousand Splendid Suns, the author focuses on both Hosseini and his work. Stated in the article, Hosseini published his first book with 'obscurity.' A book like The Kite Runner had never reached such a great popularity. Hosseini wrote the books as an Afghani-American. His culture comes from that found in Afghanistan, yet he must part his own culture due to the fact he does not believe in the extremes found in Islam. Separating cultures and influences gave Hosseini an unadulterated view of Afghanistan, one filled with both love and misery for such a rich culture with social destitute. Yet, he writes about controversial topics, forced to when much is unknown and hidden in the Afghani culture. Hosseini states this himself, saying when he addresses sex in A Thousand Splendid Suns, "'Sex is such a taboo subject in Afghanistan, but it's a need or a means to something, and I wanted to write about these women in the full scope of their lives, spiritual and physical. In a society where invisibility is modesty, this is scandalous'" he brings out the underlying area in their society in both novels, areas many, even in the States, are uncomfortable with. Through his writing Hosseini plans to redefine Afghan culture, to reintroduce it through the eyes of two young women. Because they are women, burqas come to represent them rather than repress them, though, with some limitations, "For the urban women, the burqa was a disaster, but in the villages, many women wear it by choice, and this is the least of their problems, even though it's so visible to the West" and with new cultural understanding of Afghani

women and the roles their clothing plays when representing them. Khaled Hosseini gives a strong and fresh view of his people and culture in the twenty first century, which helps to shape the book and the characters within.

Argument: Asimov's knack for story telling relies on the style with which he presents his characters, and the way he makes the cosmic story of the book as much a relevent character to the plot as the humans. Claims: That his style is a very plain yet very clear one, that his characters are often plain with a touch of peculiarity, and that he can weave a story that is both surprising and not unexpected in the least. Evidence: Highlighted.