By Clarice Lispector
A magical discussion among a male writer (a thinly disguised Clarice Lispector) and his/her production, a lady named Angela, this posthumous paintings hasn't ever prior to been translated. Lispector didn't even dwell to determine it published.
At her demise, a mountain of fragments remained to be “structured” through Olga Borelli. those fragments shape a discussion among a god-like writer who infuses the breath of lifestyles into his construction: the talking, respiring, demise construction herself, Angela Pralini. The work’s nearly occult attraction arises from the belief that if Angela dies, Clarice should die in addition. and he or she did.
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Additional resources for A Breath of Life
Returning to our earlier discussion of The Deep End of the Ocean, after a poignant flashback leaves Beth weeping in the high school over her son’s disappearance, the chapter ends with the discovery of a new clue that confirms Beth’s worst fears and powers the story ahead: When she looked up, not at a sound, but at something else, a disturbance of the air, Candy Bliss was standing at the foot of the bleachers. She held a plastic zip bag, small enough for a sandwich. In it was Ben’s high-topped shoe, so clean and new the red parrot still glowed in the dark.
Introspection Backstory can also be introduced as introspection, but most stories work best when introspection is proportionate to action. Thoughts are not as compelling as actions. If you spend too much time inside your character’s thoughts, the story becomes boxed in and static. D. Salinger’s The Catcher in the Rye, which features blow-by-blow doses of introspection after the main character is kicked out of prep school. Salinger’s method was deliberate because his character, Holden Caulfield, is in the process of a mental breakdown and the reader needs to be inside of his thoughts often for the whole impact to be felt.
Indd 49 3/18/09 10:43:26 AM The chapter ends with this information, thrusting the reader ahead to discover the seriousness of her mother’s condition. The scene would not have been as powerful without the flashback from a long-ago Thanksgiving, escalating all the emotions in the present time. Borrowing from Shortridge’s techniques, look for places in the story where you can stage a scene that echoes or mirrors the past. A holiday or special occasion, a specific setting, a reunion, or any event linked to powerful memories and emotions can work.