Dissect this passage

Also not sure about this copyright situation but I'll reference it at the end to be safe.
To be out of copyright in the UK, the author must have passed away 70 years ago:
Copyright expires at the end of the period of 70 years from the end of the calendar year in which the author dies, subject as follows.
So for a work to be out of copyright, its author must have died in 1941 or before.

In the case of your excerpt, I'm not entirely sure - not being a lawyer - but I think the shortness of the excerpt, and the inclusion of the attribution, probably protects you from being sued for copyright infringement.
 
I've always felt that description gives more insight into the describer than it does the described. I don't feel that mouse was wrong when she thought kill/kidnap, just that she over jumped the conclusion. To stop and minutely analyze the change made to a persons whole character is not the move of someone without motives/interest in that person to begin with. and as her minute gives complement begrudgingly and criticism freely to take the last thought of relief that said person wont be around much longer to a context of being the one to remove them from their present life (permanently or temporarily) is only a matter of over stepping what the character giving us these descriptions is capable of doing, not feeling.

That's true, and in this case there is a huge benefit having known the story (like I do) and having inhabited Dora's POV for a while - you get used to the fact that she's selfish, spiteful, vapid, jealous, and yet you can't help but feel sorry for her. In the extract she possibly comes across as a little creepy or morbid, but that's just Dora's way - I don't see it like that because I know her character. Apologies for that.
 
Mmmmm, purple! :D

I love Oscar Wilde, and particularly Dorian Grey.

I think it must be remembered that Wilde wrote in a time when books were generally read aloud. People sat around doing whatever people had to do, and someone read to them, or they read things aloud in salons and discussed them. So the flowery prose was read in order, with punctuation properly breathed, not skimmed over in search of dialogue during the commercials.

That said, I have always believed that dissection will turn up things the author never even knew he intended. Some of it is because the great writers work on a subconscious level, and some because with the benefit of the passage of time, we have the luxury of being able to be full of crap, with no one the wiser. On the other hand, Wilde undoubtedly worked hard on his imagery and his word choice, and his writing is sheer genius. And very purple.
 
This is one I like from a book whose descriptions I like.


He was there - at least a few yards further in the park; leant against an old ash tree, his hat off, and his hair soaked with the dew that had gathered on the budded branches, and fell pattering round him. He had been standing a long time in that position, for I saw a pair of ousels passing and repassing scarcely three feet from him, busy in building their nest, and regarding his proximity no more than that of a piece of timber. They flew off at my approach, and he raised his eyes and spoke -


It's from Wuthering Heights, and I love the way she merges description of the landscape and buildings (she's really good at incorporating buildings into part of the land) with the narrative. Here we have the evocative image of Heathcliff, on his own, at one with the land. We get a sense of his patience, how he'll wait for what is to come, and the foreboding - the branches are budding, the dew is soaked around him, and yet it's very prosaic, not at all purple. Her poetry is good, too, really elemental.
 
(I love OW too TDZ!)

Okay. This bit:

He had been standing a long time in that position, for I saw a pair of ousels passing and repassing scarcely three feet from him, busy in building their nest, and regarding his proximity no more than that of a piece of timber.

I found a bit weird, but only when I read it again to start dissecting. (First read, no weirdness registered so I wouldn't have noticed in the book!)

She can't know he's been standing there a long time just because the birds are building a nest. What an odd thing to say! I guess she's trying to say that he's been standing there so long that the birds have gotten used to him? Or is she saying that he's been standing there since before they started building the nest, cos if so, he really has been there a long time. But he might've just been really quiet whereas her's got gurt feet on or something. Anyway. She could've used something better, I reckon, though I can't tell you what.

Um. That's not the right sort of dissecting is it. I do like the alliteration (get me!) in 'budded branches.'
 
Actually, I think it's valid criticism. I've always thought that the character of Nature Boy was at least as much about image as realism, but then it's a Gothic romance. Intense imagery. That said, I've seen people be still long enough to allow birds to move freely around them and it does take a LONG time.

I like the menace in this, though. There's almost stalker/spying level creepiness in standing and watching, yet its offset by the beauty of nature (budded branches, dew), that seem to symbolise an honesty in him, and the trust of the birds suggesting he can't be all bad. That said, sometimes I see symbolism where it's not.
 
I like the menace in this, though. There's almost stalker/spying level creepiness in standing and watching...

That's true, I hadn't thought of that. (I've never read Wuthering Heights - I know the Kate Bush song and I've seen one of the TV adaptations but that's it).
 
Heathcliff is scary. We are made to feel sympathetic to him at the start, and it only dawns as we read on that he is very, very, dark. Here the older Cathy, the one you'll be familiar with from the song and adaptations (which mostly end when she dies) has just died, and he's not welcome in, due to his nefarious ways. But she is the love of his life, the person he is obsessed with, who rejected him, and they've had a teeth gnashingly final scene. And then he's just stood in the garden until poor Nelly (the narrator here, their housekeeper) comes to tell him. So, Aber is, I think right about the darkness in this scene, how brooding it/he is.
And you're right about the alliteration, how well it works.
 
I should read Wuthering Heights. It's good and tragic.

I was going to post a bit from Jane Eyre because I've actually read that (okay, okay, I've read Jane Slayre but it uses the same text) but didn't like the passage much. (Though I don't suppose that matters).

I'm thinking of posting a bit from Corbenic by Catherine Fisher because she is the one author who I can actually see my writing in. (That sounds weird, but usually I don't think my 'style' is very author-like). So yeah. Whaddya reckon? Oldie or newie?
 
Right o, well I hope this isn't too long a segment. I just love the way she gets over so much info and characterisation in this, as well as description.

Anyway. Corbenic by Catherine Fisher. (Red Fox 2002, if you need that information too.)

Very far away, the voice said "Who drinks from the Grail?"

Jerked out of a doze, Cal opened his eyes. Then he tugged the earphones off and rubbed his face, wearily. The woman who had been sitting next to him must have got off at the last station; now her seat was empty. A man in uniform was wheeling a trolley down the aisle of the train; it was crammed with crisps and sandwiches and piles of upturned plastic cups round the shiny urn. The man caught Cal's eye.

"Drinks? Tea? Coffee?"

It would be embarrassing to say no, so he muttered "Tea", knowing it would be the cheapest thing. Then he dragged some coins out of his pocket and sorted through them, trying to look careless, as if money didn't matter.

The train was a lot emptier now. It rattled viciously over some points; the trolley man swayed, balancing expertly in the aisle as he filled a plastic cup under the tap, the trolley rocking so that a small packet of biscuits slid off onto the empty seat. Chocolate digestives. Cal scowled. He was so hungry he almost felt sick. "Those too."

Outside, wet fields flashed by, and some houses in a scatter of dead leaves. The man leaned over and flipped down the small table in the back of the seat, clipped the lid on the tea and put it down. A tiny bag of sugar. Milk. A plastic stirrer. The train clattered; Cal grabbed the hot cup in alarm.

"One pound thirty sir, thank you."

Sir. For a moment he thought the joker was making fun of him and glared up, but the man's face was closed and polite, and once he had the money he trundled away up the carriage, resuming his smooth "Tea? Drinks?"

Cal leaned back and looked at the plastic cup with distaste. He hated tea. Coffee was more upmarket. He unclipped the lid and stirred the teabag gloomily. When he'd made some money he'd really spend; travel first class where they had white china and linen, everything of the best. They'd call him sir and mean it then. He peeled the metal top from the milk and it sprayed everywhere. He swore, aloud. The woman opposite glared at him.

He glared back, scrubbing his jacket. This had cost. It wasn't designer but it looked it. Or he hoped it did. The momentary fear that it looked cheap slid under his guard but he squashed it hastily and pulling the earphones back on he let the music blast out the train-noise, dipping a biscuit in the tea and watching the landscape through his own reflection.

And just in case I'm not allowed to post that much here's the link to the excerpt: http://www.catherine-fisher.com/pages/books/corbenic/extract.asp
 
Are we allowed to mention some iffy punctuation?

Okay, I won't point it out, but there's plenty in there.
 
Yeah, I saw the dodgy punctuation but wasn't sure if it was only on the extract on the site or whether it was like it in the book too and really couldn't be bothered to go and get my copy to check. :rolleyes:
 
er maybe you ought to. On my read through I only noticed a couple of mini-things. I don't remember any in the book, though (and I read it a couple of weeks ago).

Loved this passage too. Loved the stuff about the jacket.
 
Kinda figured it didn't matter, seeing as that wasn't really the point. But anyway, do the 'look inside' on Amazon and you can see it's different.
 
Actually, I'm not very interested in the first two paragraphs. The story begins in para 3, and that's where I start to gain interest. I know the stuff before is beautiful and extremely well crafted, but I just don't care. If the book was entirely composed of pages like that, I wouldn't finish. Smacks too much of "Look at me! I'm a gifted writer!" and that's not what interests me. I realize I'm probably in the minority here, but I'll accept that.
 
Doesn't matter whether you liked it or not, the point was to 'dissect' it. Anyway, there's been several other passages posted since the first and you're always welcome to post from something you like.
 
Well this is pretty good, it tells us how miserable our character is without saying much directly about his situation.
He's jerked out of sleep. Rubs his face wearily.
It would be embarrasing to... he's not comfortable though no reason is given. He drags coins out- trys to look careless.
The train rattles visciously. He scowls. He's hungry.
Outside, a scatter of dead leaves, a real happy image/
The porter is a joker, making fun of him.
He's bought tea, which he hates, because it's cheaper.
Now we get distaste, and gloomily.
Then- he will show them. He swears, is glared at.
His jacket is symbolic of his life- cheapo but trying to look posh.
So we have a really good idea about this guy, via a hail of negative phrases, though absolutely nothing unpleasant actually happens beyond a bit of spilled tea.
 

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