In reading James Joyce’s “Dubliners” and Jerome Stern’s “An Anthology of Really Short Stories,” I was struck by a writing technique that though obvious is often overlooked. Writers are always in search of ways to hook their readers, yet Joyce and Stern chose to implement the art of drawing upon natural instincts— in this case love and desire. When love and desire are present in writing, it drives the reader to become an active participant. The reader takes on the responsibility of filling in the blanks and sharing in the emotions based upon their own experiences in those areas. This is made possible simply because love and desire are universal themes. Everyone can relate to having a yearning so intense that it drives his/her thoughts and actions. This is not to say that writers have no role to play in this, for the writers, Joyce and Stern at the present moment, have the responsibility to convince the reader that there is genuine longing along with the potential drive to obtain love or fulfill the desire. The challenge for the writer then becomes creating a will stronger than the “monotonous” (Dubliners) routines of everyday life.
To illustrate effective uses of the technique of natural instincts, look at James Joyce’s “An Encounter.” Within this piece, the narrator desires to “break out of the weariness of school-life for one day at least” (21). This wish is supported by the narrator skipping school, a concept that all readers can relate to even if he/she never followed through. In this instance, the author justified the need for a mental health day by strongly contrasting the dull, “monotonous” (Dubliners) routine of school as compared to the exhilarating, refreshing disregard for schedules. It is through the author’s shared experience of the instinct of desire that the reader can relate.
Likewise, James Joyce intensifies the theme of natural instincts in “Araby.” He writes of a boy who appears to be obsessed with a woman of whom is referred to as “Mangan’s sister” (30). Ironically, the protagonist eats, sleeps, and breathes an older woman without knowing her first name. His longing for love drives him to allow “[his] body [to be] like a harp and [Mangan’s sister’s] words and gestures [to be] fingers running upon the wires” (31). In analyzing the piece I came across five roadblocks in his attempts to find love and welcome change: 1) he is in love, yet lacks the courage to speak to her, 2) he finds it impossible to focus on his studies, 3) his uncle forgets to provide train fare on time, 4) the train experienced persistent delays, and 5) the bazaar ended before he purchased a gift. These five elements were provided by Joyce as a means to connect the reader to a drive stronger than the monotonous woes of everyday life. Certainly, at the end the protagonist had an epiphany that he was “a creature… burned with anguish and anger” (35), for the entire obsession and outing was selfish in nature— his instincts for love and change. I would argue this writing has a convincing desire and reminds readers of a time when the desire was confusing and misguided.
Pursuing this further, Jerome Stern’s collection of stories utilizes the technique of natural instincts, but in a different manner. While the different authors incorporate love and desire, they also depend heavily upon its ability to convince the reader and convey meaning within a limited amount of words. For example, Roberto Fernandez’s “Wrong Channel” explores a desire to belong. Laurie Berry on the other hand draws on the need to love and be loved in “Mockingbird.” Comparatively, “Land’s End” by Antonya Nelson utilizes the desire to move beyond what others possess and own something. Finally, Peggy McNally in “Waiting” pulls on the reader’s heartstrings as the protagonist “remembers her date last night, and hopes it might lead to bigger things” (118). Certainly, these are big concepts to pull off in two pages, yet it becomes possible through natural instincts.
It is evident, as proven through these illustrations, that universal themes, such as natural instincts, are useful tools for writers to connect with and convince their readers that there are things more powerful than our “monotonous” (Dubliners) routines.
To illustrate effective uses of the technique of natural instincts, look at James Joyce’s “An Encounter.” Within this piece, the narrator desires to “break out of the weariness of school-life for one day at least” (21). This wish is supported by the narrator skipping school, a concept that all readers can relate to even if he/she never followed through. In this instance, the author justified the need for a mental health day by strongly contrasting the dull, “monotonous” (Dubliners) routine of school as compared to the exhilarating, refreshing disregard for schedules. It is through the author’s shared experience of the instinct of desire that the reader can relate.
Likewise, James Joyce intensifies the theme of natural instincts in “Araby.” He writes of a boy who appears to be obsessed with a woman of whom is referred to as “Mangan’s sister” (30). Ironically, the protagonist eats, sleeps, and breathes an older woman without knowing her first name. His longing for love drives him to allow “[his] body [to be] like a harp and [Mangan’s sister’s] words and gestures [to be] fingers running upon the wires” (31). In analyzing the piece I came across five roadblocks in his attempts to find love and welcome change: 1) he is in love, yet lacks the courage to speak to her, 2) he finds it impossible to focus on his studies, 3) his uncle forgets to provide train fare on time, 4) the train experienced persistent delays, and 5) the bazaar ended before he purchased a gift. These five elements were provided by Joyce as a means to connect the reader to a drive stronger than the monotonous woes of everyday life. Certainly, at the end the protagonist had an epiphany that he was “a creature… burned with anguish and anger” (35), for the entire obsession and outing was selfish in nature— his instincts for love and change. I would argue this writing has a convincing desire and reminds readers of a time when the desire was confusing and misguided.
Pursuing this further, Jerome Stern’s collection of stories utilizes the technique of natural instincts, but in a different manner. While the different authors incorporate love and desire, they also depend heavily upon its ability to convince the reader and convey meaning within a limited amount of words. For example, Roberto Fernandez’s “Wrong Channel” explores a desire to belong. Laurie Berry on the other hand draws on the need to love and be loved in “Mockingbird.” Comparatively, “Land’s End” by Antonya Nelson utilizes the desire to move beyond what others possess and own something. Finally, Peggy McNally in “Waiting” pulls on the reader’s heartstrings as the protagonist “remembers her date last night, and hopes it might lead to bigger things” (118). Certainly, these are big concepts to pull off in two pages, yet it becomes possible through natural instincts.
It is evident, as proven through these illustrations, that universal themes, such as natural instincts, are useful tools for writers to connect with and convince their readers that there are things more powerful than our “monotonous” (Dubliners) routines.