The theme of entrapment runs through both my fiction and non-fiction pieces. In my main literary text, Khaled Hosseini explores the relationship between individuals living under an oppressive authoritarian system which condones the suppression of women. As the female individuals forge a relationship with each other, they begin to liberate themselves from the patriarchal oppression which they face. This is fuelled by the determination to overcome the tormented abuse which arose due to the neglect by their own fathers.
(non-fiction stimulus text)
This gripping thriller is aimed at a general adult audience as it contains scenes of violence. It takes up a dramatic and captivating tone with a focus on a resolution, to appeal to a readership looking for both suspense and entertainment. I have written my fiction piece as a short story. It follows the experience of an individual, ‘Sami’ who has been kidnapped due to her fathers past unexpected ordeals. Unknown to the reader, the only way to resolve her encounter with death is by the use of her necklace, ‘Akel’, which was named and given to her by her deceased father. The main character has been socialised to protect the ‘Akel’, the meaning of which has connotations of being powerful and complete. This juxtaposes to the actual unabbreviated name of the necklace, ‘Akeldama’, which is revealed towards the end, meaning ‘field of blood’. ‘This is the Aramaic name for a place in Jerusalem associated with Judas Iscariot’, which may foreshadow death. This is consequently used to create suspense amongst the reader since this piece ended with a cliffhanger as to whether or not they managed to save the world. Similarly to the stimulus text, both the main characters had an idealised perception of their fathers which ironically led them both to their downfall.
I started my first paragraph in the first person, past tense narrative, describing the morning of the kidnap. I decided to start with orientation instead of an abstract. This meant a descriptive opening (e.g. ‘Exhausted, I hauled myself up from the cradled arms of the snug silken tranquillity’). Then moving on to the complicating action of the kidnap (‘Instantaneously, two extensive dreary hands were snared over my body limiting any development as it maneuvered me into dimness.’), and from there came the explanation of the events that unfolded, ending with the result of the Akeldama finally being exposed.
The first paragraph begins with an onomatopoeia, ‘Buzz! Buzz!’, creating impression of sensual immediacy.*The use of reflective thought, ‘The kind my father used to give me’”,constructs an intimate reader relationship which evokes pathos therefore creating further dramatic irony when her fathers true past intentions are revealed.
The semantic field of nature runs through the second paragraph. Images of ‘dynamic leaves’, ‘centenarian trees’ and the alliterative ‘crisp crunchy leaves’ evoke a tranquil ambience which is further emphasised by the personification, ‘hushed lanes’ and ‘detached themselves from the oak arms’. This juxtaposes with the similes, ‘betrayed like a skeleton ripped of it’s flesh’ and ‘eyes like omnipresent observers’, which create emphatic and vivid imagery, thus demonstrating her isolation and feeling of displacement , as well as evoking a sense of danger and foreshadowing her kidnapping. This displacement is further enhanced in later passages such as the triadic structure : ‘There was no tinge of earthy loam to the air, no fragrance of spring growth, no sunlight to bath the surface of this planet’