By Joe Haldeman

Otto McGavin is peaceable and idealistic by means of nature, an Anglo-Buddhist, who seeks employment with the Confederación simply because he believes in it and its project to guard the rights of people and nonhumans. the single challenge is that the Confederación wishes him as a chief Operator for its mystery carrier, the TBII, and the TBII wishes Otto as a secret agent, a thief and an assassin.

It's now not, after all, an issue for the Confederación, which easily makes use of immersion treatment and hypnosis for Otto's education, after which sends him out in deep hide on a number of risky missions on a couple of strange worlds.

But for Otto, it's a distinct topic: what he has to witness and what he's compelled to do take a negative toll on him . . .

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In humour as in research, there is no accounting for taste: some readers may find this type of linguistic dissection overly painstaking, and therefore a little too tedious for their own liking. But they would be mistaken in underestimating the significance of stylistic microeffects such as those observed above. As Leech and Short remind us, ‘[i]f a reader feels that such minutiae are unimportant, writers, at least, do not’ (2007: 107). And indeed, most authors are known for repeatedly editing and rewriting their work, sometimes compulsively Towards an ‘African Stylistics’?

But this need not always be the case (see, for example, Leech and Short, 2007: 154–8). In what follows, a functional framework will be used as a basis for linguistic analysis, in an attempt to demonstrate that the concept of mind-style can help assemble some of the linguistic structures frequently used by Adichie’s narrator into a coherent interpretative whole. Because, as suggested above, a character’s idiolect reflects his or her worldview, I will also try to show that the linguistic changes in Kambili’s description of her experiences follow her psychological development.

23 of African literatures interested in language, namely the use of proverbs in novels. The aim behind the inclusion of this short examination is at least twofold. First, as the analysis finds theoretical inspiration in work that specifically addresses language in African fiction, this opening section underlines the richness of the existing research into culturally-related linguistic aspects of the continent’s literatures. 9 Second, since the origins of proverb analysis in Nigerian fiction are largely literary and ethnolinguistic, this section does not rely on complex grammatical models, a fact that may help to progressively ease the non-specialist into the book’s stylistically-based methodology.

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