By Eduardo Lago
Via an creative constitution that jumps from narrator to narrator and spans many years, Call Me Brooklyn follows the lifetime of Gal Ackerman, a Spanish orphan followed throughout the Spanish Civil battle and raised in Brooklyn, long island. relocating from the key tunnels that defend the forgotten citizens of long island to the studio the place Mark Rothko positioned an finish to his existence, from the jazz golf equipment frequented through Thomas Pynchon to the bar in Madrid the place we study the reality approximately Ackerman's prior, Call Me Brooklyn attracts upon a wealthy culture that comes with Nabokov's Pale Fire, Bellow's Humbolt's Gift, and the novels of Felipe Alfau—a hymn to secret and to the facility of fiction.
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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.