William Faulkner style's is rich and complex in Absalom, Absalom!.

The novel contains a mix of poetic

prose and stream of consciousness narration. The storyline of the novel is actually quite simple, though
its long, rambling sentences of dreams, desires, nightmarish recollections, and strange and telling images
often make for difficult reading. To analyze the style of William Faulkner is a challenge even for the most
perceptive and persistent critic, for he is a restless experimenter with both language and technique. In
Absalom, Absalom!, Faulkner makes great use of interior monologue, often moving without notice from
one character to another, so that a series of episodic events are strung together by various narrators
recollecting their pasts and coloring their telling with subjective inputs of their own assessments and
speculation.

Great Gatsby

Fitzgerald called The Great Gatsby a "novel of selected incident," modelled after Flaubert's Madame
Bovary. "What I cut out of it both physically and emotionally would make another novel," he said.
Fitzgerald's stylistic method is to let a part stand for the whole. In Chapters I to III, for example, he lets
three parties stand for the whole summer and for the contrasting values of three different worlds. He
also lets small snatches of dialogue represent what is happening at each party. The technique is
cinematic. The camera zooms in, gives us a snatch of conversation, and then cuts to another group of
people. Nick serves almost as a recording device, jotting down what he hears. Fitzgerald's ear for
dialogue, especially for the colloquial phrases of the period, is excellent.

Fitzgerald's style might also be called imagistic. His language is full of images-concrete verbal pictures
appealing to the senses. There is water imagery in descriptions of the rain, Long Island Sound, and the
swimming pool. There is religious imagery in the Godlike eyes of Dr. Eckleburg and in words such as
incarnation, and grail. There is color imagery: pink for Gatsby, yellow and white for Daisy.

Some images might more properly be called symbols for the way they point beyond themselves to
historic or mythic truths: the green light at the end of Daisy's dock, for instance, or Dr. Eckleburg's eyes,
or Dan Cody's yacht. Through the symbolic use of images, Fitzgerald transforms what is on the surface a
realistic social novel of the 1920s into a myth about America.

Mourning Becomes Electra

American playwright Eugene O’ Neill’s “Mourning Becomes Electra” is a continuation of the Greek
tradition. It is rare to find two principal complexes “Electra” and “Oedipus” in one work of art. Here we
have both as parallel themes. The tragic implications as will be observed are of the kind that generates
emotions of purgation and emotional relief. However, it’s set in a modern (20th century) milieu. The
characterization, the story line, the plot are all reflective of the ancient traditions. The names and
sequence have been modified to serve the playwright’s intentionality.The play “Mourning Becomes
Electra” has much in common with the grand style of ancient Greek tragedy. It is the suffering of human
beings that results in an ennobling effect. The characters have complex psychological hang-ups which
contribute towards their doom. On the Greek pattern we have a trilogy with three parts: The
Homecoming, The Hunted, and The Haunted. Whereas in the Greek cases, the psychological aspect is
disguised and barely identifiable, in O’Neill it constitutes the essence of drama. Let’s see what the critics
have to say about the play.

Waste Land

The most important aspect of the work, and the one that informs all others, is the literary movement to
which it belongs, modernism, which this work helped define. Modernism is the broad term used to
describe post—World War I literature that employs techniques Eliot uses in The Waste Land. These
techniques, and all the techniques associated with modernist literature, expressed a rebellion against
traditional literature, which was noted by its distinct forms and rules. For example, in traditional poetry,
poets often sought uniformity in stanza length and meter. Those poets who could work within these
sometimes challenging rules and still express themselves in a unique or moving way were considered
good poets.The Waste Land made use of allusion, quotation (in several languages), a variety of verse
forms, and a collage of poetic fragments to create the sense of speaking for an entire culture in crisis; it
was quickly accepted as the essential statement of that crisis and the epitome of a modernist poem.

Short Stories-Hemingway

The Iceberg Theory is the writing style of American writer Ernest Hemingway. Influenced by his
journalistic career, Hemingway contendedt that by omitting superfluous and extraneous matter, writing
becomes more interesting. When he became a writer of short stories, he retained this minimalistic style,
focusing on surface elements without explicitly discussing the underlying themes. Hemingway believed
the true meaning of a piece of writing should not be evident from the surface story, rather, the crux of
the story lies below the surface and should be allowed to shine through. Critics such as Jackson Benson
claim that his iceberg theory, also known as the theory of omission, in combination with his distinctive
clarity of writing, functioned as a means to distance himself from the characters he created.

Heart of Darkness

Heart of Darkness describes a voyage to Africa, common for the British still, despite the horrific
treatment which was apparent of colonization. The chaotic, stream-of-consciousness style Conrad took
on helped to display the confusion, and made the reader have to interpret for themselves what they
thought the writer meant. Conrad experiments with this style, leaving some sentences without ending:
"not a sentimental pretense but an idea;…something you can set up…and offer a sacrifice to…." (Conrad,
Longman p. 2195), a very choppy form of literature and causes the reader to fill in the holes and
interpret themselves, alone. Conrad skips about from talking of the "two women knitted black wool
feverishly" at the gate of the city (of hell), to his aunt which he feels women are "out of touch with
truth," to how the British are as "weak-eyed devil(s) of a rapacious and pitiless folly" (Conrad, Longman
pp. 2198, 2199, & 2202). Conrad's mind moves about as ours do along a large duration of literary
monologue to convey to the reader the author's ideas, as interpreted by the reader. Conrad's narrative
frame also continues his experimentation with literary form in Modernist style. Two separate
monologues are present throughout Heart of Darkness. The first part starts out with an unnamed
narrator aboard the ship Nelly, describing to himself, as well as to the reader, those aboard the ship,
particularly Marlow. At first, the narrator is not known for sure to be a character aboard the ship until a
few paragraphs later identify him as a person observing the others-"Between us there was, as I have
already said," (Conrad, Longman p. 2193). Marlow gradually takes over the narration, beginning "'And
this also,' said Marlow suddenly" (Conrad, Longman p. 2194) is the first breaking point in Conrad's
Modernist narrative experiment. By page 2195, Conrad has Marlow take over the entire monologue
narrative, as the unnamed narrator jumps time after time, but is rarely thought of for the majority of
Heart of Darkness.

Lord Jim

Lord Jim is one of Conrad's best loved renditions. The novel is distinctive for its narrative style. Marlow,
the recurring storyteller in a number of Conrad's novels, pieces together the story of his subject from a
variety of sources. Jim is thus presented through the narrator's complex management of what the reader
knows. The book begins with the omniscient third-person voice, yet it is interrupted by Marlow's
observations and intimacies as well as other second-hand accounts.Lord Jim's style asks a lot of us. Not
only do we have to make educated guesses about the characters' thoughts, but we also have to navigate
a jumbled, meandering narrative that jumps back and forth in time faster than you can fire up the flux
capacitor.

The Lord of the Flies

The novel is written from the third person omniscient point of view. The novel is told through the eyes of
several of the lead characters, including Ralph, Jack, and Piggy. The author moves from character to
character to tell his story, making the point of view omniscient. By doing this, the author is able to show
his story from multiple points of view.

The point of view of this novel works well with the plot because the author uses a narration that allows
him to tell the story from multiple viewpoints, giving the reader a well-rounded view of the story. The
novel contains many characters, and it is important that the author be able to keep track of them all
while telling a complete story.