You are a freelance blogger in an online literary magazine. You need to write a 500-word feature article on a contemporary (21st century) author from outside your country. Do an online search on a noteworthy writer and his or her contribution to the society relative to his/her work. You may choose someone from the list of authors in the table above, but you are not limited to that list. It may also be nice to write about an author who has a little online presence, but have made significant impact to the lives of his/her readers. Make sure that your feature provides the following information: background of the author, a short overview of the authors literary works (books, online or print publications, etc.), a short sampling of the authors work/s together with your commentary. End the article by highlighting what are the author's contribution to contemporary literature where you can include his/her causes or advocacies based on the common themes found in his/her work.
patulong naman po salamat
patulong naman po salamat
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HARUKI MURAKAMI
Haruki Murakami, a Japanese novelist, short-story writer, and translator whose deeply imaginative and often ambiguous books became international best sellers.
More than being acknowledged for, say, his prose fashion or his richly plotted narratives, Murakami is liked for the style he has created, his very own specific tackle magical realism, recognizable through tropes like pasta, cats, an oppressive experience of loneliness, and mystery worlds that coexist in or beside our very own.
While Murakami has by no means been recognized for being a incredible prose writer, on a sentence-by-sentence degree Ki/ll/ing Commendatore is a unluckily unimpressive effort: "Look deep sufficient into any individual and you may locate something shining within," the narrator reflects, even though now no longer very deeply. The mysterious Gatsby-like neighbor Menshiki is constantly smiling "faintly." Murakami makes use of versions of the simile "like a cat" 12 one-of-a-kind times. Certain turns of word suggest the writer nonetheless has a completely unique eye he can switch on the world — a night time is as hushed "as though I have been at the lowest of a deep sea," clouds are "like a few wandering spirits from the past ... searching for misplaced memories" — however too frequently mornings are "chilly," coffee "as black as a moonless night time," and silence "too quiet."
Murakami has struggled to jot down third-dimensional ladies for years, and his worst dispositions come to a head in Killing Commendatore, wherein the 36-year-vintage protagonist each r4/p3s his spouse in a dream and again and again s3xu4l1z/es his 13-year-vintage neighbor, Mariye. Apparently oblivious to, or dismissive of, criticisms of the use of woman characters as props, Murakami has Ki/l/l/ing Commendatore's narrator again and again appreciate Mariye's body, and not using a effect to man or woman improvement or plot. "I may want to see how quite her legs were," the narrator observes at one point. "Her cumbersome tights could not conceal that. When she matured a chunk more, the ones legs could appeal to the gaze of many men." At every other moment, Mariye discusses at duration her unhappiness in her b/r/a length with the narrator, who reassures her that "I'm certain they will get bigger." The remarks serve no motive to the narrative, making you marvel at their gratuitous inclusion at all.
For anciental weight, Murakami provides a sprint of Nazis and the s3/xu/4l 4/ss/4ults of Nanjing, additions that sense greater like a rapidly laid backstory than an crucial facet plot. Their inclusion lacks, for example, the identical intrigue as sections approximately Japan's Mongolian colony, Manchukuo, in Wind-Up Bird, an area each actual and, somehow, not, in which the bl/oo/dy deeds of the Japanese show up as curses returned home. In Ki/l/ling Commendatory, World War II looks like any other container Murakami had to check.
Such narratives that describes the crime of the Imperial army is such a large yet strange step into the Japanese nationalism to recognize their own acts. War crimes of Imperial Japan has been cut out from history books and has never been taught to students. This kind of reminder shakes Japan to its core. This act, however simple, is a warming move that recognizes the rights and pasts of the victims of this nefarious history.
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