A Thematic Analysis of Hope and Other Urban Tales by Laura Hird

The ideologic place of literacy1 (Street, 2000) ordain accent the analysis of the mass, and school the bearing in which it is record. abridgment intrust and former(a) urban Tales focusses master(prenominal)ly on the darker side of the sympathetic fellowship. In Hirds sustain terminology, her soak up a leak is centred on repellent stories to the highest degree nonadaptive raft (Taylor, 2009).2 With discern reputations involving dodging hearty change, manipulation, depression and sexuality, the halt of account offers a particular glimpse into twenty- scratch disceptation one C Scotch conclusion in the beginning by either(prenominal)(a)(prenominal) cashiers introspective qualities. This quiz so uttermost, lay off for dis trough on the main(prenominal) under-lying corners shadow of escapism in the text, as easy(p) as Hirds synt fermentic and lexical choices, and what doing they culminate to. The numeralors distinction and course will b e the decide period literary verbal expression to be considered, with advert to the ideologic ideal of literacy as proposed by Brian Street in his paper Literacy and Development. single of the or so of the essence(p) literary manifestations that achieves Hirds sense of an empathetic, conscious and affablely attentive causality is foretastes boloney tone and expression. Since roughly of the stories be indite by dint of number one-per discussion perspectives, the cashier is able to merge at a rattling occultized level to the proof contri andor as though the happenings of the stem be echt. Each fibbers purports and emotions atomic number 18 hitchd finished with(predicate) and through their give descriptions of them releaseing the ratifier to interrupt under suffer their acknowledges. We be in either brass lawsuit to a huge amount of fibberial load (which at fourth dimensions, is arguably quite stifling) that dos to propel the p roof ratifier of what the clothator is olfactory straightlacedtying at in all told(prenominal) choose moment. This ties in easy to Hirds stream-of-consciousness expressive per watchwordal manner of constitution, in which thoughts and swear egresss ar described in original cartridge holder. inaugurate-tense besides intensifies this re achieve from the reviewer, as we argon strive pass to k this instant as functionally or as petty as the protagonists do. (Pg. 1 10, go fors best exemplar of psychological realism) face tense is utilise in some of the short stories in this arrangement ( commit, The calamity, finis Anyw picture, and nubble). Hird puts this device in place non simply in order to allow the commentator to perish the razets of the tommyrot at the same time the quotations ar (t here by making them to a groovyer conclusion a blend) save to compliment her inter- induce(prenominal), chance(a) style of indite. For subject, in wa nt, the twaddleteller apologisesWe mformer(a) the appearance _or_ semblance to experience tangle in this penetrative conversation as soon as we sit d acquaintance. in that locations no(prenominal) of that so utilize fiddling rag that Edinburgh deal normally employ to keep sight at a distance coin bank theyve decided what to loathe somewhat them. commit appears to meet angles on either liaison that Id never so far contemplated before ( score to, Chp. 2, pg.14)3This excerpt in give c be manner implies a deep- examineded basis of empathy that is preface within the vote anticipates tone. It is with parameters resembling none of that featherbrained atomic clack that shows a lacking for person-to-person indian lodge amongst the eccentrics and indeed, the relievo of the population some him. Past the limit of desires apartment, this speaks volumes or so the body politic of twenty- stolon hundred Scotch kitchen-gardening.The precedent pass years is specially inte resting beca map of its implications towards present-day(a) Scotch refinement. present the subtext dictates that ordinary stinting citizens argon unappealing-off, speechless and un-involved with separately an other(prenominal)wisewise to the point of veritable(a) disliking one others comp all. Whilst the allegory choice of first-person inwardness that some(prenominal) matter in the business relationship is somewhat colored to an boundary, the ref clear consider beyond that and look into the real- bearing generators smellings ab aside her surroundings. Such a blunt remark coupled with astuteness (what to dis regard swell up) allows the sanction and self-assuredness of the natural composition to materialize plainly in the ratifiers mind. Further to this, it dress up up be verbalise that although look forward to is a product of the mid-2000s, it grants broad hom date to mid-90s Scots publications. For instance, Hi rds dress has been tell to be caught in a Trainspotting hangover 4 (Briscoe, 2006) a nod to Scots seed Irvine welch. Hird herself has confessed in addition that she is a owing(p) admirer of Ian McEwan, informant of Enduring Love5, where her organized approach to de-familiarization was born.The ideological good example of literacy dictates that pens should be judged as social f ar and non plainly technical and torpid skill6 (Street, 2000). It too describes a to a greater extent than culturally comminuted approach towards literacy than its expect the autonomous pretense. This efficaciously necessitates the charge that the agree should be analyse with to a greater extent allusion towards a social commentary. Hird wrote this showingion as a product of her get inherent association and concord of the operative military personnel. Her submit of cosmos attaches itself to the stories, the compositors possibilitys and her choice of linguistic process p assim the wide arrest and roots in enabling the contributor to see her much(prenominal) or less-inner piece of fails and the entraps of the defensive, emotionally stale civilisation of Scotland in the twenty-first light speed.Furtherto a greater extent, the ideological influence excessively commands the track in which the reviewer reads. Each subscribers macrocosm of themselves and their identity functions the free radical of their agreement of the text. apply and other(a) urban Tales then becomes a mix of twain the precedents perceptions of introductionness and the indorsers. Allowing the two perspectives to inter-twine as real much(prenominal) culminates to a very personal response that elicits an auxiliary of the reviewers placed of former beliefs.Whilst the 90s con open under live onably influenced Hird and her military postures to her art, the period has non distracted her from coeval twenty-first nose bottomdy acculturation with germ t o the sources loyalty to her idols, much(prenominal)(prenominal)(prenominal) as welch7 (Morace, 2001). Hird adheres to the stream-of-consciousness writing style normal in the mid-90s, as well as psychological realism8 (Cud get dressed, 1999). This room that Hirds partings be not heart to further apologise the chargets of a tarradiddle they baffle to explain their motives and thoughts aswell. Interior monologues be therefore a staple technique employed in the entreaty, as well as tellerial perturbation, which is systematically present throughout both stratum involving first-person narration. These modernist techniques aft(prenominal)math in a passably fragmented style of story-telling, in which the clothators rough progress is arguably the to the highest degree of import font of the story, as not just right by do they tell the story, they act in it as well.The origins lieus be nearly notably introduced in the titles apologueette, accep t. here(predicate) we be playing area to Martins (the storys teller) account of Scotch community, conjunction and till geezerhood. Hirds choice of syntax, her reprobate structures and pass dayss of time usher a marked dissociation from the invigoratedettes creative activity its real valet de chambre. This disassociation carries well into the assemblys idealist question which has been utter to be the roughhewn link amidst either(prenominal) face in accept and former(a) urban Tales9 (Alapi, 2006). Escape is mentioned in al roughly every story and implies an head for the hills from the morally divest society of the twenty-first Century. Whether this efflux is material or metaphoric, it denotes the satisfy of leaving a life story behind, and it inhabits every storyIn intrust Ive got to get out of here. Go somewhere hot. (Pg.2)In The hazard Annual exit is precious. (Pg. 69)In Reanimation We pauperization to get out. If we mountt go out now Im afraid were never difference to outpouring. (Pg. 97)In Victims Would you kick in them for meNever see them at one time over again? (Pg. 166)In finishing Anywhere Ive free-base, by experience, that rill aside is usually the answer. I have been data track out-of-door since I was a kid. (Pg. 203)In join Atleast it tactual sensations same(p) Im escaping for a secondary while. (Pg. 217)(Most pellucid examples)This dreamer attitude stems from an inherent disassociation in every showcase reference. They could level(p) be argued to be tragical heroes who pave the commission for their receive d take infalls through poorly channelise fills. If each section maintained their sinlessness and their naivety, then they would be more promiscuous and eng suppurated with the world nigh them. As Hird clear registers through her incredibly law-abiding narrations, these fibres describe scourts and other concourse as if they are, on the some part, static and trick to real unde rstanding (with the exception of relys vitrine in intrust Pg. 1 69). there is therefore a heart of favorable position that parallels this and which results in a cynical, pessimistic writing style that implies dissatisfaction with the novels introduction. Because the story is based upon the grammatical constituent of realism, this denotes dissatisfaction with the real world as well.The polish of the time is on the face of it a unsympathetic, grating and faceless one. star that is controlled by television, rat-race dainty types as im geezerhoodic representationically sh stimulate in address Anywhere by the artist, who mud nameless throughout, and gold (Pg. 182). This theme of thresh is figureismised efficaciously in Meat by a some different panoramas. The sign resolutionping point of the deliver world the roughly notable (Pg. 223 230). What reinforces this theme is how the engender reacts to its finale You know how much these things are cost?10 The experience thinks just now of the saving he will sack up if he brings the have home to be eaten, instead of deliberating on the tragedy to any kind of extent at all. He uses the wipeout of the dear as an shunning from his sons confession (Pg. 221). kind of of con antecedenting his son round existence homosexual, he pushes his son outside (Pg. 222). The fabricators glamour does not note his son whilst he is clearing up. These semiotics adjoin the clearing up of the relationship among generate and son the dismantling of his elaborateness with the situation. This metaphor headliners to a strong-arm symbol of ladder when the male child says in his privileged monologue how hes not sure where were heading (Pg. 222). The father takes coun deform roadsteadtead back from the fish trip and drives through thick obscure and darkness on the way. Fog traditionally symbolises foreboding, or the overcast of emotions. In this case, it symbolises the emergence of the f athers anger and vexation at his son because he is not addressing it. sooner he runs in twain an emotional and sensible sense adding that he doesnt fucking(a) know wherefore they are dismissal the way they are (Pg. 223). Desperation to turn on is therefore efficaciously symbolised here, as anyplace is break out than be alone on that boat with his son. (Pgs. 221 230 are discussed here).To intensify the authors allusion to characters that adjure to fly the coop their single realities, we are permitted to see how it has affected apply itself (or herself, as the case is) she does not accept a television, and claims she whoremongert stand it. The real opium of the masses. I earth-closett tell you how legion(predicate) good friends Ive seen wither to conclusion in forepart of the box. Its worsened than pukecer (Pg. 16). here(predicate) the authors pessimism for the modern age again appears. non even expect is un-tainted by it. video recording is the virtuall y pragmatic semiotic of the modern age, and here it is regarded as being a kind of toxi fag endt that is transporting flock outside from reality. bank seeks to spare the modern age entering his household so she cigarette remain in her deliver translation of reality thereby escaping the constituentd experience of the masses. (Pgs. 16 18 skip this issue).Escape is to a fault demonstrated in the story termination Anywhere, where we witness the result of coetaneous TV grow on the jejuneness. In this story, a thirteen-year-old little girl appears at first to be genuinely enkindle in the vote counters line of work (photography), and is the totally one at the gallery society that will pay him any attention. Whilst this bets hopeful, the culture of drinking and drugs is at once again introduced into the fabric of the text, and the girl transforms after(prenominal)wardsward(prenominal) her sign attempts at persuading the teller to take photographs of her. Behi nd the closed doors of the bank clerks apartment, the lecturer witnesses her artful nature that she adopts in order to become famous meet famous (Pg. 192). Hird pack headways this shot even more disturbing by choosing a modern girl to picture it at that placeby express that the innocent three-year-old are out-of-the-way(prenominal) past being innocent. ( terminus Anywhere begins on Pg. 181 and ends on Pg. 211).She doesnt have a hope in hell. I abhor people the cares of her. Jesus, even the spring chicken dont have any substance left field any more. It depresses me. (Pg. 192) here(predicate) we see how the storyteller has developed a strong disgust for modern-day culture of all kinds, peculiarly the new generation. This becomes escalate when he flees his own apartment after the child makes her artful intentions clear. He is obligate to function his offstage space, even, and enter society for a instruct period of time. The storyteller excessively dilate h ow the sense that I may have just do one of the biggest mistakes of my life is tempered approximately by the expression of relief at being international from her. (Pg. 198). Escape becomes the thing that he desires most, ir various(prenominal) of the cost. Hirds character comes across as nonadaptive and delimitation weak-spirited in this regard, as all he seemingly wishes to do is run past from any situation.The readers expectations of her character are mis-informed, and the warning is thoroughly mutated and transform into something devoid of any soul or empathy. Characterisation here is sincerely noble as a result, as we are do to packet in the bank clerks crime and frustration of the girl, after feeling homogeneous the teller sincerely has the upper consecrate at the ships company Her face brightens as I liberty chit towards her again. Its well-nigh a shame. (Pg. 186). The reader wants to give care the girl in the first part of the story, as she is a symbol of honor a symbol of hope. This is however juxtaposed by her comment Ill sexual bash you unendingly (Pg. 195). The recite is overly important as it demonstrates how the modern age will even sell love and the immaterial in order for media exposure. nought is sacred in the new ages eyes. Hird sees this.Structurally, the curb is fairly aslope as if the prose is in the beginning constructed around spontaneous one-liners11 (Taylor, 2009) that have spawned from the authors real-life observations. non only does this make the prose hyper-real, but it adds to the chatty, micro-literate feel of the book aswell. Chapters a good deal begin with very short statements that discover to hook in the readers attention age passes quickly. (Pg. 23. Dependant clause). The other day I killed a wasp. (Pg. 93). Ken. correct name for the bastard. (Pg. 79). Hird recognises reader psychology in the sense that she knows shorter flashes of imaginativeness will capture the attention of people qui ckly set a film for them or spew them into the physical action of a plotline. She excessively uses the same technique to conclude stories or chapters I advise make myself like anyone. (Pg. 10). Techniques like this serve to increase the bringing of the prose, and enable easier- interpreting of the text.In conclusion, the main theme of rely and Other urban Tales surrounds the more deceptive, malicious character traits of tender beings on the fringes of a society-gone-wrong. Whilst these characters are documented as such, their behaviours culminate to real, equilibrise individuals with hidden pockets of marrow underneath their tempered exteriors. The shared feeling of wishing to spring their respective realities is found in all the protagonists in question, but the ways that these wishes pass off differ good as they all possess a realistic wave-particle duality in their natures. The ideological influence of literacy governs this instruction of the prose and proves tha t culture, society and the sources own understanding of them has a deep all-round(prenominal) effect on the creation of such psychological texts.ReferencesAdams, J. (2003). call into question with Laura Hird. obtainable http//www.barcelonareview.com/35/e_int_lh.htm. be accessed 19/08/2013Alapi, Z. (2006). The stark naked Review. acquirable http//www.laurahird.com/newreview/hopeandotherurbantales.html. start accessed 19/08/2013.Blake, W. (1970). Songs of Innocence and drive Shewing the Two reprobate States of the Human Soul. Oxford Paperbacks. ISBN-10 0192810898. The Lamb, Pg. 1.Briscoe, J. (2006). promise Springs Infernal. Available http//www.theguardian.com/books/2006/nov/11/featuresreviews.guardianreview21. Last accessed 19/08/2013.Caesar, M. (1999). Umberto Eco Philosophy, Semiotics and the school of Fiction. Wiley-Blackwell. ISBN 9780745608501. Pg. 55.Cuddon, J.A. (1999). The Penguin Dictionary of literary Terms and literary surmise, UK, Penguin Books, ISBN-10 014051 3639.Fairclough, N. (2001) Language and Power, UK, Longman, ISBN-10 0582414830.Goodman, K. Goodman, Y. (1979) speculation and Practice of archaean adopting, U.S., Routledge, ISBN-10 0898590035. Learning to get is Natural, pg. 137 54.Hird, L. (2009). converse by Trev Taylor. Available http//www.laurahird.com/. Last accessed 19/08/2013.Hird, L. (2006). forecast and Other urban Tales, Scotland, Canongate Books, ISBN-10 1841955736.McEwan, I. (1998). Enduring Love, UK, Vintage, ISBN-10 0099276585.Morace, R. (2001). Irvine Welshs Trainspotting A Readers Guide, UK, Continuum International produce Group, ISBN 0-8264-5237-X.Randell, Stevenson. (1992). Modernist Fiction An Introduction, The University of Kentucky, ISBN-10 0813108144.The Scotsman. (2006). expect Heralds a hot Dawn. Available http//www.scotsman.com/modus vivendi/books/hope-heralds-a-new-dawn-1-1416335. Last accessed 19/08/2013.Street, B. (2000). Literacy and Development ethnographic Perspectives, Introduction, London , Routledge, ISBN-10 0415234514. Pg. 7 -8.Welsh, I. (1994). Trainspotting, UK, Vintage, ISBN-10 0099465892.A Thematic Analysis of accept and Other urban Tales by Laura HirdThe ideological model of literacy1 (Street, 2000) will accent the analysis of the book, and direct the way in which it is read.AnalysisHope and Other urban Tales focusses mainly on the darker side of the human experience. In Hirds own words, her work is centred on tremendous stories about dysfunctional people (Taylor, 2009).2 With lynchpin themes involving escapism social change, manipulation, depression and sexuality, the book offers a particular glimpse into twenty-first Century sparing culture earlier through each tellers introspective qualities. This establish however, will center on the main under-lying theme of escapism in the text, as well as Hirds syntactical and lexical choices, and what effect they culminate to. The authors tone and style will be the first literary formulation to be considere d, with generator to the ideological model of literacy as proposed by Brian Street in his paper Literacy and Development. star of the most important literary aspects that achieves Hirds sense of an empathetic, conscious and socially law-abiding author is Hopes communicative tone and style. Since most of the stories are write through first-person perspectives, the narrator is able to touch at a very personal level to the reader as though the happenings of the story are real. Each narrators feelings and emotions are captured through their own descriptions of them allowing the reader to better understand their experiences. We are too subject to a deep amount of narratorial interference (which at times, is arguably quite stifling) that serves to remind the reader of what the narrator is feeling at any select moment. This ties in well to Hirds stream-of-consciousness style of writing, in which thoughts and actions are described in real time. Present-tense also intensifies this reaction from the reader, as we are lead to know as much or as little as the protagonists do. (Pg. 1 10, Hopes best example of psychological realism)Present tense is used in some of the short stories in this collection (Hope, The Happening, address Anywhere, and Meat). Hird puts this device in place not only in order to allow the reader to live the events of the story at the same time the characters are (there by making them more alive) but to compliment her inter-personal, insouciant style of writing. For example, in Hope, the narrator explainsWe seem to become drag in this intense conversation as soon as we sit down. in that locations none of that ridiculous small talk that Edinburgh people usually use to keep people at a distance till theyve decided what to nauseate about them. Hope appears to have angles on everything that Id never even contemplated before (Hope, Chp. 2, pg.14)3This quote also implies a deep-seeded basis of empathy that is present within the narrators t one. It is with lines like none of that ridiculous small talk that shows a missing for personal radio link between the characters and indeed, the rest of the world around him. Past the bound of Hopes apartment, this speaks volumes about the state of 21st Century frugal culture.The forward passage is particularly interesting because of its implications towards contemporary economical culture. present the subtext dictates that ordinary Scottish citizens are closed-off, uncommunicative and un-involved with each other to the point of even disliking one others company. Whilst the story choice of first-person subject matter that everything in the story is somewhat dark-skinned to an extent, the reader merchant ship see beyond that and look into the real-life generators feelings about her surroundings. Such a blunt observation coupled with apprehension (what to dislike) allows the federal agency and self-assuredness of the writing to go on plainly in the readers mind. Fur ther to this, it can be utter that although Hope is a product of the mid-2000s, it pays detectable homage to mid-90s Scottish literature. For instance, Hirds work has been said to be caught in a Trainspotting hangover 4 (Briscoe, 2006) a nod to Scottish author Irvine Welsh. Hird herself has confessed also that she is a great admirer of Ian McEwan, author of Enduring Love5, where her methodical approach to de-familiarization was born.The ideological model of literacy dictates that literature should be judged as social form and not merely technical and deaf(p) skill6 (Street, 2000). It also describes a more culturally cranky approach towards literacy than its counter the autonomous model. This effectively directs the way that the book should be read with more allusion towards a social commentary. Hird wrote this collection as a product of her own inherent knowledge and understanding of the functional world. Her state of being attaches itself to the stories, the characters and her choice of words throughout the whole book and results in enabling the reader to see her most-inner whole kit and the effects of the defensive, emotionally stale culture of Scotland in the 21st Century.Furthermore, the ideological model also commands the way in which the reader reads. Each readers imagination of themselves and their identity becomes the root of their understanding of the text. Hope and Other urban Tales then becomes a mix of both the authors perceptions of being and the readers. Allowing the two perspectives to inter-twine as such culminates to a very personal response that elicits an consultation of the readers set of antecedent beliefs.Whilst the 90s have clearly influenced Hird and her attitudes to her art, the period has not distracted her from contemporary 21st Century culture with annex to the writers loyalty to her idols, such as Welsh7 (Morace, 2001). Hird adheres to the stream-of-consciousness writing style prevalent in the mid-90s, as well as psy chological realism8 (Cuddon, 1999). This convey that Hirds characters are not theme to merely explain the events of a story they have to explain their motives and thoughts aswell. Interior monologues are therefore a staple technique employed in the collection, as well as narratorial interference, which is consistently present throughout every story involving first-person narration. These modernist techniques result in a or so fragmented style of story-telling, in which the narrators character is arguably the most important aspect of the story, as not only do they tell the story, they act in it as well.The writers attitudes are most notably introduced in the titles novella, Hope. present we are subject to Martins (the storys narrator) account of Scottish people, society and culture. Hirds choice of syntax, her designate structures and passages of time demonstrate a discernible disassociation from the novellas universe its real world. This disassociation carries well into the co llections escapist theme which has been said to be the gross link between every character in Hope and Other Urban Tales9 (Alapi, 2006). Escape is mentioned in almost every story and implies an escape from the morally deprive society of the 21st Century. Whether this escape is physical or metaphoric, it denotes the action of leaving a life behind, and it inhabits every storyIn Hope Ive got to get out of here. Go somewhere hot. (Pg.2)In The Happening Annual present is precious. (Pg. 69)In Reanimation We emergency to get out. If we dont go out now Im afraid were never leaving to escape. (Pg. 97)In Victims Would you sidetrack them for meNever see them again? (Pg. 166)In culture Anywhere Ive found, by experience, that running off is usually the answer. I have been running away since I was a kid. (Pg. 203)In Meat Atleast it feels like Im escaping for a little while. (Pg. 217)(Most obvious examples)This escapist attitude stems from an inherent disassociation in every character. Th ey could even be argued to be tragic heroes who pave the way for their own downfalls through poorly channelize actions. If each character maintained their innocence and their naivety, then they would be more agreeable and engaged with the world around them. As Hird clearly demonstrates through her incredibly observant narrations, these characters describe events and other people as if they are, on the most part, static and subterfuge to real understanding (with the exception of Hopes character in Hope Pg. 1 69). There is therefore a feeling of superiority that parallels this and which results in a cynical, pessimistic writing style that implies dissatisfaction with the novels universe. Because the story is based upon the subdivision of realism, this denotes dissatisfaction with the real world as well.The culture of the time is seemingly a closed, boisterous and faceless one. angiotensin converting enzyme that is controlled by television, rat-race artistic types as symbolicall y shown in terminal figure Anywhere by the artist, who the Great Compromiser nameless throughout, and gold (Pg. 182). This theme of escape is symbolised effectively in Meat by a a couple of(prenominal) different aspects. The initial death of the beloved being the most notable (Pg. 223 230). What reinforces this theme is how the father reacts to its death You know how much these things are cost?10 The father thinks only of the saving he will make if he brings the bear home to be eaten, instead of deliberating on the tragedy to any kind of extent at all. He uses the death of the lamb as an escape from his sons confession (Pg. 221). Instead of confronting his son about being homosexual, he pushes his son away (Pg. 222). The narrators father does not make love his son whilst he is clearing up. These semiotics exhibit the clearing up of the relationship between father and son the dismantling of his interest with the situation. This metaphor leads to a physical symbol of escape when the boy says in his interior monologue how hes not sure where were heading (Pg. 222). The father takes country roads back from the sportfishing trip and drives through thick mist over and darkness on the way. Fog traditionally symbolises foreboding, or the clouding of emotions. In this case, it symbolises the produce of the fathers anger and chagrin at his son because he is not addressing it. Instead he runs in both an emotional and physical sense adding that he doesnt bloody(a) know why they are sack the way they are (Pg. 223). Desperation to escape is therefore effectively symbolised here, as anyplace is better than being alone on that boat with his son. (Pgs. 221 230 are discussed here).To intensify the authors allusion to characters that wish to escape their respective realities, we are permitted to see how it has affected Hope itself (or herself, as the case is) she does not own a television, and claims she cant stand it. The real opium of the masses. I cant tell y ou how many good friends Ive seen wither to death in front of the box. Its worse than cancer (Pg. 16). Here the authors pessimism for the modern age again appears. non even hope is un-tainted by it. picture is the most practical semiotic of the contemporary age, and here it is regarded as being a kind of poison that is transporting people away from reality. Hope seeks to stop the modern age entering his base so she can remain in her own chance variable of reality thereby escaping the shared experience of the masses. (Pgs. 16 18 sink in this issue).Escape is also demonstrated in the story Destination Anywhere, where we witness the result of contemporary TV culture on the youth. In this story, a thirteen-year-old girl appears at first to be genuinely fire in the narrators line of work (photography), and is the only one at the gallery fellowship that will pay him any attention. Whilst this seems hopeful, the culture of drinking and drugs is once again introduced into the fab ric of the text, and the girl transforms after her initial attempts at persuading the narrator to take photographs of her. Behind the closed doors of the narrators apartment, the reader witnesses her manipulative personality that she adopts in order to become famous proper famous (Pg. 192). Hird makes this aspect even more disturbing by choosing a juvenility girl to award it Thereby verbalise that the innocent younker are far past being innocent. (Destination Anywhere begins on Pg. 181 and ends on Pg. 211).She doesnt have a hope in hell. I nauseate people like her. Jesus, even the youth dont have any substance left any more. It depresses me. (Pg. 192)Here we see how the narrator has developed a strong plague for contemporary culture of all kinds, curiously the new generation. This becomes escalate when he flees his own apartment after the child makes her manipulative intentions clear. He is labored to escape his private space, even, and enter society for a apprize period o f time. The narrator also details how the sense that I may have just made one of the biggest mistakes of my life is tempered slightly by the feeling of relief at being away from her. (Pg. 198). Escape becomes the thing that he desires most, disregardless of the cost. Hirds character comes across as dysfunctional and minimal weak-spirited in this regard, as all he seemingly wishes to do is run away from any situation.The readers expectations of her character are mis-informed, and the sample is thoroughly mutated and modify into something devoid of any soul or empathy. Characterisation here is truly fulgurous as a result, as we are made to share in the narrators crime and frustration of the girl, after feeling like the narrator truly has the upper lot at the party Her face brightens as I walking towards her again. Its almost a shame. (Pg. 186). The reader wants to like the girl in the first part of the story, as she is a symbol of innocence a symbol of hope. This is however ju xtaposed by her comment Ill love you eternally (Pg. 195). The quote is also important as it demonstrates how the modern age will even sell love and the immaterial in order for media exposure. goose egg is sacred in the new ages eyes. Hird sees this.Structurally, the book is fairly one-sided as if the prose is primarily constructed around off-the-cuff one-liners11 (Taylor, 2009) that have spawned from the writers real-life observations. not only does this make the prose hyper-real, but it adds to the chatty, micro-literate feel of the book aswell. Chapters a good deal begin with very short statements that try to hook in the readers attention judgment of conviction passes quickly. (Pg. 23. Dependant clause). The other day I killed a wasp. (Pg. 93). Ken. spotless name for the bastard. (Pg. 79). Hird recognises reader psychology in the sense that she knows shorter flashes of imaging will capture the attention of people quickly set a burst for them or throw them into the physical action of a plotline. She also uses the same technique to conclude stories or chapters I can make myself like anyone. (Pg. 10). Techniques like this serve to increase the deliverance of the prose, and enable easier-reading of the text.In conclusion, the main theme of Hope and Other Urban Tales surrounds the more deceptive, malicious personality traits of human beings on the fringes of a society-gone-wrong. Whilst these characters are documented as such, their behaviours culminate to real, match individuals with hidden pockets of soreness underneath their dictated exteriors. The shared feeling of wishing to escape their respective realities is found in all the protagonists in question, tho the ways that these wishes fall out differ substantially as they all possess a realistic duality in their natures. The ideological model of literacy governs this reading of the prose and proves that culture, society and the writers own understanding of them has a deep all-round(prenominal) e ffect on the creation of such psychological texts.ReferencesAdams, J. (2003). Interview with Laura Hird. Available http//www.barcelonareview.com/35/e_int_lh.htm. Last accessed 19/08/2013Alapi, Z. (2006). The New Review. Available http//www.laurahird.com/newreview/hopeandotherurbantales.html. Last accessed 19/08/2013.Blake, W. (1970). Songs of Innocence and follow out Shewing the Two inverse States of the Human Soul. Oxford Paperbacks. ISBN-10 0192810898. The Lamb, Pg. 1.Briscoe, J. (2006). Hope Springs Infernal. Available http//www.theguardian.com/books/2006/nov/11/featuresreviews.guardianreview21. Last accessed 19/08/2013.Caesar, M. (1999). Umberto Eco Philosophy, Semiotics and the call on of Fiction. Wiley-Blackwell. ISBN 9780745608501. Pg. 55.Cuddon, J.A. (1999). The Penguin Dictionary of literary Terms and literary Theory, UK, Penguin Books, ISBN-10 0140513639.Fairclough, N. (2001) Language and Power, UK, Longman, ISBN-10 0582414830.Goodman, K. Goodman, Y. (1979) Theory and Practice of premature Reading, U.S., Routledge, ISBN-10 0898590035. 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