![]() The writer creates the semantic field of pain in this paragraph, to show that he is strong enough to cause pain in others. I began to hate you for not having the courage to tell me what you really thought of me. You tried to hide how you felt, but it rippled across your face. The rest of you turn your heads away the next bit is for her only. ‘The possibility exists that she’s out there somewhere reading this right now. But, when he is telling the story of Penelope, who is his ex-long-term-girlfriend, and the one who he enjoyed hurting, the narrator directs Penelope by saying: It makes sense that if the writer is telling an autobiographical story, he wouldn’t want people to know that he had lived this life. I studied the alley that the anonymous writer wrote down, and I tried to decipher whether the narrator of the novel is actually the writer himself. For me, however, it made me more intrigued, despite being a young woman myself. The reader may perceive this, despite the past tense, as a current hobby and will make them turn away. Although, we must take note of the past tense of the word ‘liked’, because this implies that the narrator has changed since he ‘liked’ hurting girls. The book begins with a declarative sentence which would make any feminist turn away after reading just these words: I liked hurting girls. ![]() We follow a monologue of an anonymous author. But, we do know his past, and he has become the victim of the cliché a taste of his own medicine. Had we not known his past in romantic abuse, we would see this as a sinful act of the devil on the woman’s part. We are stuck in a fantasy of: despising the ruinous narrator for his lack of female acceptance, and the harm he causes people for the fun of it, crossed with feeling sorry for him because he is, too, hurt by women replacers of himself. ![]()
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