The Wild V.S. Extremely Loud and Incredibly Close

The connection between the the pieces we now have experience with is less about the book itself and more about the author. In both cases, the author has a very good control of his writing style, and uses that to bring an audience closer to the plot.

Seay’s essay was both entertaining and true. He theory that “Tik Tok” was an especially bad pop song was funny, but as he got into why it was clear that he had a good idea. I especially enjoyed when he compared it to Beyonce. I had no gaps that prohibited complete understanding f the essay, allowing me to not be distracted and think fully about it.


Retrospect toward Extremely Loud and Incredibly CLose

Luckily, My draft would have changed very little if I had read the entire book before beginning it. I say luckily because, if i came to the end and found that I had completely misinterpreted something, I would have a hard me letting it be and not completely rewriting the paper. I have little questions about the end, because I feel like most of the book was tied of neatly and the question that remained unanswered should stay that way; the mystery was part of the artistry. I was very interested in the Grandparent’s story, and as it evolved I found I enjoyed those chapters as much as I did Oskars chapters, which surprised me because usually in a book written this style I heavily prefer one voice over another. The way the both voices interested me equally gives a lot of credit to the author for creating not one, but multiple interesting narratives to go along side one another.

Extremely Loud and Incredibly Close Zero Draft

The pattern in Extremely Loud and Incredibly Close, by Jonathan Safran Foer, that I  choose to write about is repetition of thought. When the narrator learns of something, or thinks of something, it does not merely cross his mind. It bounces around within his brain, causing such a cacophony that an outsider is bombarded with this one thought this one idea until another clamours its way in, but only until the original returns.This can be seen with the game that is played. When the game begins, it is all that exists in the world, and until something takes a priority that is what reality consists of. The narrator talks to everyone he can, set on this idea. And, when later he decides that metal is a clue, he gets a metal detector and systematically searches everywhere. This could be included for two reasons: One, it is the authors way of imitating the thought process of a small child, and if that is the goal than it certainly does its job.Child are typically seen as having very little focus, but completely intent on the job at hand. It may also be an example of the OCD of the narrator, or possibly the brilliance of him to hold one thing in his mind until all possibilities of thought are totally exhausted.





One thing that stood out to me throughout the first chapter of Extremely Loud and Incredibly close is the pattern of a casual approach. Much as seen in the chapter title (not a number) and the multitude of less-official choices for words or sentences, such as flow of thought style reading, the author wishes is to become comfortable with the story being told; to feel emotion as if we were present with the characters. The author wishes to break the wall that is so often present between a reader and the story, as only so much can be conveyed through words. I can conclude about the future of the story, than, that it will be very emotional. To a degree to which, if we did not view the characters as our casual friends, we may view it objectively and thats not what the author wants. Instead, we are to be emotional with them, to wax and wain in our emotions and receive the same revelations in real time, not as an observer merely studying the subjects beneath them.