100 Sentences With "interior monologue" | Random Sentence Generator

But then his stern interior monologue asserted itself: Easy, Tom.

And her interior monologue has to make some kind of sense of each moment.

Interior monologue allows for side trips and random musings, a temptation that Kennedy does not resist.

The novel (originally published in German) is in the form of an interior monologue by an unnamed narrator.

That's when we feel like we got to hear the interior monologue, or soulful thinking of the people.

For however long it took, even if it took all night, I could wait for a lull in my interior monologue.

This is his interior monologue when a new client says, 'You're not going to believe what I'm going to tell you.

You're given purpose, so there's always an interior monologue, but now you have something that bounces off you—the purpose of life.

With twin commitments to First Amendment freedoms and LGBT equality, Justice Kennedy's interior monologue must be the most fraught of all the justices'.

He flipped open the book and stabbed his finger at the dead center of the famous 2678.75-page interior monologue of Molly Bloom.

At the end of Hitchcock's Psycho, when Norman Bates has been caught at last and is safely behind bars, he has one last interior monologue.

In Britten's opera, Aschenbach retains his identity as a writer, who sings his interior monologue, while Tadzio has a nonspeaking role, typically performed by a dancer.

My book boyfriend's first interior monologue is about whether or not a woman with burn scars on her face and neck also has scars on her boobs.

With its verging-on-vérité cinematography, elliptical editing style, and constant interior monologue, it matches the aesthetic parameters of the French New Wave and other modernist film movements.

The most startling example of this is a brief, Beckettian section in which the reader becomes privy to Artis's interior monologue after she has entered her suspended state.

But in Alison's final interior monologue, delivered as Ben carries her to the sea and drops her in the raging water, "The Affair" manages to thread the needle anyway, albeit a different one.

Delisle presents André's eventual escape less as a daring exploit than as a panicked, fumbling victory over his interior monologue — the psychological prison that months of darkness, immobility and uncertainty had imposed on him.

Initially dressed in sunglasses, jeans, and a dashiki, and carrying a large boa of shiny, ribboned, gold plastic, he offered an extended interior monologue about coming into knowledge of himself as a gay man.

There are, of course, literary progenitors—you can hear the satirical scrape of Muriel Spark (whom Smith admires), and detect the influence of Virginia Woolf (fluid interior monologue, an interest in artists, and in genderless creativity).

Jazz singers have always been asked to strike some balance between the proper and the personal, but Victor's style is all hers: a mix of speech and song, words and abstraction, interior monologue and call-to-action.

At this, she has a full-tilt breakdown, admitting in her interior monologue that every tear she cried his entire life was a deliberate, icy manipulation, and then frantically trying to justify this as an act of love.

"Most of her dancing has an interior monologue about it," Clive Barnes wrote admiringly in The New York Times in 1971, when she appeared in plotless ballets by the American choreographer Eliot Feld as a guest with his company in New York.

We tried to evoke the interior monologue of a person's life by seeing them at work, but then sitting down in their home after work in a quiet space, asking them to speak intimately and quietly, and then recording their more reflective thoughts.

Mr. Nicholls deals with the books' reliance on interior monologue and description by putting snippets of Mr. St. Aubyn's prose into the characters' mouths as conventional dialogue, sometimes to salvage an acerbic bon mot but often just to get in background information.

In free indirect discourse, the narrator shows us a character's thoughts without quite putting us into their head: We read the words of Emma's interior monologue, but we have just enough distance to see that this monologue is both ridiculous and self-conscious.

He achieved the unintrusive effect—and sombre tone—he wanted, but, in seeking to correct what he perhaps considered the bossiness of his previous novel, "Concluding" (1948), which used interior monologue and précis, he overlooked the innovations of his earlier works, which had found their own ways of avoiding authorial omniscience.

Once in a while that fabled Southern lyricism surfaces (when, say, McMahon offers a glimpse of Spanish moss "that swayed in the morning light like a family of ghosts"), but for the most part his writing is painfully, almost unbearably, matter-of-fact, especially in the interior monologue when Kendrick narrates his own murder.

He doesn't even finish his own story, but is cut off by his wife Molly's torrential interior monologue, surely literature's defining instance of "stream of consciousness" and a gloriously fragmented finale to a novel so mashed up and wonderful and horrifying it would be loved and loathed all the way down to the present moment, modernism's most infamous book.

These scenarios and several others — each played out in interior monologue and capped off with the refrain "Make Google do it," superimposed on the scene in frame-filling text — are presented as situations in which the Google Assistant could be summoned: to make lists, read emails aloud when you have your hands full, remind you to turn off the kitchen stove so that your house doesn't burn down.

Mr. Gass's other works of fiction were "In the Heart of the Heart of the Country," a collection of two novellas and three stories (1968); "Willie Master's Lonesome Wife" (1971), an "essay novella" that is essentially a woman's interior monologue while she is engaged in sex; "Cartesian Sonata and Other Novellas" (1998); and his third and last novel, "Middle C" (2013), the story of an Austrian immigrant who teaches music at a college in Ohio and whose life, like his father's before him, is built on lies.

"Our Basement (ed)" suggests the interior monologue of a homeless man.

Similarly, the Encyclopædia Britannica Online, while agreeing that these terms are "often used interchangeably", suggests that, "while an interior monologue may mirror all the half thoughts, impressions, and associations that impinge upon the character's consciousness, it may also be restricted to an organized presentation of that character's rational thoughts"."interior monologue." Encyclopædia Britannica. Encyclopædia Britannica Online.

Stream of consciousness is a narrative device that attempts to give the written equivalent of the character's thought processes, either in a loose interior monologue (see below), or in connection to his or her actions. Stream-of-consciousness writing is usually regarded as a special form of interior monologue and is characterized by associative leaps in thought and lack some or all punctuation.For example, both Beckett and Joyce omitted full stops and paragraph breaks, but while Joyce also omitted apostrophes, Beckett left them in. Stream of consciousness and interior monologue are distinguished from dramatic monologue and soliloquy, where the speaker is addressing an audience or a third person, which are chiefly used in poetry or drama.

While many sources use the terms stream of consciousness and interior monologue as synonyms, the Oxford Dictionary of Literary Terms suggests that "they can also be distinguished psychologically and literarily. In a psychological sense, stream of consciousness is the subject‐matter, while interior monologue is the technique for presenting it". And for literature, "while an interior monologue always presents a character's thoughts 'directly', without the apparent intervention of a summarizing and selecting narrator, it does not necessarily mingle them with impressions and perceptions, nor does it necessarily violate the norms of grammar, or logic – but the stream‐of‐consciousness technique also does one or both of these things."ed. Chris Baldick, Oxford: Oxford U.P., 2009, p. 212.

Midorikawa claimed that as a character Natsume is almost as bad as herself at expressing his thoughts, which caused her to use more interior monologue than she was comfortable with for a male character.

He is not pleased with his property. His interior monologue is like a whirlwind. The cruel time does not allow him to lie quietly in his bed, it blows him to Shalkar. He was caught there.

Alba House, 1997 It is not always easy to determine whether the purported communication is actually from another source or the product of the person's own mind. An interior locution in distinguished from an interior monologue.

His literary works are extensive and include numerous plays, poems and novels. Dujardin also produced works of literary and social criticism and reminiscence. James Joyce claimed his style of interior monologue owed its influence to works by Dujardin.

Some hints of the techniques Joyce frequently employed in later works, such as stream of consciousness, interior monologue, and references to a character's psychic reality rather than to his external surroundings are evident throughout this novel.Deming, p. 749.

"The Short Happy Life of Francis Macomber" is a third-person omniscient narrative with moments of unreliable interior monologue presented mainly through the points of view of the two leading, male characters, Francis Macomber and Robert Wilson, professional hunter and guide. Francis and his wife, Margot, are on a big-game safari in generalized Africa. Earlier, Francis had panicked when a wounded lion charged him, and Margot mocks Macomber for this act of cowardice. Wilson is critical of Macomber, presented in interior monologue, but outwardly tries to shepherd Macomber toward a more accepted "code" practiced by experienced hunters.

The novel is written in the form of a continuous first person interior monologue, with no paragraph indentations and a high number of run-on sentences, obsessive repetitions, unexplained uses of italics, and alienating leaps (without transition) from verb tense to verb tense.

As I Lay Dying helped to solidify Faulkner's reputation as a pioneer, like James Joyce and Virginia Woolf, of stream of consciousness. He first used the technique in The Sound and the Fury, and it gives As I Lay Dying its distinctly intimate tone, through the monologues of the tragically flawed Bundrens and the passers-by whom they encounter. Faulkner works the narrative technique by manipulating conventional differences between stream of consciousness and interior monologue. For example, Faulkner has a character such as Darl speak in his interior monologue with far more intellectual diction (and knowledge of his physical environment) than he realistically possesses.

Throughout Mrs Dalloway, Woolf blurs the distinction between direct and indirect speech, freely alternating her mode of narration between omniscient description, indirect interior monologue, and soliloquy. Malcolm Lowry's novel Under the Volcano (1947) resembles Ulysses, "both in its concentration almost entirely within a single day of [its protagonist] Firmin's life ... and in the range of interior monologues and stream of consciousness employed to represent the minds of [the] characters".Randall Stevenson, pp. 89–90. Samuel Beckett, a friend of James Joyce, uses interior monologue in novels like Molloy (1951), Malone meurt (1951; Malone Dies) and L'innommable (1953: The Unnamable). and the short story "From an Abandoned Work" (1957).

Along with August Strindberg, Henrik Ibsen, and Sigrid Undset, Hamsun formed a quartet of Scandinavian authors who became internationally known for their works. Hamsun pioneered psychological literature with techniques of stream of consciousness and interior monologue, as found in material by, for example, Joyce, Proust, Mansfield and Woolf.

In Duncan Sheik and Steven Sater's musical, Nero, she is portrayed as mute, only singing in interior monologue. In the reading at Vassar, she was played by Lea Michele. She was played as a frightened, unwilling bride. She was very close to her brother Britannicus, played by Michael Arden.

However, Randell Stevenson suggests that "interior monologue, rather than stream of consciousness, is the appropriate term for the style in which [subjective experience] is recorded, both in The Waves and in Woolf's writing generally."Modernist Fiction. Lexington: University of Kentucky, 1992, p. 55; Oxford Dictionary of Literary Terms, p. 212.

God's Nightmares is a 2019 Canadian-British short experimental black comedy film created by Daniel Cockburn that "mashes together" appropriated film clips, creating a visual collage that imagines the thoughts that plague God at night, his "interior monologue," in which he muses about a recurring nightmare of being an everyman.

Original soundtracks (OSTs) are made specifically for each series and play an important role in Tamil dramas (mostly in Singapore and Malaysia). They are generally recorded by professional playback singers and tend to enhance the reputation and popularity of dramas. OSTs help to heighten a situation, accentuate a mood, provide relief, or serve as background to an interior monologue.

Kelly Warman is a British film maker and artist based in London. Working since 2005, much of her work comprises scripted video works and staged performances that explore the translation of the interior monologue into the cinematic and architectural space. Her work is often characterised by a witty and overtly theatrical approach to the subject matter.

Casey J says she wants her music to be "imperfect" and not overproduced. Her music has been described by The New York Times as deviating slightly from the Gospel norm: "a little less thundering funk and abrupt style-switching, and a little more acoustic guitar; a little less prescriptive real-talk, and a little more contemplative interior monologue".

Entrapment is a surprise attack on a character who makes a premature judgment—as Simon has in his interior monologue in v. 39—and then is forced to abandon that assumption and reformulate a new perspective. “Jesus catches Simon off-guard by posing a question that he cannot get wrong, which forces him to reconsider his point of view.” Resseguie,16.

It was celebrated not only for its prose, which made heavy use of interior monologue and explorations of the subconscious, but also for its "stark portrait of inequality and moral corruption in modern Mexico". On November 2008, the Royal Spanish Academy (Real Academia Española) together with Spanish academies from all the world, released a special edition of the book to celebrate its 50th anniversary.

Macomber both hates and needs Wilson in spite of this. As Wilson puts it, this is Francis' chance to come of age, to become a man. Note: Throughout the narrative, both Francis and Wilson have repeated moments of interior monologue; internal and highly critical thoughts about each other and Margot are repeatedly expressed. Rarely is Margot given an internal monologue, and when it is allowed, it blurs with the narrator’s.

Near the end of 1960 he finished writing the novel Tiempo de silencio, which was published in 1962 with twenty censored pages. An uncensored edition was not published until 1981. In this novel he makes innovative use of interior monologue, second-person narrative, indirect free style, stream of consciousness, and mythification; narrative devices that had been pioneered earlier by James Joyce. His wife Rocío died, possibly a suicide, in 1963.

The girl is still unresponsive, but via interior monologue, the girl recalls memories of being bullied at school and being called a 'Ghostie'. Jack states that she will go with Torchwood as she and the gun are connected, though Andy protests that she is his case. As Gwen talks to her, the girl remembers her mother crying. She becomes disorientated as she tells Gwen her name is Freda, and speaks with a Welsh accent.

James Joyce was a major pioneer in the use of stream of consciousness. Some hints of this technique are already present in A Portrait of the Artist as a Young Man (1916), along with interior monologue, and references to a character's psychic reality rather than to his external surroundings.Deming, p. 749. Joyce began writing A Portrait in 1907 and it was first serialised in the English literary magazine The Egoist in 1914 and 1915.

Thistletwat, sets Rod up with Lazar Wolf ("I'm a lonely man, Tevye"). Shprintze tells her father that she and Princeton want to be married, and after a very brief interior monologue ("I'll be brief. On the other hand; on the other hand; tradition; ...sure, go ahead!"), Tevye finally consents to Princeton and Shprintze's marriage; they leave the stage to prepare for their wedding, much to Kate's horror - who insults Shprintze as she leaves.

Only Gate of the Sun was an exception, its number of pages was less than the others. Khoury's novels are notable for their complex approach to political themes and fundamental questions of human behavior. His narrative technique often involves an interior monologue, at times approaching a stream of consciousness. In recent works he has tended to use a considerable element of colloquial Arabic, although the language of his novels remains primarily Modern Standard Arabic, also called Fusha.

First-person narratives can appear in several forms; interior monologue, as in Fyodor Dostoevsky's Notes from Underground; dramatic monologue, also in Albert Camus' The Fall; or explicitly, as Mark Twain's Adventures of Huckleberry Finn. Other forms include temporary first-person narration as a story within a story, wherein a narrator or character observing the telling of a story by another is reproduced in full, temporarily and without interruption shifting narration to the speaker. The first-person narrator can also be the focal character.

A story presented as a secret diary could be interpreted much differently than a public statement. First-person narratives can tend towards a stream of consciousness and interior monologue, as in Marcel Proust's In Search of Lost Time. The whole of the narrative can itself be presented as a false document, such as a diary, in which the narrator makes explicit reference to the fact that he is writing or telling a story. This is the case in Bram Stoker's Dracula.

His experiences as a soldier provide the basis for his first stories, including the very first, "Four Days" (Russian: "Четыре дня"), based on a real incident. The narrative is organized as the interior monologue of a wounded soldier left for dead on the battlefield for four days, face to face with the corpse of a Turkish soldier he had killed. Garshin's empathy for all beings is already evident in this first story. Despite early literary success, he had periodical bouts of mental illness.

The poem opens with the unnamed protagonist asking his friends to continue ahead and leave him alone to muse about the past and the future. He reveals that the place he has stopped at is called Locksley Hall, and he spent his childhood there. The rest of the poem, though written as rhymed metered verse, follows the stream of consciousness of its protagonist as an interior monologue. The protagonist struggles to reach some sort of catharsis on his childhood feelings.

When he describes things, it is his individual perception of them that he is trying to convey, what they mean to him, rather than their objective existence. However, after his early collections, he rarely uses the first-person. He frequently tries to create a sense of distance from his poetry by using the "tú" form but the person he is addressing is usually himself. The effect of this is that much of his poetry seems to be a self-conscious interior monologue.

This is directly playing with conventions of interior monologues because, as Dorrit Cohn states in Transparent Minds: Narrative Modes for Presenting Consciousness in Fiction, the language in the interior monologue is "like the language a character speaks to others ... it accords with his time, his place, his social station, level of intelligence ..." The novel helped found the Southern Renaissance and directs a great deal of effort as it progresses to reflections on being and existence, the existential metaphysics of everyday life.

" Asked how she can write so believably about a man's inner life, Flynn says, "I'm kind of part guy myself." When she needs to understand something about how men think, she asks her husband or a male friend. Flynn's autobiographical essay "I Was Not a Nice Little Girl..." invites readers to believe she took inspiration for Amy Dunne from her own interior monologue. In that essay, Flynn confesses to sadistic childhood impulses like "stunning ants and feeding them to spiders.

Johnson provides each character with a mixture of dialogue and interior monologue to express their personalities during the course of their section. At the beginning of each character's section is an explanatory table, providing us with information on the character, including age, condition and mental faculty. As the reader progresses through the sections each character is increasingly older and/or more senile than the characters in the preceding sections. Finally we get the House Mother's section, and we learn her opinions of those in her care.

Introspection (also referred to as internal dialogue, interior monologue, self-talk) is the fiction-writing mode used to convey a character's thoughts. As explained by Renni Browne and Dave King, "One of the great gifts of literature is that it allows for the expression of unexpressed thoughts ..." According to Nancy Kress, a character's thoughts can greatly enhance a story: deepening characterization, increasing tension, and widening the scope of a story. As outlined by Jack M. Bickham, thought plays a critical role in both scene and sequel.

Pane applied the technique of interior monologue and used elliptical dots and dashes following incomplete sentences to indicate the doubts and uncertainties assailing a modern educated Indonesian man. Due to both the style and content the novel is regarded as a milestone in Indonesian literature. His early short stories had a similar focus. Barang Tidak Berharga (A Worthless Thing), published in 1935, was similar in subject matter and in tone, while Tudjuan Hidup (Life's Purpose), also written in 1935, is about a young woman's search for the courage to face a lonely future.

In literature, stream of consciousness writing is a literary device which seeks to portray an individual's point of view by giving the written equivalent of the character's thought processes, either in a loose interior monologue, or in connection to his or her sensory reactions to external occurrences. Stream-of-consciousness as a narrative device is strongly associated with the modernist movement. The term was first applied in a literary context, transferred from psychology, in The Egoist, April 1918, by May Sinclair, in relation to the early volumes of Dorothy Richardson's novel sequence Pilgrimage.Wilson, Leigh, 2001.

Lyrics usually include the line (or a slight variation): > The cuckoo is a pretty bird, she sings as she flies; she brings us glad > tidings, and she tells us no lies. According to Thomas Goldsmith of The Raleigh News & Observer, "The Cuckoo" is reportedly descended from an old folk ballad; it's an interior monologue where the singer "relates his desires -- to gamble, to win, to regain love's affection." The song is featured in the E.L. Doctorow book The March. A soldier suffering from a metal spike stuck in his head sings verses from the song.

There are also many situations in which people engage in solitary speech. People talk to themselves sometimes in acts that are a development of what some psychologists (e.g., Lev Vygotsky) have maintained is the use in thinking of silent speech in an interior monologue to vivify and organize cognition, sometimes in the momentary adoption of a dual persona as self addressing self as though addressing another person. Solo speech can be used to memorize or to test one's memorization of things, and in prayer or in meditation (e.g.

In Mrs Dalloway, all of the action, aside from the flashbacks, takes place on a day in "the middle of June" of 1923. It is an example of stream of consciousness storytelling: every scene closely tracks the momentary thoughts of a particular character. Woolf blurs the distinction between direct and indirect speech throughout the novel, freely alternating her mode of narration between omniscient description, indirect interior monologue, and soliloquy. The narration follows at least twenty characters in this way, but the bulk of the novel is spent with Clarissa Dalloway and Septimus Smith.

The poem, described as a "drama of literary anguish", is a dramatic interior monologue of an urban man, stricken with feelings of isolation and an incapability for decisive action that is said "to epitomize frustration and impotence of the modern individual" and "represent thwarted desires and modern disillusionment".McCoy, Kathleen, and Harlan, Judith. English Literature From 1785 (New York: HarperCollins, 1992), 265–66. Prufrock laments his physical and intellectual inertia, the lost opportunities in his life and lack of spiritual progress, and he is haunted by reminders of unattained carnal love.

Hal May, Contemporary Authors, Volum 119, Gale, 1986 Hamsun only published one poetry collection, The Wild Choir, which has been set to music by several composers. Hamsun is considered to be "one of the most influential and innovative literary stylists of the past hundred years" (ca. 1890–1990).Robert Ferguson (1987). Enigma: the life of Knut Hamsun, New York, N.Y. : Farra, Straus & Giroux, He pioneered psychological literature with techniques of stream of consciousness and interior monologue, and influenced authors such as Thomas Mann, Franz Kafka, Maxim Gorky, Stefan Zweig, Henry Miller, Hermann Hesse, John Fante and Ernest Hemingway.

"We Are Looking at You, Agnes" is short story by Erskine Caldwell, originally published 1931 (), included in We Are the Living (1933). The entire story is told as a single interior monologue of the protagonist, a young woman named Agnes. From the way that her family members (father, mother, brother and sister) look at her, Agnes is sure that they know her guilty secret—but never talk about it. As the reader learns, five years before Agnes was sent to Birmingham, Alabama in order to study stenography at a business school, for which purpose her father gave her fifty dollars.

She associated with James Joyce in Paris, and discouraged him from duping enquirers about the origins of the interior monologue in the example of Edouard Dujardin. She accepted Joyce's very ill daughter Lucia for a week in their Paris flat at the height of her 'hebephrenic' attack, while herself preparing for an operation in May 1932. She served as the literary editor of The Forum magazine from 1933–41, commenced teaching comparative literature with Padraic at Columbia University in 1941. She rebutted Oliver St. John Gogarty's intemperate remarks about Joyce in the Saturday Review of Literature in 1941.

The novel is set in the working-class neighborhoods near Alexanderplatz in 1920s Berlin. Although its narrative style is sometimes compared to that of James Joyce's, critics such as Walter Benjamin have drawn a distinction between Ulysses’ interior monologue and Berlin Alexanderplatz's use of montage. Oliver Kamm, writing in the London Times, says Döblin's methods are more akin to Kafka in his use of "erlebte Rede (roughly, experienced speech — a blending of first-person and third-person narrative)". The novel is told from multiple points of view, and uses sound effects, newspaper articles, songs, speeches, and other books to propel the plot forward.

They are somewhat skeletal in form, reduced to dialogue, abbreviated narrative and a twitchy interior monologue that reads like some kind of high-speed Socratic Q & A...., they seem like screenplays written for the book market." Cook argued Heat was "constructed as a screenplay is, in sequences rather than real chapters. In fact, there is a wonderful bit of misdirection, an illusion created, in the novel's first two sequences that is pure movie magic." Cook did say while the book "not be literature, may not even be a novel properly speaking, but as entertainment it is cotton candy all the way.

Nietzsche broke with Wagner following the first Bayreuth Festival, believing that Wagner's final phase represented a pandering to Christian pieties and a surrender to the new German Reich. Nietzsche expressed his displeasure with the later Wagner in "The Case of Wagner" and "Nietzsche contra Wagner".Magee (1988) 52 The poets Charles Baudelaire, Stéphane Mallarmé and Paul Verlaine worshipped Wagner.Magee (1988) 49–50 Édouard Dujardin, whose influential novel Les Lauriers sont coupés is in the form of an interior monologue inspired by Wagnerian music, founded a journal dedicated to Wagner, La Revue Wagnérienne, to which J. K. Huysmans and Téodor de Wyzewa contributed.

He is invited to a school reunion, where his scheming school-fellows seize the chance to try and make money out of him. The verdict of Graham Greene when reviewing the English edition was that if Körmendi had had as much satiric detachment as he had psychological insight, he might have written a great novel.Hungarian article on the author Another early novel, Via Bodenbach (Ind. 7. 15 via Bodenbach, 1932, English translation 1935), experiments with the technique of interior monologue and free association, psychological flashbacks and complex presentation of a stream of consciousness, marred however by the theatricality of its ending.

"Peaches" was controversial because of its anarchist, non-conformist, "sexual" content, primarily aimed at shaking up the establishment and poking the eye of the new politically correct punk movement. The song's narrator is girl-watching on a crowded beach one hot summer day. It is never made clear if his lascivious thoughts (such as "there goes a girl and a half") are an interior monologue, comments to his mates, or come-on lines to the attractive women in question. The critic Tom Maginnis wrote that Hugh Cornwell sings with "a lecherous sneer, the sexual tension is so unrelenting as to spill into macho parody or even censor-baiting territory".

The song's lyrics center around the interior monologue of a man who runs to the title character to escape the stresses of his life "up on the hill." Fagen claimed that it was inspired by a relative of someone he knew, who had married a Korean woman named Aja. He has described the song as being about the "tranquility that can come of a quiet relationship with a beautiful woman." Despite its complexity, and unlike most of the other tracks on the album, "Aja" took a very short time to record, which Steely Dan credit to the musicians' ability to learn it quickly, without rehearsals.

The imagist interpretation, the poet's tendency to sustain an interior monologue, and the deeply personal nature of his poetry have made Propertius a favorite in the modern age. Three modern English translations of his work have appeared since 2000,Slavitt's translation appeared in 2002, Katz's 2004 translation was a winner of the 2005 National Translation Award, American Literary Translators Association. and the playwright Tom Stoppard suggests in his best-known work The Invention of Love that the poet was responsible for much of what the West regards today as "romantic love". The most recent translation appeared in September 2018 from Carcanet Press, and was a Poetry Book Society Autumn Recommended Translation.

Anna's alienation and subordination is caused not only by her heritage but also by her sex, and it is possible to read her mistreatment at the hands of men as a metaphor for rejection of traditional values. Anna is represented as being caught between worlds: finding herself isolated socially and emotionally from those around her, she is unable to comfortably reconcile her West Indian and her British heritage. The novel employs modernist techniques to represent this, merging fragments of Anna's past with the action in England by means of a dreamlike stream of interior monologue, which destabilizes and ruptures the narrative, and emphasizes Anna's detachment from English society.

It would be an Everest-sized understatement to say that James' plays have gotten bad notices from critics. Some have gone so far as to recommend would-be readers of James to skip the plays altogether, or at most to approach them gingerly after reading just about everything else he wrote. Deprived of the interior monologue and intense analysis of consciousness that James made such a large part of his fiction, the plays in this book do seem superficial and unconvincing compared to his narratives. Although James fell under the spell of the theater from an early age, he never mastered the art of presenting vibrant characters and significant drama in dialogue-only form.

A Reader's Guide to the Twentieth-Century Novel in Britain. University of Kentucky Press, 1993, p. 41. In his final work Finnegans Wake (1939), Joyce's method of stream of consciousness, literary allusions and free dream associations was pushed to the limit, abandoning all conventions of plot and character construction, and the book is written in a peculiar and obscure English, based mainly on complex multi-level puns. Another early example is the use of interior monologue by T. S. Eliot in his poem "The Love Song of J. Alfred Prufrock" (1915), "a dramatic monologue of an urban man, stricken with feelings of isolation and an incapability for decisive action,"McCoy, Kathleen, and Harlan, Judith.

Chapter 2 finds the Consul sitting at the bar of the Bella Vista hotel in Quauhnahuac at 7:00am on 2 November 1938, drinking whisky the morning after the Red Cross ball, when Yvonne enters. The Consul has not been home yet and isn't wearing any socks (as is explained later, his alcoholism is so advanced he cannot put them on). Yvonne has returned to try and save their marriage, but the Consul appears stuck in the past and begins to talk about his visit to Oaxaca, where he went on a drinking binge after Yvonne left. In interior monologue Yvonne wonders if the Consul will be able to return from "this stupid darkness".

Influenced by several alternative poetry journals of the period, such as George Hitchcock's Kayak, Clayton Eshleman's Caterpillar, and Robert Bly's The Seventies with its emphases on "wild association", political poetry, and critical book reviews, Robbins co-founded the literary Journal, Third Rail (Los Angeles, CA 1975), with fellow poet Uri Hertz. He co-edited until 1980, remaining as a contributing editor until 1982. The avant-garde of the period had at least two specific modernist traditions. One, was the ongoing longer-poem development of a personal-historical, disjunctive, elliptical, interior monologue and collage form like that of Ezra Pound's Cantos, William Carlos Williams's Paterson, Louis Zukofsky's "A", and Charles Olsen's The Maximus Poems.

"Clair", meanwhile, concerns O'Sullivan's babysitting of Mills' daughter Clair, and finds the singer in his "distracted interior monologue" mode. He wrote the song to Clair's parents as "almost a thank you to them." "That's Love" is a characteristically off-kilter love song with a doo-wop turnaround chord sequence, while "Can I Go with You" is a tribute to the early work of the Beatles, exuding a youthful idealism, themes of young romance and the "chiming romanticism" style of Paul McCartney. These songs are followed by "But I'm Not," which features a twelve-bar blues structure in the style of Fats Domino, who O'Sullivan was introduced to by Rick Davies, O'Sullivan's former Rick's Blues bandmate and later a member of Supertramp.

The inspiration for Chausson's Poème came from a novella by the Russian writer Ivan Turgenev, known to him in French as Le Chant de l'amour triomphant and in English as The Song of Triumphant Love, which concerns a set of intertwined relationships. Tudor tried setting his ballet to other compositions before realizing that Poème was a perfect fit for the situation he wished to portray.Donna Perlmutter, Shadowplay: The Life of Antony Tudor (New York: Viking, 1991), His ballet about unrequited love is as much about the necessity of people of the British upper classes to suppress their emotions and yield to the constraints of social convention. As a psychological study, it is a mirror of the interior monologue of its heroine, Caroline.

Karine Germoni, "From Joyce to Beckett: The Beckettian Dramatic Interior Monologue". Journal of Beckett Studies, Spring 2004, Vol. 13, issue 2. In theater, playwright Eugene O'Neill made use of stream-of-consciousness monologues, most extensively in his 1928 drama Strange Interlude, and to a more limited extent in the play-cycle Mourning Becomes Electra (1931) and in other plays. The technique continued to be used into the 1970s in a novel such as Robert Anton Wilson/Robert Shea collaborative Illuminatus! (1975), with regard to which The Fortean Times warns readers to "[b]e prepared for streams of consciousness in which not only identity but time and space no longer confine the narrative".The Fortean Times, issue 17 (August 1976), pp. 26–27.

316 The RSC staged it at the Aldwych Theatre, as they did After Haggerty (1970); the father in the later is an engine driver, like Mercer's own father. The Comedy Flint (1970) was first performed at the Criterion with Michael Hordern in the lead as a parson who believes he could not have survived "without a complete lack of faith", his sermons being "a form of bewildering interior monologue", Other plays for television broadcast in the 1960s are And Did Those Feet (1965), The Parachute (1968) and Let's Murder Vivaldi (1968)John Russell Taylor Anger & After, Methuen University Paperbacks edition, 1969, pp. 314–6 and another trilogy, comprising On the Eve of Publication (1969), The Cellar and the Almond Tree (1970) and Emma's Time (1970).

The novel was celebrated not only for its prose, which made heavy use of interior monologue and explorations of the subconscious, but also for its "stark portrait of inequality and moral corruption in modern Mexico". A year later, he followed with another novel, The Good Conscience (Las Buenas Conciencias), which depicted the privileged middle classes of a medium-sized town, probably modeled on Guanajuato. Described by a contemporary reviewer as "the classic Marxist novel", it tells the story of a privileged young man whose impulses toward social equality are suffocated by his family's materialism. Fuentes' best-known novel, The Death of Artemio Cruz (La muerte de Artemio Cruz) appeared in 1962 and is today "widely regarded as a seminal work of modern Spanish American literature".

Author John Blaney calls "Nobody Loves You (When You're Down and Out)" the "signature tune" of the lost weekend. Bielen and Urish claim that it "captures the essence of a three o'clock in the morning, bleary-eyed, self pitying, booze-drenched interior monologue," and that it contains "a certain bravado and grandeur...that makes the weary emptiness of the verses and the impotent rage of the refrains eloquent and poignant..." Journalist Paul Du Noyer calls it a "colossal ballad" which "sounds nothing but sincere" despite being "a sprawling testament to John's cynicism and self- pity." According to Chip Madinger and Mark Easter, Lennon had "rarely penned more honest words in his life." Pop historian Robert Rodriguez praises Jesse Ed Davis' "incredibly fluid" guitar lead.

Aleksandr Solzhenitsyn, Vladivostok, 1995 James Joyce's Ulysses (1922) had a major influence on modern novelists, in the way that it replaced the 18th- and 19th-century narrator with a text that attempted to record inner thoughts, or a "stream of consciousness". This term was first used by William James in 1890 and, along with the related term interior monologue, is used by modernists like Dorothy Richardson, Marcel Proust, Virginia Woolf, and William Faulkner.See Erwin R. Steinberg (ed.) The Stream- of-consciousness technique in the modern novel (Port Washington, N.Y: Kennikat Press, 1979). On the extra-European usage of the technique see also: Elly Hagenaar/ Eide, Elisabeth, "Stream of consciousness and free indirect discourse in modern Chinese literature", Bulletin of the School of Oriental and African Studies, 56 (1993), p.

The imagery in these etchings has parallels with the works of the Italian artist Francesco Clemente, but actually is a direct outgrowth from Nair's "Corollary Mythologies". The artist has become known not only for his paintings, but also for his whimsical and preposterously long titles, such as "Tonight I am Coming to Visit You in Your Dream and None Will See and Question Me; Be Sure to Leave Your Door Unlocked, Cuckoonebulopolis, 2002". This series, "Cuckoonebulopolis", was the artist's primary statement in the first decade of the 21st century.Ranjit Hoskote, Surendran Nair: Itinerant Mythologies, Sakshi Gallery, 2009 Nair became famed in India during 2000 for his painting "An Actor Rehearsing the Interior Monologue of Icarus" which depicts a naked man with strapped-on wings standing atop the Ashoka Column.

Tomorrow is a novel by Graham Swift first published in 2007 about the impending disclosure of a family secret. Set in Putney, London on the night of Friday, 16 June 1995, the novel takes the form of an interior monologue by a 49-year-old mother addressed to her sleeping teenage children. It takes her a few hours—from late at night until dawn—to collect her thoughts and rehearse what she and her husband, who is asleep next to her, are going to tell their son and daughter on the following morning, which for the latter will amount to a rewriting of the family history reaching back as far as 1944. The family narrative completed, the novel ends in the early hours of Saturday, 17 June 1995, before anybody has stirred.

Their crime: as members of the jury, they had chosen Nelson Marra's short story El guardaespaldas (i.e. "The bodyguard") as the winner of Marcha's annual literary contest. Due to a series of misunderstandings (and the need to fill some space in the following day's edition), El guardaespaldas was published in Marcha, although it had been widely agreed among them that they shouldn't and wouldn't do so, knowing this would be the perfect excuse for the military to intervene, considering the subject of the story (the interior monologue of a top-rank military officer who recounts his murders and atrocious behavior, much as it was happening with the functioning regime). Onetti left his native country (and his much-loved city of Montevideo) after being imprisoned for 6 months in Colonia Etchepare, a mental institution.

While in law school in Rio, she began publishing her first journalistic work and short stories, catapulting to fame at the age of 23 with the publication of her first novel, Near to the Wild Heart (Perto do Coração Selvagem), written as an interior monologue in a style and language that was considered revolutionary in Brazil. She left Brazil in 1944, following her marriage to a Brazilian diplomat, and spent the next decade and a half in Europe and the United States. After returning to Rio de Janeiro in 1959, she began producing her most famous works, including the stories of Family Ties (Laços de Família), the great mystic novel The Passion According to G.H. (A Paixão Segundo G.H.), and what is arguably her masterpiece, Água Viva. Injured in an accident in 1966, she spent the last decade of her life in frequent pain, steadily writing and publishing novels and stories until her premature death in 1977.

Arguably, the collage technique of monologue, short fiction, prose poem, interior monologue, and vaudeville-influenced dialogue reflect an attraction to Chaucer's high mockery in House of Fame, Bottom's dream from A Midsummer Night's Dream, as well Shakespeare's other "clowns" in Othello and particularly the "philosophizing" clown in King Lear. Robbins' first prose collection, Parking Lot Mood Swing: Autobiographical Monologues and Prose Poetry, certainly displays an affinity with Sterne's enlightened absurdities and non-liner style in Tristram Shandy. His prose poem essay in Bear Flag Republic notes with appreciation the writings of Louis-Ferdinand Celine, Henry Miller, Samuel Beckett, Marguerite Young, Kurt Vonnegut Jr., Thomas Bernhard, Stephen Dixon, and Kenneth Patchen of the previously noted Journal of Albion Moonlight. Such works as "Chaucer's Quill, Sappho's Libido, Frida Kahlo's Eye Brows", "Dealing With the Insomnia Surf", "Pantagruel Antigruel", "As Much Sex as Elvis", "Green Torso", and "Whitman, Artaud, and the Punk Nation", from Parking Lot Mood Swing appear to be a natural form for supporting his drive to include in a serio-comic poetic language subjects and details usually left out of poetry.