... up to my chin; when, bending my eyes downwards as much as I could, I perceived it to be a human creature not six inches high" (56; ch.1; book 1). This idea of characters smaller than normal carries over into many other fictional stories, two of which are Charlie and the Chocolate Factory by Roald Dahl, and The Wonderful Wizard of Oz by L. Frank ... peach. Lastly, Gulliver's Travels shares the fictional concept of talking animals. This pops up in stories across the board, but the most famous ones being Alice's Adventures in Wonderland, commonly shortened to just Alice in Wonderland, by C...

• Word Count: 1065
• Approx Pages: 4
• Has Bibliography
• Grade Level: High School

... won't you? Doesn't that make it pretty suspicious?" The dialogue is reminiscent of Alice in Wonderland, with the "Why? Why not?" satirical tone that makes the Chaplain helpless even with his faith, which he is believing in less and less as the novel progresses. This theme of loss of faith regarding ... At the beginning of Catch-22 the humour is prominent, but as the novel continues and the seriousness of the situation regarding the characters humour slowly disappears, and the undertone of dread and hopelessness appears. The satirical humour of the novel is based around the absurdity of ....

• Word Count: 2754
• Approx Pages: 11
• Grade Level: Undergraduate

... he received his MA from King's College, Cambridge. He worked as a copywriter for advertising agencies and as an actor. Salman Rushdie wrote his first novel in 1975 (Grimus), his second novel, Midnight's Children (1981) received the Booker prize. Later he was also awarded the Booker of Bookers" and received numerous ... polluting the Ocean of the Streams of Story. Haroun, his father and a remarkable cast of curious characters -- Iff, the Water Genie; Butt the Hoopoe; Mali, a Floating Gardener, just to name a few -- lead the way in a brave attempt to save the Ocean. Ultimately, they succe...

• Word Count: 640
• Approx Pages: 3
• Has Bibliography
• Grade Level: High School

... Potter's adaptation of Orlando very much begins, as it ends, as a story of personal development and ultimate freedom. Orlando is introduced as a sensitive young man, more at home in his pastoral setting, who simply craves another. The introductory female voiceover is interrupted by the character himself at the moment of pronominal identification: "But when he- that is, I" (Tilde ... invoke the same, common understanding of the "classic" to legitimate radically opposed interpretations of the novel (and the film). Thus, "the classic" functions as the discursive equivalent of Alice's "tiny...

• Word Count: 1793
• Approx Pages: 7
• Grade Level: Undergraduate