Linear nonlinear works have gain much popularity over

Linear narratives are known to follow a straight line
starting from the beginning, moving to the middle and proceeding to a specific
end to the story. In nonlinear narratives, the story is about more than just a
beginning, middle and end. Often, the order of the events is rearranged or
deconstructed in a way that reflects the central character’s psychological
state or the story’s theme. The advantages of the nonlinear genre are that
authors can freely manipulate clarity and pace of the story, create a more in
depth characters, and free manipulation of cause and effect in stories. The
nonlinear works have gain much popularity over the times and have started growing
exponentially in movies, book, and other media platforms leaving what seems
almost dull linear story genre in the dust. In the Lake of the Woods, The
collected Works of Billy the Kid, and Maus all are non linear narratives
because they don’t flow in chronological order, and all have in depth character

          To begin with, the nonlinear
narrative of Tim O’Brien’s In the Lake of
the Woods showcases the definition of rebellion from modern linear
literature, as the story does not flow in any chronological order and is
distorted on any sort of plot development. Subsequently the story includes the
odd addition of chapters called hypothesis and evidence. These chapters are to
address the main character John Wades hypothesis of how his wife, Kathy Wade
spontaneously disappeared one night. While the evidence chapters are quotes
from different figures in John Wades life such as his friends, family,
political figures, and former army members illustrating their opinions on John
Wade, memorable advice, or just a random quote. Theses chapters play a key part
in the stories non linear progression as it explain John Wades way of thinking
as opposed to the rest of the story which being told by the narrator. These
chapters not only help fill the purpose of giving the story a more in depth
analysis on the main character John Wade, but it keeps the audience interested
on how his wife disappeared and to later figure out about John’s mental psyche
after the war to assume if maybe John had a role in it. A particular reason In the Lake of the Woods rebels from
common straightforward story telling is because Tim O’Brien’s in depth character detail of John Wade. O’Brien reveals Wade’s
haunted past in bits and pieces. These idea appeals to the idea that Wade is an
expert at suppressing the past and at making all disagreeable memories
disappear. The chronology of the story adheres to the non linear literature
genre as it does not follow a routine path because of Wade’s suppressed memory.
The ambiguity of the character John Wade is supposed to compel readers to piece
the mystery of Kathy Wade’s disappearance by read through hypothesizes, and
evidence and thereby attain a gradual understanding of who John Wade is and
what make him behave the way he does.

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Art Spiegelman’s Maus
is another prime example of rebellion from the day old linear literature
novels. Spiegelman’s decision to make Maus
a graphic novel has landed him with many critics questioning if he had
trivialized the holocaust, but what this really showcases is that Art
Spiegleman is a true innovator reinventing modern literature and feat one can
only attempt by stepping over boundaries. Maus
is the graphic novel depicting Art Spiegleman interviewing his father
Vladek and his traumatic experiences as a Jew during the holocaust. The
Chronology of Maus is particularly different,
and it is because of this particularity that
Maus is more non linear than linear. The story is based on the interview
between Art and Vladek and flows chronologically from Vladek’s memory of the
holocaust, but sometimes even Vladek is not accurate about his past. This puts
into perspective which parts of his story can we trust, but it can also
represent Vladek trying to resurface suppressed memories from such a horrible
event. Furthermore the narrative style of Maus
affects its chronology in the story making it such a unique piece of
literature. Maus backpedals and
forward between two first individual storytellers: Vladek and Art. We see the
story unfold from both of their perspectives. The utilization of a focal first
individual storyteller plunges us into the activity of the story: we feel
Vladek’s uneasiness and dread as he lives an inhumane imprisonment life, and we
encounter Art’s clashed feelings over his association with his dad. The
chronology is affected by the narration because it’s constantly backpedals
between Art and Vladek. While Art is in the present interviewing his father
Vladek is past reliving his memories. Maus is also a non linwear piece of
literature because of character depth between the two main characters. Maus
revolves around two essential stories: Vladek’s encounters as a Jew in World
War II Poland, and Art’s association with his father. As Art draws this
anecdote about Vladek’s Holocaust encounters, he starts to visit his dad more frequently.
Their relationship is stressed. Art is loaded with complex sentiments towards
his dad running from appreciation for his survival in Auschwitz, to
dissatisfaction towards his disturbing tendencies, and blame for his own
particular disregard of a father who has survived such a large number of
troublesome times. Art likewise has complex feelings towards the Holocaust. In
spite of the fact that he didn’t survive it by and by, he feels that he is
continually influenced by it. His dad’s identity was to a great extent shaped
from his encounters in Auschwitz, and this identity thus specifically
influenced the manner by which Art was raised.                                                                                                                                    


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