FACE

Critical Analysis:

“Face" is one of the best story by Alice Munro.

What makes it different from others is In

“Face” Alice Munro makes one of her best

detours into the past to contemplate on the

present. It is quite similar as "karma". She

focuses on the quite complex effects that a

childhood event can have on adult life.

This story is very touchy though.

1) The story begins with a father’s dramatic

rejection of his newly born son because of a

birthmark covering the right side of the baby’s

face. The father was not happy with the boy

his wife had given birth to just because of

natural birthmark. Which one can not control

over it. It is totally natural. The boy grows up

facing the extreme polarity of his father’s

resentment and his mother’s devotion. His

father didn't like him even a bit and was quite

opposite of him every time. However, this

potential psychological trauma is not the focus

of the narrative. As the story progresses, the

narrator gives a rather standoffish tale of his

whole life, which appears to be an ordinary life

of an actor. But, he was totally living a normal

life. Yet, the dramatic turn in the story does not

involve anything from his family-life, nor his

career. The narrative energy is concentrated in

a freakish event that occurs in the middle of a

serious game acted out with a neighbor

playmate. Even though the boy does not

understand the full meaning of this event it has

a remarkable significance for him as an adult.

2) Munro uses emotionally restrained

language to deals with heart-breaking

revelations. For long jinx stretches, the story is

restricted to the surface details of things, but

when the narrator starts talking about the

event, what he has “come to think of as the

Great Drama” of his life, he becomes

vulnerable to his own romantic interpretation of

it, and even to an excessive dramatization.

Since this is ultimately a story about the

possibility of love, Munro balances the

unbelievable illusion of being destined for a

romantic love with the unnatural and

uncontrollable accidents, which pattern

behavior with a strong sense of fate. As a

reader we may choose to be weak to the

protagonist’s way of handling his sense of fate,

or you may not. The story is full of emotions,

love, hate and message. Apart from it, well

written and a masterpiece by Alice Munro.

Bibliography:

Pandey, Dr. Sanjay Prasad. “Beauty: Illusion or Reality.” The Achievers Journal 1.1. (2015) .pag. web <theachieversjournal.com>

By- Mamoon Rasheed

Reg. -11405133

FICTION

Critical Analysis:

Its a big story, involving several well-developed characters and covering a considerable amount of time

As the story opens we see Jon and Joyce, a couple living a basic life (below expectations their families held for them). Jon is a woodworker, Joyce teaches music. But Jon begins to get too close to his apprentice, Edie, and soon Joyce moves out of their house. Theres no great drama here, which is a relief. This isnt a story about broken marriages, even though over the very rapid passage of time in the story we see several. And finally we arrive at the present and Joyce comes face to face with someone from her past, which leads to something of an epiphany for her.

It is something like a triangle?with happiness,unhappiness and love arranged with an equal distance between each point?

Perhaps.Certainely there are triangles in "Fiction",shifting alliances and fractures.

The kind of happiness discussed in Fiction is different from other stories,In Fiction it doesn't seem to be a light feeling,but a more solid-if not heavy-sensation.

The rhythm of Joyce's daily life is very different from Jon's.She seems to believe that his woodworking affords the potential for something pure.Jon spends time in solitude Edie does not believe in evolution. Edie does not shed her days work nor does she shed her skin.

Joyce has tried to get some perspective on the situation. She seeks to appear neutral, distanced, controlled.

The final segment presents Joyce-transformed. Once music teacher, but now a professional cellist. Once Jons beloved, now Matts third wife.

And perhaps because she is now attuned to the subtle (and dramatic) transformations that can occur, across a lifetime or overnight, she recognizes the potential in Edies daughter. Who, one night, is dressed in black, a sombre and mysterious figure at a party. And on another day she is rosy, pink, and all-a-bloom.

Joyce feel that emotion (which Joyce didn't feel at the time), the two cannot connect through the story. I love what this seems to illustrate about fiction-- how it is both magic and impotent at the same time. I actually liked the ending. It shows that Joyce, in her way, is a storyteller, too. She too transforms events--in this case, into self-deprecating humor.

Joyce has never understood this business of lining up to get a glimpse of the author and then going away with a strangers name written in your book.

She doesn't even know if she will read the book. She has a couple of good biographies on the go at the moment that she is sure are more to her tasIn The View from Castle Rock, the young Alice remarks upon this capacity.

She has it too, this ability to write about things and fundamentally change them, to consume them, to pull forth their secret and plentiful messages.

“The town, unlike the house, stays very much the same—nobody is renovating or changing it. Nevertheless it has changed for me. I have written about it and used it up. Here are more or less the same banks and hardware and grocery stores and the barbershop and the Town Hall tower, but all their secret, plentiful messages for me have drained away.”

Christie is a pained and tortured figure in one environment, but elsewhere, just a few days later, she is resurrected as a fiction writer.te than this will be.

How Are We to Live is a collection of short stories, not a novel. This in itself is a disappointment. It seems to diminish the books authority, making the author seem like somebody who is just hanging on to the gates of Literature, rather than safely settled inside.

Through a story about a small town music teacher, which hits far too close to home, Joyce discovers how her obsession with Jon and his new wife affected Edie's little child. Joyce then attempts to reconcile with the now the writer, presumably the daughter, now grown-up. The encounter exposes Joyce as an unreliable narrator and goes to show Munro's understanding of people, how they function, how they react. It describes the fictions people spin in their minds, how a life inevitably revolves solely around itself.

And Alice Munro does have a way of transforming full and complicated lives into short fictions, doesnt she. And we, as readers, can wriggle our toes in the grass.

Bibliography:

Munro,Alice.Fiction.Newyork:Vintage,2007.Print.

Munro,Alice.Too Much Happiness.Newyork:Vintage,2009.Print.

Munro,Alice.Silence.Newyork:Vintage,2004.Print.

By K.Sumanth

Reg. 11408269

VOICES

Critical Analysis:

Alice Munro is awarded writer from Canada.she won Nobel prize in literature

She specializes in short story writing and is known for her easy-to-read and moving style that explores human

complexities effortlessly.

 She is regarded as one of the greatest contemporary writers of fiction.Her 2004 collection of short stories ‘Runaway’ has eight stories, each of which deal with women and the complex relationships they have with others in their life.

Summary:

The story goes round a girl who is a teenager and as a teen aged girl there are many types questions goes in minds.the story is about a girl who have poor family as her mother is a dancer and her father works in foundry shop .

In that earning the family goes through hardship because most of the money in Doctor’s bills as her sister have tonsils and she and her brother have spectacular bronchitis in every winter

As the story proceeds we come to know that the main character once goes to pool room where all the dancers gathers and have fun there she comes to know actually what her mother does for living and how people there behaves with girls as if they were asset

Here the girl says she remembers of the thought of the girls in pool room and the rude behavior shown towards them and the shouts that had came from them.

One incident that is so awful that once she was moving upstairs for getting coat she saw that two army men were behaving rudely to her and she was snuffling and her booby pins came out of hair so was crying and saying that its not fair.

And she pondered over the voices not the voice of the girl but of men

She hears everyday the voices of the women who cry out for help and she thinks she deserve more better ;more loved because that what every women deserve.

Bibliography:

Pandey, Dr. Sanjay Prasad. “Beauty: Illusion or Reality.” The Achievers Journal 1.1. (2015) .pag. web <theachieversjournal.com>

By Barsha Biswas

Reg. 11407593

DEEP HOLES

Critical Analysis:

Alice Munro, very well paints psychology of characters through her story. Even the

title of her stories contains ambiguous meanings that can be penetrated only by a

deep psychological insight. In this story she not only talks about the crevasses

that are seen through naked eyes, but also the coveted spaces related to the

psyche that cannot be explored.As Sally, the narrator itself points out in the

story,far beneath her shoes was a crater filled with rubble never to be seen, that

never had been seen , because there were no eyes to see it at its creation or

throughout the long history of its being made and filled and hidden and lost. Munro

had very intelligent set the title, revealing her knack of psychoanalyzing things.

The story depicts the disturbed familial relationships and their effect on the psyche

of a growing child.

Deep-Holes is a story about a son who grows radically and mysteriously estranged

from his family. The story begins with the journey of Kent’s family. Their vista to

Osler Bluff is planned to celebrate Alex’s achievement. It is here in the destined

place that the board indicating ‘Deep-Holes’ is seen. It symbolically predicts the

emotional as well as the generational gap that was persistent among the family

members. Kent, the protagonist in the story is the son of Alex and Sally. In the

entire story he is depicted as a person who is unable to adjust to his ambience

and life.

One of the main causes of Kent’s neurotic development is his familial atmosphere.

The protagonist in the story always aspired for his father’s attention and love. He

made an idealized image of him . He always wanted to be the star of his father’s

eye and he did everything to catch the attention of his father’s but on the contrary

Alex always showed disregard for Kent and never paid attention to his emotions and

feelings. Kent regarded him as the savior of his life whereas Alex showed showed

indifference to him. Kent always wanted to hold an important position in the eyes of

his parents

But their negligence shattered his entire life. Both Alex and Sally regarded Kent as

the trouble maker in his family. This difference between actual and idealized self

made adverse impact on his mental stability and resulted in “basic anxiety”. In

order to overcome such a situation he fled away from his family. Years went by but

he never made any contact with them. Kent turned into a beggar, lives in a far off

land. He changed his name to ‘Jonah’ and detached himself completely from the

family. He was living with poor people in their ghettos. The basic aim of Kent was to

assert his individuality and to take revenge on his family that always wanted to

maintain its mannerism and pridefulness.

He moved towards these poor people because he was getting love and affection

from them. It was this affection of which he was in dire need. His talks were focused

on them and any diversion or disturbance in that made him anxious and

aggravated.

Although he was with the family yet he was all alone. There was no one who could

understand his feelings. He was just lost in his fake self which was shadow of his

father. This selection of job can be linked to his strategy to cope with his mental

troubles. Earlier, he wanted to be like his father who was a successful man, but the

mental pressures and tension that he got from his filial relationships turned him into

an alienated being. The protagonist in the entire narrative is striving to find a

substitute for his lost self. Though he has degraded his condition but for him it is a

strategy to cope up the mental pressures he is been through and to find his real self.

Bibliography:

Pandey, Dr. Sanjay Prasad. “Beauty: Illusion or Reality.” The Achievers Journal 1.1. (2015) .pag. web <theachieversjournal.com>

By Kunal Sinha

Reg. 11407395

TO REACH JAPAN

Critical Analysis:

About Peter

Peter’s father had intended to be with them, but he had been sent to a sanatorium just before the date for the secret departure. He was to follow them when he could, but he died instead.

What Peter's mother did was get to British Columbia, where she improved her English and got a job teaching what was then called Business Practice to high school students. She brought up Peter on her own and sent him to college, and now he was an engineer. When she came to their apartment, and later to their house, she always sat in the front room, never coming into the kitchen unless Greta invited her. That was her way. She carried not noticing to an extreme. Peter's opinions were something like his complexion. When they went to see a movie, he never wanted to talk about it afterward .He didn’t see the point in going further. He watched television, he read a book, in somewhat the same way. He had patience with such things. The people who put them together were probably doing the best they could.

About Greta

It’s hard to explain it to anybody now—the life of women at that time. What was okay and what was not. You might say, well, feminism was not. And you would have to say feminism did not exist, you had never heard the word. It wasn’t just the round of housework and children, either. That was nothing. It was the way any serious idea, let alone ambition, was seen as some sort of crime against nature.

One thing, though. When it came to writing poetry it was maybe safer to be a woman than a man. That’s where the word poetess came in handy. Like a load of spun sugar.

There was a magazine then, called The Echo Answers, published irregularly in Toronto.Two of the poems had been published, and the result was that when the editor of the magazine came to Vancouver last fall, she had been invited to a party to meet him. The party was at the house of a writer whose name had been familiar to her, it seemed, her whole life. The party was in the late afternoon, when Peter was still at work, so she hired a sitter and set off on the North Vancouver bus across the Lions Gate Bridge and through Stanley Park.She was greeted by a woman.Nobody spoke to her or noticed her, but in a short time a teenage girl thrust out a tray on which there were glasses of what looked like pink lemonade. Greta took one and drank it down at a thirsty gulp. She thanked the girl, then helped herself to another. She tried to start a conversation about the long hot walk but the girl was not interested and moved away, doing her job.Greta moved on. She kept smiling.

She didn’t give up, though. The drink was helping her and she resolved to have another as soon as the tray came around.She never did find out who the editor from Toronto was.

A man stood over her. He said, “How did you get here?”

She said that she had been invited.

“Yes. But did you come in your car?”

“I walked.” But that was not enough, and in a while she managed to offer up the rest of it.

“I came on a bus, then I walked.”

One of the men who had been in the special circle was now behind the man in the shoes. He said, “Excellent idea.” He actually seemed ready to talk to her.

“Carry them. Or I will. Can you get up?”

She looked for the more important man to help her, but he wasn’t there. Now she remembered what he’d written. She asked what he wrote. He said he was not that kind of writer, he was a journalist. Visiting in this house with his son and daughter, grandchildren of the hosts. They—the children—had been passing out the drinks.

“Lethal,” he said, referring to the drinks. “Criminal.”

Now they were outside. She walked in her stockinged feet across the grass, just barely avoiding a puddle.

“Somebody has thrown up there,” she told her escort.

“Indeed,” he said, and settled her into a car. “North Vancouver,” he said. She must have told him that. “Okay. We’ll proceed. The Lions Gate.”

Those great leafy trees above them. You could not see any stars. But there was light shining on the water, between wherever they were and the city lights.

He said that he had already told her that. Possibly twice. But once again, okay. Harris Bennett. Bennett. He was the son-in-law of the people who had given the party. Those were his children, passing out the drinks. He and they were visiting from Toronto.

During the coming fall and winter and spring there was hardly a day when she didn’t think of him. There really wasn’t a day. It was like having the very same dream the minute you fell asleep.

he found herself writing a letter. It didn’t begin in any conventional way. No Dear Harris. No Remember me.

“Writing this letter is like putting a note in a bottle—

And hoping

It will reach Japan.”

Nearest thing to a poem in some time.She sent her letter to him there, at the newspaper. She could not be sure that he opened his own mail, and she thought that putting Private on the envelope was asking for trouble, so she wrote only the day of her arrival and the time of the train, after the bit about the bottle. No name. She thought that whoever opened the envelope might think of an elderly relative given to whimsical turns of phrase.

Main story

This summer Peter was going to spend a month or maybe longer in charge of a job that was being done at Lund, far up, in fact as far as you could go north, on the mainland. There was no accommodation for Katy and Greta.

But Greta had kept in touch with a girl she used to work with in the Vancouver library, who was married now and living in Toronto.

Once Peter had brought Greta’s suitcase on board the train he seemed eager to get himself out of the way. But not to leave. He explained to her that he was just uneasy that the train would start to move. Once on the platform looking up at their window, he stood waving. Smiling, waving. His smile for their daughter, Katy, was wide open, sunny, without a doubt in the world, as if he believed that she would continue to be a marvel to him, and he to her, forever.

Katy had evidently not understood that Peter’s being outside on the platform meant that he would not be traveling with them. When they began to move and he didn’t, and when the train’s gathering speed left him behind, Katy took the desertion hard. But in a while she settled down, telling Greta he would be there in the morning.

A young man Greg and woman Laurie came up the stairs and sat down across from Greta and Katy. The young man and woman said good morning with considerable cheer, and Greta responded. Laurie told Greta that they had been going around to kindergartens, doing skits. This was called reading readiness work. They were actors, really. She was going to get off at Jasper, where she had a summer job waitressing and doing some comic bits. Not reading readiness exactly.

They were both quite beautiful, Greta thought. Tall, limber, almost unnaturally lean, he with crinkly dark hair, she black-haired and sleek as a Madonna. A bit later on, when Greta mentioned their physical similarity, they said they had sometimes taken advantage of it, when it came to living arrangements. It made things no end easier, but they had to remember to ask for two beds and make sure both got mussed up overnight.Greg and Greta waved to Laurie when she got off at Jasper. She blew kisses from the platform.

Greg  and Greta were drinking while all this anguished but also somewhat comforting talk went on. He had produced a bottle of ouzo. She was fairly cautious with it, as she had been with any alcohol since the writers’ party, but some effect was there. Enough that they began to stroke each other’s hands and then to kiss and fondle. All of which had to go on beside the body of the sleeping child.

There was no room for two people to lie down properly, but they managed to roll over each other.

She got herself decent and left him. Actually she didn’t much care who met her. Greta took hold of the curtains to open them all the way and saw that Katy was not there.

She went stupid. She yanked up the pillow, as if a child of Katy’s size could have managed to cover herself with it. She pounded her hands on the blanket as if Katy could have been hiding underneath it. She was between the cars, on one of those continually noisy sheets of metal—there sat Katy. Eyes wide open and mouth slightly open, amazed and alone.

Greta grabbed her and hoisted her onto her hip and stumbled back against the door that she had just opened.

The day was dark, with summer thunder and lightning. Katy halted, so Greta did too, till people got by them. Then Greta picked Katy up and set her on her hip, and managed the suitcase with the other arm, stooping and bumping it on the moving steps. At the top she put the child down and they were able to hold hands again, in the bright lofty light of Union Station.

There the people who had been walking in front of them began to peel off, to be claimed by the people who were waiting, and who called out their names, or who simply walked up and took hold of their suitcases.

As someone now took hold of theirs. Took hold of it, took hold of Greta, and kissed her for the first time, in a determined and celebratory way. Harris,First a shock, then a tumbling in Greta’s insides, an immense settling.She was trying to hang on to Katy but at that moment the child pulled away, she got her hand free.She didn’t try to escape, she just stood. Downcast, waiting for whatever had to come next.

                                                     Bibliography:                                                       

Pandey, Dr. Sanjay Prasad. “Beauty: Illusion or Reality.” The Achievers Journal 1.1. (2015) .pag. web <theachieversjournal.com>

By G .KOUSHIK CHOWDARI

Reg. 11402637

THE VIEW FROM CASTLE ROCK

Critical Analysis:

In a foreword in which she explains how the stories in The View from Castle Rock originate in the lives of her ancestors and in her own experience, Alice Munro breaks her long silence about her fiction and her life. Now in her seventies, she notes that in old age, many people cannot resist rummaging through the past. When she was in her mid-sixties, she says, she began to take more than a casual interest in the Laidlaw side of her family, which she traced back to the Ettrick Valley in Scotland, an area that the 1799 Statistical Account of Scotland labeled as having “no advantage.” During this period of ancestral interest, Munro traveled in Scotland for a few months, researching the family in cemeteries and public libraries, discovering that in every generation of her family, someone was a writerof letters, journals, or recollections.

Munro says that as she put together this material over the years, the material began to shape itself into “something like stories.” This is not surprising, given that she is, with little or no argument, the best short-story writer currently practicing that underrated art. The combination of the words of her ancestors and her own, she says, resulted in a re-creation of lives about as truthful as the past can be.

In addition, Munro says, during this same period she was writing a special set of stories that she had not included in her last four books of fiction because she felt they did not belong. Although they were not memoirs, they were closer to her own life than other stories she had written. She says that in her previous stories she drew on personal material but then did whatever she wanted to with it; for the chief thing she was doing was “making a story.” However, in these new pieces, she knew she was doing something closer to what a memoir doesexploring her own life although not in a rigorously factual way.

The View from Castle Rock is made up of these two separate setsfive family chronicles that Munro says are “something like stories” and six pieces drawn from her own life that she emphatically declares are “stories.” Munro describes them as two separate streams that flow into one channel.

The first story, “No Advantages,” is the most historical, least fictionalized of the five pieces of “family history.” The narrator is Munro, in her sixties, traveling alone in Scotland. When she finds the gravestone of her fifth great-grandfather, born at the end of the seventeenth century, she enjoys that familiar human experience of imagining her ancestors existing in time and space. Discovering he is the last man in Scotland to have seen the fairies, she envisions him as a sort of Rip Van Winkle who encounters little people, about as high as two-year-old children, calling his name. She draws conclusions and forms hypotheses about him and those who follow him. She identifies a trait in her Scottish ancestors that matches her own attitudes generations laterthe reluctance to call attention to oneself, which is not modesty, but rather a refusal to turn one’s life into a story, either for other people or for oneselfa curious trait for a storyteller who has all of her adult life transformed her life into story.

The title story of the collection moves closer to fictionalized narrative. Its imaginative spark derives from a received story of one of her ancestors, a young boy, being taken up to Edinburgh Castle by his father, who points out a grayish-blue piece of land showing through the mist beyond the waves and pronounces gravely “America.” The boy knows he is not looking at America but rather an island off the coast of Scotland, but this does not lessen the force of the illusion of a land that does have “advantages,” so far away, yet so closea combination of fiction and reality. The story focuses on the actual journey the family makes to Nova Scotia. Although Munro says she depends largely on a journal kept by one of the family members, whereas he merely records events, Munro speculates and humanizes, inventing actions for which she has no historical basis and creating motivations based on her imaginative identification with her ancestors.

“Illinois” deals with an event that must have been irresistible to Munro, who has written previous stories of tricks and cross-purposes. A young male ancestor steals his baby sister and hides her; two silly young girls who like to play jokes steal the infant a second time to tease another boy.

Bibliography:

Pandey, Dr. Sanjay Prasad. “Beauty: Illusion or Reality.” The Achievers Journal 1.1. (2015) .pag. web <theachieversjournal.com>

By Monika Bondala

Reg. 11401864

DIMENSIONS

Critical Analysis:

DIMENSIONS 

 About Author Alice Munro

Canadian author Alice Munro is known as the ―master of contemporary the short story‖ (Wikipedia). She is the creator of contemporary short stories and has changed the definition of short story. Known as ―Canadian Chekhov‖ Munro won many literary awards including the Nobel Prize in Literature in 2013.She won Canada’s Governor eneral’s award thrice in her life and received Man Booker Prize in 2009.

“Dimensions” was first published in The New Yorker on June 5, 2006. The story is about a young Woman Doree, who was always dominated by her husband and was unable to explore her individual identity, but who moves towards emancipation in an epiphanic moment.

Alice Ann Munro was born Alice Laidlaw on 10 July 1931 in Wingham which is located in the Canadian province of Ontario. Most of Munro’s stories are set in Huron Country in southwestern Ontario. Strong regional focus is one of the key features of her fiction.

Southwestern Ontario, surrounded on three sides by Lake Huron, is mainly an agricultural land. In the 19th century many large and small towns started to flourish there because of accessible boat transport and water- power driven mills (Atwood). The Donnelly’s Massacre1 in

Ontario had great impact on the people of this region. Violence, crime, subdued emotions – all these were part of south-west Ontario’s people’s lives and Munro’s stories were greatly influenced by these real life experiences.

Alice Munro has been writing fiction since she was in seven or eight grade. Her initial inspiration was the ―dreadfully sad‖ ending of Hans Christian Andersen’s story ―The Little Mermaid‖(Popova).So, when she finished reading that story, she decided to write another story with a happy ending. Because Munro thought that the little mermaid deserved something other than the death. As Margaret Atwood has noted, becoming a writer from a small town like southwestern Ontario, was really an unusual idea in 1930s and1940s.After all, even in the 1950s or 60s, there were only few text book publishers in Canada. Nevertheless, Munro never felt unsure of herself as a writer. As she notes, she was always an extremely devoted artist who knew her goal perfectly.

Summary:-

When I read Alice Munro’s ‘Dimension’ I feel like I’m standing at the edge of an ice shelf in Antarctica that is about to break apart and collapse into the icy waters, taking me along with it. I gather ominous signs; I hear deep rumblings, I feel the ice underneath my feet sway slightly but I have no idea what is about to happen until the very last moment when it happens.

 In this story, Munro deploys her formidable story-telling abilities to create and sustain a sense of foreboding right from the get-go to the climax of the story about halfway through the story (more on this unusual structure later). As a reader, I feel myself dragged inexorably along with the narrative arc of the story, reeled in inch by inch by Munro’s prescient ability to reveal just the right amount of information about her characters and their circumstances to sustain my interest in the story.

The main structure of the story is a little unusual in that the climax occurs approximately halfway through the story with the denouement taking up the final half. Given the length of the denouement, we can surmise that what Munro really wants to explore is not so much the events leading up to the climax but the aftermath of the climax. The climax in this story is a tragic event that involves the lives of the members a working class Canadian family; Doree, the wife, Lloyd the husband and their three children. Munro opens the story in the aftermath of the tragic event and very skillfully weaves in the events and circumstances leading up to the tragic event by intermittent flashbacks. Immediately following the climax of the story, when the tragic event is revealed, the story shifts to how the protagonists (Doree and Lloyd) deal with the fallout from their actions (or non-actions, as the case may be) that resulted in the tragic event. It is this exploration of how the protagonists deal with the consequences of their actions that is the emotional underpinning of the story. One of the things I’m amazed by with Munro’s story is her ability to condense the complex inner lives of her characters. Instead, we can sense Doree’s nervousness by the word games she plays in her head on the bus trip to the prison showing the description of the  inner psychological state of her characters. We also learn about Lloyd’s insufferable arrogance by the way he talks about medical professionals and the way he talks to Doree.

In the next paragraph, Munro introduces Mrs. Sands without really telling us who she is and her relationship to Doree but we can glean from the description of their interaction that she is acting as a counselor of some sort to Doree. Everything we’ve read up to this point seems to confirm that Doree must have done something wrong in the past and is trying to turn over a new leaf. At the very end of the paragraph, Munro deftly insinuates ‘death’ into the discussion and all of a sudden, the ante is upped. We know that someone, likely Doree had done something wrong, and a life had been taken. The foreshadows lengthen.

The next paragraph, the first of many flashbacks, fills in the backstory of Doree’s family mainly how she met Lloyd and married him. In this paragraph, we see early inklings about Lloyd’s character by the opinions he holds about medical professionals.

The end of this paragraph is where we see Munro’s genius at work. At first glance the last line of the paragraph, ‘Sasha was born’, seems to and does follow naturally from the description of Doree’s family life. But, given the ominous foreshadowing already at play and given what we know at this point, the fact that Munro ends the paragraph abruptly with that stark sentence and reverts to the aftermath narrative of the story leaves us deeply unsettled. The ante has just been upped again. We know that a. someone, possibly Doree had done something wrong b. a life was taken and now c. that life could possibly be a child’s.

The next paragraph finally dispels any suspicion about Doree’s culpability. We know that it is this person that Doree is spending hours on the bus for that is the guilty one (The first two times I never saw him…He wouldn’t come out.) We can probably already guess at this point that that person must be Lloyd. Throughout the story until the climax is reached, Munro continues to alternate between the present time frame in the aftermath of the tragic event and the time frame leading up to the tragic event. She also continues to fill out Lloyd’s character as an arrogant, controlling, chauvinistic know-it-all who detests people in authority especially if they are in the medical profession and especially if they are women.

Munro continues to turn the reader against Lloyd by leaking more and more details about his paranoid nature, going through Doree’s dresser looking for birth-control pills, berating Doree for spending time with Maggie. Munro also shows us Doree’s role in her marriage, as a long-suffering wife who has no other plan for her life than to be a good mother and supporter of her husband. She is willing to put up with his paranoia, his put downs, his criticisms, his smug pronouncements because she is scared of losing him, scared of losing the one thing in her life that held any meaning for her.

As in the following paragraph’s, Lloyd’s paranoia increased to a great extent, as he killed his own children.And may be for the first time in life Doree wanted him to be wrong, both emotionally and mentally, proving him, that he is the crazy one.

The story would of course not be complete without an exploration of Lloyd’s state of mind in the aftermath of his crime. Munro accomplishes this through a letter he sends to Doree. This is the point where Munro unearths perhaps the central irony of the story; that this monster, this pig of a man who murdered his own children, should be the one who receives the privilege of inner peace when Doree the long-suffering wife whose life was devastated by him is still in deep turmoil. As if that wasn’t enough, the irony continues in the second letter, when Lloyd becomes her savior as it were by showing her a way out of the morass of her emotional pain.

But thankfully, Munro gives Doree a way out. In dramatic fashion, she has Doree witness an accident and (thanks to Lloyd’s training) was able to save the life of the victim. Doree realizes from this experience that ‘she was put on earth’ not to just ‘be with him and try to understand him’. No, she has another role, to keep the boy alive. Yes, it is because of Lloyd that she is able to perform this heroic act but in this small act of saving his life, she stumbles on an alternative track for her emotional train that had Lloyd as a distant, magical destination that she will never arrive at.

Bibliography:
Bosman, Julie. “Alice Munro wins Noble Prize in Literature”, nytimes.com. The New York
Munro, Alice nytimes.com. The New York, npage. Web<http://www.newyorker.com/magazine/2006/06/05/dimension>
Panday, Dr.Sanjay Prasad. “Beauty: Illusion or Reality”. The Achiever’s Journal 1.1(2015) npage. Web < theachieversjournal.com>

By Subham Dhar

Reg. 11204485

VOICES

Critical Analysis:

Voices

‘Voices’ is a short story by Alice Munro published in her collection of short stories- Dear Life. It is one out of the four stories in this collection that Munro describes as ‘not quite stories’. They are, she writes, "autobiographical in feeling ... the first and last – and the closest – things I have to say about my own life”.

Munro, a Noble Laureate has been titled by the Swedish Academy as the ‘Master of Contemporary Short Story’. Her works explore the tangles of relationships between men and women, small town existence and the fallibility of memory and deeply reveals human tendencies and flaws. She is also a winner of a number of prestigious awards in which International Man Booker Prize and PEN/Malamud Award are notable mentions.

‘Voices’ offers the reader a tiny crevice to peep into the life of the writer as a child with subtle references to her family life, the society and culture in the times of the Great Depression. The larger focus is though on the child’s inner network of thoughts, her innocent aspirations, her expectations from society and, quite possibly, her first experience of acute consciousness of the opposite sex. The story significantly focuses on her brief encounter with the notorious women of the city and her feelings of awe for the ‘bold as brass and yet mightily dignified’ woman.

The first person narration of the story allows the reader to enjoy a firsthand account of the writer’s life and to live the events of the story from writer’s perception. This also at some points helps the reader to identify with the writer, her instincts, her behavior, her experiences. The inception –

“When my mother was growing up, she and her whole family would go to dances…”

is suggestive of the reminiscent quality of the story and prepares the reader for a short stroll down the memory lanes of the writer. The first mention in this autobiographical work is of

the writer’s mother and her substantial interest in the dances that held in ‘schoolhouse’ or ‘farmhouses’. Munro’s description of her mother is exactly like a child would describe her mother – raw, authentic and honest with no embellishments or biases. She admits that her mother was not much liked by the people. The description of her mother gives a glimpse of the life of middle-class women in the time of Great Depression. Driven by desire, aspirations and a taste for life that is lavish, social and elite but restricted by financial meagerness, most women found themselves living an ordinary life with no or little interests to pursue. “She was living in the wrong place and had not enough money, but she was not equipped anyway. […]Like any other woman with washtubs to haul into the kitchen and no running water and a need to spend most of the summer preparing food to be eaten in the winter, she was kept busy.”

The story enlightens the reader not only about the condition of women but also the general condition of the society, of common people who dwelled in an ‘odd situation’. The story takes the reader back to the black period of world economy, namely – the Great Economic depression, a period of 1929-39 ,deepest and longest-lasting economic downturn in the history of the Western industrialized world, when millions of people lost their savings and their means of livelihood. As sources were meagre and incomes deficit, people reveled in the simple rustic means of enjoyment like dances ‘held in one of the altogether decent but not prosperous-looking houses on our road’. Also, people worked hard even in old age. It was a ‘disgrace’ to quit working and living on ‘old age pension’. The specific mention of ‘Doctor’s bills’ is also suggestive of the financial meagerness of the times and the plight of common people as it could ‘dreadfully fall upon a family’. These are some ‘questions that come to her mind’ about life in those times. She wonders why it was only her mother who she would accompany to the dances and why her father was left behind. But she quickly assumes some explanation putting an end to the presumed ‘puzzle’.

In the detailed layers of the story; the myriad list of things she describes in this memoir, Alice Munro- the child - stays centrally staged, almost alone and inwardly bent: an admission that is made many times during the telling of the story. Munro’s writing and her choice of words hint at the child’s loneliness and her supposed awkwardness in school. Her mother’s disappointment with her for ‘not bringing the right kind of friends, or any friends at all, home from the town school’, her ‘shying away from Sunday school recitations’ indicate Munro’s aloofness and introversion in her childhood: the qualities most writers in their childhood tend to exhibit. The child’s abhorrence towards and reluctance to go to the dance wearing ‘long sausage-like ringlets’ - which she disheveled on her daily commute - and her subsequent agreement because she ‘thought that nobody from school would be at the dance so it didn’t matter’ shows that ‘it was the ridicule of school fellows’ that she had most feared, again hint at the quite, solitary nature of the child.

The story advances to the main plot i.e. young Munro’s visit to the country dance with her mother. Again while reminiscing that time, Munro finds herself perplexed with many questions. She wonders if there had been a payment for attending that dance, or if people brought the refreshments even after paying as they were so poor. As the story progresses, the reader learns that Munro will keep hearing these ‘voices’ from the past throughout the course of the story, yet unaware about that one most significant reminiscence that she’ll cherish the most. Also these ‘voices’ from time to time recount the conditions of common people during that time and the reader learns how the normal life of people was in difficult straits after being hit by the economic crisis.

One major encounter takes place at this point which is a key juncture in the story – young Munro’s brief encounter with ‘a woman in that room you couldn’t help noticing’ ,the notorious woman from the town, supposedly a prostitute. Munro describes her superficies- a sight she calls ‘a startling sight’- with a keen eye embellished with awe-inspiring details about her attire, her hairstyle, her demeanor and her mannerisms. The young child is quite bewitched by the woman’s appearance and wonders how ‘somebody could look both old and polished, both heavy and graceful, bold as brass and yet mightily dignified’. Munro’s statements astonish the reader and offers an avenue to observe the simplicity of a child’s mind which is oblivious to the societal norms of morality and immorality. What would have seemed ‘brazen’ to an adult evoked feelings of awe in a child who better describes the woman as ‘stately’. Her admission of finding the woman ‘disgusting and dangerous and exciting and bold’ shows the kind of impact the woman had on her mind. The multiple use of ‘and’ shows child’s heightened amazement as she speaks with great fervor.

Another encounter follows which is the most important juncture in the story as well as in young Munro’s childhood through which the reader is offered an important insight into a child’s perceptions and aspirations. On her way upstairs, young Munro finds sitting on the stair steps two men and a girl, older than her-Peggy. Peggy is crying as she seems to be hurt by something and is being consoled by the two men in uniforms.

Munro recalls numerous occasions to show her lachrymal tendency at even trivial misfortunes- . I cried when chased and beaten with shingles on the way home from my first school. I cried when the teacher in the town school singled me out and thus is able to identify with the crying figure – Peggy. But what captures her attention is not the sight of Peggy, - So it wasn’t Peggy I was interested in, not her tears, her crumpled looks. She reminded me too much of myself- but the men consoling her- It was her comforters I marveled at. How they seemed to bow down and declare themselves in front of her.

Munro, who at several instances of the story, declares herself starved for companionship and warmth, is instantly fascinated by the kind, warm gestures of the men towards Peggy. She is almost surprised at their display of generosity, which is clearly expressed by the lines – ‘Such

kindness. That anybody could be so kind’. It also shows how emotionally deprived childhood the writer had experienced.

Munro also brings forth the general behavior of men towards women in those times and culture. Her confession - I had never in my life heard a man speak in that way, treating a woman as if she was so fine and valued a creature that whatever it was, whatever unkindness had come near her, was somehow a breach of a law, a sin’, clearly establishes the fact that the household in which Munro was brought up, women were not much valued by men who were not disposed to treat them with kindness and make them feel loved.

Munro is so touched by the warm, kind and generous words of the men, the way they try to assuage the crying girl, that she finds herself envious of her and longs to be the one to receive such a treatment to be “someone who rightfully should be petted, and pleasured and have heads bowed before her”, an admission made clearly in the story – ‘how wonderful to get on the receiving end of it, how strangely lucky and undeserving was that Peggy’.

The closing lines of the story provide an appropriate justification to the title of the story –Voices. Munro, a forlorn and lonely child, keeps the memory of those ‘voices’- the kind, affable words of the men- close to her heart to comfort her and mollify her at times she feels down in the dumps. In the cold dark of my bedroom they rocked me to sleep. I could turn them on, summon up their faces and their voices

She dismisses Peggy as ‘an unnecessary third party’ and emulates the voices to be directed towards her to pacify her. She imagines her own skinny thighs being blessed by the hands of the men. The use of words- In the cold dark of my bedroom, highlights her deep feelings of despair and loneliness but young Munro finds a temporary refuge in the warm bliss of the benevolent ‘voices’, something that ‘rocked her to sleep’ and assured that she, too ‘was worthy of love’.

Hence Alice Munro by this poignant narration of her own childhood reveals the intricate psychology of a child, her longing for attention and love. Her language and choice of words are successful in bringing the right mood and tone to the story. The flow is seamless and binds the interest of the reader who at many events is able to identify with her life experiences and in the end is left teary eyed at the child’s innocent confession of being deeply touched by the kindness of the two men and imaging herself as the one to receive their kindness. The story pulls at the heartstrings of the reader with its heartwarming descriptions and innocently conveys the message that it is love and kindness that a child needs the most.

Bibliography:

Munro, Alice. Dear Life. Toronto: McClelland & Stewart, 2012. Print.
Munro, Alice. Runaway. Toronto: McClelland & Stewart, 2004. Print.
Jones, Josh. “Read 19 short stories by Noble Prize winning writer Alice Munro”,
Openculture.com. Open Culture, 10 Oct. 2013. Web. 11 Mar. 2017
Bosman, Julie. “Alice Munro wins Noble Prize in Literature”, nytimes.com. The New York
Times, 10 Oct. 2013. Web. 11 Mar. 2017
Panday, Dr.Sanjay Prasad. “Beauty: Illusion or Reality”. The Achiever’s Journal 1.1(2015)
npage. Web < theachieversjournal.com>

By Anukampa Sharma

Reg. 11404511

WENLOCK EDGE

    Critical Analysis: 

 Wenlock Edge

I remember “Wenlock Edge,” for it is one of those stories we have talked about before that seem to haunt us—especially that strangely unsettling scene when the narrator calmly sits in the nude and has dinner with an elderly man. Sandy asks if anyone can comment on the narrator’s emotion when she says she is on a course discovering her own wickedness. I think Sandy is right that an important element of the story is the narrator’s concern with what is real in life. For me, the issue has to do with a common theme in the short story as a genre—the blurring of the edge between reality and unreality—and a common short story technique of exploring this question in terms of the reality of unreality. The narrator is a student of literature. In fact, I suspect that only an English major would have willingly taken her clothes off for dinner with a strange old man primarily as a challenge to the charge, “So you’re just a bookworm. That’s all you are.” And indeed, she is a bookworm, that is, she primarily lives in books and makes adverse judgments on those, such as the two English majors who live downstairs, whose conversations and preoccupations seem hardly different from those who work in banks or offices. The narrator believes that one who studies literature should see reality differently than others. However, the narrator admits at one point that, except in examinations, she gets many things wrong. And the main thing she thinks she may have gotten wrong is, as Sandy points out, her notion that what she is doing—reading literature—is what is real, or at least teaches us how to see the real. The other characters in the story, she comes to realize, see reading literature as only a game. The narrator gets many of her ideas and expectations from reading. Her own experience with reality other than what she reads is sparse. For example, Nina’s story of her children, the death of one child, her life with Mr. Purvis, makes her feel like a simpleton. Still, the narrator thinks that Nina has no pegs on which to hang anything because she has not read about Victorian, Romantic, Pre-Columbian,

that she could not find on the map the many countries she has visited, and that she wouldn't know whether or not the French Revolution came before the First World War. When Mrs. Winner comes to pick her up for dinner with Mr. Purvis, the woman’s platinum hair certifies to the narrator a hard heart, immoral dealings, and a long bumpy ride through the sordid back alleys of life. When Mr. Purvis takes her to his library, she has a notion of the sort of story that few people ever get a chance to read, about a room called a library turning out to be a bedroom with soft lights, puffy cushions, and downy pillows. Obviously, the narrator’s knowledge includes not only high literature, but also pulpy, soft-core porn. When she is asked to read Housman’s “Wenlock Edge,” she feels comfortable, at peace with the familiar rhythms of the poem. She lives in fiction more easily than in phenomenal reality. So why does she willing take her clothes off? Because, as she says, it is a challenge, a sort of Bohemian dare, a gesture to show that she is not just a bookworm, but as daring as the women in the books with which she is familiar. She tries to assume the liberal, well-read, view that we are all naked under our clothes. For the moment, she sees herself as a liberated fictional figure, and does not worry that anything will happen to her. The fact that Plato is her favorite philosopher and that she likes his allegory of the cave is significant, for “Wenlock Edge” is filled with issues about what is real and what are misunderstandings, mere shadows, of reality. The fact that the narrator sends Mr. Purvis Ernie’s address, knowing that he will go round and fetch her away from Ernie, is less a wicked act than it is a tampering with the lives of others as if they were not real, but rather characters in a story that she feels free to manipulate around, as if they were puppets, shadows cast on the wall of Plato’s cave. The narrator, that is, the creator of the story we are reading, is wicked in the way that all writers of fiction are wicked—creating fictional characters, pretending they are real and then manipulating them mercilessly as merely fictional characters. At the end of the story, the narrator says she keeps learning things, such as the Uricon, the Roman camp, is now Wroxeter, a town on the Severn River. But such knowledge, although historically accurate, and what some new historicist critics nowadays would called “context,” is not as important as the more subtle, inchoate knowledge that the short story in general and Alice Munro in particular make their own.

Bibliography:

Pandey, Dr. Sanjay Prasad. “Beauty: Illusion or Reality.” The Achievers Journal 1.1. (2015) .pag. web <theachieversjournal.com>

By Rahul Torlapati

Reg. 11401675

TRAIN

Critical Analysis:

Train is a yet another short story by Alice Ann Munro. She is a renowned

Canadian contemporary fiction writer whose splendid work is appreciated

from around the world. She is a Nobel Prize winner in Literature for her work

as “master of contemporary short story”. Her stories have revolutionized the

architecture of short stories. Her stories have said to “embed more than

announce, reveal more than parade”. Much of her work often exemplifies the

literary genre known as Southern Ontario Gothic.

The story Train basically revolves around the protagonist of the story,

namely, Jackson. It starts in a very unusual way as Munro’s stories are mostly

quite straightforward. It begins with Jackson jumping off a train and though it

was moving quite slowly, it ended up hurting him more than he expected.

After his disappointed landing from the train, he picks up his bag and starts

walking back in the direction he just covered on the train. He then realizes that

he is closer to a civilization then he realized, indeed, there is a woman out

milking a cow whose name is Margaret Rose. The woman turns out to be

Belle.

Their first interaction goes pretty well even though there were so many

different ways their interaction could have gone wrong. Instead, it is not even

all that awkward because Belle is a sweet, almost naive, woman.

Belle lives by herself, although that is a recent development. Her mother

passed away a few months ago after decades of needing a lot of physical help.

Her father has been dead for many years because he was hit by a train. He

used to take care of Belle’s mother, but once he died, the responsibility was all

hers.

She was also more or less supported by the Mennonites who live up the road.

The introduction of them is wonderful, as it is how Jackson sees them: “Over

the hill came a box on wheels, being pulled by two quiet small horses…. and in

the box sat half a dozen or so little men. All dressed in black with proper black

hats on their heads.”

Of course, these little men are the Mennonite children who look after her.

Jackson pities Belle, although she neither seeks it nor really deserves it. She

seems quite content with her situation. He decides to stick around and fix up

her house for her which is in bad need of repair. He imagines that he can work

for her for a few months and then maybe help the Mennonites a bit and then

continue on his way.

After several years, Jackson and Belle have settled down like brother and sister

which is pretty much a purely Platonic relationship. Interestingly enough, we

don’t really learn all that much about either of them. Although we certainly

learn more about her as she is the more talkative of the two, but there is

virtually no explanation of Jackson’s past.

Then, Belle finds a lump. Jackson convinces her to have the cancer taken out.

And they drive together to Toronto. On their way, Belle freaks out by the

highway and all of the city changes, from the time she used to live there, and

even Jackson is surprised by how much has changed since he was there last.

Someone tells him they ought to see Chinatown! Belle is nervous about the

operation, but he sits with her and tries to take her mind off of things which

works for a while.

But when she wakes up after the surgery, she seems different. No doubt it is

from the medication, but she is a little less proper, her reserve is down

somewhat. And she tells him what she believes is the real reason for her

father’s death.

This moment of bareness freaks Jackson out. And the rest of the story shows

just how much of a coward Jackson really is. The jump to the next section is

practically unfathomable as Jackson begins to make a new life in the city. It is

true that Jackson and Belle never had any kind of formal agreement and he

always planned to leave her, but it is shocking that he considers it.

After about two third of the way into the story, a new character is introduced.

And it almost feels like a new story. Until, that is, Munro links this new story

with the main story and it flashes out Jackson’s past and gives the whole story

an amazing amount of depth.

The story is really wonderfully told. It is a really strong short story. And the

title, which seems a little generic, really play a large role in the story overall.

Bibliography:

Pandey, Dr. Sanjay Prasad. “Beauty: Illusion or Reality.” The Achievers Journal 1.1. (2015) .pag. web <theachieversjournal.com>

By Rudhir Shubhro 
Reg. 11406011

THE GRAVEL

Critical Analysis:

“THE GRAVEL” by ALICE MUNRO

The first part of the story recounts the narrator’s memory of her mother’s starting to dress like an actress and then telling her husband that the child with which she is pregnant belongs to Neal, an actor she has met. The mother’s motivation for leaving her insurance-salesman husband seems related to her desire to have a “freer,” more Bohemian, life than she has had in her conventional home. The central incident occurs after heavy rains have filled up the gravel pit and Caro tells the narrator to run back to the trailer to tell Neal and her mother that Blitzee has fallen in the water and she has jumped in to save the dog. The narrator runs to the trailer, but sits down outside before going in. When she does go in and the mother tries to get Neal to go to the gravel pit, he fails to do so. In the third part of the story, Neal does not attend Caro’s funeral. The mother gives birth to a child named she names Brent. In the final section of the story, the narrator learns that Neal is living near where she teaches, and her partner, Ruthann, convinces her she should go see him to help “rout her demons.” She discovers that Neal lives in a semi-respectable dump and buys his clothes from the Salvation Army—all of which he says suits his principles. He tells her how it happened—that he was stoned at the time and is not a swimmer and thus would have drowned also if he had tried to save Caro. She asks him what he thinks Caro had in mind on that day, as she has asked two others before. Her counselor has told her that perhaps Caro wanted attention to how bad she was feeling; Ruthann has said it was to make her mother go back to the father; Neal says it doesn’t matter, that maybe she thought she could paddle better or that she did not know how heavy winter clothes could be, or that there was no one close by to help her. The story ends with Neal advising the narrator not to waste her time, not to try to get in on the guilt for not hurrying up and telling that day. He then says:

“The thing is to be happy. No matter what. Just try that. You can. It gets to be easier and easier. It’s nothing to do with circumstances. You wouldn’t believe how good it is. Accept everything and the tragedy disappears. Or tragedy lightens anyway, and you’re just there, going along easy in the world.” He then says goodbye.

In the last paragraph, the narrator says:

“I see what he meant. It really is the right thing to do. But in my mind, Caro keeps running at the water and throwing herself in, as if in triumph and I’m still caught, waiting for her to explain to me, waiting for the splash.”

Bibliography:

Pandey, Dr. Sanjay Prasad. “Beauty: Illusion or Reality.” The Achievers Journal 1.1. (2015) .pag. web <theachieversjournal.com>

By Onkar Singh

Reg. 11407515

VOICES

Critical Analysis :

“Voices” by Alice Munro

In “Voices” by “Alice Munro’’ , the basic plot of the  story revolves around  Munro attending a local dance with her mother and coming across a female prostitute and one of her girls. Two men from the air force were seen comforting the girl and stroking her thigh on the stairs. At this point, the story has a tantalizing description of a young 10-year-old Munro’s adolescent introduction to the world of sexuality.

“Voices” was more like the mind simply thinking of an incident in the past, describing it and then leaving it for the thought of another. We feel in the beginning that the story deals with the relationship that Munro shares with her mother. Munro’s mother has been shown as a character who was never really happy with her position or status in the society. She tried all her methods to appear higher that what she originally was.

            “She said things like ‘readily’ and ‘indeed so’. She sounded as if she had grown u in some strange family who always talked that way. And she hadn’t. They didn’t. Out on their farms, my aunts and uncles talked the way everybody else did. And they didn’t like my mother very much either.”  

It is only later in the story that we realize that it was the introduction of Alice to the sexual world and her emergence from her innocent phase.

In the story, when she encounters a prostitute, she has no idea of what a prostitute is, yet she senses that there is something scandalous in the way everybody was behaving, especially her mother. Her mother asks her to leave immediately but when she goes upstairs to get her coat she sees the girl sitting with two Air Force men trying to comfort her. This is a memory that she senses and carries with her through her life.

            “Their hands blessed my own skinny thighs and their voices assured me that I, too, was worthy of love”.

Munro ends the story at an unexpected note wherein she talks about the young men who left the town for war. Some of them even died and those were the ones who were gone forever. This moment is the key to the story.     

            “And while they still inhabited my not yet quite erotic fantasies they were gone. Some, many, gone for good.”

Bibliography:
Munro, Alice. Dear Life. New York: Vintage, 2004. Print.
Pandey, Dr. Sanjay Prasad. “Beauty: Illusion or Reality.” The Achievers Journal 1.1. (2015) .pag. web <theachieversjournal.com>

By Akanksha Sharma

Reg. 11405093