Carrie (1974) by Stephen King is a novel about a teenage girl named Carrie who struggles to fit in with two sets of opposing expectations–the expectations of her deeply religious mother, and the superficial and stereotypical expectations of her local community–which struggle then results in her destruction as well as the destruction of her mother and the local community. I didn’t get this about the book right away. I got this summary only after seeing my initial rhetorical stance and then studying the structure of the text with my rhetorical stance set aside. A rhetorical stance is what we already have before beginning to read a book, that is, we bring certain assumptions or judgments or biases about the plot, the author, or about the book in general to our reading of the book. These assumptions are what Jane Gallop (2000) calls projections, in her essay “The Ethics of Reading: Close Encounters.” There she writes that
When we read our own writing, we tend to see, not what we actually wrote, but what we intended to write–that is, we read not the words on the page, but our thoughts. Likewise, I’m sorry to say, when we read what someone else wrote, we tend to see, not what he actually wrote, but what we think he would have written […] There’s a technical term for this: it’s called projection. Rather than read what the other person has actually written, we project onto the page what we think he would have written. (10)
Projections determine how we read, or what we read for. Examples can include reading only our own thoughts. Projections compose our rhetorical stance. Avoiding projections is an important concept for the reader to employ when writing and reading because it will enable the reader to fully understand the text. Although it is very challenging to everyone, a way to see and challenge one’s projections, is to close read text. I will be doing this more carefully in part two of this annotated bibliography.
For now, I can say that the rhetorical stance I brought to my reading was given by King’s reputation, which I knew about from what everybody knows about Stephen King and his books. Everybody knows that King is one of the most famous and prolific writers of books (many of which have become films or television series). He is also famous for writing in popular genres such as horror, thriller, adventure, young adult, etc. Most important of all concerning my reading for is that King is my father’s favorite author, and this was my first real introduction to this author. I was first introduced to Stephen King’s books throughout my childhood. As I would retrieve items from the office, I would see scattered Stephen King books among our bookshelf. When talking to my dad, I learned that he is a fan of his novels. He expresses that his favorite book written by King is Stand. He emphasizes that he likes reading King’s novels because of his different genres and forms. He explained that he was interesting in King’s incorporation of good versus evil in the Stand. Growing up with lingering knowledge about King, I was influenced to read one of his books.
The first rhetorical stance that I ‘read for’ in Carrie derives off of my projections of Stephen King’s writing style. My projections on Stephen King’s writing style were formed from the opinions and thoughts of friends and classmates who have read his work. When choosing the book to read for How Writer’s Read I initially selected Carrie because it is written by Stephen King. I wanted to understand why my dad liked his books so much, and why his books were so popular. People I have talked to before often emphasized that his novels were scary or suspenseful. Although these projections were powerful upon reading for genre, I found that they did not impact my reading of Carrie. I found when actually reading his words, details, and story, I first-hand experienced his cutting and raw detail. Reading his words, instead of taking the opinions of others to mind allowed me to closely read his story through his use of details, tropes, and different methods. Through King’s words, I became a part of the story. His words enabled me to see Carrie’s blonde hair and pale skin, and understand Carrie’s thoughts and actions by his specific vocabulary and details.
King (1974) describes Carrie when Tommy talks to her for the first time
The day was overcast and the bank of fluorescents embedded in the ceiling was not particularly kind to her pale complexion. But he saw for the first time (because it was the first time he had really looked) that she was far from repulsive. Her face was round rather than oval, and the eyes were so dark that they seemed to cast shadows beneath them, like bruises. Her hair was darkish blonde, slightly wiry, pulled back in a bun that was not becoming to her. The lips were full, almost lush, the teeth naturally white. Her body, for the most part was indeterminate”. (100)
King continues through the the text, describing Carrie’s clothes. I read for King’s rich detail, describing any element his brain could imagine. Another element I noticed through King’s text was his use of similes. In this quote, he uses the details of Carrie’s tired skin, and compares it to bruises. When reading, I found this simile to help me by enabling myself to imagined the color of bruises under Carrie’s eyes. I could see the black, and blue puffy skin drooping under her eyes.
Through my group’s discussion and first blog post, we became interested in the Margaret White’s beliefs. We learned that the Christian religion ultimately took over Margaret White, Carrie’s mother life. She would practice the religion through her morals and forced it upon Carrie.
King (1974) reveals Margaret White’s dedication to her religion
Momma held worship on Sundays, Tuesdays, and Fridays. These were called Holy Days. Momma was the minister, Carrie the congregation. Services lasted from two to three hours. (61)
My reading group read for Margaret White’s obsession with religion. I thought Margaret White was infatuated with religion because of her constant references to the bible, god, and sinning. I also thought this was unusual because she would often take her obsession and force it upon Carrie. When Carrie did not want to practice the religion with her mother, she would punish her physically by hitting or kicking her She would also take Carrie to worship when she thought Carrie was sinning. Margaret White set high standards for Carrie and often punished Carrie for not following her directions. Carrie and Margaret White’s relationship often is defined by religion and the tragedy of Carrie’s father which lead to Margaret White’s breakdown. The novel portrays Margaret’s behavior and mental state as a product of the death of her husband, Carrie’s father. The novel reveals that her husband died from a construction accident. This tragedy left Margaret White in a unhealthy mental state, unable to fully care for Carrie.
The mistreatment of Carrie White from both her mother and the community enables me to create the premise of the story. I was introduced to the premise in Robert McKee’s (1997) Story: Style, Structure, Substance. He defines premise in his sixth chapter
A Premise, however unlike a Controlling Idea, is rarely a closed statement. More likely, it’s an open-ended question: What would happen if…? (113)
McKee reveals the premise in the shape of a question, enabling the opportunity for discovery. The phrase included in the premise “What would happen if…?” acts a guide to engage in the story. With the premise I can recognize the growth and development of Carrie White. The premise that I created for Carrie includes: What if the person being bullied got powers and took revenge? I discovered how the mistreatment of Carrie White affects her and eventually leads to the destruction of herself, her mother, and the community.
Another factor of the creative process includes the controlling idea. Robert McKee (1997) introduces the elements of a controlling idea
A CONTROLLING IDEA may be expressed in a single sentence describing how and why life undergoes change from one condition of existence at the beginning to another at the end. The Controlling Idea has two components: Value plus Cause. It identifies the positive or negative charge of the story’s critical value at the last act’s climax, and it identifies the chief reason that this value has changed to its final state. (115)
McKee emphasizes the controlling idea acts as the theme of the story, but in terms that it involves both the central idea and function. He demonstrates through the text that it differs from the general term of a theme in regard to what is most relevant in the story, deriving from the premise.
When thinking about controlling factors that govern Carrie my group thought of the controlling idea: “If you stay pure, you’ll obtain salvation”. Through this controlling idea, we identified staying pure leads to and causes salvation.
McKee (1997) demonstrates the meaning of the value within the controlling idea
Value means the primary value in its positive or negative charge that comes into the world or life of your character as a result of the final action of the story. (116)
When creating our controlling idea, we immediately connected value to Margaret White’s own self-values. Her self-values include the morals of Christian faith. Through the text we recognize Margaret’s infatuation with religion, by her practices of worship and her demands of Carrie. We recognize Margaret White’s unusual values and morals when accusing Carrie of sinning when getting her first menstrual period.
Momma had been walking toward her, and now her hand flashed with suddenly limber speed, a hard hand, laundry-callused and muscled. It struck her backhand across the jaw and Carrie fell down in the doorway between the hall and the living room, weeping loudly. “And God made Eve from the rib of Adam,” Momma said. Her eyes were very large in the rimless glasses; they looked like poached eggs. She thumped Carrie with the side of her foot and Carrie screamed. “Get up, woman. Let’s us pray to Jesus for our woman-weak, wicked, sinning souls(King, 1974, 62).
In this except, she is physically punishing Carrie by punching and kicking her. She then leads Carrie to the place of worship, to pray away Carrie’s accused sins.
Ultimately the value derives from the final action of the story because it is one of the reasons Carrie does not fit in with her classmates and society in general. They make fun of her because of her physical appearance, which is controlled by her mother’s actions and demands, and because of their knowledge of the White family. Her classmates believe that the White’s are unusual and crazy from the mothers doings. The final action derives from the value because Carrie abuses her telekinetic powers to seek revenge on any one and thing that has ever hurt her. She kills the majority of her town — including her mother, classmates, and teachers–. But realizes, that not everyone is out to hurt her. She does not kill classmate, Sue Snell due to her telekinetic thoughts. Sue Snell is ultimately saved in the end because she was kind to Carrie through her bullying and torment from her classmates and the community.
When thinking about the cause of Carrie’s struggles fitting in classmates and the community; I determined that Margaret White’s values and morals govern Carrie’s overall treatment from Margaret and the community.
McKee (2010) defines the cause of a controlling idea
Cause refers to the primary reason that the life or world of the protagonist has turned to its positive or negative value. Working back from the ending to the beginning, we trace the chief cause deep within the character, society, or environment that has brought this value into existence (116).
Within the controlling idea, we derive our ideas off of Margaret White’s perspective. If Carrie practices and supports the Christian religion, then she will will ultimately go to Heaven. Ultimately, obtaining salvation through the Christian faith acts from a positive value, which in this cause it is staying pure.
Our counter argument, which is the opposite of the controlling idea includes: “If you sin, you’ll lose eternal salvation”. From Margaret White’s perspective, we see in the novel how Carrie sins. Carrie sins in her mother’s eyes when she disobeys her rules, gets her period, and when she talks back to her mother.
Towards the end of the novel, we learn that Margaret White punishes Carrie for going to the prom with Tommy.
Mrs. White sat trembling, her face frozen except for her nostrils, which continued to flare. Abrupt she threw back her head and screamed at the ceiling. “God! God! God!” Her jaw snapped brutally over each syllable. Carrie sat without moving. Mrs. White got up and came around the table. Her hands were hooked into shaking claws. Her face bore a half-mad expression of compassion mixed with hate. “The closet,” she said. “Go to the closet and pray.” (King, 1974, p. 113)
Margaret White believes by praying it will bring Carrie repentance to her actions. She believes Carrie action’s reflect sinning and disobeying the Christian faith.
The counter idea reflects Margaret White’s own perspective. We see in the novel her thoughts about sinning. If Carrie sins, then she will go to Hell. The counter idea demonstrates the negative charges of the values in the story. By practicing the Christian faith, she believes she will be pure and eventually go to Heaven. Her thoughts of sinning and disobeying the faith leads to the negative value of losing eternal salvation.
Although I have primarily discussed Margaret and Carrie White’s relationship, Carrie also had other relationships in the novel. As revealed briefly earlier, we were introduced to Sue Snell. We were first introduced to Sue Snell as one of the popular, mean girls in the story. As we read, we learned that Sue is the opposite. Sue’s character changes drastically, and is one of the only characters that cares about Carrie’s feelings. Through our blogs, my group found it interesting to map out their friendship in a value graph. The value graph is used as a tool to understand the text identify specific instances that reveal positive and negative values in the story.
On the How Writer’s Read webpage, Andrew Kopp explains details about the value graph
Attempting to graph the values of a text involves us in a recursive process that requires the reader to engage in a conversation with the various pieces or “units” of a text in order first to comprehend how the text works, and second, to generate various interpretations grounded in such a comprehension, but that move beyond comprehension of the mimetic and diegetic/thematic aspects of the text and toward critical possibilities.
When creating value graphs, it is important to select pieces from the text that reflect positive and negative values. The positive and negative values, will help the reader understand the characters and plot. Value graphs are also beneficial because they will help the reader analyze the characters actions and the methods in the text.
The value graph for Carrie White and Sue Snell’s formed friendship, began with the negative value of Sue making fun of Carrie. We are first introduced to Sue when she bullies Carrie in the locker room. She bullies Carrie by laughing at her and throwing tampons at when Carrie getting her period for the first time.
After this incident, the value graph rises revealing a positive value. It rises when Sue Snell forms remorse for her actions among Carrie. By seeking penance, Sue convinces her boyfriend, Tommy to take Carrie to the prom. She hopes this will make up for her actions.
The graph then decreases at the prom. Although Carrie begins liking Tommy, an incident occurs that changes her whole perspective. She is tormented by her classmates and gets pig’s blood dumped on her on stage. Even though this is not Sue’s fault, she caused Carrie to go to the prom.
For the final climax of the novel, the graph rises again in Sue’s favor. When Carrie gets pig blood dumped on her, the destruction to herself, her mother, and the community unleashes. Carrie’s anger and telekinetic powers causes power outages, fires, explosions, and deaths through her community. We learn that Carrie eventually kills her mother by stabbing and stopping her heart. Carrie also gets stabbed by her mother and fights to stay alive. At the end of the novel, we are presented with Sue Snell’s encounter with Carrie. The novel reveals how Carrie saves Sue by not killing her.
(look carrie look inside me) And Carrie looked. The sensation was terrifying. Her mind and nervous system had become a library. (King, 1974, p. 274)
Through telekinetic messages, Carrie looks inside Sue’s mind and learns that Sue was not a part of the prank. Sue also displays a positive value when the text shows her investigation about the prom.
The value graph ultimately dissects specific characters or instances through the novel. It has helped me as a reader comprehend elements from the text.
In the next section, I will discuss the Carrie White’s telekinetic powers. Briefly mentioned in the first section, Carrie’s powers caused the last climax of the novel, resulting in mass destruction by killing herself, her mother, and the community of Chamberlain. In Carrie, Carrie White uses her powers when she is upset, angry, or embarrassed. These emotions overpower Carrie, which leads to her use her powers and cause destruction. Through the novel, Carrie’s actions of getting upset and causing destruction becomes a pattern. As this theme of these two actions occurring progresses within Carrie’s actions, my group inferred that this novel demonstrates the qualitative progressive form. In Kenneth Burke’s (1931) book Counter Statement he reveals the five aspects of form, which includes the qualitative progressive form.
Burke (1931) states
The five aspects of form may be discussed as progressive form (subdivided into syllogistic and qualitative progression), repetitive form, conventional form, and minor or incidental forms. (124)
Burke reveals form is demonstrated through sequences and steps. Within these five types of forms, writers can learn in which ways they write in form. In Carrie, the plot demonstrates the qualitative progression form because it includes an action, that helps us prepare for the next action that follows.
Burke (1931) identifies qualitative progression
Qualitative progression, the other aspect of progressive form, is subtler. Instead of one incident in the plot preparing us for some other possible incident of plot (as Macbeth’s murder of Duncan prepares us for dying of Macbeth), the presence of one quality prepares us for the introduction of another (the grotesque seriousness of the murder scene preparing for the grotesque buffoonery of the porter scene). (124)
Qualitative progression differs from syllogistic progress– which directly connects two incidents together– by enabling the reader to enter a different mood or state of mind. These moods or state of minds will directly follow the action from the text. Qualitative progression is also referred to as foreshadowing. It is considered foreshadowing because one quality prepares us for the introduction of another (Burke, 1931, p. 124). When foreshadowing through the text, we would be given an indication of future incidents or actions.
When discussing form and genre with my reading group, we discovered that Carrie’s emotions and feelings set a foundation of the future of the novel. In other words Carrie’s feeling and emotions, and incidents from the novel foreshadowed the ultimate destruction in the last climax of the novel.
King (1974) demonstrates the qualitative progressive form
But Ms. Horan still carries the thin, difficult soil of New England somewhere inside her, and when she talks of Carrie White her face takes an odd, pinched look that is more like Love-craft out Arkham than Kerouac out of Southern Cal. “Of course she was strange,” Estelle Horan tells me, lighting a second Virginia Slim a moment after stubbing out her first. “The whole family was strange. Ralph was a construction worker, and people on the street said he carried a Bible and a .38 revolver to work with him everyday. (31)
In the beginning of the novel, I learn that Carrie White and her mother, Margaret White carry negative connotations in their community. Ms. Horan, a former neighbor of the White’s discusses her thoughts about them. We explains by assuring that Carrie was strange and continued to talk about the rest of the family including Margaret White and Ralph White. Through this early interaction, Mrs. Horan’s concerns of Carrie, foreshadows the bullying and Carrie’s revenge. Mrs. Horan’s opinions on Carrie and her family enabled a concerned state of mind for myself as a reader. I wondered why do people think Carrie is so strange? Through the novel, I learned that people thought Carrie was strange because of her family reputation and her appearance.
Other instances of form occurred by foreshadowing events from Carrie White’s Prom Night. The text reveals events and details about Prom Night before they were discussed in the novel. These instances allows me to prepare for the actual event of Prom Night. King (1947) reveals an excerpt from Sue Snell’s perspective.
There’s one thing no one has understood about what happened in Chamberlain on Prom Night. The press hasn’t understood it, the scientist at Duke University haven’t understood it, David Congress hasn’t understood it […] This one thing is the most fundamental fact: We were kids. Carrie was seventeen, Chris Hargensen was seventeen, I was seventeen, Tommy Ross was eighteen, Billy Nolan (who spent a year repeating the ninth grade, presumably before he learned how to shoot his cuffs during examinations) was nineteen… (95)
Including an excerpt from Sue Snell’s fictional book, My Name Is Sue Snell, King reveals Sue’s perspective of Prom Night before it occurred in the book. This occurred on page 95 and the details of Prom Night unfolded beginning on page 177. Sue explains when looking back at the event, she realizes that they were all kids. By including this in her book, she hopes people would understand her perspective on the situation. She blames her youth and innocence of how she treated Carrie, and how the events took place in her adolescence.
When reading this, I believe this incident prepared me for the introduction of the Prom Night chapter. I used background knowledge from Sue Snell, to understand what occurred during Prom Night. From Sue Snell’s book, I created a state of mind knowing that something important was going to occur later in the novel.
For the third section, I will connect events discussed in earlier sections– like Prom Night and other elements– to create intertextual connections within Carrie. When discovering intertextual connections in Carrie, I found many incidents that display cultural connotations and codes. In Carrie, I believe cultural connotations and codes are significant to the plot. Carrie White is ridiculed by her mother and community for not following expectations. From her mother, Carrie is not following the Christian faith. Within the community, Carrie is not following societal expectations because of her appearance, lifestyle, and family. These connotations are defined through Kaja Silverman’s (1983) Subject of Semiotics, chapter 6 “Rewriting the Classic Text”
In Mythologies, where he treats the issue most exhaustively, Barth defines connotation as a secondary operation, one which builds on denotation. […] he identifies connotation as an agency of ideology, of what he in his early writings calls “myth”. In other words, Barthes argues that connotation naturalizes history, that it makes a given culture seem eternal and inevitable. (238)
Through her text, Silverman derives from the ideas of profound author and theorist, Roland Barthe from his book S/Z, explaining the meaning of a connotation. She explains how Barthe identifies connotation as a myth, coming from ideas and beliefs. Connotation can be seen through Carrie when her classmates decide to throw pig blood on Carrie at Prom. King (1974) reveals the reason for pig blood
Carrying the pails back back to the trunk, his mind made a dim, symbolic connection. Pig blood. That was good. Chris was right. It was really good. It made everything solidify. Pig blood for a pig. (136)
Classmates of Carrie White, Chris Hargensen and Billy Nolan who form a hatred for Carrie, seek vengeance for Carrie by dumping pig blood on her. They dump pigs blood on her when she receives Prom Queen. They choose pigs blood because they look at Carrie like she is a pig.
Through association, pigs are known for being dirty and smelly because of their habitat. They bathe in mud and are raised in farms. From this ideology, Chris and Billy decide Carrie to dump pig blood on her because in their eyes, they look at Carrie with disgust. Although Chris was on the fence about humiliating the prank, she did it because she thought Carrie deserved pig blood. These cultural connotations can also be reflected into codes. Silverman (1983) reveals the connection with codes
As Barthe explains in S/Z, a code represents a sort of bridge between texts. Its presence within one text involves a simultaneous reference to all of the other texts in which it appears, and to the cultural reality which it helps to define- i.e. to a particular code. (239)
Codes are useful literary devices because they connect texts with other texts. This is also called intertextuality, in which it can help readers better understand the text because of references. Through Carrie, I have identified many cultural codes. Silverman (1983) defines cultural codes
Barthe underscores the discursive basis of the “reality” to which the cultural codes refer […] The cultural codes provide the means whereby the “information” contained in the authoritative texts of a given symbolic order finds its way into novels, poems, and films which perpetuate that order (274).
She explains how cultural codes come from associations created from reality. This ideology derives from that have been done or seen in society. Culture reality is often seen within text by societal standards, symbols, or stereotypes. Cultural codes are demonstrated through Carrie’s struggle with fitting in with societal expectations. Mentioned before through my sections, Carrie White gets tormented in the book by her classmates because she has a strange reputation from her religious family, and her appearance. Seeking penance for bullying Carry before, Sue Snell wants to do something nice for Carrie. She decided to ask her popular boyfriend, Tommy to take Carrie to the prom. King (1974) includes Sue Snell’s perspective on Carrie
Lots of kids say they feel sorry for Carrie White–mostly girls, and that’s a laugh- but I bet none of them understand what it’s like to be Carrie White, every second of the day. And they don’t really care. (98)
After a change of heart, Sue realizes Carrie is just like everyone else. She does not deserved to be bullied. She tells Tommy how other people perceive Carrie and how wrong it is. Sue hopes to make Carrie feel happy and accepted. Although Carrie’s night ends with destruction, Sue tried to help Carrie fit in with Chamberlain’s societal expectations.
For the last section, I will focus on the rhetoric dimensions introduced in Carrie. I thought one of the most interesting elements in the novel is how King included multiple narrators. From these elements, I can experience different perspectives about Carrie White and Prom Night. I never read a book with more than two narrators. I believe it was beneficial as a reader to experience multiple narrators because it added depth to the scientific part about Carrie White. The text included narrators including Carrie White, Margaret White, Sue Snell, Ms. Desjardin, scientific articles etc. James Seitz (1992 ) article, “A Rhetoric of Reading discusses the relationship with the narrator, addressee and the reader” suggests
Reading, like dialogue, constitutes a form of social engagement which consists of both reception and participation–a notion for which Pratt convincingly argues in her description of ‘the literary speech situation’, wherein both writer and reader rely on an established role structure commonly understood to be in force. Readers, for instance, accept the imposition ‘giving up the floor’ (as an audience does for a speaker), with the understanding that they have the right to interpret, respond and evaluate. (143)
Understanding dialogue in texts is a crucial part when reading because it is a social process. It is a social process because it is information that is shared with the reader. The dialogue expresses to readings who is speaking as the narrator and who the addressee is within the text. The reader relies on the text to be engaging through the characters, dialogue and plot.
I believe Carrie is very engaging for the reading because it includes identifiable narrators, addressees, and relationships with the reader. As mentioned earlier, Carrie includes many scientific evidence among Carrie White’s powers and life story. I believe due to these scientific sources, interviews, and information about Carrie White, the addressees are people who are researching Carrie. It is mentioned repeatedly in the book how Carrie White’s Prom Night is a famous and historic event within Chamberlain. I believe the book is set up to share Carrie White’s story and her impact on Chamberlain. King (1974) includes an excerpt from The Lewinston Daily Sun, one of the fictional newspapers
Chamberlain– Prom Night is history now. Pundits have been saying for centuries that time heal all wounds, but the hurt of this small western Maine town may be mortal. (282)
The novel portrays Prom Night as one of the most historic and deadly events occurring within the community. It also reveals Carrie White killed 440 people through her destruction.
Before this course, I was not familiar with the methods that were presented in class. I believe after listening to and engaging in lectures about these methods, I have developed a better understanding of how they are applying in writing. I also believe through the blogs and reading the books for the blogs, I learned how to apply them in my own writing. Although, applying them in my own writing was one of the most challenging aspects of this course for me, I tried my best to understand them and become a part of the readings and methods within the text. I believe with practice, I will eventually be able to successfully apply them to my readings and writings.
As for growth, I believe this class has overall made me a better reader and writer. Reflecting on core value three, this class has strengthened my skills in close reading. I notice as a read articles, books, and other sources I look and notice elements that I have not noticed before. For example, this includes Jane Gallop’s idea of projections, or the controlling idea derived from the ideas of Robert McKee. Utilizing core value two, I learned about different theories and methods. I studied these theories, by listening to lectures and rereading the text, until I grasped the concept of the methods.
Reflecting from core value one, this course enabled me to read different genres that I have never experienced before. Stephen King’s Carrie was the first horror book I have read. Call Me By Your Name was the first gay-romance novel I have read. Through these genres, I had the opportunity to explore different forms. I learned how to apply the qualitative progression form through my readings. For Carrie, I learned how Carrie’s feelings transformed into destruction, exemplifying foreshadowing. Through the Glass Castle, I was introduced to the conventional form. This form allows me to explore all of the unconventional details about the Walls family.
Even though this class served as a great challenge to my writing skills, I am grateful for the opportunity to have been a part of the class. With the blogs and methods, I believe I tried my best to engage with the material and the projects. As a continue my Writing Arts career, I plan to use the methods and theories to make connections through text and strength my writing skills. How Writer’s Read has challenged my skills in many ways but has also influenced me to become a better writer and reader.
References
Burke, K. (1931). Counter Statement.
Gallop, J. (2000). The Ethics of Reading: Close Encounters.
King, S. (1974). Carrie. New York, NY: New American Library.
McKee, R. (1997). Story: Substance, Structure, Style. New York: ReganBooks.
Seitz, J. (1992). A Rhetoric of Reading discusses the relationship with the narrator, addressee and the reader.
Silverman, K. (1983). The Subject of Semiotics. New York: Oxford University Press.
Blogs
First blog: https://howwritersfeed.wordpress.com/2018/10/01/carrieblog-i-the-introduction-to-carrie-white/
Second blog: https://howwritersfeed.wordpress.com/2018/10/04/carrie-blog-ii-telekinesis-and-religion/
Third blog: https://howwritersfeed.wordpress.com/2018/10/09/carrie-blog-iii-trying-to-fit-in/
Fourth blog: https://howwritersfeed.wordpress.com/2018/10/11/carrie-iv-who-is-speaking/
How Writers Feed 