Oskar Schell's consultation with Dr. Great, extremely loud and incredibly close The Literature of 9/11 (2023)

Haus>near readings> already being considered: advice from Oskar Schell to Dr. Fine, extremely strong and incredibly close

did you consider: Consultation of Oskar Schell with Dr. Fine

von Jonathan Safran FoerExtremely loud and incredibly close, P. 203-205*

A central thematic element in the circulatory system of Jonathan Safran Foer's 2005 novelExtremely loud and incredibly close, the collective role of inversions, paradoxes and binaries emerge at the levels of the external narrative and the internal language of the text to open a border space for character and reader in which both characters can negotiate their respective psychological wounds. Especially with the character Oskar Schell, the main narrator of the nine-year-old novel, reversals, paradoxes and binaries are not only embedded in the perception of his post-9/11 reality, but also central pillars. Language with which he addresses himself and others. In addition, in connection with Oskar's sensitivity to these dualities, more in-depth investigations arise, which deal, among other things, with how exactly these splits work: what they can offer the traumatized psyche and how urgent threshold spaces can influence creation - also on a linguistic level How on On the level of the imagination, the last question here becomes a point that was specific to Oskar in one of his sessions with his therapist, Dr. Howard Fein.

Throughout the novel, Oskar makes regular reference to his encounters with Fein, but it is their encounter and Oskar's subsequent overhearing of his mother's conversation with Dr. Fine, that spoils a unique and revealing moment for the novel. Paradoxes and binary numbers in novels. In an attempt to break Oskar's hyper-vigilant consciousness, Fein tries to play a quick word association game with his patient to get at his buried subconscious. Oskar isn't amused by the game, nor does it offer any of the usual responses that this game often evokes, but takes every one-word message into a very literal connection; However, the game evokes a temporary massive reverse cleansing of traumatized memories and emotions in Oskar as his buried subconscious is exhumed to herald a second funeral. As Oskar prepares to leave, he throws it offfakewith guarantees in every way that it will beparts list, opened. "'I'm going to bury my feelings inside myself,'" he says (203). "'No matter how sorry I am,'" he comments to Fein's dismay, "'I won't miss it,'" a resolution that then sets off a surreal chain of twists for Oskar, a series of paradoxes in he built is a bespoke ensemble of encrypted binaries that he designed and organized for himself after his father's death. "'If I have to cry, I'll cry inside,'" he says, beginning the sequence with conditional cause-and-effect language structures. "When I have to bleed," he continues, "I get hurt," external physical realities are turned inside out and taken out of the body to locate their intravenous emotional counterparts. "'If my heart starts going crazy, I won't tell anyone in the world,'" says Oskar, a comment that alludes to one of his many stereotypical binaries about the word "crazy," his preoccupation with volume as well. his previous preoccupation with the quantitative extent of his feelings and his need to bury them. "He doesn't help at all," he then states, which is where his polar equations for "help" come into play: "help" = take care of other people and "not help" = take care of yourself. Oskar further confirms this idea in his commentary: "'It only makes everyone's life worse,'" an extreme notion painfully eclipsed by the notion of "everyone's life," not "everyone's life."Life', an error that metaphysically and linguistically reveals the fact that Oskar's world is divided into two bodies: his and his.from all. This is where the text begins to illustrate how Oskar should gosomeoneto disappoint a life is to leaveatdown and save failsa bodyis the lack of savingsat— a failure that translates for Oskar as his failure to save his father, an all-or-nothing epistemology not unlike his grandmother's comment: "'The story of my life is the story of everyone I do ever known.'” . (130). ).

At this point, Oskar's inversions are silently broken, as Dr. Fein returns with a series of questions aimed at approaching him on an ontological level, to find out how "you" or "me" Oskar will be when he buries his world. under. his outside world and finally force the death of Oskar's father. "Do you think anything good can come of your father's death?" Fein asks, a question that directly addresses the liminal, empty space between all of Oskar's binaries. "I think someparts listCould it come from my father's death?'” Oskar repeats, his attention fixed on the idea of ​​'good', an idea for him with no possible counterpart or precursor, an idea whose binary partner is 'evil'. and “bad” for Oskar is always synonymous with “death of father”. The equation in the question just doesn't calculate for this; it breaks your code, breaks your binaries, nullifies your paradoxes, and cancels your investments. "You thinkanyCan anything good come from your father's death? Fein repeats, this time using the keyword "whatever", an attempt to break through Oskar's system and force him to examine the space between the epistemological poles that he has set for signs of the good. It is also a recurring idea - a double, a clone, a copy - that violates Oskar's 1:1 comparison with reality and evokes in Oskar a momentary ontological decay, a moment in which Oskar develops a situation in which his head, a scene resembling a dream rehearsal for a survival situation but depicting a different one; it is a time when both realities are real reality in relation to their respective inverted dimensions. "I knocked over my chair, threw his papers on the floor," says Oskar, "and yelled, 'No! Of course not, you bloody idiot!' as part of his personal manifesto of hidden expression. The explosion is an extroversion, both conceptually and linguistically as well, from all the inversions we have just outlined to the flat exclamatory syntax and use of profanity he so carefully never utters, a diction that, in that capacity, is a species forbidden word spell acts the release of his buried emotion. That reality aside: "That's what I wanted to do," Oskar comments, tearing himself out of the gap in his head to get to the beginning of the sequence and start over, an act of revision akin to the flip book he then pulls out created in the image of the "falling man."

While there is a continuous story arc at this point, as Oskar retreats to the living room to switch places with his mother, there was a break in his binary system, a break with his coded thinking and what's next for him. , which had this experience, is unique because of its fragmented language, the white space on the page, and the photographic image. The stethoscope against the door of Dr. Fine, Oskar can overhear parts of the adult conversation. "I couldn't hear much and sometimes I wasn't sure if nobody was speaking," he says, "or if I just wasn't listening to what they were saying." In that sense, Oskar is all about noting quantity, loudness and quantity, but he does not realize that the speech he hears is partially erased by the door, nor does he fully realize that it contains the meaning of what he hears. obscured Furthermore, in a space recently plagued by the cracks in his dual thinking, the broken and erased language is shown as a whole, and the meaning, although fragmented, is translated as a whole, even if presented as fragments of text on the page becomes. Furthermore, when read aloud, the page that follows Oscar's outburst reads as a coherent stream of thought as it dictates from Oscar's point of view and within his point of view the 'broken' parts of its inversions, paradoxes and binaries. "I want to talk," hears Oskar and falls into the muffled white space where speech emerges, "that won't be easy" (204). The translation here, for example: "Talking will not be easy". The difficulty isn't necessarily talking to a specific person about something specific; The difficulty, as Oskar understands here, is verbal communication, an idea that makes sense because for him speakingesstiff, her language, at this point in the text, hovering in a border area between the extremes, insecure from the inside out, crazy-healthy, good-evil, from top to bottom - her thoughts wander on the side to refine her imaginary understanding of language, as well as his orientations in reality, in the body of the figure in the image of the falling man, the last words of the page, "have you considered", correspond to the image of the Falling Man within a vertical/horizontal reading scheme, a semiotics of patterns that, among other things own ideas suggests, "have you considered [liminality]".

did you consider

Oskar Schell's consultation with Dr. Great, extremely loud and incredibly close The Literature of 9/11 (1)**

*See “References 11-S”Extremely loud and incredibly close

Link to discussion question: The role of inversions, paradoxes and binaries

In her interview with Deborah Solomon, Foer talks about itExtremely loud and incredibly close, "Every relationship in the book is based on silence and distance... Extremely loud and incredibly close is what two people are not together," a statement that indirectly echoes Don DeLillo's assertion in In the Ruins of the Future. . that "the author seeks to bring delicacy of memory and meaning to all this howling space." What we see here is the distorted relationship between the powerful properties at play in inversions and paradoxes and also the creative power available in a traumatized void, a blank canvas: the “nothing” space of Marco Zero for example. With that in mind, the oddity here is: why invest at all? Why the paradoxes? Besides, why should binary systems (not unlike those established inExtremely loud and incredibly close– “YES/NO”, “SOMETHING/NOT”, “OK/[NOT OK]”) so necessary to negotiate these spaces?

**The exact image of 205 is not available but the reference is the same; this image from the flip book at the end of the novel


What is the main message of extremely loud and incredibly close? ›

Love and Family

Even though guilt and fear often seem like the main emotions in Extremely Loud & Incredibly Close, all the characters who revolve in and out of Oskar's life have very strong connections to people they love: love, more than anything else, drives people to do what they do.

What is Oskar Schell character analysis? ›

Oskar is inherently a spacey and inquisitive boy who isn't afraid of his own thoughts. He doesn't stifle his curiosity in fear of disapproval. He resorts to imagination to abate his agony and he fires away with questions when something doesn't make sense to him.

What does Oskar learn in extremely loud and incredibly close? ›

In the story, Oskar discovers a key in a vase that belonged to his father, a year after he is killed in the September 11 attacks. The discovery inspires Oskar to search all around New York for information about the key and closure following his father's death.

What is the synopsis of extremely loud and incredibly close book? ›

A troubled young boy, Oskar, is trying to cope with the loss of his father. Oskar starts lashing out at his mother and the world. Until a year later, he discovers a mysterious key in his father's belongings and embarks on a scavenger hunt to find the matching lock, just as he used to when his father was alive.

What is the major idea or message of a story expressed in a speech? ›

The term theme can be defined as the underlying meaning of a story. It is the message the writer is trying to convey through the story. Often the theme of a story is a broad message about life.

Is the underlying message or big idea in the story? ›

The theme in a story is its underlying message, or 'big idea. ' In other words, what critical belief about life is the author trying to convey in the writing of a novel, play, short story or poem? This belief, or idea, transcends cultural barriers. It is usually universal in nature.

What is the main character interpretation in a short story? ›

The protagonist is the lead character within the story. They are responsible for moving the plot of the story forward. The antagonist is the character or force in the story that is at odds with the protagonist. The antagonist causes conflict within the plot.

How does Oskar change throughout the story? ›

Oskar encounters several challenges throughout his journey, which demonstrate how he changes as an individual through grieving and ultimately tolerating his existence. Oskar changed as an individual as he embarked on his journey to find the purpose of his father's key, and his journey can be considered heroic.

What is the analysis of characters in the story? ›

By definition, a character analysis is the process of evaluating the specific traits of a literary character. This will include consideration of additional elements such as the role they play in the story and the various conflicts they experience.

What are the themes in Incredibly Loud and Incredibly Close? ›

The three main themes in Foer's novel are death, loss, and emotional trauma. There are several deaths alluded to: Oskar's father; Oskar's grandmother's sister, Anna; Ron's wife and daughter; as well as the families of Oskar's grandmother and grandfather during World War II; and the wife of Mr.

What is the theme of Extremely Loud and Incredibly Close by Jonathan Safran Foer? ›

In Extremely Loud and Incredibly Close, Johnathon Safran Foer expresses the theme of coping with loss. Even though it seems difficult to cope with loss at first, it will eventually become something to cope with.

Why did Foer write Extremely Loud and Incredibly Close? ›

Extremely Loud and Incredibly Close, his sophomore effort, was published in 2005. Foer has said that he writes because he's lonely, and books make people feel less alone.

What does heavy boots mean in Extremely Loud and Incredibly Close? ›

As the loss of his father is what makes Oskar so sad, the phrase “heavy boots” suggests that Oskar has those “heavy boots” because he literally cannot be adult enough to fufill the expectations he believes others have for him.

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