Rhetorical Outline “Labyrinthine” by Bernard Cooper. Par. Brief description of what the author is doing. OneSentence Distillation of What the. Author is Saying. Bernard Cooper, “Labyrinthine” (). God help Bernard Cooper if this is how he felt at In the last paragraph of Labyrinthine—a shortish essay in which. That was how Bernard Cooper ended his insightful and thought-provoking essay “Labyrinthine.” Those words haunt me to this very day.

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It becomes a challenge to know whether anything in this essay is for certain, which then verifies its entire premise—that the ever-growing complications of life only lead to feeling increasingly lost and less assured.

Bernard Cooper and the Essayistic Sentence – The Essay Review

Again, this is an essay about the continually accumulating and confounding corridors of human life. There is an entire world kept hidden from me in each and every coopfr. The sentence implores us to consider the possibility that the narrator is unreliable. I have no way of knowing what is really going on inside of this person on the street, or the next one I will pass. After the semicolon, the sentence shifts focus.

The third phrase in the list is related to these two as well, but in more of a cousinly way. This site uses cookies. I was resolute in this decision without fully understanding why, or what it was I hoped to avoid; I was only aware of the need to hide and a vague notion, fading fast, that my trouble had something to do with sex.


So sure, the phrase could be adjusted to fit in. Archives for posts with tag: That is precisely what is happening in this phrase—life is happening to Cooper.

But if it lost the awkwardness and clunkiness of its composition, it would also lose the essence of its identity.

By continuing to use this website, you agree bernarc their use. Where are they going? Most hindering, though, is his perception of the outside world as a threat to his own way of life. It is fitting, then, that this section proposes that concept as a question: Closing the kitchen door behind me, I vowed never to leave home again. To find out more, copper how to control cookies, see here: It is about the inability to actively navigate its labyrinth once aware that the labyrinth exists.

Unspoken rules and labyrintuine of society present an immediate challenge to the child, who is only slowly learning the difficult truths about his own character. It illustrates the possibility that Cooper has made into memories stories that are not his.

Cooper, therefore, employs this sentence to call into question the validity of all of that. Max Rubin is the winner of the Essay Review Prize. And, just one generation back, all three share the same ancestor: They are of the same structure: What are we supposed to believe? It could seem that Cooper is undermining his authorial integrity by suggesting that we cannot trust him. Bernard Cooper and the Essayistic Sentence I can only imagine, and try to infer the answers from cloper momentary observation.

Bernard Cooper | By Daniel Lehman

A quick survey reveals the sentence to have two main sections, separated from each other by a semicolon. Why are they in such a hurry to get there?


They are well-adjusted phrases. It is clearly the spunkiest word in labyrinhtine entire sentence. In wedge-like fashion, they are outside sources lodged into the greater whole. Their cousin, on the other hand, seems to have a bit of a personality disorder. The first section, which operates in assertions, is roughly three times the length of the second, which is concerned with unanswerable questions.

Bernard Cooper and the Essayistic Sentence

By suggesting that maybe we cannot trust him, Cooper is actually being incredibly fair to his reader. He is passive, almost a victim of it. bernatd

The author as a young boy must acknowledge and learn to deal with his newly developing feelings and urges, a task that challenges his naive outlook. I wonder what people are really thinking when you pass them on the street. At its root is an equative: Logically, then, this seemingly maladjusted phrase must be of passive structure. And what do we make of it? Baseball in the Middle of Everywhere. God help Bernard Cooper if this is how he copoer at The verb, wedgedimmediately jumps out.

He spends the majority of it recounting particular scenes: Lets work our way through it, starting with that first, longer, assertive section—the one before the semicolon. It is about the sheer and ever-increasing volume and impossible intricacies of its corridors.