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Extremely Loud &amp

Incredibly CloseIn contrast, To Kill a Mockingbird by Harper Lee shows the innocent witnessing the rampant social injustices with their inherent simplicity and artlessness, without attempting any analytical or immaturely logical approach towards trying to figure out things (Sterne 1994). In Khaled Hosseini’s The Kite Runner, the innocent succumb to the defilement of cherished intimacy and friendship before an abject sense of helplessness and painful unconcern (Shivani 2007). In that context, Jonathan Safran Foer, in Extremely Loud and Incredibly Close affects a unique treatment to the theme under consideration, in the sense that it celebrates the survival of innocence, signified by its very ability to feel pain, trauma and loss and its adamant stubbornness to seek out a meaning in the surrounding gloom and apathy. In Extremely Loud and Incredibly Close, nine-year-old Oskar is an innocent from the 21st century, who, though, inflicted by the sorrow and loss affected by a very contemporary apocalypse, refuses to give up. On the contrary, he chooses to squarely grapple with the bizarre aftermath wrecked by the apocalypse, painstakingly and deliberately looking out for solutions, trying to eke out explanations, desperately desiring to cull out some sense out of the world obsessed with nihilism. The story of Oskar depicts how the innocent collide with reality in modern times.According to Claude Peck, Extremely Loud and Incredibly Close is not as much a novel about 9/11, but rather a literary after-effect, which tends to illustrate the other story imaginative and psychological dimensions of the apocalypse (2005).

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