They placed 1st with their performance of Medea. This was the first year in which the Mid-State Conference held a competition rather than a festival for play production, making Pierce the first-ever conference champions.
Style[ edit ] My version and theirs. And if this were being written down, both would seem equally concocted when read over. And if I were really telling, instead of talking to you in my mind the way I find I do One is never talking to oneself, always one is addressed to someone.
Suddenly, without knowing the reason, at different stages in one's life, one is addressing this person or that all the time JanMohamed, professor of English and African American Literature at Emory University calls this change of perspective a "stylistic bifurcation",  which allows the reader to see Rosa from different points of view, rendering her a complex character who is full of contradictions.
JanMohamed explains that while the objective, third-person narrative is factual and neutral, the subjective first-person narrativeRosa's voice, is intense and personal. Rosa's monologues are directed towards Conrad, her lover, in the first part of the story, her father's former wife, Katya, while Rosa is in France, and her father after she returns to South Africa.
Because her imagined audience is always sympathetic and never questions her, Rosa's confessions are honest and open. Gordimer explained how she constructed the book's narrative structure to convey this struggle and explain Rosa: And that developed into another stylistic question—if you're going to tell the book in the first person, to whom are you talking?
In an apostrophe addressed to Conrad, Rosa remarks, "If you knew I was talking to you I wouldn't be able to talk". Kacandes says "Rosa imagines an interlocutor and then occupies that place herself. She told an interviewer in that readers have complained that this sometimes makes it difficult to identify the speaker, but she added "I don't care.
In their book Socialist Cultures East and West: Keith Booker and Dubravka Juraga call Gordimer's work one of the "representative examples of African historical novels", saying that it is an "intense engagement with the history of apartheid in South Africa".
Marsh-Lockett writes that everyone sees Rosa as Lionel Burger's daughter with duties and responsibilities to her father, and not Rosa the individual. In fulfilling these expectations, she denies herself an identity of her own.
History from the Inside that Burger's Daughter is Gordimer's response to the Black Consciousness Movement and an investigation into a "role for whites in the context of Soweto and after".
Anthony Sampsona British writer, journalist and former editor of Druma magazine in Johannesburg in the s, wrote in The New York Times that this is Gordimer's "most political and most moving novel".
Mojtabai stated that despite the troubled times Gordimer lived through at the time she wrote Burger's Daughter, she remained "subdued" and "sober", and even though she "scarcely raise[d] her voice", it still "reverberate[d] over a full range of emotion".
Roberts described Gordimer's handling of Rosa's predicament, continuing the role her father had given her versus abandoning the struggle and finding herself, as "extremely moving and memorable".
He wrote in The Hudson Review that it is a novel that "gives scarcely any pleasure in the reading but which one is pleased to have read nonetheless".Meal Plans and Meal Dollars.
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