Comparison Of Ursula Le Guin, ‘The Ones Who Walk Away From Omelas’ And Hemingway ‘A Very Short Story’

 

Introduction

In Ernest Hemingway “A Very Short Story”, the narrator remembers his legend with an Italian nurse while he was injured and in a hospital. The legend discloses how the warfare let young men transform and grow sexually, psychologically and mentally. The narrator’s correlation with Luz also discloses the early life of American nation. Hemingway is demonstrating that America is still a young and undeveloped homeland. In Ursula Le Guin The Ones Who Walk Away From Omelas, the narrator depicts the utopian town of Omelas for the duration of the celebration of summer. Like so many of her works, the narrative is a science imaginary tale. This essay will compare Ursula Le Guin The Ones Who Walk Away From Omelas and Ernest Hemingway, A Very Short Story evaluating which is best and most important for young people to read in a classroom and offer real life personal, social, or political lessons. This evaluation will be achieved through looking into the stories from a literary analysis point of view, integrating themes and conflicts from both into the contemporary world.

Ursula Le Guin’s tale, “The Ones Who Walk Away From Omelas” is an inflexible genre categorization and a political allegory that at times impairs more than it assists.  Le Guin’s story questions so much about moral principles as it does about how people might instinctually characterize specific works. Le Guin’s approach towards the story is one of sorrow given that he depicts the action of walking way in a supple language and uncertainty. The storyteller is not one of those who have turned her back from the Omelas given that she is mystified why people would and she only gives a description of a town and its people in an optimistic light, even when talking of the child being compelled to live a sad life.

The narrative focuses on the environment of a moral dilemma. Sexual customs in Omela’s are left to the readers mind. Le Guin is disposed to let readers feed the narrative to produce a comprehensive metropolitan for them givens that the metropolis is utopia which is understood in different ways for each person. In Le Guin’s case, young people are allowed to comprehend the story more by trying to discover the reason the child has to live a sad life to conserve the utopia. The protected, dark underground room the child lives in is representative of the ethical dilemmas of contemporary society which is very important for young people to read and understand (Le, Guin, 2). This fact is exposed that people take no notice of the room, except for when they are compelled to either confirm to children how fortunate they are, give food to the child or just take care of the child. This occurrence is similar to how developed countries typically pay no attention to issues in developing countries and use them as a demonstration to children about how fortunate they are. In this case, young people are required to understand Le Guin’s point of the contemporary society that happiness can only be achieved through the anguish of others. It is good to learn from examples. Thus the young generation should know what to do to change this culture. The contemporary society operates well with this conception since people find pleasure in riches as result of being able to acquire better circumstances than others.

Happiness is a key theme in the narrative. People of the Omela’s suppose they are happy but in reality they are not happy. From the narrator's justification of occurrences of the Omelas, young readers become concerned in the creation of the happiness of Omelas which possibly makes it more overwhelming to find out the foundation of that pleasure (Le, Guin, 5)”. The joy built upon successful slaughter is not the right kind of joy; it will not do; it is fearful and it is trivial”. While Le Guin articulates uncertainly regarding the particulars of Ornelas’s desire, she is utterly convinced about the specifics of the miserable child. She offers a description of everything from the unforgettable “eh-haa, eh-haa” weeping noise that the child makes at night (Le, Guin, 5). In this case, the storyteller does not abscond any room for the person who reads to visualize anything that might alleviate or validate the child’s depression.

The most important themes of Hemingway “A Very Short Story” are love and war together with the ups and downs of love. The author’s message is that war affairs are primarily destined to be unsuccessful as they have no true opportunity to grow. The narrator makes an effort to make an imaginary tale of his own failed association with a nurse.  At the core of the story are the vainness of love in combat and the separation of the lost age group.  In an impression contaminated by the constant danger of bereavement, compound affairs like that between lovers are destined. It is essential that there is a conversation in the narrative; under the conditions of that occasion in which empathy cannot build up in any intensity. According to Hemingway, women are changeable, and their pledges are empty. Similarly, the idea of marriage is unachievable, and closeness only leads to tragedy.

The theme of love is a sour one and the writer’s rationale is to demonstrate that it is very hard for love as well as war to exist together. Unexpectedly and with no prologue, Hemingway tells the chronicle of Luz, a nurse who appears to harm armed forces and he, the injured soldier falls in love. The narrative does not begin with the customary portrayal of characters and background that young people would enjoy reading but instead starts with a couple’s pronouncement to get wedded. Nevertheless, the couple does not get married given that he departed for America under the perceptive that after getting employed, Luz would link up with him for the wedding. “They wanted to get married, but there was not enough time for the banns, and neither of them had birth certificates (Hemingway, 1).”

The stylistic essentials in the words of Hemingway’s work were really not opinionated in accordance with the linguistic masterpiece. The uncertainty of Hemingway’s characters fit the universal description of a fervent spirited young man who adores a nurse working in the sanatorium during the combat. Hemingway fails to bring in characters appropriately and leaves out large pieces of time between actions. After leaving for America, he unexpectedly stumbles on Luz making love to an Italian major, and she separates with him but on no account gets wedded to the Italian major (Hemingway,1). He does not reach out to her and readers are left with the knowledge that he spoilt an affair. The story is interesting to read.

The scenery of the story serves a most crucial role. The affection for the two starts at the time of confrontation. The lovers are perplexed, delighted and hopeful when reflecting ahead. The temperature is reliable with their position of affection. Just in same conflict times, everything is short-lived, and circumstances can alter in just a moment. At the start, they were in the hot Pandua and felt as if they were by now married but desired to control it. He afterward tours back to America, distant from her. “She loved him as always, but she realized now it was only a boy and girl love (Hemingway, 1)”. Things are calm, and the association cools down, and the climate is icy and damp.

Hemingway uses a variety of skills within language as well as linguistics to differentiate diverse responsibilities of gender. The reader is hopeless as the main characters gradually dispose of their principles. Luz breaks her pledge and renounces an opportunity of true love and the lover sinks into an immediate contemptible affair. Readers are left with sad feelings that are not captivating. Despite the fact that the narrative is short and quick, readers suffer from the characters and hope things would have turned out in a dissimilar way. In the description, Hemingway demonstrates a depressing view of affairs in the time of warfare. A correlation in war times as time appears foreseeable and overwhelming but regardless of the finale, it does not end well.

Conclusion

In conclusion, Le Guin does not want to produce oral puzzles and is not much concerned for language’s ambiguity. Le Guin’s work of fiction appears genre-fluid or possibly genre-free presented in some attractive locality at the margins of where fancy might start. It looks like flights of the imagination yet its parameters are hardly characterized as a result of the reader’s control. On the other hand, Hemingway’s “A Very Short Story” is interesting to read but insufficient for young people readers. This is for the reason that the author leaves the understanding of the events from the characters to readers. This is one of the reasons the narrative is most likely the genus is the short story. The types of paradox in the story are very short despite being situational and attitudinal. From the above assessment, Le Guin “The Ones Who Walk Away From Omelas” is most important and the best piece for young people to read as it offers much insight regarding the modern society and social living. The work is sufficient to understand every occurrence and is well presented. On the other hand, Hemingway’s “A Very Short Story” is exciting and captivating to read but does not offer much of educational insights.

 

 

 

 

 

 

 

 

 

 

 

 

Works cited

Ernest Hemingway A Very Short Story: retrieved fromhttps://drive.google.com/file/d/0B-DN8WdTrPibeGNncEN0YzRoNFU/view

Hemingway, Ernest. Three Stories and Ten Poems. S.l.: s.n., n.d.. Print.

Le, Guin U. K. The Ones Who Walk Away from Omelas: A Story. , 2017. Print.

Ursula Le Guin The Ones Who Walk Away From Omelas From The Wind's Twelve Quarters: Short Stories: retrieved from https://drive.google.com/file/d/0B-DN8WdTrPibVG52UEU1dEh1YjA/view