Tag Archives: character

The story starts with the boy contemplating Father Flynn’s illness and impending death (see the sentence fragment that is printed on p.11). He is fascinated with interpreting signs and symbols, and their meaning (see the sentence fragment that is printed on p.27). Later, while the boy eats his dinner, his aunt, uncle, and old Cotter have a conversation in which the boy is informed that the priest has died (see the sentence fragment that is printed on p.34)…

(nine stories)

​The text is constructed by utilizing a nine sentence summary of James Joyce’s The Sisters and modifying the nine sentences into nine sentence fragments (see the “contents” page in the front matter). The pages (starting on p.8) that don’t have a fragment are intentionally left blank (except for the header). 

The famous red and blue dust jacket for Salinger’s Nine Stories was designed by Miriam Woods. The striking, unillustrated jacket resulted from the Salinger’s refusal to allow the publisher to depict the characters of any of the stories, in order to prevent readers from approaching the stories with preconceptions about the characters. The heart of each story is set to the beat of its characters – to unfussy accounts of the way in which they move through the world and interact with one another, to the cautious articulation of their understated feelings and nascent beliefs. This most often takes the form of a child in haphazard conversation with a newly encountered adult. His adults are characteristically broken by habit and suffering “the ruthless cruelty of conventional social judgments and behavior”, and this is a condition rendered all the more stark when positioned alongside the unassuming wisdom of the very young.
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“I promise there are two pages between pages 34 and 37. They promise there are ten pages between pages 122 and 133. She promises there are twenty-four pages between pages 201 and 226. He promises there are…”

Recognition of the significance of speech acts has illuminated the ability of language to do other things than describe reality. In the process the boundaries among the philosophy of language, the philosophy of action, aesthetics, the philosophy of mind, political philosophy, and ethics have become less sharp. In addition, an appreciation of speech acts has helped lay bare a normative structure implicit in linguistic practice, including even that part of this practice concerned with describing reality.


Austin famously claimed that performatives are not statements (1962, p. 6). This may be taken either as the claim that performative sentences, even those in the indicative grammatical mood, lack truth value; or instead as the claim that utterances of performative sentences, even when such sentences have truth value, are not assertions. One can consistently hold that an indicative sentence has truth value, and even that it may be uttered in such a way as to say something true, while denying that its utterance is an assertion. (Testing a microphone in a windowless room, I utter, “It’s raining,” and it happens to be raining outside. Here I have said something true but have made no assertion.)


Lemmon 1962 argues that performative utterances are true on the ground that they are instances of a wider class of sentences whose utterance guarantees their truth. If sound, this argument would show that performatives have truth value, but not that they are assertions. It also leaves unanswered the question why some verb phrases such as ‘I promise’ may be used performatively while others cannot be so used. Sinnott-Armstrong 1994 also argues that performatives can have truth value without addressing the question whether they are also used to make assertions. Reimer 1995 argues that while performatives have truth values, they are not also assertions. Adopting a similar strategy, Jary 2007 aims to explain how utterances of such sentences as “I order you to clean the kitchen,” can succeed in being orders. In so doing he draws on Green’s 2007 analysis of showing to argue that such utterances show (rather than merely describe) the force of the speaker’s utterance. Because ‘show’ is factive, if such an utterance shows its force, then it must have that force.


Searle 1969 had argued that a performative formula such as “I promise to…” is an “illocutionary force indicator” in the sense that it is a device whose role is to make explicit the force of the speaker’s utterance. Making something explicit, however, would seem to involve characterizing an independent event or state of affairs, and as a result Searle’s account presupposes that speakers can imbue their utterances with the force of demotions and excommunications; yet this is what was to be explained.


Forty-eight original (hand drawn) one panel scenes are reused…(a graphic novel)

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This Graphic Novel appears to focus on visual comprehension skills as they apply to mathematics story problems. Traditionally ‘story problems’ depend on reading comprehension skills for the development of successful problem-solving strategies. Once addition, subtraction, multiplication, division are learned in school, the students encounter story problems, also known as word problems, which require the student to read a problem and decide which operation to perform in order to get the answer. In the story there are key words that often indicate which operation you will use. Likewise, in his Graphic Novel Van Buskirk uses key words in the title to guide the reader to a solution.

Drawings take their meaning from their positioning inside a panel sequence, a panel sequence that’s nestled in the network of a page, a page that’s nestled in the network of a book, a book that’s nestled in the network of a culture, and a culture that’s nestled in an Era of history.


The story begins on p.45. The pages before p.45 are intentionally blank.  The story ends on p.350. The pages after p.350 are intentionally blank.
The story begins on p.45. The pages before p.45 are intentionally blank.
The story ends on p.350. The pages after p.350 are intentionally blank.


There are two comic panels on p.76

There are two comic panels on p.76

Todd Van Buskirk releases a comic titled, “There are two comic panels on p.76.”

The reason for the existence of the two panel comic book appears to be explained by the text “There are two comic panels on p.76,” but this sentence itself isn’t all together clear on the story behind the story, or if there is a story to consider.

In this book there are three texts to consider. First there exists the text that announces where the panels are to be found, and second, the text inside the thought balloon of “Apple Pennington” and the dialogue balloon of her totem lion. The sentence “There are two comic panels on p.76” is not only the title of the book, but also populates each page of the book. Besides the copyright page, there is only one page in the book where “There are two comic panels on p.76” is absent, and that is page 76, where the two comic panels reside.

Todd Van Buskirk calls “There are two comic panels on p.76” a graphic novel (or comic book), because at the simplest level, a comic is sequential art with text.