The life of astrid magnussen the narrator in the novel white oleander by janet fitch
Ingrid does not think about her daughter Astrid and commits murder, leaving Astrid alone with her troubles. Astrid relates tragedy after tragedy to her mother, and receives in return cryptic, poetic letters commanding her to savor her pain, as it will make her a stronger artist.
White oleander book review
For more information on choosing credible sources for your paper, check out this blog post. After a while, though, as her daughter grows to love these women, the less than maternal inmate, angry and jealous, turns away from her and toward a growing audience of young female readers in love with the figure of the captive poet. Trish Deitch Roher - Salon Thirteen-year-old Astrid Magnussen, the sensitive and heart-wrenching narrator of this impressive debut, is burdened with an impossible mother in Ingrid, a beautiful, gifted poet whose scattered life is governed by an enormous ego. It's so soothing. By the time Astrid is 18, she is hard from years of San Fernando Valley foster care: from being shot by one "mother" for stealing her seven-fingered boyfriend, from being mauled by dogs on a suburban street, from being dropped by a high-class black hooker who's taught her about the rewards of cashmere and the weaknesses of men, from being forced into servitude by a racist blue-collar hag interested only in the bottled color of her own hair, from losing the one cultured and nurturing female in her teenage life to suicide. I climbed to the roof and easily spotted her blonde hair like a white flame in the light of the three-quarter moon. Narrator and Point of View The narrator of the novel is a first person Astrid Magnussen, who tells about her difficult life with mother and foster families. On occasion the book is a page-turner it's amazing how compelling a child's misery can be , and always the characters are as real as the person who sleeps beside you. Like the weather in Los Angeles--the winds of the Santa Anas, the scorching heat--Astrid's teenage life is intense. It is either because her childhood is so complex, or, more likely, evidence of poor writing, that the main character is very hard to understand.
Beads of water decorated her face, and her hair spread out from her head like jellyfish tendrils. Many troubles and difficult life of Astrid, who does not feel love and respect from her mother, gives a dramatic mood.
The example essays in Kibin's library were written by real students for real classes. No need to worry if the lessons are a bit elusive: Fitch spells them out in the end of the novel in her neat and ultimately dissatisfying conclusion.
Meanwhile, Ingrid, poet-in-prison, becomes a feminist icon who now has a chance at freedom—if Astrid will agree to testify untruthfully at the trial.
This is where Fitch does her best work: She shows that children can survive gunshot wounds, dog attacks, poverty, fatherlessness and even neglect, but that losing the love of a mother threatens them with losing themselves.
As I read this I became overwhelmed with the number of passages that I wanted to secrete away, to take out, and read again. Ingrid also covets beauty in all its many forms. So simple, the words arranged to please the ear, one after the other, melodic in their cadence and rhythm.
Amid Rena's flea-market wares, Astrid learns to fabricate junk art and blossoms as a sculptor.
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