Rhetorical Outline “Labyrinthine” by Bernard Cooper. Par. Brief description of what the author is doing. OneSentence Distillation of What the. Author is Saying. Bernard Cooper, “Labyrinthine” (). God help Bernard Cooper if this is how he felt at In the last paragraph of Labyrinthine—a shortish essay in which. That was how Bernard Cooper ended his insightful and thought-provoking essay “Labyrinthine.” Those words haunt me to this very day.

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So sure, the phrase could be adjusted to fit in.

Max Rubin is the winner of the Essay Review Prize. But if it lost the awkwardness and clunkiness of its composition, it would also lose the essence of its identity.

Logically, then, this seemingly maladjusted phrase must be of passive structure. By suggesting that maybe we cannot cooepr him, Cooper is actually being incredibly fair to his reader.

Bernard Cooper and the Essayistic Sentence – The Essay Review

It is about the inability to actively navigate its labyrinth once aware that the labyrinth exists. The author as a young boy must acknowledge and learn to deal with bermard newly developing feelings and urges, a task that challenges his naive outlook.


Closing the kitchen door behind me, I vowed never to leave home again. Unspoken rules labyringhine expectations of society present an immediate challenge to the child, who is only slowly learning the difficult truths about his own character. It is fitting, then, that this section proposes that concept as a question: They are of the same structure: By continuing to use this website, you agree to their use.

Cooper, therefore, employs this sentence to call into question the validity of all of that. The sentence implores us to consider the possibility that the narrator is unreliable.

And what do we make of it? It is about the sheer and ever-increasing volume and impossible intricacies of its corridors.

And, just one generation back, all three share the same ancestor: In wedge-like fashion, they are outside sources lodged into the greater whole. They are of such simple labytinthine and sweet demeanor. I have no way of knowing what is really going on inside of this person on the street, or the next one I will pass. As readers, unable to make sense of what is even real in the essay, this sentence invites us to experience labyrinhtine piece completely confounded, which is the very way its author experiences life.


But perhaps he was designed that way for a reason. The sentence is a microcosm of its home.

Bernard Cooper and the Essayistic Sentence

There is a silent framework within that phrase, which, when unmuted, reads as: It could seem that Cooper is undermining his authorial integrity by suggesting that we cannot trust him. At its root is an equative: The list contains three phrases.

Where are they going? The third phrase in the list is related to these two as well, but in more of a cousinly way. But labyrimthine switched out of the passive structure, this phrase puts the focus on Cooper. This site uses cookies.

brnard After the semicolon, the sentence shifts focus. Baseball in the Middle of Everywhere. God help Bernard Cooper if this is how he felt at It is clearly the spunkiest word in the entire sentence.