Misplaced Pages

#94905

41-551: Last Summer or The Last Summer can refer to: Books [ edit ] Last Summer (novel) , a 1968 novel by Evan Hunter The Last Summer (novella) , a 1934 novella by Boris Pasternak The Last Summer , a 1969 novel by Iain Crichton Smith The Last Summer (of You and Me) , a 2007 novel by Ann Brashares Films [ edit ] Last Summer (1969 film) , an American drama film based on

82-616: A "chilling, fascinating novel". Both of these critical reviews, while quoted and printed on the book's dust jacket and description including on more recent eBook editions, have not been archived publicly and have since been lost, leaving the names of the critics who shared these opinions of the book unknown, although the Burlington Free Press review is available behind a paywall through the digital archive Newspapers.com. Last Summer explores themes of hedonism, cruelty, friendship, adolescence, sexuality, human curiosity,

123-418: A bikini to replace the "creepy" modest one-piece bathing suit that she had been wearing previously, which David and Peter believe looks like a bathing suit that an elderly woman would wear. To Sandy's surprise, the computer dating service actually ends up pairing her with someone, a shy, nerdy but kind-hearted Puerto Rican man named Anibal. Sandy and the boys coerce Rhoda, who has the same eye and hair colour as

164-408: A character, with clues to the character's unreliability. A more dramatic use of the device delays the revelation until near the story's end. In some cases, the reader discovers that in the foregoing narrative, the narrator had concealed or greatly misrepresented vital pieces of information. Such a twist ending forces readers to reconsider their point of view and experience of the story. In some cases

205-484: A critic in a literary review of Even Hunter's published bibliography, referring to Last Summer as Hunter's "best work". Kirkus Reviews was less positive, saying that the book was a "slow burn of prurience and casual cruelty symptomatic of the times" and criticizing the novel for having no staying power. Discovery reviewer and author Paula Galvan rated the book positively, calling it "a disturbing story about teens without boundaries". A tie-in edition to coincide with

246-559: A large bag of prunes in front of them in an attempt to move her bowels. Rhoda, more conservative, mature, inexperienced and prudish about sex and nudity, is the opposite of Sandy and the two girls inevitably clash in personality to the point of irritating Sandy and triggering a bout of extreme sexual violence. Peter and David, who've been fantasizing about having sex with Sandy all summer, instead take turns raping Rhoda only to then completely abandon her and follow Sandy back home with absolutely no empathy for Rhoda or fear of legal consequences for

287-519: A man nicknamed "Snow White" for his pallid skin, molested her when nobody was looking and made lecherous remarks at her. Peter and David are shocked at Sandy's casual sexuality, such as taking her bikini top off in front of them, and they engage in casual foreplay and other sexual games with her while also exploring the beach and nearby forest, boating, swimming and teaching Sandy's "pet" seagull to fly. A homely, conservative and socially-awkward youth named Rhoda, also on vacation with her father, pesters

328-456: A model of five criteria ('integrating mechanisms') which determine if a narrator is unreliable. Instead of relying on the device of the implied author and a text-centered analysis of unreliable narration, Ansgar Nünning gives evidence that narrative unreliability can be reconceptualized in the context of frame theory and of readers' cognitive strategies. ... to determine a narrator's unreliability one need not rely merely on intuitive judgments. It

369-441: A photographic screenshot from the film printed on the cover. Unreliable narrator In literature , film , and other such arts , an unreliable narrator is a narrator who cannot be trusted, one whose credibility is compromised. They can be found in fiction and film, and range from children to mature characters. While unreliable narrators are almost by definition first-person narrators , arguments have been made for

410-423: A reliable and unreliable narrator on the grounds of whether the narrator's speech violates or conforms with general norms and values. He writes, "I have called a narrator reliable when he speaks for or acts in accordance with the norms of the work (which is to say the implied author 's norms), unreliable when he does not." Peter J. Rabinowitz criticized Booth's definition for relying too much on facts external to

451-448: Is different from Wikidata All article disambiguation pages All disambiguation pages Last Summer (novel) Shy, reserved unreliable narrator Peter reflects upon his recent summer vacation on Fire Island, which he spent with David, a childhood friend, and Sandy, a mysterious, eccentric and manipulative girl who bonds with Peter and David after they aid her in saving the life of an injured seagull that Sandy rescues on

SECTION 10

#1732786953095

492-409: Is neither the reader's intuitions nor the implied author's norms and values that provide the clue to a narrator's unreliability, but a broad range of definable signals. These include both textual data and the reader's preexisting conceptual knowledge of the world. In sum whether a narrator is called unreliable or not does not depend on the distance between the norms and values of the narrator and those of

533-413: Is told from Peter's point of view. Come Winter received positive reviews from both Burlington Free Press and The Los Angeles Times (both quoted on the book's back cover description). Burlington Free Press considered Come Winter "an unforgettable exploration into the nature of evil... and a brilliant... dazzling portrait of young sociopaths at play", while The Los Angeles Times described it as

574-412: The 1969 film adaptation of Last Summer was released in mass-market paperback format by Signet , which depicted imagery from the film itself including an overarching seagull and a picture of Rhoda standing alone and away from her three friends. This was followed by a second film tie-in edition, a rarity for books to get more than one film tie-in edition at a time; this variant had a yellow-beige cover with

615-894: The Evan Hunter novel Last Summer (2021 film) , a Turkish romantic drama film Last Summer (2023 film) , a French erotic drama film Dernier Été ( Last Summer ), 1981 French film directed by Robert Guédiguian and Frank Le Wita The Last Summer (1954 film) , a West German drama film The Last Summer (1974 film) , a Bulgarian drama film The Last Summer (2019 film) , an American romantic comedy film Music [ edit ] "I Somras (Last Summer)", Swedish-language suite by Wilhelm Peterson-Berger (1867–1942) Albums [ edit ] Last Summer (album) , an album by Eleanor Friedberger The Last Summer , album by LO-FI-FNK The Last Summer , 2019 album by R Plus ( Rollo Armstrong ) The Last Summer , an alternative name for Live: The Last Summer , album by

656-539: The Siegel–Schwall Band Songs [ edit ] "Last Summer" (song) , a 2004 song by Lostprophets "Last Summer", 1978 song by Rod Stewart from Blondes Have More Fun "Last Summer", 2006 song by Miliyah Kato from Diamond Princess "Last Summer", 2014 song by David Gray from Mutineers "Last Summer", 2018 song by Johnny Orlando from Teenage Fever "Last Summer", 2021 song by Zara Larsson from Poster Girl Topics referred to by

697-403: The act. The book also explores the looseness, confusion and fun of adolescence, exploring the lives of the teens as they come of age away from school, work or other outside influences. Although controversial for its shocking content and for the explicit film adaptation that followed, Last Summer received largely mixed reviews from critics and retained a cult following , with Erin E. MacDonald,

738-557: The action to one of three locations during the course of a weekend. Kathleen Wall argues that in The Remains of the Day , for the "unreliability" of the main character (Mr Stevens) as a narrator to work, we need to believe that he describes events reliably, while interpreting them in an unreliable way. Wayne C. Booth was among the first critics to formulate a reader-centered approach to unreliable narration and to distinguish between

779-411: The beach. The boys are enamoured with the physically-attractive and fun-loving, hedonistic Sandy and their meeting quickly becomes an intense friendship during which the trio consume beer and share deep secrets about one another. Their affluent urban parents, on vacation in the nearby cottages, largely ignore them and engage in their own hedonistic pursuits; Sandy confides in the boys that her stepfather,

820-452: The boys while unbeknownst to her, they manipulate her in turn in the hopes that one day they'll be able to " lay " her although through all of this, an unspoken respect and hierarchy develops under which Sandy is the de facto leader. Feeling betrayed by the seagull when it accidentally bites her, Sandy crushes the seagull to death by beating it with a rock, hiding the mutilated body in the forest. Peter and David are horrified, not that she hurt

861-444: The dating service was told, to go on a date with Anibal as a joke. Rhoda likes Anibal and immediately feels bad about tricking the nice man, and is horrified when she realizes that Sandy and the boys, who tagged along on the date, are purposely getting Anibal drunk on mixed drinks at the restaurant they attend, getting him to then dance ridiculously with them. Sandy repeatedly teases Anibal by calling him "Annabelle" (a girl's name), and

SECTION 20

#1732786953095

902-419: The device of unreliability can best be considered along a spectrum of fallibility that begins with trustworthiness and ends with unreliability. This model allows for all shades of grey in between the poles of trustworthiness and unreliability. It is consequently up to each individual reader to determine the credibility of a narrator in a fictional text. Whichever definition of unreliability one follows, there are

943-546: The division between liberal and conservative values, parental neglect, violence and bullying. The characters engage in increasingly cruel, abusive behaviour as the summer continues and despite coming from wealthy families, they struggle to find an outlet for their own frustrations, curiosity and burgeoning sadism. Sandy in particular is a major plot focus as both an attractive "girl next-door" and an unpleasant, off-putting personality; for example, she openly discloses being constipated in front of Peter and David and indulges in eating

984-437: The existence of unreliable second- and third-person narrators , especially within the context of film and television, but sometimes also in literature. The term “unreliable narrator” was coined by Wayne C. Booth in his 1961 book The Rhetoric of Fiction . James Phelan expands on Booth’s concept by offering the term “bonding unreliability” to describe situations in which the unreliable narration ultimately serves to approach

1025-443: The following definitions and examples to illustrate his classifications: It remains a matter of debate whether and how a non-first-person narrator can be unreliable, though the deliberate restriction of information to the audience can provide instances of unreliable narrative , even if not necessarily of an unreliable narrator . For example, in the three interweaving plays of Alan Ayckbourn 's The Norman Conquests , each confines

1066-539: The girl to the ground while the boys strip her bikini off and proceed to violently take turns raping her. When the rape is over, they silently trudge out of the forest and back to their families' respective cottages in the sunset, leaving a traumatized Rhoda lying there. The book concludes with the summer ending and the teens returning back to their own respective communities, but Peter is still haunted by what occurred and contemplates nostalgia and revulsion. Come Winter , set when Peter, David and Sandy are all grown adults,

1107-717: The implied author but between the distance that separates the narrator's view of the world from the reader's world-model and standards of normality. Unreliable narration in this view becomes purely a reader's strategy of making sense of a text, i.e., of reconciling discrepancies in the narrator's account (c.f. signals of unreliable narration ). Nünning thus effectively eliminates the reliance on value judgments and moral codes which are always tainted by personal outlook and taste. Greta Olson recently debated both Nünning's and Booth's models, revealing discrepancies in their respective views. Booth's text-immanent model of narrator unreliability has been criticized by Ansgar Nünning for disregarding

1148-435: The issues of truth in fiction, bringing forward four types of audience who serve as receptors of any given literary work: Rabinowitz suggests that "In the proper reading of a novel, then, events which are portrayed must be treated as both 'true' and 'untrue' at the same time. Although there are many ways to understand this duality, I propose to analyze the four audiences which it generates." Similarly, Tamar Yacobi has proposed

1189-439: The narrative audience – that is, one whose statements are untrue not by the standards of the real world or of the authorial audience but by the standards of his own narrative audience. ... In other words, all fictional narrators are false in that they are imitations. But some are imitations who tell the truth, some of people who lie. Rabinowitz's main focus is the status of fictional discourse in opposition to factuality. He debates

1230-450: The narrative, such as norms and ethics, which must necessarily be tainted by personal opinion. He consequently modified the approach to unreliable narration. There are unreliable narrators (c.f. Booth). An unreliable narrator however, is not simply a narrator who 'does not tell the truth' – what fictional narrator ever tells the literal truth? Rather an unreliable narrator is one who tells lies, conceals information, misjudges with respect to

1271-420: The narrator to the work’s envisioned audience, creating a bonding communication between the implied author and this “authorial audience.” Sometimes the narrator's unreliability is made immediately evident. For instance, a story may open with the narrator making a plainly false or delusional claim or admitting to being severely mentally ill, or the story itself may have a frame in which the narrator appears as

Last Summer - Misplaced Pages Continue

1312-450: The narrator's unreliability is never fully revealed but only hinted at, leaving readers to wonder how much the narrator should be trusted and how the story should be interpreted. Attempts have been made at a classification of unreliable narrators. William Riggan analysed in a 1981 study four discernible types of unreliable narrators, focusing on the first-person narrator as this is the most common kind of unreliable narration. Riggan provides

1353-444: The new bikini). Rhoda, who had bitten Sandy's hand the prior night in an attempt to break away from her and help Anibal, finally decides to explore the forest with the other teens due to the hot, sticky weather. In the shade of the forest, they drink beer and share morbid humour, disgusting Rhoda, who refuses to drink the beer herself because she doesn't like the taste of hops . All of a sudden, seeming to trigger Sandy's rage, Sandy pins

1394-438: The other three teens about being cruel to the seagull, but they snub her. Sandy and Peter partake in a prank by filling out a form for a computer dating service , believing that they'll confuse the service comedically by entering in odd details and ethnically-ambiguous information. Sandy is shown to be increasingly manipulative, clever and callous towards others, using her own sexuality, as well as alcohol and drugs, to manipulate

1435-715: The reader's role in the perception of reliability and for relying on the insufficiently defined concept of the implied author. Nünning updates Booth's work with a cognitive theory of unreliability that rests on the reader's values and her sense that a discrepancy exists between the narrator's statements and perceptions and other information given by the text. and offers "an update of Booth's model by making his implicit differentiation between fallible and untrustworthy narrators explicit". Olson then argues "that these two types of narrators elicit different responses in readers and are best described using scales for fallibility and untrustworthiness." She proffers that all fictional texts that employ

1476-419: The same term [REDACTED] This disambiguation page lists articles associated with the title Last Summer . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Last_Summer&oldid=1258990562 " Category : Disambiguation pages Hidden categories: Short description

1517-408: The seagull but that she lied to them about it, establishing that they must have no secrets from one another. The trio come across a gang of burly local men who accost Sandy; they tease the men and flee, making it safely to the ferry back to Fire Island and escaping. Sandy also engages in eccentric activities such as observing two gay men having secret sex on the beach. Rhoda runs into them again and

1558-501: The ski lodge are mistreated and face antisemitic comments, revealing that Sandy won't tolerate prejudice and that she is fiercely loyal to her friends provided that they never betray her. In an act of vengeance, she sets up an "accident" which leaves one of the bigots who harassed her friends severely disabled to the point of permanent paralysis . David doesn't play as large of a role in the sequel. Like in Last Summer , Come Winter

1599-421: The teens begrudgingly accept her presence, but slowly begin to welcome her into their social circle. On a rainy day, after partaking in the use of marijuana and getting high, Peter develops a crush on Rhoda despite her prudishness and Sandy, learning that Rhoda's mother died in a drowning incident while swimming, decides to make the awkward girl her project by introducing her to more liberal concepts and buying her

1640-440: The teens then lure the man outside, where the abusive men they had run into before recognize them and chase after them. Rhoda tries to rescue Anibal but is dragged away by the three teens, leaving Anibal to be beaten up severely by the men, who catch him and proceed to attack him. Furious, Rhoda remains on the beach the next day and refuses to swim (despite Peter having helped her overcome her aquaphobia recently and Sandy buying her

1681-456: Was a sequel published in 1973. The sequel, set at a ski lodge, reveals that all three of the teens are dysfunctional and mentally-unstable as adults, with Peter regularly seeing a psychiatrist who tries to aid him in coming to terms with the sexual violation of Rhoda (who has cut off contact with the trio). Sandy reveals that she was told she may be a sociopath , although she does exhibit a strong moral code when two new Jewish friends she meets at

Last Summer - Misplaced Pages Continue

#94905