twentieth century was the golden age of ambiguity. How many earlier works can you think of that top the subjectivity of Ulysses, the narrative inconsistency of Slaughterhouse-Five,Nike Air More Uptempo Olympic, the abrupt ending of “Monty Python and the Holy Grail,” or the… whatever that was of the entire six seasons of “Lost”?
Of course, abandoning the traditional narrative structure didn’t happen overnight. To get a feel for the process,Jordan 6 Olympic, let’s take a look at three different works of,Jordan Retro 6, say, horror across the centuries to see if we can spot a trend.
Shakespeare’s darkest play, Macbeth, is a good place to start. Written around 1600, the tragedy falls under the category of “ways not to get ahead in life” and, aside from being particularly gruesome / depressing, follows a pretty standard plotline. Macbeth,Jordan 6 Olympic 2012, who is high on the royal ladder, gets his sights set on the top and decides to off the king. Which would be a much simpler task if people had the courtesy not to ask questions every time a dead body showed up at your house.
To address this problem, Macbeth decides to kill anyone who suspects him of murdering the king. And anyone who suspects him of killing the people who suspected him of killing the king. And anyone who gets his order wrong at Ye Olde Grub Hut until, finally, he himself is murdered and replaced by
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