Hello Everyone,
I am Hinaba Sarvaiya, a student of English Department MKBUniversity. This blog is given by Megha Madam. This blog is based on Academic Writing. Which is presented in the Mechanics of Writing, how to cite in MLA citation.
What is mechanics in writing:-
In composition, writing mechanics are the conventions governing the technical aspects of writing, including spelling, punctuation, capitalization, and abbreviations. Getting your main points together can be a challenge, and one solution is to put together a draft of main ideas before writing. Some writing textbooks also include issues related to usage and organization under the broad heading of mechanics.
Although the scope of this book precludes a detailed discussion of grammar, usage, style, and related aspects of writing, this chapter ad- dresses mechanical questions that you will likely encounter in writing research papers.
1. Spelling
2. Punctuation
3. Italics
4. Names of persons
5. Numbers
6. Titles of works in the research paper
7. Quotations
8. Capitalization and personal names in languages other than English
Spelling:-
In written language, spelling is the correct arrangement of letters that form words. To improve spelling skills, you can use a memory device known as mnemonics. This memorable phrase, acronym or pattern can come in handy for remembering something like the spelling of a word. You can also increase your reading skills, make a list of common words you often misspell or mark words in a dictionary that seem to give you trouble repeatedly.
Punctuation:-
Punctuation is the set of marks used to regulate texts and clarify their meanings, mainly by separating or linking words, phrases, and clauses.
I have to review The Gun Island, this novel written by Amitav Ghosh. It is a very famous novel. Amitav Ghosh presented many concepts like, the historification of myth and mythification of the history, Climate Change, Migration - human trafficking ect in his novel.
In 2016, Amitav Ghosh published The Great Derangement, an examination of collective denial in the face of climate breakdown. It posed a question: why did the gathering clouds of environmental catastrophe appear to present fiction – including his own, where he noted his tendency to address the subject only obliquely – with “peculiar forms of resistance”? Future generations would surely conclude that “ours was a time when most forms of art and literature were drawn into the modes of concealment that prevented people from recognising the realities of their plight”.
A crisis of climate is, therefore, also a crisis of culture, one in which writers’ fears of improbability, of depicting apocalyptic fractures of history and geography within the confines of a story expected to take its metre from the scale and scope of human lives, have resulted in evasion.
Ghosh’s response in his new novel is straightforward: if realism is not a capacious enough vessel to accommodate the truth, then dispense with it. Gun Island brims with implausibility; outlandish coincidences and chance meetings blend with ancient myth and folklore, tales of heroism and the supernatural set in a contemporary world disrupted by the constant migrations of humans and animals.
The Gun Island novel is divided into two parts and many separate parts are there. Here we can see that.
PART ONE: The Gun Merchant
Calcutta
Cinta
Tipu
The Shrine
Visions
Rani
Brooklyn
Wildfires
Los Angeles
Gun Island
PART TWO: Venice
The Ghetto
Rafi
Strandings
Friends
Dreams
Warnings
High Water
Crossings
Winds
The Lucania
Sightings
The Storm
The novel's beginning chapter is Calcutta. The strangest thing about this strange journey was that it was launched by a word – and not an unusually resonant one either but a banal, commonplace coinage that is in wide circulation, from Cairo to Calcutta. That word is bundook, which means ‘gun’ in many languages, including my own mother
tongue, Bengali (or Bangla). Nor is the word a stranger to English: by way of British colonial usages it found its way into the Oxford English
Dictionary, where it is glossed as ‘rifle’.
But there was no rifle or gun in sight the day the journey began; nor
indeed was the word intended to refer to a weapon. And that, precisely, was why it caught my attention: because the gun in question was a part of a
name – ‘Bonduki Sadagar’, which could be translated as ‘the Gun
Merchant’.
Title of the novel The Gun Island shows that the connection of the gun means a weapon and some are delivered like that. But here they have very different meanings. Gun Marchant who is travelling in Venice and he journey of Venice this is presented here. Gun Island has nothing to do with guns but it might be Venice. Which was the name of Arabic known as al-banduki.
Its narrator embodies scepticism and a frequently limiting adherence to empirical reality. A rare book dealer of Bangladeshi heritage, he has settled in Brooklyn after a politically adventurous youth. His name has mutated from Dinanath to the American-friendly “Deen”, and he mitigates his emotional and romantic difficulties with visits to a therapist while attempting to keep financial troubles at bay by amateurishly dabbling in stocks, shares and complicated insurances against the future. But a visit back home to Kolkata – his family having relocated to India during Partition – threatens to derail his self-imposed and self-contained exile. Events turn on the mention of a Bengali legend, the tale of a merchant fated to travel the world seeking a safe haven from the goddess of snakes, Manasa Devi. It is a story passed down through centuries, with which Deen has been familiar since childhood; its retelling at a party sparks a journey that takes Deen from the mangrove swamps of the Sundarbans to a Los Angeles benighted by forest fires to a gradually sinking Venice.
Along the way, we meet a glamorous Italian professor whose erudition allows for a belief in precognition and visitations from the dead; a pair of young Bengali men who submit to the vicious charges of the dalals (traffickers) in order to reach Europe; and an intense marine biologist who is tracking the disturbing rise in stranded whales and dolphins – the result, she believes, of the spread of oceanic and riverine dead zones. Many of the interactions take place by text, phone, email, social media; a facet of the carbon economy that Deen slowly comes to realise has shifted our perceptions of place and time entirely.
Some conversations we can see that,
‘What’s a connection man?’
‘They’re called dalals in Bangla.
They’re the ones who make all the
necessary connections for migrants, linking them from one phone to another to another. From there on the phone becomes their life, their journey. All the payments they need to make, at every stage of the journey, are made by phone; it’s their phones that tell them which route is open and which isn’t; it’s their phones that help them find shelter; it’s their phones that keep them
in touch with their friends and relatives we wherever they are. And once they get where they’re going it’s their phones that help them get their stories straight.’
It’s little surprise to find Ghosh playing fast and loose with conventions; his Ibis trilogy, set against the backdrop of the opium wars, was founded on puckish digression and operatic swoops between tragedy and comedy. Gun Island, too, is keen to play with its own ridiculousness; as Deen and the professor slowly disinter the likely origins of the novel’s founding myth, their grandiose speculations often call to mind the satirical portrayal of the academic world that one might find in a David Lodge novel. Turn the page, though, and a king cobra is about to strike, or a block of masonry to fall from a building and narrowly miss one or other of our principals.
Thank You...
Work citation:-
Book citation:-
Ghosh, Amitav. Gun Island. Penguin Canada, 2020.
Website citation:-
Nordquist, Richard. “The Mechanics of Writing Composition.” ThoughtCo, ThoughtCo, 19 July 2020, https://www.thoughtco.com/mechanics-composition-term-1691304#:~:text=Updated%20on%20July%2018%2C%202020,of%20main%20ideas%20before%20writing.
Newspaper citation:-
Clark, Alex. Review of Gun Island by Amitav Ghosh review – climate and culture in crisis, Review of The Gun Island The Guardian , 0 Jan. 2019, https://www.theguardian.com/books/2019/jun/05/gun-island-amitav-ghosh-review.
Photo citation:-
Amitav Ghosh . 2017.
Interview citation:-
Ghosh , Amitav. “Amitav Ghosh on Gun Island .” PBS Books, National Book Festival , 2019, https://youtu.be/A1ThLi0wkMw. Accessed 2019.
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