Max who what’s his last name
Answer:
I can't say for certain without seeing the passage in question, but given the title, it would likely be thoughtful or even adoring given the title.
Answer:
The element of the setting that also becomes a main character in "The Adventures of Huckleberry Finn" is:
D. the Mississippi River
Explanation:
In Mark Twain's "The Adventures of Huckleberry Finn," the Mississippi River is as much a character as Huck and Jim themselves. The river is what takes Huck and Jim places, symbolizing freedom. But, besides that, the river, just like another character, is able to get them in and out of trouble, serving as a plot device. In other words, the river helps move the plot forward. The adventures mentioned in the book's title only happen because of the river.
Create, publish, become, be, come out, give, develop, have, find, test, offer, take.
igor_vitrenko [27]
After placing each verb in the correct blank and making the necessary changes to them, we have:
1. was developed
2. created
3. took
4. offered
5. was
6. published
7. became
8. came out
9. tested
10. found
11. gave
12. had
- When we take a look at the text before trying to fill in the blanks, we can tell it is about things that happened in the past.
- Thus, we can assume most verbs will be in the past tense or will use the past participle form.
- To begin answering, we must read the text and look for places where one of the options sounds more obvious.
- For example, when we talk of books, the verb "publish" is usually used. Since a manual is a book, we are likely to use "publish" with it.
- We repeat that process, answering the easier ones first, until we are left with the least obvious blanks.
- Here, we can try different combinations to see what fits - what sounds right.
Learn more about the topic here:
brainly.com/question/22326167?referrer=searchResults
Commons
“How did Faulkner pull it off?” is a question many a fledgling writer has asked themselves while struggling through a period of apprenticeship like that novelist John Barth describes in his 1999 talk "My Faulkner." Barth “reorchestrated” his literary heroes, he says, “in search of my writerly self... downloading my innumerable predecessors as only an insatiable green apprentice can.” Surely a great many writers can relate when Barth says, “it was Faulkner at his most involuted and incantatory who most enchanted me.” For many a writer, the Faulknerian sentence is an irresistible labyrinth. His syntax has a way of weaving itself into the unconscious, emerging as fair to middling imitation.
While studying at Johns Hopkins University, Barth found himself writing about his native Eastern Shore Maryland in a pastiche style of “middle Faulkner and late Joyce.” He may have won some praise from a visiting young William Styron, “but the finished opus didn’t fly—for one thing, because Faulkner intimately knew his Snopses and Compsons and Sartorises, as I did not know my made-up denizens of the Maryland marsh.” The advice to write only what you know may not be worth much as a universal commandment. But studying the way that Faulkner wrote when he turned to the subjects he knew best provides an object lesson on how powerful a literary resource intimacy can be
