Answer:
i don't know how to do it the subject english
Antana's perspective of America is that it provides opportunity for progress and a better way of life for people.
Antanas Kaztauskis wrote the narrative From Lithuania to the Chicago Stockyards in the year 1904. His tale was a testament to one of the most important travels he took in his life.
Antanas Kaztauskis immigrated from Lithuania to America, according to Ernest Poole's tale. He made the decision to immigrate in order to live a better life and avoid conscription.
<h3>Who is
Antanas Kaztauskis?</h3>
Antanas Kaztauskis was a Lithuanian immigrant who emigrated to America during the industrial revolution. His stay in America provides us a brief view of how difficult life was for the poor, unskilled worker at the time, especially as an immigrant.
In the above text, Antanas, is the narator of this own story.
<h3>Who is a narrator?</h3>
A narrator is someone who narrates stories. The narrator decides the story's point of view in a work of fiction.
The narrative is considered to be in the first person if the narrator is a complete participant in the story's action. A third-person narrative is one given by a narrator who is not a character in the story.
Learn more about Antanas Kaztauskis :
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Stating the truth or giving advice.
Answer:
curious, adventurous, alert, courageous, and concerned
Explanation:
she always has to know what is going on and who is who. additionally, Bethany isn't the kind of person that likes to leave a situation totally confused.
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
