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INSTITUT SUPERIEUR PEDAGOGIQUE DE GOMA

ISP GOMA
ispgoma@yahoo.fr

SECTION: LETTRES ET SCIENCES HUMAINES

DEPARTEMENT: ANGLAIS – CULTURE AFRICAINE
OPTION: ANGLAIS

SUSPENSE IN PAULO COELHO’S

THE DEVIL AND MISS PRYM

By KAKULE KATSONGO Bernard

Research paper submitted in partial fulfilment of
the requirement for the degree of undergraduate
in English Language Teaching.

Supervisor: Assistant Jean de Dieu TUYISENGE GACARAGATA

Academic year : 2017 - 2018

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EPIGRAPH
“As Poor, yet wise lad is better than old and foolish king who no longer knows how to
receive instruction”

Ecclesiastes 4:13
 ii

DEDICATION
To our lovely Parents KAMATE BASEME Gervais and KAVIRA MBANIAKI
Marguerite for the sacrifice provided for upbringing and education.

To our beloved helpmate Clare CAMPBELL who supported us to achieve our studies’
goals.

KAKULE KATSONGO Bernard

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ACKNOWLEDGEMENTS
The present paper is the fruit of our own greatest effort at Goma Teachers
Training College during three years, but we were helped of course by some other
figures.

Greatly, our thanks are addressed to Assistant Jean de Dieu GACARAGATA

TUYISENGE who accepted to supervise this work from the beginning up the end
without any problem.

We could be thankless to forget the outstanding effort of all the lecturers of the
English department at Goma Teachers Training College who have supplied us with
helpful knowledge three years long.

Terms are needed to express our extend sense of gratitude to all our brothers
and sisters live KATSUVA KATSONGO Bienvenu, KAHINDO MATHE Bertile,
KAVIRA MATHE Blandine, KASEREKA KATSONGO Bercky, KAVUGHO MATHE
Bernadette, KATEMBO KATSONGO Baudouin, and KAMBALE BAWITE Jospin, who
accompanied and encouraged us during this trip. They could help our rise up
whenever we could fall down.

Our thanks are to be oriented towards different clubs, companies, and groups
such as, English club For All (ECFA), Vision Club Congo (VCC), Union des Jeunes
Cineastes (UJC), on the cross by whom we were helped morally even materially.

In short, many thanks to my uncles and aunts, friends and relatives: Neema
Euphrasie, Jonitha KAHAMBU, Michel MBAKANIAKI, Malon MBANIAKI, Georges
BIHAMBA, Bahati RUHUGA Bertin, Lionel MAGAYANE, KANYERE BUNAKWA
Lucie, FYFY Antoinette. And all my cousins JOACHIM KATSUVA KATSONGO,
Benediction KASONGO, Eustache MAJIVUNO, Gracia MAJIVUNO, Delphin
MBAGHENDA, KAMBALE KASIMBA Johnson,… for their affectionate, moral and
material even financial help.

We cannot forget all our classmates with whom we shared education and
interaction for the achievement of this paper, KANYERE SALITA Wivine, and others;
and anyone who has not been mentioned but whose contribution for the great
importance to fulfil this research paper.

May God bless all of us.

KAKULE KATSONGO Bernard

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TABLE OF CONTENTS

EPIGRAPH ............................................................................................................................................. i
DEDICATION .........................................................................................................................................ii
ACKNOWLEDGEMENT ......................................................................................................................iii
0. GENERAL INTRODUCTION .......................................................................................................... 1
0.1 Choice and interest of the work ............................................................................................... 1
0.2 Scope and limitation of work .................................................................................................... 1
0.3 Problem statement ..................................................................................................................... 1
0.4 Research questions ................................................................................................................... 1
0.5 Hypotheses ................................................................................................................................. 2
0.6 Work methodology ..................................................................................................................... 2
0.7 Aim of the work ........................................................................................................................... 3
0.8 Significance of the work ............................................................................................................ 3
0.9 Subdivision of the work ............................................................................................................. 3
0.10 Review of literature .................................................................................................................. 4
0.11 Difficulties encountered........................................................................................................... 5
CHAPTER I: THEORICAL AND CONCEPTUAL FRAME .............................................................. 6
Partial Introduction................................................................................................................................ 6
I.1 Definition of key concepts .......................................................................................................... 6
I.1.1 Suspense .............................................................................................................................. 6
I.1.2 Curiosity................................................................................................................................. 6
I.1.3 Surprise ................................................................................................................................. 7
I.1.4 Surprise and suspense ....................................................................................................... 7
I.2 Models of Suspense ................................................................................................................... 7
I.2.1 Musical suspense ................................................................................................................ 7
I.2.2 Paradoxal Suspense ........................................................................................................... 8
I.2.3 “Character Suspense” ......................................................................................................... 9
I.2.4 suspense in the story – modelling Paradigm ................................................................... 9
I.2.5 Cheong & Young’s narrative generation system........................................................... 10
I.3 Methods and Some steps to create suspense ..................................................................... 11
I.3.1 Some Methods to Create suspense................................................................................ 11
I.3.2 Some steps to create suspense ...................................................................................... 14
I.4 Some ways to create suspense .............................................................................................. 16
I.4.1. Time ........................................................................................................................................ 16
I.4.2 Distance............................................................................................................................... 16
I.4.3 Thoughts ............................................................................................................................. 17
I.4.4 Setting .................................................................................................................................. 17
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I.4.5 Separation ........................................................................................................................... 17

I.4.6 Isolation ............................................................................................................................... 17
I.4.7 Expectation ......................................................................................................................... 17
I.4.8 A Test................................................................................................................................... 17
I.4.9 Main character Flow .......................................................................................................... 17
I.4.10 Secondary character Flow.............................................................................................. 17
I.4.11 Atmosphere ...................................................................................................................... 18
I.4.12 Deadline ............................................................................................................................ 18
I.4.13 Peril .................................................................................................................................... 18
I.4.14 Losses ............................................................................................................................... 19
Partial conclusion................................................................................................................................ 20
Chap II : SUSPENSE IN PAULO COELHO’S The Devil and Miss Prym .................................. 21
Partial introduction .............................................................................................................................. 21
II.1 Some Methods used to create suspense in the Novel ....................................................... 21
II.1.1 Foreshadowing .................................................................................................................. 21
II.1.2 FLASHBACK ..................................................................................................................... 22
II.1.3 DILEMMA ........................................................................................................................... 24
II.1.4 THE MYSTERY................................................................................................................. 25
II.1.5 THE REVERSAL............................................................................................................... 26
II.2 Some ways to create Suspense in the Novel ...................................................................... 27
II.2.1 Time .................................................................................................................................... 27
II.2.2 Distance ............................................................................................................................. 28
II.2.3 Thoughts ............................................................................................................................ 29
II.2.4 Setting................................................................................................................................. 29
II.2.5 Separation .......................................................................................................................... 30
II.2.6 Isolation .............................................................................................................................. 31
II.2.7 Expectation ........................................................................................................................ 32
II.2.8 A test ................................................................................................................................... 33
II.2.9 Main character’s flow........................................................................................................ 34
II.2.10 Secondary character flow .............................................................................................. 35
II.2.11 Atmosphere ..................................................................................................................... 36
II.2.12 Deadline ........................................................................................................................... 37
II.2.13 Peril ................................................................................................................................... 38
II.2.14 Losses .............................................................................................................................. 39
Partial conclusion................................................................................................................................ 40
GENERAL CONCLUSION ................................................................................................................ 41
REFERENCES .................................................................................................................................... 43
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0. GENERAL INTRODUCTION
0.1 Choice and interest of the work
In order to conclude with the choice of our present topic, we took enough time
to read our novel; The Devil and Miss Prym written by Paulo COELHO. In this novel,
PAULO COELHO develops different many literary devices. The interest we got in this
work of art is that, the literary device developed the most is suspense, and that led us
to the choice of the present topic entitled “Suspense in Paul COELHO’s The Devil
and Miss Prym”.

0.2 Scope and limitation of work

Paulo COELHO’s The Devil and Miss Prym has got several literary elements to
deal with. We have realized that, it is difficult and impossible for one to work on all the
literary devices at once and within a single piece of writing. In The Devil and Miss
Prym, Paulo COELHO develops a lot of literary elements such as Tenses, Point of
view, voice and perspective, so all of them could not be pointed out in our piece of
writing. We will limit our focus on depicting and analysing suspense in the novel
understudy which is The Devil and Miss Prym by Paulo COELHO.

0.3 Problem statement

It is true that there is no research without problem. During our research, we
have realized that many people are not able to depict suspense from a work of art,
and that’s because they are not informed about the different literary elements that are
always used to create suspense within a work of art.

The main concern to deal with suspense in our research paper is to share a
piece of information with readers and researchers on how to depict suspense from a
work of art. In order to help researchers know to carry out suspense from the novel,
we are going to study and analyse the different methods and ways used to create
suspense in The devil and Miss Prym of Paulo COELHO.

0.4 Research questions

Having finished reading sufficiently The Devil and Miss Prym, written by Paulo
COELHO, the following questions raised in our mind.

- Why is it difficult for readers to depict the suspense from a work of art?
- Do people really know the role of suspense in a work of art?
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- What are the methods used by Paulo COELHO to create suspense in The
Devil and Miss Prym?
- By which ways is suspense created in Paulo COELHO’s The Devil and Miss
Prym?

0.5 Hypotheses
We would generally assume that the use or role of suspense in a work of art is
to attract the reader’s attention and get them interested in reading.

Other assumptions, one might conclude that some people may not be able to
study suspense in a work of art is because they are not informed about it’s use.
Another reason that people are not able to depict suspense from the work of art is
maybe because they are not aware of the different methods and ways that can be
used to create suspense in a work of art, and apply them. The author might have
used foreshadowing dilemma, mistery,... to create suspense in The Devil and Miss
Prym.

0.6 Work methodology

This work will be carried out throughout two main methods. We will try to point
out the suspense in the narrative. This will be fulfilled thanks to close reading of the
novel, textual and documentary techniques, and browsing on the internet.

The close reading approach will deal with reading Paulo COELHO’s The Devil
and Miss Prym for enough time, word after word, to find out different important
elements of the plot which convey suspense in the narrative. The close reading
approach consists of reading several times our novel, that is The Devil and Miss
Prym in order to understand the sequence of events in the novel because is also
among elements of plot.

According to Business dictionary, textual approach is the interpretation of a text

according to clear meaning of its words. This approach will be applied for it will lead
us to the accurate interpretation of some expressions and situations presented in the
narrative to get logical succession of events for better understanding of suspense
portrayed by the author in this book.

Indeed, for the documentary technique, we will read books of literature, and
some articles which have relationship with our topic in order to get full information for
data due to this work.
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Lastly, the remaining is an aid; that is, it concerns to go to the internet looking
for information and exact data. And if necessary, the data which relate to our topic,
will be downloaded and added to our efforts if necessary.

0.7 Aim of the work

Our main aim of this piece of writing is to carry out the study of suspense in
Paulo COELHO’s The Devil and Miss Prym; to find out the different methods and
ways applied to create suspense in the novel, and Provide correct examples and
extracts from the novel illustrating the accurate use of suspense. Finally, this
research paper will serve as reference to the prospective generation researchers.
After reading this piece of writing, researchers will get some pieces of information
and advice.

0.8 Significance of the work

It has been interesting and important for us to deal with suspense in Paulo
COLHO’s “The Devil and Miss Prym” because findings in this field are of accurate
importance to the community and intellectuals. Some ideas carried out from the novel
explain just the problems of people’s experience in real life.

In fact, through this research paper, our reader will get information that will help
him/her understand what suspense is, how it can be created within a work of art, why
authors use it or what is its importance in a work of art.

0.9 Subdivision of the work

Apart from the general introduction and general conclusion, our work will be
made of two chapters. The first is entitled: “THEORETICAL AND CONCEPTUAL
FRAME”. In this chapter, we are going to provide some different definitions of the
word “suspense” according to dictionaries and different scholars, and try to give
some definitions of some other key concepts related to suspense. Indeed, within this
chapter, we are going to identify different methods of suspense used to create
suspense and if possible with some supporting examples to illustrate them. Different
ways and steps used to create suspense will be developed in this chapter, and if
possible they will be supported by illustrating examples.

The second chapter which is the last chapter of our work is devoted on:
“SUSPENSE IN PAULO COELHO’S The Devil and Miss Prym”. In this chapter, we
are going to carry out the different methods of suspense applied in the novel and
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provide enough illustrating examples from the novel to support the provided methods.
We are going to find out also different ways used to create suspense in the novel,
and develop each of them with a concrete extract from the novel.

0.10 Review of literature

In order to carry out and fulfil our research paper, we were ourselves obliged to
think about and take in consideration what other researchers and scholars wrote
about suspense. We have realized that we are not the first to deal with such a topic
and we consulted the following works in order to make our research paper more
successful and reliable:

- Gentil NGASHANI BULERE, ISP/GOMA (2016 – 2017), “LE SUSPENSE

DANS L’HOMME QUI M’OFFRAIT LE CIEL DE CALIXTHE BEYALA.” In the
first chapter of this work, he talked about different components of suspense
(P.4 – 16) such as; la tension narrative, le retard, le retardement narratif, la
Pause, le commentaire narratif,…
Laurent MUSABIMANA, (2015 à : 306), quoted by Gentil NGASHANI
BULERE from Goma TTC, defined suspense as fallows : “…Le suspense
engendre donc des effets du genre de plaisir. L’attente d’une issue
incertiaine laisse en silence l’histoire ou les événements racontés. Comme
on le voit, le suspense est lié à la valeur catholique du texte littéraire étant
donné que le dénouement de l’histoire peut provoquer une dimension
affective importante au lecteur…”
In this definition, the author has defined suspense as the creation of
pleasure effects that will lead to the uncertainty of events in the story. In this
quotation, the author also confirms that the denouement of the story always
creates tension in the reader.
- Jean – Paul RURAHOZE BITERAHOGA a senior lecturer at Rutshuru TTC,
“SUSPENSE IN TIMOTHY WANGUSA’S Upon This Mountain.” This article
is centred on the analysis of the methods of suspense; that is Flashback,
Foreshadowing, Dilemma, Reversal, and Mystery, with definitions and
illustrating extracts from Upon This Mountain of TIMOTHY WANGUSA
(1989). In this article, suspense is defined as follows: “suspense is a sense
of uncertainty or anxiety about the outcome of events in a story or drama.”
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Apart from the different methods of suspense that Jean – Paul RURAHOZE
studied in TIMOTHY WANGUSA’S Upon This Mountain, in our research paper we
are going to add something more about the ways to create suspense in a work of art.
Thus, as said before, our work focuses on both; the methods used to create
suspense and the different ways used to create suspense in Paulo COELHO’s The
Devil and Miss Prym.

0.11 Difficulties encountered

Any scientific work cannot be fulfilled without difficulties. Indeed, there were
many difficulties we faced during our work construction process.

Among, the difficulties we faced, we can list the following ones:

- First of all, the document in the main library at Goma Teachers Training
College dealing with suspense was not enough to our research. It was a bit
difficult to get all the necessary and sufficient information to our topic.
- Then, in order to get some additional data we could go to the internet.
Things which require money. At this level, we faced a financial problem
since we had to starve in order that we get the essential information about
our topic.

Since we cannot mention all difficulties encountered during our investigation,

but we have done our best to look for ways trying to solve them.
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CHAPTER I: THEORICAL AND CONCEPTUAL FRAME

Partial Introduction
This chapter is devoted on definitions of some key concepts related to
suspense. In this chapter, we will also provide some methods, some steps, and ways
used to create suspense in a narrative.

I.1 Definition of key concepts

I.1.1 Suspense
Suspense is a sense of uncertainty or anxiety and about the outcome of
events in a story or drama. According to Oxford Advanved Learners’ Dictionary
(1995:1204), the word “suspense” is defined as a “feeling of tension, worry, etc.
about what may happen.”

Google Mark Book states the following:

“Suspense is the element that authors use to try to leave the reader having,
trying to figure out what will happen next especially when the author does this
at the end of the book without actually telling what happens.”

This leaves a particular strong effect. Suspense is what gives the reader the
“onedge” feeling. It builds a story in order to make those final moments, no matter
how short the most memoral moments, in the work.

The suspense of a story may be the point at which will happen next. It is often
referred to in literature as the climax or the top of the story, when characters and
events reach a high complexity. Suspense in a story is the important element that
was never ignored by writers throughout the ages.

As already said here above, suspense is what makes the story more attractive
by inserting the feeling of tension, fear, worry, etc. And suspense also helps the
reader get information about what is going to happen next.

I.1.2 Curiosity
Curiosity is defined as an eager wish to know or learn about something having
the desire to learn new things. Curiosity has got many different definitions according
to many different authors. And it is always said that life without curiosity is quite
simply a boring life. Dorothy Parker talks of curiosity as a willing, a pride or an eager
confession of ignorance.
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I.1.3 Surprise
Surprise is defined as sudden and unexpected change of fortune or reverse of
circumstances in a literary work. According to work net3.0, Farlex elipart collection,
Princeton university, Farlex in c. (2003 – 2012), surprise as alteration, change,
modification, is defined as “an event that occurs when something passes, from one
state or phase to another.”

I.1.4 Surprise and suspense

These two words may appear in a work of art. Therefore, the film director
Alfred Hitcheok gave the difference between surprise and suspense on page 573 as
follows: “surprise makes someone wonder what will happen but suspense makes
someone wonder how it will happen.”

I.2 Models of Suspense

As far as the Models of suspense are concerned, we have realized that there
are several models of suspense. Many authors such as smuts, Gerring, yanal, Hit
chock, white, Mieke Bal, Adward talked about the Models of suspense among which
we are going to focus on some of them.

I.2.1 Musical suspense

According to the analysis done by Fink of music in Hitchcock films, another
feature which can sometimes intensify suspense is musical suspense. Silence may
work by creating a type of musical “plot lull”, a kind of emptied acoustic spape which
(perhaps metaphorically triggers the expectation that something will fill the space and
that a sudden change may be imminent. So suspense in narrative can clearly depend
also on extra narrative features like music. Musical structure is often compared to a
narrative. It is said that theoretical language of music theory uses the term suspense
in different situations (“suspended cadence” “suspended fourth”…). When the build –
up of the music towards a culminating high – point is felt where “something must
happen” when it arrives, the latter, that is high – point often also contains an element
of surprise, and this reflects the behaviour of many story plots.

Nevertheless suspense in the story, however musical suspense does not

usually evoke any emotion of fear. Perhaps that fear needs a more concrete link to
real world in order to be evoked.
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The role of music in eliciting suspense in narrative is well known. Certain film
scenes would be much less interesting and suspenseful if there were no music
accompanying them. And we believe that the music both triggers and signals a
feeling of tension and anxiety.

Music may have the role of signalling on one hand that something is about to
happen (imminence), and on the other hand that something seems (missing of
information). There are a certain number of musical “suspense signalling clichés”
which have been established, such as: diminished chords, tremolo Passages,
sudden variations in volume and so on. In music theory, these constructions are
viewed as having high instability, or unpredictability; and this feature is perhaps
important in their evocation of suspense.

I.2.2 Paradoxal Suspense

Cognitive psychologists Ortony, Clore, and Collins put forth a useful theory of
suspense that might be called standard account. They argue that suspense is
composed of fear, hope, and the “cognitive states uncertainty”.

Three scholars, Gerrig, Yonal, and Smuts have given three solutions to the
suspense paradox:

 Moment – by – moment Forgetting

Richard Gerrig argues for what we can call the moment – by – moment
forgetting theory. He thinks that suspense requires uncertainty. His solution to
the paradox is to deny that knowing the outcome of a narrative precludes
uncertainty. Despite appearances, Gerrig claims that one can both know how
a story turns out and be uncertain about the result while the story unfolds.
(Gerrig 1997,172).
 Emotional misidentification
Yanal’s solution rests on the distinction between anticipation and
suspense. But lacking a clear phenomenal distinction between the kind of
anticipation that viewers putatively confuse with suspense, we have cause to
be suspicious. Yanal goes on arguing that it is impossible that suspense occur
when the outcomes are known. (Yanal 1999, 139).
 Desire – frustration theory of suspense
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Aaron smuts defends the desire – frustration theory of suspense, which

holds that the frustration of a desire to affect the outcome an imminent event is
both necessary and sufficient to create suspense. (Smuts 2008)
Smuts argues that in all suspenseful narratives and in all suspenseful
situations in real life we find factors that partially frustrate one’s ability to
satisfy a desire, factors that suspend one’s efficacy. He argues that even when
the stakes are high, if one is actively working towards the realization of a
desired outcome, there can be no suspense.

I.2.3 “Character Suspense”

An oft quoted necessary condition suspenseful drama is a lack of important
information. Hitchcock says that the audience is aware of a given piece of information
that is missing but does not know which one it is. Maybe this feature would however
be better described as triggering curiosity, instead of suspense. Of course, as most
suspenseful narratives also seem to use in one way or another, the notions of
curiosity and suspense are strongly linked in this regard, white in 1938 claimed
suspense as prolonged curiosity. Hitchock’s view of suspense as lack of information,
highlights once more the difficulty of distinguishing these concepts and in making
clear how they work together in narrative.

Mieke Bal and Edward Branigan from the field of asthetics on literature theory,
formalized in 1996 a typology of possible relationships between the reader and
characters in narratives. Distinguishing the different narrative structures, they imagine
asking questions of both readers and characters and determine which of the latter
would know the answers.

I.2.4 suspense in the story – modelling Paradigm

One might expect work in the story – modelling paradigm to provide insight into
suggestions of suspense. Models of narrative such as TALESPIN, MINISTREL and
MEXICA and others, have indeed created stories which claim to have a degree of
suspense. However, none of these systems give an explicit formal analysis of how
this suspense is created. The focus is rather on the global story modelling task and
the automatic generation of new narratives. Some researchers attempt to evaluate
the suspensefulness of a set of by – product of story generation which must be
present for a story to be interesting.
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The global task, such systems may suffer from a degree of arbitrariness in the
choice of their theoretical story modelling apparatus. The presence of more
systematic and fundamental approaches to suspense (and to other aspects of what
makes a story interesting such as curiosity and surprise), could help to create a
common ground for the evaluation of story modelling system.

One system which does attempt to use suspense in its story generation process
in the work of cheong & Young.

I.2.5 Cheong & Young’s narrative generation system

Cheong & Young proposes a narrative generating system that attempts to
create narratives specifically designed to evoke suspense in the reader. This system
uses a data plan structure which models the goals and actions of the characters who
belong to the given story – world that affective states in the reader are provoked by
changing the order of presentation of events in a story world, they try to manipulate
the level of suspense in a story. For this, they are the idea that the suspense level
reader’s feel depends on the number and type of solutions they can imagine in order
to solve the problems facing their preferred character: “The reader’s suspense is
heightened when undesirable outcomes are likely to happen over preferred
outcomes”.

More recently, related work by Boe & Young has examined the relation and
possible complementarity between suspense and surprise in relation to plot. This
work uses the concept of “disparity of knowledge” about the story between the reader
and the characters, in the case of surprise, the reader knows less than (at least) the
characters. The model distinguishes the plot the reader currently believes is a good
description of the narrative from another (more accurate) sequence of events of
which an important protagonist is aware. At a crucial moment, the narrative forces the
reader to revise their reading of the story, creating surprise.
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I.3 Methods and Some steps to create suspense

I.3.1 Some Methods to Create suspense
I.3.1.1 Foreshadowing
Foreshadowing is a literary device in which a writer shows in advance a hint of
what is going to take place later in the story. It always appears at the beginning of a
story, or a chapter, and allows the reader to expect about the upcoming events.

A writer may implement foreshadowing in various ways. Some of these ways

can include: characters dialogues, plot events and changes in setting. It is said that
even the title of a work or a chapter can act as a clue that suggests what is going to
happen. In fiction, foreshadowing creates an atmosphere of suspense in a story, so
that the readers are interested to know more.

This literary device generally consists of building anticipation in the minds of

readers about what might happen next, thus adding dramatic tension to a story.
Moreover, foreshadowing can let extraordinary and bizarre appear credible, as the
events are predicted in order to prepare readers mentally for them.

Foreshadowing is frequently used by composers of theatrical music, in the

composition of operas, musicals, radio, film, television, gaming, padeast, and
internet scores and underscores, and incidental music for spoken theatrical
productions.

Foreshadowing is often confused with other literary techniques. Some of

these techniques include:

 A “red herring”, is a hint that is designed to mislead the audience.

However, foreshadowing only hints at a possible outcome within the
confinement of a narrative, and Purposely leads readers in the right
direction.
 A “flash forward” is a scene that takes the narrative forward in time
from the current point of the story in literature, film, television, and
other media. Foreshadowing is sometimes employed through characters’
explicitly redicting the future.

By analogy to foreshadowing, the literary critic Gary Marson describes its

opposite, sideshadowing. Found notably in the novels of Leo tolstay and Fyodor
Dostoyevsky it is the plot. This, according to Marson, increases the verisimilitude of
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the fiction because the audience knows that in real life, unlike in novels, most events
are in fact inconsequential. This “sense of structurelessness” invites the audience to
“interpret and question the events that actually do come to pass.”

I.3.1.2 Flashback
A flashback (sometimes called an analepsis) is an interjected scene that
takes the narrative back in time from the current point in the story. This literary
device is often used to tell events that happened before the story’s Primary sequence
of events to fill to fills in crucial backstory. In the opposite direction, a bit similar to
foreshadowing, a flashforward (or prolepsis) reveals events that will occur in the
future. Both flashback and flashforward are used to cohere a story, develop a
character, or did structure, internal analepsis is a flashback to an earlier point in the
narrative; external analepsis is a flashback to a time before the narrative started.

An early example of analepsis in the Ramayana and Mahabharata, where the

main story is narrated through a frame story set at a later time. Another ancient
example occurs in the odyssey, in which the tale of odysseus’ wandering is told in
flashback by odysseus to a listener.

Another early use of this device is a murder mystery was in “the three
Apples”, an Arabian Nights tale. The story begins with the discovery of young
woman’s dead body. After the murderer later reveals himself, he narrates his reasons
for the murderer in a series of flashbacks leading up the discovery of her dead body
at the beginning of the story. Flashbacks are also employed in several other Arabian
Nights tales such as “Sinbad the sailor” and “The city of Brass”.

In the case Flashbacks are extensive and in chronological order, one can say
that these form the present of the story, whereas the rest of the story consists of
flashforwards. If flashbacks are presented in non – chronological order, the time at
which the story takes place can be ambiguous: An example of such an occurrence is
in slaughterhouse – Five where the narrative jumps back and forth in time, so there
is no actual present time line.

I.3.1.3 The Dilemma

It is a situation that needs a choice between options that are or seem equally
unfavourable or unsatisfactory. A problem that seems to defy a satisfactory solution.
An idea that presents two alternatives, each of which has the same consequence.
 13

In the traditional use of dilemma, it is referred to a situation in which a choice

must be made between alternative courses of action or argument. The word can also
be used more loosely to mean “problem” or “predicament” without implying that a
choice must be made. Language critics have the criticized this usage, and this view is
still supported by the usage panel, but this support has been eroding over time. In the
1998 survey, 58 percent of the usage panel rejected the sentence historically, race
has been the great dilemma of democracy. This is a significant decrease from the 74
percent that rejected a similar sentence in 1988. People sometimes claim that
because the di – in dilemma is from a Greek Prefix meaning “two”, the word should
be used only when exactly two choices are involved. Some 58 percent of the panel,
in 2005, reported that they followed this restriction in their own writing. The remaining
42 percent said that the word could acceptably be used for more than two choices.

I.3.1.4 Mystery
Mystery is a genre of fiction usually involving a mysterious death or crime to
be solved. Often with a closed circle of suspects, each suspect is usually provided
with a credible motive and a reasonable opportunity of committing the crime. The
main character will oftentimes be the one who eventually solves the mystery books
are nonfictional. “Mystery fiction” can be detective stories in which the emphasis is
on the puzzle or suspense element and logical solution such as whodunit. Mystery
fiction can be contrasted with hardboiled detective stories, which focus on action
and gritty realism.

A supernatural mystery may be involved in Mystery fiction. It’s where the

solution does not have to be logical and even no crime involved. This usage was
common in the Pulmagazines of the 1930s and 1940s; where titles such as dime
mystery, thrilling Mystery and spicy mystery provided what was called that time
“weird menace” stories supernatural horror in the vein of Grand Guignal. And this
could contrast with parallel titles of names which contained conventional hardboiled
crime fiction. The first use was by Dime Mystery, that started as an ordinary crime
fiction magazine but turned into “weird menace” during the latter part of 1933.

I.3.1.5 The Reversal

Primary Meaning of Reversal

1. The act of reversing the order or place

2. A major change in attitude or principle or point of view
 14

3. An unfortunate happening that hinders or impedes, something that is thwarting

of frustrating.

A Reversal is defined as a change of decision or direction, usually to the

opposite. Maybe you liked history, but you thought you’b better major in business
because there were more jobs. Then you took an economics class and hated it. So in
a reversal, you majored in history after all.

In low terms, a reversal is when a high court decides the decision of a lower
court is incorrect and should be overturned. In a reversal, the supreme court
overturned the guilty of the lower court, and the prisoner was set free. A change in
circumstances for the worse also a reversal. If someone makes poor investments,
they may suffer a reversal in fortune and go shopping for designer clothes to
shopping at thrift stores.

Mattis’s Policy recommendation marks a reversal of the Obama

administration’s decision in 2006 to lift a ban a transgender men and women serving
in the armed forces, thought grandfathers those currently serving.

I.3.2 Some steps to create suspense

Joe Bunting Provides The different steps to create suspense, Among which
we have mentioned some.

In posing a good dramatic question in the minds of readers, is the best way to
create suspense and keep people reading. Before all, we have to know what the
dramatic question is about. The dramatic question is a basic problem of any
storyteller or playwright is holding the audience’s attention. Suspense is among the
most familiar way stories and plays can be designed to do this; that is dramatic
question. Suspense affects the audience’s interest in finding out whether things will
turn out in some particular way or that. The dramatic question centres around the
protagonist central conflicts.

Among the existing steps to create suspense with the dramatic question, here
are some:

a) Caring about the Answer

For example we’re writing a thriller about a spy who put herself in constant to
fight her arch enemy for the sake of her country, posing the dramatic question; “will
 15

she survive and save her people?” Pretty standard stuff. We have to make the reader
care about the answer. However, if our heroine is whiny, annoying, and mean
spirited, if we don’t find her sympathetic in some way (even if she’s not likeable), then
our readers aren’t going to care as much about whether she survives or not. On top
of that, if our villain isn’t a hateable master mind, but actually a weakling guy that’s
actually pretty nice, no one is going to root for is full of whiny, annoying, mean
spirited, then we might even root against her. Before we pose the dramatic question,
we have to spend time introducing our characters:

1. Introducing our protagonist (we show but we don’t tell why we should
root for her)
2. Introducing our supporting cast (other interesting and/or likeable
characters on our protagonist’s side we can root for)
3. Introducing our villain (if they aren’t incredibly interesting and powerful it
makes your protagonist less interesting and powerful).
b) Pose it in time

If we pose the dramatic question too early, the audience won’t care about our
cast to care about our dramatic question. If we pose it too late, our readers will get
bored and set our book down. Most people say the right time to pose the dramatic
question is between 1/6 and 1/3 of the cay into our story.

c) Tension with small losses and small wins

It’s no use answering the dramatic question right away. And if we do it, it would
be boring. Instead, we need to build up tension by inserting a series of minor battles,
with small losses and wins.

For example, our dramatic question is “will inspector Peugeot solve the murder
mystery?” By building tension, we can insert a redherring by having the inspector
find a clue that will lead to a chase scene with a suspect. Then, when he is finally
caught (win!) it turns out he isn’t actually the killer (loss!)

d) Protagonist success

Having a false success is one good way of building suspense, where the
protagonists think they’ve solved the dramatic question. They save the world, they
helped Haley Joel Osment, they solved the murder. We have to let our protagonist
reveal in their success for a while. Then, pull the rug out from under them.
 16

e) Protagonist failure

After we have made our protagonists think they passed, we have to make them
fail. This is a time honoured technique used by Homer himself. Odysseus is within
sight of home when his men, driven by greed, open the bag containing three of four
winds, blowing their ship back most the way they come. This creates the dark right of
the soul, the death which is necessary in every story in order to create change in the
protagonist.

f) No giving the answer

Answering the dramatic question too soon is not the key to suspense. We have
to think of it as a dance, a tango. We’re dancing with the readers, twirling around their
emotions, bringing them close and then pushing them away, allowing them to think
they’ve got us and then slipping through their grasp. We don’t need to give away the
answer until we do. And this is what drama is all about, whether someone is writing
thrillers, mystery, or romance. The surprising truth readers may even know where the
dance is going to end up. They may already know the answer to the dramatic
question still, they’ll stick with us because in the end, it’s not even about the dramatic
question, it’s about the dance leading up to it.

I.4 Some ways to create suspense

According to Gail Carson Levine at the 2010 SCBWI conference and as part of
her keynote speech, she shared many different ways to create suspense among
which we have:

I.4.1. Time
Concerning the time, the author uses the pressure loom by using a ticking
clock device. Thoughts of worry can also work to help emphasize the time.

I.4.2 Distance
Scape has to be created between the character and his/her goal. A need to
reach a far away destination always creates suspense. The author says not to worry
obsessively, because worries are a good way to end a chapter. It’s also said that
chapter titles can also be used to create distance.

In order to achieve the goal, there is always a distance between the character
and their goal. The author may create a scape that the character is to face in order to
fulfil their goal.
 17

I.4.3 Thoughts
Thoughts are also elements that are usually used to create suspense in a
novel. Making character worry, shows the tension through their thoughts.

I.4.4 Setting
It’s true that the environment in which the character is situated can also affect
the reader’s feeling or attention. A dangerous environment will create an immediate
tension in the book.

I.4.5 Separation
When the main character is physically separated from the problem, and sent
away. then the readers will ask themselves, what is the villain going while the main
character is away? what is the enemy doing? Seeing what the enemy is up to can
create tension.

I.4.6 Isolation
There needs to create a dangerous situation around the main character but
he/she is also isolated. And this will let the reader pay attention about what will do by
their own.

I.4.7 Expectation
We all wonder if we can live up to the expectations around us. Tension has to
be built through what others expect of our main character. How do those
expectations stress the character out? Self character’s expectations are used as well.

I.4.8 A Test
Pop Quiz! Our character is to be given some sort of test. This is an immediate
Producer. For example many people at the SCBWI conference have a manuscript
critique they’re feeling!

I.4.9 Main character Flow

Example – in Back to the future the main character Marty can’t tolerate being
called a coward Now the reader will worry about when he will be called and about
what he will do.

I.4.10 Secondary character Flow

It is like the main character flow. The reader and the main character will be
waiting to see what they will do.
 18

I.4.11 Atmosphere
Alien uses a creepy atmosphere and imagery to build suspense for what’s to
come. Music, scenery, time of day, and weather can all affect suspense in a story.

Atmosphere is especially important because it can destroy suspense if it’s used

improperly. The devil forest will seem less menacing if the noon day sun is teaming
down and rabbits are frolicking through flower patches. Normally, a story should be
crafted in an environment suitable for the plot and characters; a disjunction between
the atmosphere and the plot can jolt readers right out of the story. Location can be
critical when it comes to suspense. A gloomy or macabre location is useful for
horror, whereas noir often features dreary crime – riddled cities. The location can by
itself can be dangerous and threaten the protagonists directly, or it can serve as a
backdrop to the story.

I.4.12 Deadline
Nicolas cage works under a deadline in the Rock setting. A deadline for
protagonists is a simple way to add suspense. The deadline also acts as an easy and
straight forward method of driving the plot. Deadlines not only loom over the
protagonists, but they also provide a clear and concise end goal. This bluntness
and efficiency makes it an attractive option for building suspense.

The less time the heroes have, the higher the stakes are. we can use a vague
timeline, but that lowers the suspense. Regardless of how much time we give them,
the characters and audience should hear the clock tick. Reminders and signs that the
time is drawing near should be there regularly. Falling to meet a deadline should
carry consequences just like any other threat. As well as how a toothless villain
fails to impress people, it is going to be under whelming if nothing serious happens
when the clock strikes zero. Tricking time – bombs and impending attacks are
frequently used in action – and adventure stories. It’s direct, easy to implement, and
builds up to a final exciting conflict, making it an attractive choice.

I.4.13 Peril
The easiest way to add suspense to the story is making the protagonist’s
obstacle more dangerous. Any hurdle thrown at the heroes should provide a
legitimate challenge. By upping the scale, we can generate suspense by making it
seem likely that they’ll lose. Villains usually present an obvious menace, but
antagonists aren’t the only way to faster peril. An environment can present turbulent
 19

weather or malevolent fauna. Sometimes, it’s not the journey itself that’s dangerous;
it’s the destination. The hero may need to make a sacrifice in order to succeed, or
maybe the final conflict is the – threatening. Either way, suspense is always be built
up before the climax.

Peril is generally important. It comes to horror stories because they feature

monsters and villains that are supposed to seem insurmountable. They should be
both dangerous and difficult to defeat. Whether or not there’s a weakness should
hinge on the type of story told. Do the heroes overcome all odds and succeed, or do
they fall short and succumb to power forces?

I.4.14 Losses
Vader’s dismemberment of Luke shows that Luke is out matched and in danger.

Suspense is going to be hardly developed if heroes don’t encounter any

difficulty. So much suspense can be built only by hyping up obstacle. It has to be
Shown, and not told. This problem has got an easy way to be addressed, it’s to force
heroes to deal with some kind of loss or setback. There are a several types of
losses they can experience.

 Utility: The heroes are ready to take on the Big – bad. Wizard because
they’ve got a +4 sword of wizard whipping. However, the wizard has
another plan and uses minions to steal the sword. Now the heroes and
audience are uncertain of the outcome. Inflict losses on your heroes by
removing useful or allies, and the impending conflict will seem more dire.
 Personal: Heroes can also suffer losses that wear at their determination
and maybe the monster will snack on the protagonist’s best friend. Or
perhaps the village manages to fend off the villain but only after the
hero’s house burns to ash. Whenever the threat takes or injures
something that the hero values, it can drive the plot and remind everyone
that failure has consequence. Moments like these can also be used to
develop characters as they will be defined by how they react to
personal losses.
 Wound: A wound acts any other obstacle by inhibiting them through
physical or mental injury. Wounds can be intentional wounds an inflicted
by a monster or villain, and they hinder the hero while making the villain
 20

seem more dangerous. Incidental wounds are caused by accident or bad

luck. Both methods prove the hero is vulnerable.

Regardless of how loss is used in storytelling, the losses need to be noticeable.

Superficial wounds won’t generate much suspense and can make the hero seem
beyond real injury.

More than all other stories, horror movies rely on death and loss to build up the
final conflict. The monster or villain needs to seem like a legitimate threat through the
death and dismemberment of victims.

Suspense is said to be constant pressure, and weighs on characters and the

audience alike. Suspense will exhaust too much characters and audience. One will
not be as effective at building up not enough to the final – showdown, choosing
wisely to find the appropriate method and amount of suspense.

Partial conclusion
This chapter was concerned with the background theories of suspense and
definitions of some key or basic concepts related to our topic. In this chapter, we
explained the methods of suspense that are usually applied in works of art. We also
pointed out some ways and steps often used to create suspense in a work of art.
 21

Chapter II: SUSPENSE IN PAULO COELHO’S The Devil and Miss

Prym
Partial introduction
This chapter consists of pointing out some methods used to create suspense
in the novel understudy, that is The Devil and Miss Prym; Illustrating them with
accurate, supporting examples from the novel. This chapter also deals with carrying
out the different ways used to create suspense in the novel, illustrating them by
suiting extracts from novel.

II.1 Some Methods used to create suspense in the Novel

II.1.1 Foreshadowing
As said before, foreshadowing is the use of clues that hint at what will happen
later in the story. It also consists of giving a sign of something which will happen in
the future.

In fact, foreshadowing is expressed by the narrator in the following lines:

...“I’m giving them a week. If at the end of seven days, someone in

the village is found dead – it could be a useless old man, a someone with
an incurable illness, or a mental defective, who requires constant
attention, the victim doesn’t matter – then the money will go to the other
villages, and I will conclude that we are evil. If you steal the gold bar but
the village resists temptation, or vice versa, I will conclude that there are
good people and evil – which would you put me in a difficult position
because it would mean that there’s a spiritual struggle going on that could
be won by either side. Don’t you believe in God and the spiritual world, in
battles between devils and angels?”… (P. 17)

This extract is about the antagonist of the story; that is, the stranger. He went
into the forest to hide his gold bars. After hiding them in the forest, on his way back to
the village, he met by any chance Chantal; the protagonist of the story, sitting by the
river. The stranger greeted her and asked her to follow him in order to show her
something. After reaching the place, the stranger showed Chantal the place and
asked her to dig the soil. When digging the soil she found that there was gold. For
that occasion, the stranger then told Chantal about his plan; that is, giving the gold
bars to her village as reward in the case they commit a murder. And he tells her
about the time he is going to spend there; that is, a week.
 22

The narrator uses foreshadowing by the fact he expresses the stranger’s plan
in the village; that is, he is going to give the gold to the villagers and he recommends
them to commit a murder. Foreshadowing is noticed in this passage when the reader
wonders who will be the victim among the characters or among the village
inhabitants.

II.1.2 FLASHBACK
Harcourt Brace J. (1985 : 8422) states that flashback is a scene in a story or
play that interrupts the present action to tell about events that happened at an earlier
time.

Most narratives are told in a chronological order – that is the order in which
they occur in time. But often a flashback is referred to, when the writer wants to show
what happened in the past in the story.

However, in the same novel, the narrator expresses the flashback as follows:

...“Carlos”, someone said, “his name is Carlos, and it would be

more polite to call him by his name than to keep referring to him as “the
stranger”

“i don’t know his real name. All the details he gave on the hotel
form are false. He’s never paid for anything a credit card. We have no idea
where he came from or where he’s going to; even the phone call to the
airport could be a lie.” (P.77)

This extract is about the main character; Chantal who decides herself to tell the
villagers about the stranger’s plan in Viscos because she has spent many days
without telling it. When speaking, she was referring to the stranger calling him “the
stranger” now someone among the villagers told Chantal not to refer to him as “ the
stranger” but as “Carlos” because all knew that it was his name.

The flashback is expressed through this passage by the fact that the stranger
gave false details about him and because of that, he could not even use his credit
card to pay there in the bar. In order not to be identified, he was used to paying cash.

Flashback is referred to in the fallowing lines:

…Chantal listened to the clattering mental blinds and remembered

the voice of her grandmother recounting what happened.
 23

“One, many years ago, a hermit – who later came to be known as St Savin
lived in one of the caves hereabouts. At the time, Viscos was little more
than a frontier post; populated by bandits feeling from justice, by smugglers
and prostitutes, by confidence tricksters in search of accomplices, even by
murderers resting between murders. The wickedest of them all, an Arab
called Ahab, controlled the whole village and the surrounding area,
imposing extortionate taxes on the local farmers who still insisted on
maintaining a dignified way of life.” (P.25)

In the extract above, the narrator uses flashback when he moves back to the
story when Chantal remembers what her grandmother was telling when she was still
alive. The narrator goes on illustrating flashback mentioning what Chantal’s was
telling her. She was telling Chantal about the former story of her village; that is,
Viscos, she was telling her about the former leaders of Viscos; that is, St Savin and
an Arab called Ahab. In this period, Viscos was inhabited by bandits feeling from
justice, by smugglers and prostitutes, by confidence tricksters in search of
accomplices, even by murderers resting between murders. The one devoted to
control the whole village was Ahab. He was even controlling the surrounding area,
and he was obliging the local farmers who still insisted on maintaining a dignified way
of life to pay extortion taxes.

Adding to what has been illustrated, the narrator expresses the flashback as
follows:

…For the hundredth time, Berta Launched into the story of her
husband’s death. He had been one of the most respected guides in the
region, a man who saw hunting not as a savage sport; but as a way of
respecting local tradition. Thanks to him, viscos had created a special
nature reserve, the mayor had drown up laws protecting certain near –
extinct species, there was a tax per head of each animal killed, and the
money collected was used for the good of the community…(P.50)

In the extract here above, the flashback is pointed out when the narrator is
talking about Berta’s husband’s death who died some years ago before the beginning
of the story. And in the narrative it is said that after his death, he always appeared to
his wife Berta and he is the one who told Berta to be sitting in front of her door house
in order to watch over the village. In the same extract, the narrator is telling about the
 24

personality of Berta’s husband when he was still alive. He was among the most
respected guides in the region, he was considering hunting as a way of respecting
local traditions. He struggled for a special nature reserve, and thanks to him hunters
could be paying a tax per head of each animal killed, and that money was used for
the good of community.

II.1.3 DILEMMA
Dilemma is when a character is found in an obligation to make a choice
between two or more than two dangerous alternatives or courses of action.

The narrator uses the dilemma in the following lines of the novel:

…Yet here she was now with a gold bar in her hands, the
treasure she had never believed in, her definitive freedom.

She was seized by panic: the one lucky moment in her life could
vanish that very afternoon. What if the stranger changed his mind? What
if he decided to go in search of another village where he might find
another woman more willing to help him in his plans? Why not stand up,
go back to her room, put her few possessions into a bag and simply
leave? (PP 31 – 32)

This extract is about Chantal who has gone once more in the forest to the place
where the gold bar that the stranger promised to give her as reward in the case she
succeeds to make his plan work. Holding the gold bar in her hands, different thoughts
raised in her mind.

The dilemma is expressed through the passage above in the fact that Chantal
finds herself in difficulties to make choice. She is afraid to refuse the stranger’s
proposal. In the case she refuses, the stranger may go to another village and find
another one to help him in his plan whereas this may be her only opportunity to gain
her life. She has got also an idea of stealing the gold and run with it. But she thinks
that the stranger may send the police to arrest her. But she is also afraid of the
stranger’s plan of making a murder in the village so that the gold may belong to the
inhabitants of the village. But also in the case the stranger’s plan succeeds, she
deserves one gold bar.
 25

II.1.4 THE MYSTERY

As mentioned before, mystery is a situation of which the cause or origin is not
known, or impossible to explain. Lwanjire Lwangombe (2005) states that:

“Writers sometimes create suspense by holding information from the reader,

for instance who the murderer in the story is or how the crime was committed.”

Mysterious circumstances can also create suspense as stated in this passage:

…“Do something”, said Chantal’s devil to his colleague. “Even

though she’s saying no, her soul understands and is saying yes.”

The stranger’s devil was feeling humiliated because the new arrival
had noticed that he wasn’t strong enough to get the man to shut up.

“Words don’t matter in the end”, the devil said. “Let them talk, and
life will see to it that they act differently”…(112)

The mystery is revealed through this extract by the fact that it is difficult to
understand that people’s devils may hold a conversation and talk to each other
without the being aware of persons. In this passage, the narrator is showing the
stranger’s devil and Chantal’s that are conversing with one another whereas both the
stranger and Chantal are not aware of that. Chantal’s devil tells the stranger’s devil
that though Chantal is saying no to the stranger’s plan, her soul is saying yes. And
the stranger’s devil says to let them talk and life will see to it that they act differently.

Mystery is also revealed in the following passage as follows:

…Her husband appeared earlier that evening, and to her surprise, he

was accompanied by Miss Prym’s grandmother. Berta’s first reaction was one
of jealousy: what was he doing with that woman? But then she saw the worried
Look on both of their faces, and became even more troubled when she heard
what they had to say about what had gone on in the sacristy.

The two of them told her to run away at once.

“You must be joking”, Berta replied. “How am I supposed to run a way?

My legs can barely carry me the hundred yards to church, so how could I
possibly walk all the way down the road and out of the village? Please, sort this
problem out up in heaven and do something to protect me! After all, why else do
I spend my time praying to all the saints?”...(P.158)
 26

The mystery expressed though this extract is that it is not easy to understand
or to explain that someone can be able to talk to dead people. This extract is about
Berta’s husband and Chantal’s grandmother who appear to Berta and they were both
dead. Their visit to Berta is of telling her about what happened in the sacristy; and
that she was chosen as the victim to be murdered. After telling her the plan and that
she was chosen as the victim, they asked her to run away. But she refused to run
away because she can barely walk the hundred yards going to church. Receiving the
news, from the sacristy, Berta got afraid and asked her husband and Chantal’s
grandmother to solve out her problem of being victim in the heaven. After that, they
explained her that Good and Evil were locked in combat, and no one could interfere.
And that Angels and Devils were in the midst of one of the periodic battles that
decide whether whole regions of the earth are to be condemned for a while or saved.

II.1.5 THE REVERSAL

Reversal is a sudden change in a character’s situation from good to bad or
vice – versa.

In The Devil and Miss Prym, the narrator uses the reversal as follow:

“They chatted for a while. Ahab was impressed by what the saint
had to say, but he was a suspicious man who no longer believed in the
existence of Good. He showed Savin where he could sleep and then
continued menacingly sharpening his knife. After watching him for a few
minutes, Savin closed his eyes and went to sleep.”

“Ahab spent all night sharpening his knife. Next day, when Savin
awoke, he found Ahab in tears at his side.”

“You weren’t afraid of me and you didn’t judge me. For the first
time ever, someone spent a night by my side trusting that I would be a
good man, one ready to offer hospitality to those in need. Because you
believed I was capable of behaving decently, I did”.

“From that moment on, Ahab abandoned his life of crime and set
about transforming the region. That was when Viscos ceased being merely
a frontier post, inhabited by out casts, and become an important trading
centre on the border between two countries”…(P.25)
 27

This extract is about former leaders of Viscos; that is Saint Savin, and Ahab.
One day Saint Savin left his cave, and went to Ahab’s house. Arriving there, he
asked him to spend night with him. Ahab laughed at the Saint Savin and asked him
whether he knows that Ahab is a murderer who has already slit a number of throats,
and Ahab said to Savin that his life is worth nothing to him. Savin replied to Ahab that
he knows that he is a murderer, and that he is tired of living in a cave and he’d like to
spend at least one night there with Ahab. They held a talk for a while, and after some
minutes, Ahab showed Savin the place where he could sleep and him continued
sharpening his knife. Now, reversal is revealed in this extract by the fact that in the
morning, when Savin awoke, he found Ahab in tears. Being the man who no longer
believed in the existence of Good, could not believe that someone can spend all the
night long by his side. But Savin has done it. By the fact that Savin has spent night in
the same house with him, Ahab abandoned his life of crime and was converted into
Christianity; that is, he turns from Bad to good.

II.2 Some ways to create Suspense in the Novel

II.2.1 Time
The time in a novel consists of making the pressure loom by using a ticking
clock device. The narrator uses this device to show that the character must hurry in
what they have to do. It can also be emphasized by thoughts.

However, time is expressed through the following passage as follows:

Chantal found it virtually impossible to help during the three nights

following that meeting by the river. The storm – which came and went –
shook the metal blinds, making a frightening noise. She woke repeatedly,
bathed in sweat, even though she always switched off the heating at
night, due to the nigh price of electricity. (P. 23)

Time is expressed in the passage above by the fact that Chantal has spent
three nights since she met with the stranger in the forest and she hasn’t done yet
what the stranger asked her to do; that is, to tell his plan to the inhabitants of the
village. Chantal does not feel at ease, she has got insomnia during the three nights
seeing that time is passing yet she is obliged to do what the stranger asked her to do
in the sake of saving her village.

Time is also expressed through the passage bellow as follows:

 28

…As time passed, Chantal became increasingly nervous, afraid

that he might ask her to tell everyone about their meeting in the forest.
But the stranger never even glanced at her, and the spoke to her only
once… (P. 27)

The narrator expresses the time in this passage seeing the way that the
stranger has launched the ball to Chantal. And he seems that he does not care about
his deal any more. And Chantal is getting more and more nervous, and afraid
thinking that the stranger may ask her to tell everyone about what they talked about
in the forest.

II.2.2 Distance
As mentioned in the first chapter, there has to be an escape between the
character and their goal.

However, distance is expressed through the passage bellow as follows:

...“As for the other ten gold bars”, he went on, “they are worth
enough to mean that none of the inhabitants of this village never need to
work again. I didn’t ask you to re – bury the gold bars because I’m going
to move them to a place only I will know about. When you go back to the
village, I want you to say that you saw them and that I am willing to hand
them over to the inhabitants of Viscos on condition that they do
something they would never dream of doing.”

“Like what, for example?”

“It’s not an example, it’s something very concrete. I want them to break
the commandment “thou shalt not kill”

“What?”

Her question came out like a yell.

“Exactly what I said. I want them to commit a murder.” (P. 16 - 17)

This extract is about the stranger who is in the forest with Chantal. Being in the
forest, the stranger has shown the gold bars to Miss Prym and is just telling her about
his plan in the village. Between the stranger and his goal, there is a scape to happen
through which the distance is expressed. In order to achieve his goal, the stranger
gives one condition to the inhabitants of Viscos; that is, committing a murder and that
 29

within a week. If the inhabitants succeed to commit the murder, the stranger will hand
them the gold bars, but in case they don’t succeed, the stranger will move to other
villages.

II.2.3 Thoughts
Tension is shown through the character’s thoughts, by making them worry.

In fact, thoughts are expressed in the following lines as follows:

...As expected, the stranger went into the hotel. Berta wondered if she
should go and warn the priest about his undesirable visitor, but she knew
he wouldn’t listen to her, dismissing the matter as the kind of thing old
people like to worry about... (P.2)

This passage, thoughts is expressed by the fact that Berta was puzzled by the
stranger’s arrival in the village. And because of being worried, she could even decide
to warn the priest about that situation.

Thoughts are also expressed in the following passage:

...Chantal looked away and stared at the mountains. She knew the stranger
had realised that she had never heard of the author he was talking about
and now she was afraid he would ask about those ten commandments; she
had never been religious and had not the slightest idea what they
were...(P.14 -15)

The narrator expresses thoughts in this passage by fact that through the
attitude of Chantal. She thought that the stranger has noticed that she doesn’t know
anything about what he has told her; and she was worried thinking that the stranger
would ask her about the ten commandments yet she had idea about them.

II.2.4 Setting
As far as setting is concerned, we think of the place where the story is taking
place. Setting expresses suspense because it sometimes affects the reader’s feeling
according the environment where the character is found.

However, the narrator expresses the setting of the story as follows:

…He plunged into the forest, where he waited until his hearing had
become used to the noises made by the insects and birds, and by the
wind eat ling the leafless branches; he knew that in a place like this
 30

someone could easily be observing him without his being aware of it, so
he stood there for almost one hour without anything...

… The first person he saw as walked back to the village was a young
woman sitting beside one the many temporary rivers that formed when
the ice melted high up in the mountains... (P.7)

In this passage, the narrator is telling about the stranger who, after one day in
the village, went ahead the forest where he judged better to hide his fortune; that is
the gold bars, and where he thought that no one could see him hiding the gold bars.
Now on his way back, he met with Chantal who was sitting besides the river reading
a book. As expressed in the passage here above, the setting of the story is that the
story is taking place in a village. Being in the forest, the stranger was listening to the
noises made by the insects, birds, the wind eat ling and by leafless branches. The
narrator expresses the setting through different aspects that a village can have;
mountains, rivers, etc. The expression of suspense in this passage is throughout the
description of the setting by the narrator. The description brings about feeling of
horror, by the fact that the reader can imagine that the character is in danger. There
are many dangers in forests. There are wild animals that are dangerous to people.
When the stranger decided to hide his gold bars, he chose the forest as a better
place. He went very far in the forest where couldn’t be anyone watching him. He
could here only sounds of birds. It is a terrifying situation regarding the story of
wolves in the village.

II.2.5 Separation
Here, the main character is physically separated from the problem. They are
sent away for a while.

The narrator expresses separation in lines bellow as follows:

…The Landowner never went to the bar. He had heard of the story
through his maid, who had been there on the night in question and had
left in high excitement, telling her friends and him that the hotel guest was
a very rich man; who knows perhaps she could have a child by him and
force him to give her part of his fortune. Concerned about the future, or,
rather, about the fact that Miss Prym’s story might spread and drive away
hunters and tourist alike. He decided to call an emergency meeting. The
 31

group were gathering in the sacristy of the small church, just as Chantal
was heading for the forest, the stranger was off on one of his mysterious
walks and Berta was chatting with her husband about whether or not to
try and save the village. (P.103)

In this passage, the narrator is telling about the landowner who was away from
the bar the previous night when Chantal decided to tell the stranger’s plan to the
inhabitants, and what the stranger is going to do in the village. Now he got the
information from his maid who was present there in the bar. She could tell him that
the hotel guest; that is, the stranger was a very rich man. In this passage, separation
is expressed by the fact that the landowner decides to call for an emergency meeting.
He calls for the meeting whereas Chantal, the stranger, and Berta are away. The
stranger had already gone for his mysterious walks, Chantal was heading for the
forest, and Berta was at her post watching over the nature, yet they are the main
characters of this novel. And this creates tension into the reader to know what is to
be done whereas the main character is away.

II.2.6 Isolation
As mentioned before, isolation is noticed when there is a danger around the
main character, and the reader is curious to know what they are going to do by their
own.

However, isolation is expressed in the same novel through these lines:

“…Let’s get down to particularities”, said the mayor’s wife, rising to her
feet.

“Who should be sacrificed? And who should carry it out?”

“The person who brought the Devil here was a young woman
whom we have all always helped and supported”, commented the
landowner, who in the not – too – distant past had himself slept with the
girl he was referring to and had ever since been tormented by the idea
that she might tell his wife about it. “Evil must fight Evil, and she
deserves to be punished”.

Two of the others agreed, arguing that, in addition, Miss Prym was
the one person in the village who could not be trusted because she
 32

thought she was different from everyone else and was always saying
that one day she would leave.

“Her mother’s dead. Her grandmother’s dead. Nobody would miss

her”, the mayor agreed, thus becoming the third to approve the
suggestion...(P.134 – 135)

This extract relays on the discussion that the inhabitants are holding about the
victim to be murdered. When discussing, the landowner declares on his behalf that
the one to be murdered is the person who brought Devil in the area; that is Miss
Prym. Declaring that, he wants to protect himself from being betrayed by Chantal
because he slept with her and he thinks that she may tell his wife. The mayor also
shares the same idea with the landowner that Chantal is to be taken as the victim
because both her mother and her grandmother are dead and no one could miss her.
Indeed, the narrator expresses isolation by the fact that, Chantal being the one who
told the stranger’s plan to the inhabitants, she is considered as the one who brought
Evil in her village. As danger that’s mentioned around her in this passage is that she,
runs the risk of being chosen as the victim to be murdered.

II.2.7 Expectation
As said before, tension is built in the novel through what others expect of the
main character. Self character’s expectation can also be used.

Through the extract bellow, expectation is expressed as follows:

...How much would it be worth? She couldn’t tell with any degree of
accuracy, but – as the stranger had said – it would be enough for her
not to have to worry because earning another penny for the rest of her
life. She was holding her dream in her hands, the thing she had always
longed for, and which a miracle had set before her. Here was the
opportunity to free herself from all those identical days and nights in
Viscos and from the endless going back and forth to the hotel where she
had worked since she was eighteen, from the yearly visits of all those
friends whose families had sent them away to study and make
something of themselves, from all the absences she had long since
grown used to, from the men who arrived promising her the world and
left the next day without even a goodbye, from all the farewells and non
 33

– farewells to which she had long come accustomed. That moment

there in the forest was the most important moment of her entire life
(P.30)

In this passage, after the first meeting in the forest with the stranger, the
narrator is talking about Chantal also went into the forest by her own. Reaching the
place where the stranger showed her and hid the one gold bar that he promised her
as reward in the case she succeeds what told her to do; that is, telling his plan to the
inhabitants, she took the branch she used last time and dug. After digging, she took
the gold bar in her hands. Examining it for a while, she also wondered how it would
be worth. She could not think of any degree of accuracy, but she remembered only
that the stranger told her that it would be enough penny for the rest of her life. The
expectation is expressed through this passage, holding the gold bar in her hands,
and thinking that the plan may work that she may be given the gold bar as reward,
Chantal expects of having a better life taking into account that moment in the forest
which was the most important moment of her entire life.

II.2.8 A test
The character is given a test to do or a kind of quiz.

A test is expressed in the following passage as follows:

“…A man who found paradise when he thought he was a prisoner to the
hell of routine and family, and who found hell when he could at last enjoy
paradise and total freedom. That’s who I am, a man who has been both
fitted to reply to my own question about the essence of humanity and
that’s why I’m here. I know what you’re going to ask next”,

Chantal felt she was losing ground. She needed to regain it

rapidly.

“You think I’m going to ask: “why did you show me the gold?” But
what I really want to know is why a rich and famous industrialist would
come to Viscos in search of an answer he could find in books;
universities, or simply by consulting some illustratious philosopher”.

The stranger was pleased at the girl’s intelligence. Good, he had

chosen the right person – as ever. (Pp14 – 15)
 34

This extract is about the stranger and Miss Prym when they met for the first
time in the forest and the stranger showed her the gold. Being together there in the
forest, Chantal could ask him different questions, for example who he is, his origin,
why he has shown her the gold. The stranger, answering the different questions, the
narrator expresses the test by the fact that the stranger tells Chantal that he knows
what she is going to ask next having impression that she may come back one of the
questions she asked before; that is; to know why he has shown her the gold.
Surprisingly, she asks him a very intelligent question to which he could not expect;
that is of knowing why him as a rich man and famous industrialist could come to
Viscos looking for an answer he could find in books, universities, or consulting some
illustrations philosopher. Through this test, the stranger realises that he has chosen a
very intelligent person to help him.

II.2.9 Main character’s flow

For instance there is something that bothers the main character. And when
thing like that occurs to them, it will worry the read.

However, in the same novel, Main character’s flow is expressed as follows:

“…fools”, she said to herself. “They don’t understand how important

they are. They don’t understand that whenever someone lifts a forkful of
food to their mouth, anywhere in the world, it’s thanks to people like the
inhabitants of viscos, who toil from dawn to dusk, working the land with
the sweat of their wear bodies, and carring for their lives took with
indescribable patience. They are for more necessary to the world then
all those city people, yet they behaved if they were inferior beings,
uptight and talentless and they believe it too”.

The stranger, however, seemed determined to show that his

culture was worth more than all the labours of the men and woman in
the bar…

…Every nodded, though once again Chantal felt ashamed to be there,

listening that he knew more than anyone else. (Pp35 – 36).

This extract is about the stranger who is always in the bar with the villagers of
viscos telling to them stories, and conversing about other things. The main character
flow is expressed through this passage by the fact that Chantal does not like the way
 35

the stranger behaves. He neglects the inhabitants of viscos showing them that his
culture was worth mark than theirs. The other thing that bothers Chantal is that the
inhabitants of viscos neglect themselves, they ignore their value and they act as
cowards towards the stranger’s behaviour.

II.2.10 Secondary character flow

As the main character flow, here is the secondary character is also bothered
with what the main character says.

However, in the same novel, it is expressed as follows:

…“No, it’s nothing. There was a wolf how all night and I couldn’t get to
sleep.”

“I didn’t hear any wolf”, said the hotel landlady. Who was also there
buying bread.”

“It’s been months since any wolves were heard in the area”, confirmed
another woman who made conserves to be sold in the hotel shop…

“Don’t say anything in front of baker about there being no more wolves in
the region”, muttered Chantal’s boss. “If ward gets out, more will come to
viscos at all.”…

The mayor’s wife, however, would not give up so easily.

“Regardless of whether or not it exists, we all know that there were

no wolves howling last night. You work the poor girl too hard, up until
hours; she’s so exhausted she’s starting to get hallucinations.” (P. 42)

In this extract, Chantal has gone to purchase the bread to sell in the hotel
where she works. Seeing her appearance, everyone could notice that there was
something wrong with her. Arriving there, everyone could say to her that she looked
tired and want to know what’s wrong was going with her. As a matter of fact, she told
them that she did not get to sleep because she heard a wolf howling all night. Now,
the secondary character flow is expressed through this passage by the fact that when
Chantal says that she heard the wolf, the other characters for example the landlady,
the mayor’s wife, and Chantal’s boss get annoyed. Chantal’s boss told her not to talk
about that news because if anyone hears it, they will no longer come to viscos.
 36

II.2.11 Atmosphere
The atmosphere consists of the scenery, the time of day, and the weather in
the story.

The narrator expresses the Atmosphere in the bellow:

…Chantal looked for the last time at the valley, the mountains and the
woods where she used to walk as a child, and she felt in her mouth the
taste of the crystal – clear water, of the freshy – picked vegetables and
the local wine made from the best grapes in the region, jealously guarded
by the villagers so that no visiting tourist would ever discover it – given
that the harvest was too small to be exported elsewhere, and that money
change the wine producer’s mind on the subject… (P.119)

This extract is about Chantal who wants to leave Viscos in order to go to

change the gold bar into money. Now, when going, Chantal turns once more to the
attractive valley, mountains and the woods where she used to walk when she was
still a child, in her mouth also feels the taste of the crystal – clear water, she also
feels the taste of freshly – picked vegetables and the local wine made from the best
grapes in her region. The atmosphere is expressed through this extract by the fact
that the narrator is describing the natural features of viscos; that is, the valley, the
mountains, the woods, crystal – clear water…, that attract Chantal once more when
leaving her native village.

The atmosphere is also expressed in the following passage as follows:

…She tried to turn mind to something else, but she couldn’t get the image
of the stranger out of her head. The sky, which had been clear and bright
up until then, suddenly clouded over.

“That’s normal, it always happens at this time of year”, she

thought. It was simply a coincidence and had nothing to do with the
stranger’s arrival.

Then, in the distance, she heard a clap of thunder, followed by

another three. On the way, on the other, if the old superstitions of the
village were to be an angry God, Protesting that mankind had grown
indifferent to his presence… (P.3)
 37

Through this extract, the narrator is talking about Berta who feels unable to
forget the stranger’s image in her mind. After the stranger has passed, there was the
change of sky which was clear and bright, it suddenly clouded over. In this extract,
the atmosphere is expressed by the continuous change of the weather; that is, the
continuation of the thunder claps. And through this atmosphere, one can easily
express the season in which the story is told; that is, the rain season.

II.2.12 Deadline
There must be a clock tick that both the characters and the audience have to
hear and feel about much time is given.

However, the narrator expresses deadline in these lines as follows:

“What do you want?” she asked him. “Why did you give me that note?”

“I’m going to ask you a riddle: of all the days in our life, which is the one
that never comes?”

There was no reply

“Tomorrow”, the stranger said, “But you seem to believe that tomorrow will
come and keep putting off what I asked you to do. We’re getting towards
the end of the week, and if you don’t say something, I’ll have to do it
myself”.(P.61)

In this extract, the narrator is talking about the stranger who, after realizing
that Chantal does not mind about his plan, he slept her a note telling her to meet
again in the forest because the duration he gave her is flying. Now, the deadline is
expressed in this extract by the fact the stranger is telling Chantal to hurry because
the time he gave her is drawing near. He tries to make her pressure.

The deadline is also expressed in this passage as follows:

“I see, I shouldn’t think there’s much to discuss though, is there? Either

they accept his proposal on they allow him to leave in two days’
time.”…(153)

Deadline is revealed through this passage when the inhabitants find

themselves in the obligation to decide whether they accept or refuse the stranger’s
because they still have only two days.
 38

II.2.13 Peril
As far as our definition is concerned, peril consists of the very difficult and
dangerous and obstacles the character is to face; And which are both dangerous
difficult to defeat.

In the following extract, Peril is expressed as follows:

…“Unlike all the others, I’m not doing this for the money. I know that the
gold is cursed, like this whole place, and that it won’t bring happiness to
anyone. I am simply doing as God has asked me. Or rather, as he
commanded me, in answer to my prayers.”

“There’s no point arguing further”, Berta through, as the Priest put

his hand in his pocket and brought out some pills.

“You won’t feel a thing”, he said. “Let’s go inside.”

“Neither you nor anyone else in this village will set foot in my
house while I’m still alive. Perhaps later tonight the door will stand wide
open, but not now.”

The Priest gestured to one of men, who approached carrying a

plastic bottle.

“Take these pills. You’ll soon fall asleep and when you wake up,
you’ll be in heaven, with your husband.”

“I’ve always been my husband and, despite suffering from insomnia, I

never take pills to get to sleep.”

The sun had disappeared, and darkness was beginning to fall on

the valley, the church, and on the entire village.

“And what if I don’t want to take them?”

You’ll take them just the same.”… (Pp.175 – 176)

This passage is about the priest who is sent by the villagers to Berta to explain
her that she has been chosen as the victim to be murdered. Arriving there, he finds
Berta outside her house. He comes with three men accompanying him. In order to
convince Berta, the Priest says that is God who has asked him to do that. The priest
put his hand in his pocket and brought out some pills. But before giving them to Berta
 39

in order to drink them, he asks her to enter the house but Berta refused saying that
as soon as she is alive no one in that village will enter her house. Now, the priest
made a gesture to call up on one man among whom he came with to bring him a
bottle of water. Then the priest gave the pills to Berta telling her that she is going to
fall asleep and when she wakes up, she’ll be with her husband in heaven. But Berta
told him that in spite of consuming those pills she always be with her husband. Peril
is expressed in this extract by the fact that Berta is chosen as the victim to be
murdered; and she has no mean to defeat because everyone in the village agreed
that she is the one to be sacrificed.

II.2.14 Losses
Taking our definition into account, here the heroes are to deal with some kind
of loss or setback.

However, in the same novel, losses are expressed as follows:

He had taken care of every detail, except one: he had never thought his
plan would work. He had been sure that when the moment came to
choose, a simple “no” would change the story; at least one person would
refuse to take part, and that person would be enough to prove that not
everything was lost. If one person saved the village, the world itself would
be saved, hope would still be possible, goodness would be strengthened,
the terrorists would not truly know. The evil they were doing, there could
be forgiveness, and his days of suffering would be but a sad memory that
he could learn to live with and he could perhaps even seek happiness
again. For that “no” he could have liked to have heard, the village would
have received its reward of ten gold bars, independently of the wager he
had made with Chantal.

But his plan had failed. And now it was too late, he couldn’t change
his mind…(P. 179 – 180)

This extract talks about the stranger who proposed his plan knowing that he’ll
succeed. According to his plan, when making the choice of the victim, everyone must
agree with the choice of the victim. The stranger could not believe that there can be a
person whom every single person can accept to be victim. The stranger made the
wager that if the murder is committed, he’ll hand the ten gold bars to the inhabitants.
 40

But if the inhabitants get unable to commit the murder, he’ll go away with his gold
bars. Contrary to his thoughts, everyone in the village agreed to commit the murder
and there was no mean for him to change his plan. In this passage, loss is expressed
by the fact that everyone in the village agreed with the stranger, if there were only
one person to say “no”, he could win the wager, but as there is no one who said “no”,
now, he has lost the wager.

Partial conclusion
This chapter was concerned with applying the theories of the first chapter into
the novel we chose to work on. In this chapter, we studied the different methods of
suspense used by the author in the novel and we illustrated them with extracts from
the novel. We also pointed out the different was that the author used to create
suspense in the novel, and we illustrated them with concrete examples from the
novel we worked on; that is, the devil and Miss Prym.
 41

GENERAL CONCLUSION

The present paper is entitled “Suspense in Paulo COELHO’S The Devil and
Miss Prym” it has been divided into two chapters.

The first chapter tackles theoretical and conceptual frame on suspense. It

reveals definitions of suspense and some basic concepts among which we have
surprise and curiosity. We talked about models of suspense, the steps to create
suspense in a work of art, ways to create suspense, and the methods of suspense.

The second and last chapter deals with carrying out the different methods of
suspense applied by the author in the novel such as foreshadowing, Flashback,
dilemma, Mystery, and Reversal. We provided enough illustration from the novel to
support each of these methods. We also pointed out the different ways that the
author used to create suspense in the novel.

The main choice of this topic was stimulated by the fact some people are not
informed about how suspense may be studied in a work of art. Many people are not
aware of the different elements that authors always use to create suspense in a work
of art. In order to make people understand something about the use of suspense in a
literary work, and get informed about the different methods and ways always used to
create suspense in narratives; so as to help them depict suspense, we chose better
to apply them in Paulo COELHO’s The Devil and Miss Prym. We chose better to deal
with such a topic since findings in this domain are of more importance to our readers
and other prospective researchers in order to contribute to the good prospective life
of our institution.

The leading questions of our study were:

 Why is it difficult for readers to depict the suspense from a work of art?
 Do really people know the role of suspense in a work of art?
 What are the methods used by Paulo COELHO to create suspense in The
Devil and Miss Prym?
 By which ways is suspense created in Paulo COELHO’s The Devil and Miss
Prym?

Our assumptions were that the use of suspense in a work of art is to attract
the reader’s attention and get them interested in reading. One cannot be able to
 42

depict suspense in a literary work because they are not informed about suspense,
they are not also informed about the different elements that must be used to create
suspense; that is, they are not aware of the different methods and ways always used
to create suspense within a narrative.

To prove our assumptions, different approaches have been applied among

which we have mentioned the closer reading, textual and documentary approaches.
What was discovered is that there is the use of different methods and ways to create
suspense by the author in this work.

We do not claim to be exhaustive but we have opened the door to the

prospective researchers who would continue with further investigation to complete us
since the field is still large to exploit in literature. As any work of human being, this
one cannot pretend to be perfect and if there would be found imperfections by our
readers; corrections, suggestions and proposals are the most welcome for the
improvement of our piece and for the purpose of science progress.
 43

REFERENCES
I. Main source
- PAULO COELHO (2009), The Devil and Miss Prym
II. Published books
- A.S HORNBY (2009), Oxford Advanced Learners Dictionary, new
edition, oxford university, Press.
- CUDON, J.A, (1998), The penguin Dictionary of literary Terms and
literary theory, London, Penguin Books
- M.H. ABRAHAMS (1971), A Glossary of literary terms, Cornell
university, USA
- TIMOTHY WANGUSA (1998); upon this Mountain, Heinemann
International in African Writers series.
- RINEHARD, H et al (1998); Elements of Literature, second course,
New York, Harcourt Brace and company.
III. Articles
- Jean – Paul RURAHOZE BITERAHOGA, suspense in TIMOTHY
WANGUSA’S Upon this Mountain
IV. Memoirs and monographs
- Gentil NGASHANI BULERE (2017), Le suspence dans l’homme qui
m’offrait le ciel de CALIXTHE BEYALA
- LUNDWIRE LWENGOMBE (2005), Anglo – American Literature,
unpub L2 English course Bukavu T.T.C
V. Webography
- Http://www.romancejunkies.book.com/rjboj/?
- Http://changing.org/techniques/languages/satire/typesatire.htm
- Http://grammar.about.com/ordirs/g/synecdocheterm_htm.
- www.google.com
- www.googlesearch.com
- www.narrativestructures.wisc.edu/aristotle