A Date With Kosinski Essay Research Paper

A Date With Kosinski Essay, Research Paper

A Date with Kosinski

Bing James Bond is every adult male & # 8217 ; s dream. The beautiful adult females, fancy autos, unsafe journeys, and beautiful adult females. Many work forces would love to be in his topographic point where all the danger and excitement take topographic point. We don & # 8217 ; Ts have that capableness to go an international undercover agent, but in the novel, & # 8220 ; Blind Date & # 8221 ; by Jerzy Kosinski, we are exposed to a life similar to that of James Bond. He goes through secret dialogues. Jerzy Kosinski & # 8217 ; s usage of words greatly contributes to the novel & # 8217 ; s excellence. He forces the reader to conceive of everything that happens in the novel utilizing really descriptive words and phrases. The chief character of the novel is George Levanter. He poses as an investor and a man-about-town. & # 8220 ; Blind Date & # 8221 ; is in fact about rated X novel because Levanter makes love to many adult females through his whole life, all of which are described in item in the novel. Kosinski writes Levanter as a secret adult male and many times ne’er uncovering who he truly is indoors. What & # 8217 ; s interesting about the novel is that Kosinski and Levanter portion many things in common. Kosinski & # 8217 ; s life and memories are scattered throughout the book giving the reader a window to see his life through the eyes of Levanter.

Jerzy Kosinski was born in Lodz, Poland in 1933. Kosinski was separated from his parents shortly after Nazi Germany & # 8217 ; s invasion of Lodz, and the fright and force that he experienced during World War II left a cicatrix on his psyche. Shortly after the war, Kosinski was reunited with his household. Kosinski studied sociology and political scientific discipline at the University of Lodz. At the age of 24, he left his fatherland and established a new civilization in the United States, where he taught himself the English linguistic communication in 4 months.

Kosinski & # 8217 ; s life truly is present in the novel. He writes about traveling, being out of topographic point, and looking for love, all of which describes Levanter. After traveling to the United States, Kosinski started to compose and print novels and sociology books. He is known for his graphic imaginativeness and his usage of words to demo the reader what he writes about. Robert E. Ziegler says: & # 8220 ; Kosinski & # 8217 ; s work is a fictional concept, a textual victory of the imaginativeness. . .. & # 8221 ; He is a maestro of words, ever picking the right 1s to do the reader experience the book alternatively of merely reading it. An writer who shows me the narrative through authorship is much more interesting than a book that doesn & # 8217 ; t. The novel is filled with both exhilaration and imaginativeness.

Kosinski plays with the words and produces a great novel. In the novel & # 8220 ; Blind Date, & # 8221 ; he explains the life of Levanter, an investor, who invests his clip and energy in covering with life. Levanter experiences many things we would ne’er believe of making. From the beginning to the terminal of the narrative, the reader is exposed to sex, dialogues, and more sex. Levanter makes loves to six different adult females in the novel including one episode with his female parent. Levanter is a adult male who loves adult females and loves to be around friends. His friend Romarkin had been a friend with him since he was a immature adult male. They met at the International Youth for Peace Festival and hit it off. & # 8220 ; Levanter and Romarkin had worked together. . .sponsored and organized by the authorities party & # 8221 ; ( Kosinski 40 ) . From that point on, he was closely attached to him. Together they attended political meetings and enjoyed insouciant sex with a & # 8220 ; robot. & # 8221 ;

The novel has no existent secret plan line. It is a novel about his experiences in life and how he deals with them. Levanter is a really secret adult male. He loves to pull strings the heads of others and command them. In one case, he is out skiing in the Alps one forenoon when he catches sight of a adult female fighting to do her manner down the incline. The three work forces with her wage no attending to her. After taking a image of the whole thing, Levanter so helps the lady up and begins to oppugn her. He discovers that the adult female was an inexperient skier. Levanter advises her out of danger and so threatens the work forces that he will develop the images and expose them to the Authorities of ValPina.

& # 8220 ; & # 8216 ; This immature lady will walk all the manner down, and you will transport her skis. I & # 8217 ; ll be around to do certain that nil happens to her. It she is hurt, I have taken plenty exposure to hold all three of you arrested and charged by the governments in ValPina & # 8217 ; & # 8221 ; ( Kosinski 28 ) .

Levanter shows his that he helps whenever people are in demand. This adult female was besides beautiful and despairing for aid. Surely adequate, Levanter came to her deliverance and saved her from the 3 other skiers. Levanter is non ever heroic. Levanter travels many times in the book. He goes to the U.K. and the United States. While in the United States, Lev

anter goes through a state-paid plan, Youth Movement. Here Levanter meets Oscar, a 17 year-old raper. Levanter was the first one to cognize about the 12 victims that were raped by Oscar. Oscar carefully teaches the art of ravishing to Levanter who, at the age of 15, uses the technique on some beautiful longhaired blond in the forests. The inside informations in the chapter horrifying and disgusting. Word by word, Kosinski carefully describes the whole ordeal. Sad painful, Levanter merely refers to her as Nameless.

The storyteller Levanter and writer Kosinski recall the life and decease of their common friend Woytek.

& # 8220 ; The memories are painful, an effort to continue in text and release from memory the slaughter of Woytek Frykowski at the custodies of the Manson Family in 1969, & # 8221 ; says Paul Lilly, Jr.

Kosinski uses Levanter to show the emotions he went through. Tough to cover with, Levanter can non confront his hurting.

& # 8220 ; The decease of his friends was inexplicable to Levanter. He tried to do himself believe that they had all died in a clang in a athleticss auto or were buried in a house in one of the landslides so common in the country & # 8221 ; ( Kosinski 182 ) .

For the first clip in the novel, Levanter expresses deep feelings for another individual. After the violent deaths, Levanter is ungratified and entirely. Just like Levanter, Kosinski must hold felt devastated and angry. Levanter ne’er spoke of the incident to anybody and left it deep in his head, ever seeking to bury the atrocious twenty-four hours.

The rubric of the fresh carries important importance in the development of the narrative. Kosinski cleverly chooses the rubric to sum up, in two words, Levanter & # 8217 ; s whole doctrine of life. Joseph McLellan says:

& # 8220 ; It is a warning that, given the astonishing proportion of force in our society, life is, at best, uncertain-we might non populate through the really following minute, our following blind day of the month, so to speak. & # 8221 ;

Blind Date refers to Levanter & # 8217 ; s life: he has a Blind day of the month with life. Levanter wakes up each forenoon non cognizing how the twenty-four hours will turnout. Levanter goes through life non cognizing whom he will run into of where he will stop up by the terminal of the twenty-four hours. In one case, when Levanter was a immature grownup, his male parent was sick and was hospitalized. Not cognizing whether his male parent was to populate or decease, Levanter waited each twenty-four hours for the phone to pealing on word of his male parent & # 8217 ; s status. One forenoon the phone rang and Levanter was in his room undressed and his female parent in the shower. As the phone rang, non adequate clip to dress, Levanter got up and ran to the phone. His female parent, believing that Levanter was incognizant that the phone was pealing, got out of the shower and ran to the phone. There, female parent and boy saw each other, bare. One thing led to another and for 20 old ages, they had a sexual relationship together. This was a really awkward minute for Levanter and he kept his feelings for her bottled up and put it behind his head. Levanter undergoes several experiences in his life, all of which build Levanter & # 8217 ; s character.

Kosinski develops an interesting adult male, a really secret and cagey speech production adult male. George Levanter is a little investor goes through life sing life itself. Like James Bond, he meets powerful figures and negotiates trades with them and meets many different beautiful adult females who he has sex with. Levanter is a really alone person. He travels around the universe and something ever exciting happens. Kosinski, a Polish author, uses Levanter as a manner to give the reader a position of his life. Kosinski writes in text some of his experiences that he went through like the Manson violent deaths. & # 8220 ; Blind Date & # 8221 ; is important because Levanter, and everyone else, has a unsighted day of the month with life, non cognizing what will come up in the hereafter. Furthermore, Kosinski writes the novel in a really descriptive mode. Everything in the novel is clearly explained in great item. As said in his book & # 8220 ; It was nil but an old Polaroid snapshot: no negative, photographer unknown, camera thrown off & # 8221 ; ( Kosinski 182 ) . Everything remembered is in the head of the reader.

Paul R. Lilly, Jr. & # 8220 ; Vision and Violence in the Fiction of Jerzy Kosinski. & # 8221 ; The Literary Review Spring 1992: 389-400. Rpt. In the Contemporary Literary Criticism. Ed. Sharon Hall. Vol. 53. Detroit: Gale Research. 1984. 223.

Robert E. Ziegler. & # 8220 ; The Romance of Terror and Jerzy Kosinski. & # 8221 ; The University of North Carolina Press 1998: 177-267. Rpt. In the Contemporary Literary Criticism. Ed. Sharon Hall. Vol. 53. Detroit: Gale Research. 1984. 216.

Joseph McLellan. & # 8220 ; Playing at Life & # 8221 ; Book World-The Washington Post March 7, 1982: 7. Rpt. In the Contemporary Literary Criticism. Ed. Sharon Hall. Vol. 53. Detroit: Gale Research. 1984. 224.