Develop a critical analysis that answers ONE of the following six questions in terms of any TWO narrative techniques identified above and referring to ONE acceptable literary scholarly source.

Due: November 25, 2021
Length: 900 words minimum to 2000 maximum
Value: 25% of final grade
Format: MLA. (MLA format counts this time.)
I expect you to: a) show familiarity with the entire narrative and with course material,
AND b) productively reference EITHER Holly Willson Holladay and Chandler
L. Classen’s article, “The Drip, Drip, Drip of Dystopia: The Handmaid’s
Tale, Temporal Boundaries, and Affective Investment” (2021) OR Hailey
J. Austin’s article “Time Flies: Remnants of Auschwitz in Art
Spiegelman’s Maus” (2017),
AND c) explore how the narrative uses any two of the following narrative
techniques: characterization, plot and structure, design, emplotment,
setting, narration, irony, language or style, imagery, theme, and symbolic
resonance.
Instructions: Develop a critical analysis that answers ONE of the following six questions in terms of any TWO narrative techniques identified above and referring to ONE acceptable literary scholarly source. Your work will be assessed for content, organization, style, and mechanics; control of MLA format will also be assessed.
In a well-written and careful critical analysis that productively quotes from “The Drip, Drip, Drip of Dystopia: The Handmaid’s Tale, Temporal Boundaries, and Affective Investment,” by Holly Willson Holladay and Chandler L. Classen (2021), and that takes into account any two narrative techniques from the list above, decide how the double unresolved endings in Margaret Atwood’s novel The Handmaid’s Tale affect the overall narrative.
In a well-written and careful critical analysis that productively quotes from “The Drip, Drip, Drip of Dystopia: The Handmaid’s Tale, Temporal Boundaries, and Affective Investment,” by Holly Willson Holladay and Chandler L. Classen (2021), and that takes into account any two narrative techniques from the list above, consider how the following passage affects Margaret Atwood’s novel The Handmaid’s Tale as a whole:
Nevertheless it hurts me to tell it over, over again. Once was enough: wasn’t once
enough for me at the time? But I keep going with this sad and hungry and sordid, this limping and mutilated story, because after all I want you to hear it, as I will
hear yours too if I ever get the chance, if I meet you or if you escape, in the future, or in Heaven or in prison or underground, some other place. What they have in common is that they’re not here. By telling you anything at all I’m at least believing in you, I believe you’re there. I believe you into being. Because I’m telling you this story I will your existence. I tell, therefore you are. (308)
Atwood’s Handmaid’s Tale unfolds in an ambiguous, haunted, haunting world that is profoundly and reciprocally affected by literal and figurative power struggles. In a well-written and careful critical analysis that productively quotes from “The Drip, Drip, Drip of Dystopia: The Handmaid’s Tale, Temporal Boundaries, and Affective Investment,” by Holly Willson Holladay and Chandler L. Classen (2021), consider how any two narrative techniques from the list above emphasize the interrelationship between literal and figurative power struggles and literal and figurative “hauntedness” that co-exist in Margaret Atwood’s uncanny novel The Handmaid’s Tale.
In a well-written and careful critical analysis that productively quotes from “Time Flies: Remnants of Auschwitz in Art Spiegelman’s Maus” by Hailey J. Austin (2017) and that takes into account any two narrative techniques from the list above, discuss the significances of telling/writing/drawing story and of reading/witnessing/listening to story as they play through Art Spiegelman’s graphic memoir Maus I and Maus II.
In a well-written and careful critical analysis that that productively quotes from “Time Flies: Remnants of Auschwitz in Art Spiegelman’s Maus” by Hailey J. Austin (2017) and that takes into account any two narrative techniques from the list above, decide whether it is possible to achieve actual world peace by redressing power imbalances by exploring how Art Spiegelman’s graphic memoir Maus I and Maus II uses the distinct voices of Artie and Vladek to dramatize interpersonal power relations.
In a well-written and careful critical analysis that that productively quotes from “Time Flies: Remnants of Auschwitz in Art Spiegelman’s Maus” by Hailey J. Austin (2017) and that takes into account any two narrative techniques from the list above, explore the significance of the following excerpt to Art Spiegelman’s graphic memoir Maus I and Maus II as a whole:

Last Completed Projects