Joyce Carol Oates’ approach to the phenomenon of murder and serial murder is arguably one in which the psychology of the victim is emphasized. Namely, she does not want to merely recount the events of the murder, but approaches it from the artist’s perspective, thus attempting to capture the psychology and almost phenomenological feelings of such a situation. Hence, as we know from all our experiences involving others and even our own experiences, these can be deeply subjective and thus differ: her account does not really leave out or leave in elements, but shows how subjective memories provide different angles on the same course of events.
To account for Morrison’s success as an author based upon the excerpt from Sula is essentially the same as asking what makes any particular writer compelling: in the case of Morrison it is her striking, anomalous and vivid use of language, which provides the reader a new perspective. Arguably, literature succeeds when it tells something we do not know about something we know: in other words, it provides us with a fresh interpretation of a phenomenon, and thus creates a new world. This excerpt from Morison demonstrates her talent in producing this effect.
The similarities between Carver and Hemingway’s approach to writing appears to be their minimalism and pragmatism. In other words, the author do not like to use any influx of words to complicate situations, but endeavor to present the latter in a very bare style. This can be consistent with American notions of pragmatism and common sense logic, as opposed to the more flamboyant and even metaphysical literatures of other countries. Carver and Hemingway are staunch realists, and while this may seem like a minus to those who don’t see the mundane as a worthy subject of literature, for these authors their dedication to mundane, everyday life is central, both in terms of style and content.