| Popular genres represent aspects of
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| | The characters clash with a local police
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| cultural values, beliefs and ideologies
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| | officer that they involved to find out
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| by both affirming and subverting the
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| | who was sending the letters under the
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| views presented to us by society. For
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| | assumed name of Leah, before they found
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| instance, fantasy, as a genre, allows the
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| | out that is was really her. The officer
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| observer to escape from constraints
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| | involved begins to enquire about the
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| burdened upon them by society. Some
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| | circumstances surrounding Leah's death
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| genres, such as the family domestic,
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| | but hits a dead-end, as no one involved
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| affirm with the 'norms' of culture by
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| | is willing to speak in detail about her
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| showing the observer ideological opinions
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| | death.
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| such as the patriarchy and structured
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| | It is not until the officer pushes for
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| nuclear family models. These popular
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| | information that he finds out that the
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| genres can emphasize and challenge the
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| | girls' death involves witchcraft.
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| norms of society depending on the
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| | Witchcraft in its own right has, in the
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| opinions and beliefs of the creators and
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| | past, been looked down upon by society.
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| writers of the work.
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| | This involvement allows for many
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| The novel Blood, by Joseph Glass, is an
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| | questioning enquires to be considered to
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| example of a popular genre that can both
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| | the case. Although witchcraft played no
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| affirm and subvert the norms of society.
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| | part in her death, it plays a major role
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| The novel allows the reader to view a
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| | in the beliefs of Catholic and many
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| behind-the-scenes aspect of police work.
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| | beliefs of religious practices. This
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| This view in the novel confirms to the
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| | clash of faith can be seen through the
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| reader a social belief that the police
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| | eyes of the police officer heading the
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| force is put in place to help protect the
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| | case, who does not 'believe' in such
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| community and to reinforce the governing
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| | things as witchcraft as it is considered
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| rules set out by society. By giving the
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| | evil and from the devil.
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| chance to see what the conditions are
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| | Through the novel Back From The Dead the
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| like for police to go about their work,
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| | issue of life and death is addressed in
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| the reader is being shown how the police
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| | an unusual manner that also challenges
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| fight to protect the citizens under their
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| | the normal presentation of a novel. The
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| care. This attitude tries to make the
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| | motives of the characters involved make
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| reader understand the dangers they face
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| | it hard to draw a concrete conclusion to
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| each day to do their job.
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| | the involvement of Leah's death and
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| Blood also delves into the complex topic
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| | resurrection, though it is assumed that
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| that concerns serial killings. Society,
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| | witchraft played apart of her
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| in general, has stated that these killers
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| | resurrection. Although a conclusion is
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| can seem to be 'normal', but very precise
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| | never made as to why or how these events
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| and ritualistic in their actions. Blood
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| | have occurred, by using this formula the
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| conforms to this traditional belief by
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| | author, Chris Petit, can raise the topic
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| creating the character Kenneth Tower.
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| | of whether or not an occurrence like the
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| Tower is given a 'normal' profession as a
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| | one presented within the book could
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| doctor and uses the ritualistic behaviour
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| | actually occur in reality. Cultural
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| of pouring blood into his victims' wounds
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| | beliefs state that this highly unlikely,
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| to act in accordance with the familiarity
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| | but through the hazed arguments within
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| of a serial killer. This behaviour also
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| | the book, it leaves the possibility that
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| conforms to the beliefs held by society
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| | anything can happen.
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| involving the ideas surrounding serial
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| | The novel The World On Blood, by Jonathan
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| killers.
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| | Nasaw, is relatively different to that of
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| Due to the influence culture and society
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| | Blood and Back From The Dead. Throughout
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| bestow upon the reader, Kenneth Tower is
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| | the entire novel the story tends to
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| regarded as a monster and dangerous
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| | challenge the authority of cultural
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| killer and is thought upon with disgust
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| | beliefs and the morality that society
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| and distain. It is the readers' curiosity
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| | tries to uphold. By using a complicated
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| that makes them rebel against cultural
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| | subject matter such as addiction and
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| ideologies about serial killers and
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| | twisting the viewpoint to that of the
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| believe them to be interesting characters
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| | addicts, the reader is able to see an
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| to read about in fiction. Because society
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| | unusual opinion to that would otherwise
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| has ordained that these people should be
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| | be unavailable to the reader.
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| treated with disgust not much is known to
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| | It does not matter that this story
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| the public about serial killers or their
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| | follows the story of a group of vampires
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| motives. It is this lack of knowledge
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| | because these vampiric characters do not
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| that makes the reader want to become more
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| | follow the same characteristics that they
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| familiar with the working of a serial
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| | are normally involved with. If the blood
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| killer.
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| | that they drink were to be substituted to
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| Another issue that the novel Blood deals
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| | a drug like cocaine or amphetamines the
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| with is the topic of whether a convicted
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| | novel would still send out the principle
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| murderer has the right to live. In the
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| | idea that is faced with by many addicts.
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| novel the character Susan Shader
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| | Society gives the view that all addiction
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| addresses after the death of a murderer,
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| | is bad, so that when a person becomes
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| Calvin Wesley Train, who had attempted to
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| | addicted, they become criminals in the
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| kill her, "[She thought] Of dead people
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| | eyes of the law enforcement agencies.
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| who should not be dead, and living people
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| | By reading this book, the impression that
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| who should not have been alive." This
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| | not all addicts feel that what they are
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| statement deals with the feelings that
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| | doing is wrong or harmful to them. It
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| the seemingly innocent victims of murder
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| | gives the impression that if what they do
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| should never have been in the position of
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| | does not harm anyone else then it should
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| having their lives cut short because
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| | be okay for them to do as they like. This
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| those that slaughtered these people
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| | notion of thinking is a form of
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| should never have been able to become
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| | challenging the authority held by
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| killers.
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| | society, by challenging the main ideals
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| Society holds two separate views on the
| |
| | held by society the reader is able to see
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| subject of crime and punishment; one side
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| | a view that is generally unable to be
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| believes that these killers need to be
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| | viewed by people who are not addicts
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| punished for the crimes that they have
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| | themselves.
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| committed (in some cultures these
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| | It has been seen that popular genres can
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| offenders are put to death themselves).
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| | both affirm and subvert ideas held in
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| The other side of the argument states
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| | belief by society. These statements found
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| that even though the murderer needs to be
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| | within popular genres help shape the view
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| punished, he still has the right to life
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| | of the world held in the trust of its
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| and does not deserve to die himself.
| |
| | readers. Without the challenging views
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| The novel Back From The Dead, by Chris
| |
| | that are embedded within the popular
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| Petit, also deals with the topic that
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| | genres that are viewed or read, the
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| involves life and death. Because many
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| | stories trying to be told would be unable
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| cultural ideas about death and life
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| | to hold the interest of the reader.
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| exist, it is hard to disagree or agree
| |
| | The world and its occupants do not always
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| with what happens after death, though it
| |
| | hold true to the idealistic standards set
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| is generally accepted by many religious
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| | upon them through cultural and social
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| domination that after the body dies the
| |
| | beliefs. If popular genres did not
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| soul goes elsewhere to the after-life.
| |
| | confirm and challenge these views upheld
|
| Back From The Dead challenges this belief
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| | by society then people would no longer be
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| by having a character, Leah, who
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| | interested in the views set within them.
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| apparently comes back to life after dying
| |
| | People read and view programs and novels
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| under mysterious circumstances fifteen
| |
| | that bring challenging new ideas to them.
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| years earlier.
| |
| | These perceptions shape our personal
|
| The novel presents many different avenues
| |
| | views, beliefs and ideologies of culture
|
| to the issue of life and death by
| |
| | and society.
|
| offering reasons as to how and why she
| |
| | References:
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| has returned from death. Although the
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| | Glass, Joseph. 2000. Blood. Macmillan
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| novel does not go into the particular
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| | Publishers, London.
|
| details surrounding Leah's return, the
| |
| | Nasaw, Jonathan. 1996. The World On
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| story follows the reactions of those who
| |
| | Blood. Dutton Books, New York.
|
| surrounded her death.
| |
| | Petit, Chris. 1999. Back From The Dead.
|