The American literary review: A literary device

A device that allows us to compare a sentence or passage with another is a great one, but it’s only a device if it doesn’t completely negate the idea of the novel or the narrative it represents.

The literary critic John Berger famously coined the term “imitation” to describe a device that is intended to give the reader a sense of the author’s intention and meaning, but doesn’t always deliver on that promise.

This is where a literary device comes in, or “literary” in its most literal sense.

The term was coined by the British literary critic Richard Price, who coined the concept of the “imitations device” in The Imitation Game.

In that book, Price described a literary “imitates device” as a device in which a writer “tries to replicate the author, even if he doesn’t know how.”

The devices Price described—such as the “originality” of an author or a story—are intended to make the reader feel as if the author really did intend what he said or did.

But they also create an illusion of originality, by allowing the reader to “read” the original work while believing that the author is actually the one who wrote it.

The Imitations Game’s “imitated device” idea is the subject of a recent interview with the author of a book on the topic, Stephen Baxter, where Baxter discusses the concept in more detail.

Here’s a quick summary of how Baxter defines an imitated device: A device is a device—or, more precisely, a way of making a novel—in which the reader has a feeling of being in the world of the story or novel and that he or she feels that there is something of value there, something that can be found in the novel, or in the story.

That is, the reader can feel that there are things that the story, story, and novel have in common and he or her has a certain interest in what is going on.

So, for example, the novel might start with the character, “The Boy,” who is an ordinary boy who is about to go on a long journey, but there are many things in the book that are very important to him, including his past and present.

Then there are the things that are not important to the boy and which are not of any consequence.

He knows what they are, and he doesn.

Baxter says that the device is an extension of the sense of being on a journey, a feeling that a writer can make of the character he’s writing.

In his book, Baxter discusses several other literary devices.

The first is the “mise-en-scène,” a device where a writer gives the reader what he calls “a mise- en-scéne,” the “little story,” or “mashup,” of a story.

The idea is that when the reader comes to a certain point in the tale, it becomes clear that there’s a huge difference between what is really important to us and what is merely “a story” in the mind of the reader.

The author of this mise is in fact the writer, not the reader, Baxter says.

“Mise-ène” is a word that is used in French to describe an act of writing.

A story, on the other hand, is something that the writer is doing.

The reader can imagine that the writing of the book is a process that is going forward, or that the plot is being developed, or something else.

This mise can then be used to explain the writing as the author writes it.

A second example of a literary imitation device is the narrator, or the character that narrates the story through the writer’s own words.

In other words, the narrator’s voice gives the story a life that is very much the writer.

The narrator, Baxter argues, is the person that the reader is really reading about.

“The idea that a narrator is the author who writes a story and who can have any say in what the story is about is a fundamental one in the idea that the novel is not just a story that is told by the characters themselves, but that it is a story told by someone else.”

The narrator’s role in the plot of a novel is similar to the role that the narrator in a film or play is given, Baxter suggests.

“In both cases, there is a writer and the audience, and they have very different expectations of the audience.”

Baxter also talks about how the reader experiences the author as a writer, and how he or he doesn- t perceive the novel in the same way as the reader does.

This idea of how the novel affects the reader—or readers—is the subject behind Baxter’s book The Imitated Book.

In Baxter’s own work, the “story is not written” concept is explored in several different ways.

The novel, Baxter explains, is written by a writer that he himself created.

The protagonist

About the author

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