Isobel's extremely vivid imagination serves as a powerful survival tool throughout a traumatic childhood and subsequent tumultuous transition to adulthood, allowing her to escape from a distressing and often humiliating reality, and a comfort that she cannot receive. anyone or anything else. Her love and addiction to fantasy manifests itself in many forms: her insatiable appetite for reading, the characters and imaginary worlds she invents, and the daily wanderings of her mind, coloring a rendered reality only in shades of gray and giving Isobel, giving her the resilience to persevere in the work. However, while escaping into one's many fantasy worlds provides a powerful temporary distraction from the distressing realities of life, it is not a method that can sustain a fulfilling existence in the long term. Escaping problems does not solve them; the distraction can only be fleeting, and his uncontrollable imagination gradually becomes a threat, irritating Isobel rather than helping her as before. Ultimately, Isobel is not truly capable of surviving in the world, of moving through life rather than drifting, and of living with the confidence of being herself until she confronts the past and conquers the demons of memory rather than suppressing them, managing to accept the past. herself which allows her to be strong and free. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”? Get the original essay The real world for Isobel is a dark and turbulent place laden with a thick fog of emotional turmoil, insecurity, loneliness and an acute feeling of being. inadequate or inherently incomplete. Struggling with "chaotic currents and currents... mysterious evil passions, rage and envy... (and) above all, an invincible sadness", Isobel often feels helpless, floundering in the extremely chaotic dynamics of the world , succumbing to “inertia” rather than inertia. striding forward in its own direction. She is convinced of her faults, fully aware of being "born bad" and "accept(s) herself as a born hopeless liar", often feeling weighed down by the resigned idea that she is ultimately incapable of controlling her behavior , but only serves. as a puppet for the "idiot in the attic", the "mean little bastard" who "play(s) his games with the real world... behind Isobel's back". This feeling of being a despicable and inherently flawed person causes intense insecurity, causing Isobel to constantly panic that she "hurts people without realizing it", always stopping to ask herself, "would she could have offended him? Likewise, her shyness and apprehension lead her to assume that others constantly think poorly of her, and she anxiously questions everything she does, feeling ashamed: "Was that the wrong way then?" to read? She feels defeated, as if there is no way to ensure her safety and security. Even as a child, she recognizes that "you couldn't keep her safe," and this idea remains ingrained in her into early adulthood, as she reflects: "hardly had you built your little raft and you felt safe until it collapsed beneath you." This inherent perpetual feeling of insecurity and failure isolates Isobel from those around her: "you build a wall around yourself and too late you you find yourself walled in,” creating an impenetrable distance between her and her peers, as evident as she sees Trevor “across the river,” powerless to break the barrier of her own insecurity.feels incomplete, filled with “anxiety, longing and a sense of exile” – a painful and exhausting existence that would surely destroy her spirit entirely if she had not been freed from such anxieties. However, Isobel is able to escape the excruciating pressures of everyday life through reading. As a child, she uses her books as a shield against her mother's cruelty, discovering early on that "the birthdays, the injustices, the parents all disappeared... (they) didn't matter." had these enchanting surprises that were free for everyone,” and finding deep relief from the callousness of his surroundings. Isobel's love of reading remained with her into adulthood, offering her comfort and the feeling of being "really comfortable" with her books, preferring the company of these fictional characters to people insensitive and inaccessible people around him. Her ability to become completely consumed in a book, to feel that "it's not like reading...it's like living it" and "every time she wasn't reading, it didn't matter what was happening in the outside world … (being) aware of being in exile from (history)”, testifies to the intensity of her imagination and her ability to live her stories, forgetting (temporarily) the harshness of reality. In addition to reading, Isobel extends the idea of ​​fantasy and storytelling into the creation of her own imaginary characters, finding both comfort and enthusiasm in her exciting new worlds, and guided by the more witty mentor-like figures that she creates in her mind. Isobel's childhood fantasies about Gerald, Antonia and the traveling theater offer a thrilling world of drama and romance that fulfills Isobel's need for excitement, intensity and freedom, a sensation clearly lacking in her life. Filled with cozy and comforting images of family closeness and conviviality, “the campfire at night… Antonia in pants and sweater singing old folk songs… Gerald reaching out to pull Robert closer, Robert snuggling”, these stories Imaginary stories tell Isobel a feeling of love, comfort and tenderness - the antithesis of the cold family dynamics that the real world offers her. As a young adult, these ideas also culminate in the making of Joseph, the "loved and respected authority", a guiding father figure to whom Isobel reflects and prays at night, finding comfort and support from this imaginary mentor she cannot find elsewhere. Isobel's imagination finds itself spiraling through her daily thoughts, wandering through everyday events to escape any discomfort and embarrassment. At work, she says to herself, “I’m not here. I am in Czechoslovakia” to transcend the humiliation of being denigrated and berated by Mr. Richard, and she spends her dreary mornings questioning at length and creating a detailed picture of Mr. Vorocic, a glass manufacturer of whom Isobel is supposed to translate the German letter. This preoccupation with the romance and poetry of life and her ability to craft rich stories from a bland business document distracts her from the banality of her work, allowing the writer to stimulate herself in a dull and unsatisfying environment . His vivid imagination also provides comic relief from misery or fear, allowing him to amuse himself in the midst of a "horror dream", such as waking up at Michael's house and pretending to be in a compartment of train having an exciting adventure rather than being naked. and vulnerable in a strange man's toilet. As Isobel says, "there was a spirit for you, rushing off into its own adventures, giving its owner the fright of his life" - her imagination almost escapes.