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Miranda is a type character who remains central in the overall development of the narrative. She is the boss and her interaction with Andrea during their time of working together gives an insight into Andrea’s actual character. As Andrea struggles to develop her personality and identity as an adult in the real world, she encounters significant challenges as presented by Miranda’s pressure on her (Weinberger 3). Andrea is presented as very emotional to the extent of exhibiting significant illogicality. When Miranda sends her to go pick the Porsche and the little puppy Madelaine she seemingly vents her frustration by using uncouth words like “what the hell is Madelaine”. Even after she is given the puppy in a recovery condition, she takes off to Miranda’s apartment in a huff. Miranda’s assignment to Andrea to go pick the puppy explores her naivety and ignorance of both directions within New York and critical aspects of instructions. This is emphasized more when she fails to take the Puppy and the car to the office where Miranda was awaiting.
The narration by Andrea is concentrated on past tense and likely to suit her interest. In that respect, her boss’ diverse demand portrays her actual moral standards and level of intelligence. Miranda seems to attach significant aesthetic value to her Porsche car and the car which on the other hand negatively impresses Andrea owing to the increasing demand from her job. Andrea is portrayed as being inquisitive on other people’s personal life especially when she asks Miranda’s husband’s assistant about their family life. The revelation of the car models owned by Miranda and her husband seems to expose Andrea’s desire to know more about her boss and learn how to manage her. Miranda as the head of the organization expects the staff to dress in ultra-modern cloth designs which is consistent with the industry. The reaction of Andrea towards such an attitude
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If Diaz’s work is examined on the criteria of Great American book, it can be said that it needs to be a true reflection of liberalism. Diaz’s work illustrates digression from traditional fiction and amalgamates novels and fiction, which adds liberality to his approach (Crews 34).
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