Stylistic Elements of There Are No Children Here In Kotlowitz's description of the harsh reality of the Chicago projects, three stylistic elements stand out: his precise narration, his frankness , and its questionable objectivity. These three elements come together to form a unique style particularly suited to There Are No Children Here. If there's one thing critics agree on when discussing this book, it's that Kotlowitz is a brilliant storyteller. He has a keen eye for the everyday details of this dangerous neighborhood. Adding to this strength is the fact that he spent years on a particular Chicago project, earning the trust of his informants. What follows is a masterfully told story. Kotlowitz conveys not only the difficulties that Lafeyette and Pharaoh face, but also the effect of those difficulties on the boys. For example, after the two children dive for cover during a shooting, both are visibly affected. The younger brother, Pharaoh, complains: "I worry about dying, about dying at a young age." The older of the two, Lafeyette, tells his mother, "Mom, I'm really tired. Every time I go out, I have no guarantee of coming back" (Kotlowitz 157). These two direct quotes infinitely increase the impact of the passage. Kotlowitz's narrative technique is extremely effective in giving the reader deeply moving portraits of the two brothers (Siler 14). It is Kotlowitz's ability to recognize essential details that makes his storytelling brilliant and memorable. Kotlowitz's effectiveness as a storyteller is enhanced by his directness. For example, when talking about the cleanup of the basement, Kotlowitz spares no detail in his description: "Chicago Housing Authority employees wearing moonsuits and gas masks clean the basement of the Henry Horner, removing animal carcasses and rusted appliances." (Kotlowitz 303). None of the grim details are changed. Furthermore, during the funeral of a friend of one of the boys, Kotlowitz goes to great lengths to describe the body: "...[his] head wound had been filled with cotton and stitched to prevent leaks...". (Kotlowitz 205). The dark details have an unsettling effect on the reader, bringing the horror to life. Kotlowitz's description makes vivid the terrors of growing up in the projects (Siler 12). Kotlowitz's bluntness avoids preachy statements in favor of a simple, almost childlike tone. Kotlowitz does not sanitize the language and culture of the Horner projects (Washington 12). The children call Horner the "graveyard". The children's mother's shopping list includes "hair grease." This simple report brings projects to life. One aspect of Kotlowitz's style can be seen in two different lights: his questionable objectivity. The author speaks openly about his attachment to his family, mentioning that he also helped them financially. He also reiterates throughout the book his deep affection for the two children. Many critics argue that this lack of objectivity clouds Kotlowitz's ability to look at the topic in a neutral and journalistic manner. They wonder how the author's deep personal commitment can be replicated in broad public sympathy for the projects (Edsall 36). Others, however, maintain that the author's affection is simply a testimony to his compassion for the two boys. At worst, they argue, Kotlowitz could be criticized for abandoning journalistic objectivity. But at least, unlike most of the world outside the projects, he hasn't abandoned the kids (Siler 14). The strengths of Kotlowitz's style make There Are No Children Here a memorable work of nonfiction about contemporary American life. He gave to America.