Annie Dillard Mood

Unlike Dillard’s use of long sentences to create large amounts of description, Woolf uses short sentences to express her emotion. Beautiful adjectives and verbs, such as fluttering, flood Woolf’s writing, compared to Dillard’s gruesome verbs, such as sputtering, and jerked. Adjectives such as insignificant set up a depressing, emotional, and pensive tone. Using shorter sentences, such as, “The struggle was over,” (Woolf, “The Death of the Moth,”) and, “What he could do he did,” (Woolf, “The Death of the Moth.”) allows the reader to think and reflect about it. In Dillard’s writing, the reader often can imagine what they are reading from her blunt descriptions. In Woolf’s piece, readers reflect more on the meaning and the impact of the piece through the use of short sentences.

In An American Childhood by Annie Dillard, Dillard reminisces on her many adventures throughout her childhood living in Pittsburgh. Her stories explain her school, her home life, her family, and growing up. Dillard also talks about changes in her life, and how they affect her, and how she felt about others around her. One’s childhood is a crucial part of life, because it’s a time of learning more than any other time of life. Childhood is a time of curiosity and realization. What you learn in your childhood has a big impact on how you make decisions and act as an adult.

All good things must come to an end. A common phrase we have become accustomed to hearing, and a phrase that parallels the meaning of Annie Dillard’s “The Chase”, an excerpt from her autobiography “An American Childhood.” In “The Chase” (1987), Annie Dillard recounts how childhood, no matter how enjoyable, will come to a close. Dillard conveys this by carefully detailing her childhood experience as a tomboy and that “nothing girls did could not compare” (1). Her experience during “the chase” symbolized an end of Dillard's childhood and wishing for “the glory to last forever” (19). The author recounts her story of “the chase” in order to express exuberance and love for childhood compared to the fact of mandatory growing old. The author addresses the audience in this narrative chapter of “An American Childhood” to express how short childhood is is this passing craze of life. The author uses expertly composed imagery, parallelism, diction and tone to create the impactful story in a chapter of her autobiography.

Throughout the essay, the use of vernacular speech can be observed when looking at the dialogue between characters. For example, “Good day, Mrs. Henderson. Momma responded with “How you, Sister Flowers?”. In the dialogue between Mrs. Henderson and Mrs. Flowers, it can be seen that Flowers speaks respectively with sophistication while Mrs. Henderson speaks carelessly using an older southern tone. This results in a clear comparison between the characters in the essay which represent the importance of education and vocabulary. The constant use of the wrong verb by “Momma” bothers the author, giving us a better idea of language’s role in her life. In addition, the author foreshadows part of the lifeline, so we gain a better understanding of the story when the lifeline is presented later on.

Lastly, in paragraph four, Dillard says “All that was left was the glowing horn shell of her abdomen and thorax”. As Dillard writes “The glowing horn shell”, it sends an eerie chill down your spine, painting a graphic concrete image in the reader's head and signaling she could very well be experiencing a deeper inner struggle.. Through these and many other instances of description in this excerpt, Dillard effectively uses concrete imagery to convey her inner struggle.

1. Throughout the story suspense is aroused and maintained excellently. This is achieved by the character the author creates. Mr. Martin is characterized as a neat and cautious man, who never took a smoke or a drink in his life. Our suspense is aroused when the author states that it has been “a week to the day since Mr. Martin had decided to rub out Mrs. Ulgine Barrows”. This arouses our suspense because we are told Mr. Martin is planning to murder this woman. The suspense is maintained with Mr. Martin’s thoughts. We as an audience are given his thoughts through the use of the 3rd person omniscient point of view. His thoughts are mostly on the issue on his dislike of Mrs. Barrows. Because of this, he

The feelings that Capote illustrates through his imagery have symbolized not only the character’s thoughts, but also the author’s inviting the reader into their personal world. In Part IV, Perry is relating to the tom cats as he watch[ed] their maneuvers” who “appeared with every twilight and prowled” and are notorious for “hunting” (264,1). This description of Perry allows to see what his life has been like and he literally confesses at the end that he’s “done what their doing”, “the equivalent” (264,1). These representations conjure pity for the convict and let the audience hear his cry of desperation when he was a child; homeless, starving and searching, he persevered and the imagery that’s provided shows the critical feelings that Capote wants you, and maybe even himself, endure and grasp hold of for the development of Perry. Another example of how imagery evokes emotions for the author’s purpose is how Capote introduces the deceased Clutter family at their funeral. He states the family’s clothing put around their bodies from a “dress” to a “flannel” and that it “lent the scene an awful aura” because their heads were “encased in cotton” and they were twice the size of “an ordinary blown-up balloon” (115,2). Capote carefully surrounds us with the imagery of the Clutter’s in full detail because he is trying to make them

When needing to retreat, Annie Dillard goes to Tinker Creek and immerses herself in nature. During one of these trips, she has a snippet of a revelation, which makes her see beauty and ugliness in harmony and see the world as meaningful; even though there is sorrow. In this passage, Dillard uses the symbolism of a maple key and similes to explain its descend as something beautiful, seeing the positive in the negative.

As the story continues, we begin see and smell the world through Grenouille and somewhat adapt to his unnatural personality. Whatever attachment the reader has with Grenouille at this point is suddenly crippled when he commits his first murder. Although a point of view is given through the victim’s senses as well as Grenouille’s, there is a sudden shock to the discovery his deadly intentions, which up until now no one, not even himself, thought he was capable of: “he did not look at her, did not see her delicate, freckled face, her red lips, her large sparkling green eyes, keeping his eyes closed tight as he strangled her, for he had only one concern—not to lose the least trace of her scent” (42, Ch. 8). By painting a vivid picture of a beautiful innocent girl that Grenouille could not see (as he was closing his eyes), the narrator leaves readers with only feelings of disgust towards Grenouille and his selfish, cold-blooded thirst for scent. This situation could only been sufficiently told through the narrative mode used, and now readers begin to lose all sympathy towards

By using descriptive words and phrases to help us imagine the characters and setting the readers are drawn further into the suspense. Beginning with the descriptions of the carnival, usually a joyous time, it is not so joyous but mostly dark with the vision of “[dusk] one evening during the supreme madness of the carnival

This story begins to drive the sense of emotion with the very surroundings in which it takes place. The author starts the story by setting the scene with describing an apartment as poor, urban, and gloomy. With that description alone, readers can begin to feel pity for the family’s misfortune. After the apartments sad portrayal is displayed, the author intrigues the reader even further by explaining the family’s living arrangements. For example, the author states “It was their third apartment since the start of the war; they had

The usage of informal language in the beginning of the story, produces transparent characters by exposing their flaws through their speech. Opening with the reckless announcement addressed by Mrs.Turpin, “I wish I could reduce”(3). in front of strangers had marked her hasty character. This early exposure of her flaw notes the tragedy of her character for being quick to speak, quick to conclude and quick to judge. As Mrs.Turpin begins to build judgment upon others from “Girl Scout Shoes” to “bedroom slippers” as she “expects”(5) Mrs.Turpin becomes a false believer, drowning within her own deceptive conclusion by gripping onto her theory of goodness being carried by people’s shoes. Ultimately,

This bitterness and sarcasm is revealed as strong characteristics of the narrator. Throughout the majority of the story, the narrator continues shows his distaste for any "happy" situation. Much like the hyphenated asides, Carver implements fragmented sentences behind description, to show the narrator pausing for a moment of color commentary.

The effects from the change in tone, created by Mary Harron, result in another completely different reaction from the audience. The reaction from the audience is to smile upon the main character Patrick Bateman and be amused by his slips of insanity. In Ellis’ novel the reaction from the audience during Bateman’s torturous performances are viewed as horrendous and demonic, nothing to make the reader amused.

We are accustomed to long sentences from the beginning, successful tool for the author to elongate and deepen the imagery of the passage. In addition, they simulate movement and provide the reader with the idea of Tereza’s eyes moving along her skin, examining every detail of it. After this description, Kundera follows to a set of questions that arise in Tereza’s mind. This change in punctuation clearly introduces the reader into a new environment, a more philosophical one where Tereza deliberates upon the relationship between soul and body. Kundera’s choice of separating each of these thoughts into different, short paragraphs gives the sensation of thoughts flashing up in the character’s mind. Simultaneously, it pauses the reader in order to be able to answer those doubts from their own perspective. Nonetheless, Kundera grants Tereza an