Comparing Thomas Wolfe's 'The Far And The Near'

The images and lighting are similar to images that record the suffering of people during the depression of the 1930s. However, inside the park the weather starts to brighten making everything look lush and vibrant. It seems absurd to see such a strong contrast after passing through the imperial gates. This brings to mind the saying “The grass is always greener on the other side” This helps to show how the members of the public see this part of London as a desired thing and that everything is better, but this saying usually ends up being false; these people still live in the same world, it is all an illusion, Further on in the scene Theo says to his cousin Nigel, “A hundred years from now, there won’t be one single sad f**k to look at any of this (meaning his apartment). What keeps you going?” To which Nigel replies “You know what it is, Theo? I just don’t think about it”. He is just ignoring the inevitable.

A review of the house itself suggests that an architectural hierarchy of privacy increases level by level. At first, the house seems to foster romantic sensibilities; intrigued by its architectural connotations, the narrator embarks upon its description immediately--it is the house that she wants to "talk about" (Gilman 11). Together with its landscape, the house is a "most beautiful place" that stands "quite alone . . . well back from the road, quite three miles from the village" (Gilman 11). The estate's grounds, moreover, consist of "hedges and walls and gates that lock" (Gilman 11). As such, the house and its grounds are markedly depicted as mechanisms of confinement--ancestral places situated within a legacy of control and

When the narrator first encounters the girl, his friend's older sister, he can only see her silhouette in the “light from the half-opened door”. This is the beginning of his infatuation with the girl. After his discovery, he is plagued by thoughts of the girl which make his daily obligations seem like “ugly, monotonous, child's play”. He has become blinded by the light. The narrator not only fails to learn the name of his “girl”, he does not realize that his infatuation with a woman considerably older than himself is not appropriate. He relishes in his infatuation, feeling “thankful [he] could see so little” while he thinks of the distant “lamp or lighted window” that represents his girl. The narrator is engulfed by the false light that is his futile love.

In the words of Sigmund Freud, “The interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind.” The legendary psychologist saw dreams as an avenue to study one’s underlying motives for action. Similarly, in literature one finds striking significance from the illusions of protagonists that often predict the nature of one’s psyche. Two such examples present themselves in Blanche, from Tennessee Williams’ A Streetcar Named Desire, and the grandmother, from Flannery O’Connor’s A Good Man is Hard to Find. The former tale follows a lady without a home who finds herself reliant on her belligerent and bestial brother-in-law. The latter traces a family’s road trip South and their encounter with a wanted fugitive. Both Blanche and the grandmother find themselves tethered to their idealistic and often times hypocritical fantasies which signify their underlying mental instability and foreshadow their eventual ruinations. Williams and O’Connor examine their protagonists’ delusions through gender, clothing, and nostalgia.

The image of the outside of this houses may not be pleasant to us but the people there decided to live in them. They have had the opportunity to change the appearance of this depressing houses but they by choice decide to live this way. To them there is beauty in their houses even if there is none to others. The towns from Pittsburgh to Greensburg have a horrible hellish appearance to the author. The author describes the town to have no beauty in it. She says that to people who pass by that town think of the town as hideous and ugly but the people who actually live there love it. The author is trying to say how it all has to do with perspective of the people and what they are used to.

reader feel a sense of dread and despair because unlike the house the reader knows the owners

The passage O Pioneers talks about this town in the Great Plains and a little country boy that can not help his cat and is afraid to ask someone for help. The author of the passage, Willa Cather, uses phrases and words to describe how somber the mood of the passage is. Carter also overuse words to emphasis how somber the mood of the passage is.Willa Cather’s choice of words and phrases about the setting contributes to the somber mood of the passage by describing the houses in the open plains, the overuse of the word “gray”, and how scared the little sad boy was about his cat and asking someone for help.

It made the town look happy and very well put together. Their cars also followed the same color patterns. On the other hand, Edwards house was really dark, had lots of damage and was really dirty. Which made his home seem really dark and scary. But then his landscape was amazing with many different shapes of

Throughout the story, the man is almost dazed, trying to savor the past and acting without a care. In the opening scene of the story, the man is drinking excessively and staring out of the kitchen window onto his lawn; his furniture is arrange in the yard as it was in the house. He even repositions the “nightstand and reading lamp on his side of the bed, nightstand and reading lamp on her side. His side, her side” (Carver 3). His actions and his thought process make it apparent that thoughts about the woman are having an impact on his mental state. He is being haunted by these memories of them.

An Interpretation of “The Far and the Near” in Thomas Wolfe’s Short Story. Thomas Wolfe’s “The Far and the Near” tells a story of a railroad engineer who for twenty years, passes a small cottage everyday and waves at the two women that live in it. Upon retirement, the engineer decides to finally go visit the village and meet the women. Throughout the twenty years, he imagines what life is like outside of the train cabin, but his dreams are soon destroyed when he is mistreated by the women. Consequently, he soon realizes that his dreams and ideals are rather erroneous conceptions of reality.

The train station where the characters are in rests in between two distinct landscapes. One of lush fields of grains, and trees, the other of barren, dry land and white hills. The landscape with the white hills is shown to have imagery of death and

Having connected with the plumber she realized her and her husband were mismatched all along. She only ever saw herself as “Mrs. Ames”, only her husbands’ wife. This shows that men were seen as more important and dominant in a marriage during this time. When she went down to the drain with the plumber she accepted that he was a better match for her. Instead of blaming everything wrong in their marriage on her she realized they just weren’t meant to be together.

Literature is a constant reminder that not all ideas are written out in plain paper and pen. The setting, characters, symbols, and plots can be hidden within the story, the way that they are hidden within “A Glimpse of Scarlet”. Lisa is walking through a quiet New York City when she comes upon a man leaving a house but notices that he was not alone. She realizes that the affair that the man was leaving is an affair Lisa knew too well. Lisa goes into detail about how a husband might find out the affair is happening in such detail that the reader questions is that is the way that Lisa's husband finds out in her first marriage about her affair “while the two of them whispered upstairs, on those musky sheets, her husband might easily be stepping

With the images presented, a wheelbarrow and chickens, a farm scene with a large home and a red barn located on a large grass field with some hills. Perhaps some horses inside a corral and cows grazing in the rolling hills. For the reader to create this much more broad and intricate image of a farm was completely dependent on the wheelbarrow and the chickens (Morris, 2011). That is how important and powerful those two particular images are and in order for the reader to mentally paint the rest of the picture is completely dependant on the wheelbarrow and chickens (Morris, 2011).

Is it the buildings external aesthetics that create this expression? No, the building is modern, dark and hard (a bit like a block of chocolate). Is it the internal aesthetics? Again, it is not. Perhaps there is poetics in the contrast between the building and its site, the use of this space which builds anticipation and excitement. Upon approach from the road heading east you have to drive past the building to get to the driveway entrance. The driveway winds around past the entrance of the building to then horseshoe around to the carpark. Is this to intentionally build excitement? The repetitious steel posts that hold up the entrance veranda have a vacuum effect drawing you towards the front doors. Viewing windows at the east end of the open internal space show chocolate makers at work creating edible pieces of art. The centre is laden with towers of chocolate products in brightly coloured boxes and packaging. The west end of the internal space is home to the café which displays decadent desserts under a high ceiling, with floor to ceiling windows which highlight the location of paddocks and vineyards. However, these aspects are not poetic individually, and barely as a combination. If there are poetics here, it lies in the buildings purpose; its smells, its sounds, its products and the outdoor play areas for