How Does Roald Dahl Use Figurative Language In The Hitchhiker

Do you know what is in the food that you are fueling your body with? Eating locally grown food or growing your own food allows you to know exactly what is in your food and where it is coming from. Award winning author Barbara Kingsolver ditched her urban life full of pesticides and GMOs, and uprooted her family to a farm where they were going to eat all home or locally grown food for a year. The Kingsolver family documented this one-year food journey in their non-fiction book, Animal, Vegetable, Miracle: A Year of Food Life. Barbara Kingsolver wants to educate, persuade, and inspire her readers to live healthier lives by first forcing them to question the food they are consuming. She uses allusion, figurative language, and rhetorical questioning

For example, when Dickens states “The accused, who was (and who knew he was) being mentally hanged, beheaded, and quartered, by everybody there, neither flinched from the situation, nor assumed any theatrical air in it. He was quiet and attentive….” on page forty-seven, it causes the reader to visualize what the accused person is seeing as people are staring at him in the courtroom. It also causes the reader to feel and understand the accused person’s emotions and pain as the trial begins due to him understanding that everyone in the court room see him as the guilty

One example of this is when Bradbury talks about how lonely the streets are when the main character is walking, “The streets were silent and long and empty with only his shadow moving like the shadow of the hawk in midcountry” (“Pedestrian 98”). It really lets the reader soak in the setting and let the reader feel what the main character is feeling. Another form of imagery in the text is when Bradbury talks about the houses and how they look. “And on his way he would see the cottages and homes with their dark windows, and it was not unlike walking in a graveyard where only the faint glimmers of firefly light appeared in flickers behind the windows” (“Pedestrian 96”). This quote is letting the reader know about the street being empty and dark with no one to be seen. One more example is when a cop car pulls up to the character, the car asked him to get in and then describes the inside of the car “He put his hand on to the door and peered into the back seat, which was like a little cell, a little black jail with bars. It smelled of riveted steel. It smells of harsh antiseptic, it smelled to clean and hard metallic. There was nothing safe there” (“Pedestrian 100”). This quote describes the unsettling feeling of the police car and the smell of the metal and

Introduction The book, The Unwanteds, by Lisa McMann, is an adventurous story about a creative boy named Alex, and his very bland and boring twin brother Aaron. Alex and Aaron are split apart because Alex took the blame for something that Aaron did, and at the Purge, when they were both thirteen years old, Alex was sent to his death, and Aaron was sent to the university of Quill, where he would become a governor. Alex, however lived because of a man named Mr Today, and the secret world of Unwanteds. Aritme was full of talking statues, magical creatures, and lots and lots of colors.

Everyone at one point has judged a book by its cover. In the short story, “Cathedral”, Raymond Carver creates a narrator who bases off ideas and assumptions about blind people from movies. The narrator has never interacted with a blind person before the day where his wife invites her friend, who is named Robert, to stay. The narrator and Robert have never met, but the narrator has a strong dislike towards Robert before meeting. The narrator’s closed-mindedness and misconceptions leads him to judge Robert, however after a few hours of interaction, the narrator learns more about him and grows to have a new perspective about people not being who they think they are.

effective because it allows the reader to envision the workspace. “Grammar is not just a pain in

The events happening in the story can really happen, and this allows open-minded readers to put themselves in the story line and feel what O’Connor makes the characters feel. A great example of creating fear and sympathy in the audience is when O’Connor writes, “There were two more pistol reports and the grandmother raised her head like a parched old turkey hen crying for water and called, ‘Bailey Boy, Bailey Boy!’ as if her heart would break” (O’Connor 454). In this line, readers feel hearts almost break in sympathy for the grandmother as if they have lost their own son, but soon fear creeps up because everyone has been murdered except the grandmother, leaving her alone with evil. Through characterization, O’Connor creates an emotional and relatable connection between the story and the readers, which is a great element that defines good writers from great writers. Reading is just a way for people to escape the everyday redundancies of life, even if it is met with fear and sympathy.

Conclusion: Roald Dahl uses his characters to portray his personal views that troubles in life can be solved by rationalizing the situation before making a decision, that you should appreciate what you have, and that ultimately that everyone is a lamb, all with the power to break free of their

These forms of figurative language help the reader create a "mental picture" . For example, when Bilbo Baggins meets Gollum, a strange, slimy creature who lives deep in the caves of Moria, he describes Gollum's eyes as "… the light of his eyes burned with a pale flame" (92). Gollum' s eyes are not really "pale flames," but because hi iris was such a bright color, in contrast to the dark, Bilbo had observed it as "pale." Also, his eyes were not actual "flames". Gollum was infuriated by the lose of his ring and therefore Bilbo saw rage in his expression, his eyes were not "flames'.

Throughout the book the author writes the story from Libby’s and Jack’s point of view. Niven writes the book as though Libby is writing in her diary and then in the next chapter Jack is writing in his diary. The author also uses flashbacks in the story. We get a deeper understanding of the story and why things are happening in it because we can see that in the past all of these events lead up to this event. Another way the the author uses craft is how she uses figurative language to also add deeper meaning to the story. The author uses craft to make the story much more interesting to read. If there was no figurative language in the books it would not have gotten the ratings it did or be the book that no one wants to put

Next, Sedaris moved to his second literary device, where he made light out of his dark situation, by having his youngest sister lay out in the middle of the road to get their mother’s attention. This device is called black humor; for instance, “We chose a quiet dip between two hills, a spot where drivers ere almost required to skid out of control. She took her place, this six-year-old in a butter colored coat, and we gathered on the curb to watch.” (Sedaris 74). This literary device also keeps the audience engaged and creates personalities for different characters. Knowing how each character is in a story is important because the reader can sense sarcasm or even anger through body movements explained and also attaches the reader to certain characters that they like.

Brent and Emil’s relationship is so strong that Brent is willing to put his entire journey on hold so that he can spend time with Emil, despite the fact that he and Emil are almost total opposites when it comes to sociability. Something else that makes Emil and Brent different from one another is their various likes and interests. Emil will soon be studying Biology in college, and when the two boys visit the zoo, Emil takes much pleasure in informing Brent about every animal they meet. However, Brent is more interested in other things such as woodwork, like his whirligigs, and music, like his harmonica. Yet, these variances do not stand in the way of the friendship at all. This is clearly displayed when “They [Emil and Brent] ...spent two hours in the natural history museum. Brent had never known anyone his age who went to museums voluntarily. He was strictly Emil’s sidekick” (71). Although Brent is not a fan of museums at all, he still stands faithfully by Emil’s side the entire time, proving that two people do not need to be exactly alike in order to be friends. However, Paul Fleischman does not just emphasize that personality type doesn’t matter in a friendship; the author also portrays that race isn’t important when it comes to forming relationships.

O’Brien uses word choice and informal diction to convey the feelings of monotony and tragedy to give the story authenticity.

This connects the reader to the story. This connects to the reader and helps the reader relate to the fight between the couple. The author uses dialogue because it helps the reader establish the tension and fury between the two characters. The text states “ What would you like to do? Get the button back and push it? Murder someone “(108). This textual evidence illustrates how the dialogue was worded helped the reader establish how the characters were feeling at this moment. The text states “ Why are you getting so upset? It's only talk.”(108) This evidence portrays the frustration between the characters and how this creates a divide between the characters. In conclusion, the dialogue helps the reader establish the tone and helps the reader understand the story better.

In literature, authors use a certain image or collection of images in order to produce a particular effect, eliciting a response from the reader’s senses. Ernest Hemingway’s “Hills Like White Elephants” utilizes the imagery of the train station in order to produce the effect of transition between the characters, both in terms of physical location and emotional mindset. Much like Hemingway, James Baldwin’s “Sonny’s Blues” takes a similar approach, using Sonny’s passion for music to expose his deepest insecurities. Though their approaches are different, both authors use imagery to create a pathway to the character’s internal thoughts.