John Bryson Syntax Structure

Cormac McCarthy’s brain child “The Road” is a postapocalyptic novel that illustrates the harsh reality of the world. This story serves as a truth that humans, when stripped of their humanity will take desperate measures in order to survive. The reader learns; however even when it seems all hope is lost good can still be found in the world. The son character of this story illuminates this philosophy. He is a foil of his father and shows how even a person never accustomed to the luxury of a normal life can still see goodness.

The author makes the desperation obvious by saying, “the desperation in his voice, like a man about to sob.” This not only depicts how desperate Okimasis is, but how emotionally draining the race is and that he will try to pull out a win, sobbing or not. In addition, Highway tries to get the reader to see what’s really going through Okimasis’ mind through his strong use of diction. The author includes the lines, “he was not leading. What mattered was that he was not going to win the race.” Including the phrase, “what mattered” demonstrates that winning is the main reason in Okimasis’ mind and that it doesn’t matter who is behind or in front, but that all he wants to do is win. Another interesting way in which Highway brings out Okimasis’ desperation is through his communication with the dogs. For example, Highway includes how Okimasis consistently yells “mush” during the race . This demonstrates how aggressive and desperate he is to win. Not only howmany times Okimasis yells “mush,” but it’s how he Highway says that he says it. ‘ “Mush! he cried, “mush,” ‘ clearly illustrates a tone to show that Okimasis virtually just desires to win the race. He even refers to the word “mush,” as the “sole word left that could feed them,” which means that Okimasis was lacking ways to keep himself and the dogs motivated to continue pushing forward.

In the novel, The Road, Cormac McCarthy illustrates the expressions, settings and the actions by various literary devices and the protagonist’s struggle to survive in the civilization full of darkness and inhumanity. The theme between a father and a son is appearing, giving both the characters the role of protagonist. Survival, hope, humanity, the power of the good and bad, the power of religion can be seen throughout the novel in different writing techniques. He symbolizes the end of the civilization or what the world had turned out to be as “The Cannibals”. The novel presents the readers with events that exemplify the events that make unexpected catastrophe so dangerous and violent. The novel reduces all human and natural life to the

Are too many people going to college? This question has been contemplated over for years. The increased cost of college throughout the years has caused the question to become even more relevant. Charles Murray, an author from the American Enterprise Institute, wrote the essay entitled “Are Too Many People Going to College?” Murray’s essay sought ought to explain that universities are being filled with students who are either not prepared for higher education or who are compelled into attending college and are unable to succeed because the lack of inherent abilities. While Murray makes many pertinent points about America’s infatuation with the B.A as a standard into a class of intellectual elite the essay does not take

Rhetoric is the study of how writers and speakers use words to influence an audience. Pathos, Logos, and Ethos are examples of rhetorical devices, where the rhetorician would appeal to an audience to prove a point. In both the Declaration of Independence and The American Crisis #1, the authors use several examples of rhetoric to persuade their audience in the 1700s, to separate themselves from England.

Adams’ son is on his second voyage to France with his father. In her letter, Adams is writing from home to her son addressing his known reluctance of the trip. Adams endeavors to give reasons and her opinion on why traveling on important.

“The mother removes her purse from her shoulder and rummages through its contents: lipstick, a lace handkerchief, an address book. She finds what she’s looking for and passes a folded dollar over her child’s head to the man who stands and stares even though the light has changed and traffic navigates around his hips… He does not know his part. He does not know that acceptance of the gift and gratitude are what makes this transaction complete… The mother grows impatient and pushes the stroller before her, bearing the dollar like a cross. Finally, a black hand rises and closes around green” (paragraphs 3-5).

Soon after this moment the narrator is confronted by a motorist who wishes to ‘help’ him with his heavy looking package, which he describes as a ‘family heirloom.’ The narrator consents, and after loading the dog into the trunk, the motorists takes off, ignorantly and ironically thinking he just stole something of value.

The speaker?s attitude is one of indifference, and this is made apparent by the metaphors she

Aristotle wrote that we can be persuaded by three things: reason (logos), the character of the speaker (ethos), and our own emotions (pathos).

The way I read the taxi cab portion made me think of it as a quasi mock confession booth, with the driver, Fekadu, serving as the priest. This isn’t very clear at the beginning of the ride when William’s trying to meditate and stuff his problems away into his imaginary deposit box. But once Fekadu gets the conversation rolling, the outpour of emotion starts, marking an important shift from William hiding problems to trying to face them.

Holden is very inquisitive about where the ducks in Central Park go in the winter. His questioning the cab drivers of this shows a youthful willingness in him to discover what he is curious about. “You know those ducks in that lagoon right near Central Park South? That little lake? By any chance, do you happen to know where they go, the ducks, when it gets all frozen over? Do you happen to know, by any chance?” (60) The cab drivers give mostly thoughtless

In Paula Vogel’s “How I Learned to Drive”, we follow our protagonist nicknamed “Lil Bit” on a gut wrenching, and downright disturbing journey through her adolescence, told as a series of narrations, monologues, and flashbacks with the occasional interjection of a PSA like voice over. The play recounts the physical and emotional abuse Lil Bit encountered from the ages of eleven to eighteen at the hands of her uncle Peck, while he teaches her to drive.

We often consider the world to be filled with core truths, such as how people should act or what constitutes a good or bad action. In The Road, McCarthy directly challenges those preconceptions by making us question the actions of the characters and injecting a healthy dose of uncertainty into the heroes’ situation. From the very beginning, the characters and their location remain ambiguous. This is done so that the characters are purposely anonymous, amorphously adopting all people. While on the road, the order of the day is unpredictability; whether they find a horde of road-savages or supplies necessary for his son’s survival is impossible to foretell. While traveling, the boy frequently asks “are we the good guy” and the father always replies with “yes” or “of course,” but as the story progresses this comes into question.

In this example he describes that in order to fulfill the bus you fist need to get the right people in, and then you get the wrong people off the bus, then you need to position the right people in the right seats, and last you need to figure out where you want to drive that bus.