Margaret Atwood's The Wind In The Willows

Firstly, Bradbury describes the home with human qualities and actions giving a personality, with “mechanical paranoia,” and a “hissing sigh” (Bradbury 287; 284). Next, the house is granted human-like parts as well. One example of this would be an “attic brain which directed pumps” (Bradbury 290). Also, the house is able to identify feelings as a human would, whom are unlike any other animal on this planet: “[Humans] depend on insights from personal experiences to determine that some mental states have certain ‘feelings’ associated with them and others do not, which we call ‘emotions’” (Welsh). An example of this would be when the house says, “Sara Teasdale, as I recall your favourite,” (Bradbury 289). This displays the idea that the house has knowledge of one’s favourite poem, something that a dog or stereotypical robot does not know, and exhibits a sense of affection. For these reasons, this is influential because it demonstrates that the house itself is a human, showing the lack of need for real humans and that a planet without them would have no great

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

The novel starts with the primer of Dick and Jane that promises the perfect family and home for which Pecola never stops searching in the book: “Here is the house. It is green and white. It has a red door. It is very pretty. Here is the family. Mother, Father, Dick, and Jane live in the green-and-white house. They are very happy” (7). But as these lines are repeated in several paragraphs, it becomes an unpunctuated, frantic stream of language suggesting that behind this comfort myth lies a disrupting and disordered reality. The house is an antidote to being outdoors. “Knowing that there was such a thing as outdoors bred in us a hunger for property, for ownership. The firm possession of a yard, a porch, a grape arbor” (18). This home desire is also one to curb the funkiness or the excess of the lives of the characters. But home as paradise is quickly translated into prison: “What they do not know is that this plain brown girl will build her nest stick by stick, make it her own inviolable world, and stand guard over its every plant, weed, and doily, even against him” (69). The haouse is a jail and a respite simultaneously, just like the community the house appears to promise comfort and rest but fails to do so for Pecola in

The Catelli name and land is under threat. Willow Isabel Catelli, daughter of the estate leaves Italy and travels to her dead husband’s homelands to beg the help of his brother. She will settle for either the security of marriage or a child heir. But, true to their Scot blood, Cameron Laird and his pack are a stubborn lot. Wolf-shifters don’t take orders. Their help has a price, her body to share amongst themselves. Dungeon pet puss by night, lady of the manor by day, Willow finds herself bound in this world of not only BDSM, animal role-play, voyeurism and delicious lashing but also wild, ravenous wolves who lust for her human flesh. She cannot escape. She doesn’t wish to.

Tranquil gusts kissed my skin; the sweet sensation of a breeze and the rustle of the trees’ leaves sung me a lullaby. As I lie, back to my trampoline and limbs sprawled, my mind would undergo a sort of cleansing, ridding me of my troubles. My home held my childhood; it possessed memories that had accumulated from day one, intertwining and condensing them to forge a place that would bear peace and serenity. I never contemplated departure, even when it was apparent my parents sought for a better place to reside, for no place could replace my home. Alas, my assumptions were proven to be erroneous.

A person’s home should be more than a place to shelter them from the elements. It should be a place where one could express him/her self freely and not have to worry about any harm coming to them. In the play Trifles Mrs. Wright lived in a house that was anything but calm. In block eleven,

This desired idea of a “happy” family with a “pretty” house, and a  “meowing” cat is contrasted with narratives of secret-bearing families, houses with barren land, and cats with “eyes [filled with]

The first way that Atwood attempts to incorporate problems that humanity is facing in the futuristic setting of the book is by displaying the effects of global warming as researched, predicted and imagined. Atwood tries to show what happened to the spaces of the world that we are familiar with “It was like going to Harvard had been, before it got drowned” (173), in this small sentence Atwood speaks volumes on the effects of global warming that will be discussed further in detail in the next paragraph. Another example of this can be seen here: “A mile or two to the south, a salt marsh is forming on a one-time landfill dotted with semi-flooded townhouses” (148). Another part of the global warming phenomenon is the rising temperatures on the planet

Quiet and unassuming, a modest-looking house lies in the middle of a vast, empty plain, located away from the city and close to the pastoral natural world. Separated from the forceful influences of conformity, but still in touch with the surrounding world, this house is free to think, feel, and experience as it pleases. That’s because this house represents more than the entirety of its physical and visual features; it is a metaphor for my memories, ambitions, secrets, feelings, and emotions.

Christopher’s interpretation of the picturesque stone house being encroached on by the mass of trees surrounding the perimeter shows his interaction with nature and reinforces his paranoid feelings towards

Through the use of juxtaposition, the author attempts to represent the complexity of the human mind. The story takes place at an old mansion in a secluded part of town, surrounded by a “delicious garden” (Perkins 130). The narrator describes the home to have been “long untenanted” (Perkins 129) and have a haunted appearance, which leads to create the image of a shabby-looking establishment. Such juxtaposing qualities of the setting could be said to represent the narrator’s own mind; the garden symbolizing freedom and happiness and the house symbolizing her neglected mental

In the poem “Siren Song” by Margaret Atwood, she used literary techniques to develop the theme. The theme of this poem to me was that women are smarter, more dominant than men, and men are egoistic. The speaker of this poem is the, or a Siren. The Sirens main roll is killing sailors. She uses manipulation to get the men to do as she wishes.

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

“Two orphaned girls who wander into a forest to encounter a gruesome creature and live to tell the tale come back years later they come back to relive their experience.”

What makes “Wild Sheep Chase” unique is the author keep with the roots of the literature in Japan by having characters with no names. The names that are giving are nicknames for this case. Being that this book was published in the late 1980’s, about forty years later with the bombing of Hiroshima and Nagasaki the eastern influence has been flourishing in Japan thus you would think generations of writers to come would have influences from the Easterners and Westerners cultures. With that maybe the possibility of the unknown characters can be subjective towards the readers. Being if that they can relate with the characters they may see themselves as in the book, when in actuality they aren’t.