SWARM Stuart Keeler

Lee’s writing is littered with descriptive and flowery visuals that truly capture both the environment and his emotions. In one such case, he recalls an evening where he “[stared] at the brightest star, viewing it not so much on this night as a beacon, something [he] wanted to believe would lead [he] out of this dark tunnel, but instead as a place [he’d] rather be” (155). His juvenile wistfulness is tangible in the words and the reader can almost feel the chill of the night air. He continues, wishing to be “anywhere but here…[wishing to have] been born anywhere but here.” (155). His yearning twists the heart with sympathy for his lonesome and pitiable plight. This moment is but a minute fraction of the incredibly intimate tale that Lee

The small strip across the top of the visual, presents us with an alternate world that is natural and heaven-like where numbat-like creatures are suspended upon tree branches. The gaze of the numbat-like creatures leads us to the quote, “They didn’t live in trees like we did”. Through the inclusion of text Tan portrays that the numbat-like creatures don’t understand the rabbits. This quote does not show any strong emotions, but instead the blatant tone bestows a ‘clueless’ feeling to us, the responders. This section is very small in contrast to the rest of the image showing the rabbits. This symbolically represents the unprecedented manner in which the rabbits came and quickly “made their own houses”. At observing the picture more closely, we can conclude that where the numbat-like creatures are sitting, the sky is lighter compared to where the rabbits are placed; implying that the lighter colour is the time the numbat-like creatures were familiar

Throughout ‘At Mornington’, Harwood uses descriptions, “night fell”, and similes, “the piece of this day will shine like light” when referring to the power of memory. During ‘The Violets’, Harwood uses imagery such as “ambiguous light” and metaphors such as “unreturning light” and “blurring darkness” to portray time’s ability to pass, and the way that you cannot regain time that is lost. During ‘The Violets’, Harwood also uses the metaphor of the “melting west” to represent a closing day, capturing the vivid colours of the natural phenomenon through the use of evocative imagery. Indeed, the second poem of the diptych of ‘Father and Child’ is ‘Nightfall’. These references to darkness, light and the closing of days can all be seen as symbolic of life, death and the transience of time, as when one day ends and night falls, the transience of that moment will be held in one’s memory regardless of the moment never being able to be relived.

The visual’s background is formed by a dark and starry night sky; stretching across the image and transitioning into a sunny day sky. This is a representation of the passage of time, life, death, and the power of memories. The nighttime depicts ageing and adulthood, whereas the daytime represents youth and life. In the poem, the narrator describes the sky, ‘Ambiguous night, ambiguous sky,’ which is symbolic for the transience between adulthood and childhood. An ambiguous sky is a sky which is unclear or undecided. The faded transition from the night sky to the day sky reflects this notion and the uncertainty of memories; displaying how the poem

In the middle of the semi-circle driveway, separating it from the sidewalk, there is a row of forest green shrubbery. This shrubbery is enclosed with a cement fence, measuring about three feet in height and about six inches in width. Between the driveway and the entrance was a walkway that was covered by a small cement roof, held up by four posts. Built-in as part of this roof is a semicircle dome, made of the same glass as the windows on the rest of the building. On the right side of this roof-like structure, there were a few bushes and shrubs placed behind a bed of rocks. Next to these bushes and shrubs there were a couple of garbage cans and a lamp post. On the left side of this roof-like structure, there were two tall flag posts which each held Canadian flags. These two posts were placed in front of a small row of five stairs which led up to the wall of the building, and in front of the rock-like accents built into the wall. About ten feet to the left of these flags, there is an art-piece. It is made up of twelve thin, metallic planks about ten feet in height, which are placed behind four smaller versions of these artistic planks. These metallic planks were a greyish-green in colour, and each had a small brown-gold, rock-like figure built into them. These rock-like figures were placed about three-quarters of the way up the plank, and they stick out slightly

The two men lay in the snow, listening to the branches creak in the forest. Silence. A crow cawed in the distance, interrupting the calm only for a second. As the two men’s fate approached, they began to perceive things that they had never experienced before. All the crackling, shuffling, and whistling became crystal clear to them, and they wondered how they had never heard these sounds before. Little shimmers and sparkles caught their eyes as if to tell them to enjoy their last moments in this world. Frost glittered in the slivery moonlight, cascading upon them through an opening in the dense canopy

The speaker says, “Sunsets would threaten us,” which means that they can’t continue their adventure and fulfil their curiosity without light (5). Since light is a symbol of knowledge, it also means that they can’t go on without knowledge. Also, the image of a snake shedding its skin shows change and improvement (1). Molting shows that a snake is growing, and it helps the snake see clearly1. Overall, the storytelling has a lasting effect on how the speaker sees the world, which is illustrated by the line “Her voice travels my shelves” (19). Her influence on the “shelves” of his mind will allow the speaker to appreciate his heritage. The very end implies change as well when the speaker says that the two boys are “still” joined in one shadow (21). The word “still” implies that this will eventually change, perhaps after they are no longer in the shadow of

“One day, just after cleaning the landing area in the middle of the stairwell, the sun was shining through the window so brightly,” she recalls that from where she stood, at the foot of the stairs she could see the, “dust motes floating in the air.” These little tiny things floating in the rays of sunshine fascinated her.

All of the elements in the painting set the mood of sadness as the Indians meet their inevitable end. In the painting there are representatives of different Indian tribes and a diverse age of individuals ranging from infants to elderly, all at the brink of the ocean with the sun setting in the distance. The setting for the painting could not be more perfect as the sun sets to signify the end for the few who have not surrendered and gone to camps

Although the tundra land was intriguing, there was a lot more to see; meandering down the valley, the grass (which was once a luscious green) has begun to grow dead, and dry. The shadowy sky – which is filled with ubiquitous clouds – reflects the decaying ground. It is a shield against the sun; it

The movements of the sun are realistically used to calculate time and bearing, this recalls the naturalistic tone, returning the responder once more to the wilderness of the persona’s mind. It also depicts another burden of the journey, an infinity, without chronological order. “Words pointless as calling in a vacant wilderness” here the persona experiences the isolation and remoteness of her mind scape, cutting her off completely from all social interaction, adding another expense to the journey. Alone, physically and linguistically, verbal communication is futile invoking a sense of helplessness, words can no longer help her delve into her psyche, she must substantially navigate her mind

In the depths of the night sky, a moth flying in the streetlight leaves in petulant nature from the town of Northville. Streets of Northville, filled with the garbage and muck of human society,burns with beads of fire and haze from the old industrial complex. Men walk as though mutants, created by a crazed and intrepid scientist, wanting only for the equal thought of human minds. People of the old industrial town, full wittingly, walk, listen and are told by the government's full erroneous thought. The red, purple, and orange leaves fall to the yellow, detritus grass. The leaves although dead and droopy, fall into a spiral staircase of wind and un-precipitated water molecules, almost like a voluptuous dancer in a satin dress . A man of the

“Continuous as the stars that shine and twinkle on the milky way, they stretched in never-ending line along the margin of a bay: ten thousand saw I at a glance, tossing their heads in sprightly dance.” This beautiful and lovely description of the daffodils portrayed in “I Wandered Lonely as a Cloud” helps the reader to envision what Wordsworth saw while he was out walking. Such a description makes a reader’s imagination flow and encaptures a reader. Another story that catches a reader’s attention in a similar way to “I Wandered Lonely as a Cloud” is the text “Calypso Borealis”. Authors William Wordsworth and John Muir both write beautiful descriptions of nature that pull readers in and allow them to see the wonders of nature through the authors’

There are endless green pastures. There are dirt roads, secretive and rocky, that lead to hidden watering holes with old rickety bridges connecting the land. The river water under the bridges is cool, clean and refreshing. It feels like it runs just for you. There are famous calico leaves that hang loosely from every tree branch in the fall that bring photographers from far away places. Later, the leaves fall in delicate, colorful piles. As children we 'd rake them into bigger piles and flop our little bodies on top.

The sunset was not spectacular that day. The vivid ruby and tangerine streaks that so often caressed the blue brow of the sky were sleeping, hidden behind the heavy mists. There are some days when the sunlight seems to dance, to weave and frolic with tongues of fire between the blades of grass. Not on that day. That evening, the yellow light was sickly. It diffused softly through the gray curtains with a shrouded light that just failed to illuminate. High up in the treetops, the leaves swayed, but on the ground, the grass was silent, limp and unmoving. The sun set and the earth waited.