Summary Of My Point And I Do Have One

Initially, the cover and title page of the book both play a key role in the layout of the story. On the cover, the artistic style of the illustration looks like a cartoon and a painting. This style is very realistic because of the situation portrayed on the cover; yet playful at the same time because of its comical vibe. The cover also looks three-dimensional and the author seems to be using a straightforward perspective of art. This idea is led be true because the child, wall, and table with the fishbowl are all facing towards the reader. The title is also as large in font as the child and fish bowl are. This shows that the cover is relatively proportional in both text and pictures.

Scenes in The Road are very graphic and a lot of them put a very vivid image in the reader's head. Good or bad. Not only do the scenes affect the way you read the book, but they way he makes the reader work for what they want. While reading this book, there was a scene that described naked people being held hostage. “Huddled against the back wall were naked people, male and female, all trying to hide, shielding their faces with their hands. On the mattress lay a man with his legs gone to the hip and the stumps of them blackened and burnt.” (110). This line in particular puts a discrete image in your head of what may be going on in this scene and how the ‘bad guys’ may be affecting humanity. After the little boy sees this terrible sight he asks the man “We wouldn’t ever eat anybody, would we?” (128). The man helps him understand why the people we’re being held hostage, and why they couldn’t help them.

By using imagery throughout the book, the reader gets a better idea of what life was like through Jeanette's eyes.

Picture books can have a very important role in a classroom, from elementary school through middle and even high school. They offer a valuable literary experience by combining the visual and the text. Maurice Sendak’s Caldecott Award winning book, Where the Wild Things Are, is a wonderful blend of detailed illustrations and text in which a young boy, Max, lets his angry emotions create a fantasy world.

Book 1: The illustrations do help predict the story’s action and climax, which is simply that the main characters parents come and pick her up from her Nanna and Poppy’s house and she has a realization that, when she gets older and becomes a Nanna, that she wants a house with a hello, goodbye window too. It is easy to predict this outcome with the help of the illustrations, they set a very colorful and happy tone, and if this was simply a picture book without any words you would be able to tell the story very easily.

Vivid images can be found abundantly throughout the novel and helps to portray scenes to the point where the audience can actually imagine, smell, touch, and hear everything that is going on. “No matter how they scrubbed their hands, the residue of Red Hot Mama had a way of sticking round, as pesty and persistent as a chaperone at a high school dance.” (158). In some instances the audience can acquire a sense, based on the description whether the characters are self absorbed, considerate, or overly concerned about their appearance. “I ought to be shot for looking like this” she’d tell the mirror in the front hall before going out the door. “I look like I’ve been drug through hell backwards,” she would say on and ordinary day. “Like death warmed over. Like something the cat puked up.” (103). The emergence of the images presented in the novel can help present a better understanding and in some cases, a connection to one of the

whole picture, and this book did. One thing the author did to “lighten the load” of the

However, a drawback of the pictures is that they are drawn and not actual pictures. This may or may not have a big impact, but some children could benefit from seeing real life pictures of the game they are reading about. The illustrations also have a strong impact on the book because of the diversity that is shown. In all of the pictures that players and coaches are in, there are different ethnic backgrounds and genders expressed. In her From Cover to Cover book, Horning explains this is important because, “boys and girls of racial backgrounds should feel included, rather than excluded, from the social life of the book” (Horning 29).

I didn’t recognize many of the authors, although my favorite quote was from Wendell Minor, “A picture book is a mini mobile art gallery”. I liked this quote because it very cute, and true. Each page has a new picture for you too look at and carry around without going to the most prestigious gallery to see painting and pictures.

Spiegelman utilizes personal photos, a former comic, and a quote to add a visual representation of emotions to what appears at first glance a cartoon story.

This made it feel a little like watching a movie. For instance, I could picture Opal, the woman in the chocolate store and imagined her as being skinny with short brown hair. I could really get a sense of the characters. The books was written well in describing the scenery. I could picture the aunt driving up the coast after the funeral and her laying on the bed and eating chocolates and being grouchy. I also like that her pet was a chinchilla. It made her seem even more eccentric and odd.

I believe these contribute to the reader’s understanding of the conditions that people were living in at the time and it’s very easy to compare their lives and ours. For example, on page 36, there is a photo of a family alongside their house. The photo is relevant to the topic of discussion in that chapter and can give a visual to the conditions of each average household during America’s Great Depression. From this photo alone, without much of any context, you could analyze that the average household for a family is one to two rooms, and money is scarce even among the wealthy. Personally, I think the visuals are useful for further understanding the story and gaining an image of what the average life was

the most important pictures in the book is on page 24. The picture is a drawing of

For Barbara Ehrenreich's book Nickel and Dimed to be effective, she has to utilize imagery, an extremely effective method of description. By her very detailed descriptions, Ehrenreich is able to "paint a picture" of what it was like for her to go through her yearlong adventure. She incorporates imagery often, making the reader feel like they are actually in the story, feeling what she felt, seeing what she saw, and going through what she went through. For example when Ehrenreich describes her room at the Clearview Inn, " Room 133 contains a bed, a chair, a chest of drawers, and a TV fastened to the wall. I plead for and get a lamp to complement the single overhead bulb. Instead of the mold smell, I now breathe a mixture of fresh paint and

The first of the two ideas that interested me the most was the way Barthes looked at photos. He did not say that he liked a photo because it had his favorite animal or color. He looked deeper into the photo. He looked to see what had caught his eye the most about a photo he enjoyed. He called the catching of his eye the punctum. Barthes described the punctum as, “… is that accident which pricks me…” (Barthes 27). This “prick” didn’t always hit him with every photo. Throughout the book, he described certain photos that I thought were interesting, but he did not enjoy them. An example of a photo that he didn’t enjoy was the photo of the two nuns and three helmeted soldiers, which was photographed by Koen Wessing in 1979. The main reason that it didn’t appeal to him was that it didn’t have much of a, “duality” (Barthes 23) to it. Then there were photos that had caught his eye. An example of an image he enjoyed and had his prick was a photo of an African American family; photographed by James Van Der Zee in 1926. The family is not what the punctum was. The