The Empty Hat-Stand Trees Analysis

In “The Pedestrian” by Ray Bradbury, the author uses simple, but powerful similes as a gateway to the reader understanding the setting of the story. “The Pedestrian” is the tale of a lone wandering man walking down the street at twilight. The man is then accused of being a criminal and taken back to his home, also known as “The Psychiatric Center for Research on Regressive Tendencies.” The similes used in the story help readers fully understand and see the setting of “The Pedestrian”.

The era was famed for its wealth, opulence and parties (Exactly what the neighbour appears to have and do). The short paragraphs serve to represent his fast paced lifestyle, the details flying past, as his nights do through all his partying. The vocabulary used is quite specialized, using a multitude of adjectives giving an insight on the life of the neighbour. The author has cleverly, through his use of adjectives, made the reader feel the summer atmosphere, and feel the carefree attitude of all the partygoers. This method of using such detailed description forces the reader to feel intrigued, and to want to read on and learn more. These adjectives embody a visual form, and they are occasionally comparative ‘Lights grow brighter’, ‘Laughter is easier minute by minute’, ‘More swiftly’

She trekked forward, valiantly, against the aloof, inhospitable environment. Around her, she witnessed as the rudimentary surroundings drove individuals away as if it never wished for accost. Despite this she continued to trudge forward, despondently, waiting for a sign-- anything to warn her if she ought to continue or if she ought to give up. Eventually, she persisted. Ann Petry, in her novel The Street, explores the dynamic relationship between Lutie Johnson and the unfriendly urban setting through the articulate use of dramatic personification and vivid imagery as a metaphor for the uncertainty that ensues when relocating in a new, diverse, and vastly dissimilar environment.

The authors are able to convey the theme of poverty by creating similar settings in New York City and Ireland. Lutie, the main character of The Street, walks down the frigid sidewalk of New York observing the setting surrounding her. The author illustrates the cold by writing, “She shivered as the cold fingers of the wind touched the back of her neck…” (Petry). This quote shows the way the author portrays the wind. She uses personification to give it life.

Being new to an unfamiliar place is always a challenge and bring discomfort, being alone and knowing no one. In “The Street”, Ann Petry uses personification, selection of detail, and imagery in order to reveal Lutie's relationship to the urban setting and to show the challenges Lutie Johnson faces in the urban environment.

2. The street in where we live is where the wealthy people live, so it’s not really crowded like in streets of the city. Besides, it’s actually distant from the city.. the noises and the poor. Basically a good place to refresh and rest your minds. To be honest, I’m not really close with our neighbours. They’re rich too and somehow, I always get the feeling they actually pretend to be nice to other people and have this evil back-up plan somewhere in their head. (Which I do not have of course!)

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

A 21st century reader would perhaps see this as something that it is not normal, they would probably think that the door was very old and no one would visit this place because it was rotten, but on the other hand a Victorian reader may see this as something normal that everybody had, as people were quite poor so they couldn’t afford these things and they would make do with whatever they could afford. Then the author writes ‘tramps’, this may suggest that the lowest people would live in that street who had the poorest lifestyles out of everyone and this is adding recoil that you wouldn’t want to be near this horrid street. One may say that it is not what it seems on the surface but the danger could be uncontrollable and spread. This sets a seed of danger to develop later in the story.

In Glass House, Wiltz presents one of her strengths through a lattice of roads that orients readers to her perspective of the evil effects of urban segregation as well as her vision of how integration might be sustained. Wiltz’s anecdotal Convent Street crosses the true St. Charles Avenue and hence interfaces the Convent Street Housing Project with the mansions of the Garden District. The wide intersection road, St. Charles Avenue, serves as what the narrator terms a “buffer zone between the very rich and the very poor” (5) or as is so frequently the case in urban America, between the whites and blacks or other minorities. Wiltz utilizes this converging street grid to illustrate the complex ways in which the lives of rich whites and poor blacks are linked, despite their spatial partition. The association has been obscured, making for a

The dark fact that is foreshadowed by the description of the “buckling concrete walk” is that the future world is lonely, dark and silent. The pedestrian seems to be living a lonely life with no other stimulation.

Amidst the swirling ripple of faceless people meandering around fire hydrants, pedestrian signs, and ragged newspaper stands, he stood; embedded within the relentless stream of continuous people trickling by him. The occasional nudge threatened to dislodge his balance as he gazed across the road where two buildings laden by carmine shaded bricks separated. The same two buildings he walked directly pass early in the dewy morning and late in the brisk evening weather everyday for the past two decades. Surely he knew every wondering power line and dimly lit alley of the surrounding neighborhood? Yet something glimmered from in between the impossibly small gap separating the buildings. His conscious turned from thought to action as he leapt from the scuffed curb and into the high voltage current of traffic without a second

In Ann Petry’s 1946 novel The Street, the author establishes Lutie Johnson’s distant, discouraging, distracted, and finally dominant demeanor to the urban setting mostly through the use of personification.

In the opening paragraph, North Richmond Street is introduced as "blind," and "quiet", yet on it rests another house which is unoccupied. The narrator states that the house is, "Detached," from the others on the street, but that, "The other

Lots of things affect what it is like to live in a street. This report looks at traffic, shops and schools, public transport, parks, litter, noise, how nice the houses are, trees and gardens, paths and lighting.

The original narrative intention of Unhomely Street was to follow a female protagonist in a state of fugue, as she wanders an alienating city underbelly of clubs and free parties. Without belongings, therefore without identity – or more importantly, state registration – the film