The Rouge Penthouse Suite 's Exterior

Using descriptive diction such as “eerie” and “swamp” readers can imagine an unpleasant city rustling with filth and crime. Larson exposes that Chicago had “auras of mosquitoes” in its midst. Readers automatically see Chicago as a filthy and troublesome town when they associate it with mosquitoes. This view of Chicago created by Larson further achieves his purpose to show the downside of Chicago during the time the World Fair was being constructed and attended. When the World Fair was finished, Larson described the nights, “the lamps that laced every building and walkway produced the most elaborate demonstration of electric illumination ever attempted” (254). Larson says the lamps “laced” the walkways in the white city which allows readers to picture the city in a whimsical way. The feeling of the word “laced” sits with readers in a positive way. Thus, Larson can achieve the purpose of forcing readers to see the white city in a luxurious fashion. Also, Larson mentions that the lighting was “elaborate.” Readers see the white city as a sophisticated and lavish place rather than how they see the black city. Larson again is able to persuade readers into believing the magic of the white city. Larson calls upon imagery to construct the two sides of Chicago.

The love affair between a city and the people who reside there can be influential in a person’s life. Cities share a relationship with their residents and the residents start to ponder about their emotional relationship with their homes. In “in the inner city” by Lucille Clifton, the speaker thinks of uptown and how different it is compared to her home, the inner city. The speaker sees how unique the inner city is and takes pride in her home. In “The City’s Love” by Claude McKay the speaker experiences a brief moment of acceptance by the city.

Throughout his career in the factory and at the hospital Brodsky sees details in the city around him that are both beautiful and bland at the same time. For example, remarking on his daily trek to work, “The whole thing would have looked absurd...having washed my breakfast down with pale tea, I would run to catch the streetcar and, adding my berry to the dark-gray bunch of human grapes hanging on the footboard, would sail through the pinkish-blue, watercolor-like city to the wooden dog-house of my factory’s entrance.” Here, Brodsky liberally utilizes colorful metaphors and striking language to characterize the city as being both beautiful, yet at the same time monotonously bland. Brodsky sees bizarre and fascinating images all over the city, such as equating a streetcar loaded with people to a bunch of grapes. Brodsky’s creativity here not only adds a layer of metaphoric beauty to the city, but it also helps him to preserve his individual

into a pattern of lines. When I walked in the street, lights from stores and

As for New York City, in the novel it is defined as the perfect place to live life to the fullest and not have a care of the world. As a reader, it is expected to envision this city full of lights as a bright, restless, and colorful place. Nick Carraway depicts New York City as a “...city rising up across the river in white heaps and sugar lumps all built with a wish out of non-olfactory money. The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of

New York city, as the boys arrived they could see all the people that filled the streets, young women with bobbed hair, dressed in short skirts, drinking, smoking and saying what might be termed as “unladylike” things. Many lights and advertisements. They could also hear these beautiful sounds coming from speakeasies.

"Right this way," the host said, leading you into a large dining area. Every table was filled with people dressed in fancy dressses and suits. On the walls there were various painting, each one was beautiful and unique. On the ceiling there was a crystal chandelier that must've cost a fortune. The whole building was very

There was just something about her, as soon as I laid my eyes on her I just knew I fell in love. I guess it’s true what they say you can fall in love at first sight. But at first I felt like I just wasn't good enough for her, I felt like if I even tried I would just embarrass myself. But the way she just worked on that hardwood floor just gave me goosebumps and shivers going down my spine. When I isolate myself with her four countless hours it made me forget about everyone else in this world it felt like we were the only ones.

As he opens the article with a personal anecdote, readers fall into this beautifully painted scene of a “..family cabin on a Minnesota lake..in which meteors left smoky trails across sugary spreads of stars..”. A such picture painted in readers’ minds left them longing for a such experience. However, the facts and statistics presented by the author hit the readers, contrasting the dream-like ideal with the cold hard truth of light pollution, evoking an incentive to do something about the issue. Likewise, the author closes off the piece with a fact connected to the power of the emotions of the readers. Introducing hope for the cause of light pollution, Bogard states, “Even Paris, the famed ‘city of light’..will..turn off lights after 2 a.m”. By bringing a such location into the argument, readers begin to think about how urgent the issue must be that even such a famed and beloved location would need to take proactive steps. Thus, by combining the appeals of logos and pathos, Bogard is able to build such a powerful

The sounds of the city penetrated the walls of the cab as we drove through the streets of Manhattan. I could hardly wait to partake in the action that was happening outside. The buildings themselves were an amazing site to behold. The buildings took on personalities of their own. Each building was bigger and more graceful than the next. When lights were added to the mix it was a dazzling combination. The city itself felt like a great big hug, and I felt overwhelmed by its power. The city allowed me to become part of it just like many others many years ago who immigrated to this awesome city. As I was looking out of the cab I finally got to see in person the sight of all sights; Times Square. The main juncture of

New York City is one of the most recognizable cities in the United States. This level of recognition most likely comes from its reputation as the City of Dreams, a place where anything and everything can happen. The city draws out strong emotions in the people who visit it- either they absolutely love it or they loathe it completely. As a result, New York is often a setting in many a novel- Charlotte Temple and Washington Square are no exception to this. That is, both novels explore different emotional aspects of New York in contrasting ways. On the one hand, in Susanna Rowson’s Charlotte Temple, New York is a place of love for Charlotte, and of deceit for Montraville, although these descriptors switch in the end for Charlotte and

“Ah! She is French. You should tell me about that first. In this case, I believe we have a solution for you,

A summery July moon shines bright above as Elise walks along Manhattan’s theater district. The avenue is heavily congested with private vehicles, taxis and buses. Elise rapidly blinks her eyes against the glare of red, yellow, and green lights reflecting off the vehicles and storefronts. She rushes toward the subway stairs to escape the incessant sounds of honking and shouting as sleek, fashionable club-goers and restaurant and theater patrons spill out onto the sidewalk.

Setting: Time + Place + Atmosphere (mood or tone): The setting is in the nineteenth- century Chicago and New York City. The atmosphere is Gloomy and Reflective.

Bright Lights, Big City, is an American narrative, by Jay Mclnerney. The narrative is among America’s most notable novels, presented in the second person. In the book, Mclnerney presents the narrator as a worker for highbrow magazine. He depicts the narrator as party maniac, and cocaine user, who intends to literally lose himself in the profligacy (hedonism), of the yuppie party scene (McInerney 213). The narrator frequented ‘Heartbreak’, a preeminent nightclub in New York City. Amanda, the narrator’s wife opted to walk out on him, after establishing her modelling career in Paris. The narrator lived in denial. He opted to assume his wife’s departure, and live as if nothing had change. He lived in the hope that his wife would return (McInerney 343). Nonetheless, the narrator opted to search for his wife at her fashion events. He was overly fixated on his wife’s memory, where he obsessed on her possessions, her modelling pictures, and a dummy based on her. Overtime, his incongruous lifestyle influenced his career. Progressively, the narrator became overly disillusioned, and fixated on his wife, and the acquisitive New York culture.