Wind In The Willows Map Analysis

In addition to including the most boring of details, Capote uses a great deal of imagery to describe the town and its residents. Focusing mostly on visual appeal, he describes the "sulphur-colored paint" and "flaking gold" to reveal the town's appearance and has-been status. Portraying the area as one that has seen better days, Capote writes about the "old stucco structure" that no longer holds dances, the crumbling post office, and the bank that now fails to serve its original purpose.” Combining visual imagery with hints of desolation, Capote attempts to reveal the gray and boring nature of the town through its appearance. He does not, however, rely only on visual details; in describing the local accent as "barbed with a prairie twang," he uses both auditory and visual appeal to make one imagine a ranch-hand's tone of voice and pattern of speech as he describes the events of his farming days. The "hard blue skies and desert-clear air" contribute to a feeling of emptiness, an emotional vacancy that seems omnipresent in the small town. Finally, even "the steep and swollen grain elevators" that represent the town's prosperity are seen in a solemn and mysterious light, as Capote makes certain to mention that the townspeople camouflage this abundance without explaining why they choose to do so.

Often times when reading, characters will seem as if they've been plucked straight from the real world and thrust into the plot of a story. Inherit the Wind by Robert Lee is a novel adaptation of a play that was originally written in 1955. Inherit the Wind focuses on the predominantly devout Christian town—Hillsboro. Bertram Cates, a school teacher labeled as an "evolutionist," is being prosecuted by a well-known and beloved politician—Matthew Harrison Brady. Consequently, a quick-witted and intelligent lawyer—Henry Drummond—comes to town to defend Cates and "the right to think." After reading Robert Lee's novel adaptation of Inherit the Wind, it was evident Rachel Brown and I possess some similar qualities and traits. For example, neither of us like to go against the popular belief, we try to be open-minded, and we are put under an abundance of pressure from our parents and society.

Throughout the book, Bruce and Alison both struggle with the concept of gender roles. For Bruce, he displays more of a feminine side going against the typical masculine male. Bruce’s preference for fashion and beauty shines a light on his femininity. Because of this, it becomes clear to Alison that her father is a “big sissy” (97). While most men gravitate towards sports, Bruce’s interest is more towards gardening. For instance, Bruce and his children play baseball in their yard, but as soon as the ball rolls towards the flowers, his attention instantly becomes “lost” (91) within the plants. During Alison’s childhood, Bruce is always one to fix her hair and dictate her outfits; Aspects that are dominantly feminine. While Bruce tries his best to mask this trait about himself, it is through Alison that he is able to openly “express” (98) a feminine side

Though the viewers focus first on the centered figures, it is easier to first analyze the surrounding settings to understand them. The stone wall foreground and the open fields of the background each embodies one of the girl’s thoughts. The back landscape is filled with warm, airy colors of blue and orange, as if it were under a bright sun. On the other hand, the foreground’s stone walls and concrete floor has dark, cold, shadowy, earthy colors that seem to appear as if under a stormy cloud. The sunny land suggests free, pure, spacious land previous to the industrialization. Yet, the darkened foreground due to the overcasting shadows resemble the currently dirty,

1. What descriptive details does the author use to make it clear that the setting of the story is a small town?

In Alice Sebold’s novel, The Lovely Bones, the Salmon family learns that their fourteen year old daughter, Susie Salmon, has been raped and murdered. Because of this her father, Jack, sister, Lindsey, and mother, Abigail, all go through their own respective journeys in order to accept this ordeal. During this time of grievance for Susie’s family, her father, Jack, believes that the person responsible for the murder of his daughter is his neighbour, a man named George Harvey, and reports this to detective Len Fenerman. However, Len Fenerman becomes too preoccupied with his affair with Abigail to aid Jack with his suspicions. Meanwhile, Susie’s younger siblings Lindsey and Buckley, try to learn how to cope with the loss of one of their very own, without their parent’s attention to aid them. In The Lovely Bones, Susie’s father, mother, and sister, all explore the theme of grief by going on their own pathways through the five stages of grief; denial, anger, bargaining, depression, and acceptance, in order to come to terms with the brutal murder of their beloved Susie.

Capote utilizes imagery to paint a picture of the small town of Holcomb. Capote wants his readers to relate to the tiny town. He portrays Holcomb as “out there.” By describing a town as “out there,” the readers immediately know that the town being described is small and empty. The readers can think of a town that is far from the busy city. Capote wants the readers to think of Holcomb as a town where tumbleweeds pass through without anyone noticing. Some readers may even relate to this tiny town because they came from a small town of their own. In the second paragraph, the author characterizes the streets

Once Nick Carraway, the narrator, moves into a small home in West Egg, he soon comprehends that East Egg and West Egg are completely different. Carraway realizes the East Egg is where the upscale residents live and West Egg is more economically disadvantaged as he explains, “I lived at West Egg, the--well, the less fashionable of the two, though this is a most superficial tag to express the bizarre and not a little sinister contrast between them” (Fitzgerald 5). East Egg residences extremely wealthy people whose wealth has been passed down the line for years, while West Egg houses the hard-working people who build up their wealth. Furthermore, Thomas C. Fowler defines that living in a wealthy, luxurious geographical environment can reconstruct a character into a conceited personality explaining, “Literary geography is typically about humans inhabiting spaces, and at the same time the spaces inhabiting humans” (174). This theory is correct because the residences’ in East Egg are spoiled, selfish people finding themselves in a wealthy and treasured lifestyle.

1. The significance of the quote, “The figure on the screen roughly corresponded to my independent estimate, feebly arrived at after long searches through documents…” (DeLillo, 46) can very well be to illustrate what Jack, the narrator of the book, feels about himself and what he is thankful for.

We learn from the first paragraphs that focusing on the scenery will help her forget the nervous depression which she has been diagnosed with: ""So, I will let it [her illness] alone and talk about the house"(947). The main character’s focus on the environment is the reason for which the reader gets plenty of information about the setting.

The story takes place during the harsh and relentless winter, serving as a key symbol since Mrs. Hale describes Mr. Wright as “a raw wind that gets to the bone” (Glaspell 19). In this sense, the desolate environment outside parallels the atmosphere inside the Wright’s home. The cold presence of her husband has confined Mrs. Wright and created a loneliness that was unbearable, leading her to eventually murder him.

In his murder novel, The Willow Pattern, Robert Van Gulik chronicles the work of the semi-fictional historical figure Judge Dee: a statesman and detective of the Tang court. In the midst of a mysterious plague that had overtaken the capital city of Chang’an Judge Dee seeks answers to the murder of two wealthy aristocrats. Over the course of his endeavors, he encounters many attributes and acts characteristic to the Tang Dynasty. DESPITE THE FICTIONAL NATURE OF HIS NOVEL, GULIK PAINTS A HISTORICALLY PLAUSIBLE PICTURE OF THE TANG DYNASTY THROUGH DEPICTIONS OF THE COSMOPOLITAN CULTURE, THE JUSTICE SYSTEM, AND ADHERENCE TO CONFUCIAN, LEGALIST, AND BUDDHIST BELIEFS.

Alison’s father, Bruce Bechdel, struggled with sexual orientation his whole life. He turned to little boys and decorating his house in order to satisfy his needs“He appeared to be an ideal husband and father, for example….. But would an ideal father and husband have sex with teenage boys”. Bruce seemed as though he was the perfect family man due to his outer persona "Sometimes, when things were going well, I think my father actually enjoyed having a family. Or at least, the air of authenticity we leant to his exhibit. A sort of still life with children." He kept the house spotless and perfect, revived pieces of art, and took on projects,and worked on the family business to distract himself. Behind closed doors, He was never very affectionate with the family and was also very verbally abusive his family .

In Childhood Walker takes the readers back into childhood memories of her family’s farm and how magical it was to experience for her. As Walker and her daughter are in the garden the enthusiasm from her daughter reminds Walker of her own as a child. Because of this Walker is taken back to a preverbal memory of “rolling along in a creaky wooded wagon” (224) arriving in a vast watermelon field. While her family finish fill the wagon, they shared a “delicious red and thirst-quenching” (224) watermelon with “glossy” (224) black seeds. As Walker’s farther informs her that the field she’s in was grown by her family, astonished, she refers to it as “too incredible to be believed” (225.) By using descriptive diction Alice Walker’s passage was able influence us, the readers, to reminisce of blissful childhood memories of our

Stepping away from analyzing characters, when I came across Dana's statement that the plantation seemed to be “so much like coming home”, an almost incomprehensible statement when taking into account the abuse that Dana experienced at the plantation, I decided that the usage of the idea of home in the novel was worth evaluating (192). Most would say that "home" is where people want to be—this definition holds for Dana at the beginning; when she longed to return “home”, she meant California. But as the novel progresses and mentions of desire to go back to California grows less frequent, one can't help but wonder her repeated exposure to the plantation was enough to make her trips back to California seem unfamiliar. I didn't even realize that