Many of the “houses…were cooked until their frames came loose like the bones of stewing chickens” (McPhee 110-111). Instead of depicting the severe property damage as a scene of horror it is conveyed in a lighter sense. Human creations are seen as ingredients for nature itself to do what it wishes with. Even though the ash has caused irreversible damage to the town something new will be made from it. The image of a chicken stewing also invokes images of a home cooked meal creating feelings of comfort.
The hopes of Wes, Mary, and many others can be depicted through the sight of their new neighborhood in which “flowerpots were filled with geraniums or black-eyed Susans, and floral wreaths hung from each wooden door” (Moore 56). Not only does this use imagery to describe the beauty of Dundee Village, but the metaphoric aspect contributes to the message that Moore is trying to
In “Drifters” the family’s constantly changing location results in them unable to set up roots in a community and live a fulfilling lifestyle. The symbolism of the “green tomatoes” shows the mother’s frustration about being unable to set up roots in a permanent location and live a fulfilling and productive life, resulting in a lack of belonging to a community. Similarly, the contrast between her hands which were “bright with berries” when they first arrived, with “the blackberrycanes with their last shrivelled fruit” when they depart highlight how her hopes of a happy and productive life have deteriorated with the prospect of having to leave. In contrast to the mother’s perspective on leaving, the youngest daughter’s is “beaming because she wasn’t” happy there. Through exploring the contrasting perspectives of the mother and the youngest daughter, the Dawe shows how moving communities have different effects on people.
Loss, obliteration, longing and transcience constitute the recurring theme of Marilynne Robinson's Housekeeping. It gives it's readers a feeling very similar to the kind that the lake in the book gives to the residents of Fingerbone: it is the kind of existence whose mundane presence can be easily overlooked but has so much sunken at the bottom that it builds itself up to become a part of people's everyday life, as a reminder, an alarm, a time bomb -- in the sense that it carries memories, reflections and truths which are sober enough to be
However, the applicability of this song is endless when the lyrics are taken at deeper than face value. It starts with, “Scarecrow on a wooden cross, blackbird in the barn. Four-hundred empty acres that used to be my farm.” This verse provides an unambiguous glance at what has occurred in the narrator’s life. He is looking upon a naked piece of land that now belongs to someone in an office that will presumably never know it like he did.
Secure Dwellings: Rejoicing in Hope Secure Dwellings continues to assist homeless children and their female caregivers throughout the state of Alabama and surrounding states. The program is currently serving 10 mothers and 22 children as of this board meeting date. I often wonder how they able to continue live with all of the unfortunate circumstances and experiences that have cause their lives to be in disarray, some situations due to poor choices and sometimes due to no fault of their own. The more I ponder that question the following scripture came to mind, “Rejoice in hope, be patient in tribulation, be constant in prayer.”
He could imagine his deception of this town “nestled in a paper landscape,” (Collins 534). This image of the speaker shows the first sign of his delusional ideas of the people in his town. Collins create a connection between the speaker’s teacher teaching life and retired life in lines five and six of the poem. These connections are “ chalk dust flurrying down in winter, nights dark as a blackboard,” which compares images that the readers can picture.
[…] I can still see the butchered women and children lying heaped and scattered along the crooked gulch as plain as when I saw them with eyes still young. And I can see that something else died there in the bloody mud, and was buried in the blizzard. A people's dream died there. It was a beautiful dream... The nation's hoop is broken and scattered.
It considers use of words for the purpose of evoking sensory encounters for the reader. These experiences, range from sound, appearance, touch and other senses. Poem 46 the poet states ‘Disavowal, says the silence’ then further in poem 47 she states ‘I wonder, as I steer my car through the forest of gargantuan billboards, ghostly palm trees, and light-fattened boulevards that have become my life’ line 2. The poet is in this sense trying to engage the reader through the sense of sight or appearance and sound. To the persona silence is a form of rejection then through that silence the poet goes on to illustrate the silence in which the persona is driving in to engage the senses of the reader she speaks of the gigantic billboards, ghost palm trees and further continues how the situation has become the personas life line.
There in front of me, stands home: a two story, red, tin barn with maroon painted fences and a red steel gate. Horse manure and sand-like dust permeates the air long before I step inside. As I shove open the gate, the chain clanks on the rusting metal. There is one, gaping hole where the sliding barn door should be, but the one in front stays open almost all the time. The dirt on the ground is dry dust that becomes Pig-Pen-like clouds, trailing me as I walk inside.
Specifically, the mentions of the changing of the garden from flourished with shrubs and tress to overturned with abandonment. These images of decay perfectly represent the attempt to replicate an English garden on the soil of New England. Readers see Hawthorne’s use of personification throughout his descriptions of nature by bringing lifelike qualities and appearances to their
one of the many times he uses imagery throughout this story is when the narrator says, “on his way he would see the cottages and homes with their dark windows, and it was not unequal to walking through a graveyard where only the faintest glimmers of firefly light appeared in flickers behind the windows” (Pg 1). By using imagery to compare walking through the neighborhood as walking through a graveyard shows that it is completely silent and there is no activity in any of the houses. Most people wouldn't describe their neighborhood as a graveyard, this also develops the mood. Another time he uses imagery is when the narrator says, “The street was silent and long and empty, with only his shadow moving like the shadow of a hawk in mid-country” (1). This shows mood because the narrator describes him as a hawk in mid-country, that means that he is all alone in what he feels to be like a barren or abandoned place.
The plot of the story “Volar”, is about a twelve year old child that has a love for superheroes. The story is told in first person by the child. For the majority of the story she is telling us about her dream of flying. She and her parents live in a barrio, which as a Spanish-speaking neighborhood in the United States. She and her parents moved to the United States recently from Puerto Rico.
As she walks into her old home she felt a “dead air [come] out to meet her as she went in” (Bowen 1). She starts looking around her old home reminiscing about the times before her and her family had to abandon her lovely home. She starts rummaging through her old trinkets when she came upon a letter sitting on the hall
Nothing could be heard in the desolate town except for the steady and distinct droning of a single house. In the enlightening short story, “There Will Come Soft Rains,” Ray Bradbury used personification to give embodiment and essence to all of the inanimate objects inside the abandoned house. For the period of the short story, the single, lonely house in the city of Allendale, California, continued its busy, endless routine. Not knowing about the nuclear bomb that destroyed the entire city of Allendale in the year 2026. While the house was still running smoothly, “In the kitchen, the breakfast stove gave a hissing sigh,” (Bradbury 215).
