“A cool breeze came up behind us, sending shivers along the spines of the mesquite trees.” The text contains elements of the unconscious process of shivering and allows Taylor to project her inner feelings onto the landscape. The language mirrors how Taylor’s mind works and shows this by sending “shivers along the spines of the mesquite trees” as well as up her own spine, almost personifying the trees. Kingsolver’s descriptions of the natural landscape, shows her consciousness of the environment.
“He had proved something about himself; it wasn’t as strong as it had once been. It was changing, unraveling like the yarn of a dark heavy blanket wrapped around a corpse, the dusty rotted strands of darkness unwinding, giving was to the air; its smothering pressure was lifting form the bones of his skull.” (Pg
The narrator comes upon the site in the morning, just as "the sun poured yellow surprise into the eye sockets of a stony skull", he feels the ground grip his feet and his heart being "circled by icy walls of fear.” Wright juxtaposes images of violence and childhood innocence and in the narrator's reverie, he becomes the victim and as “a night wind muttered in the grass and fumbled the leaves in the trees,” as “the woods poured forth the hungry yelping of hounds” and “the darkness screamed with thirsty voices” the narrator is left shivering surrounded by a thousand cruel faces, and bloodied and tortured by callous hands. He vicariously suffers beating, humiliation, tarring-and-feathering, and incineration-driving home the horrors of the victim's experience in a shockingly immediate
Prisons in the 1840s were tough and gross. The crime rate went from 5,000 a year in 1800 to 20,000 in 1840. The punishments could be execution or they could be sent to Australia, America, or Tasmania. During the 1940s, prisons were nasty and unhealthy.
Imprisonment and Freedom in Relation to “The Painted Door” Canadian literature has always been heavily involved with the wild landscape and nature. In Ross’ short story “The Painted Door”, he explores the themes of imprisonment and freedom in relation to the winter landscape of the prairies. This is evident through Frye’s concept of the garrison/colonial mentality and through the environment’s influence over the Ann. Canadian literature has been distinguished by its methods in writing nature and the environment as Frye suggested, “Canadian writing expressed a ‘garrison mentality’” in which their works highlighted a sense of separation and isolation (New 217).
I looked out from the passenger side window as we pulled into our parking spot. The trees were beginning to go bare in the frigid October weather, and the ground was covered in their dry, crispy leaves. The four of us were going on a haunted hayride tonight, a popular past-time for season. We clambered out of the car and left our bags behind. It had rained the day before, and it made the ground beneath us soft with mud and trampled leaves.
There was undergrowth—a mat of brambles and bracken. There were no obvious paths. Dark and light came and went, inviting and mysterious, as the wind pushed clouds across the face of the sun.” (355) The "thing" in the story was symbolized as the terror
The agony the writer is feeling about his son 's death, as well as the hint of optimism through planting the tree is powerfully depicted through the devices of diction and imagery throughout the poem. In the first stanza the speaker describes the setting when planting the Sequoia; “Rain blacked the horizon, but cold winds kept it over the Pacific, / And the sky above us stayed the dull gray.” The speaker uses a lexicon of words such as “blackened”, “cold” and “dull gray” which all introduce a harsh and sorrowful tone to the poem. Pathetic fallacy is also used through the imagery of nature;
The prison system in Texas is its own and unique beast. The Texas Department of Criminal Justice or TDCJ has many different units that house many different types of inmates. These units across Texas all sever different purposes to the state and the local communities in which the prisons are close to. There are however three things that make each prison unique from the other prisons, the inmates that they house, and the different industries ran by the each prison and the programs offered to offenders. I work at the H.H. Coffield Unit and I will take you on a tour of that prison and explain what it is that make Coffield unique.
Lastly, Oates depicts one of the trees as being partly dead. This relates to Judd’s idea that everyone is partly dead. The imagery used in this passage reflects Judd’s thoughts and further characterizes him by creating a feeling of gloominess towards
Renewed perceptions of ourselves of the world we live in is significantly entailed by discovery. Discovery may be unplanned, unexpected and confronting, as efficaciously demonstrated in Robert Frost’s ‘Stopping by the Woods on a Snowing Evening’. The pessimistic tone, correlating with prospective suicide, accentuates his loss of identity and value, behaving as a foundation upon which self-discovery can be achieved and thus offer new understandings of ourselves and the world we live in. Furthermore, this notion is vehemently exhibited in James McTeigue’s film ‘V for Vendetta’. The imprisonment of Evey, an epiphanic moment, acts as a catalyst for self-discovery, renewing her perception of herself and the world she lives in.
In literature, the setting poses itself as a vital element in literature. When characters interact with the world encompassing them and respond to its atmosphere, we unearth various underlining traits and secrets that ensconce betwixt the pages. Ann Petry's 1946 novel The Street accentuates the relation between Lutie Johnson and the urban setting by employing figurative language, such as imagery and personification conjointly with selection of detail. Petry promptly exploits imagery and figurative language to navigate us to a bustling town where an astringent wind is "rattl[ing] the tops of garbage cans, suck[ing] window shades out through the tops of opened windows and [sending] them flapping back against the windows.
Vivid descriptions of the wind such as its’ “rattl[ing] the tops of garbage cans”, “dirt and dust and grime”, and “grit sting[ing] skins” create a sense of chaos that is common in the busy hustle of city life. The cold wind also “violent[ly] assault[s]” the residents of the city, allowing the reader to envision the truly excruciating and harrowing journey people in the urban setting must make regularly. Additionally, asyndeton is utilized masterfully throughout the passage to demonstrate the disarray caused by the wind. The wind finds “theater throwaways, announcements of dances and lodge meetings, the heavy waxed paper that loaves of bread had been wrapped in, the thinner waxed paper that enclosed sandwiches, old envelopes, newspapers.” This extensive list without the use of conjunctions speeds up the reading allowing a fast pace similar to the rapid attacks of the wind, enabling the reader to visualize the onslaught on the citizens.
There was no chattering or chirping of birds; no growling of bears and no chuckling of contented otters; instead, the clearing lay desolate and still, as though it never wished to be turned into day. The only occupants were rodents and spiders who had set their home in the dank, forgotten shack. From its base, dead, brown grass reached out, all the way to the edge of the tree-line, unable to survive in the perished, infertile soil that made up the foundations of the house. Bird houses and feeders swung still from the once growing apple trees, in the back garden, consigned to a life of
The cool, upland air, flooding through the everlasting branches of the lively tree, as it casts a vague shadow onto the grasses ' fine green. Fresh sunlight penetrates through the branches of the tree, illuminating perfect spheres of water upon its green wands. My numb and almost transparent feet are blanketed by the sweetness of the scene, as the sunlight paints my lips red, my hair ebony, and my eyes honey-like. The noon sunlight acts as a HD camera, telling no lies, in the world in which shadows of truth are the harshest, revealing every flaw in the sight, like a toddler carrying his very first camera, taking pictures of whatever he sees. My head looks down at the sight of my cold and lifeless feet, before making its way up to the reaching arms of an infatuating tree, glowing brightly virescent at the edges of the trunk, inviting a soothing, tingling sensation to my soul.
