The Flags Of Our Fathers Literary Devices

When writing a novel authors must think not only about what they are about to write, but why they are going to write it. They have to select diction that will convey their inner thoughts and emotions. There is a need of imagery to pull the reader into the story so they will not lose their drive to read. Tone must constantly shift in order to keep the reader so engaged that they are determined to read until it all makes sense. From the longest to the shortest sentence, there is a reason -- called syntax-- why that sentence is there. In The Flags of Our Fathers, author Jack Bradley, uses an immense amount of these literary devices to inform the reader about the beginning of soldier, the horrific scenes of war, the comadre that was between the

He says, “When the small swatch of color fluttered, Iwo Jima was transformed, for a few moments, into Times Square on New Year’s Eve. Infantrymen cheered, whistled, and waved their helmets. Ships offshore opened up their deep, honking whistles.”(205). The way the author described this jubilant occasion sets the tone for the scene. It shows how the men were happy, joyful, cheerful and excited. The imagery was used in a way that the reader could feel the electricity of energy that was on that island. He even gives imagery that puts the occasion into perspective when he describes how the island “was transformed, for a few moments, into Times Square on New Year’s Eve.” This sentence was used by Jack Bradley to show the comparison between Iwo Jima on this special occasion and Times Square on New Year’s Eve to and to have the reader envision a celebratory scene that will stay within their minds for quite some

With the shift in tone, comes the shift in diction, imagery and syntax. In, The Flags of Our Fathers, the author uses this shift in tone to keep the reader constantly on the edges of their seat. An example of this shift in tone is:
“So much of what all these boys would do over the next months, so much of their survival, so much of their sanity in the midst of murderous chaos, would come down to just that: following the back of the next Marine. If he could do it, they could do it.
The maneuvers at Camp Tarawa, with its obsidian terrain and its access to the pitching Pacific surf, were designed, as far as was humanly possible, to make the troops live out the assault on Iwo Jima before they got there; to live it out in their reflexes, their instincts, their dreams. The ideal result of Tarawa was that, once in combat, the boys would not have to think; would not have the mental option of making a wrong move. They would already have done it --psychically speaking--all their