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The Ghost Of Fossil Glen Analysis

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The name of my book is The Ghost of Fossil Glen by Cynthia Defelice it was published on March 25, 1998. Cynthia Defelice wrote the book because as a child her mother read to her and that’s when she started loving books but it wasn't until she was 36 that she decided she wanted books for children. Other than being a writer she also owns a farm with her husband who is retired and she want to improve her farm. Defelice has written 16 novel and 12 picture books for young readers three of her books are The Ghost of Cutler Creek,Fort, and Wild Life. In the beginning of the story the setting is on a cliff in Fossil Glen and moves on to her school and her home. The narrator is the third-person and is not a character in the story.(questions 1-8) The protagonist in the book The Ghost of Fossil Glen is Allie Nichols.Her strengths are she is adventures and she is also helpful and very observant. Her likes are going on adventures and climbing cliff. The protagonist dislikes are how her friends do not believe her in the story. Also she does not like when her parents will not let her go cliff climbing because they think it is to dangerous.(question 9) The antagonist is the Raymond Gadney Lucy’s step-father. He does not have any strengths, weaknesses, likes, or dislikes since he only appears towards the ending of the story. He is the antagonist because the ghost of the dead girl Lucy wants people to know what her step-father had done to her. Lucy chose Allie to discover her body but the step-father …show more content…

And the reason on why she chose Allie to read her diary. After Lucy tell Alli where to find her body she is being followed by a man who she does not know. But Lucy soon tells Allie that it was her stepfather and he was trying to kill Allie because he didn't want her to discover Lucy’s body. Lucy saves Allie by pushing him off the cliff to his death.(question

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Her life has left her to Dracula, her soul is assumed trapped, and her flesh remains the same. The process even corrupts Lucy into a nightmarish version of herself. In her UnDeath Lucy specifically feeds on the blood of children (Stoker 198). It’s almost like Dracula corrupted Lucy into a dark version of motherhood. Instead of protecting children, she predates

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The ways in which Van Helsing and Seward customarily address Lucy with pet names and terms of endearment, is the same as how an adult would treat a child that denies their maturity. In spite of the fact that these appear affectionate on the surface, it is a manipulative tactic exercised frequently by the band of men. Whether or not they are aware that they are doing such, revoking Lucy of her name strips her of her identity and, essentially, her authority over her personhood. Women in Victorian could only be two things; either you were a pure woman or you were a fallen woman. Lucy can only be one or the other, it was not common for women of the time to possess the traits of both types.

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In trying to unravel the puzzle of Stoker's narrative decisions, one must keep in mind that Seward's relation to Lucy, both in the finished novel and in the aforementioned outlines, cannot be purely romantic – it must also professional. Unlike the idealized but frequently absent Arthur, Seward must balance his desire for Lucy as a suitor with the detachment that is eventually expected of him as her doctor. In the novel as published, this tension between these dual roles is explicit, with Seward confessing after his initial examination of Lucy that he is unable to take “the full opportunity of examination such as [he] should wish” regarding her, as their “very friendship makes a little difficulty which not even medical science or custom can

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Consequently, the sexually forceful ladies in the novel must be annihilated. Arthur Holmwood covers a stake somewhere down in Lucy's heart with a specific end goal to murder the evil spirit she has ended up and to give back her to the condition of immaculateness and purity he so values. The dialect with which Stoker depicts this vicious demonstration is unmistakably sexual, and the stake is an unambiguous image for the penis. Along these lines, it is fitting that the blow originates from Lucy's life partner, Arthur Holmwood: Lucy is being rebuffed not just to be a vampire. Work Cited Stoker, Bram.

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