Andy’s experience is one of unusual circumstances. Living up to his title of a “brave and beautiful boy”, this leading character chooses to tease the one man in town that all fear: the Chinaman. Through the author’s utilization of point of view, the reader can perceive the uniqueness of the Chinaman two very distinct ways: either through the view of the townspeople or Andy, himself. However, it is through Andy, and the author’s detailed depiction of this specific incident, that we as readers can look deep into the eyes of the Chinaman. This strange visual symbolism provided in this passage of Cannery Row is what guides us into the lonely, isolated soul that is the Chinaman’s life. From the first sentence of this passage, the author establishes …show more content…
The simile of “eye as big as a church door” allows the reader to understand just how astonishing and eye opening the response of the Chinaman was to Andy. Though the foreign man is nonverbal, Andy is able to perceive that the Chinaman’s “big eyes” serve as a window into his soul, a soul filled by “desolate cold aloneness.” It is this visually descriptive language of the barren landscape that creates a feeling of aloneness not only in the Chinaman but similarly in Andy who moans at the idea that he is “left” by himself. Through this terrifying experience, Andy is able to understand why all the townspeople are so afraid of the Chinaman: he resembles their worst fear—loneliness and eventual death. In accordance with his kind, Andy refuses to accept the truth the Chinaman holds within his soul and “shut[s] his eyes” in hopes that he “wouldn’t have to see it anymore.” This imagery presented by the author in the final paragraph proves to be so powerful that the former “brave and beautiful” Andy will “never do it [approach the Chinaman]
Before Tim Piazza’s night begins, he reaches in a closet that “his mother will soon visit to select the clothes he will wear in his coffin.” After the night of “torture”, Tim’s family will be reunited one last time with “the redheaded boy they have loved so well” so he does not “die alone”. These pieces of wording are prime examples of the instrumentality of emotionally involving the audience in any piece of writing. When simple statistics and bland facts don’t seem to push Flanagan’s stance quite far enough, she turns to powerful, almost agonizing wording to complete the task. The language may be exaggerated at times, but it’s undoubtedly effective.
In the second and third paragraph Alfred M.Green uses parallel structure he begins by saying “It is true” which leds is fellow audience to know that he understands
In the passage written by Amy Tan the author uses adjectives and feelings to reveal that an embarrassing experience in her youth changed her prospective on her heritage by showing her she needs to always be reminded of her heritage. One of Amy’s emotions in this passage is she feels embarrassed that her Chinese family that came over would get up to get their while the American would wait patiently for the food to be passed. One thing that made Amy embarrassed was when her dad took the fish cheek and said “Amy your favorite.” Another emotion was she was scared that the boy wouldn’t like their Chinese food or wouldn’t like there Chinese Christmas. But Amy’s fear was realized because the ministers family didn’t eat a lot nor did they talk.
(page 91) This quote substantiates that
Cannery Row is a novel more about the characters than the plot. In Cannery Row these characters have needs and desires that we uncover as we get to know them better. These characters desires are found when they are set alone in nature which is when they have time to be with themselves. John Steinbeck says that the nature of human desire may be shown as a need or want depending on the values and morals of the specific human. His commentary influences our understanding of the Californian Imagination by showing us the needs and wants of humans during a specific time.
”(lines 3-4) he adds mystery to the reader because he doesn't specify in
Gilman uses repetition, imagery, and symbolism to connect to the irony in the short story. Repetition is used vigorously throughout the short story. She uses the rhetorical question “What can one do?” (1) several times throughout the first page. By asking this question over and over, the reader can characterize the narrator as confused and unsure.
The short story “The Handsomest Drowned man” shows a broader development of identity through a society. One of the important characters in the “The Chinese Seamstress” is the narrator, who is not only vital because he is the main character but also because he goes through a lot of development and evolution based of the narratives he reads. Four eyes, the narrators friend, had a stash of foreign books that he had received from his mother that were banned
A Story In the poem, A Story, Li-Young Lee uses specific diction and juxtaposition to reveal the affection the father and son have for each other as well as the fears behind a changing relationship. This complex relationship between the father and the son is depicted throughout the boy’s adjourn for a new story. The poem is written through the juxtaposition of the father: the father in the present and the father’s prediction of the future.
In the story, the narrator’s narrow mindset is challenged over and over again as Robert breaks most stereotypes that the narrator held. As these stereotypes are broken, the narrator begins to feel more comfortable with Robert, and sincerely tells him that he is “glad for the company”. This release from prejudice culminates in the cathedral drawing scene of the story, where the narrator finally lets go of his bias towards blind people. Once the narrator closes his eyes, he is seemingly equal to Robert, and he consequently begins to understand Robert’s perspective. His newfound empathy towards Robert demonstrates how he has lost his prejudice towards him.
Soon she came to know that this man was one of her old playmates. He too had ventured out in the world and was now going back to the valley. But on reaching the valley, she found her companions instead of growing men and women, had all remained little children. They seemed glad to have her back, but soon she felt that her presence was becoming intolerable for them. Then she turned to her fellow traveler, who was the only grown man in the valley, but “she was on his knees before a dear little girl with blue eyes and a coral
In Duong Thu Huong’s Paradise of the Blind, Hang has been placed on a path of self-sacrifice and duty by her family. Her life unfolds in stages- childhood, young adulthood, and her eventual role as an exported worker in Russia. With each of these shifts in her life comes a shift in setting and a shift in her emotional state. Hang’s changing emotional state depicts her “coming of age” and her growth as a character. Setting is important to creation of shift in the novel, and is often described in detail.
If we slowly break this paragraph down, the author shows that Tommo saw the idea
This physical product of his frustration collapses, helping the reader to see a parallel between the soft and fragile vase and the soft and fragile monkey. But the author more clearly emphasizes that the existence of Sly taps on the glass of outsiders' fears. Too fragile to change, they try to hold power over Sly when he acts out making them feel inferior. Vern explains an outsider Delilah’s opinion, trying to establish a connection between them1 when he says, “But Delilah thinks you should be disciplined… She wants me to take the clay away since you used it for an anger display”(Kowal 2).
The ending of James Joyce’s “Araby” is certain to leave its reader reeling. The final scene, in which the young protagonist fails in his mission to purchase a prize for the girl he loves, drips with disappointment. The reader feels a profound melancholy which matches the protagonist’s own, an impressive feat given the story’s short length and the lack of description, or even a name, given to the boy. How does Joyce arrive at this remarkable ending? By utilizing the trappings of the Boy Meets Girl and Quest “masterplots” in his story only to reveal the story as an Initiation, Joyce creates an experience for his readers that mirrors that of the protagonist.