Just as it takes many lines of ink to form a picture and many images in a distinct order to create a story, it takes many personal accounts and internal elements of consciousness exhibited simultaneously to even paint an unadulterated portrait of history. Along those lines, the author of Barefoot Gen, Keiji Nakazawa, strives to encapsulate the true magnitude of devastation that World War II and the dropping of the atomic bomb unleashed. To accomplish the arduous task of conveying complex mix of emotions to his readers and printing the pain and despair that befell victims of Hiroshima, the author uses externalization through simplistic, yet fervent artwork. Through the vehement waltz between black and white that takes place in the surroundings of the …show more content…
In a scene where Kimie faints from fatigue and malnutrition, the author depicts darkness violently attacking the light space around her (Nakazawa, 183). The style paints a very chaotic atmosphere, representing the cataclysmic intrusion of feelings of worry, shock, and horror as the rest of her family reacts to the incident. The frame is soon followed by a larger frame depicting the horror of the moment as Mr. Nakaoka clutches the semiconscious body of Kimie and the dazed children gather around. In the background, Nakazawa sketches thick wisps of darkness encroaching on the family, ones he usually used for clouds of ash and smoke in scenes portraying the aftermath of the air raids. The effect illustrates how the thought of losing one’s family members was just as devastating as surviving being a sole survivor of air raid. People did not have to witness the place that they called home smoldering away and around them, seeing charred figures of people they used to know in order to be categorized as a victim of war. Without the use of words, Nakazawa expertly transmits the hidden feelings to the
because violet violence, purple prints and yellow blooms smudged across starlight skin, and because turbulence and fireblood and bleeding, bleeding, numb; and because oikawa's crying again and he's like the drizzle tumbling heavy-bright from the sky, lined with sadness, edged with watercolour sorrow. because bruises, close to the surface, threatening to break, amethyst stains of charcoal dissolving into limbs and joints and muscles and soul; and because bruises, midnight collecting like dust on the tips of iwaizumi's lashes, seeping into the whites of his eyes like frozen imbue. iwaizumi's gaze flickers from constellation to constellation written across oikawa's arms, veins littered with starbursts of blue and rage; and he feels his hands lift haltingly, glacier-slow, reaching out to quietly touch the interstellar storm that has exploded against oikawa's body. oikawa can feel himself struggling to breathe, numb, numb, cracking down the middle, but the words that come next comfort him, if only a little. "i didn't know they still hurt you, oikawa," iwaizumi says; and his tone is delicate, stings like antiseptic.
Both nurses and civilians were victims of terrible mistreatment and cruelty during the traumatic war. Being demanded to kowtow during tenko in Scene 1 transports the responder into visualizing the past action. In Scene 3 Bridie’s monologue in the distinctively visual image of the TV studio displays a recollection of the Vyner Brook being strafed with an image of Japanese shooting at life boats and the deck, while more people die from breaking their necks by jumping off the deck with inappropriate life jackets. Misto uses irony with the image of the WW2 navy life jacket, showing the object out of context, letting the viewer use their imagination and visualise the dead floating bodies next to the sinking ship, killed by these presumed life-saving
The stark description of black ruins against a sea of pink flowers serves as a touching testament to the devastation along with the pain and the struggle for civilization. Bounded by the wreckage, beauty perseveres, beckoning us to think about the passing nature of existence and provoking a sense of sadder and introspection. Mandel's skillful inclusion of the sense of smell within imagery further deepens our immersion in the post-apocalyptic landscape. We inhale the scent of decaying remnants and ashy shadows, each whiff suffusing our senses with the visible essence of desolation, submerging us ever deeper into the haunting world of Station
The writer depicts and describes the grim beauty in a somber scene, stating, “The smoke from the hooches smelled like straw. It moved in patches across the village square, not thick anymore, sometimes just faint ripples like fog….The girl went up on her toes and made a slow turn and danced through the smoke. Her face had a dreamy look, quiet and composed” (130). The child frolicking through the charred remains of her dwelling place and family leaves a peculiar feeling that the narrator intentionally places in order to capture the strange attraction and, moreover, the magnificence of war.
The once starry night now resembled a cluster of tiny white smudges engulfed by a grim lifeless mass. Just as my eyes were fully shut, I heard a distant yell, followed by a woman 's piercing shriek. My last thought, “What is happening to me.” “We need to evacuate the building.” “Wake the girl, we have to move, NOW.”
Chris Hedges, a former war correspondent, has a memory overflowing with the horrors of many battlefields and the helplessness of those trapped within them. He applies this memory to write War Is a Force That Gives Us Meaning, where he tutors us in the misery of war. To accomplish this goal, Hedges uses impactful imagery, appeals to other dissidents of war and classic writers, and powerful exemplification. Throughout his book, Hedges batters the readers with painful and grotesque, often first-hand, imagery from wars around the globe. He begins the book with his experience in Sarajevo, 1995.
Through the use of imagery, Yasunari Kawabata creates a still, quiet, and serene atmosphere in his short story ¨Girl Who Approached the Fire.¨ The story starts with the description of a lake: ¨The water of the lake glittered in the distance. It was the color of a stagnant spring in an old garden on a moonlit evening¨ (para. 1). The description of the lake compares its color to that of a static time unaffected by the world. Kawabata´s diction in the second sentence engenders the image of stillness in a uneventful area. The word ¨stagnant¨ leads to the thought of stillness.
The shift between structured storytelling and deep imagery is prominent and intentional. The act of Aligeri sharing imagery in distinct bursts mimics the human nature to open one;s eyes or keep looking at prolonged horror. The delivery of such lines through poetic rhythm dances with the reader’s heart. “clawed themselves, their nails drew down the scabs the way a knife scrapes bream…” (Inf.
In war, there is no clarity, no sense of definite, everything swirls and mixes together. In Tim O’Brien’s novel named “The Things They Carried”, the author blurs the lines between the concepts like ugliness and beauty to show how the war has the potential to blend even the most contrary concepts into one another. “How to Tell a True War Story” is a chapter where the reader encounters one of the most horrible images and the beautiful descriptions of the nature at the same time. This juxtaposition helps to heighten the blurry lines between concepts during war. War photography has the power to imprint a strong image in the reader’s mind as it captures images from an unimaginable world full of violence, fear and sometimes beauty.
In Maxine Maxine’s narrative, “Cherry Bomb”, it openly shows how she uses literary techniques of symbolism, imagery, and allusion to characterize her childhood innocence being destroyed. Maxine uses these literary terms to characterize her childhood memories being destroyed by an incident in the summer. In the narrative, she talks about how it affected her and her perception. She mentions people and objects in her story. Every detail she described was an important factor in her life.
Chapter 2 of The poisoner’s handbook by Deborah Blum has an aggressive style. Elements of diction support this style. Some of the elements that support the style are connotation/ denotation, cacophonous, and monosyllabic/polysyllabism. Connotation and denotation help to show the aggressive style of the writing in chapter 2. When describing mustard gas, Blum states the its effect include “searing the eyes into a crusted blindness” (Blum, 2010).
War and its affinities have various emotional effects on different individuals, whether facing adversity within the war or when experiencing the psychological aftermath. Some people cave under the pressure when put in a situation where there is minimal hope or optimism. Two characters that experience
Using distinctively visual, sensory language and dramatic devices in texts allows the reader and audience to view as well as participate and relate to different emotions. In the fictional play “Shoe Horn Sonata” written by John Misto, 1995, Misto sets the scene by using dramatic devices to address the extremely confronting circumstances that the protagonists, Sheila and Bridie experience. Similarly, in the poem “Beach Burial” by Kenneth Slessor, 1944, Slessor too uses extremely strong visual language on the subject of war to overcome the gruesome realities of the subject matter. Misto’s play “Shoe Horn Sonata” shares the impacting journey two young women are forced to face, spending 1287 days in captivity in a Sumatran war camp, during world war two.
The imagery that Connell creates in The Most Dangerous Game captivates the audience into a tale that makes one’s heart stop even for a split second. The feelings of suspense are nearly tangible to the reader when the silence of the writing surrounds them. Additionally, the two contradicting moods are easily flowed through together and yet discreetly set apart due to Connell’s use of imagery in various scenes. Despite all the other literary devices used within The Most Dangerous Game, imagery has to be the element that really allows the emotions of the literary piece to connect to its
“Silver Like Dust” “Silver Like Dust” is a novel that tells the story of the author, Kimi Cunningham Grant’s Obaachan’s (Japanese word for grandmother) experience as a prisoner of war in Heart Mountain Wyoming after the Pearl Harbor bombing. The novel contains the unforgotten memories that Kimi’s Obaachan has of the Heart Mountain Internment Camp, such as how she was treated by the hakujin (Japanese word for white person), and the conditions she had to live in the internment camp. Kimi Grant wrote this story because her Obaachan was always a silent part of her life that she had yet to know about. She wanted to learn more about her Japanese heritage and to do that she wanted to learn more about her Obaachan’s experience in World War II.