For both of them, they are “each other’s world, entire” (6). Nothing or no one else matters because they can only trust and love each other. As the man 's wife points out before her suicide, "the boy was all that stood between him and death" (25). In other words, the man 's thirst for survival is fueled by the love for his son. While the man may expect his own death, he lives in order to seek life for the boy.
The themes and relationships that Coelho is telling us to watch for throughout the story are selfishness and narcissism. In exemplifying the grief of the lake due to its own self-centeredness, he is giving a forewarning to the readers about how regardless of
He had not seen his father since his death. And, at that moment, he had the strange realization that he had become used to the idea of never seeing him again. In “Swimming at Night” by Juan Forn, the readers are first introduced to a scene of a troubled man on vacation, who is unable
These devices also develop the theme of coming-of-age and maturity. The excerpt describes describes a transformative moment in which Judd comprehends that he will die, his family will die, and that one must cope with death. This idea is developed through the use of disorganized diction, detailed imagery, and repetition, as Judd’s overwhelmed state is intensified through these devices and thus conveys his sprouting emotional maturity. Through the use of these devices, Judd Mulvaney is characterized as a young, coming-of-age boy, suddenly aware of the brevity of
In the passage “Once More to the Lake,” by E.B. White, White relives his most memorable childhood memories with his son, at the lake he used to visit with his father. In the beginning, White gives his reasons for going to the lake to spend time with his son. Everything at the lake remained the same from the last time White left it, which soon after brings back memories of the time he spent with his father. Throughout the rest of the passage White shows his close observation of why his memories have been triggered and what triggered them. During Whites revisit at the lake White realizes how much his son reminds him of his younger self, and how he now impersonates his father 's
When the father is taken away, the boy remembers, “His father’s hatless silhouette framed in the back window of the car” (Otsuka 54). He sees him in this unsure and abstract way because he is not very unsure about what will happen to his father. His father being hatless makes him become somewhat of stranger since he is not used to seeing him that way, and he is only able to see a silhouette in the car window because even though he know’s that it’s his father he can’t. This relates to in the fourth passage when he is imagining his father’s return, “He’d open the door and see his father standing there in white flannel bathrobe,” (Otsuka 60). He is able to imagine this because he has a sense of what is happening to his father; he’s returning home and their lives will be able to go back to the way that they use to be.
In the novel The Other Side of The River, both towns of Benton Harbor and St. Joseph argue that their meaning behind his death is the truth. Unfortunately, by the end of the novel no one truly knows what happened to Eric McGinnis, his death will remain a mystery between the two towns of Michigan. Throughout this paper I used illustrations from the novel to support my argument of meaning and social
In enduring these complex emotions, this section was the most remarkable part. One of the first apparent emotions the boy experiences with the death of his father is loneliness to make this section memorable. The boy expresses this sentiment when he stays with his father described as, “When he came back he knelt beside his father and held his cold hand and said his name over and over again,” (McCarthy 281). The definition of loneliness is, “sadness because one has no friends or company.”
Since The Road is more about the Boy’s journey than his father’s, the supreme ordeal at the end of the novel is the death of the Man. The death of the Man, who acted as the Boy’s mentor during the many challenges faced by the duo, represents the largest and most devastating challenge faced by the Boy. Not only is this due to the fact that the Boy feels unprepared to continue on without his father, but it is also because the “reward” and “road back” are not immediately apparent to the Boy. Compared to even the most challenging obstacles the Boy faced in the past, the death of his father leaves him both physically and mentally pained and exhausted. However, relief from his situation arrives promptly in the form of the stranger who claims to be a “good guy,” though the Boy’s future remains forever uncertain.
Lastly, the two words the son and the man add to the complexity of the relationship. This shows that the man can’t picture himself being a father, especially after knowing he can’t meet the child’s expectation, but will always picture his son being a child in his eyes. In conclusion the author uses literary devices to add depth and emotion to the complex relationship between the two characters. He does this by changing the point of view throughout the poem from son to father. He uses a purposeful structure from present to future coming back to present to demonstrate with the complexity of the father's
The son undergoes moral development during this moment, and Wolff demonstrates this by using foils, symbolism, and by changing the connotation of the word snow. It is due to these literary devices that Wolff demonstrates the son’s moral development during a memorable moment. Throughout the novel it is apparent that the father and mother of the son are complete opposites.
He sees the man, with a slit from ear to ear, in the top bunk, above where his wife had just given birth. This is Nick’s first direct experience with death. As he sits in the boat, with his father rowing them home, Nick asks questions regarding the nature of death. While the sun rises, literally enlightening things immediately after Nick’s enlightenment to death, Nick “felt quite sure that he would never die” (Hemingway, 70). This is an interesting response to the experience of death because it disagrees with what Nick had just learned.
Lee begins to capture death through imagery while the speaker talks about the lifeless garden: “The ground is old, / brown and old” (Lee 2-3). The description of the garden allows the reader to fully, and clearly picture the garden and feel the cool air. While picturing the garden one might even say they can picture the speaker 's father standing there. That is due to the sense the garden is a representation of the father himself. Once someone passes away their body becomes cold and they are usually old.