Maestro
Frank loaded his clippers, rake and hoe into his old red wheelbarrow. Today was the day to tackle the spring cleanup around the lake. Winter brought a lot of trash and deadfall to the lakeshore and Frank figured it would take all day to get it cleaned up. Frank pushed the wheelbarrow out of the barn into the spring sunshine, and headed down the path towards the lake. As he crested the hill, he took in the view of the lake nestled in the valley. It was surrounded by budding willow and oak trees, and the grass was starting to hint green. The sun glinted off the lake, making him squint as he approached.
Frank stopped near the dock, where a small rowboat was moored. The boat was intact and had survived the winter snows. As he began to unload
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I have to figure this one out, he thought. Frank walked down the dock, climbed into the row boat, and began to stroke the oars out to the middle of the lake. As he got close, Frank realized that the man in the middle of the lake wasn’t a man at all. In fact, it was a man’s suit hovering ten feet over the water. It stood upright and full, as it would if a man was wearing it, but it was empty. This was no ordinary suit, either. It looked to Frank like the garb worn by a conductor of a symphony orchestra; he thought they were called “Maestros”. The Maestro suit consisted of a black coat with full tails; a ruffled white shirt with a bow tie and cumber-bun; and full length black pants.
Frank rowed to the exact center of the lake, gazing up to get a close view of the suit. As he did, the Maestro lifted both of it’s arms. The arms extended, reached their peak, and paused. The air around Frank thinned into a vacuum. The Maestro dropped its arms in a flourish, as a conductor does when starting a performance. As he did, a strong fresh wind burst across the lake, and Franks nostrils filled with sweet spring perfume. The wind was strong and warm; it kicked up small whitecaps on the lake. Small fish jumped and twisted in the breeze, and Frank struggled to keep from falling out of the
Andy Poon Ms. Gothelf AP Language and Composition 23 November 2016 In paragraph 5 of E.B. White’s “Once More to the Lake”, White is going fishing with his son at the lake. As they are fishing, he notices that the lake’s setting is practically identical to when White was fishing as a child. White is forgetting that he is now the adult and no longer the child.
As they set out dark clouds covered the moonlight making their escape easier. A storm came and suddenly, halfway to the shore, the boat was turned over causing the occupants
However within the story the individuals as well as the narrator see the lake as being the best place to spend their time. The story describes the lake as being, “fetid and murky, the mud banks glittering with broken glass and strewn with beer cans and the charred remains of bonfires.”
“Come!” Cico was off, wading across the river. I followed. I had waded across that river many times, but I never felt an urgency like today. I was excited about seeing the magical golden carp” (107).
The Pirates of Duty In the opera The Pirates of Penzance, the viewer sees an opera that puts to question what people are expected to follow in life, their duty or their heart? They see the love spellbound Frederick put his love for Mabel, the Major General Stanley’s daughter, aside to finish out his apprenticeship with the Pirate King. However, in the end, the pirates are noticed as noblemen under the Queen of England, Ginny Horvath herself, and the pirates were able to then marry the general’s daughters. While watching the enjoyable comedic production, the way in which lights, and costume were used in the performance drew the viewer's attention in and exposed the views of women and men.
Belonging is the idea of being part of something where you are acknowledged and are accepted. This idea is presented by Nadia and Matt in the picture book Luke’s Way of looking and by Goldsworthy in the novel Maestro. Both of these texts represent belonging through the connection to self, place and others and makes aware that all three are interlinked to each other. These key ideas of belonging are shown through the main characters Paul and Luke.
The time passed and the boat finally arrived at a harbor a small island called LUNA AZUL on the island luna azul there are many trees many small houses
In the extract from “Maestro” by Peter Goldsworthy, the author discusses the protagonist, Paul, and how he and his family moved from the South to Darwin. They stay in a motel room the first night and the next day they visit their new house. It shows the relationship between the family and their environment, expressing their feelings about the situation. In the prose extract, the author illustrates a rough atmosphere which the protagonist immediately loves, unlike his family, in order to create characterisation through the family’s first impression of the new town. The text conveys Nancy as a strong-willed person by her initial rejection of her new circumstances and then she improves them by quickly moving forward with the situation, showing
This poem is filled with a heavy sense of imagery, a creative use of language and literary devices, and a bit of symbolism through similes; utilizing these elements, the author enables the reader to connect and bond with the fish. Within the first three lines of the poem, the reader learns that the setting is a boat on some body of water. Even though the author uses many lines in the poem to relay her message, the story probably only took place over a few minutes. Bishop immediately personifies the fish by not referring to the fish as an object with the word “it,” but by referring to the fish with the word “him” as she “held him beside the boat” (2).
What seemed to be the biggest bass in the river, snagged on the line. There is no way the boy could let Sheila know of this. The rest of the night, the narrator maneuvers the boat perfectly and somehow manages to keep the fish on the line, without Sheila having any knowledge. They finally reach their destination and the boy is faced with a crippling decision. The boy has to either cut the line, letting the fish go, or risk having Sheila lose all interest in him by reeling in the fish.
Everyone in town gathered around their house just to see a small cloud and soon would be bigger appear in the sky. Not only was he born on the driest summer, but also “had a way with animals, everyone said so” (8). When Bloom would be outside working on the field different birds would sit on
F. Scott Fitzgerald's The Great Gatsby and "The Roaring '20s" by Kenn Allan both utilize imagery, symbolism, and foreshadowing to depict what living in 1920's America was like. All of these devices are used to set mood, tone, pace, and setting within their stories. The Roaring '20s is always less wordy than the Great Gatsby, but gets the point across just as well. Imagery is a literary device that is used in both the Great Gatsby and the Roaring '20s to portray mood and setting, as well as create an idea of what living in the '20s was like. In The Great Gatsby's case, the imagery creates an elaborate description of the scene, so the reader knows exactly what they are to be imagining.
E.B White’s story about “Once More to the Lake” describes intimate details of his experiences as a child visiting the lake for 1 month every August growing up. His use of long, poetic comprehensive sentences, with elaborate particulars gives the reader a thorough sense of his experiences. The time he takes to illustrate the smells and sounds gives the writing great meaning and holds the readers interest. The details he uses to elaborate on the sound of the inboard and outboard motors provide stunning descriptions. For instance, White indicates that “in the daytime, in the hot mornings, these motors made a petulant, irritable sound (White, 99).
Smooth, oval rocks lined the bank of the secretive lake. Discarded and neglected; overlaid with spongy moss and choked by fallen, decaying leaves from the unclothed and withering trees above. As the lake swelled around the ashen boulders, icy, black water lifelessly lapped against the long, thin beams of wood holding up a rickety pier. The structure was covered in splinters and ragged, iron nails, and as it reached out into the centre of the sombre lake, it became more and more distant. Half-cut beams lined the sides of the pier, as nettle patches hissed from the shore when the water drew too near.
A warm morning, sun shining with a slight breeze, and calm waters; the perfect day to learn how to water ski. I had never been water skiing before, I barely knew what it was, I was anxious to say in the least. I stood on the dock as my parents maneuvered the boat into the water, I’ve never been so uncertain. My family reassured me that everything would be okay as I was strapped up my life jacket. I stood on the edge of the boat, apprehensive, but I had to jump in the water, it was now or never.