In the book, The Road, the author portrays the man to be very caring and protective over his son. The father would do anything if it benefits and helps his son. In this passage, I think the father was so desperate that the thought of his son’s safety drifted off. This is very unlike the father. During this quote, the father and son had found a house and the father decided to go look inside. “The wind rustling the dead roadside bracken. A distant creaking. Door or shutter. I think we should take a look.
Papa let’s not go up there.
It’s okay.
I don’t think we should go up there.
It’s okay. We have to take a look.
…
What if there’s someone here, Papa?
There’s no one here.
We should go, Papa.
We’ve got to find something to eat. We have no choice.
We could find something somewhere else.
It’s going to be all right. Come on.
…
Papa, the boy
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On the surface, I think this passage is trying to get the point across that the man wanted to go inside this “locked room” in search for food. The boy had a gut feeling that something bad was going to happen and that they should've just left. Because the man was stubborn and didn’t want to leave, they opened the door to the room. As they went down, they saw injured people, in which they started chasing them. Beneath the surface, I think the father was tired of always being on the hunt to survive. I think that he was tired of having to worry about how they were going to survive, with both having enough to stay some what healthy and also being cautious of the “bad guys.” This was very unlike the man to forget about having to be safe from other people. Everything that the father does, he thinks about how it will affect his son. But during this passage, he didn’t really take into consideration the things that could have been down in that room and how it would have affected his son. His behavior in this passage contradicts to the way the author portrays the man through most of the
This shows the boys immaturity and his lack of understanding about the purpose of marriage, to be with one person. Another example that showed the immaturity of the boy was that when his wife was struggling with the baby, he was in the process of leaving for his hunting trip. His wife told him she didn't want to be left alone while the baby was so fussy. However, the boy continued to explain how he had planned this outing and kept getting ready to go. The wife gave him an ultimatum and made him choose between her and the baby,
Then, the wind stopped. A large creature could be heard outside, making scratching noises onto the trees. Chills went down our spines as we were very afraid to look outside our tents. Then, the unexpected happened, the creature that we heard gave a deep and frightening howl. We all stood in silence while it continued.
he said. Loud and firm. Then his hand was in his mouth as if somehow he could stuff the word back inside. " The boy has suffered from his father action towards his mother, he automatically could not hold the tears back. " The boy felt his lip began to shudder, bit into it to keep from crying.
to still keep established pace and tone, which is that calm, disassociated mood. At this point the father, the reader might think, is a construction of the husband’s mind, because the husband had focused on “the idea of never seeing him again. . . .” which struck him the most out of this chance meeting, rather than on the present moment of seeing him (Forn 345). However surreal this may be in real life, the narrator manages to keep the same weight through the pacing in the story to give this story a certain realism through the husband’s
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
Safety is the priority for their son and this shows great humanity that someone is looking out for their son and his well being. This happens numerous times in the book for example when Vladeck moves into the barn. “He works in Germany, and only comes home for 10 days every 3 months… I’ll keep you hidden in the cellar when he’s around.” (Spiegelman, 141).
The father’s wife had recently died, leaving him with the boy to take care of with the only mindset of keeping him alive, doing anything for their survival. This affected the father in a big way, leaving him with little hope and hardly any reason to stay alive, but the boy was “his warrant” (McCarthy 5) , his only reason for life. The boy starts out very scared and weak, always wanting to hide behind his father, knowing that one day he will die. The boy matures with every event that happens, and he maintains to have hope throughout most of them. “The man fell back instantly and lay with blood bubbling from the hole in his forehead.
From beginning to end, the son calls his father “Baba” to show his affection and admiration. Despite the father’s inability to come up with a new story, the son still looks up to him. This affectionate term also contrasts with the father’s vision of the “boy packing his shirts [and] looking for his keys,” which accentuates the undying love between the father and son (15 & 16) . The father’s emotional “screams” also emphasize his fear of disappointing the son he loves so much (17). Despite the father’s agonizing visions, the son remains patient and continues to ask for a story, and their relationship remains “emotional” and “earthly”--nothing has changed (20-21).
In Cormac Mccarthy's novel, The Road, the overall outlook on humanity and life is negative. Death, fear, and sadness consumes humans lives. Mccarthy mainly writes about how darkness has taken over in this apocalyptic world in The Road. The apocalypse has unrooted many humans making them live in harsh ways, even turning them into cannibalistic animals. Some events make the father and son live in fear.
Adam’s dad, Roger, a musician in thirteenth-century England, talks to him about the road. Adam has shares the road with his dad after his mother died, and being able to feel at home on the road helps keep him from misery. Everything seems to be going wrong in his life. Adam accidentally gets parted from his dad as he tries to find and keep up with the man who has stolen his dog.
“Do you want to go in there too?” My father asked. “I will if you let my family go.” I made a whiny face not like it would work. “No Nadie.”
The Wind: It Sleeps Upstairs Abandoned homes, they sing to me a song of yesteryear. At night, they cry a ghostly tune, of lives worn ’way by time. Just listen close: the gentle coo, as soulful as a loon.
In The Road, as the father and son continues their fight for survival, we discover the father’s relentless efforts to maintain human goodness and preserve the son’s sense of innocence. The boy’s repeated questions, “Are we still the good guys?”, “Can’t we help him, Papa?” reflects how even the father who tries to be categorically defined as the good ones must at times resort to abandoning morality. Hence, the son becomes a symbol of innocence, curiosity and wonder as he tells his father, “In the stories we’re always helping people. But we don’t help people.