Use Of Topography In Is There Nowhere Else We Can Meet And Burger's Daughter

For instance she states, “You’ll encounter a road so lonely, treeless, and devoid of rises and curves.” As Marquart uses such word choices, the reader can imply that the upper Midwest is an isolated place where there is not much to view. By describing the roads to be lonely and treeless, one can infer that this area

In order to begin building the story, one must first erect a setting for everything to take place. Jeannette opens up every new memory with in this way with the use of imagery. For instance, “nothing about the town was grand except the big empty sky and, off in the distance, the stony purple Tuscarora Mountain running down the table-flat desert. The main street was wide—with sun bleached cars and pickups parked at an angle to the curb—but only a few blocks long”(51). The elaborate description of the setting allows one to understand how the place may affect the course of the narrative, as well as how each person with in the memoir may respond in relation with the environment.

I am completely taken aback by how lyrical and colorful Professor Walter Alvarez was in this excerpt go his book The Mountains of Saint Francis. When I found that this reading was on geology, my expectations were something along the lines of mechanical and mundane. I was completely caught off guard when I started reading the prelude. " From high up on a peak called Monte Nerone, on clear, crisp autumn mornings, you can see far across the landscape of Italy.

There was undergrowth—a mat of brambles and bracken. There were no obvious paths. Dark and light came and went, inviting and mysterious, as the wind pushed clouds across the face of the sun.” (355) The "thing" in the story was symbolized as the terror

When Jeanette believes she see’s something moving under her bed, she is frightened and goes to her father for help. Rex refers to it as the demon and begins to look for it with Jeanette. At the same time, he tells a story of scaring off the demon in the past, saying, “that was the thing to remember about all monsters; they loved to frighten people, but the minute you stare them down, the turn tail and run” (37). With this metaphor for life, Rex explains the importance of facing challenges with determination and courage. He ensures that Jeanette understands significance of never giving in to fear and the importance of persevering against doubtful situations.

In the world there are amazing regions to explore and see. However, we usually don’t see them in person. Writers use the fact that readers may not know anything about their region, but are able to read or experience the region the writers provide. In fact, Twain uses this to his advantages to talk about his home village near the Mississippi River, as well as, Jewett shows us the wilderness in Maine. Jewett and Twain uses regionalism throughout both of their writings, by creating their own types of settings.

She thought this was the feeling of freedom and finding out her new identity. To continue and amplify this feeling, the thought of nullifying her mother, who represents the hardship of keeping a distinct cultural background seemed like the way to go. This is when she travels to Wildwood to suppress the idea that she will remain a “slave” to a lifestyle that she does not belong

Whether this fear is reasonable in the beginning of the book, before the

He provides much context as he wants his reader to visualize the maps as best as he does, as he also has a keen interest for their artistic work. Blanding first describes the maps as “lush and expansive” (pg 88), and then as a “one-of-a-kind work, similar to a painting” (pg 112). Making this comparison emphasizes the antithesis that lies between the functionality of maps. It reveals to the reader that the impact of the maps for these clients was immense. They treated them as art, as they are compared to paintings.

In Willa Cather’s novel My Antonia, the author reveals the narrator’s nostalgic tone towards his hometown landscape through detail and imagery. Jim’s nostalgic tone towards the land is shown with details when waiting for his friends to meet for a picnic. When he decides to swim in the nearby river, Jim reflects, “For the first time it occurred to me that I should be homesick for that river after I left it… Charley Harling and I had hunted through these woods, fished from the fallen logs, until I knew every inch of the river shores and had a friendly feeling for every bar and shallow” (184-185).

This quote also has a tone to it too. It shows that she was scared of the

Flatlands starts off with a square as the narrator explaining the world he lives in. For example, the square explains that the women in his world are lines, dangerous and idiotic. The lines let their emotions get the best of them constantly and will sometimes kill their husbands and have no recollection of what they have done. The men in the square´s world are all polygons, and the more sides they have, the more prestigious they are to society. In this, isosceles triangles are the lowest class, while circles are considered nobility.

As ironic as it may sound, the protagonist’s family, along with the priest and the townspeople, are the genuine monsters in this literary piece. In this short story, it was clearly seen that the protagonist was physically and psychologically isolated from her community. This abhorrence initiated within the protagonist’s own household. Her family implied that something was wrong with her—that she used to be a lovely baby and that she was cursed (263).

He describes the land outside the city as “unnoticed,” “hidden,” “neglected,” and “isolated.” This differs from the crowded city environment that the speaker did not approve of. The author also portrays the “unfenced existence” of the space, such as a bird flying through the sky or a fish swimming through the sea. Lastly, the speaker concludes with repetition of the word “here.” By using this technique, he displays his excitement for the new land around him.

As the field’s original purposes were colonial and religious expansion, maps provide and impose a specific way of perceiving a world; they represent both progress (by showing what is known) and potential (by showing what is unknown through blanks). A fictive map represents imaginary geography, conveying the thematic implication of the setting’s form and content. Literary cartographers create a relationship between a map of a text’s setting and the text where the map is “an [authorial] graphic representation of spatial relations among [the] places or objects [within] the literary work” (Bushell 2012). Fictive maps are based primarily in fantasy, which provides the reader with life lessons through escapism and medieval and/or supernatural elements. These elements are developed through world-building, where the landscape and man-made structures convey power dynamics and how society operates, and presented through a