Passage one and Passage two are both about Florida's Okefenokee Swamp, however they both have contrasting points of view. The author of Passage one is writing about the swamp as it is overall- in a disconnected sort of way- which is drastically different from Passage two which takes the reader right inside the swamp and shows the struggle of life that exists there. Thus, the authors of Passage one and Passage two, accomplish this task by an informative tone and formal diction in Passage one, versus a malicious diction and a derogatory tone in Passage two .In writing two essays on the Okefenokee Swamp, the first in 1988 and the latter in 1990, the author uses two contrasting styles to assert his or her personification of the swamp. In order to personify the swamp, juxtaposition, as well as metaphors and similes, are used.…
The book begins and ends with descriptions of the landscape; the serenity of the plains is an unlikely setting for a tragedy, which makes it all the more disturbing when one does occur. The book starts by taking the “long view” of its subjects, outlining them from a distance before eventually zooming in to probe the microscopic details of the case, a trajectory that reflects Capote's own dealings with the residents of Holcomb and Garden City. Here, also, Capote compares the landscape to that of ancient Greece, indicating that the story contained in these pages has larger significance as an examination of timeless human themes.…
Ernest Hemingway’s writing choices are famously in favor of clear and concise language, sharply contrasting those of William Faulkner, an author who is known to use many fluid descriptions, metaphors, and similes in order to emphasize certain ideas. Although both Faulkner and Hemingway choose to describe more than just what is plainly written, they differ immensely in presentation. Faulkner adheres strictly to his own tradition of using powerful language to give his stories a strong tone, as if spoken by a descriptive storyteller. Hemingway on the other hand describes his stories impartially, avoiding bias towards one character or another, and instead telling things the way they are (or rather, the way he creates them to be). Hemingway’s tone, style, and diction in “A Clean, Well-Lighted Place” is presented in a plain and unbiased fashion that allows its reader to capture exactly what Hemingway intends to say.…
This introduces Ashley Crowther, a Cambridge educated man, who has returned home from his studies in England, as he owns the swamplands. Jim immediately feels a connection; he knows that they are going to be friends. “Something in the silence that existed between them…. made Jim believe that there could be a common ground between them…” Ashley shares the same views on the divinity of the land. “For all his cultivation, he liked what was unmade here and [it] could, without harm, be left that way.” Jim accepts a job to be a curator of Ashley’s prospective bird sanctuary.…
At the beginning of the book, the author begins with his plan- to travel through the bayou. He doesn't have a main goal, just to experience life in the bayou as it happens. He begins his story near the end. Telling of men who he is sad to say goodbye to, while the reader doesn't know anything about how he came to know these men. Following the prologue, he goes back to the beginning, where he first reached the area in Louisiana. He goes on to recount his adventures. Each chapter beginning a new adventure, a new part of the bayou to explore, a new friend to meet. He tells of how friendly the residents of the Cajun coast are. One of his new friends Tim Melancon said “A Cajun will give you de hat off his head on a hot sunny day if you need it.”(pg 63) Throughout the book he brings up the pressing issue of the disappearing marshlands in the territory that he was traveling in. He is quite upset…
Her own narrative voice is distinctive, assured, often poetic, as in her introduction to the place about which she writes: "McIntosh County, on the flowery coast of Georgia-small, isolated, lovely." She never forgets that it is home to the men and women, black and white who help tell her story. She says, "If the Messiah were to arrive today, this cloudless, radiant county would be magnificent enough to receive Him." Its beauty, however, is deceptive. The grinding poverty of its residents is all too real and ugly, and, until recently, the corruption so pervasive that the county's name was synonymous in the state with good-old-boy political chicanery. For example, one of the effective ploys to keep the black citizenry in line was to allow them to plunder wrecked transport trucks on busy U.S. 17.…
The author uses colloquialism to produce a negative outlook on the Okefenokee Swamp, while also revealing an unprofessional writing style. Words like “hellish” and “no-see-ums” (passage 2) illustrate these ideas; the word “hellish” being the negative outlook while the word “no-see-ums” makes the author seem unprofessional. The author is also somewhat biased, as is evident through his or her word choices and overall negative attitude throughout the passage. Examples of words that the author uses to express his or her negative outlook includes “unfathomable”, “primeval”, and “misery”. In addition to word choices, the author also uses syntax to make his or her point. Employing longer sentences makes the passage seem almost like a rant, illustrating the idea of the author having a negative view on, and being biased toward, the swamp. However, this passage isn’t too far from having the same purpose as the first passage. Passage 2 is also very informative, even if it is biased, which makes this passage seem like it was intended to be some sort of critique on the swamp. It informs readers on the dangers of the Okefenokee Swamp while also driving them away from…
Cited: Boyle, T. Coraghessan. "Greasy Lake." Kennedy, X.J. and Dana Gioia Literature An Introduction to Fiction, Poetry, Drama, and Writing 5th Edition. New York: Pearson Longman, 2007. 120-128. Print.…
Winton reveals deep insight into personal discoveries in his short stories ‘Big World’ and ‘Aquifer’. Together the stories pose personal insights into the discovery of adventure. Much like Big World, Aquifer is based around a narrator who craves escape and adventure. The Narrator discovers adventure in the local swamp “ever wrinkle, every hollow in the landscape led to the hissing maze down there”. Winton’s implication of onomatapia describes the luring landscape and “reeds bristled like venetian blinds in the breeze” a simile incorporates the beauty of the swamp and its power to discover adventure. The…
In the passage “Rising Tide: The Great Mississippi Flood of 1927” the author John M. Barry describes elaborately the functions and complexity of the Mississippi River. The author wants to inform the reader about the fascinating characteristic the Mississippi River offers, through a descriptive and informative passage. The author’s fascination of the river is incredible due to the simple, solid facts that are stated. Throughout the passage the author uses many rhetorical devices to amplify his message such as diction, vivid imagery, and simile.…
Bibliography: Twain, Mark. The Adventures of Huckleberry Finn. Classic Reissue. New York: Bantam Dell, 2003.…
At the beginning of the poem, there is a use of cacophonic sounds of “branching vines.” “Burred faintly belching bogs” are used to describe the ugly sounds of the swamp as the character takes a step forward; which only add more to the misery and struggle of the speaker. The repetition of the word “Here” is also very unique because it is emphasizing the location of where the character is being tortured by having to walk into this swamp of misery and struggle. There is another sound the speaker describes “that sink silently on to the black slack earthsoup” (lines 20-22). This diction considered as imagery, because it is making a comparison between the swamp and earthsoup.…
In Rising Tide: The great Mississippi Fold of 1927 and how it Changed America, John M. Barry writes to communicate his fascination with the Mississippi river to his readers. He does this through the use of rhetorical and literary devices.…
Swamps can be seen in various perspectives and can convey different atmospheres associated with the respective swamp. The two passages on the Okefenokee Swamp both convey two different atmospheres and tones for the swamp, almost as if it was two different swamps. The author use of diction, detail and figurative language conveys how the swamp in the first passage is more inviting and safe versus the swamp in the second passage which is displayed in a more malicious tone.…
“Okefenokee Swamp, primitive swamp and wildlife refuge in south eastern Georgia and Northern Florida…” compared to “Vast and primeval, unfathomable, unconquerable, bastion of cottonmouth, rattlesnake and le and leech, mother of vegetation…” show you the differences in the two passages describing Okefenokee swamp. The author of passage one gives his readers’ a very factual, unbiased report of the swamp, while the author of passage two tries to give his readers a enticingly dangerous and appealing view point of the swamp. Both of these view points were achieved through their sense of metaphors, syntax, and other devices to give the reader the sense of tone in the passages.…