The Driver's Seat Rhetorical Analysis

This theory of father and son as caretaker counterparts is all but confirmed in the characterization and actions of Mrs. Gurney, who is essentially the broad and encompassing personification of all that have come before her: she is sad, confused, and dysfunctional. By definition, her last name literally means a hospital stretcher. As the two begin to trek across the beach towards her home, it does not take long before she lives up to it. Soon, Mrs. Gurney has her arm “strangled” around Kurt’s neck like a fallen soldier as the boy shouts commands, “Keep your head down, Mrs. Gurney! I’ll guide you!” This portrayal from the protagonist’s point of view aims to mimic the intensity and feel of a war zone.
Supplementing the hectic nature of the wind,
He tries his best to avoid this phenomenon, noting the best method to be a conscious avoidance of awkward silences, however at this point it is evident that this walk is no ordinary trip for either party. In fact, as the story progresses it seems as if Kurt actually relishes opportunities to look into the darkness and surround himself with it, even more so than Mrs. Gurley: “the deep, black shadow of Hat Island…was remarkable, the way that darkness carved itself out of darkness.” This professed comfort of dwelling in twilight and shadows symbolizes Kurt’s growing ease with the unknown, a sort of embrace with the world of uncertainty he has come to know so well. More importantly, the confession speaks to Kurt’s budding personal evolution, underlining a new way of thinking and acting upon his
Gurley, where Kurt finally gives into the black hole of silence as she asks him to look at her naked breasts. Kurt briefly pauses for a moment of internal conflict and “into that empty space rushed the wind,” an energy signifying the surrender of his childhood innocence, forcing the subconscious balloon from his finger. Now, Kurt is free to see, feel, and do, as he desires, which is almost immediately acted upon. The urge to “Fuck, poke, screw,” overriding all rational thought and morality previously exhibited by the protagonist. Darkness sets in and Kurt recalls, “A voice told me I could get away with it.” With this in mind, it is apparent that D’Ambrosio intended to portray a pedagogical transformation in “The Point” through the contrast of darkness and light and the distinctions between youth versus maturity and morality versus impulse. However, as the story moves on, the reader is left to question if the transformation of Kurt into maturity is truly