In the beach, the role of the map exemplifies the confusion and conflation of the real and the unreal. The entire intrigue about the beach is ignited by the first map Daffy leaves for Richard and is extinguished by the second map Richard makes for his friends, Zeph and Sammy. The first map which Richard describes as “…beautifully colored in” (15) did not only represent the means to finding the beach, but the means to finding “the beach” in its supposed perfection as Richard says, “…on one of a cluster of small islands I noticed a black mark. An X mark… Written underneath in tiny letters was the word “Beach” (15). The “X” marks the spot of the beach among the other cluster of beaches in the map. It represents the idea of a treasure map reinforcing the exceptional reward cliché embedded in Western culture. More so, it reinforced the possibility of the existence of this seemingly perfect paradise on the beach. The second map finally echoes the annihilation of this perceived utopia. It is this map that hinges the sense of paradise to the beach but, as it turns …show more content…
In The beach, the desire to find “a perfect escape” (364), to find authenticity, to collect experiences and to be travellers rather than just mere tourists, is delineated in a complex and extreme way. At first, the backpackers in the novel point out that there is hardly a possibility for the perfect escape because there is nothing that has not already been done. Etienne tells Richard: “Very boring… I want to do something different and everybody wants to do something different, but we all do the same thing” (19). Essentially, the only way to actually do something different would be to construct authenticity in an Eden-like place- the beach. Although paradoxical, the authenticity of the beach hinges mostly on its dissociation from the others, from the “world.” This premise supported when Zeph
In her narrative essay, “FYB”, Zadie Smith expresses her belief that if one redirects their mindset to a more limited perspective and uses the limitless Manhattan mentality at certain times, one can arrive at their beach. A beach is a mentality, and Smith finds her beach by coming to peace with Manhattan’s beach. The idea of a person’s “beach” being hard to discover may be observed through Smith’s personal background, as it is almost mythical for this English writer living in Soho, Manhattan to come by a beach.
To inspire the visualization of the idyllic Florida’s fields, this canvas is sized to produce that impression of your presence in the coast. With a sense of solitude that is accompany by the magic of the discovery of a beautiful romantic peace, this canvas transmits you the desire to be there. The scene makes you feel that you have found that special site where you want to be for the rest of your life in concordance with nature. It is easy to spot in this paint how diverse and unreceptive subtropical locality in early Florida define the subjective state of being. In this art he totally complies with one of the most delightful characterizations of Romanticism, he puts together the heart and the mind to idealize the authenticity of the wilderness in the scene according to what the artist considered relevant to present.
Both being the beach and the wild bay/tunnel. The beach representing childhood and vice versa for the bay. The beach is representative of the main characters childhood that wishes to leave behind for the adult life of the wild bay. This is presumably stated by this quote from the text, “…And yet, as he ran, he looked back over his shoulder at the wild bay; and all morning, as he played on the safe beach, he was thinking of it. Next morning, when it was time for the routine of swimming and sunbathing, his mother said, “Are you tired of the usual beach, Jerry? Would you like to go somewhere else?” this quote shows that the main character wishes to go to the bay. When his mother finally allows him to enter the wild bay he, with the help of some local boys, finds a tunnel. He challenges himself to get through the tunnel, which in this case could be a symbol for him transitioning adult life. Through perseverance he gets through the tunnel and he metaphorically becomes a man, Shown by the quote, “…The water paled. Victory filled him. His lungs were beginning to hurt. A few more strokes and he would be
Golding states,” On the other side of the island, swathed at midday with mirage, defended by the shield of the quiet lagoon, one might dream of rescue; but here, faced by the brute obtuseness of the ocean, the miles of division, one was clamped down, one was hopeless, one was condemned, one was-“(111). The very beginning of the novel focuses on the paradise, and promising beginning to a new life on the island. However, first impressions can be deceiving, and often are duplicitous. On one side of the island, hidden beneath a pink mirage is the truth. On the other side, the duplicity evident, revealing the nature of humanity and the island. Without the mirage, the truth is clear. The duplicity on the island is an allegory of the duplicity within human beings. The island attempts to conceal its secrets with a paradise facade, just as humans use societal norms to create mannered, and respectful people. Etiquette is a social construct to hide the evil-nature of humans. The duplicity on the island reflects the dual-nature of
This places the reader in recognisable landscape which is brought to life and to some extent made clearer to us by the use of powerful, though by no means overly literary adjectives. Machado is concerned with presenting a picture of the Spanish landscape which is both recognisable and powerful in evoking the simple joys which it represents. Furthermore, Machado relies on what Arthur Terry describes as an `interplay between reality and meditation' in his description of landscape. The existence of reality in the text is created by the use of geographical terms and the use of real names and places such as SOrai and the Duero, while the meditation is found in...
Urry, John, The tourist gaze: Leisure and Travel in Contemporary Societies 2nd Ed (London, 2002).
The smell of the restaurants faded and the new, refreshing aroma of the sea salt in the air took over. The sun’s warmth on my skin and the constant breeze was a familiar feeling that I loved every single time we came to the beach. I remember the first time we came to the beach. I was only nine years old. The white sand amazed me because it looked like a wavy blanket of snow, but was misleading because it was scorching hot. The water shone green like an emerald, it was content. By this I mean that the waves were weak enough to stand through as they rushed over me. There was no sense of fear of being drug out to sea like a shipwrecked sailor. Knowing all this now I knew exactly how to approach the beach. Wear my sandals as long as I could and lay spread out my towel without hesitation. Then I’d jump in the water to coat myself in a moist protective layer before returning to my now slightly less hot towel. In the water it was a completely different world. While trying to avoid the occasional passing jellyfish, it was an experience of
The island itself suggests a place of wonder and relaxation. Providing the reader with the impression of an utopia society, an impression that will soon be contradicted as the novel progresses.
The story “The Most Dangerous Game” has many different settings that are placed throughout the island that set the mood and suspense of the story. These settings must be put in the right place when on a map in order to be accurate to the text. When I made my map, I was sure to put the right places in the right spot when I was working on my project. In order to do that, I needed to use the text from the story “The Most Dangerous Game” to determine where to put the General’s home, the courtyard of a dozen dogs, and the rocky shoreline.
Kincaid guides her readers through their vacation, illustrating the sights and experiences a typical tourist would encounter while visiting Antigua. However, Kincaid’s words are laced with sarcasm. Kincaid draws upon experiences with real tourists and condemns them by passing this criticism on to her readers. Kincaid writes, “You see yourself taking a walk on that beach, you see yourself meeting new people (only they are new in a very limited way, for they are people just like you). You see yourself eating some delicious, locally grown food. You see yourself, you see yourself…” (13). Here, she is commenting on the vanity of a tourist. By repeating the phrase “you see yourself”, Kincaid is hinting that the tourist does exactly that. The tourist is egotistical, caring only about their own paradisiacal vacation. This is further emphasised when Kincaid mockingly states “you could ruin your holiday” (10). She implies that tourists often turn a blind eye to the corruption that plagues the island and its government, intentionally choosing to overlook the injustice and hardships faced by the Antiguan natives. The “slightly funny feeling” (10) that Kincaid refers to is the tourist’s guilty conscience, thus Kincaid is accusing the tourist of inhumanely placing their own trivial getaway from their relatively comfortable lives over the basic human needs and rights of the natives. By directly addressing her readers, insulting and accusing them of such inconsiderate and heartless behaviour, Kincaid is trying to inflict feelings of guilt, hoping that her readers would reflect on the way they act when they inhabit another’s
The. Hout, Syrine C. “Grains of Utopia: The Desert as Literary Oasis in Paul Bowles’ The Sheltering Sky and Wilfred Thesiger’s Arabian Sands.” Utopian Studies 11.2 (2000): 112-36. Huxley, A. Along the Road: Notes and Essays from a Tourist. New York: Ecco Press, 1989.
In Alain de Botton’s collection of philosophical essays, The Art of Travel and Tim Winton’s short story ‘Neighbours’, the representation of people and landscapes leads us to a greater awareness of the complexity of human attitudes and behaviours. This is explored through the idea that changes in one’s receptivity to the landscape can determine their perspective of it and thus influence their behaviour and attitude towards those people in the landscape. The desire for a new landscape is due to the non-receptivity to the old landscape, this is explored in de Botton’s first essay, ‘On Anticipation’ with his experience of Barbados. The representation presented to him by the travel brochure was a severe abbreviation of reality, and thus his expectations of Barbados were overtly influenced by the misleading representation given to him.
Walking on a land of gold, the sand being so soft and smooth, glistens as it reflects the suns rays with joy. Cool, light and refreshing, the breeze gently eases up against my skin and glides through my hair, sending a gentle shiver up my spine. The rustling of leaves, small array of birds and delicate splashes of the sea are amazingly soothing and relaxing. The whole beach itself looks like a painted picture with a spectrum of colours all merged with one another. The sea also showing off a wide range of colours that reflects of the surface, like a dancing peacock showing off its finely detailed feathers.
Ever since Sunset Beach has been officially opened to the public, there has been a drastic increase of tourists present. Television programs concluded that at least a thousand people visit the beach everyday. Reasons for their stay are that they feel comfortable with the environment that surrounds the beach front, people who are at the beach are joyous and numerous activities to enjoy, and the fresh scent of the sparkly waters, make the visitors feel calm and pleasurable. So I decided to take a trip there.
Have you ever visited a place so beautiful and serene that you couldn’t imagine a more stunning place? For me, it is the shimmering and flowing waters of the ocean. The way that the deep blue waters meet the gritty beige sand leaves me in such awe. The water is like a soft blanket, comforting and inviting. The unique wildlife and vegetation that exists on the beach is something I’ve never seen anywhere else. There is no place more beautiful and thrilling than the beach.