Eleanor Wong 3.22.24 Rianda 1 Author’s Craft Essay Man’s Mortality Lucius Annaeus Seneca, a renowned philosopher and follower of stoicism once proclaimed, “That man lives badly who does not know how to die well.” His poignant words offer insight into the reality of one’s demise, and how actions or a lack thereof often lead to regrets towards the end of one's life. Echoing these sentiments, the radio play The Hitchhiker, by Lucile Fletcher, explores a 36-year-old man grappling with the inescapability of death. Set across the United States, Ronald Adams ventures from Brooklyn to California by car. However, his journey is haunted by a strange man—a hitchhiker—whose every action unnerves Adams. Moreover, the hitchhiker appears to follow him. Fletcher …show more content…
The unnamed girl questions his life choice of speeding through his journey, stating that she would "just enjoy,” and not repeat Adams' mistakes, personifying the protagonist’s errors and a life better lived. Readers discover that the woman Adams converses with is a hallucination, whose purpose throughout the text is to be a physical representation of his regrets. The author magnifies the man’s inner turmoil, for the more the girl speaks, the more information is gained about Adams’ mistakes in life. Fletcher’s deliberate use of personification enhances conflict, emphasizing the necessity of confronting fears before departure. Fletcher’s curated metaphors offer insight into characterization and magnify the idea that death is unavoidable. As the author sets the scene in the Alleghenies, Adams frantically avoids the hitchhiker: “I stepped on the gas like a shot. That’s lonely country through the Alleghenies, and I had no intention of stopping” (95). The protagonist steps on the gas ‘like a shot,’ which is a metaphor for Adams’ poorly lived life; his desperation alters his sane decision making, rendering him thoughtless. His actions contrast against what others, such as his mother, advise him to …show more content…
To contribute to these thoughts, as Adams flies through New Mexico, “I was in the lunar landscape now—the great arid mesa country of New Mexico. . . I drove through it with the indifference of a fly crawling over the face of the moon” (100). The imagery above depicts a ‘fly,’ small and insignificant, as it is ‘crawling over the face of the moon,’ the bug—Adams— contrasted against a celestial being, or death itself. The in-depth description reflects the triviality of a human in the face of death, painting a portrait of the protagonist’s petty flight from the Reaper. Here, the author crafts tone, heading into the darker, more suspenseful final act. Fletcher’s masterful use of imagery stirs not only empathy within the reader, but shifts the tone to explore the fear surrounding death. Although critics contend that the personification of death as the hitchhiker may simplify the complexity of mortality, Lucille Fletcher’s use of this literary device serves a deeper purpose. As embodying death as a tangible presence that haunts Adams, “I could see
The author illustrates the “dim, rundown apartment complex,” she walks in, hand and hand with her girlfriend. Using the terms “dim,” and “rundown” portrays the apartment complex as an unsafe, unclean environment; such an environment augments the violence the author anticipates. Continuing to develop a perilous backdrop for the narrative, the author describes the night sky “as the perfect glow that surrounded [them] moments before faded into dark blues and blacks, silently watching.” Descriptions of the dark, watching sky expand upon the eerie setting of the apartment complex by using personification to give the sky a looming, ominous quality. Such a foreboding sky, as well as the dingy apartment complex portrayed by the author, amplify the narrator’s fear of violence due to her sexuality and drive her terror throughout the climax of the
The main character says, “Look under the seat for my flashlight, boy” (Pancake 87). The narrator then notes, “He bends forward, grabbing under the seat, and his head is turned for me. But I am way too tired now, and I don’t want to clean the seat” (Pancake 87). From the context you can observe that he starts his process in killing the hitchhiker but decides against it. As he has gotten to know the hitchhiker throughout the ride he sees that he no longer wants to kill him. Then, the main character comments, “He hops to the ground, and I watch him walking backward, thumbing” (Pancake 87-88). You can conclude that he finally comes to the realization that these hitchhikers deserve to live despite his recent losses. In sum, this is the major turning point in the story because this is when he finally overcomes his obsession of murdering the
After feeling ostracised by the township, the alienated Brennan family are driven to leave the town of Mumbilli at 4:30am. With hardly any peer support, Tom begins to lose his sense of security, resulting in his transformation into an unconfident teen who is afraid of public opinion. It is no wonder that Tom is unable to move on in his new town as he is being held back in fear of revealing his past. Burke tactfully illustrates Tom’s emotional kaleidoscope through phrases such as “I felt the knot snap” and “my guts landing at my feet” (Burke, pg 172) when reflecting on the accident. On the contrary, with encouragement from family members, Tom begins to step out of his comfort zone and face the future that is to come.
“Why? Why? The girl gasped, as they lunged down the old deer trail. Behind them they could hear shots, and glass breaking as the men came to the bogged car” (Hood 414). It is at this precise moment Hood’s writing shows the granddaughter’s depletion of her naïve nature, becoming aware of the brutality of the world around her and that it will influence her future. Continuing, Hood doesn’t stop with the men destroying the car; Hood elucidated the plight of the two women; describing how the man shot a fish and continued shooting the fish until it sank, outlining the malicious nature of the pair and their disregard for life and how the granddaughter was the fish had it not been for the grandmother’s past influencing how she lived her life. In that moment, the granddaughter becomes aware of the burden she will bear and how it has influenced her life.
Robbins reflects that everything is interrelated, and how our societies denial of that fact is damaging. Julian displays the Western mentality of a free rider, when defining hitch hiking: "Hitchhiking is parasitic, no more than a reckless panhandling, as far as I can see. "(Cowgirls 45). Similarly, Sissy lives her life constantly focused on finding the next driver who will pick her up. She is consistently engaged with the rhythm of people on the move, but all Julian recognizes is that she is not a contributing part of the whole.
She then moves on to describe each of the characters, and in doing so, their surroundings and how they fit in: "He was cold and wet, and the best part of the day had been used up anyway. He wiped his hands on the grass and let the pinto horse take him toward home. There was little enough comfort there. The house crouched dumb and blind on the high bench in the rain. Jack's horse stood droop-necked and dismal inside the strand of rope fence, but there wasn't any smoke coming from the damned stove (28)."
Hiding from those who would find him and carry out the wrath of vengeance upon him, the protagonist plans his escape. About to dive in the rancid water and swim for it, a body in the shallows abruptly stops him. The bloated and decomposing corpse pulls the narrator back from his adrenaline-induced frenzy. After a few moments, he settles and reflects, “I thought about him, fog on the lake, insects chirring eerily, and felt the tug of fear, felt the darkness opening up inside me like a set of jaws. Who was he, I wondered, this victim of time and circumstance bobbing sorrowfully in the lake at my back” (193). The narrator can almost envision himself as the man whose corpse is before him. Both deceased from mysterious causes, involved in shady activities, and left to rot in the stagnant lake water, and never to be discovered by the outside world. This marks the point where the main character is the closest he has ever been to death. Although he makes it out alive, the protagonist and his outlook on life are forever changed.
Strange noises, eerie strangers, and phantasms are things that often pull an audience into a suspenseful story. In Lucille Fletcher’s “The Hitchhiker” a man is driving from his home in Brooklyn to the west coast. Along the way he continues to see a man who makes him nervous. Eventually, this vision makes him question his sanity. “The Hitchhiker” is a good story because of the elements of plot.
“I didn’t see—anybody. There wasn’t nothing, but a bunch of steers—and the barbed wire fence.” (94) His desperation and loneliness overpowering all, Adams takes up his initial idea of running down the hitchhiker, but his momentary traveling companion does not see the victim, claiming he was never there. Now in Albuquerque, New Mexico, the hitchhiker doesn’t wait for Adams to make a stop before appearing; his form and face flit by every other mile. (96) Learning of his mother’s prostration and the death of Ronald Adams, the protagonist leaves the audience with his last thought: Somewhere among them, he is waiting for me. Somewhere I shall know who he is, and who . . . I . . . am . . .” (97) Alone, without the willpower to fight for survival, the main character fades into a mist of doubt and helplessness.
The author selects techniques of diction such as connotation, repetition, and onomatopoeia, to establish the fear is the overall excerpt. He manipulates connotation to enhance the mood. As the character is driven about the midnight landscape by the mysterious coachman, he notices the “frowning rocks” hanging over the road, a “ghostly flicker” of blue light which he cannot explain and off in the distance the “long agonized wailing” of dogs. The word “frowning” allows us to see that this is no happy setting, even the rock that cannot feel is frowning and not smiling. The author uses the word ghostly to describe the flicker of light. Light usually portrays a saving or some sign of hope. By using ghostly as a descriptive word, he makes it seem supernatural or like it’s faintly there. If he wanted this to be a sign of hope he could have worded it a flickering light, but he did not causing the character to feel fright and no hope. The utilization of repetition by Stoker applies reinforcement to the atmosphere. Throughout the excerpt the narrator continues intensifying the effects by also repeating phrases such as “another and another.” By repeating these words the reader is being reminded of the alien emotions and surroundings of such a strange place. The use of intensifying repetition strengthens the negative connotation words following directly before or afte...
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The subject of death is one that many have trouble talking about, but Virginia Woolf provides her ideas in her narration The Death of the Moth. The moth is used as a metaphor to depict the constant battle between life and death, as well as Woolf’s struggle with chronic depression. Her use of pathos and personification of the moth helps readers develop an emotional connection and twists them to feel a certain way. Her intentional use of often awkward punctuation forces readers to take a step back and think about what they just read. Overall, Woolf uses these techniques to give her opinion on existence in general, and reminds readers that death is a part of life.
...readers on their toes from what was going to happen next. When Colin was depressed that he had lost yet another girl he loved, Katherine nineteen, Hassan showed up to commiserate with him. However, Hassan was not there simply to sympathize with Colin, he was there on a mission. “You have a very complicated problem with a very simple solution” Hassan said (Green 11). The reader had to keep reading to see what Hassan meant about the solution to Colin’s problem. The solution ended up being a road trip.
When Death stops for the speaker, he reins a horse-drawn carriage as they ride to her grave. This carriage symbolizes a hearse of which carries her coffin to her grave a day or two after her death. As they ride, they pass, “the School… / the Fields of Gazing Grain— / [and] the Setting Sun—” (lines 9-12). These three symbolize the speakers life, from childhood in the playgrounds, to labor in the fields, and finally to the setting sun of her life. When the speaker and Death arrive at the house, it is night.
Myra, who is dying of illness, escapes the confinement of her stuffy, dark apartment. She refuses to succumb to death in an insubordinate manner. By leaving the apartment and embracing open space, Myra rejects the societal pressure to be a kept woman. Myra did not want to die “like this, alone with [her] mortal enemy” (Cather, 85). Myra wanted to recapture the independence she sacrificed when eloping with Oswald. In leaving the apartment, Myra simultaneously conveys her disapproval for the meager lifestyle that her husband provides for her and the impetus that a woman needs a man to provide for her at all. Myra chose to die alone in an open space – away from the confinement of the hotel walls that served as reminders of her poverty and the marriage that stripped her of wealth and status. She wished to be “cremated and her ashes buried ‘in some lonely unfrequented place in the mountains, or in the sea” (Cather, 83). She wished to be alone once she died, she wanted freedom from quarantining walls and the institution of marriage that had deprived her of affluence and happiness. Myra died “wrapped in her blankets, leaning against the cedar trunk, facing the sea…the ebony crucifix in her hands” (Cather, 82). She died on her own terms, unconstrained by a male, and unbounded by space that symbolized her socioeconomic standing. The setting she died in was the complete opposite of the space she had lived in with Oswald: It was free space amid open air. She reverted back to the religious views of her youth, symbolizing her desire to recant her ‘sin’ of leaving her uncle for Oswald, and thus abandoning her wealth. “In religion , desire was fulfillment, it was the seeking itself that rewarded”( Cather, 77), it was not the “object of the quest that brought satisfaction” (Cather, 77). Therefore, Myra ends back where she began; she dies holding onto