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Pulse by Josephine Birdsell utilizes imagery to illustrate culture within the LGBT community by describing theme, characters, setting, and mood while providing foreshadowing throughout the narrative. Through description, the author indicates the nature of LGBT+ culture and its various aspects, contrastingly peaceful in the love it represents and fearful in light of the recent Pulse shooting. Details about the, “bitter black coffee [the narrator had] just enjoyed twist[ing] and churn[ing] in [her] stomach,” after receiving news of the Pulse shooting at an LGBT nightclub provides the audience with insight into the narrator’s grief and fear through the usage of terms such as “bitter,” “twisting,” and “churning.” However, descriptions of the …show more content…
narrator’s girlfriend contrast the distraught the narrator feels surrounding the shooting with a childlike joy as, “[the narrator’s] guilts, and grievances surrounding the Pulse shooting faded into oblivion … replaced … with an idyllic, dumbstruck cheer and a dopey smile.” By using terms and phrases such as “faded into oblivion,” “idyllic,” “dumbstruck cheer,” and “dopey smile,” the author displays the ebullient state of her relationship. Accounts of the author’s infatuation with her girlfriend provide the reader with an alternative view of the LGBT community, one that is idyllically peaceful rather than inherently fearful. Such a contrast highlights the theme of the passage; the LGBT+ community contains both loving aspects in relationships and fearful elements in light of recent hate crimes. Description throughout Pulse illustrates characters by indicating their role to the development of the narrator’s view on LGBT+ culture. For example, the author describes as a young man appears, “out of the shadows that loomed upon [the narrator and her girlfriend].” The usage of terms such as “shadows,” and “loomed,” characterize the young man as dark, mysterious, and potentially dangerous, further amplifying the impending peril the narrator senses. However, the characterization of the young man shifts as the man apologizes for startling the narrator, “‘reassur[ing] sympathetically.” The man’s sympathetic tone of voice articulates his consideration of the couple’s fears, re-characterizing him as a considerate ally, rather than a dangerous man. Such a change in the young man’s description indicates the author’s conflicting views of the LGBT+ community, showing the fear the couple felt as well as the overall acceptance within the community. Setting is described throughout the narrative in relation to its effect on the author’s interaction with the LGBT+ community.
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 …show more content…
narrative. Descriptions all through Pulse establish shifting moods presented in the narrative, further expanding upon the culture of the LGBT+ community.
While walking downtown with her girlfriend, the author describes as, “[her] heart began to skip every other beat, pounding, pounding, pounding … [as she stood] paralyzed like a frightened, little jackrabbit.” Repetition of the word “pounding” in the text develops a fast pace, indicating the urgency and panic felt by the author; terms such as paralyzed are utilized to emphasize the urgent, panicked mood. However, sanguine moods still persist throughout the narrative. For example, in the opening paragraph the author describes how she, “watch[ed] the golden dots of morning light glide across [her] ceiling, [and she] melted into a feeling of peace specific to the freedom of early summer.” Terms such as “golden,” “glide,” “peace,” and “early summer” help the reader detect a placid mood in the text, directing the reader towards the state of contentment the author feels surrounding her relationship. Mood differentiations in the text, from the urgency of the narrator’s walk downtown to the tranquil peace of the narrator’s relationship, indicate the contrasting aspects of the LGBT+ community, both in terms of the impending fear of violence, and the love that is the
community. Imagery throughout the narrative describes events in order to provide foreshadowing, especially surrounding the Pulse shooting. Descriptions of the narrator’s “grief [that] was guilt-drenched,” as well as the, “blinding, scarlet letters,” on the television express the importance of the Pulse shooting; harsh terms such as “blinding,” “scarlet,” and “guilt-drenched” are utilized, allowing the details of the shooting to stick out in the narrative. Later in the text the author describes, “iridescent, blood-red letters [that] flashed vigorously in [her] mind.” Such description of the red flashing letters calls on the audience's previous knowledge of the blinding, red letters of the Pulse broadcast. Given two separate descriptions of the red letters, the audience can infer that the following text (after the author’s description of flashing letters in her mind) will relate back to the Pulse shooting. Vice versa, the harsh language used to describe the Pulse shooting indicates to the audience that the event will be of importance later in the passage. Foreshadowing throughout the passage describes the constant fear of homophobia the narrator feels, especially in regards to the Pulse shooting. Overall, Pulse by Josephine Birdsell utilizes imagery to illustrate culture within the LGBT+ community by describing the setting, mood, theme, and characters and providing foreshadowing for the audience.
Baldwin gives a vivid sketch of the depressing conditions he grew up on in Fifth Avenue, Uptown by using strong descriptive words. He makes use of such word choices in his beginning sentences when he reflects back to his house which is now replaced by housing projects and “one of those stunted city trees is snarling where our [his] doorway used to be” (Baldwin...
homosexual liberation. Some have demonstrated their anger and concerns about prejudice against homosexuals in both riots and artistic forms. Therefore, these people seek to prove to the heterosexual world that homosexual ‘deviancy’ was a myth.
The personification of her home lets the author express old memories the house held and will never have again, she speaks of no one ever sitting under its roof, or ever eating at its table and how in silence will it lie. By personificating the house she reveals the emotional attachment people tend
Many features of the setting, a winter's day at a home for elderly women, suggests coldness, neglect, and dehumanization. Instead of evergreens or other vegetation that might lend softness or beauty to the place, the city has landscaped it with "prickly dark shrubs."1 Behind the shrubs the whitewashed walls of the Old Ladies' Home reflect "the winter sunlight like a block of ice."2 Welty also implies that the cold appearance of the nurse is due to the coolness in the building as well as to the stark, impersonal, white uniform she is wearing. In the inner parts of the building, the "loose, bulging linoleum on the floor"3 indicates that the place is cheaply built and poorly cared for. The halls that "smell like the interior of a clock"4 suggest a used, unfeeling machine. Perhaps the clearest evidence of dehumanization is the small, crowded rooms, each inhabited by two older women. The room that Marian visits is dark,...
The novel takes the reader into "Night City" (pg. 4), the decayed inner part of Chiba, which lives at night and is "shuttered and featureless" (pg. 6) during the day," waiting, under the poisoned silver sky" (pg. 7). The author uses techno images to describe the natural environment, "the sky...
As in the beginning of preface he starts with the tragic death scene of Louis Sullivan who was a contributing personality in the city’s development. He describes the old man who was drunk and in comma. He was suffering from kidney disorder, laying on the floor under the light of the bulb while the life in the city went on (Dyja). The author uses the strategy of this visual description to take the readers back in the 20th century. In addition Dyja uses imagery when he describes the life of a regular guy. As he states, “A house and a lawn in a parish full of your kind of people; kids safe and in line, and same with the wife; your nose out of other people’s business and theirs out of yours” (xxvii). This description of the events walks us back to the past. It makes us imagine how ordinary people lived their daily lives. The strategy of imagery helps the reader to imagine the past and makes them realize how Chicago contributed towards the American
The poem begins with an organized dialogue between daughter and mother during which the mother prohibits the daughter to march for her freedom, with fears that there would be an eruption of street violence. Instead, the mother gives her daughter the permission to sing in the kids’ choir at their church. How could she know that the streets might have offered some relatively enhanced safety? Together, Randall’s body of work evokes and chronicles, emotes and
Petry details gusts of air that “rattled the tops of garbage cans” and “sucked window shades” (2-3). Because words such as sucked and rattled are packed with harsh-sounding consonants, such as t’s and k’s, they illuminate the sense of dreariness and gloom brought about by the frigid chill of the metropolitan environment. The vivid description engendered by the cacophonous words is further enhanced by the onomatopoeia in the rattling of the trash can lids and serves to convey the desolation which tries to dishearten Lutie as she battles against the wind. Later on in the passage, Petry again includes phrases such as “dirt, dust, and grime” which conjure images of filthy streets and abandoned homes or warehouses, images which serve to depict the isolation and untidy nature of Lutie Johnson’s world (22-23). The sign she spots is “streaked with rust” and the paint is “eaten away”: hardly an ideal battleground to wage war on nature (52-54). It is not only the weather conditions which attempt to dampen Lutie’s spirits, but also the city’s state of decay and corrosion. These illustrations craft the idea that the city is far from the desirable tourist haven it would be depicted as on postcards and brochures, but rather one rendered barren by the bitter frost. While the wintry gale renders the streets void of nearly all life, Lutie persists and defies the
The author astonishingly painted a three dimensional scene of New York City. There was a feel of grime as I read, which made me as if I was there in the pizza shop or in the clubs with Caitlin. “- into relief by cigarette butts crushed out on the dirty subway platform-”.(-Banash, page 108)
She defines her idea of what is right in a relationship by describing how hard and painful it is for her to stray from that ideal in this instance. As the poem evolves, one can begin to see the author having a conflict with values, while simultaneously expressing which values are hers and which are unnatural to her. She accomplishes this accounting of values by personalizing her position in a somewhat unsettling way throughout the poem.
The slums of the city are nothing like the shining red and golden buildings of the marketplace and the ports. There were toppled towers and caved in houses all around the place. Shadows lurked everywhere. I kept my gun in my hand at all times, and did not dare to take the horse into that wretched place. Instead, she waited for me at the hotel. The home of the thief was nothing but a tent being held up by several wooden poles, situated by a dirty sewer stream.
Hall’s prose lulls the reader, contrasting a growingly eerie mood with an overall calm tone. Hall has no great love for her characters in the tone of the narrative, though she shows some sympathy for the woman’s plight. Only at the climax does the prose become fast-paced, and then only for a moment before a terrible calm once again takes over. This too, shows where the real priorities lie. There is no mournful pause for a dead man, but there is a solemnness to the woman’s retreat, allowing the reader to process what the woman’s safety has cost
It suggests that it is meaningless to talk in general about 'women' or any other group, as identities consist of so many elements that to assume that people can be seen collectively on the basis of one shared characteristic is wrong. Indeed, it proposes that we deliberately challenge all notions of fixed identity, in varied and non-predictable ways. Moreover, Queer theory is a rapidly growing field in the critical theory tradition. Often examining the intersection of capitalism, gender, heterosexism and the state, queer theory is constantly seeking to break down norms and question the status quo. It is in the realm of male homoeroticism that we may see the potentially reactionary and/or misogynist implications of queer texts and queer reception: non-straightness does not necessarily embrace liberation. Perhaps the most prominent examples of this are the straight male-oriented genres such as gangster films, the Western, action films, and buddy films, which position male homoeroticism as a means to create and defend a “world of men” and buttress “hard” masculinity against the softening effects of domesticity and heterosexual commitment. There may be readers, including those who have not encountered such ideas before, who are dismayed to find in the pages of a socialist publication a word which they had previously taken to be a gross homophobic insult. For most,
Nightfall is portrayed as a threatening person, evoking fear of those who live in traumatic dread. The hard repetition of the letter “d” throughout the poem emphasizes the grim nature of the slums. The forceful alliterative statement “ravaging it beyond repair” creates a similar malevolent tenor.