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Just lather that's all
Lather and nothing else summary analysis
Just lather that's all
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“Just Lather, That’s All” is told from the first person point of view of the barber. This perspective contributes to the overall tense mood of the story by giving the reader an insight into the barber’s thoughts, emotion, and worries. One instance where the tension is evident is when the barber considers killing Captain Torres and wonders, “And what of all this? Murderer or hero? My destiny depends on the edge of this blade” (Tellez 3). The anticipation of whether the barber will murder his customer or simply give him a shave, is intensified in this moment due to the story being told from the first person point of view. Revealing the barber’s indecisive inner thoughts, as well as his intentions of murdering Torres, is important to creating tension and anxiety about whether or not he will commit the crime.
One specific way in which suspense is developed within this story is through the uncertainty in the barber’s thoughts about what decision he will make. The barber’s indecisiveness is illustrated when he questions his own thoughts, “how easy it would be to kill him. And he deserves it. Does he?” (Tellez 3). In this quotation, suspense is developed using the unsurety in the barber’s thoughts. The situation that is described by the
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This quotation illustrates the movement of blood after committing the crime, and paints a picture of the scene in the reader’s mind. Furthermore, the imagery in this moment is important to emphasize how much of a dilemma the barber is facing, as well as the fact that murder is an option he is so close to choosing. This description also builds suspense in the story, as his thoughts cause the reader to wonder if the barber will succumb to his murderous
His client is Captain Torres, who is an evil man. The barber has been given the job of shaving his beard, and with the Captain sitting before him and a razor in his hand, the barber realizes how easy it would be to kill him. “I could cut his throat just so, zip! zip! I wouldn’t give him time to complain” (Tellez, 3). This develops the barber’s inner conflict as he is silently contemplating whether to simply shave him like a professional barber should, or kill him on the spot. The Captain’s fate is literally in the barber’s hands. This inner conflict is a result of his image, how he wants to be portrayed, because he is both a barber and a secret rebel. “My destiny depends on the edge of this razor” (3). Therefore, whatever he chooses ultimately results in how his future will unfold. If he kills the Captain, he could be seen as either a “murderer or hero” (3). If he doesn’t kill the Captain, he is letting the man go who is responsible for so many terrible things. After contemplating his choices and considering the consequences, he eventually solves his conflict by simply giving him a shave and letting Torres go. As a result, the barber indeed proves how one’s identity will result in how one’s future will
At this point, the speaker's newfound empathy toward the killer prompts his diatribe about American support of capital punishment. He begins with a hypothetical portrayal of an audience chaotically discussing the meaning of the word "kill," each person exclaiming "how they spell it" and "what it means to them." Subsequently, he recounts a story about insensitive reporters at a hanging, followed by a claim that "we throw killers in one grave / and victims in another. We form sides / and have two separate feasts." While the speaker may seem to be utilizing the description of the audience and the story of the reporters in order to denounce the mindset of his peers, he is in fact condemning his own former mentality. By denying five times that he is a witness, the speaker avoids the guilt that results from involvement in the death of another man. Through his repeated use of the phrase "I am not a witness," he essentially enables and catalyzes the execution of the killer, dismissing his humanity and conforming to the opinion that he deserves to be killed; however, once the speaker recognizes his fault and his conformity to this mindset, the tone of the poem suddenly shifts. The speaker's empathy for the killer reaches its maximum when he fully understands the pain of the condemned and finally sees the killer as his equal, which prompts his own admission of guilt and prior indifference: "I am a
... under any immediate danger (Téllez). Even though Captain Torres is very close to the barber, he is in a position of disadvantage because he is disarmed and he is retrained by the sheet that the barber put on him (Téllez). The proximity of the killer to their victim creates circumstances in which forces one to kill or allows one to not kill.
“Lather And Nothing Else” by Hernando Tellez, shows suspense in many ways, by using key elements. The key element that Tellez uses, develops suspense in the story. Tellez uses many different elements to show suspense like using mood and tone to make us feel something. In "Lather And Nothing Else” Tellez used style, the point of view, and pace to build suspense into the story.
Olds begins the correlation of the daughter’s haircut and the idea of war early on in the poem. The reader is first exposed to the comparison in the line, “that girl with the hair wispy as a frayed bellpull/ has been to the barber, that knife grinder/ and has had the edge of her hair sharpened.” Olds immediately conjures up a frightful image of a barber viciously attacking her little girl’s hair. The image is enforced with the words Olds has placed carefully within the line. Instead of cutting her daughter’s hair, the barber sharpens it like one would a weapon. This haircut is the daughter’s first weapon in the war between mother and daughter. The haircut will be the first detachment of the daughter from her youth, the former “wispy” haired girl has in essence been murdered by the barber. To further emphasize this horrible image, Olds sneaks ...
In “The Fortune Teller,” a strange letter trembles the heart of the story’s protagonist, Camillo as he to understand the tone and meaning. The author, Joaquim Maria Machado de Assis, attempts to make the reader believe that the letter is very ambiguous. This devious letter is a symbol of Camillo’s inability to realize that the treacherous deeds he has committed in the dark have finally come to light. This letter will ultimately change his life forever something he never expected. Not thinking of the large multitude of possible adverse outcomes, he reads the letter. Frightened that he has ruined what should have never been started, he broods over his decision to love a married woman. In light of this, Camillo continues his dubious love affair with his best friend’s wife, unconvinced that he will ever get caught. “The Fortune Teller” focuses on an intimate affair between three people that ends in death due to a letter, and Camillo will not understand what the true consequences that the letter entails until he is face to face with his best friend, Villela.
...s “And immediately the impulse to retreat, which had already assailed me several times leaped upon me with a sort of demoniac violence”(lines 34-35) in addition he says “If anyone expected me to go into that house and sit there alone for several hours, they were mistaken!”(line 36-37)
The narrator in “The Tell-Tale Heart” has taken the time to meticulously plot. He sneaks nightly into the old man’s room preparing until he is ready to carry out his plans. His discontent lies...
This is the first sign that we can trust this narrator to give us an even-handed insight to the story that is about to unfold. But, as we later learn, he neither reserves all judgments nor does his tolerance reach its’ limit.
Subsequently, Luis’ will to aid Naomi, an attractive customer of the junk shop he and his father operate, results in a fulfilling feeling exhibited by an epiphany Luis experiences towards the end of the story. By spending hours rummaging through the pile of hubcaps in the junkyard with the mere intention of finding a new one to match the rest on Naomi’s car, he comes to realize that, regarding the search, “there was another element involved here that had nothing to do with showing off for others”, “he knew what he was looking for”, and that he was about “to give her the first good thing he had given anyone in a long time.” The determination which propelled Luis to perform such a selfless act was unprecedented in his life, not to mention how starkly it contrasted with his previous actions. As readers, the only way via which we are able to determine this is the consistent use of omniscient third person point of view by the author, which allows us to peer into Luis’ true feelings as opposed to merely the feelings he would project in a limited third person point
...Once more the odious courtesies began, the first handed the knife across K. to the second, who handed it across K. back again to the first. K. now perceived clearly that he was supposed to seize the knife himself, as it traveled from hand to hand above him, and plunge it into his own breast. But he did not do so, he merely turned his head, which was still free to move, and gazed around him. He could not completely rise to the occasion, he could not relieve the officials of all their tasks; the responsibility for this last failure of his lay with him who had not left him the remnant of strength necessary for the deed....
Repeatedly, Neal insists that his sentiments are “long, rushing, and clumsy” so as “to convey the way I remember it,” or portray his narrative authentically (148, 150). Repetition of this explanation, coupled with an appeal to the reader to sympathize with his ramblings—“I know that you know as well as I do how fast thoughts and associations can fly through your head”—could give Neal credibility and reinforce his self-aware yet self-deprecating characterization (150). In contrast, another reading of Neal’s reiterated explanations of his garrulousness, coupled with his appeal, is that he is overcompensating to come off as honest. But he is deliberately overdoing it to the extent that he exposes himself as an imposter. As such, Neal is testing whether the reader can tell that he is overcompensating. In support of this point, the way that the appeal begins, “I know that know you as well as I do,” has an exaggerated or overstated tone (150). Overcompensation is also reflected in Neal’s overuse of tangential parenthetical remarks, some of them half a page or more in length. Overcompensation is further manifested in the content of the remarks themselves. In one case, Neal begins, “To be honest, I knew it was Cézanne because . . .” (146). Parentheticals “are said while one is
To show how the African Americans straightened their hair. Gates says, “It made a scorching, crinkly sound, the hot iron did, as it burned its way through damp kink, leaving in its wake the straightest if hair strands, each of them standing up long and tall but drooping at the end like the top of a heavy willow tree” (41). This is a simile and also imagery because it is saying someone’s hair strands are long, tall and droopy at the ends comparing it to the top of a heavy willow tree. Also the imagery is describing what the iron is doing to the black person’s hair. Another use of figurative language to establish how the kinky hair was treated and how the barber talked about the quality of an African Americans hair when it was being trimmed, is in the text where Gates has stated, “It is like a doctor reporting the overall results of the first full physical that he has given you. “You are in good shape” or “blood pressures kind of high; better cut down on the salt” (Gates,44). This is a metaphor and means that the barber that is cutting the hair has analysed it and they gave him “not a bad grade” for how his hair is looking at the moment but there is room for improvement when they cut his hair for the first time. Personification is also used to
The fixation on the old man's vulture-like eye forces the narrator to concoct a plan to eliminate the old man. The narrator confesses the sole reason for killing the old man is his eye: "Whenever it fell upon me, my blood ran cold; and so by degrees - very gradually - I made up my mind to rid myself of the eye for ever" (34). The narrator begins his tale of betrayal by trying to convince the reader he is not insane, but the reader quickly surmises the narrator indeed is out of control. The fact that the old man's eye is the only motivation to murder proves the narrator is so mentally unstable that he must search for justification to kill. In his mind, he rationalizes murder with his own unreasonable fear of the eye.
As the story begins the narrator tries to convince the reader that he is not insane. This goes on throughout the story. He says he suffers from over-acuteness. “And have I not told you that what you mist...