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The hitchhiker essay
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Unforeseen Conclusions in “The Hitchhiker” Are hitchhikers always out to hurt you? In the story “The Hitchhiker” by Lucille Fletcher, Ronald Adams goes on a road trip to Hollywood. Along the way, he passes the same person waiting beside the road. Adams comes to a conclusion that this man is hitchhiking in peoples’ cars to beat him to different locations. After a few weird incidents, Adams assumes the hiker is out to hurt him. Would he ever believe that this hiker is out to save him? By the end of the story, readers have many clues to tell them the hiker is the opposite of something demonic. An important message readers can learn from this short story is that some things aren’t always as they seem. In the beginning of the story, Ronald …show more content…
Fletcher demonstrates Adams’ urge to get rid of the hiker with another thoughtshot and then sensory details to back it up. Adams is on the phone waiting to speak to his mother when he remembers something he read. It was that “...love could banish demons” (Fletcher 19). The author then uses sensory details to show readers how kind and loving Mrs. Adams really was to support the idea that she was the “love” and the hiker was the demon. So Adams is calling his mother to make the hiker, or in this situation, the demon, banish. “I knew mother’d be home. I pictured her tall and white-haired, in her crisp house dress, going about her tasks. It’d be enough, I thought, just to hear the calmness of her voice” (Fletcher 19). All the ways that Adams tries to avoid the hiker and run over him support how he’s the demonic one. Once again, Adams expects the hiker to hurt him if they ever got in a car together. That’s why he wants to get rid of him. He might not be afraid of the hiker if he knew he was a good guy, even if he was not human. However, the hiker is really a good guy because Adams is dead and the hiker is an angel trying to take him to the afterlife. This is how Fletcher includes irony, because as mentioned before, the reader was made to believe the hiker was out to kill Adams. But, Adams already died from a car …show more content…
However, the hiker isn’t malevolent like most people think. When Adams tries to call home, a strange woman answers the phone and informs him about his mother having a nervous breakdown caused by the death of her oldest son, Ronald Adams. This means Adams had been dead for most of his trip.This should tell others that the hiker is a grim reaper trying to take Adams to his afterlife. Even though some might think that the grim reaper is scary and evil, he is not out to kill people, he takes people who are already dead. This could be good because that means Adams would be like a ghost. To prove the hiker is the grim reaper, and not a human with bad intentions, the woman that Adams picks up doesn’t see the hiker. “WOMAN: No, I didn’t see him that time! And personally, mister, I don’t expect never to see him! All I want to do is go on living!” (Fletcher 15). This shows how only Adams can see the hiker, so he could be the grim reaper looking for Adams, since he died earlier
I am reading Rough Country by John Sandford and I am on page 396. This book is about Virgil Flowers a detective working a murder case in northern Minnesota . He has narrowed down his suspect list to two people and is starting to realize why the killer did what he did and how he did it. Virgil discovered that some people have been withholding information from him and it helps clear up who his number one suspect should be. In this paper I will be questioning and connecting.
“I sit and watch this boy walking backward until a car stops for him. I think, he is a polite boy, and lucky to get rides at night” (Pancake 88). In the short story, “Time and Again”, the main character overcomes his obsession for murdering innocent hitchhikers. He does this because of the tragic loss of his wife and son. By killing the hitchhikers it gives him a sense of contentment. Breece D’J Pancake’s “Time and Again,” tells a story of a man who picks up hitchhikers during his snow plowing routes and kills them. By the context clues throughout the story you can assume that he kills the hitchhikers, feeds them to his hogs, and then packs up the leftover bones in a duffel bag and throws them off of Lovers’ Leap.
someone and he knows he will be killed if he ever get back to the Tall Oaks. The case is
Throughout the historic course of literature, one story known as “The Most Dangerous Game” by Richard Cornell has incorporated specific types of irony for multiple differing and fundamental reasons. Situational irony is the first use of ironic elements that will be discussed in regards to the story. Situational irony is defined as “an incongruity that appears between the expectations of something to happen, and what actually happens instead ” (literarydevices.net). The story’s climax offers a unique twist to the plot as it includes an unexpected discovery, ultimately incorporating situational irony into the sequence of events. The story starts out with the introduction of the legendary hunter Bob Rainsford as he is shipwrecked and trapped on a deserted island. While staying on the island, Rainsford is introduced to the eccentric General Zaroff, who is a self proclaimed expert hunter as well. In short, the General turns out to be a sadistic psychopath who forces Rainsford into a game of “cat and mouse”, which causes Rainsford to fight for his life. This state of affair is considered to be situational irony because Zaroff defies the expectations of being a hunter to the audience. This is specifically shown in the text when Rainsford confronts General Zaroff in regards to what he is hunting:
...iver. Because the deer's killer was a man behind the wheel of an automobile the traveler shares some relation with him. The traveler's anguish, his "bleeding", is the realization that he is implicated in the murder of the deer through his association to the actual killer.
“It was a large, beautiful room, rich and picturesque in the soft, dim light which the maid had turned low. She went and stood at an open window and looked out upon the deep tangle of the garden below. All the mystery and witchery of the night seemed to have gathered there amid the perfumes and the dusky and tortuous outlines of flowers and foliage. She was seeking herself and finding herself in just such sweet half-darkness which met her moods. But the voices were not soothing that came to her from the darkness and the sky above and the stars. They jeered and sounded mourning notes without promise, devoid even of hope. She turned back into the room and began to walk to and fro, down its whole length, without stopping, without resting. She carried in her hands a thin handkerchief, which she tore into ribbons, rolled into a ball, and flung from her. Once she stopped, and taking off her wedding ring, flung it upon the carpet. When she saw it lying there she stamped her heel upon it, striving to crush it. But her small boot heel did not make an indenture, not a mark upon the glittering circlet.
The group wrongly identifies a lone car as belonging to a mutual friend and flashes their headlights in a sense of good fun. Hiding from those who would find him and carry out the wrath of vengeance upon him, the protagonist plans his escape. About to dive into 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.
“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.
For example, in the beginning of the story, the narrator starts by talking about Mrs. Freeman. “Besides the neutral expressions that she wore when she was alone, Mrs. Freeman had two others, forward and reverse, that she used for all her human dealings” (433). The irony in this first line is that she is a “Freeman,” yet only has three different expressions. Another example of an irony that is easily noticeable is when Mrs. Hopewell considered Manley Pointer as “good country people.” “He was just good country people, you know” (441). The irony in this line is that in the end, Manley Pointer, whom is supposedly is “good country people,” ends up being a thief who steals Hulga’s prosthetic leg and runs and not only steals, but admits that he is not a Christian, making the line, “good country people,” a dramatic irony. However, one of the most ironic characters in the story is Hulga herself as she understands little of herself, regardless of the high education she holds in philosophy. For example, Hulga imagines that Pointer is easily seduced. “During the night she had imagined that she seduced him” (442). Yet, when they kissed, she was the one who was seduced and having the “extra surge of adrenaline… that enables one to carry a packed trunk out of a burning house…”
Irving uses imagery to help readers imagine the past and also impact the theme of supernatural. Irving writes, “The whole neighborhood abounds with local tales, haunted spots, and twilight superstitions; star shoot and meteors glare oftener across the valley than in any other part of the country, and the nightmare, with her whole ninefold, seems to make it the favorite scene of her gambols. The dominant spirit, however, that haunts this enchanted region, and seems to be commander-in-chief of all the powers of the air, is the apparition of a figure on horseback, without a head” (Irving 3-4). Once again, Irving makes a reference to the hessian soldier, the Headless Horseman, which brings back the past of the revolutionary war, he does this by using imagery in explaining what he looks like. This also ties in with the theme of supernatural. Irving also describes, “ There was a contagion in the very air that blew from that haunted region; it breathed forth an atmosphere of dreams and fancies infecting all the land” (Irving 1). This helps us readers imagine the atmosphere and the theme of supernatural within the town. The mentioning of the hauntings brings up the past once
In fact, she seems completely at ease with the gentleman. Additionally, their journey at the beginning seems pretty peaceful; as they pass through the town, she sees normal events such as children who are playing, fields of grain, and a sunset. After this, dusk takes place and the speakers get chilly because she was not ready for this journey and she did not wear clothes that would make her feel warm. Consequently, readers get the idea that death is not a choice, so when it comes, that is it. Emily Dickinson, in her poem “Because I could not stop for Death,” uses personification, imagery, and style to deliver her positive and peaceful idea of death and life after death.
This is highly ironic as He is connotatively depicted as gruesome, horrid, and like the Grim Reaper. Additionally ironic is that the Grim Reaper carries a scythe, and they pass a field of grain. As if the speaker is too busy and cannot find time for Death, “He kindly stops for [her]—” (line 2). There are further applications of metaphors and personification in “Immortality” (line 4), which is personified to represent the speaker’s soul riding in the carriage, and in, “[Death] knew no haste” (line 5), which emphasizes His docile description and can mean that the speaker had a slow
A troubling moment Eve describes, “A thin, transparent bluish film rose out of the hole, and I dropped everything and ran! I thought it was a spirit, and I WAS so frightened,” (Twain). A rush of fear surges through her as she notices an unknown substance, which makes her fear the unknown. Not only was the curious substance a fear of hers, but something even greater, fear itself. Eve explains in her diary, “That was because the fire had revealed to me a new passion--quite new, and distinctly different from love, grief, and those others which I had already discovered--FEAR. And it is horrible,” (Twain). She reveals that discovering fear was horrible for her and she does not like the feeling. Therefore, she has fear of discovering fear. Eve ended up finding out that the unknown substance was fire and became unfrightened. To me, her losing her fear of fire shows she can overcome fears and become more
Because it has become so familiar, death is no longer a frightening presence, but a comforting companion. Despite this, Dickinson is still not above fear, showing that nothing is static and even the most resolute person is truly sure of anything. This point is further proven in “I Heard a Fly Buzz”, where a fly disrupts the last moment of Dickinson’s life. The fly is a symbol of death, and of uncertainty, because though it represents something certain—her impending death—it flies around unsure with a “stumbling buzz”. This again illustrates the changing nature of life, and even death.
When Adams is crossing the Brooklyn Bridge, a thin, nondescript man, with a cap pulled down over his eyes walks out into the street and in front of Adams’ car. “If I hadn’t swerved hard, I’d have hit him” (Fletcher 1002.) This event brought forth the problem that would continue. After Adams sees the man for the first time, he saw him three more times before deciding to pull into a gas station because he had a weird feeling about the situation with the man. While Adams is at the gas station he asks the mechanic questions that he thinks will give him the closure he needs to understand the mysterious man.