Monsters Eat Whiny Children written and illustrated by Bruce Eric Kaplan is a cautionary book that exposes the consequences for children who excessively whine. The text introduces two children named Henry and Eve who are warned by their day “that monsters eat whiny children” (Kaplan 3). Nonetheless, they continued to whine which led them to be captured by a monster that plans to eat them. The story takes a shift when the monster has difficulty deciding upon the best way to prepare the children. The food preference changes from preparing the children as a salad, grilling them, or making a cake out of them to accommodate the other monsters in the story. However, once everyone comes to a consensus to prepare whiny child cucumber sandwiches, Henry and Eve found a way to escape. The book ends with the monsters eating a cucumber sandwich without whiny children as well as Henry and Eve returning home with a life lesson. …show more content…
Then again, the content is straightforward and lacks an entertainment factor; therefore, the artwork matches the text. Molly Bang states, “Color is one of the most powerful elements used in advertising, in propaganda, and in all visual fabrications” (74). White has usually been associated with innocence, or represents perfection. Taking that into consideration, Kaplan making the book predominately white manipulates the interruption for younger readers. The illustrations showing children being held hostage by monsters goes against their knowledge of the color white. Also, the book including borders on each page emphasizes how the children are trapped and creates a separation between the two versions of white. The color white within the borders creates isolation and emptiness while the property of calmness and comfort is implied outside the
As the endless progression of time into the future continues, moments from the past live on with us in the form of memories, and regardless of how vague and fragmented they may be, they are constantly molding our existence; our very individuality. In Jeannette C. Armstrong’s “Blue against White,” the protagonist, Lena, who is a native girl, experiences this phenomena as her memories of the past shape her and allow her to persevere through the struggles of life on the reserve, and in the city. Throughout the story, Armstrong uses symbolism, imagery, and a flashback of Lena’s past to signify the importance of memories. Her idea of the past is mainly represented by the use of the blue door of Lena’s house as a symbol, which creates a comparison
They either showed the boundary existed or tried pushing it. The house on 93 Little Hobart Street exemplified the said boundary. It “was a dinky thing perched high up off the road on a hillside so steep that only the back of the house rested on the ground” (Walls 150). In color, the house was gray, and Jeannette decided she wanted to paint the house to try and spruce it up a bit. By doing that, she thought “people might be more accepting of us if we made an effort to improve the way 93 Little Hobart Street looked” (157). All through the memoir, the children try to grasp a sense of acceptance and fitting in. Jeannette’s attempt to improve the appearance of the house failed, making it two-toned. It stood out even more than it had before, and “instead of a freshly painted yellow house, or even a dingy gray one, we now had a weird-looking half-finished patch job” (Walls 158). The dwelling being two colors symbolized the boundary with the fresh paint displaying order and the dingy gray representing turbulence. Order was trying to paint over the turbulence, control the chaos, yet neither color was more dominant than the other and both were obviously
The gates that constrain the buffalo in their pens symbolize a barrier or obstacle that the boys have to face to get one step closer to their goal. The boys have to solve many conflicts to get their freedom and the buffalo have to get through the gates to get theirs. The buffalo is a motif representing the boys and their struggle not only for freedom but to find themselves and find happiness in society. The gates help progress the story because it is the final challenge the boys have to overcome before completing their goal and gaining independence. This symbol helps develop the theme because it shows that the boys didn?t back out, faced up to the challenge and got what they wanted.
In "The Yellow Wallpaper" the setting helps define the action as well as to explain characters behaviors. The setting is which the story takes place is in the narrators room, where she is severally ill, and she is "locked up" in the room which served as her cage. The room in which the narrator is caged in is a nursery, "it is a big, airy room, the whole floor nearly, with windows that look all ways. The paint and paper look as if a boys' school had used it." The narrator describes the color of the walls as repellent, almost revolting, it is an unclear yellow with a dull orange. The condition that the narrator is in, the repulsiveness of the room, and the room haunting her, drives her into insanity.
One of the first jarring uses of such harsh, blunt diction is in her third entry when she talks about the pattern and says the lines “suddenly commit suicide” (Gilman). She then goes on to discuss the color, calling it “repellent” and “revolting” (Gilman). She uses words similar to this throughout every entry: “atrocious”, “dreadfully depressing”, “constant irritant”, “torturing”, and “infuriating” are just a few examples (Gilman). Each one of those examples described the wallpaper. Gilman’s staggering word choice allows the reader to be able to understand and even begin to feel the same way her unnamed narrator does. She creates a disturbingly ominous mood which rattles the reader to the core. The reader doesn’t understand fully what is happening, receiving only hints from a very limited viewpoint, until the end when the pieces suddenly begin to fit together. Even then, the reader is left with an unsettling feeling and an uncertainty of what had just happened. Not only does Gilman’s word choice create a distinct feeling in the reader, but it characterizes the narrator as well. The narrator is supposedly writing all of this in a journal which means the words are her own, not the author’s. Creating an environment using such blunt, harsh language, forms an image in the reader’s mind of what type of person the narrator is. By making the narrator use this
The windows are barred, symbolizing the restrictive nature of the narrator’s mental condition. She is imprisoned within her mind. Her room was once a nursery, symbolizing that she is helpless and dependent on her husband’s care, similar to how a parent is reliant on the care of it’s parents, “… for the windows are barred for little children,” (Gilman 2). The narrator is not only trapped by her own mind and mental condition, but her husband’s wishes and expectations as well. The most significant symbol within the story is the yellow wallpaper. Initially, the narrator only views the wallpaper as something unpleasant, but over time she becomes fascinated with it’s formless pattern and tries to figure out how it’s organized. She discovers a sub-pattern within in it in which she distinguishes as a barred change with the heads of women that have attempted to escape the wallpaper like the woman she has been “seeing” moving within the wallpaper, “And she is all the time trying to climb through. But nobody could climb through that pattern - it strangles so; I think that is why it has so many heads” (Gilman 8). The yellow wallpaper is symbolic of a women’s place in society within the nineteenth century. It was not commonplace, or deemed acceptable, for women to be financially independent and/or engage in intellectual activity. The wallpaper is symbolic of those economic, intellectual, and social restrictions women were held to, as well as the domestic lives they were expected to lead. The narrator is so restricted by these social norms that her proper name is never given within the story, her only identity is “John’s wife”. At the climax of the story, the narrator identifies completely with the woman in the wallpaper and believes that by tearing the wallpaper, both she and the woman would be freed of their domestic prisons, “…there are so many of those
The spacious, sunlit room has yellow wallpaper with a hideous, chaotic pattern that is stripped in multiple places. The bed is bolted to the ground and the windows are closed. Jane despises the space and its wallpaper, but John refuses to change rooms, arguing that the nursery is best-suited for her recovery. Because the two characters, Emily and Jane, are forced to become isolated, they turn for the worst. Isolation made the two become psychotic.
1. The Yellow Wallpaper: The wallpaper is, as the title suggests, the chief symbol in this story. What does it symbolize, and how does it work as a symbol? What details about the wallpaper seem significant? How does the narrator 's attitude toward and vision of the wallpaper change, and what is the significance of those changes?
The very hungry caterpillar illustrates the process of a little egg eats different food to grow up to be a butterfly. This book is appropriate for children between three-to-five as the storyline is clear and well-developed. Designed with simple, large pictures and bright colours, children can be engaged in the context as these illustrations are able to keep their attentions. Children’s language development can be stimulated as new vocabularies (e.g. names of different fruits) are introduced and the language structure is repeated in several pages. Furthermore, with the little holes in the book, children can poke their fingers and play with the book through storytelling. The design of the book has provided with astonishments while children turning the pages and invite
“The Yellow Wallpaper” is set in the countryside, miles away from the nearest village, in a summer home. Surrounded by hedges, a garden, and servants’ quarters, the setting provides a serene but confined feel to the story. The setting gives off a feel of tranquility but later on is discovered
All through the story, the yellow wallpaper acts as an antagonist, causing her to become very annoyed and disturbed. There is nothing to do in the secluded room but stare at the wallpaper. The narrator tells of the haphazard pattern having no organization or symmetrical plot. Her constant examination of and reflection on the wallpaper caused her much distress.... ...
The short story titled, “The Yellow Wallpaper” is given its name for no other reason than the disturbing yellow wallpaper that the narrator comes to hate so much; it also plays as a significant symbol in the story. The wallpaper itself can represent many various ideas and circumstances, and among them, the sense of feeling trapped, the impulse of creativity gone awry, and what was supposed to be a simple distraction transfigures into an unhealthy obsession. By examining the continuous references to the yellow wallpaper itself, one can begin to notice how their frequency develops the plot throughout the course of the story. As well as giving the reader an understanding as to why the wallpaper is a more adequate and appropriate symbol to represent the lady’s confinement and the deterioration of her mental and emotional health. In Charlotte Perkins Gilman’s “The Yellow Wallpaper”, the color of the wallpaper symbolizes the internal and external conflicts of the narrator that reflect the expectations and treatment of the narrator, as well as represent the sense of being controlled in addition to the feeling of being trapped.
Imagery in literature brings a story to life for the reader. It draws the reader in and surrounds them with the environment of the narrative. The use of imagery will make the reader fully understand the circumstances under which the characters of a story live. In "The Yellow Wallpaper", by Charlotte Perkins Gilman, the narrator of the story often describes the wallpaper, each time giving more details. The vivid descriptions allow the reader into the psyche of the narrator, which illustrates her ever-deepening mental illness. The imagery presented in the wallpaper through the narrator's words show her descent into insanity coupled with her desire for independence.
The second textual entry is about the wallpaper. The narrator finds herself within the wallpaper and her future freedom. The narrator becomes obsessed with the paper which consumes both the narrator and her story. The room that she was staying in used to be a nursery. Stetson explains, “It stripped off the paper in great patches all around the head of my bed as far as I can reach, and in a great place on the other side of the room low down,” (648).
In this paper, I will clarify the plot of The Wall, the themes that reside within it, and the symbolism in it. The Wall starts out with our main character, Pink, as a young child in the 1950’s with a mother still