June In Erdrich's Love Medicine

The relationship of brothers usually lasts forever, but in Louise Erdrich’s short story “The Red Convertible”, the relationship of the main characters Lyman and Henry takes a turn. Erdrich takes her audience through the experiences these brothers face and how they must come to terms that their relationship has changed. Knowing that it will most likely never be the same both Lyman and Henry try to fix their relationship until eventually one falls because of the experiences he faced in life. While Lyman may think the red convertible will save his and Henry’s relationship, Erdrich makes it clear that it will not through the characterization of the brothers, the plot of the story, and the symbolism she uses to tell her story.

Next, June is helped by Day to realize that the Republic isn’t always the utopian society they conceive themselves as. Day does this by demonstrating to June how the Republic treated him after he “failed” the trials, which are basically the final test of schooling to know if you pass in life. Anyone who doesn’t pass just seems to disappear. But in reality, they are put in a cellar and killed off, except for Day, who escaped. But when June comes across hidden files of Day’s trials, she sees that Day never failed, in fact he did just as well as she

She became accustomed to the perception of a desert being portrayed as dull and lifeless (Being raised in Kentucky) until this trip. Throughout this scene, she expresses her fascination for nature, and uses a tone of awe and allurement while describing the attributes about the land with metaphors. This narration occurred following the first rainfall, when Mattie and Taylor decided to go to the desert. This passage which is distinctive of Kingsolver’s portrayal of the natural landscape shows her sudden awareness diverse atmospheres. By linking to the scenery to “the palm of a human hand”, the author uses the literary device of personification with the mountains and the town. Her phrase “resting in its cradle of mountains” associates the basin to a child, and the phrases “city like a palm”and“life lines and heart lines hints a grown-up. The terrain exemplifies a life from the beginning to end. Taylor describes the land my linking each attribute with lots of metaphors, which then confirms that the tone is “wonder and allurement” because it demonstrates that she is emotionally connected to the

At first, the boy explains dust as “soft” and “white,” adjectives, which are gentle and benign. Yet the boy continues, “Only the alkaline made your skin burn. It made your nose bleed. It made your eyes sting. It took your voice away,” using parallelism to emphasize the physical injury resulting from exposure to dust (64). At the outset, the nameless family seems to understand their early internment as a means of gaining the good graces of the American people. However, as time progresses, what appeared noble has become a source of pain and regret. Eventually, “the dust got in your shoes. Your hair. Your pants. Your mouth. Your bed. Your dreams. It seeped under the door and around the edges of windows and through the cracks in the walls” (64). Dust became inescapable, blowing inevitably into all areas of life and manifesting its damaging effects. The absence of freedom, dust, blinds the nameless family over time, making it difficult to comprehend the degree of captivity and their need for refreshment. The passage, “One evening, before he went to bed, he wrote his name in the dust across the top of the table. All through the night, while he slept, more dust blew through the walls. By morning his name was gone,” contrasts the ubiquitous disbursement of dust with the loss of civil liberty (64). The boy’s name is a symbol of his personhood, his individuality, and his uniqueness. As the

Thomas A. Farley and Russell Sykes were able to capture the audience’s attention and keep them emotionally engaged throughout their whole argument. They accomplished this by using emotionally charged language, which helped make the audience relate and connect more with the text. Some charged language they used throughout their argument were terms such as “food desert”, “declining inner-ring suburbs”, “destitute rural areas”, and “pitiful three feet.” (Farley, Sykes) The term “food desert” makes the reader realize, and visualize what the small stores are missing and how they look barren, because there is almost no healthy food. The terms ‘declining” and “destitute” help describe how lacking both rural and suburb stores are, and how the problem

In addition to including the most boring of details, Capote uses a great deal of imagery to describe the town and its residents. Focusing mostly on visual appeal, he describes the "sulphur-colored paint" and "flaking gold" to reveal the town's appearance and has-been status. Portraying the area as one that has seen better days, Capote writes about the "old stucco structure" that no longer holds dances, the crumbling post office, and the bank that now fails to serve its original purpose.” Combining visual imagery with hints of desolation, Capote attempts to reveal the gray and boring nature of the town through its appearance. He does not, however, rely only on visual details; in describing the local accent as "barbed with a prairie twang," he uses both auditory and visual appeal to make one imagine a ranch-hand's tone of voice and pattern of speech as he describes the events of his farming days. The "hard blue skies and desert-clear air" contribute to a feeling of emptiness, an emotional vacancy that seems omnipresent in the small town. Finally, even "the steep and swollen grain elevators" that represent the town's prosperity are seen in a solemn and mysterious light, as Capote makes certain to mention that the townspeople camouflage this abundance without explaining why they choose to do so.

The dust bowl was a tragic time in America for so many families and John Steinbeck does a great job at getting up-close and personal with one family to show these tragedies. In the novel, “The Grapes of Wrath”, John Steinbeck employed a variety of rhetorical devices, such as asyndeton, personification and simile, in order to persuade his readers to enact positive change from the turmoil of the Great Depression. Throughout the novel, Steinbeck tells the fictional narrative of Tom Joad and his family, while exploring social issues and the hardships of families who had to endure the Dust Bowl and the Great Depression. Steinbeck’s purpose was to challenge readers to look at

In the beginning of the book, Timothy Egan effectively show that the removal of Indians and the XIT ranch was the start line to the Dust Bowl. Egan writes about how the United States drives both the Indians and the cowboys out of the Midwest for the farmers, which Egan signals that this is the spark that started the worst hard time. Egan explains this by writing, “This grass was never meant to be plowed, James told his fellow cowboys.” By writing this, Egan shows that the cowboys know that the farmers should not have used the land for crops, because they know that the rain will not always be there. Throughout the first chapters, Egan continues to give scenarios that tip the balances like the effect of the clearing of the

John Steinbeck’s novel, The Grapes of Wrath, takes place during the Great Depression, a time when troubled and distressed American men and women lived; a time of poverty and an economic crisis. When change is thought upon, it is to be thought of new life and new experiences. The Great Depression is the kind of change that replaces a part of American living with “ Somepin’s happening. I went up an’ I looked, an’ the houses is all empty, an’ the lan’ is empty, an’ this whole country is empty” ( Steinbeck 94). In his work, Steinbeck presents the hardships that Americans had to go through by being mindful of particular aspects which makes the reader understand the characters’ distress. For example, the landscape of the farm lands. Even though the land has its brutality, it grows to be the scenery for humans to be able to recognize and consider their troubles about work and life in general. With these concerns, there are differences between the people who are accustomed to the landscape and admire it, and those who do not agree with it. In the novel, Steinbeck uses attributes of class conflict and injustice as a way of presenting and socially commenting that the Great Depression brought attention to more problems beyond the idea of poverty.

The 1930s were a time of hardship for many across the United States. Not only was the Great Depression making it difficult for families to eat every day, but the Dust Bowl swept through the plains states making it nearly impossible to farm the land in which they relied. John Steinbeck saw how the Dust Bowl affected farmers, primarily the tenant farmers, and journeyed to California after droves of families. These families were dispossessed from the farms they had worked for years, if not generations (Mills 388). Steinbeck was guided by Tom Collins, the real-life model for the Weedpatch camp’s manager Jim Rawley, through one of the federal migrant worker camps. He was able to see for himself,

The Dust Bowl, a series of severe dust storms in the 1930’s, left the southern plains of the United States as a wasteland. The storms occurred due to the lack of use of dryland farming techniques to prevent wind erosion. Powerful winds would pick up loose soil and carry the sediment around the countryside. Called “black blizzard” or “black rollers”, these storms had the potential to black out the sky completely. Due to the inability to grow and sell crops, banks evicted families and foreclosed their properties, leaving them homeless and without an income. The author of The Grapes of Wrath, John Steinbeck, wrote his American realist novel to allow readers to understand the experiences of the migrants from the Dust Bowl era. Not many

The novel connotes the Dust Bowl for what it is: a horrific struggle of survival. Steinbeck’s composition of this literary masterpiece gained the respect of many Americans who were previously unaware of the families who faced unbearable hardships during this time and were left with nothing. (Richard Henry) Steinbeck also uses intercalary chapters to provide the reader with information and insight on the Dust Bowl and other situations that were faced outside of the general fiction that

The Grapes of Wrath by John Steinbeck uses numerous literary techniques to advocate for change in the social and political attitudes of the Dust Bowl era. Simile, personification, and imagery are among the many devices that add to the novel’s ability to influence the audience’s views. Moreover, through his use of detail, Steinbeck is able to develop a strong bond between the reader and the Joad clan. This bond that is created evokes empathy from the audience towards the Joads as they face numerous challenges along their journey. The chapters go between the Joad’s story and a broad perspective of the Dust Bowl’s effect on the lives of Mid-western farmers in which Steinbeck illustrates dust storms devastating the land, banks evicting tenant

Parker also explains her purpose through the use of stylistic devices like imagery. She uses concrete images to portray the idea of poverty. She explains that “Poverty is staying up all night on cold nights to watch the fire knowing one spark on the newspapers covering the walls means your sleeping child dies in flames.” What adds to the readers idea of poverty is the horrendous image of a child burning to death, also the newspaper-covered wall of a make-shift house. There are plenty other nouns like grits with no oleo, runny noses, and diapers that paint an image of poverty in the reader ́s head. You also have the sense of ́smell ́ through this essay by phrases that describe the “sour milk”, “urine”, and “stench of rotting teeth”. You can also ́feel ́ poverty through hands that are “so cracked and red”, since the author cannot afford vaseline. The use of imagery makes the a!udience more conscious of the effects of poverty. !

the pain that the readers must feel as they witness as the tribe’s erosion under the influence of the