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The day had silenced, quieted into the hurried hush of the mourning hours, throwing shadows spliced and spectacular, the ruins cutting, tearing lines into the fine sky, seeking to divide the constellations hanging on wary strings above. The wall had degraded long ago, the bricks crumbling and breaking away, free to the outside, left to topple over the edge of the structure and fall, diving to embrace the former street, now likewise claimed by the reach of desolation, the desert stretching its fingers in, no longer held at bay by the huddled masses.
Out of this hole, the scavenger looked up to the private view of the skies, darkened by lack of light but softened by its cloudlessness, a murky and lightly milkened blue. Though this particular path of heavens was clear of danger, the shades below churned with movement, with bitter intent that drew the pearls of her eyes, a patrol picking through one of the buildings hollow, the light of a flashlight every so often breaking the barrier of walls thin to ghost the open space, searching for the unseen, light ringed with reddened intentions.
The desert walker was not intimately familiar with this particular group of gangmen, though their signs lit in her eyes like beacons, tellings left of their inhabitance here. There was little change for diplomacy should she be caught in her hole. Though the individuals were but figures stark and black, their type smelled of metallic tang, of gasoline and musty sweat, canned food consumed far past its time, grease and the cooking of meat, flesh burnt to a satisfied crisp. But at her nest, one little hiding mouse would be burned with meticulous fingers and widening smiles, ivories gleaming with want. They would not find her, though. For even the mos...
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...oss her face, spreading jagged. The stars cast an eerie gleam in her eyes. They would not find her here, and by the next night, she would have slipped through their fingers yet again. Selling their secrets and scavenging the wares they had been hopeless to find.
On, the strider watched, vigilant, fingers reaching every so often to toy with the work laid before her, always returning to the to the outside. The skeletons before her danced, and she waited, that smile still broken on her mouth and moths beating their wings against the cavity of her chest. Alone - all she had was the knife comfortable against her hips, and a mind of little glass tricks.
The night taunted and the sky called, the wolves prowling with starved bodies stretched long.
The mouse waited in the nest, thieving mind closed and heart soft in her chest.
With all the company in the world.
Below.
of the wolves and finds that they are more than the savage and merciless hunters
Part Two of the novel shifts the narrative perspective to that of the she-wolf. After the famine is over, the wolf pack separates, and the she-wolf and three males travel together, until one of the wolves, “One Eye,” kills the other two. The she-wolf and One Eye travel together, then, until it is time for her to settle down to give birth to her cubs. Another famine comes upon the land when the cubs are still young, and all of the cubs die—except one: a gray wolf cub. This gray wolf is the strongest and the most adventuresome of all the litter. Yet early in his life, he learns how to snare food and along with this ability, he learns the lesson of the wilderness—that is, “eat or be eaten, kill or be killed.”
It has been said that the wolf is one of the most voracious and horrifying animals that exist in nature today. But, in all reality, is that actually true? One is unable to make an assumption such as this without a firsthand experience, or so that is expressed in In The Shadow of a Rainbow and Never Cry Wolf. Authors Robert Franklin Leslie and Farley Mowat make every attempt to convey the true nature of the wolf throughout their journeys, as they prove claims falsely accusing wolves, with documented evidence of complete vigilance. These works of literary nonfiction effectively refute anti-wolf claims made within them through being dangerous to the wildlife, dangerous to humans, and viciousness.
From the poem To A Mouse by Robert Burns, John Steinbeck names his book Of Mice and Men. The poem To a Mouse is about a man who while plowing his field, comes across a mouse that he has accidentally slain. The mouse was in a little home that it has built to stay warm for the upcoming winter. Similarly, the man was plowing his field getting ready for the winter months. After all, both the mouse and the man were both doing their normal duties as mouse and farmer. However, the man, when he comes across the dead mouse is very shaken and upset that this event has occurred. In the same way, in the book Of Mice and Men when George must kill Lennie, George is similarly shaken and upset that this event had to have occurred. Both events were unplanned and not called for. Therefore, the title of this book is appropriate for the characters and events because life is never the way one plans it and things will happen that are uncalled for and unplanned.
The story of Jumping Mouse may seem simple at first. But it is far more than just a story about a small rodent. There are so many underlying themes that reflect society, faith, generosity, personal growth, and many other aspects of a person’s daily life.
Like most old houses set atop old hills, weather had taken its toll. The bricks were worn and faded from their red, pink, black shades. The softened wooden door looked as if one more heavy night of rain could take it down. The bricks were oddly shaped; uneven almost-rectangles stacked upon each other in the haphazard pattern that bricks always seemed to be placed in.
It is early morning and he walks alone. The iron gates, crusted with rust, clang in his wake. Fog washes over the tombstones in waves. His feet crunch upon the ground. The fog obscures his vision, but he could walk here blindfolded. This journey to the cemetery has become a routine, anticipated but not enjoyed. The call of a loon sails through the milky air; the sound ripples along his spine. He walks onward, head forced down, eyes riveted to the ground.
For the characters in Angela Carter's “The Company of Wolves,” danger lurks in the the grey areas, the ambiguous spaces between opposites. The plethora of socially constructed binaries—male and female, passive and active, innocence and maturity, civilization and wilderness, man and wolf—have the ability to be harmful and restrictive, but perhaps more worryingly, they create an ill-defined middle ground between where the rules are vague and fluid, which allows for dishonesty and deception, and Carter foregrounds the resultant proliferation of untruths as the real peril. One vehicle for clear and honest communication, however, is the narrator's changing characterization of the
is connected to a shaft, which spins a disc. The disc has holes in it
Her spry, Timberland-clad foot planted itself upon a jagged boulder, motionless, until her calf muscles tightened and catapulted her small frame into the next stride. Then Sara's dance continued, her feet playing effortlessly with the difficult terrain. As her foot lifted from the ground, compressed mint-colored lichen would spring back into position, only to be crushed by my immense boot, struggling to step where hers had been. My eyes fixated on the forest floor, as fallen trees, swollen roots, and unsteady rocks posed constant threats for my exhausted body. Without glancing up I knew what was ahead: the same dense, impenetrable green that had surrounded us for hours. My throat prickled with unfathomable thirst, as my long-empty Nalgene bottle slapped mockingly at my side. Gnarled branches snared at my clothes and tore at my hair, and I blindly hurled myself after Sara. The portage had become a battle, and the ominously darkening sky raised the potential for casualties. Gritting my teeth with gumption, I refused to stop; I would march on until I could no longer stand.
Away from the immense sea, white foams from the waves gather gently onto the golden shore. Now, half of a glowing, radiant light looms across the water 's horizon. The sea turns blood-red and darkness creeps up like a thief. The necklace that once reflected its passionate energy of fury moments ago now resembled a mere costume jewellery. Perhaps the loss of the necklace’s elegance and sophistication was the reason to why it was disregarded. Pity the owner did not see the necklace radiating its splendour at its peak. Anyhow, the nightfall creates a sensation of joy and tranquillity in me. Every sight and sound stimulates a sense of composure and serenity; and the effect is heightened by the absence of the noisy bustle of our daily work, only to be exposed to the never-ending music of the waves, and to breathe the fresh air instead of the stale atmosphere of classrooms. It is not easy to describe the effect of this sight; it can only be strangely deciphered in my mind. It is however, a very tangible and distinct emotion, though its allure really depends upon the reality of the world from a further point of view, away from the definite predictabilities of the world, all in which an instant becomes like a translucent drape which almost consents me to catch a glimpse of a ideal and more breath-taking reality. The worldly desires, expectations, worries, schemes, suddenly cease to exist. It is as though all of
“The offing was barred by a black bank of clouds, and the tranquil waterway leading to the uttermost ends of the earth flowed somber under an overcast sky – seemed to lead into the heart of an immense darkness.” (96)
In the deep crevices between the tufts of grass, the shadows stalked slowly upward, submerging the sandy earth in an inky sea. The sun sank until only its last, thin razor of light glimmered over the fields. Time stretched its ancient joint...
During this specific night, an army of mysterious, murky clouds seized control of divine sky, devouring the sun. Favored by the troops, the moon, displaying its glorious luminescence upon a shadowy city, wins a triumphant victory over the sun. A ferocious leader of the army activates the withdrawal then leads dedicated soldiers to west as if they are tracking down a wild dog. On the other hand, the city transmits its vivid and righteous illuminations back to the sky to let people in the “second floor” know that “era of tranquility” began. Imagine the astonishing night, rigid and bright buildings lie elegantly on the moonlight sky, bring lights gaze from the thousands of bulbs. It is beautiful, yet no one knows what beauty is upon them.
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.