Week 2 Analysis: Close Reading of About the House Girl
I believe that this passage accomplishes in delivering the beginning of the climax of the story. The writing begins to draw the reader more, which is typical of that in a climax. The author also uses a lot of visual cues and metaphorical language so that we the reader are able to watch everything unfold. The authors language gets a lot more descriptive now compared to before, and it feels like the story goes into slow-mo so we can watch it all unfold.
This passage brought a lot of visual ideas to you and helps build up as they height of climax approaches with the end of the passage and the start of the next. The first piece that drew me in was “they pressed forward, nearer to the fire...” (pg 44) You get this feeling of curiosity from them all and it makes you wonder why they begin to approach. It helps in building the anticipation for what happens next. This part of the reading is where I started to get extremely interested in what was happening, and yet at the same time excited because I knew what was going to occur.
The next segment “with the long-legged grace of the crane” was really metaphorical and helps give the reader and idea of how these dancers were if they were there. I could visualize someone with very well trained legs, able to twirl and leap, and it helped get you curious about what exactly Patapir had gotten himself into. Why did these people know how to dance like that on the canoes is just a silly question I had with it. Or even who teaches these dances, since later it’s noted the women do not dance.
The final segment of significance was “The young men beside him had eyes for nothing else...” (pg 44). This right here is getting you curious why this girl is so captivating. Me as a reader knows who it is, but at the same time I wonder why she had transformed so much from being ignored and nothing important to becoming a woman who can capture all the men’s eyes. I wonder what her role is in the event occurring and makes me continue reading on.
“Patapir and his two companions in the canoe were seeing this for the first time. So interested they were, they pressed forward, nearer to the fire, nearer to the dancers. By now, the men from the other canoes had joined the line of dancers. Patapir saw that the old ones spoke truly— the dancers were all in their young manhood, strong and tall. Some of the, could leap in the dancing, high, and with the long-legged grace of the crane; and some could sing, sending their voices higher than the flickers’ call. Little by little, Patapir forgot the dancers and singers as his attention gathered more and more about the person of the Leader’s assistant. This was scarcely surprisingly; the young men beside him had eyes for nothing else, nor did Patapir, once he really looked at her.” (About the House Girl, Karok, pg 44)
Karok, “About the House Girl.” The Literature of California, edited by Hicks, Houston, Kingston, and Young. University of California Press 2000. Pg. 40-50.
This passage brought a lot of visual ideas to you and helps build up as they height of climax approaches with the end of the passage and the start of the next. The first piece that drew me in was “they pressed forward, nearer to the fire...” (pg 44) You get this feeling of curiosity from them all and it makes you wonder why they begin to approach. It helps in building the anticipation for what happens next. This part of the reading is where I started to get extremely interested in what was happening, and yet at the same time excited because I knew what was going to occur.
The next segment “with the long-legged grace of the crane” was really metaphorical and helps give the reader and idea of how these dancers were if they were there. I could visualize someone with very well trained legs, able to twirl and leap, and it helped get you curious about what exactly Patapir had gotten himself into. Why did these people know how to dance like that on the canoes is just a silly question I had with it. Or even who teaches these dances, since later it’s noted the women do not dance.
The final segment of significance was “The young men beside him had eyes for nothing else...” (pg 44). This right here is getting you curious why this girl is so captivating. Me as a reader knows who it is, but at the same time I wonder why she had transformed so much from being ignored and nothing important to becoming a woman who can capture all the men’s eyes. I wonder what her role is in the event occurring and makes me continue reading on.
“Patapir and his two companions in the canoe were seeing this for the first time. So interested they were, they pressed forward, nearer to the fire, nearer to the dancers. By now, the men from the other canoes had joined the line of dancers. Patapir saw that the old ones spoke truly— the dancers were all in their young manhood, strong and tall. Some of the, could leap in the dancing, high, and with the long-legged grace of the crane; and some could sing, sending their voices higher than the flickers’ call. Little by little, Patapir forgot the dancers and singers as his attention gathered more and more about the person of the Leader’s assistant. This was scarcely surprisingly; the young men beside him had eyes for nothing else, nor did Patapir, once he really looked at her.” (About the House Girl, Karok, pg 44)
Karok, “About the House Girl.” The Literature of California, edited by Hicks, Houston, Kingston, and Young. University of California Press 2000. Pg. 40-50.
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