55 miles to the gas pump thesis
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55 Miles To The Gas Pump – Analysis of short story Essay
Many essays dwell on her award-winning novels or on environment and nature-related concerns overarching from her stories to her novels, studying her writing in the light of naturalism, postmodernism, and neo-regionalism.
Indeed, the number of grotesque freaks, monsters, hybrid creatures, devils, and demons sometimes acts as a reminder of the fictional quality of these self-conscious short tales, which, although contemporary, also draw on a long tradition of North American story-telling, often adding a rather destabilizing, caustic sense of humor.
With the uncanny, however, impossible events eventually find a rational explanation which in the end undermines the preternatural. With the fantastic, the reader is left to hesitate between a rational and an irrational interpretation of impossible events, and the text does not clearly support one or the other.
This hesitation is precisely what Amaryll Chanady establishes as the main distinguishing characteristic between magical realism and the fantastic. According to Chanady, the fantastic encodes hesitation into the narrative and thus foregrounds the problematical nature of the supernatural, in conflict with realism. On the contrary, Chanady insists, the magical realist text presents the paradox at the heart of this oxymoronic mode as unproblematic:.
While the implied author is educated according to our conventional norms of reason and logic, and can therefore recognize the supernatural as contrary to the laws of nature, he tries to accept the world view of a culture in order to describe it. He abolishes the antinomy between the natural and the supernatural on the level of textual representation, and the reader, who recognizes the two conflicting logical codes on the semantic level, suspends his judgment of what is rational and what is irrational in the fictitious world.
I will first tackle some of the local color elements and realistic effects that lend the collections an air of authenticity, as might be found in regional memoirs and histories. I visit graveyards, collapsing cotton gins, photograph barns and houses, roadways. I listen to ordinary people speaking with one another in bars and stores, in laundromats.
I read bulletin boards, scraps of paper I pick up from the ground. The Missouri Review 4. My fiction reflects this attraction. When asked about the somber outlook one finds in her rather morbid, tragic stories, Annie Proulx again relies on an assertion of realism:. America is a violent, gun-handling country.
Americans feed on a steady diet of bloody movies, televisions programs, murder mysteries. Road rage, highway killings, beatings and murder of those who are different abound. The point of writing in layers of bitter deaths and misadventures that befall characters is to illustrate American violence, which is real, deep, and vast. The Missouri Review 8. Their ranching, farming, rodeoing and other daily activities are also accounted for with much detail.
Moreover, many of her stories are explicitly anchored in the history of the United States, and abound with references to background historical events and to real places. Now a terrific, sputtering ball of fire bloomed on the ledge throwing glare on the dusty cowboy gear. It was still raining. You could hear the fireball roaring and a coat of soot in the shape of a cone and peck-speckled with rain was building up on the glass. There was a sound like a shot and the glass cracked from top to bottom.
Justin said later it was a shot, not the heat. It was the heat. I know a shot when I hear one. Close Range As the mysterious origin of the fireball is left unsolved by the narrator, this passage may draw on the great number of actual reports of ball lightning throughout history.
You stand there, braced. Cloud shadows race over the buff rock stacks as a projected film, casting a queasy, mottled ground rash. The air hisses and it is no local breeze but the great harsh sweep of wind from the turning of the earth.
The wild country—indigo jags of mountain, grassy plain everlasting, tumbled stones like fallen cities, the flaring roll of sky—provokes a spiritual shudder. It is like a deep note that cannot be heard but is felt, it is like a claw in the gut.
The wind set its teeth into the heavy log house and shook it with terrific gusts. A hawk hid under the potentilla bush and leaped suddenly on an over-confident prairie dog a little too far from its burrow. In Antler Spring […] a young woman expecting her first child was widowed when her husband, fighting summer wildfires in Colorado, was killed by a Pulaski tool that fell from a helicopter. Vacationers locked themselves out of their cars and were struck by lightning.
Ranchers, their eyes on their cattle, drove off the road and overturned. Everything seemed to end in blood. Bad Dirt The room she had shared with Shan was a room within a room.
She was alone, there were no alien spacecraft in the sky. Looniness was possible, it could happen to anyone. The omniscient narrator reports entire conversations in a dramatic way, without clearly establishing if there is any focalization at play. Blurring the origin of the perspective onto the text, the narrative voice thus gives the impression that, like Ottaline, it has finally accepted the reality of the trickster-tractor. A possible reading thus suggests that the malevolent, neglected tractor may be responsible for the accident, keeping in mind that it claims earlier in the story to have intentionally killed one of the ranch hands.
This hesitation between contradictory understandings of events is in fact in line with a second of the five characteristics Wendy Faris assigns to magical realism Faris And indeed, the supposedly doomed spurs bring about bizarre phenomena, possibly accounting for the sudden, violent deaths of its successive owners.
Moreover, the main character, Car Scrope, seems to yield to some fatal attraction to the spurs, suffering from inexplicable migraines and behaving erratically as soon as he goes near them.
The piglet one day tripped over the hem of the swaddling dress and was carried off by a golden eagle. She did not make the swaddling gown mistake twice, but fitted the chicken with a light leather jerkin and a tiny bonnet.
The bonnet acted as blinders and the unfortunate poult never saw the coyote that seized her within the hour. Fine Just the Way It Is As a consequence of this unnatural diet, it has grown disproportionately, has metamorphosed into a degenerate, carnivorous plant and has started swallowing up animals and people. Therefore, if the beginning of the story seems to endorse skepticism, it gradually enforces supernatural laws, forcing the reader to suspend disbelief.
Here again, this passage is told from an indeterminate perspective. There are many other stories where the magic cannot be doubted and comes on the same level as other, more realistic events. Paradoxically, it is the magic of the tea kettle that helps rationalize the otherwise miraculous apparitions of wished-for objects in the story.
In the morning, suddenly remembering he must send his mother a happy birthday telegraph, Dirt Sheets wakes up and steals away before sunrise. Triggering a response half-way between laughter and disgust, dramatic irony here makes Grice the alazon. As this example shows, the improbable and the magic in these stories often seem to sprout directly from a form of verbal magic, often for the sake of parody and satirical distortion. First presented as an old folktale, the fact remains that, as seen above, the narrative in the end embraces the magic of the story.
However, the last disappearances in the story of first, detectives and then a botanist, ironically and metonymically represent the defeat of logic, reason and science in the face of magic, whether the magic of nature or fiction. This potentially autoreferential punch line works on several levels. Looking closer at the structure of this very short story indeed, both paragraphs contain one unusually long, very complex sentence, with the first paragraph focusing on Mr.
Croom and the second on Mrs. To the displeasure of many a maiden, its enjoyment is short lived. Apply logic to this grim story and you will ascertain that it took place many years ago. No husband of our age would be so terrible as to demand the impossible of his wife, nor would be such a jealous malcontent. Perrault Those hard days are finished. So he leaves the steer half-skinned there on the ground and he goes into the kitchen, but first he cuts out the tongue which is his favorite dish all cooked up and eat cold with Mrs.
Searching in the distance, Tin Head can see:. And all that distance Tin Head can see the raw meat of the head and the shoulder muscles and the empty mouth without no tongue open wide and its red eyes glaring at him, pure teetotal hate like arrows coming at him, and he knows he is done for and all of his kids and their kids is done for She could make you smell the smoke from an unlit fire.
In any case, it seems rather telling that it is the hearing of the lurid story of the half-skinned steer which should prompt Mero to flee the family ranch. Blending the codes of realism, the fantastic, and magical realism, the effects of such stories are often both horrific and comical, inducing ambivalent responses in the reader, caught between laughter and fear or repulsion.
These more comical, satirical stories casting the Devil and his demons as protagonists seem to have been born from fantasies set free by folklore, by postmodern lifestyle, and by the hellish living and natural conditions in Wyoming. This often implicit, autographic intertextuality between several stories of the three Wyoming collections produces a metadiegetic effect.
These various bridges from one narrative to the other invite the reader to explore the different ways in which the texts form one long short-story cycle, which, seen from a wider perspective, definitely foreground the potential and the magic of language and fiction.
The tallest reached seven feet six inches. The allusions to Hemingway and Chatwin may converge in recalling their lapidary, understated style. Analogically, her stories are oftentimes monstrous, omnivorous hybrids that ingest and thrive on raw folklore, news items, fables, fairy tales, local legends and myths.
She haunts. If, as Jean-Pierre Aubrit argues, 14 short fiction is the privileged locus for the supernatural, it may in postmodernist fiction be because of the omnivorous, mythopoeic tendency of the genre.
Writers are becoming more and more aware of the waviness of the line that separates fantasy from the so-called rational in human perception. It is recognized that fantasy is no more than a shift in angle […]. But this fantasy is something that changes, merges, emerges, disappears as a pattern does viewed through the bottom of a glass.
Fantasy in the hands of short story writers is so much more successful than when in the hands of novelists because it is necessary for it to hold good only for the brief illumination of the situation it dominates. Her use of magical realism is decidedly a postmodernist one, succeeding in presenting powerful, long-lasting visions, sometimes with the advantage of offering a moment of respite or a sense of poetic justice in her otherwise mostly tragic, violent and morbid fictional universe, while simultaneously foregrounding the creative act of story-telling itself.
Aubrit, Jean-Pierre. Le Conte et la nouvelle. Armand Colin: Paris, Bruccoli, Matthew. Conversations with Ernest Hemingway.
Need help with 55 Miles to the Gas Pump in Annie Proulx's 55 Miles to the Gas Pump? Check out our revolutionary side-by-side summary and. "As the title suggests, '55 Miles to the Gas Pump,' while somewhat interested in the abuse and murder of women and the troubled marriage of.
And I suppose if the story was unremittingly macabre, gory, and revolting, I would be uninterested. Each paragraph is a sentence: the first two are long and breathless, convoluted, and littered with gerunds; the last is straightforward and deadpan. Yet this form of story—brief and syntactically odd—provides a necessary counterbalance to the subject matter. For the brevity and almost-metered syntax corsets the disturbing content into something manageable.
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Thesis statement for 55 miles to the gas pump
The gas leak triggered a disaster that is now widely recognized as the world worst industrial catastrophe. Thousands of people were killed instantly and more than 25, people have died of gas-related illnesses, several thousands more maimed for life since. Wilbur consumes only apples and bananas. He prefers more apples to less, but he gets tired … B 20 In each case draw two different indifference curves and make a little arrow pointing in the direction. Towards the end of August a fisherman found the box containing the MSS on the shore near Towyn, Wales, where it had been washed up.
55 miles to the gas pump thesis writing
Many essays dwell on her award-winning novels or on environment and nature-related concerns overarching from her stories to her novels, studying her writing in the light of naturalism, postmodernism, and neo-regionalism. Indeed, the number of grotesque freaks, monsters, hybrid creatures, devils, and demons sometimes acts as a reminder of the fictional quality of these self-conscious short tales, which, although contemporary, also draw on a long tradition of North American story-telling, often adding a rather destabilizing, caustic sense of humor. With the uncanny, however, impossible events eventually find a rational explanation which in the end undermines the preternatural. With the fantastic, the reader is left to hesitate between a rational and an irrational interpretation of impossible events, and the text does not clearly support one or the other. This hesitation is precisely what Amaryll Chanady establishes as the main distinguishing characteristic between magical realism and the fantastic. According to Chanady, the fantastic encodes hesitation into the narrative and thus foregrounds the problematical nature of the supernatural, in conflict with realism. On the contrary, Chanady insists, the magical realist text presents the paradox at the heart of this oxymoronic mode as unproblematic:. While the implied author is educated according to our conventional norms of reason and logic, and can therefore recognize the supernatural as contrary to the laws of nature, he tries to accept the world view of a culture in order to describe it.
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Plot Summary. All Characters Rancher Croom Mrs.
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Croom on the roof with a saw cutting a hole into the attic where she has not been for twelve years thanks to old Croom's padlocks and warnings, whets to her desire, and the sweat flies as she exchanges the saw for a chisel and hammer until a ragged slab of peak is free and she can see inside: just as she thought: the corpses of Mr. Croom's paramours - she recognizes them from their photographs in the paper: MISSING WOMAN - some desiccated as jerky and much the same color, some moldy from lying beneath roof leaks, and all of them used hard, covered with tarry handprints, the marks of boot heels, some bright blue with the remnants of paint used on the shutters years ago, one wrapped in newspaper nipple to knee. The author could have built a memorable tale around this one line but I believe the opportunity has been wasted. The primary deficiency lies in the fact that the reader has not been emotionally engaged in the story. There are dozens of unanswered questions that should be addressed in order to draw the reader in. What drives Mr. Is it psychosis, boredom, a lack of desire for Mrs. Regardless of which of these was chosen it would elicit some response from the reader. As it is the reader is left with This post is an analysis and reaction to the short story entitled, "55 Miles to the Gas Pump". This does not apply to all short stories but is a specific analysis of this particular short story. Original short story as well as over words of analysis and reaction. Expressing your reactions to the ending of "55 Miles to the Gas Pump. When you live a long way out you make your own fun. Add Solution to Cart Remove from Cart.
Short Story Analysis and Reaction
We use cookies to give you the best experience possible. The story is a short third person narrative centred on the suicide of Rancher Croom and the discovery, by Mrs Croom, of the bodies of the women he murdered, meant to entertain an adult audience as such a sinister plot would be unsuitable for children. The story seems like a spoken account of recent happenings, like a horror story being told in a bar. The style of each sentence, and so paragraph, being a long string of phrases and clauses is also similar to a string of thoughts. The register is informal and conversational and the lexis is similarly unpretentious:. Such concentrated modification draws the reader into the story by enabling them to build a better picture of the characters and setting. Such a complex sentence — containing several subordinate as well as the main clause — is disorienting but dynamic due to phrase usage. Information is condensed but such sentences provide varied reading, keeping the reader interested.
