Structure (rl5)
Part 1
Page 1-30
During this part of the story I noticed a lot of description and elaboration used. One example of when the author did this would be, "...while the flapping pigeon- winged books died on the porch and lawn of the house. While the books went up in sparkling whirls and blew away on a wind turned dark with burning." (Bradbury, 1). Another example would have to be, "It growled again, a strange rasping combination of electrical sizzle, a frying sound, a scraping of metal, a turning of cogs that seemed rusty and ancient with suspicion." (Bradbury, 23). These descriptions are used ton create imagery in the mid of the reader and the author frequently uses it throughout his book. Another thing I noticed during this part of the book was foreshadowing. He uses foreshadowing, "He stood looking up at the ventilator grill in the hall and suddenly remembered that something lay hidden behind the grill, something that seemed to peer down at him now. He moved his eyes quickly away" (Bradbury, 8) here to show that whatever is behind the grill will probably be important later in the book.
Page 31-67
Dialogue is used a lot more during this part of the story to help move the story along and to help the readers understand what is happening without just reading narration the whole time. " “Millie . . . ?” he whispered.
“What?”
“I didn’t mean to startle you. What I want to know is . . .”
“Well?”
“When did we meet? And where? ”
“When did we meet for what? ” she asked.
“I mean— originally.”
He knew she must be frowning in the dark.
He clarified it. “The first time we ever met, where was it, and when?”
“Why, it was at— ” She stopped. “I don’t know,” she said.
He was cold. “Can’t you remember?”
“It’s been so long.”
“Only ten years, that’s all, only ten!”
“Don’t get excited, I’m trying to think.” She laughed an odd little laugh that went up and up.
“Funny, how funny, not to remember where or when you met your husband or wife.” " (Bradbury, 39-40). That quote is an example of how the dialogue can help the reader without always narrating. If there was no dialogue it would've bored a lot of readers.
Part 2
Page 68-106
In this part of the book you can find a lot of elaboration during Faber's "speech" to Montag. Faber elaborates 2 different times during his speech. The first, "Number one: Do you know why books such as this are so important? Because they have quality. And what does the word quality mean? To me it means texture. This book has pores. It has features. This book can go under the microscope. You’d find life under the glass, streaming past in infinite profusion. The more pores, the more truthfully recorded details of life per square inch you can get on a sheet of paper, the more ‘literary’ you are. That’s my definition, anyway. Telling detail. Fresh detail. The good writers touch life often. The mediocre ones run a quick hand over her. The bad ones rape her and leave her for the flies." (Bradbury, 78). Another example during Faber's speech is, " “Leisure.”
“Oh, but we’ve plenty of off hours.”
“Off hours, yes. But time to think? If you’re not driving a hundred miles an hour, at a clip where you can’t think of anything else but the danger, then you’re playing some game or sitting in some room where you can’t argue with the four- wall televisor. Why? The televisor is ‘real.’ It is immediate, it has dimension. It tells you what to think and blasts it in. It must be right. It seems so right. It rushes you on so quickly to its own conclusions your mind hasn’t time to protest, ‘What nonsense!’ ” " (Bradbury, 79). In both of these examples Faber takes a very small idea and goes more into deatil with each, explaining them very thoroughly so you can understand them on a deeper level.
Part 3
Page 107-130
During this part of the book it is easier to tell that the dialogue is different than normal dialogue in most books. The characters a lot of times will mumble to themsleves or talk like they are mumbling to themsleves even when they are talking out loud. When they do this they will typically repeat themselves multiple times. You can notice this earlier in the book but it is hard to pick out good evidence until you see Mildred mumbling to herslef in this part of the story. "She shoved the valise in the waiting beetle, climbed in, and sat mumbling, “Poor family, poor family, oh everything gone, everything, everything gone now. . . .' " (Bradbury, 108).
Page 131-158
During this part you see a lot of chonological order. Towards the end of the book everything goes in the order it happens. It starts out with Montag still on the run from the Hound and then moves on to him finding Granger and the other minor characters that are just like him. After that they all take cover because there is a bombing inside the city and once the very short bombing is over they all head to the city in hope of making a fresh start.
Page 1-30
During this part of the story I noticed a lot of description and elaboration used. One example of when the author did this would be, "...while the flapping pigeon- winged books died on the porch and lawn of the house. While the books went up in sparkling whirls and blew away on a wind turned dark with burning." (Bradbury, 1). Another example would have to be, "It growled again, a strange rasping combination of electrical sizzle, a frying sound, a scraping of metal, a turning of cogs that seemed rusty and ancient with suspicion." (Bradbury, 23). These descriptions are used ton create imagery in the mid of the reader and the author frequently uses it throughout his book. Another thing I noticed during this part of the book was foreshadowing. He uses foreshadowing, "He stood looking up at the ventilator grill in the hall and suddenly remembered that something lay hidden behind the grill, something that seemed to peer down at him now. He moved his eyes quickly away" (Bradbury, 8) here to show that whatever is behind the grill will probably be important later in the book.
Page 31-67
Dialogue is used a lot more during this part of the story to help move the story along and to help the readers understand what is happening without just reading narration the whole time. " “Millie . . . ?” he whispered.
“What?”
“I didn’t mean to startle you. What I want to know is . . .”
“Well?”
“When did we meet? And where? ”
“When did we meet for what? ” she asked.
“I mean— originally.”
He knew she must be frowning in the dark.
He clarified it. “The first time we ever met, where was it, and when?”
“Why, it was at— ” She stopped. “I don’t know,” she said.
He was cold. “Can’t you remember?”
“It’s been so long.”
“Only ten years, that’s all, only ten!”
“Don’t get excited, I’m trying to think.” She laughed an odd little laugh that went up and up.
“Funny, how funny, not to remember where or when you met your husband or wife.” " (Bradbury, 39-40). That quote is an example of how the dialogue can help the reader without always narrating. If there was no dialogue it would've bored a lot of readers.
Part 2
Page 68-106
In this part of the book you can find a lot of elaboration during Faber's "speech" to Montag. Faber elaborates 2 different times during his speech. The first, "Number one: Do you know why books such as this are so important? Because they have quality. And what does the word quality mean? To me it means texture. This book has pores. It has features. This book can go under the microscope. You’d find life under the glass, streaming past in infinite profusion. The more pores, the more truthfully recorded details of life per square inch you can get on a sheet of paper, the more ‘literary’ you are. That’s my definition, anyway. Telling detail. Fresh detail. The good writers touch life often. The mediocre ones run a quick hand over her. The bad ones rape her and leave her for the flies." (Bradbury, 78). Another example during Faber's speech is, " “Leisure.”
“Oh, but we’ve plenty of off hours.”
“Off hours, yes. But time to think? If you’re not driving a hundred miles an hour, at a clip where you can’t think of anything else but the danger, then you’re playing some game or sitting in some room where you can’t argue with the four- wall televisor. Why? The televisor is ‘real.’ It is immediate, it has dimension. It tells you what to think and blasts it in. It must be right. It seems so right. It rushes you on so quickly to its own conclusions your mind hasn’t time to protest, ‘What nonsense!’ ” " (Bradbury, 79). In both of these examples Faber takes a very small idea and goes more into deatil with each, explaining them very thoroughly so you can understand them on a deeper level.
Part 3
Page 107-130
During this part of the book it is easier to tell that the dialogue is different than normal dialogue in most books. The characters a lot of times will mumble to themsleves or talk like they are mumbling to themsleves even when they are talking out loud. When they do this they will typically repeat themselves multiple times. You can notice this earlier in the book but it is hard to pick out good evidence until you see Mildred mumbling to herslef in this part of the story. "She shoved the valise in the waiting beetle, climbed in, and sat mumbling, “Poor family, poor family, oh everything gone, everything, everything gone now. . . .' " (Bradbury, 108).
Page 131-158
During this part you see a lot of chonological order. Towards the end of the book everything goes in the order it happens. It starts out with Montag still on the run from the Hound and then moves on to him finding Granger and the other minor characters that are just like him. After that they all take cover because there is a bombing inside the city and once the very short bombing is over they all head to the city in hope of making a fresh start.