Through the experiences he goes through he learns about the world and men and the consequences one can have from our own actions. Billy feels lost and wants to find out who he really is. Billy becomes obsessed with the she wolf. He wants to catch her and when finally he gets her he feels the wolf’s pain and wants to help her. Billy decided to take the wolf back to Mexico where she had come from.
It is here that he finds a secure “self, firm and calm and unmalleable”, free of the constraints and sense of unease which he feels within “the human community”. Though it is 1948, it is Montana, and David is still able to tap into the spirit of the Wild West, the frontier, to have an intimation of the untouched wilderness before its perceived corruption by white conquest. David begins to understand his wilderness pursuits are not entirely innocent when he shoots the magpie, appropriately on his grandfather’s ranch, with his grandfather’s gun, driven unconsciously by the collapse of his idol, Frank. His urge to “kill something” reveals a half articulated vision of corruption: “these strange, unthought-of connections-sex and death, lust and violence, desire and degradation-are there, there, deep in even a good heart’s chambers.” As the full extent of Frank’s evil unfolds, the sureness David is able to feel in the wild falters. The frontier is no longer inhabited by Indians as seen in the movies; instead David dreams of the Indians he knows, mourning Marie on Circle Hill.
I climbed down quickly out of the tree to check for the buck. It was starting to get dark and I had forgotten to bring my flashlight. I followed the trail into the woods looking for blood spots. The light was almost gone and I had to find that deer. I wished my Dad and Brandon would come back to help me, but they were hunting in a different spot.
Even though the character is in the mist of looking death in the eye, his mind starts to wonder. In "An Occurrence at Owl Creek Bridge", Ambrose Bierce exhibits that one's imagination can change one's perception on time, reality and beliefs on death when faced with life threatening situation. Farquhar goes to a point in his life where he is sitting on the porch at his home with his wife. A Confederate Soldier walks up and ask if they could spare something to drank. Since, he could never serve in the army, too support the causes he believed in, it was a honor for him to be able to accommodate the soldier.
Through Smoke Signals and salmon, one is able to apply Lucy Lippard’s Framework of Power. In the movie, Victor, along with Thomas, goes to Arizona to bring the ashes of his deceased father (Arnold Joseph) back home. Along the way to Arizona, the two young men face racism and hatred against their American Indian background. Objective Power, or subjects that control others, is like the dominant white power over American Indians. The cowboys taking Victor and Thomas’ seats on the bus is analogous to the whites taking American Indian land; once taken over by the whites, it is too bad for the Indians, because they have to go find somewhere else to sit or call home.
Bierce consistently uses foreshadowing to build suspense throughout the story. For example, in the first section of The Occurrence at Owl Creek, Farquhar looked down at his “steadfast footing” and gazed at the stream beneath his feat. He described the stream as being sluggish and slow-moving. This shows how much Farquhar wants to slow down time for himself due to his impending death and appreciate the last moments of his life, demonstrating that something exciting is about to take place as well as building up suspense for the reader. Also, when Farquhar looks down at the stream again, he thinks to himself “If I could free my hands.
Cut to Moss at the scene amongst the dead bodies. Moss starts heading along the tire tracks which you can faintly see amongst the tall grass, cut to him spotting a tree where he believes the man with the money would've stopped, cut to him at the tree, standing over the dead man. From there he is instantly at his car, instantly home, and instantly inside talking to his wife. After we see this scene we ask to ourselves how did he get out of there, how he made all those thing fast, what effect the director want to show or create in us. This proves that the standard film elements- shot composition, cinematography and editing are flawless.
His son, John, tells about the dead places he visited, the dogs he encountered, and finally about how he realized the gods were just human, no more, no less. Than his father gave him this quote, “Truth is a hard deer to hunt. If you eat too much truth at once, you may die of the truth. It was not idly that our forefathers forbade the Dead Places.” This quote tell us that the priest has known this but doesn’t want the people to know, and I’m here to tell you why. The
He tried to put a fence around the corn crop. This showed he was trying to be both responsible to his family's needs and responsible in controlling his pet. Although he made the effort in building the fence, it did not keep the deer out. He was forced to chase his pet away. When the deer returned Jody's mother shot it but only injured it.
Conrad Richter also used symbolism to show that one side of the river represented the Whites and the other the Indians. When True Son was trying to decide if he should run away with Half Arrow, he was closest to the Indian side so he should run away from the Whites. But when True Son was decide if he should continue with the ambush, he was in the exact middle of the river, so his mind did not lean one way. In the end he did what he did because he felt it was right, not because it would help one side. Light in the Forest also uses symbolism when True Son is on the river, ready for the ambush.