The Volkswagen is a flashy display that reveals a parallel between the purpose of the Volkswagen and the way Papi acts at the party in front of his family and their neighbors. At the party, he is not afraid of showing how authoritative and aggressive he acts towards Yunior, making his dominance in the family dynamics clear. Papi’s violence and authoritarianism are two main aspects of machismo, the exaggerated ideal of stereotypical masculinity in which physical strength and aggressiveness are emphasizes as male characteristics. Both the car and Papi’s attitude reveal that Papi expresses his masculinity in a forceful and hostile manner. When Yunior feels the
‘The Clown Punk’ is written from the view point of a father who is driving “home” through the “shonky” part of town. He seems at ease in his car and his tone is dismissive as he says, “three times out of ten you’ll see the town clown”. Here, the fact that he sees the man regularly suggests it’s something he is used to and the phrase “town clown” suggests the finds it vaguely amusing – the rhyme seems to trivialise the punk. His dismissive tone continues in the ironic phrase, “don’t laugh”. Here, the enjambment draws attention to the words and helps reinforce the irony.
He will drive the bakery van over the bridge with his wife and children and only casually mention his work there…Patrick’s gift, that arrow into the past, shows him the wealth in himself, how he has been sewn into history. Now he will begin to tell stories. (Ondaatje 148-149) Patrick’s curiosity drove him to research the workers of the Bloor Street Viaduct, in turn allowing Patrick to give Nicholas proof that he has been remembered by history, giving Nicholas the peace of mind he desires in order for him to tell his stories of the bridge. Secondly, Patrick carries out Alice’s legacy of rebelling against the rich which link Patrick to the umbrella
The man, Bob, has invested his life savings into an old, rare car. Although the car means a lot to him he has been unable to insure it, therefore he must be very careful with it. Bob not only greatly enjoys driving the car, he plans on selling it once he is retired and plans on living off of the profits for the rest of his life. One day Bob decides to go park down on the railway siding and take a walk. As he is going along, he notices a train coming wildly down the tracks and it is heading straight for a child.
Although Bob Jones is angry, he drives a new car and is employed. Easy Rawlins served in World War II and is an unemployed factory worker who is on the verge of losing his home. In Bob Jones' story his nightmares become his reality as he is overcome by external forces and inner turmoil. Easy Rawlins is not consumed by anger and accepts his circumstances and at the end of his story is a landlord and an independent business man. Bob Jones moved to Los Angeles from Cleveland because he was tired of being passed over for work while white boys were hired.
The author goes on to explain the diapers of the boy’s siblings that were in “various stages of anarchy” (8). The choice of words lets the readers know just how bad of a condition the diapers were, showing the readers just how that the “Kool-Aid wino” and his family were living. The figurative language used in this piece plays into the imagery of the story as a whole., When Brautigan uses a simile “ the car wobbled back and forth on the road as if the driver were having an epileptic seizure” (14) to show just how abused to car really was in town. But yet the grocer continued
Yunior felt like the van was the reason of his vomiting, “I’d never had trouble with cars before and that van was like my curse” (Junot, 172). He only experiences carsickness in his father’s lime green van. Yunior first met his father’s mistress during a trip in the van, which could be the possible reason why he associates the vehicle with the cursing emotional distress of learning of his father’s infidelity. Maybe every time he is in the van, he is somehow reminded of the traumatizing encounter. However, throughout the trauma Yunior shares the enjoyment he experienced while spending time with his father, even if it was only on short trips in Papi’s van.
“Yes, it all makes sense. The pathetic car. The obsessive watchfulness and abhorrent vigilance with money (Zusak 213).” All of these actions that Ed had just simply accepted, now had a crucial story to tell. And being able to face his friend and move out of the don’t-ask-don’t-tell comfort zone they had been in, Ed matures. “Marv cracks… His hands appear to be dripping from the wheel.
On his 21st birthday he drives to Koodup to meet his family. At first they can’t recognize him but that change quickly. They celebrate his birthday, and Billy’s younger brother and cousin decides to borrow Billy’s car, to drive after something to drink. When they come back, they had a surprise gift for Billy. It was a gold watch.
To Maisel, that would be the smart thing to do, but I don’t agree with his opinion on the matter. I don’t need to stay within my intellectual boundaries. To achieve any of the goals I have for myself, I need to step out of my comfort zone. Sometimes that the only way you can figure out if a type of work is right for you. In Maisel’s own words he says “We are brighter on some days and duller on others.” With this in mind, proving that you can go beyond your native intelligence, is that much easier.