Though right-handed, she took her left arm from the seat-back to press the dashboard cigar-lighter for Uncle Karl. The brown hair on Ambrose’s mother’s forearms gleamed in the sun like. This procedure may be compared to the way surveyors and navigators determine their positions by two or more compassbearings, a process known as triangulation. It is also important to “keep the senses operating” when a detail from one of the five senses, say visual, is “crossed" with a detail from another, say auditory, the reader’s imagination is oriented to the scene, perhaps unconsciously. Their mother, sitting in the middle of the front seat like Magda in the second, only with her arms on the seat-back behind the men’s shoulders, wouldn’t want the good old days back again, the steaming trains and stuffy long dresses on the other hand, she can do without Autogiros, too, if she has to become a grandmother to fly in them.ĭescription of physical appearance and mannerisms is one of several standard methods of characterization used by writers of fiction. It’s all part of the deterioration of American life, their father declares Uncle Karl supposes that when the boys take their families to Ocean City for the holidays, they’ll fly in Autogiros. Nowadays (that is, in 19-, the year of our story) the journey is made by automobile - more comfortably and quickly though without the extra fun though without the camaraderie of a general excursion. Many families from the same neighborhood used to travel together, with dependent relatives and often with Negro servants schoolfuls of children swarmed through the railway cars everyone shared everyone else’s Maryland fried chicken, Virginia ham, deviled eggs, potato salad, beaten biscuits, iced tea. When Ambrose and Peter’s father was their age the excursion was made by train, as mentioned in the novel The 42nd Parallel by John Dos Passos. Thrice a year - on Memorial, Independence, and Labor Days - the family visits Ocean City for the afternoon and evening. Is it likely, does it violate the principle of verisimilitude, that a thirteen-year-old boy could make such a sophisticated observation? A girl of fourteen is the psychological coeval of a boy of fifteen or sixteen a thirteen-year-old boy, therefore, even one precocious in some other respects, might be three years her emotional junior. Interestingly, as with other aspects of realism, it is an illusion that is being enhanced, by purely artificial means. It is as if the author felt it necessary to delete the names for reasons of tact or legal liability.
Initials, blanks, or both were often substituted for proper names in nineteenth-century fiction to enhance the illusion of reality. En route to Ocean City he sat in the back seat of the family car with his brother, Peter, age fifteen, and Magda G_, age fourteen, a pretty girl an exquisite young lady, who lived not far from them on B_ Street in the town of D_, Maryland. Talking soberly of unimportant or irrelevant matters and listening consciously to the sound of your own voice are useful habits for maintaining control in this difficult interval. Italics mine.Īmbrose was “at that awkward age.” His voice came out high-pitched as a child’s if he let himself get carried away to be on the safe side, therefore, he moved and spoke with deliberate calm and adult gravity. If passages originally in roman type are italicized by someone repeating them, it’s customary to acknowledge the fact. Italics are also employed, in fiction-stories especially, for “outside,” intrusive, or artificial voices, such as radio announcements, the texts of telegrams and newspaper articles, et cetera. A single straight underline is the manuscript mark for italic type, which in turn is the printed equivalent to oral emphasis of words and phrases as well as the customary type for titles of complete works, not to mention. He has come to the seashore with his family for the holiday, the occasion of their visit is Independence Day, the most important secular holiday of the United States of America. For Ambrose it is a place of fear and confusion. FOR whom is the funhouse fun? Perhaps for lovers.
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