The Owl and the Pussy-Cat by Edward Lear | Analysis

The Owl and the Pussy-Cat by Edward Lear | Analysis The Owl and the Pussy-Cat In this essay I will be analysing Edward Lears poem ‘The Owl and the Pussy-Cat (Appendix 1), first providing a technical stylistic analysis concentrating on sound patterning, secondly locating its place in the history of poetry for children, and thirdly how the poem envisages childhood. Written in December 1867 for the daughter of a close friend of Lear, it was first published in an anthology by Lear entitled Nonsense Songs, Stories, Botany, and Alphabets (1871). Since then it has been published, illustrated, translated, and set to music many times. In 2001 it was voted Britains favourite poem. Lear uses simple, but creative language to tell the enchanting story of the voyaging sweethearts; the incongruous bird and cat. Comprising three stanzas, each eleven lines long, it consists of twin ballad quatrains and a three-line refrain, composed in a distinctive iambic metre. The rhyme scheme is ‘abcbdefe alternating between four and three stressed syllables per line, followed by the refrain ‘eee consisting of two lines with just one stressed syllable, and a final line with three. This uniform rhyme scheme not only gives the poem musical structure, but also coheres the very different parts of the story. The rhythmic parallelism of the refrains, in which all three lines end with the same stressed word, is a strict pattern in itself and foregrounds this part of the poem as it takes on an incantatory feel. Although the refrains are not the dominant structure of the poem, they do add musical reinforcement. The regular metrical pattern is what gives the poem its rising rhythm (anapests) and sing song form and there is little to disrupt the flow of the rhythm, or the story. The aim then is simplicit y and repetition; indeed the first instance of repetition occurs in the opening line, which features the poems title words thereby reaffirming the focus of the poem. But in the first stanza, the most noticeable sound pattern is the concentration of /p/ sounds; a phonological parallelism that extends across the text with the words ‘Pussy, ‘pea, ‘plenty‘ and ‘pound as well as occurring in ‘wrapped and ‘up. The recurrence of this plosive consonant emulates the plucking of guitar strings, which not only enhances the rhythm but also the visual effect of the serenading owl. While the plosive /p/ in ‘Pussy paired with the /b/ in ‘beautiful is not quite alliterative, it is sonorous and seductive of music, reflecting the depth and passion of the owls endearments. Note, too, that Lear also uses punctuation to emphasize meaning; the exclamation marks at the end of lines ten and eleven denote an expression of the owls feelings suggesting tha t the relationship is indeed more than just friendship. In addition to repetition and alliteration, Lear employs strong full rhymes to reinforce sound, meaning and rhythm, and they play an active part in the mood and purpose of this poem. Perfect end rhymes are the most noticeable, but there are also strong internal rhymes, namely occurring in every third line of each stanza, but also in the fifth line in the second and third ones. This mix of one and two syllable rhymes act as a sub-refrain bringing the song sound ‘round and round again to our ears while the text becomes more and more whimsical. Sound and musicality are further brought to our attention by the chiming end rhyme between ‘sing and ‘ring in lines thirteen and fifteen. The words are bright and short, as is the vowel sound, but followed by the consonant /ng/ the sound is extended, and the repetition of ‘ring in the refrain helps to mimic the ringing of a bell where we may hear the onomatopoeic resonance of ‘bong (from ‘bong-tree). The third stanza culminates in a concentration of internal and assonant rhymes which conjure a visual and aural feast to match the wedding banquet itself, with the final lines evoking the who-o-o, who-o-o of an owl through the long vowel /oo/ in ‘moon. All the qualities of song are present: pleasure, ease of repetition, memorability, rhythm, rhyme and refrains. The apparent spontaneity of these elements emerge from very traditional principles and Lears witty organisation. Besides musicality, the other main feature of the poem is ‘word-play with Lear incorporating occasional invented words: ‘bong-tree, ‘Piggy-wig and the nonsense adjective ‘runcible. As well as having a humorous effect, they introduce elements of spontaneous fantasy that punctuate the surreal journey of the anthropomorphised animals. Although these words appear made-up they still remain, just, within our normal expectations of English. However, the fact that they do deviate from the poems surrounding simple language means they are foregrounded, thus, the reader/listener pays particularly attention to them because they are satisfying to say without necessarily having to make sense. Even though ‘runcible has no actual meaning (although it has since been popularly defined as a three-pronged fork curved like a spoon) it has a phonological playfulness with the rolling of the ‘r in ‘run followed by the two syllables in ‘cible. The hyphenation o f ‘Piggy-wig actually incorporates the phonemes and meanings of two words, ‘pig and ‘wig, managng to succeed as an internal rhyme. While the inclusion of these words doesnt really add anything to the meaning of the phrase, they do at least sustain, and quite possibly strengthen the rhythm. It is not until the final stanza that the rhythm is disrupted slightly by the ‘running over of line twenty-three into twenty-four without a pause. The effect of this enjambment is that we are hurried on to a pivotal stage in the story, the point at which a transaction occurs. The caesura at the word ‘ring creates not just a pause, but also a brief tension as we await the pigs answer. Note, too, that the direct speech in these lines references traditional marriage vows reinforced by the stress on the words ‘willing and ‘will. Furthermore, this transaction also brings the ‘real world nearer to the surface. Without a ring the marriage cannot take place. Only when the ‘deal has been done can the tale, and thus the poem, continue as before. Once the regular rhythm resumes it drives the narrative onward, ending with feline and fowl dancing ‘hand in hand, on the edge of the sand†¦by the light of the moon. Imagery created by the moonlight (traditionally invoked as being romantic) means the enchantment of the scene dances on with the fantasy sweethearts and is where the reader/listener has to leave them. In spite of the whimsical narrative and word-play the poem is solidly anchored by the strong iambic ‘gait woven through the traditional ballad form of tetrameter and trimeter. The rising rhythms move the poem along whilst being controlled by the full and stable rhymes, making it very satisfying. Lears talent first saw the light of day in A Book of Nonsense (1846) containing a collection of his limericks and amusing illustrations which proved an immediate success with readers and critics. Lears work, along with that of Lewis Carroll, developed and popularised nonsense literature, especially with regard to their use of ‘nonsense words, thus, it is often seen as a distinctively ‘Victorian genre. But literary nonsense existed long before this and, as Styles points out in her essay about the history of poetry for children, can be traced back to the ‘wildness of the nursery rhyme (Styles, p. 211). These ancient and traditional rhymes from the oral tradition, familia rly known as ‘Mother Goose rhymes, are a collection of verses, lullabies, rhymes and tunes offering humour, repetition and storytelling, although few were originally created or intended for children. Eighteenth century poetry considered suitable for children was mostly didactic or moralistic, and often mean-spirited. Its chief aims were concerned with saving the soul and creating good character and, like other childrens literature, mostly reflected the ideas that adults held about what children should be interested in. But as Puritanism waned and new ideas about childhood emerged, poetic collections written specifically for children began to appear. Tommy Thumbs Song Book (1744) was the first attempt to put nursery rhymes from the oral tradition into print, and two collections from William Blake in 1789 and 1794, although not specifically written for children, did capture the essence of childhood. Other volumes of child-centered poetry appeared in the early part of the ninetee nth century, and even though poets at this time continued to follow in the same moralistic tradition there was a growing interest in childrens emotions and experiences. The mid and late nineteenth century produced Stanzaan abundance of poetry for children, including that of Lear, which coincided with the changing views on childhood. Although the roots of nonsense verse are earlier than the nineteenth century, this is the period the most celebrated and notable examples appear. Lears limericks and nonsense rhymes were not just enjoyed by children, but also by adults, who found them a welcome relief from the restrictive teachings of the Church and Victorian society in general. These witty and humorous rhymes were fun to read aloud and easy to remember. But Lears work is not just distinguished by his linguistic play; it also included eccentric and comical drawings. Although his illustrations for ‘The Owl and the Pussy-Cat are somewhat conservative in that the animals are depicted quite realistically and appear expressionless, they do offer an interpretative effect and would have greatly enhanced the impression of the poem at the time of publication. By contrast, the single illustration in 100 Best Poems for Children (Puffin, 2002) is unsophisticated and childlike. While the small brightly coloured picture does offer a modicum of interpretation, in the context of the anthology its purpose is more generic and there is very little for a child to linger over. The lack of illustrations implies that the value of the text is greater than the visual component, and that the anthology is aimed at the older child who can read independently. Indeed, the publishers own website advertises it for an age group of eight to twelve years. Intere stingly, Montgomery points out that the book ‘includes rhymes for the (just) pre-schooler (Montgomery, p. 137) which suggests that the purpose of this anthology is not just for children to read alone, but also by parents, or in the classroom. Certainly part of the appeal and enduring popularity of ‘The Owl and the Pussy-Cat is that it lends itself to group choral reading. The poems jaunty rhythm, playful rhymes, nonsensical words, and the enchanting tale it tells all conspire to grab a childs attention. Creative words and light hearted verse mean children can explore language and enjoy words for their sound and the images they conjure without it necessarily having to make sense. Although the story is reminiscent of fairytales, it is the ‘nonsense words that distinguish the ‘real world from make-believe. Whether the child believes that owls and pussycats really do sail away and get married in the moonlight is irrelevant: a story, especially one told in the for m of a poem or song, is understood by the child to be part of play and the imaginative world, not the ‘real one. The rhythm and sound-patterns of the poem are more important than the potential ‘reality or credibility of the tale being told. However, the prioritising of sound and rhythm over sense and ‘realism does not mean that this ‘nonsense poem is meaningless. Lear plays on the sound of words, but with or without the nonsensical elements logic still exists and it is a perfectly coherent tale of romantic love. Yet themes emerge in terms of different depths as well as in terms of being central or peripheral. The surface topic, the one most appealing to children, is a jolly tune about animal adventures hinting at love and a comedy of marriage. On another level it is a strange pairing of species and events set to a rather hypnotic rhythm. Deeper down still, both protagonists are carnivores and night hunters. The poem then is not just about innocent ‘nons ense, but also something uncanny. Lear manages to achieve a balance between elements that seem to make sense and elements that do not; a fanciful tale set against the solid foundations of traditional song, familiar everyday language and image unfamiliarly juxtaposed, conventional but also childish. It gratifies the childs appetite for the musical and for the strange. The organisation of the rhythms, rhymes, and nonsensical words gives the poem a whimsical, and yet compelling narrative than lodges in the mind of the adult as well as the child. All these elements contribute to making it entertaining and memorable: ‘nonsense that delights the ear and the imagination.

Migration Plan from UNIX to Microsoft Server

Migration Plan from UNIX to Microsoft Server Data Migration is the process of transferring data between different storage types, servers or formats. It’s not just about copying data, but also about validating the data according to constraints and since different databases uses different data types, this step also include modifying the data as per the target server. One essential requirement is that the data migrated should verify the Business logic to run applications smoothly on target server. Migrating from one server to another can be a tricky situation. There are various challenges while migration of full data from UNIX server to Microsoft Server. First of all the user should completely understand the data sources and their proper formats. Usually, too many spreadsheets or excel files, or redundant data may affect proper migration. Wherever possible, instead of manual, automated systems should be used. Microsoft offers MAP (Microsoft Assessment and Planning) tool to identify the various constraints, or issues that might occur while migrating from UNIX platform to Microsoft server. Moreover, SSMA (SQL Server Migration Assistant) can further help in performing the migration. SSMA can create mapped schemas to UNIX server, which helps in easy migration of data. It is essential that the all applications like email, finance systems, personal records, CAD/CAM engineering facilities, production systems, Sales Marketing databases, Website etc. should run smoothly after migration. There are various underlying steps that need to be taken care of for easy and error-free migration, as explained below: Recognizing the pattern-Template Creation: To begin migration, first we’ll have to understand the schema of UNIX database. We’ll create a template consisting of master data key objects. The template has following two sections: Section 1: Key Data Fields: In the first section of the template user will provide the key values, such as storage objects material, address etc. Usually, in key field columns, drop-down lists are provided for accurate and easy entry of data. Section 2: Derived and Default Fields:Based on the key field values, various fields can be derived based on the Business translational logic. For example, using the production unit key field the template will determine the employee names working in it. For different production units, different employee names will be automatically derived by the template. The default fields like, â€Å"currency used† will be automatically updated. Process of Migration: The process of migration is summarized on the figure below: Figure-1 (Source: Ranga Rao Davala, Nikhil Singh, 2011, A Case Study on Data Migration Strategy, The Data Administration Newsletter, Robert Seiner Publishers.) Select Source:Due to various applications running on UNIX server, the data will be spread across many sources like different DBs, excel files or spreadsheets. In this step, user will identify the various data sources that are to be migrated. The selection of sources will be based upon the requirements in the project, according to which what data needs to be migrated can be identified. Data Fields Mapping:This is an essential step, where the schema or key fields from source system are mapped to target system. The field names in target schemas should be kept similar to source schema for easy mapping. This step is usually done manually for error-free mapping. Usually the different database servers will have different underlying data types. For example, Integer’s maximum and minimum limit in UNIX server is different from in SQL Server. The mapped data, therefore, should be transformed according to destination server data types. Data Transformation:This is where the template we created will come in picture. User will manually enter the key field values in the template and based on that all the derived and default field values will be generated automatically. Moreover, in this step, the user will transform the data based on the difference between data types of both servers. Validations and Constraints:This step is to ensure that the data entered in the template is accurate. The template will gray out the field which are entered wrong or doesn’t qualify the constraints, such as mandatory fields, null values etc. This step will help in minimizing errors and improving the quality of data. Extract Files:Once the data is entered into the template, the master data objects are extracted or generated. Load files:The load files are in text format, and they can be generated in single click by macro-enabled extract files system. This step ensures that data present in the text file is in exactly the same format as we require in the Microsoft system. Loading data in Microsoft Server:The data is loaded in batches. Since there are multiple applications running on UNIX system that are to be migrated, this step may take several hours to complete. Web server migration (FTP or HTTP Websites) Once we have completed the initial steps of creating a template and selecting the proper migration tools, we can begin full migration from UNIX to Microsoft server i.e. IIS. We must follow following steps: Assessment of hardware requirements and acquiring new hardware if required. We can begin migrating FTP or HTTP websites by copying their content to destination server. Next step is to replicate Web application files to destination. Migration of log files. Migration of Web server configuration settings. The last step is to create security settings and user permission and roles. DHCP/DNS Migration: The process of migrating UNIX server DHCP/DNS services to Microsoft Windows Server DHCP/DNS servers requires the following steps: Install Microsoft Windows Server DHCP/DNS Services Manually Configure Microsoft Windows Server DHCP/DNS Services Create Forward and Reverse Lookup Zones: Creating lookup zones will make sure that Microsoft server is authoritative for the DHCP/DNS names for local resources and forwards other queries to an ISP or performs recursive resolutions. Add secondary zones to Microsoft Windows Server DHCP/DNS for the existing zones that are hosted on UNIX based DHCP/DNS servers. In this step we’ll initiate zone transfers at the Microsoft Windows Server-based DHCP/DNS servers to transfer the zones from the UNIX servers. After the transfers are successful we will convert secondary zones into primary zones. In the last step, we’ll point client configurations to Microsoft Windows based DHCP/DNS Servers. Avoiding downtime while migrating: We can avoid the downtime while migration by reconfiguring our sites to connect to our new database remotely. Using this way, our users or visitors will be redirected to new site and all the updates will be saved to new server. This technique is, though, very complex, but it will minimize the downtime to a great extent. We can summarise this process in following steps: Transfer the files, DBs and important settings to the new server. Then we can test our site on the new server to check if it’s working as expected. After two steps are successfully completed, we will change the various database settings on our site, to make sure that the old server accesses the DB from the new server. Then we’ll modify the name servers and DNS and point them to the new server.

Business Trip Encounter with SARS :: Personal Narrative China Travel Essays

Encounter of the Worse Kind My scheduled flight to Hong Kong was delayed because of a conference meeting that ran over in New York. I rescheduled for the following week on Tuesday, February 21, 2003. I arrived in Hong Kong and met my business contact and headed off to the conference at the Metropole Hotel. Something seems odd here, unlike my trips before. There are people with masks on everywhere. I asked my business contact what was going on. He said there was some kind of flu going around. I have never seen so many people with masks on before. In the U.S. people rarely put on masks even if they have the flu. He also said that a lot of people are sick and some have died from it. It seems odd that people would die from catching the flu; I mean nowadays who dies from getting the flu. We finally arrived at the conference and I met my clients. Most of the clients seemed sick but were determined to finalize the deal. Some of them were coughing and some had sore throats. I was afraid I would get sick from being too close to them and I tried to take precautions by taking cough drops and Tylenol when I felt I was coming down with the flu. I was glad when the meeting was over. The contract took two days to iron out all the details. Since the meeting went well I decided to stay in Hong Kong for a little longer. I needed a break from work and wanted to go sight seeing. I have been to Hong Kong a couple of times but never had the chance to see the countryside. The following morning when I woke up I started to cough and was running a fever. I was probably infected from the close contact of the sick clients. So I decided to stay in and rest for a while. I was sleepy and couldn't get up from my bed. The next day it got worse. I had a sore throat and had muscle pain. I've never been this sick before and I thought to myself that it was due to getting older and my immune system not being up to par. I have been very busy lately and my stress level has been up more than usual.

The Ineptitude Of The United S :: essays research papers

"We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness." Those are the opening lines to the Declaration of Independence. The Declaration of Independence was written in 1776. Yet, slavery continued in the United States for nearly ninety years after this document declared that "all men where created equal," and those "unalienable rights" are still not shared by everyone in the United States. The U.S. has been lacking in its responsibility to its citizens. The state responsibility for human and civil rights must be expanded in the United States. In December 1948, the General Assembly of the United Nations adopted the Universal Declaration of Human Rights. The thirty articles of the UDHR were developed to provide a clear definition of human rights. It then became the responsibility of the states of the United Nations to protect those rights. This is where the United States is lacking. The U.S. is one of the founding nations of the United Nations and one of the most influential, yet it has failed to take adequate state responsibility for human rights. Before the ineptitude of the United States can be discussed, the concept of state responsibility for human and civil rights must be clearly defined. The Merriam-Webster Dictionary defines state as "a politically organized body of people usually occupying a definite territory," and responsibility as "moral, legal, or mental accountability." These definitions of state and responsibility can be interpreted and combined to provide a literal definition of state responsibility. The definition of state responsibility could then be seen as "the moral and legal accountability of a government." A concise notion of state responsibility for human and civil rights would then be congruent to "the moral and legal accountability of government for life, liberty, security, and any other finite right of a person." With the concept of state responsibility for human and civil rights having been defined, the extent of state responsibility in the United States can be discussed. Rhonda Copelon once noted, "†¦the most limited conception of state responsibility [in the United States] has been essentially dismantled." Copelon also made a statement to the effect that rights in the U.S. are limited to constraints on government and that they do not reach private conduct or include the most basic social and economic needs.

Character Motivations in The Crucible Essay -- Arthur Miller

Motivations In the play, The Crucible,by Arthur Miller.Many characters have desires that drive them to pursue certain things.This affects the plot in many ways.In this puritan society,people strongly cared what other people think of them and how their reputation stands in the village.They always strive to make sure their actions reflect wisely on their names.A major motivation John Proctor,Abagail,and Parris share is pride in their names,which eventually leads to their ultimate downfall. When the play sets in action, John has had a past affair with his servant, Abigail Williams. His wife, Elizabeth Proctor, is very forgiving of his sin, but John has his mind set that he will not confess to anyone else, in fear of ruining his good name and reputation. The affair between John and Abigail causes the start of chaotic witchery and accusation. After the affair, Abigail becomes horribly jealous of Elizabeth Proctor. Proctor realizes there is only one way to stop all the witch hysteria in Salem, and that would be to admit to adultery which is considered a sin. . Also in the beginning R...

Bloom’s Research and Response Essay

Each domain has its own set of specific expectations. Bloom broke down his taxonomy into different levels of complexity. They are arraigned in a hierarchy from less to more complex. When teaching, the educator will use the levels so that mastery of the first level is necessary by the learner before the next level can be achieved. The Cognitive Domain focuses on knowledge and developing the skills of comprehension, it also uses critical thinking skills. There are six levels of complexity in this Domain: Knowledge, Comprehension, Application, Analysis, Synthesis, and Evaluation. The Affective Domain focuses on how the learner deals with emotions and with his ability to feel empathy for others. Bloom broke down this domain into five levels: Receiving (awareness), Responding (active participation in the learning process), Valuing, Organization, and Internalizing (values held that influence a behavior so it becomes a characteristic). The third domain, the Psychomotor Domain was not broken down into subcategories by Bloom but by Simpson in 1972. The Psychomotor Domain focuses on the ability to manipulate an object physically. This domain has seven levels: Perception, Set (readiness to act), Guided Response, Mechanism, Complex Overt Response (the ability to perform without hesitation), Adaptation, and Origination. When used, Bloom’s Taxonomy will provide the educator with a measurable way to assess the level of comprehension of the taught information by the learner (â€Å"Big Dog and Little Dog’s Performance Juxtaposition,† 2010). Nurses can use Bloom’s teaching method in educating patients with chronic diseases. First the nurse must assess the patient for level of understanding and readiness to learn. The nurse uses the Cognitive Domain to teach the patient about his specific disease and to facilitate understanding of all concepts associated with the disease and its treatments. In following the hierarchy the nurse would start with the simplest information and ideas and increase the complexity of the information after the patient has exhibited comprehension of the previously taught material. Using the Affective Domain the nurse helps the patient deal with his emotions related to his diagnosis and to attach a value to it. Once a patient has processed the information given to him, realizes the importance of managing his care and placing a value on its importance, he is ready to use the psychomotor domain. The educator uses the Psychomotor domain to teach the skills portion of education. Diabetics need to learn how to use blood glucose testing equipment; patients may need to learn how to self-catheterize these are just two examples of skills that nurses teach that fall under this domain. There are many areas of education a nurse teaches daily. One of which is the information given to patients with chronic diseases in order for them to achieve or maintain self-sufficiency. Bloom’s teaching method gives those patients the best chance at mastering the necessary information and skills needed to live day-to-day with a chronic illness.

Private Peaceful Essay

Have you ever felt like a character in the book that you are reading? Some authors write in such a way that makes the reader feel as if he or she were actually in the book. Michael Morpurgo is one of those authors. In Private Peaceful, he uses characterization, imagery, and setting to really help the reader understand and relate to the plot. Characterization plays a key role in making the reader relate to the plot. For example, in the beginning of the book, Tommy feels as if he does not belong in society. He is also dependent on Charlie and looks up to him to protect him and guide him through life. But, towards the end of the story, Tommy becomes completely independent and matures into a young, confident soldier. The situation shows the reader how war changes people not only on the outside but also on the inside. Another example is the friendship between Molly, Charlie, and Tommy. They had a deep friendship all through their early years and into their teens. Morpurgo then developed that friendship into a relationship between Molly and Charlie. This eventually excludes Tommy from the group and adds to the fact that he does not belong. The reader can relate to this if they have ever been excluded from a group or ever had a girl that they loved stolen form them. Another literary element that makes the reader connect to the book is setting. The setting is very detailed. The Peacefuls’ live in Hatherleigh, England which is near the southern part the United Kingdom. When Morpurgo describes where they live, the reader gains a picture of the setup of the town. He describes the house as an old cottage home which is next to a large hill. On top of that hill, the Colonel, the man that Tommy and Charlie’s mother works for and the man that owns their house, lives in his mansion. This provides an image that the reader can use throughout the story. Another example of where they live is the creek that lies just at the bottom of the hill where Molly, Charlie, and Tommy fished for trout when they were younger. This helps the reader connect situations to the picture that they already have of the layout of Hatherleigh. The setting then moves to France where Charlie and Tommy get thrown into the war. Morpurgo paints a mental picture of the setting as their bunker is right in front of no-man’s land and the enemy right on the other side of no-man’s land. He does this so the  reader has an understanding of how close the enemy is to Tommy. The final literary element used in this book is imagery. Morpurgo uses visual, auditory, and olfactory imagery in the book. He uses auditory when Charlie, Tommy, Hanley, and the rest of the squad are sitting in the bunker and Hanley is ordering them to make a break for it but Charlie ignores the order and the rest of the squad moves with Hanley. Morpurgo depicts the rattling of the machine guns and the screams of the soldiers that were cut short. The visual imagery is used when the wall of Germans are coming over no-man’s land. He describes the German’s as an invincible wall that cannot be penetrated until he sees the Germans’ falling to their knees and falling over. This helps the reader see the wall and the Germans’ falling to their knees. Olfactory imagery is used when he is in the bunkers in France. Tommy smells men that have not taken showers in weeks and the stench of death. The reader now has an understanding of what war and death smells like. This makes the reader feel as if he or she were in Paris. The literary elements in the story bring the whole story together. The characterization, imagery, and setting makes the reader connect to the book and not just understand it. This book really explains the cost of war on cities as well as the people in it.