Maya Angelou’s “Sister Flowers,” Gorden Parks’ “Flavio’s Home,” and George Orwell’s “Shooting an Elephant,” are examples of skillful writing. This is because their demonstration of different tones, imagery, and diction used in all three short stories creates a real sense of sorrow felt by the reader. One may think that it is through shared experience that the reader is able to feel what is conveyed by the author, however, it is through actions and events common to one’s experience that the reader is truly able to feel what is written. As the reader compares the three different short stories, the tones of “Sister Flowers” and “Flavio’s Home” have the same tone of hopefulness, but in “Shooting an Elephant,” this short story has a different tone of selfishness. When
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In addition, the simile of the biscuit is another tool she uses to convey this type of imagery. It is the displeasing feeling associated with gross, stale food that is being applied to the emotions of Angelou’s character, and this assists the reader in understanding or feeling the same sorrow through them. Now, sorrowful imagery much the same as Maya Angelou’s “Sister Flowers” is shown in the text of Gorden Parks’ “Flavio’s Home,” when: “No longer smiling, he suddenly had a look of an old man and by now we could see that he kept the family going. In the closed torment of the painful shack, he was waging a hopeless battle against starvation. The da Silva children were living in a coffin” (“Flavio’s Home,” Longman Reader, 97). The diction that is represented in Gorden Parks’ “Flavio’s Home,” draws the reader in to what Parks’ uses: “The da Silva children were living in a coffin” (“Flavio’s Home,” Longman Reader, 97). This line is similar to Angelou’s biscuit, similar in the way that a coffin is no place for someone to
In addition, the simile of the biscuit is another tool she uses to convey this type of imagery. It is the displeasing feeling associated with gross, stale food that is being applied to the emotions of Angelou’s character, and this assists the reader in understanding or feeling the same sorrow through them. Now, sorrowful imagery much the same as Maya Angelou’s “Sister Flowers” is shown in the text of Gorden Parks’ “Flavio’s Home,” when: “No longer smiling, he suddenly had a look of an old man and by now we could see that he kept the family going. In the closed torment of the painful shack, he was waging a hopeless battle against starvation. The da Silva children were living in a coffin” (“Flavio’s Home,” Longman Reader, 97). The diction that is represented in Gorden Parks’ “Flavio’s Home,” draws the reader in to what Parks’ uses: “The da Silva children were living in a coffin” (“Flavio’s Home,” Longman Reader, 97). This line is similar to Angelou’s biscuit, similar in the way that a coffin is no place for someone to