Such usage occurs after a ballerina issues this warning, “‘If you see this boy,’ said the ballerina, ‘do not - I repeat, do not - try to reason with him.’ There was the shriek of a door being torn from its hinges.” (4). Vonnegut takes advantage of the non-referential there’s ability to redirect the topic or change the focus; consequently, the reader - having no time to think on the urges offered by the ballerina - instead procures the shrieking sound of a door, ripping from its hinges. just like the occasional earpiece sounds, these non-referential there sentences are also scattered rather evenly throughout the entire text, suggesting how the earpieces are equivalents to the non-referential there. So when the reader begins to think an important thought, that thought is never completed because the non-referential there interrupts the thought by changing the focus. At the end of it all, Vonnegut ensnares and masters the reader’s freedom to think by structuring the story as a handicap of its
Such usage occurs after a ballerina issues this warning, “‘If you see this boy,’ said the ballerina, ‘do not - I repeat, do not - try to reason with him.’ There was the shriek of a door being torn from its hinges.” (4). Vonnegut takes advantage of the non-referential there’s ability to redirect the topic or change the focus; consequently, the reader - having no time to think on the urges offered by the ballerina - instead procures the shrieking sound of a door, ripping from its hinges. just like the occasional earpiece sounds, these non-referential there sentences are also scattered rather evenly throughout the entire text, suggesting how the earpieces are equivalents to the non-referential there. So when the reader begins to think an important thought, that thought is never completed because the non-referential there interrupts the thought by changing the focus. At the end of it all, Vonnegut ensnares and masters the reader’s freedom to think by structuring the story as a handicap of its