Don, the man that infects Burrell’s family, describes, “He waited for the waters. In this bed he was alone. But if he was going to die, he wanted the sea to pick him up and carry him out where he could drown with everyone else” (47). In a dazed state, Don had CDC detectives swarm him, prodding him, and asking him questions and then vanishing the next day. Don understands that he cannot leave as the disease has completely consumed his strength and willpower. Don felt alone and trapped in his bed, let alone the hospital ward, and therefore he accepts the rushing waters as his savior from pain and suffering. Through Finley’s use of containment within a hospital, the sick sense hopelessness and stress due to the inability to leave and escape the massive flooding. Diaz’s “Monstro” deviates away from Finley’s interpretation of entrapment and instead, uses containment as an eerie symptom of the diseased and as a fuel source for geopolitical and humanitarian conflicts. The narrator describes the unexpected
Don, the man that infects Burrell’s family, describes, “He waited for the waters. In this bed he was alone. But if he was going to die, he wanted the sea to pick him up and carry him out where he could drown with everyone else” (47). In a dazed state, Don had CDC detectives swarm him, prodding him, and asking him questions and then vanishing the next day. Don understands that he cannot leave as the disease has completely consumed his strength and willpower. Don felt alone and trapped in his bed, let alone the hospital ward, and therefore he accepts the rushing waters as his savior from pain and suffering. Through Finley’s use of containment within a hospital, the sick sense hopelessness and stress due to the inability to leave and escape the massive flooding. Diaz’s “Monstro” deviates away from Finley’s interpretation of entrapment and instead, uses containment as an eerie symptom of the diseased and as a fuel source for geopolitical and humanitarian conflicts. The narrator describes the unexpected