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The Official Site of A. E. Mus
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Purpose |
Essay List |
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Essays
Robert Penn Warren's poetic style and frequent use of vivid place narrative description provide the detailed character development for which his book, All the King's Men is well known. Some key examples of this are Jack Burden's mother's house, Judge Irwin's house, and the apartment Jack shared with two roommates in college. Each of these places reveal at least one important characteristic of the resident. The ever-changing living room in Jack's mother's house reflects her attitude towards men. "There was always a change in the room," Warren writes. "When I came home I'd always look around and wonder what it would be, for there had been a long procession of choice examples through that room, spinets, desks, tables, chairs, each more choice than the last, each in turn finding its way to the attic to make way for a new perfection" (114). Jack's mother treats men as she does her furniture, switching one for another as she looks for her idea of perfection. She is merely a shallow, discretely manipulative woman searching for the man she can love who has eluded her grasp for many years, even though he lives just down the street. The death of the Judge in Chapter Eight has a severe affect on her because of this character flaw. Judge Irwin is aptly described by his house as well, particularly through his favorite room, the library. The library exudes antiquity, as does the Judge, along with the wisdom he has gained with age. The library emphasizes this fact with "bookshelves that went up to the ceiling, full of old leather books, a lot of them law books, that got lost in the shadows up above and made the room smell musty like old cheese...a log crackled on the hearth and the clock in the corner, a big grandfather's clock, offered us the slow, small, individual pellets of time" (43). The amount of books in the library proves the Judge's love of knowledge, but it is the grandfather clock that truly personifies Judge Irwin. One can imagine the old clock with its wood richly aged, and the steady tick-tocking of the pendulum that will beat until the end of time. To Jack, the Judge seems as steady as the clock, so when Jack discovers the Judge's earlier deception, his pristine image of the Judge shatters. Although Jack is not without his own share of faults and flaws, he chooses to hide from them in bouts of the Great Sleep and self-deluded, philosophical drivel as is exemplified by his theorem of the Great Twitch. However, it is the Great Sleep that he chooses to use most often in college when he can no longer tolerate the inevitable corruption of his idealist views of Cass Mastern. As Jack digs deeper into the past, he confronts the baseness of human nature that afflicts both himself and the people he considers to be most innocent, most pure. The first Great Sleep acts as a catalyst for the further deterioration of Jack's idols; from there, Jack discovers Judge Irwin's blackened past, Governor Stanton's faithful cover up, and Anne Stanton's affair with Willie Stark. The grim description of Jack's college apartment foreshadows this progression by showing Jack's most severe character flaw: denial. "Jack Burden lived with them, in the slatternly apartment among the unwashed dishes in the sink and on the table, the odor of stale tobacco smoke, the dirty shirts and underwear piled in the corners. He even took relish in the squalor..." (158). Here, Jack even switches from first person to third person in an attempt to remove himself from the sloven condition of his apartment. He denies responsibility this way. He denies the wrongdoing around him, and, by denying, enables the continuation of wrongdoing as is the case with utter corruption of Willie Stark, which eventually leads to the death of the Judge. Jack also denies his part in the Judge's death by claiming that he had no more part in it than Mortimer L. Littlepaugh, and that "Mortimer and I were merely the twin instruments of Judge Irwin's protracted and ineluctable self-destruction" (352). These, and many other selections, demonstrate Robert Penn Warren's effective usage of vivid place narrative descriptions to provide intricate instances of character development throughout the entirety of his book, All the King's Men. By using place narrative descriptions for his characters, Warren allows the reader's imagination to take hold of a scene and use it as a template for further character analysis. This quality has made Robert Penn Warren's All the King's Men the book to read for examples of place narrative description.
An old man sits in a rocking chair, and both are upholstered with faded red paisleys. The old man, my grandfather, sits with his back ramrod straight against the chair and his neck inclined forward as he peers out the large bay window. His pale blue eyes have grown watery with age, but it is water over steel and makes them none the softer. My grandfather watches the birds, but they don't watch him back.
So the man sits in the chair and rocks with a steady creaking and cracking that beats in time with the ticking and tocking of the clock on the wall. The arm of the chair cups his own arm, the one with hole worn in at the elbow of the faded red sleeve, while the other arm lays in his lap. The man lifts the arm with the hole in the sleeve to scratch at the crown of his head. His fingernails need trimming. The man's hair is cropped so close to his skull that the scalp peeks through, but it is a good look, a nice look, for his hair is still thick and sturdy and white as ice or snow. Below the man's hair and over his steely blue eyes crawl two wild, woolly caterpillars trying to pass as eyebrows, but no one is fooled, and the caterpillars bristle slightly in indignation. The man's jowls droop, dog-like, but the corners of his mouth set themselves in a thoughtful smile that pulls the skin a little more taut around his sloping jaw line and square-ish chin. Granddaddy takes in a deep breath of air that smells like Standard Cookies, for that is what is baking in the kitchen, and he exhales the air that is in old people. However, his air is not the antiseptic air of frail old people, but the vibrant air of mothballs and musty books that not-so-frail old people like to keep around to make their houses smell like wisdom. In Granddaddy's lap lies a letter, which he has written in his scrawling print and sighed, "T. O. M. –The Old Man." The letter is addressed to my father, but it won't be mailed today. It won't be mailed because Granddaddy is watching the birds, and the birds are watching him back.
Wet bamboo leaves slapped my face as I walked the cedar mulch path, the small bits of bark crunching under my rubber-soled shoes. The air burned against my skin. Rivulets of sweat ran down my face and damp hair plastered to my neck in dark springy curls. Dew from the bamboo threatened to drip in my eyes, but I couldn't wipe it away; I carried a shiny metal bowl full of scratch and chopped green in one hand and a five-gallon bucket of water in the other. My shoulder was stiffening from the strain of the bucket's weight, pulling me off-balance.
I weaved a little as I followed the path, tripping along, my toes catching on the tiny lumps in the ground. I ducked under something that looked like a fig tree, but I knew differently; fig trees don't grow in South America. Carefully, I eased over the low, wooden fence and emerged in a dark, cramped alcove where the tall bamboo snuffed out all the light. I crushed the dry, dead undergrowth as I sidled over to the wire cage. I set the water bucket in a clear, level spot on the ground and put the metal bowl on the flattened top of the fence post. I knew it would not spill there. At eight thirty in the morning, very few people come to visit the Chattanooga Zoo. I shoved my hand into my jeans pocket and dug out the square, blue-lock key Reagan gave me that morning. My usual zookeeper, Jennifer, would always give me a copied key that couldn't open some of the locks, but that day I had the real thing. Pride bubbled at the back of my throat as I inserted the key into the lock and gave it a deft twist. Not every volunteer got a blue-lock key. Of course, not every volunteer came in at seven forty-something in the morning, five days a week for six weeks of her precious summer to melt in the heat of the sun as she fed all varieties of exotic animals and scooped just as many varieties of exotic poop. But I felt privileged; that day I held in my hand the key that unlocked every gate and door in the zoo (exempting the concession stand—which I found utterly unimportant). The lock on the wire door fell open and I unhooked it from the thick chains it bound together. I fed the chain through the hole in the door until I heard the links jangle against the wire gridding of the cage on the other side. I knew it had dropped loose. I grabbed the bowl of food with my left hand and took the bucket in my right hand as I nudged the door open with my foot. I squeezed through, then set the water bucket in front of the door so it wouldn't swing open when I let it go. The George's pheasant cocked his head to the side in a very bird-like manner as he watched me from his big, tree limb perch. He made an inquisitive chirp that reminded me of Chicken when she's hungry, and I smiled at him, swapping out his empty bowl for the full one, then scrubbing and replenishing his water dish before leaving. The red and gold bird hopped down from his perch, throwing mulch into the air when he landed, and ran over to his bowl, his yellow-crested head bobbing turbo-speed with each step. I picked up a mealworm that had dropped from his bowl and tossed the bug to him as I locked the door, pulling the chain as tight as possible so he couldn't wriggle through the gap between the edge of the door and the post. I gathered up the pheasant's dirty dish and my bucket and stepped back onto the path. I'd fed the macaws and the pheasant, and cleaned both the kinkajou exhibit and the cages by the jag building; all I had left was to wash the windows. I went to the jag building to exchange the bucket for a squeegee and the bowl for a towel and a bottle of window cleaner, then headed to the Mayan ruins across from the pheasant. I vaulted the double-containment barrier and knelt on the fake stone ledge in front of the window of the exhibit. Sasha watched me as I sprayed the window, squeegeed the liquid off, then rubbed it dry. She followed the back and forth rhythm of the towel with her hypnotic green-gold eyes as she crouched on the other side of the glass. Her tail flicked irritably—once, twice—then she attacked, her sharp claws screeching against the thick glass and he long canines showing sharp and yellow. My mouth twisted into a lop-sided grin, only a few inches away from her snarling visage. "Good morning, Meanness," I said. Sasha's ears twitched back briefly and she laid down beside the window in a calm, sphinx-like pose. She gave me a wry look. Good morning, human, the jaguar seemed to say, her eyes narrowed begrudgingly. I shrugged and began to whistle a tune I learned from a mocking bird as I worked.
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