Dillard, Annie. "Stalking." Ten on Ten: Major Essayists on Recurring Themes. Ed. Robert Atwan. Boston: Bedford of St. Martin's, 1992. N. pag. Print.
(1) Now the moment a muskrat’s eyes disappear from view under a bride, I go into action. (2) I have about five seconds to switch myself around so that I will be able to see him very well when he emerges on the other side of the bridge. (3) I can easily hang my head over the other side of the bridge, so that when he appears from under me, I will be able to count his eyelashes if I want. (4) The trouble with this maneuver is that, once his beady eyes appear again on the other side. (5) I am stuck. (6) If I move again, the show is over for the evening. (7) I have to remain in whatever insane position I happen to be caught, for as long as I am in his sight, so that I stiffen all my muscles, bruise my ankles on the concrete, and burn my fingers on the cigarette. (8) And if the muskrat goes out on a bank to feed, there I am with my face hanging a foot over the water, unable to see anything but crayfish. (9) So I have learned to take it easy on these five-second flings.
Wednesday, May 29, 2013
Passage Analysis of Dillard's 'Stalking'
In the essay “Stalking” Annie Dillard describes her adventurous and obsessive observation of muskrats and their interesting behaviors. The sixteenth paragraph in section two of the essay is almost directly in the middle, and leads to the rising action of the essay. It captures the anticipation felt before finally seeing the muskrat. This particular passage represents Dillard’s style as she combines the topics of nature with her clear sense of observation and instruction.
Dillard’s use of diction in the passage highlights the seriousness she takes in her muskrat stalking. She describes her quick movements as a “maneuver” which shows the professional nature she assumes in this task. She also states she may end her up in some sort of “insane position” that might “stiffen all [her] muscles, bruise [her] ankles on the concrete, and burn [her] fingers on the cigarette”. Her willingness to land in this “insane” state reveals her dedication to observing the muskrats, as she is entirely ready to remain stuck in a painful and fixed position. Dillard also uses very visual diction. The words “appear”, “disappear”, “view”, “emerges”, “eyes”, “appears”, “show”, “sight”, and “see” are all used throughout the passage. These words highlight the struggle Dillard is going through, which is actually spotting the muskrat.
Most of the sentences in the passage are roughly the same length with the exception of sentence five and seven. Sentence four is abruptly stopped by a period before becoming a complete sentence. Sentence five is the very short sentence which follows this. Dillard states “once his beady eyes appear again on the other side. I am stuck”. The period in the incomplete sentence represents what Dillard is trying to put across. If the muskrat emerges from the water, she is stuck in her incomplete position even if she has not completed her “maneuver”. The short sentence five highlights the quickness that she must have. Contrarily, sentence seven ends with an incomplete parallel clause. This could be Dillard’s way of communicating that all of these painful things could happen to her, if she does not complete her “maneuver” by the time the muskrat appears.
Sentence two begins a string of adverb clauses containing the word “that”. The use of the adverb clauses gives the essay a very instructional feel and is always followed by a detailed explanation from Dillard, such as “so that I will be able to see him very well”. Sentence three, four, and seven also feature these clauses. Dillard also uses copious verbal phrases. The verbal phrases emphasize how important her actions are in this endeavor. It is a completely physical moment that she is describing and the infinitive verbal phrases “to switch”, “to count”, “to be caught”, “to see”, and “to take” show how many actions she must complete in her “five-second flings”.
Many metaphors that Dillard uses are also present to describe her observation techniques. She refers her muskrat observing as a “show” which shows just how entertaining this small animal is to her. As far as her technique, she refers to it as both a “maneuver” and a “five-second fling”. “Maneuver” shows the serious of the technicality, while “fling” seems to suggest a lack of physical control. These two metaphors contradict somewhat revealing that Dillard finds this situation both serious, and perhaps a little silly.
The organization of the paragraph is also very instructional. The beginning of every sentence is typically followed by a reason or specific instruction. Sentence one for examples is “Now the moment a muskrat’s eyes disappear from view under a bridge, I go into action”. Dillard describes not only the moment or situation she is, but also her physical response, which adds to the instructional nature element of her essay. In the last senctence, Dillard says she herself has "learned to take it easy on these five-second flings”, which highlights the fact that Dillard has learned from her own instructions.
Dillard’s instructional writing is very key in her style. Dillard often makes her personal observations and relates it back to lessons she has learned. In this way, her essays become very personal.
Dillard’s use of diction in the passage highlights the seriousness she takes in her muskrat stalking. She describes her quick movements as a “maneuver” which shows the professional nature she assumes in this task. She also states she may end her up in some sort of “insane position” that might “stiffen all [her] muscles, bruise [her] ankles on the concrete, and burn [her] fingers on the cigarette”. Her willingness to land in this “insane” state reveals her dedication to observing the muskrats, as she is entirely ready to remain stuck in a painful and fixed position. Dillard also uses very visual diction. The words “appear”, “disappear”, “view”, “emerges”, “eyes”, “appears”, “show”, “sight”, and “see” are all used throughout the passage. These words highlight the struggle Dillard is going through, which is actually spotting the muskrat.
Most of the sentences in the passage are roughly the same length with the exception of sentence five and seven. Sentence four is abruptly stopped by a period before becoming a complete sentence. Sentence five is the very short sentence which follows this. Dillard states “once his beady eyes appear again on the other side. I am stuck”. The period in the incomplete sentence represents what Dillard is trying to put across. If the muskrat emerges from the water, she is stuck in her incomplete position even if she has not completed her “maneuver”. The short sentence five highlights the quickness that she must have. Contrarily, sentence seven ends with an incomplete parallel clause. This could be Dillard’s way of communicating that all of these painful things could happen to her, if she does not complete her “maneuver” by the time the muskrat appears.
Sentence two begins a string of adverb clauses containing the word “that”. The use of the adverb clauses gives the essay a very instructional feel and is always followed by a detailed explanation from Dillard, such as “so that I will be able to see him very well”. Sentence three, four, and seven also feature these clauses. Dillard also uses copious verbal phrases. The verbal phrases emphasize how important her actions are in this endeavor. It is a completely physical moment that she is describing and the infinitive verbal phrases “to switch”, “to count”, “to be caught”, “to see”, and “to take” show how many actions she must complete in her “five-second flings”.
Many metaphors that Dillard uses are also present to describe her observation techniques. She refers her muskrat observing as a “show” which shows just how entertaining this small animal is to her. As far as her technique, she refers to it as both a “maneuver” and a “five-second fling”. “Maneuver” shows the serious of the technicality, while “fling” seems to suggest a lack of physical control. These two metaphors contradict somewhat revealing that Dillard finds this situation both serious, and perhaps a little silly.
The organization of the paragraph is also very instructional. The beginning of every sentence is typically followed by a reason or specific instruction. Sentence one for examples is “Now the moment a muskrat’s eyes disappear from view under a bridge, I go into action”. Dillard describes not only the moment or situation she is, but also her physical response, which adds to the instructional nature element of her essay. In the last senctence, Dillard says she herself has "learned to take it easy on these five-second flings”, which highlights the fact that Dillard has learned from her own instructions.
Dillard’s instructional writing is very key in her style. Dillard often makes her personal observations and relates it back to lessons she has learned. In this way, her essays become very personal.
Works Referenced:
Dillard, Annie. "Stalking." Ten on Ten: Major Essayists on Recurring Themes. Ed. Robert Atwan. Boston: Bedford of St. Martin's, 1992. N. pag. Print.
Short Biography of Annie Dillard
Annie Dillard was born April 30, 1945 in Pittsburgh, Pennsylvania. She developed her interests young and as a child she took painting classes, was constantly exploring, and loved to read books. She lived in Pittsburgh until college where she attended Hollins College in Roanoke, Virginia.
In 1968 she graduated from school, and began to spend her time writing. It was only six years later that her Pulitzer Prize winning nonfiction narrative, Pilgrim at Tinker Creek was published. Since then Annie Dillard has published many more works including poems, essays, novels, and her own memoir. Annie Dillard's last novel, The Maytrees, was published in 2007 and since then she has hidden from the public light, admitting that she can no longer write.
Dillard Quote:
“There is no shortage of good days. It is good lives that are hard to come by. A life of good days lived in the senses is not enough. The life of sensation is the life of greed; it requires more and more. The life of the spirit requires less and less; time is ample and its passage sweet. Who would call a day spent reading a good day? But a life spent reading -- that is a good life.”
― Annie Dillard, The Writing Life
For a more in depth biography, visit:
http://www.anniedillard.com/biography-by-bob-richardson.html
This biography was written by Dillard's husband, Bob Richardson.
In 1968 she graduated from school, and began to spend her time writing. It was only six years later that her Pulitzer Prize winning nonfiction narrative, Pilgrim at Tinker Creek was published. Since then Annie Dillard has published many more works including poems, essays, novels, and her own memoir. Annie Dillard's last novel, The Maytrees, was published in 2007 and since then she has hidden from the public light, admitting that she can no longer write.
Dillard Quote:
“There is no shortage of good days. It is good lives that are hard to come by. A life of good days lived in the senses is not enough. The life of sensation is the life of greed; it requires more and more. The life of the spirit requires less and less; time is ample and its passage sweet. Who would call a day spent reading a good day? But a life spent reading -- that is a good life.”
― Annie Dillard, The Writing Life
For a more in depth biography, visit:
http://www.anniedillard.com/biography-by-bob-richardson.html
This biography was written by Dillard's husband, Bob Richardson.
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