How does the author manage her novel's fantastically intricate time scheme? For example, where in her narrative does she relate the same incident from different perspectives in order to supply missing information? How could this work as a foreshadowing technique moving forward?
The sardonic blind man named Ely who the man and boy encounter on the road tells the father that "There is no God and we are his prophets" [p. 170]. What does he mean by this? Why does the father say about his son, later in the same conversation, "What if I said that he's a god?" [p. 172] Are we meant to see the son as a savior?
From what we can tell so far, what seems to be the narrator’s relationship to Tyler? What feelings pervade these chapters, and what’s the narrator’s attitude toward life in general?
McCarthy has an unmistakable prose style. What do you see as the most distinctive features of that style? How is the writing in The Road in some ways more like poetry than prose?
Answer the question below fully in minimum two paragraphs. Susanna has no apparent reaction to Daisy's death, but
after Torrey, another patient, is released into the custody of her neglectful
parents, she has an episode of what her case report calls
"depersonalization" [p.105] and mutilates her hands to see if
"there are any bones in there" [p.103]. Why? What is she looking for
underneath her skin? What is the effect of the graphic physicality of this
chapter?
How does Kaysen describe McLean's
"keepers"--its nurses, doctors, and therapists? How do you account
for the difference between the hard-bitten full-time staff and the wide-eyed
student nurses?