User talk:CVinson/sandbox: Difference between revisions
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mere accoutrements or plot devices, they are more often significant thematically and symbolically. | mere accoutrements or plot devices, they are more often significant thematically and symbolically. | ||
Occasionally, serendipitous connections between the two authors present themselves. The best example of these may be the case of the 6.5 mm. Mannlicher-Carcano rifle. At the outset of ''A Farewell to Arms'' (1929), Hemingway describes how | |||
{{center|the troops were muddy and wet in their capes; their rifles were}} | {{center|the troops were muddy and wet in their capes; their rifles were}} | ||
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Wesson Model . Special revolvers. As in Hemingway’s story, Ole Anderson, in true naturalistic fashion, passively awaits his death. | Wesson Model . Special revolvers. As in Hemingway’s story, Ole Anderson, in true naturalistic fashion, passively awaits his death. | ||
In Tough Guys Don’t Dance,several of the seven violent deaths are carried | In Tough Guys Don’t Dance, several of the seven violent deaths are carried | ||
out by the three matching . automatic pistols bought by Meeks Wardley | out by the three matching . automatic pistols bought by Meeks Wardley | ||
Hilby III, including his own suicide and that of his doppelgänger Lonnie | Hilby III, including his own suicide and that of his doppelgänger Lonnie | ||
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these characters and the novel presents a sexual nexus in which virtually | these characters and the novel presents a sexual nexus in which virtually | ||
every character is attached carnally to several others. | every character is attached carnally to several others. | ||
In a more significant book, The Executioner’s Song (), the career criminal Gary Gilmore traffics in guns and murders with one. He is inept with the | |||
. automatic he uses in his two cold-blooded assassinations, for he shoots | |||
himself in the hand after the second murder, and the bleeding wound casts | |||
immediate suspicion upon him and leads to his quick capture by the police. | |||
This episode is in line with Gary’s failures throughout the book and his entire life. | |||
In Why Are We in Vietnam? (), the metaphorical juxtaposition of | |||
over-armed Texans hunting in Alaska, and the parallel depredations of the | |||
U.S. Army upon the population of Vietnam is best expressed in the passage | |||
where DJ lists at length the battery of guns brought on the hunt, especially | |||
by his father, Rusty: | |||