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About Me:18-year-old sixth form student, studying English Literature, History and Government and Politics. My articles will broadly cover topics from the current affairs of politics to reviews of books and albums, as well as adding my own creative pieces, whether it be short fiction or general opinion.
Needless to say I decided to choose the latter of the two. The reason I originally decided on creating him as a loving, caring figure is because it appears all too apparent that there exists such a person when a person, so fixated in their situation and position, ignores. However, I thought the creation of the proprietor as an ominous devilish figure (“skeletal presence” / “sinuous liquid movements”) not only initiates the biblical imagery within the story, but also attaches his subsequent movements and actions with a foreboding twang. It could be seen, though I admit this is a rather tenuous link, an exchange of sorts between the protagonist and the devil. This is not an exchange of the soul, however, but an exchange of one addiction for another.
The man then rushes up to the top of a field to devour his chocolate “shaking as if subject to cold or disease” – the effects of withdrawal, perhaps, or a mere indication of his ill desperate state. What then proceeds is an image of the man delicately eating the chocolate (“ensuring he did not bite”), which involves overtly sensuous imagery (“letting the chocolate melt and fuse with his saliva”). Notice also how the chocolate is covered in red foil. My intention here was to imitate the romantic period of overcoming addiction or the infant stages of replacing it with something new. This could be the man entering a new relationship with a woman or women, and this merely being the tender initiatory stages. The glow of the sun, which is synonymous with the glow of the cigarette, is then eclipsed by the congealing of clouds. (Does this mean that he has extinguished the taste of ash or merely clouded it?) His appetite then becomes voracious and monstrous – the romantic period of this new situation turned ugly, and so he discards it.
The sweets, then. He faces a paroxysm of disgust at the rigid sweet. This could be a return to normality, civil life for him (“its rigidness”/ “perfectly shaped”), which he cannot stomach. And so he looks for its antithesis. This part, also, took a fair amount of time to write. The intertextuality of this section is this: there is biblical imagery of the snake, and this is reinforced in the fact that this is apple flavoured (SIN!). Thus, I rather enjoyed creating this disgusting image of a man with gobfuls of sin, chewing ceaselessly, and with a luminescent light of joy radiating from him. However, like with the chocolate, he is soon to realise that this joy, though existing, clouds other things. This time, the joy is not short-lived but instead one that eclipses all the natural joys of the world (notice the imagery that is synonymous with the passing of time), and in particular misses the concordance (harmony) of the birds in the sky. The sky then forms a black (I intended this to be a very psychological image), and he then follows a light to the end of the road (hopeful or circular?)
Image Credits: cornwallnewswatch