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The Stone Boy may refer: Stone Boy, a fictional superhero in the DC Universe; The Stone Boy (film), a film directed by Christopher Cain; "The Stone Boy", .
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Chicago citation style: Christopher Cain, and James Horner. USA, More Films, Videos like this. Inc: George Doering, guitar; Emil Richards, percussion. Feature film over 60 minutes. Inc: George Doering, guitar.

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You might also like. PDF Document leaves ; 30 cm. Statement Of Responsibility. Pdf Document Form. Print Form. Date: Also available through the Library of Congress Web Site as facsimile page images.

Sheet Music Form. Contributor: Dietrich, William G. Although Arnold accepts this identity, he does not embrace it; in fact, he even fears it. Yet, he is so accustomed to seeing himself through the eyes of others that he makes no effort to negate this identity and carve out a new one, an identity that feels comfortable to him and aptly reflects his interior self. Instead, Arnold will only become what others see in him. Despite this depiction, the hint of violence prevails throughout the story, even to the extent that some reviewers believed that Arnold willfully killed his brother; in essence, they have sided with the sheriff, not Arnold.

The theme of violence, however, is far more disquieting in its mere threat. As the sheriff pronounces judgment on Arnold, defining him as a cold-blooded, merciless monster, everyone present feels the chill of his words. The sheriff's next words prophesize a grim future for Arnold. Maybe in a few years. Arnold does reveal, toward the end of the story, that he felt terror as he knelt beside his brother and that his newly self-imposed separation from his parents scares him deeply.

The distance that Arnold and Eugie travel to the lake—down the slope, through the wheat field, and into the marshy pasture—reflects the distance that Arnold will have traveled away from his family by the end of the story. The county seat, Corinth, which is located nine miles from the farm, serves as a central meeting place for the community and for the action of the story.

Corinth is the place where Arnold receives judgement on his actions and where he first comes to accept this pronouncement. The story opens with Arnold pulling overalls and a sweater over his unclothed body. At this time, he feels no particular emotion attached to this natural state of undress.

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After he is turned away by his mother, Arnold suddenly becomes aware of his naked body. He feels shame at being in such a state, representing his shame both at wanting his mother and at being rejected by her. He internalizes this shame, realizing the need to protect himself from his parents. Thus he metaphorically clothes himself.

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He will no longer allow anyone to view him naked, that is, as a person in need of comfort, a person willing to let his guard down and let others see what he is really like. The most important metaphor of the story is the one implied by the title itself. By the end of the story, Arnold has metaphorically turned into stone. He has become an inhuman creature; no trace of feelings nor any betrayal of emotions will escape from him.

There is little extraneous description or verbiage for scenes or actions. In addition, all the characters in the story act matter-of-factly. Arnold acts straightforwardly in completing the job he set out to accomplish—picking the peas.

Stone Boy Essay

Similarly, Arnold accepts without question the judgment of the sheriff and of his family about his character. In the early years of the United States , farming was the main economic activity of Americans. Most farms were self-sufficient and owned by single families who lived on and ran the farm. In the average family farm was located half a mile away from its nearest neighbor, which served to isolate farm families. However, farm families formed communities by exchanging labor, attending church, and sending their children to schools.

Beginning in the s, however, the number of farms in the United States began to dwindle. In a little over 30 million Americans lived on farms. The decade also brought many changes to the way farms were run. In President Dwight Eisenhower cut government subsidies to farms. As well, throughout the decade, automation began to be introduced on farms.

While the use of new machinery boosted production, it effectively reduced the labor force, which partially accounts for the drop in farm population. Overall, the number of farm jobs decreased. The farm population also decreased throughout the s and s as increasing numbers of Americans around the country decided to move to suburbs and planned communities.

By , million Americans—one third of the total population—lived in the suburbs. This flight affected many rural farm areas. Life in rural areas often lagged behind urban or suburban life. The s saw the rise of the value placed on social conformity. Americans, particularly those who lived in the suburbs, had similar houses, cars, activities, and even life goals. Teenagers were not immune from this conformity, and many observers dubbed middle-class youth the silent generation because they did not protest against societal demands.

Some teenagers, however, did question society and even rebel. Movies of the decade, such as Rebel Without a Cause and The Wild One, portrayed young men who felt frustrated with life in general. They were not angry at any one person or thing but were angry at society.

In these movies, the heroes often acted out their antisocial behavior by skipping school or committing misdemeanors. Skirting on the edge of violence and danger, such movies raised the possibility of bad things happening in what many adults viewed as an orderly world. In the mids, a new artistic movement emerged. The Beatniks, or Beats, were a small group of writers who challenged the social conformity that ran rampant.

They cared little for material goods, but instead searched for a higher consciousness. In their work, Beatnik writers raged against middle-class conventions. They created their work free from the impositions of formal structure , plot conventions, and planning—much in the same way they lived their lives. It celebrates the search for individual identity. Nonetheless, her fiction is generally recognized as powerful, realistic, and unsentimental, often focusing on a crisis situation in which characters are unable to break free from their loneliness and despair.

Julia B. How much of an accident was it?

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At that point, the explicit and the implicit merge in shadows. Other reviewers did not see the incident as so ambiguous and chose instead to focus on other aspects of the story. Some critics, however, have asserted that while Berriault is adept at presenting complex feelings, her writing style sometimes disappoints.

They charge that her writing can be too pessimistic, precise, and intellectual. For the majority of critics, however, her range of characters, convincing characterization, and understanding of humanity outweighs any stylistic difficulties with her writing.

Gina Berriault Writing Styles in The Stone Boy

Through her keen insight, imaginative art, and finely honed craft, Berriault creates a world of flawed people. They might come to forgive him for killing his brother—after all, it was an accident—but they cannot forgive him for not appearing sorrier about it. Arnold realizes, when his father and Uncle Andy ask him about the accident, that it is his own response that is so troubling to the adults. His father had stared at him in a pale, puzzled way, and it was then he had felt his father and the others set their cold, turbulent silence against him.

The thing to do is go down to the garden and pick peas.