The Wizard of ID or, Imagery and Detail in Your Everyday Write

AP Language. Wed, Aug 20th, 2008 at 8:16 pm

Themes: , ,

Welcome back to our T-DIDLS series. We are covering TONE as we move along, and have covered DICTION here and here and here. Go back if you are uncertain about diction, connotation, denotation, jargon, or colloquialisms.

Imagery and detail. If diction is the part of a writer’s VOICE that packs meaning into individual words, Imagery and detail are the two parts that keep a reader interested, and "paint the picture" of whatever is being described. Actually, as imagery is the representation of any sensory experience in words, it also "sings the sounds," "invigorates the touch," "supplements the taste," and "supplies the scent" of any scene or experience. Let’s look at this sentence from Bram Stoker’s Dracula:

The windows were curtainless, and the yellow moonlight, flooding in through the diamond panes, enabled one to see even colours, whilst it softened the wealth of dust which lay over all and disguised in some measure the ravages of time and moth.

This section contains some striking visual imagery, but the other senses are possibly heightened by the imagination. What does the room smell like? Are the surfaces rough or smooth? If you tasted something in the room… Okay, maybe that one doesn’t work. Taste is tough.

Detail can be a more slippery term, but coupled with DICTION, it is a vital aspect of IMAGERY. Think of the words on a page as a camera lens, and the writer as a cinematographer. By bringing certain aspects of a scene into focus (the curtains, the dust in the previous example), the author/cameraman can leave the rest of a scene out of focus, trusting us to fill in the blanks (again, what does the room smell like? Ask a bunch of people what they think and I bet you will all have similar answers.)

From Alberto Alvaro Rios’s story, "The Iguana Killer":

An old man, Don Tomasito, the baker, played the tuba. When he blew into the huge mouthpiece, his face would turn purple and his thousand wrinkles would disappear as his skin filled out.

Just like in a movie scene, the first sentence sets the mise-en-scene, while the second takes the reader/viewer into a close-up of the tuba player’s head and neck. [Quick review: what does the author’s choice of the word "filled" add to the whole scene and the detail of the neck expansion in particular?] If we changed the second sentence to something like When he blew the tuba, his face turned purple and his cheeks puffed out, how is the tone and your feeling about the baker change?

Tying it all together: Just as we examined metaphor and simile in light of CONNOTATION and DENOTATION, IMAGERY adds to these devices as well. Check out this example from H.G. Wells’s War of the Worlds:

Yet across the gulf of space, minds that are to our minds as ours are to those of the beasts that perish, intellects vast and cool and unsympathetic, regarded this earth with envious eyes, and slowly and surely drew their plans against us.

Recognize the device from ACT or SAT prep? This is a wild analogy (one in its natural habitat, not one used by Johnny Carson) that could be set up this way: Martian minds : Human minds :: Human minds : Animal minds. How does the focus on the Martian’s minds add to the overall creepiness factor of this passage? [Rhetorical side note: If this were a persuasive piece (and someone could certainly make that argument), which of the big three would this analogy fall under? Think about how this passage affects you as a reader hint hint. Click here for the answer.

To sum up:

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