Sylvia is a child who is different than other children. She tries to find solace in the Maine wilderness. She is walking along in the woods when she hears the whistle for the first time. She does not see where the whistle is coming from, and does not see the hunter, himself. She knows animal and bird sounds and, when she hears his whistle, she is immediately scared or alarmed. She is a child who has been terrorized by other children and who avoids people because she doesn't interact with them well, and has a hard time making friends. When she hears the whistle she knows that it is NOT a bird's whistle she is hearing and therefore it is coming from a person. This is something that is terrifying to her because a person could be an "enemy" or someone who could harm her, which is a great source of anxiety and fear. Sylvia is a person who is afraid of people. Her friends are the animals and creatures in the woods. They are where she finds comfort and security.
According to the book, when she hears the whistle she is "horror-stricken". She is afraid of people, especially boys after she has been tormented by a boy at school. It is natural, then, that a young girl who is afraid of people and afraid of young boys in general, would be scared when she heard the whistle of a boy she doesn't know in a place where she generally feels safe and secure. It would be natural for her to see whoever the boy was as an enemy.
I'm positive the answer would be, A. Creep :)
Answer:
1.documentary about poverty in the philippines
2.documentary
3.to know whats happening to people who are suffering.
4.yes,because of this,we know the situations of more filipinos.
5.yes, it is true that many people suffer in the differnt country.
C is the answer because it represents a mood the most
This exposition impractically catches the pith of New York City much superior to anything I will ever have the capacity to. As a Californian, I view New York as I envision a New Yorker in the Nineteenth Century would view California. The contemplation is practically outlandish. California is the boundlessness edged pool of a landmass. Its wide open meanders perpetually, forever of the open doors which it holds until the land drops into nothingness and the Pacific devours it.
New York then again, shouldn't exist. Many think of it as the zenith of human accomplishment, a mixture of humankind existing together with an enthusiastic feeling of a club, all living under the standard held high that drains, "New York." It is where ten million drums play to their own beat, yet all ring to a similar congruity.
Didion's involvement in the city echoes these tones. The city is undoubtedly a spot where a half year can transform into eight years, and a night out can transform into a marriage. Didion expressed, "It was an unendingly sentimental idea, the puzzling nexus of all affection and cash and power, the sparkling and short-lived dream itself."
This exposition goes about as Didion's adoration letter to the city, one that isn't composed starting with one captivated sweetheart then onto the next, yet rather as Socrates would keep in touch with Zeus in an incredible miracle of his god-like power. Didion sees New York as legendary Fate, culling and cutting the strings of life which would decide her way of presence. Didion drives home the thought that New York is a thought. It represents something. New York is synonymous with America.
Opportunity. Renewed opportunities. Acts of futility. It is the New Mesopotamia, the support of life held in its bin by the two streams which give it its separated liveliness. American contemporary articles endeavor to restore the sentimental nature which used to drive American writers like Whitman and Thoreau to compose, and she completes a magnificent activity of that. My inquiry is how does Didion's association with the city influence her life?
