The boy's reluctance to go-or even have his father check-upstairs
The youngster and the man stumble across a home that clearly used to be quite good.
The man wants to go inside to look for food because they are starving. The boy, on the other hand, is terrified of the house and refuses to enter. But the reluctance man continues. A pile of clothing, shoes, belts, and coats is also present in one of the rooms, as well as mattresses and other bedding spread out in front of the fireplace.
There is a floor-mounted door that is secured with a sizable padlock in a small room that connects to the stumble kitchen and resembles a pantry. The youngster begs the man not to open the latch while the man gathers tools to do so.
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The readers understand the main reasoning as to why the character is doing the thing that he or she is doing.
Advanced Composition' and Occasion-Sensitivity Further, people read for two reasons: entertainment or information. [ A writer who confuses, bores, or threatens the reader, "has lost that reader, usually for good." Earlier, Donald Murray's indispensable A Writer Teaches Writing (1968) focuses firmly on the target-audience. So writers, and now textbooks, embrace this pragmatism. Do the nation's writing classrooms, secondary and even collegiate, follow suit? Quite possibly not, which may suggest that advanced composition may often have a mandate to emphasize sensitivity to occasion as the keystone skill in real-world writing which it in fact is. My own foray into freelance writing in particular?77 articles in five years, but not without initial stumbles?taught me that real-world writing in general is varied, difficult, possible, necessary, satisfying. I now feel obligated to impart some of this perspective to my advanced writing students especially. ]
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Thank you! My sister was struggling and this helped her!
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