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Identity encompasses the unique signature that differentiates different works of literature. Essentially, this identity can be utilized to differentiate different works originating from different authors. Jack Turner is an author that has created an identity for himself, by not only writing interactive works on wildlife but also incorporating various figures of speech and questions into his work. The Song of the White Pelican encompasses one of the essays making up the bulk of his book The abstract Wild . In this essay, he provides a clear examination of the Pelicans, while at the same time posing various questions to his audience. This is aimed at maintaining their interest, as well as advocating for radical environmentalism, a phenomenon hardly understood by most people (Turner, p. 102). Though Jack turner explores the lives of pelicans, he incorporates various figures of speech and questions to The song of White Pelicans, with the aim of eliciting a specific reaction from his audience.
Jack Turner wrote this piece of literature, with the aim of ascertaining the rarity of hearing or seeing pelicans. In the piece, he declares that pelicans soar at a height of 19,000 feet, making it difficult for people to see or hear them. Research conducted by many birders and biologists shows that hardly any form of sound can be attributed to pelicans. This elicits the indication that hearing or seeing a pelican, is a rare feat to be cherished. Essentially, Jack turner is an advocator of radical environmentalism that works towards the reduction of human interactions with the wild. This aids in according wildlife the freedom essential for coexisting in their diverse habitat. To symbolize the freedom elicited from minimal human interactions with the wild, Jack turner utilizes the symbol of soaring Pelicans (Turner, p. 107). This soaring culminates in ascertaining the rarity of hearing or seeing pelicans, which in turn verifies the need for maintaining levels of contact between human beings and wildlife.
Before according the audience with this realization, he asks such questions as what are they doing up there? Soaring. Clacking. Yes, but why? (Turner, p. 105). Such a question is aimed at retaining the audiences attention, while at the same time encouraging them to read more to discover the hidden answers. Inherently, the questions are utilized to direct the flow of ideas, to avoid a poor flow of ideas as witnessed in such long essays as this. As such, the essays intended audience encompasses all people interested in mass tourism, as it elucidates the importance of according wildlife with surmountable freedom. Additionally, it is intended for an audience that can support the advocacy for radical environmentalism.
The essays tone is authoritative. This is because the author asserts his authority by propounding facts about pelicans that are hardly in existence in other peoples jurisdictions. His experience with the rarity of hearing and seeing pelicans accords him with the authority to advocate for radical environmentalism, to preserve the pelicans freedom. As such, he utilizes such repetition as are faint, so faint to ascertain that pelicans make faint sounds invisible to mere mortals (Turner, p. 110). Essentially, the Essays authoritative tone can be elucidated from the various questions posed by the author. In essence, the highest number of questions posed can only be answered by the author.
Jack Turner focuses on the provision of a closer and detailed understanding of pelicans lives. He uses their way of life to advocate for radical environmentalism. The soaring of pelicans symbolizes the level of freedom to be accorded to the pelicans. To assert such observations, he uses questions, as well as figures of speech. From the above assertions, it can be concluded that though Jack turner explores the lives of pelicans, he incorporates various figures of speech and questions to The song of White Pelicans, with the aim of eliciting a specific reaction from his audience.
Work Cited
Turner, Jack. The Abstract Wild. Tucson: Univ. of Arizona Press, 1999. Print.
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