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152 Unit 2 ■ Analyzing Comparisons and Representations

I NTRODUCING THE TEXT
Consider opening class by discussing how
horror movies and podcasts use visual, auditory,
and tactile design to inspire feelings of Deer Hit
apprehension, dread, disgust, and/or shock. Jon Loomis
Ask students to brainstorm in small groups a
short list of classic sounds/images/materials
that create these strong emotional reactions THE TEXT IN CONTEXT
Copyright (c) 2023 Bedford, Freeman & Worth Publishers. Uncorrected proofs were used with this sample chapter.
(disembodied eyes, the slow creaking of a door, Jon Loomis (b. 1959) grew up in Athens, Ohio, in the
a shrill scream in the distance, heavy or slow Appalachian Mountains. As a writer, Loomis is both a novelist
footsteps approaching from behind, the and poet. All three of his novels are mysteries set in Provinc-
sickening crunch of breaking bone). Compile the etown, Massachusetts. Additionally, he has published three
lists together and discuss any patterns of words books of poetry. His second book of poetry, The Pleasure Allyson Goldin Loomis
Distributed by Bedford, Freeman & Worth Publishers. Strictly for use with its products. Not for redistribution.
and sensations; then, discuss how students see Principle (2001), includes the poem printed here, “Deer Hit.” The
these techniques at work in movies, books, poem is a narrative written in the second person present tense,
podcasts, or comics and why these techniques but it recounts an incident in the past. The action begins and
seem to work almost universally. ends with violent imagery.

I DEAS IN THE TEXT Deer Hit
You’re seventeen and tunnel-vision drunk,
Reflection Suffering 1 Y ou’r e se v enteen and tunnel-vision drunk,
swerving your father’s Fairlane wagon home
Guilt Transformation 2 swerving your father’s Fairlane wagon home
at 3:00 a.m. Two-lane road, all curves
Maturity Tragedy at 3:00 a.m. Two-lane road, all curves
dark woods, a stream, a patchy acre
Consequence 3 and dips — dark woods, a stream, a patchy acre
4 5 of teazle and grass. You don’t see the deer
of teazle and grass. You don’t see the deer
road full of eyeballs,
L ITERARY CONCEPTS till they turn their heads — road full of eyeballs,
small moons glowing. You crank the wheel,
Speaker Repetition 5 small moons glowing. You crank the wheel,
stamp both feet on the brake, skid and jolt
Perspective Antecedent stamp both feet on the brake, skid and jolt
Contrast Simile
into the ditch. Glitter and crunch of broken glass
Conflict Metaphor
10 in your lap, deer hair drifting like dust. Your chin
one eye half-obscured
6 and shirt are soaked — one eye half-obscured
TEXT RESOURCES by the cocked bridge of your nose. The car
by the cocked bridge of your nose. The car
TRM The following reusable graphic 7 still running, its lights angled up at the trees.
still running, its lights angled up at the trees.

organizers can be found in the Teacher’s You get out. The deer lies on its side.
Resource Materials on the digital platform.
15 A doe, spinning itself around
Describing a Character’s Perspective
8 in a frantic circle, front legs scrambling,
in a frantic circle, front legs scrambling,
Analyzing Shifts and Contrasts
back legs paralyzed, dead. Making a sound —
Explaining the Function of Words and Phrase 9 back legs paralyzed, dead. Making a sound
again and again this terrible bleat.
Explaining the Function of Comparisons again and again this terrible bleat.
You watch for a while. It tires, lies still.
1 R EFERENT Second-person pronouns 20 And here’s what you do: pick the deer up
throughout the text place the reader in the
position of the action that the speaker recalls
about himself. As he describes the narrative,
the reader may experience a feeling of lack
of control, which reflects the nature of the
4 R EPETITION The speaker relies on imagery
03_williamlit1e_46174_ch02_116_207.indd 152 7 R EPETITION The unnatural illumination 22/09/22 9:44 AM
experience for the speaker.
commonly used in the horror genre—the speaker of the trees by the car headlights is another
notices the deer’s eyes, but the selection of the repetition of unsettling natural imagery.
2 S TRUCTURE In contrast to the unpredictable
and chaotic narrative, the structure of the text phrase “road full of eyeballs” is an allusion to 8 I MAGERY The doe experiences an injury of
grotesque dismemberment (sometimes known as
features a rigid series of couplets. The author “body horror”). The speaker also repeats natural paralysis (which is itself a precursor to death),
also uses enjambment to connect the couplets and nighttime imagery through the metaphor of and in its panic, the doe moves erratically in
and destabilize the reader.
“small moons glowing.” a circle. The concept of the circle is repeated
in the second half of the poem, which may
3 R EPETITION Here and throughout the text,
5 I MAGERY The speaker uses these words to
the speaker repeats natural imagery to connect communicate auditory details in describing the represent futility in the face of tragedy or grief.
it to a secluded, rugged place.
car crash. 9 R EPETITION The speaker focuses on
horrific sounds the doe makes (its bleating and
6 R EPETITION The speaker and the deer both labored breathing).
experience injuries that disfigure them. Also,
the speaker’s perspective is partially blinded,
which emphasizes the literal and figurative
disorientation of the experience.
152 Unit 2 Analyzing Comparisons and Representations
03_williamlitte1e_47545_ch02_116_207_3pp.indd 152 08/12/22 5:31 PM