The Irony of Graham Montague’s Hunting Prowess
Winter elucidates, “Treadway understood completely how Graham Montague could hit ducks accurately even though he was blind, for he had himself noticed the constant mathematical relationship between the ducks’ position and the hollow, sweeping sounds their wings made, a different sound for each kind of turning, and their voices that cracked the silence of the land. The movements of the ducks were the white hunter’s calligraphy.” Blindness does not hinder Graham from being a perfect hunter. He rises above the limitation imposed by his blindness buy shooting the ducks precisely. His hearing, which permits him to gauge the positioning of the ducks, performs dual roles of hearing and seeing. Accordingly, blindness does not condemn him because he leads his life normally by participating in the cyclic hunting.
The Irony of Eliza’s Infatuations
Winter describes, “There were a lot of instabilities in Eliza’s home. Her husband drank, and she was forever falling in love with someone-this year it was her children’s new geography teacher, a man ten years younger than Eliza, who had come from Vermont and lived in an apartment in the local wildlife officer’s basement. Eliza’s infatuations were always one-sided, but they were powered in a way her real life did not, and as a result her own house always felt uninhabited by her, and her children and husband walked around lost in it.” The infatuations permit Eliza to psychologically escape from the chaos which are inherent in her home. Focusing on her infatuations, which are not reciprocated by the subjects of her infatuations, makes her to forget about her kids and spouse. The infatuations may not be real but they transfer Eliza to a different world where she delights in life with the men of her desire.
The Irony of Siamese Twins
Winter elucidates, “Siamese twins had been on the news, joined so tightly at the skull doctors the world over had despaired, and the mother-Jacinta had watched her on Television-had loved those babies, and had decided, fiercely, that it didn’t matter if they were joined. She would bring them both up in the world just like that, no matter what, and Jacinta had not felt sorry for her… Privately she (Jacinta) thought the woman would come to her senses one day and allow the babies to die.” The mother of the twins is not disappointed in her kids’ appearance despite other individuals such as Jacinta deeming the kids weird and fit to die. The mother is a figure of unconditional affection, which rises above the disapproval of the third parties who would not comprehend her attachment to the babies. Maternal instinct motivates mothers to adore their children unconditionally notwithstanding the children’s flaws.
“Baby’s Healthy”
Winter writes, “Treadway persisted. “Baby’s healthy?” Jacinta knew he never spoke idly, and he was not speaking idly now, and he was asking her for an honest answer. But what was the most honest answer? “Yes.” She tried this in a normal voice but it came out as a whisper.” Jacinta is conscious that Wayne is queer in terms of his sexual organs but she assures Treadway that he is healthy. Jacinta is terrified that her spouse would reject Wayne once he recognizes his queerness; thus, this character lies to him repeatedly about the baby’s status. Moreover, Jacinta is terrified that Treadway would cease loving her due to Wayne’s’ status.
The Irony of Thomasina’s Actions
Winter elucidates, “THOMASINA DID NOT GO INSIDE the church at the funeral of her own husband, Graham, and daughter, Annabel…But everyone else said Thomasina had become temporarily insane, for how else could you explain a woman who did not want to take comfort in red and blue glass candle holders of full light.” Thomasina had been expected to be in the church to witnesses the final rituals for her family. Her ironic resolution to remain outside the church is tantamount to avoidance. She is in denial about their demises; thus, opts to stay outside to comfort herself unconsciously that they are still existence.
