The Imagery of Mrs. Harris’ Studio and its vicinity - “A Country Girl”
As Mary Hood explains, the lady writer is “buried in her chapel garden beside her daughter Faith…And the house she loved wears antennae , and a twin-engine fiberglass cruiser on its trailer is parked on the terrace where the doctor, who had a presentiment, told her, taking into account the flowered borders, the wide fields, the view…” No doubt, the garden is like Eden even though Mrs. Harris is departed. The flowers and fields exhibit a romanticized view that is superlative for writing. The presence of the chapel puts emphasis on the devoutness of the habitation.
The Imagery of the Painting - “A Country Girl”
Mary Hood expounds, “The woman had painted-oil painting of Paul Lilley’s Texas pony- the colt…So the dappled horse ran alone at the back of her perspective, presentably drawn.” The painting proffers a convincing portrayal of the pony, which is a constituent of Paul Lilley’s pasture. The pastoral lifestyle would have been materially qualified with the privation of the horse.
The Greer Cottage - “How Far She Went”
The Greer Cottage “was ivied-over, padlocked, the wood pile dry-rooting under its tarp, the electric meterbox on the pole.” At first glance, the cottage does not offer hope for the granny and her granddaughter. However, they cower beneath the cottage which leaves them “submerged to the shoulders.” The Greer cottage offers a temporal anchorage that is safeguards them from the armed, murderous riders.
The Imagery of a Grave - “How Far She Went”
Grandmother “turned onto the blue gravel of the cemetery lane.” The cemetery sets ground for the mother’s recollections about her relationship with Sylvie. The past memories impact the verdicts that the grandmother makes with regards to Sylvie’s daughter. The grave reminds her that she owes Sylvie for the underserved treatment she exposed her to. The grandmother can make amends with Sylvie through her obstinate daughter because making amends with a departed person is far-fetched.
