The Stranger Arrives
One theory about fiction proposes that there are just two types of stories. In one, the narrative is a reaction to a person starting out on a journey. In the other, the narrative is the reaction to the arrival of someone. That arrival need not necessarily be embodied in a stranger. In this particular case, however, that would be the version of the second example:
Virgil had a much better view of the motorcycle that was coming up his grandmother’s dirt driveway. An old one, by the looks of it, but in immaculate condition. It glistened in the sunlight as it stopped by the side door. Like most boys his age, Virgil had more than a passing interest in gas-powered vehicles, especially anything that could be classified as "cool." And this scarlet vision before him put the word cool to shame.
The Trickster
Another theory of storytelling is much more complex. It is one which suggests all stories feature certain archetypes. These are characters embodied within a certain stereotype of fundamental human attributes. One of the most famous of these archetypes is that of the Trickster. He appears in this story within a traditional Native American figure known as Nanabush:
Nanabush teaches us the silliness of human nature, but don’t forget he has special powers. And people with powers tend to act differently from you and me. And I’m not talking in a Superman or Spider-Man way. They have their own set of rules. According to some who really studied those stories, he is a creature of appetites, of emotions, of desires. That is not a good thing to be. That’s what usually got him into trouble.
Raccoons
Somewhat bizarrely, raccoons play a rather significant role in this drama. This excerpt from the main scene featuring the animals includes imagery which gives a very strong suggestion of how they play out their role. Suffice to say, this story is committed to the whole concept of realistic fiction:
The raccoons’ chattering had grown louder and increasingly heated. More and more of the subordinate raccoons were contributing to the argument, and others were appearing out of the dark forest, ready to support their brothers… Another raccoon, a smaller one, jumped up on the stump beside the other, and began chattering animatedly at the motorcycle man. It had an oddly shaped tail—seemingly shorter than the other raccoons’ tails, with a bald patch on its tip.
Beating, Tingling, Humming
After Virgil and Nanabush reconcile, they ride out on John's bike to Virgil's rock. "His heart still beating a mile a minute, and his butt tingling from the engine’s humming, Virgil ripped his helmet off, smiling ear to ear." Taylor emphasizes the physical sensations Virgil feels riding the bike with very active, tactile verbs. The beating heart, tingling butt, and humming engine all provide haptic sensations to immerse the reader.
Every Unpleasant Smell
At Lilian's funeral, Sammy Aandeg is one of the few attendees Taylor spends any time describing, among the hundreds who attend. Sammy is now "an old, broken-down man who reeked of alcohol, of urine and of just about every unpleasant smell a human body could emit or absorb." This is the first time the reader has seen Sammy Aandeg since he was a defiant teenager, and Taylor utilizes olfactory imagery to display that change.
