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text type
autobiographical text
themes and emotions
pain
loss
isolation
excited
suspense
freedom
panic
awe
atitudes towards the beginning
The extract begins in mediaās res with the goshawk breeder checking his paperwork and carefully unhinging the box containing the bird. There are two birds: Macdonaldās goshawk and someone elseās, so to complete the sale, they must check the numbers on the birdās ankle tag against the paperwork. Macdonald is excited and creates suspense around meeting the enormous bird for the first time.
keywords: amazement, suspense, tension, amazement, astonishment reverence, enchanted, ethereal, beautiful
atitudes towards the middle
Macdonald sees the bird for the first time as it emerges from the crate and describes its reaction to being let out, as well as her impressions of it. The hawkās hood has come off, causing her to panic, and Macdonald appreciates the concern of the breeder who had reared her since she hatched in an incubator. She is in awe but is concerned about its she feels its need for freedom.
keywords:calm, control, melodramatic , beautiful imagery, tension
atitudes towards the end
Macdonald helps by putting the hood back on the hawk, butthen they realise thatthis was the wrong bird: she was meantto take home the second one. The other hawk is taken out, but Macdonald does notfeelthe same sense of connection she felt to the first. She asks if it would be possible for her to take the first hawk instead, as she sensed a close bond with it.sense of disapointment as the bird she was in awe of was not the bird she would be taking home. this then causes panic as the new bird feels wild
key words: fear, shock, panic, awkwardness, overwhelming, discomfort, silence
key quotations
ādont want you going home with the wrong birdā situational irony, foreshadowing the plot twist
āher feathers raised like the scattered quills of a fretful porpentineādescription build tension and visual imagery, god like in awe and intimidated by it hyperbole+ metaphor= drama
āa fallen angelā and ā a broken marionette of wings, legs and light spashed feathersā
āman was perfectly calmā
āall at once i loved this man and fiercelyā
ā her wild eyes were the colour of sun on white paper ā
āit was the wrong birdā turning point
āthis isnāt my hawkā repetition
āi could take that one insteadā¦?ā
āthat my stuttered request wasnāt a simple oneā
structure of h is for hawk
in the opening sentence the adjective ārareā suggests that these birds are unusual and therefore special ā¢ the writer is meeting her bird for the first time and the reader shares the gradual reveal of what is within the box; it is not possible for the writer or the reader to tell what is in the box as the man āsquinted into its dark interiorā
ā¢ the onomatopoeic noun āthumpā is used to convey a sense of the power of the first bird, emphasised further by the use of italics and repetition of the word
ā¢ the fact that the man āfrownedā because the hawk has managed to remove its hood suggests that it is perhaps both powerful and scared
ā¢ the time immediately before the first bird is seen is described using the metaphor of āThe last few seconds before a battleā, leading the reader to infer that the bird may be aggressive
ā¢ the onomatopoeia used in the phrases āwhirring, chaotic clatter of wings and feet and talonsā and āhigh-pitched twitteringā conveys a sense of wild noise and confusion, suggesting that the bird may be frightened or panicking
ā¢ the repetition of the adjective āenormousā with use of italics emphasises the size of the first bird
ā¢ the short sentences containing a range of striking metaphors to describe the writerās initial impressions of the first bird give contrasting, and possibly confusing, images of what it looks like and show how hard it is for the writer to convey its exact appearance and effect; the simile ālike gold falling through waterā suggests something very precious
ā¢ in contrast to the images of beauty, the writer recounts in apparent horror how āFor one awful, long moment she is hanging headdownwardā and the simile ālike a turkey in a butcherās shopā suggests that the bird might even be dead
ā¢ the writer seems to adopt the perspective of the first bird as she uses asyndeton to convey the incredible precision of the birdās vision: āthe pointsource glitter on the waves, a diving cormorant a hundred yards out; pigment flakes under wax on the lines of parked cars; far hills and the heather on themā
ā¢ the writer contrasts the power of the bird now with its vulnerability as a ālumpen, fluffy chickā ā¢ the description of the birdās āalien brain fizzing and fusing with terrorā, with its use of alliteration and half-rhyme, gives a strong impression of how frightening this experience must be for the bird
ā¢ the single-line paragraph five with its four short blunt sentences stating at the start that āIt was the wrong birdā powerfully conveys the writerās shock and, as with the first bird, the reader is introduced with the writer to the second bird 7
ā¢ the monosyllabic exclamation āOhā, italicised and isolated on the page, momentarily suspends the movement of the narrative, creating a pause before the description of the writerās horrified reaction to the second hawk
ā¢ the writer states bluntly that āEverything about this second hawk was differentā; the use of comparatives ā ālarger, olderā¦ smokier and darkerā ā highlights key differences ā¢ the dark, Gothic images of the second hawk, seen in the simile ālike a Victorian melodramaā and the metaphor āA sort of madwoman in the attackā, insinuate something exaggeratedly menacing and sinister about the bird
ā¢ the first bird was described as āenormous, enormousā but the second one is āmuch, much biggerā; the repetition of the modifier adds emphasis to the idea of its size
ā¢ the writer continues to show the different impressions she has of the two birds by saying of the second bird, āinstead of twittering, she wailedā and describing its noise as ālike a thing in painā; these serve to enhance the contrast with the first bird and convey the sense that both the bird and the writer are unhappy
ā¢ the close positioning in one line of the three words āblankā, ācrazyā, āmadnessā suggests dangerous and unpredictable qualities in the second hawk ā¢ the writerās statement that āI didnāt recognise herā indicates that she feels no connection with this second bird ā¢ the use of italics in the antithetical short statements āThis is my hawkā, āThis isnāt my hawkā, āBut this isnāt my hawkā and the repetition within the final two sentences draw attention to the writerās feelings of disbelief and dread, highlighting her reluctance to accept the bird.