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(Dillard, 20-21).
This selection from Annie Dillard’s An American Childhood stands out for a few
reasons. It represents much more of the book than it actually is. It represents one instance
in childhood of uncertainty and curiosity and having a new, scary experience. This whole
entire book is about how Annie Dillard reacts with normal childhood situations. It reveals
that she is just an average person who grows up in an average childhood, but her
storytelling and use of descriptive language make each individual tale seem immense and
intense. She relates how she is deathly afraid of some oblong light that comes into her
room and seems to possess her. Finally, the reader discovers that this is not some
boogeyman or ghost or actual scary specter, but actually a passing car. This demonstrates
the classic eureka moment that all children have when they realize that one thing that was
presumed to be true was actually completely different. That is why this moment is so
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significant. This is an instance in her childhood where she was fallible, and it is easy to
relate to. What makes An American Childhood appealing is that everyone can relate to
her childhood stories. Her tests, her triumphs, and her failures, have been felt by all of us,
and it makes her character seem so real and alive. She exposes to the reader that she is
just an ordinary kid with ordinary problems. She shows what it is like to be scared and
have a fear of the unknown, and then to conquer it. Her short saga of the ghost-light from
the car is the epitome of being wrong, but learning a lesson from it.
Out parents would sooner have left us out of Christmas than leave us out of a
joke. They explained a joke to us while they were still laughing at it; they tore a still-
kicking joke apart, so we could see how it worked….
Our father kept in his breast pocket a little black notebook. There he noted jokes
he wanted to remember. Remembering jokes was a moral obligation. People who said, “I
can never remember jokes,” were like people who said, obliviously, “I can never
remember names,” or “I don’t bathe.”
“No one tells jokes like your father,” Mother said. Telling a good jokes well—
successfully, perfectly—was the highest art. It was an art because it was up to you: if you
did not get the laugh, you had told it wrong. Work on it, and do it better next time. It
would have been reprehensible to blame the joke, or, worse, the audience.
(Dillard, 50).
When Dillard describes the topics of jokes in her family she does so at length.
This is significant because it shows the set-up and importance of humor in her family.
The Dillard thought around jokes was a sort of no-nonsense system. Everything that
happened regarding the joke was your own fault. If the joke was a success, it was to your
credit that it was successful. If the joke was a complete failure, it was all you to blame
there as well. That was the value of the joke in the Dillard household. It reveals how the
family thought that in life, and while telling jokes, everything is up to you. You have
control of your life and if it is successful or not, just as in a joke you have control of how
you pull it off. The joke was more of a metaphor for how things that happen are a result
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of your own action. It is a striking irony that a laughing matter such as a joke is such a
serious matter to the Dillard family, and that is what makes it of note. To put joke telling
and remembering in the same category as name recalling and bathing ranks it among the
highest importance and demonstrates the odd, but fascinating priorities of Annie Dillard
We who had grown up in the Warsaw ghetto, who had seen all our families gassed
in the death chambers, who had shipped before the mast, and hunted sperm whale in
Antarctic seas; we who had marched from Moscow to Poland and lost our legs to the
cold; we who knew by heart every snag and sandbar on the Mississippi River south of
Cairo, and knew by heart Morse code, forty parables and psalms, and lots of
Shakespeare; we who had battled Hitler and Hirohito in the North Atlantic, in North
Africa, in New Guinea and Burma and Guam, in the air over London, in the Greek and
Italian hills; we who had learned to man minesweepers before we learned to walk in high
heels—were we going to marry Holden Caulfield’s roommate, and buy a house in Point
Breeze, and send our children to dancing school?
(Dillard, 184).
because she puts herself in the position of all the characters in the books she has read.
This is significant because it reveals the latitude of Annie Dillard’s imagination. Her
enthusiasm with reading and discovering books is apparent throughout her memoir as she
constantly places herself in the first person with the characters. She likes to think that she
is living the great adventures of her lifetime, when in reality she is only reading them, and
this demonstrates the sort of inner workings of her mind and thoughts. Her life is
constantly altered and influenced by the books she is reading, and this is the prime
example of her detailing those accounts to the reader. She felt the ability to live her life in
addition to the lives of the characters that she can only read and dream about. She lets
herself be taken away to places that she can be reached only in a book. She invigorates
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her life with the stories of others, and it shows that this is her way of living, and the