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59 pages 1 hour read

C. C. Harrington

Wildoak

C. C. HarringtonFiction | Novel | Middle Grade | Published in 2022

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Literary Devices

Setting

A story’s setting is the time and place where it occurs. Wildoak is set in the winter of 1963, in two main locations: London and Cornwall. The most important places in the London settings are Arabella’s apartment and Maggie’s home, especially her bedroom. Within the setting of Cornwall, Fred’s home, Cherry Tree Cottage, and the forest, Wildoak, are important places. It matters that the story is set in winter, because this is a cold and snowy winter—appropriate for the unusual appearance of a snow leopard in London and Cornwall. The story is set in 1963, before the principles of environmentalism were widely understood, and before climate change became an imminent crisis. This allows the novel to present a story about The Importance of Environmental Conservation in a hopeful context, since individual actions like planting trees and establishing wildlife sanctuaries can make a significant difference.

The physical locations of the story’s setting are notable for the contrast they provide with one another through juxtaposition. London’s urban environment is full of tight spaces like Maggie’s cupboard and Arabella’s flat. By contrast, the Cornwall settings are expansive. Wildoak is a large old-growth forest, and although Fred’s cottage is just a simple stone house, it is filled with his collections of natural objects, melding it seamlessly into the larger natural environment around it. Maggie notices that “Every window ledge, shelf, and open nook [is] crammed with a collection of something or other: shells, pebbles, dried flowers conkers, beechnuts, acorns” (65). While London stifles and limits both Maggie and Rumpus, Cornwall is an environment where both of them can grow.

Anthropomorphism and Personification

Anthropomorphism is when non-human creatures or things are portrayed as acting and thinking in human ways, and personification is a related form of figurative language in which the actions of non-human or non-sentient things are metaphorically compared to the actions of humans or other sentient beings. Harrington uses both personification and anthropomorphism throughout Wildoak to portray the natural world as being similar to the human world. The forest and the ancient oak tree are frequently personified in descriptive passages, as when “branches felt their way into the air” (80) and “midmorning light crept along” (106). The old oak tree is anthropomorphized when it seems to speak to Maggie. These descriptions portray the forest as a network of living, thinking creatures that can offer comfort and wisdom to human beings.

Maggie often anthropomorphizes the animals she encounters: She tells Spitfire that it is “good in a crisis” and Hurricane that it is “good company all around,” for instance, when garden snails rarely exhibit any behaviors that would merit these descriptions (45). Additionally, the novel anthropomorphizes Rumpus in the chapters narrated from his perspective. For instance, Rumpus is “delighted” to find utensils to play with in Chapter 6, and after he is caught in the trap in the forest, he thinks that Maggie’s eyes are “dark and gentle” and her hands “tentative and soft” (115), and that it is likely Maggie’s intent is to take care of him. This anthropomorphism helps characterize Rumpus and elicit sympathy for him by making him seem human-like.

Figurative Language

Figurative language is phrasing that has a more than literal meaning. In Wildoak, Harrington frequently uses figures of comparison like similes and metaphors to make key situations more vivid for the reader. In Chapter 1, for instance, while Maggie’s classmate Hilary Muir reads aloud, her voice flows beautifully, “like music” (1), but when Maggie looks at the words on the page that she is expected to read, they look “like a mouth full of fishhooks” (3). These similes highlight Maggie’s anxiety about the difference she perceives between her own and others’ ability to speak.

The novel also uses metaphors, such as when Maggie is throwing pebbles to get Rumpus to emerge from the tree—“She felt her heart spin, a pinwheel whorl, alive with the glitter and spark of both fear and excitement” (119). Comparing Maggie’s heart to the “glitter and spark” of a spinning pinwheel is a vivid way to describe the intensity of the opposing feelings swirling around inside Maggie.

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