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The structure of the first paragraph expresses Werner’s fixation and anxiety about his future life in the coal mines by beginning with youthful happy memoires and ending with dismal descriptions of his environment. Werner’s emotions toward growing up are seen by contrasting light-hearted memories of his past with destructive scenes that Werner currently lives in. For example, the first paragraph begins describing a baby with “eyelids slipping heavily over his eyes” which creates a peaceful mood for the reader and depicts the innocence Werner still possesses. The last sentence of the paragraph describes Werner’s environment as “flames atop the waste stack, high in the distance, flaps and shivers”, showing how Werner cannot escape the hopelessness of his future and how even his surroundings are taking away his youth and innocence.

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Anthony Doerr’s use of descriptive word choice throughout the excerpt encapsuled the audience in a depressing mood surrounding the idea of aging in regards to Werner’s life. To describe Werner’s future as he progresses towards the age in which young German boys are sent to work in the mines, Doerr thoroughly engages readers in a depressing mood by using dark diction. He explains the mines with words such as “muted lights,” “cables rattling,” “sinking down,” “permanent darkness,” and “claw at the earth,” to provide his audience with an unsettling atmosphere surrounding the idea of the mines. He even progresses this idea further through his description of the tunnels. “The walls splinter,” ,”permeating cold,” “cannot raise his head,” and “he stoops, crawls,” to embody a feeling of entrapment physically in the mines as a child yet also metaphorically for Werner’s only option when he turns fifteen is to enter the mines as Germany holds a tight grasp on the lives of its people.

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Doerr uses the literally term of imagery in this passage to show the Werner is scared and does not want to grow up. Doerr shows up an insight into what Werner’s nightmares consist of and Doerr uses words consisting of “black, cold, and splintering” in lines 39-45, to describe what Werner is seeing. This shows that Werner is aware of what his future will consist of and the heaving weight that he will have to carry when he is older. Doerr uses these words to explain to the reader how Werner is feeling about growing up and gaining more responsibilities.

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In the beginning of the passage, Doerr utilizes contrasting imagery to convey Werner’s fear of growing up. The first paragraph sets a warm and homey scene of the orphan children celebrating Werner’s birthday. The kids are helping Frau Elena with younger children and waiting for dinner, while Werner is on his radio. Despite the joyous occasion of his birthday, the second paragraph carries a defeated tone as Werner acknowledges the fifteen-year-old boys coming back from the excruciating work the mines, where he will soon work. Doerr uses dark and constricting imagery to convey how fearful Werner is of this future that is predestined for him.

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Throughout the novel and especially illustrated in this excerpt, Doerr creates strong emotions with his use of disturbing imagery. In this excerpt in particular, Doerr uses contrasting imagery between Frau Elena and the rest of the orphanage, and Werner, to create a sense of complexity surrounding his 14th birthday. Instead of feeling happy and hopeful, Werner feels only paralyzing dread as he thinks about the time between his 14th birthday and his 15th, where he will either go into the mines to work away his life, or concede to the Hitler youth, which goes against his personal morals. While everyone else in the orphanage “prepares pudding” and sits around with their “eyelids slipping over (their) heavenly eyes”, Werner becomes anxious thinking about his future and “soon (he) cannot raise his head or move his arms”. This contrasting imagery between the serene and calm moods surrounding the others at the orphanage, and Werner’s sense of constrictive doom creates complex emotions surrounding his birthday, which would otherwise be a happy event.

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The author uses vivid imagery to show the reader the feelings of despair and hopelessness Werner is feeling when thinking about his birthday and what is to come. Doer repeatedly brings up the feelings of heaviness and darkness, giving the reader a feeling of eerie and depressing atmosphere. Werner describes the children as stuffed in a cage, “imagining their descent… sinking down to that permanent darkness where men claw at the earth with a half mile of rock hunched on top of them.”  Werner describes his body as feeling heavy when he thinks about his passing birthday, the weight of the 15 year old boys in the mines carry on their back, the “ceiling weighing ten trillion tons”, all further showing is anxiety and feeling of impending doom he cannot escape. The author also uses language such as “cold, shivers, nightmares, crawls, claws, sinking, to create a mood of scariness and unwelcomeness to demonstrate Werners complex emotions on the subject of going to the mines.

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Doerr uses a seemingly never-ending paragraph to contribute to how Werner feels about his fate being predestined and having no option or freedom as to what he wants to do with his life. Werner is thinking pensively about the coming years of his life and what they will shape into as he ages. The author writes Werner as speaking in a confusing and jumbled run on paragraph which gives a similar feeling of never-ending dread as the path Werner is stumbling down as he inches closer to fifteen. His fate is merely in his own hands, but rather in “the ever quickening, ever-expanding machine that is Germany” (56-57). Werner’s unfortunate circumstances he has faced have left him with little to no ability to make decisions for himself, but forces him to make decisions for his country.

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Doerr uses juxtaposition to illustrate the contrast between a dream, a life full of success, versus a nightmare, predetermined fate. Werner Pfenning describes how at one point in his life, his dreams were full of “great scientists, and the great things men do out there”. The author uses this dream and compares it to the nightmares he experiences now, which are of Werner “walking the tunnels of the mines”. A dream can be interpreted as an actual imaginative sensation one has during sleep, or a goal they are set out for. In this case, Doerr uses dream to illustrate both of these definitions, by stating how Werner would dream of being an inventor and successful, showing the life goal that he wishes to experience. The nightmares, on the other hand, are dark and ominous, showing Werner’s fear of his predetermined fate of working in the coal mines. Many people would agree that they would rather experience a dream rather than a nightmare when sleeping, similar to how Werner would rather choose the life ahead of him than have it chosen for him.

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This excerpt from All the Light We Cannot See clearly utilizes imagery to convey the feelings and atmosphere regarding Werner’s feelings about growing up. In the second paragraph, industrial and dreary language is used to describe working in the mines. For example, the author describes the mines as having a “permanent darkness where men class at the earth with a half mile rock hunched on top of them”. He also describe the boys as “queuing up” to enter the mines. This dreary language demonstrates Werner’s feelings toward working in the mines as unavoidable and impending. As he grows older, the dread of working in the mines increasingly looms over him.

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Throughout the passage, Doerr uses asyndeton to illustrate the spiral of thoughts that Werner is having regarding his inescapable future. Werner begins to dwell on the fact that within the next year he will have to go work in the mines or the rest of his life. He describes what he imagines being sent to the mines, “muted lights passing and receding, cables rattling, everyone quite, sinking down to that permanent darkness where men caw at the earth” (lines 21-24), and begins to feel panicked and trapped in this impending future. The lack of conjunctions in this sentence allows the reader to effectively follow Werner’s ____ train of thought. Doerr again uses this same technique when Werner is describing the mines as “mine and mill running on and on, acre after acre, beyond his range of sight, to the villages, the cities, the ever-quickening, ever expanding machine that is Germany” (line). As this sentence goes on the reader begins to feel that same panicked feeling that Werner is feeling about his future due to the structure of writing which makes it feel like this fear is continuously building on itself.

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Doerr uses Juxtaposition in the passage to show the connection between Werner’s dream and reality. Werner starts by dreaming about his future, and having high hopes that he will hopefully become a successful person in the future. Until life starts to hit him, and he realizes that might just be a dream for him and not reality. Time also plays a huge role as “The children sing and devour the pudding, Frau Elena says, “Time’s up,” (lines 14-15) connect to Werner, as his age is coming closer to 15, the time is ticking faster every day. He then dreams about famous scientists like Fritz, Hermann, and Hertz. Until later he realizes his future will be either “Heil Hitler or Good evening”.

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Doerr uses dark imagery and terminology to illustrate Werner’s anxiety of his arriving fate of either working in the mines or with the Hitler Youth. Doerr uses terms such as “cold” and “splintering” when describing Werner’s nightmares of going to the coal mines which shows the audience that he is dreading on working there. Doerr also uses dark imagery to allude to Werner dark thoughts of his upcoming fate. By doing this Doerr makes the audience sympathetic for Werner in understanding that due to his background he must choose between two lifestyles that are unethical to him.

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Doerr uses diction, the author’s choice of words, to provide readers the gloomy and dark atmosphere encompassing Werner’s 14th birthday. The older siblings within the excerpt are described with somber word choice repeatedly being illustrated with word usage of “heavy”, “sinking”, and “dark”. This displays how the children above the ages of 14 and currently working in the minds lose their spark and are surrounding by a negative air. This significantly contrasts the diction used for younger children in the excerpt whom which are being described with more of a happy tone displaying how they “sing and devour the pudding”. This shows how the younger children within the story are happy and aren’t burdened with the same adversity’s the older children must face.

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Werner’s use of time specific language shows the growing anxiety he faces as he nears his 15th birthday. When Werner was younger, he was able to feel detached from his impending future because it was so far away, “It has been… A year since he held that water-stained copy of the Principles of Mechanics. Not so long ago he let himself dream of Berlin and its great scientists.” Werner used to feel like his future had hope, his youngness playing a role in that nativity. But a year has passed, and only a year to go, and he knows what is coming and realizes he will not escape it. He talks in the past tense when saying, “Frau Elena used to say, I think you’ll do something great.” Because she can’t say that anymore. Not even Frau Elena wants to feed into false hope that Werner’s life might become anything other than damned. Despite Wener’s success, intelligence, and dreams, he is in a situation where his future changing is next to impossible, and now he knows that.

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Doerr’s usage of contrasting word choice displays the harsh differences between childhood and growing up as a young male in under Nazi-occupied Germany. While Werner is contemplating his helplessness and predetermined future, the children “sing and devour their pudding” (Doerr 13). This reveals the children’s careless nature and their obliviousness towards the reality of war. Werner’s imagines his future of “sinking down to that permanent darkness” (Doerr 23). He contemplates his future of either Nazi Youth or coal miner. Doerr’s juxtaposing diction reveals Werner’s fear and anxiety towards adulthood and reality. Werner knows his choices are limited, and he envies the hope of the younger generation. Werner’s dread towards getting older and nearing his uncontrollable future is revealed. Anthony Doerr’s opposing vocabulary depicts Werners envy of childhood and the burdens he faces towards his predestined fate.

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Doerr uses Werner’s dreams to show a stark, and unnerving contrast between Werner’s imagination for his future and what he feels like he is forced to be soon. Werner used to dream about the men of science, creating beautiful inventions like fertilizer and plastics. Now he looks out of his window and sees 15-year-old boys gearing up to enter the deep mines of Germany. “Now, in his nightmares, he walks the tunnels if the mines.” Now he dreams of the mines, the ever-enclosing darkness surrounding him as he travels deeper and deeper. From a young boy dreaming of being a creator of something great, he now feels trapped and enclosed in a future he cannot escape. Now, Werner’s dreams are cast out by the nightmares of turning into the 15-year-old boys outside of his window and being forced to work for the mechanical machine that is Germany in the 1940s.