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In lines 20-25, Doerr uses gloomy imagery to emphasize that Werner feels tied to a dingy, inescapable fate, which contributes to Werner’s cynical perspective on aging. He uses words such as “permanent” and “hunched” to emphasize that Werner feels his fate is inescapable and dreadful. This shows Werner’s negative feelings on aging – he feels as though his dreams have been compressed and cramped among the coal in the bottom of the mines. Instead of feeling joyous on his birthday, instead, Werner is contemplating what he believes is the only definite in his future – slaving in the mines.

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The authors use of past tense language shows that Werner has conceded on following his childhood dreams. Werner uses past tense language every time he discusses his previous dreams, phrases such as “I believe in you, Frau Elena used to say,” (Line 37). His use of words like used shows that he has accepted his fate of spending the rest of his life in the mines, and has given up on what used to be his main aspirations for his life. He further demonstrates his defeat when he says that, “It has been months since he last heard the Frenchmen on the shortwave.” (Line 29-30) The Frenchmen used to serve as his main sense of hope before the war. He taught him new things and inspired him to want to learn more. The idea that he no longer has this man in his life shows that he no longer has anyone to inspire him to work more in his dreams. He even talks about the other scientists in other areas he used to dream about (line 33), but when he uses the term used, we know he has completely and utterly accepted defeat. He believes he will never achieve his dreams, and there is no point in trying now.

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Doerr uses descriptive and detailed imagery in lines 48-59 to illustrate Werner’s apprehension about growing a year older. He describes Germany saying that it is an “ever quickening and ever-expanding machine”, which shows the reader his negative feelings about the real world in Germany. For years, he had been protected from the issues going on in his country because of his young age, but now that he is growing older, he has to face these issues head on. Werner also says that outside the window of the dormer he sees “vast walls of the crockery and smelter and gasworks…mine and mill running on and on”. By describing his view in such a depressing and somber way, the audience understands that unlike most children who are excited to get older and explore the world around them, Werner feels upset and trapped by his fate.

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Turning one year older, Werner Pfenning ponders what his next life working in the mines will be like and comes to the conclusion that “men claw at the earth with a half mile of rock hunched on top of them” and that next year he will be given a “helmet and a lamp” and will be “[stuffed] into a cage with the others (Doerr 24-28). Doerr’s use of harsh diction shows Werner’s apprehension about his predetermined lifestyle. The idea of “men clawing at the earth” shows how Werner feels these men lose their sense of identity and become animalistic as a result. Werner’s idea of a being trapped and “stuffed into a cage” alludes to his fear of working in the mines and ultimately causes him to wrestle with the idea of relinquishing his ambitions. As Werner continues to grow older, his fears become his reality and his goals become a fragment of his life.

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Doerr uses oppressive imagery when describing one of Werner’s recent dreams. Werner used to dream of “all the great men doing things” (Doerr 36-37) but now Werner has nightmares about the mines. The innocence of youth disappeared because he is forced to grow up and realize the reality of the situation – Werner will never be able to move to Berlin and become a great scientist. His nightmare uses oppressive imagery to show how Werner’s future is trapped, he has no choice but to work in the mines. As Werner moves farther into the mine, he becomes trapped in a small face. Werner is forced down by “the ceiling [that] weighs ten trillion tons” (Doerr 43-44). The weight of the mine is paralleled to the weight of his future expectations. Both are holding him down from what he wants to do – escape.

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Throughout the novel Werner's worries of his age are displayed using various literary techniques, but specifically highlighted in the imagery and pathetic fallacy of his nightmares about the mines. Werner's constant fear of aging and facing the same fate of his father align with his dreams at night. He describes the setting of the coal mine's in a dark and eerie way that correlate with his feelings of dread and his feeling of not being able to chose his own destiny. He describes the dream, "The ceiling is smoothe and black-Soon he cannot raise his head, move his arms" the nightmare ends with Werned being trapped and buried in the mind with no way out. His postion in his dream correlates with his position in life, he is stuck with no way out. As soon as he turns 15 he will go to work in the mines and will be "stuck" there in the same way he is physically stuck in his dream. Overall the pathetic fallacy and imagery that the author uses helps the reader to properly understand werner's emotions of dread and entrapment.

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Doerr utilizes personification of a flame to symbolize the intense anger and helplessness Werner feels in regards to him getting older, realizing that because of his orphan status, his future is out of his control. Doerr points out that “out of the window, beyond the curtains, the flame atop the waste stack, high in the distance, flaps and shivers.” (Doerr, 10-12). As Werner reflects on how fast time is moving and struggles to come to terms with him growing older, his emotions are reflected through the flame that is flapping and shivering in the wind. Werner’s extreme fear of dying just as his father did, in the mines, shakes him with anger and hatred for the position he is in within society. Werner longs to have the opportunity to learn and study things that he’s passionate about, rather than get sent to the mines to die. While he is content that he has survived another year, he cannot help but wonder how much longer he has to live if he is sent out into the mines.

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In this passage from All the Light We Cannot See, we see the author uses tone and imagery, more specifically pathetic fallacy, in the first two paragraphs of the passage. The narrator is describing Werner’s fourteenth birthday as not a joyous celebration, but as a countdown until he begins his work in the mines. As Werner begins to slowly drift away from the festivities, he reflects on seeing the fifteen-year-old boys from his town as they “are making their way toward mine elevators, queuing up with their helmets and lamps outside the gates” (Doerr 18-20). The imagery that Werner is describing shows exactly how much he is dreading his next birthday, which marks the start of his turn to put on a helmet for the mines. While he is reflecting, he also takes not of “the flame atop the waste stack, high in the distance,” symbolizing while everything may look happy and celebratory, when in reality everything in his life is going up in flames(Doerr 11-12).

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First, Doerr uses past tense to show that Verner did at one point want to grow up but his dream was squashed by the reality of working in the mines. Amidst his nightmares of the mines, Werner states that “not so long ago he let himself dream of Berlin and its great scientists” (Doerr 32-33) demonstrating that he did at one point want to become a scientist. However, since Werner is an orphan and is on the margins of society, he is placed at a disadvantage compared to other children. Doerr illustrates that Werner does not have a choice of becoming a scientist and must become apart of the “ever expanding machine that is Germany” (Doerr 58-59). Because he is an orphan and growing up in WWII, he must give up his dreams of becoming a scientist and participate in working in the mines for the good of the country making him scared to grow up because he knows he is just a pawn and expendable.

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In the passage Doer showcases Werner’s broken-down feelings towards getting older through oppressive diction. Werner is aware that in one short year “they’ll give him a helmet and lamp and stuff him to a cage with the others.” (Doer line 26-27). This is a harsh reality that Werner has been faced with and he  has no choice on going. Through the oppressive diction it is illustrated that Werner feels that he could do something great with his life, yet he is being forced to join the people in the mines. He wrestles with the fact that everyone looks forward to joining the mines on their fifteenth birthday and “set down their lives for it” while he could want nothing less. This oppressive diction allows the reader to understand why he feels dread to go older.

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The depressing atmosphere in this passage from All the Light We Cannot See reflects Werner’s resistance to becoming a miner. It is the day of Werner’s fourteenth birthday and as he looks at the boys walking into the mine, some just a year older than him, he dreads having to succumb to that same future in just one year. Werner imagines going down into the mines with “sporadic and muted lights passing and receding, cables rattling, everyone quiet, sinking down to that permanent darkness.” This dark and foreboding description of Werner’s future represents his reluctance and resentment of that future. He does not want to be forced into a profession where he cannot let his own curiosity and skills thrive. He fears physically going  into the mines “where men claw at the earth with a half mile or rock hunched on top of them,” just as he fears the limited opportunities, he has for a future that he enjoys. The miserable atmosphere Werner describes mirrors the hopelessness and desolation that Werner feels about his future prospects.

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Doerr’s use of dark imagery in describing the coal mines illustrate Werner’s fear of his dark and inescapable future. Werner imagines this dark and inevitable descent into the mines, describing the lights as “sporadic and muted” as he sinks down into the “permanent darkness.” As Werner gets older, his future in the coal mines looms closer, and becomes more foreboding. The dark imagery portrays the dark feeling that sinks into Werner’s thoughts as he imagines his dim future.

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Doerr uses the past tense as a way to show the sadness Werner has concerning his past goals but no longer can achieve them because of his imminent future. When Werner was younger, he was ambitious and knew he would make a change intellectually in the world. Now in the present day, Werner remembers how “[Frau Elena believed in him] and that “[he will] do something great.” (Doerr 29). Now, all Werner dreams about is his future either in the mines or with the Hitler youth. His future being decided for him is inevitable. He fears what will happen to him, and now that he can’t dream about the future he thought he could create he is troubled.

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Doerr’s use of emotionless, gray setting details creates a gloomy mood in the orphanage. Werner’s attention to analyzing and envying the people around him and acting as if his birthday is just any other day, shows how is new sense of maturity has made him loose hope in life. His refusal of acceptance that he is one year closer to a dark, impending fate, takes over any spark of happiness that could have risen from Werner. When “Werner presses his forehead to the window of the dormer and peers through the drops” (lines 49-50), it creates longing and disappointment that he is trapped in a reality that sharply contrasts his dreams.

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Doerr uses a metaphor to describe Germany as an “ever-expanding machine” to show how the war has set up expectations for young boys such as Werner that cannot escape. During World War II, Germany became an industry powerhouse to prepare for war. Germans during that time were flooded with so much propaganda that had much pride in their country. As Werner describes, “A million men ready to set down their lives for it.” Werner had a very different beliefs and ambitions for himself than his fellow Germans. At such a young age, Werner understands that his childhood dreams are unachievable.

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Doerr writes in the past tense when bringing up Werner’s dreams to emphasize that his aspirations must remain in the past as he grows older. Werner’s attitude on his fourteenth birthday is more dreadful and fearful for his future than how most people feel on their birthday. In one year, he knows he will have to finally give up his dreams of becoming a scientist to go work in the mines, which he fears. When bringing up science, Doerr says “It has been months since he last heard the Frenchman on the shortwave. A year since he held that water-stained copy of The Principles of Mechanics. No so long ago he let himself dream of Berlin and its great scientists… ‘I believe in you,’ Frau Elena used to say” (29-33, 37-38). Doerr’s use of the past tense highlights that as Werner ages, he has to let his dreams go in order to face the reality laid upon him. He can no longer dream of working with scientists because he must work in the mines. Using the past tense emphasizes that his dreams are now in the past.

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Doerr's use of oppressive imagery portrays Werner's fearful releuctance of growing older. As Werner contemplates being one year closer to working in the mines, he imagines "everyone quiet, sinking down to that permanent darkness... where a half a mile of rock [is] hunched on top of them" (Doerr 21-25). Doerr eerie description of the mines highlights Werners dread of going into the mines. Werner see the mines as a doomed fate he cannot escape from. It is evident that Werner is being forced to work in the mines and feels crushed by this weight. Just like he cannot stop time from passing, he cannot see a way to escape his fate in the mines.

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Doerr perfectly gives readers an insight into Werner’s psyche and self-perception through the usage of implied juxtaposition and vivid imagery as shown in the beginning half of the excerpt. By introducing a detailed description of the other orphans under Frau Elena’s care and making them have other aspects and attributes to themselves like what they’re doing and their ages, like, “A five-year-old – Rolf Hupfauer – sits in the corner of the sofa, eyelids slipping heavily over his eyes” (line 6), Doerr effectively makes these background characters have importance. This light description of the other orphans starkly contrasts and juxtaposes how Werner views himself, where he doesn’t mention his interests or goals in life – only addressing what is expected of him by both those in his village and the Nazi party that now reigns over Germany. In lines 26 to 28 Doerr writes, “One more year. Then they’ll give him a helmet and lamp and stuff him into a cage with the other”; this glimpse into Werner’s bleak perception of his future paired with his cynical tone shows that he holds no hope toward ever amounting to more than either a coal miner or a Nazi foot soldier, even though he dreams of becoming more. The usage of younger children – specifically a baby – plays into the idea of Werner unwillingly leaving his childhood and the dreams associated with it behind and picking up the expected goals of external sources like the Nazis and the older boys around him.