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French’s metaphors create a more relatable experience for the reader. Given the subject matter—a murder investigation into a particularly heinous type of crime—this is important. Most readers don’t have a frame of reference, and French’s use of simile facilitates connection to unimaginable concepts by highlighting similarity to other concepts. Scorcher pays close attention to Richie when they first enter the crime scene. As a new detective, he hasn’t experienced seeing something like the murder scene before. French uses simile through Scorcher’s perspective to detail the physical effects on Richie, who was “grimacing and licking his lips, like an animal that’s tasted something putrid” (22), connecting to the theme of The Essential Animal Nature of Humans. The inclusion of a vivid physical detail through simile creates a visceral experience for the reader. Similarly, after the first interview with Jenny, Scorcher notes, “[E]very breath I took was still clotted with disinfectant and blood, like the hospital air had closed around me and soaked into my pores” (177). The vivid description emphasizes the bleak and ominous setting and situation.
Similes are also related to the use of first-person point of view. Scorcher self-consciously tells the reader about his experiences using simile throughout the book. For example, when interviewing Fiona he thinks: “interesting fact from the front lines: raw grief smells like ripped leaves and splintered branches, a jagged green shriek” (52). The use of simile and sensory details make the passage experiential, while the specific imagery that Scorcher uses develops his character. The fact that the line is preceded by the introduction “interesting fact from the front lines” (52) suggests that Scorcher is relating his experience purposely in a way that his audience can understand.
French often uses anthropomorphism to develop setting by contextualizing it through human emotion and experience. The day the novel begins is in October, “a thick, cold, grey Tuesday morning, sulky and tantrumy as March” (7). In passages like these, anthropomorphizing setting is an important strategy for two reasons. First, French treats place as a character throughout the novel, and such details therefore help characterize Broken Harbour and cement its place as an active participant in the narrative. Second, it foreshadows the importance of setting to plot. If the Spains had not moved to the estate, they would not have been so isolated, and their mental states may not have declined so dramatically or with such disastrous consequences.
French uses indirect characterization to develop the novel’s characters through their behavior and gestures. Because it is first person through Scorcher’s perspective, these observations emphasize his experience and competence as a detective. For example, when they are interviewing Sinéad Gogan, Scorcher notices “[t]hat wary flick of her eyelids. She slumped back in the chair and folded her arms again” when they ask if she has any reason to believe Pat might have been the murderer (79). The physical details indicate that she does know something, with the flick of her eyelids, which Scorcher describes as “wary”; however, her body language immediately switches and indicates her reluctance to help them, as she slumps into her chair and crosses her arms.
Subtle descriptions of gesture also show the developing relationship between Scorcher and Richie as they get to know each other. When Scorcher thinks about “Pat and Jenny Spain throat-deep in terror, believing that we were too far away and too indifferent even to be worth calling” (118), he observes that “[g]oing by the tight movement of Richie’s jaw, he was picturing the same thing” (119). French also characterizes conflict through gesture. When Scorcher confronts Richie about what Quigley has been saying, “Richie’s feet started a soft-shoe shuffle under his chair “(251), suggesting his discomfort with the question. These moments in which the narrative focuses on body language and gesture help to develop character, tone, and theme by highlighting what isn’t being said.



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