Imagery involves using descriptive word choices to create vivid visual scenes. Such imagery is evident in the opening scene in which Madam Aurélie stands with her arms akimbo, contemplating the band of children. This stance further emphasizes Madam Aurélie’s general approach to life, that is, a somewhat confrontational and determined attitude. As the children stand on the porch, more imagery emerges—there is “white sunlight” on the boards of the house, and chickens scratch at the grass. One chicken has even “boldly mounted” the porch and is “stepping heavily, solemnly, and aimlessly across the gallery” (242). The rich imagery in this moment is suggestive of the arrival of something new and perhaps not necessarily bad, though the chain of adverbs describing the one bold chicken hints at the heavy, solemn Madam Aurélie lacking direction in how to approach this challenge.

In contrast, after the children depart, imagery helps suggest how the children’s stay has affected Madam Aurélie. The white light of the sun is gone, replaced by “the red sunset and the blue-gray twilight [that] had together flung a purple mist across the fields and road” (244). These elements collaborate to swallow the cart carrying the children home, hiding it from her view.