For example, in Strangers and Wayfarers a character says, "them pore creature's looks as cheerless as little birch-trees in snow-time.” Dafoe’s Thomas also relies on these similes and compound words, like the “why’d” in “Why'd ya spill yer beans?” Often, Winslow (and for that matter the viewer as well) struggles to translate what Thomas is saying, particularly because of these regionalisms-which furthers their burgeoning adversarial relationship and makes Thomas into an unreliable character. In combination with her poetry, Eggers also utilizes Jewett’s two novels Strangers and Wayfarers (1890) and Tales of New England (1890), which pool its language from interviews with local sea captains. Thomas’ speech pattern depends upon those same breaks. Most importantly, the verses succeed through caesuras: midline breaks punctuated by commas meant to allow the reader to pause and breathe. Behind the elms, comes slow and sweet.” The poet relies on mono and disyllabic words, hyphenated phrases, and a trochaic octameter (eight syllables per line). Take Jewett’s poem, At Home for Church: “The Sunday-morning quiet holds/In heavy slumber all the street. Thomas relies on a stop-go pattern of speech mixed with colloquialisms, which lies in contrast to Winslow’s down-east farmer intonations. Her poetry-particularly the way she uses caesuras-and her interviews with sea captains greatly inform Dafoe’s Thomas' dialect and accent. She lived the entirety of her life in New Brunswick, Maine and couched her writing in regionalism-portraying the rhythm of speech of the period. To match the period, Eggers turned to the poetry and prose of Sarah Orne Jewett. The icy relationship between Thomas and Winslow hinges upon language, especially the dialects of 1890s New Englanders.
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