s violent as the description of the killing of the sow appears to be, it should be noticed that Golding controls and checks the imagination of his reader. Instead of following the scene from the point of view of the boys, as he does at the beginning of the episode, he backs away and observes the event with detachment. Just before the sow is struck down, he shifts the lens of his camera from close-up to distance, taking in details of the landscap