People say one can do whatever they want and be whoever they want to be, but in reality, that is not always the case. In the novel The All of It, Jeannette Haien has utilized various literary devices, namely imagery, symbolism, and juxtaposition, to convey Father Declan’s internal thought about being lonely on top, feeling the pain no one feels, and the realization of being the guiding light means one has to sacrifice the vividness of life, ultimately revealing the fact that life is full of exchanges, and one can be anything, but not everything.

Early in the story, the solitude of Father Declan is portrayed by the effective combination of symbolism and imagery, highlighting the contrast within the same life. Father Declan is characterized as a person with adequate wealth but also a monochromatic life, driving his “old Ford” on the “narrow, winding road” through “the fog.” The symbolic representation of the old Ford implies Father Declan does not have a struggling life; in fact, having a vehicle to travel is considered part of a successful life. But the image built around the moving car exemplifies how Father Declan sees the world on a daily basis: dark, narrow, unclear. The dark road in this scenario represents the dark and lonely journey Father Declan has always been taking to achieve the social standing where he is right now. The contrast between the car that represents wealth and vividness, and the road that highlights solitude and monochrome, sends a powerful message about how people on top have to go through the past no one would ever have. The similar structure is continued to be utilized by Haien when the author introduces “the Castle” and how unpleasant Father Declan feels when leaving it to go back to the “bleak parish-house” with “dark windows” and “high, cold rooms” and the “chilly chambers.” The Castle serves as a symbol to highlight the admirable career and the honorable responsibility Father Declan is having. But such an “appearance” does not change the reality of Father Declan’s life, which is full of loneliness and silence. The absence of “‘How are you?’” only worsens the pain Father Declan is suffering as a result of his decision to be lonely. The contrast between the Castle and the house, again, highlights the reality of Father Declan’s life as a juxtaposition: to have the things people want and to be at the place people want to be, one has to feel the silent yet painful suffering no one can feel.

Continuing on the journey “home,” Father Declan slowly comes to a realization about his position as the guiding light, and how social expectations and constraints will prevent him from achieving his personal desires. Father Declan long desires for “a dog, a sensitive puppy;” a "warm, affectionate, entertaining little dog” that would “wag [Father Declan] awake of a morning.” The vivid description of the dog represents the vividness of life, which seems to be the norm for everyone, but has long vanished from Father Declan’s life. The detailed description of a dog does not just highlight the dog; it is a symbol of the ultimate thing that is out of reach for Father Declan: a loving companion. The dog is the idealization of a person who would bring Father Declan the colors of life, who would make him feel what it means to be loved, to be taken care of; what it means to have a family, what it means to be a father. But if the dog is the idealization of a friend, Mrs. Duggin steps in as the reality of a foe. Haien effectively portrays Mrs. Duggin as an antagonist who “wouldn’t take to a dog” and would constantly complain about the “‘dog hairs.’” In a greater sense, Mrs. Duggin is not just a person; she is the physical representation of greater expectations society has for Father Declan, a man of virtue and pureness, despite the deepest confessions Father himself has. 

But has Father Declan realized his responsibility contradicts his desires? Yes, from the start. “Was there anything written against a priest having a dog?” “Could he think of a sixtyish priest he knew who did?” The series of question-and-answers effectively demonstrates the acceptance of Father Declan that as a priest, there are unwritten rules that could not be broken; Father has to make exchanges to be where he is and to do what his responsibility commands. And Father is totally aware of how lonely he is, highlighted by the unique syntax “singular-in-his-life, brilliantly prodigious, gallimaufry twenty-four-pound-ten-once day.” And yet, there is nothing that can be done, for that is what it takes for Father Declan to serve as a priest, as an exemplar for people to look up to. He understands and accepts that his desire could never be achieved, because one cannot have everything.

All in all, Jeannette Haien has sent a strong message about the nature of life as one full of exchanges, and that one can be anything but not everything, including one with full of vibrant colors in life, through the complex portrayal of Father Declan using multiple effective literary devices in the novel The All of It. It all comes back to the discussion of a society of progress versus a society of traditions, and the role of religious leaders in leading society on the right path. Things change over time, but so should the core beliefs and the way people uphold their values in life? The character of Father Declan in The All of It will serve as a unique yet crucial perspective in evaluating such discussion.