Set in America during the 1920s, William Faulkner's The Sound and the Fury explores the life of a Southern family through the eyes of its youngest members: Benjy, Quentin, and Jason Compson. Throughout the novel, it is clear that the family struggles to adapt to a more modern time, attempting to hold firm to their beliefs in traditional values such as honor, strength, and chivalry for men, and grace and purity for women. This attachment to the past and inability to move forward ultimately leads to the family's downfall. The final section of The Sound and the Fury concludes the novel's overarching theme of the decline of a once-powerful, aristocratic Southern family by focusing on the importance of and dependence on the family's black servant, Dilsey. She has worked for the Compson family for years and years, but maintains a character that is hard-working, selfless, and religious. Dilsey is described as having “been a big woman once but now her skeleton rose, draped loosely in unpadded skin” (256). Despite her age and obvious frailty, on Easter morning Mrs. Compson forces Dilsey up and down the stairs numerous times unnecessarily, once asking, “Haven’t you started breakfast yet?” to which Dilsey responds, “I’ll tend to dat too” (271). She cooks, cleans, dresses and cares for Benjy, and even defends Quentin in front of Jason. She tells Quentin, “I aint gwine let him tech you.” and in return Quentin remarks, “You damn old nigger” (185). Dilsey lovingly puts herself in harm's way, but is neglected and ridiculed. Finally, Dilsey is the only religious character. Her answer to a question from the children about their grandmother’s death is “You’ll know in the Lawd’s own time” (25). She has faith that God had a greater plan for life than what any one person can see, and is comforted by that. Unlike the rest of the Compson family, Dilsey is a regular church attendee. Jason only realizes it is Easter because Mother tells him she has let the “darkies” (279) have the day off for religious services. Despite how much members of the Compson family believe they are honest, Southern people, Dilsey, a member of the lowest class in Southern society, has the purest and unadulterated values.
The transition of being a black man in a time just after slavery was a hard one. A black man had to prove himself at the same time had to come to terms with the fact that he would never amount to much in a white dominated country. Some young black men did actually make it but it was a long and bitter road. Most young men fell into the same trappings as the narrator’s brother. Times were hard and most young boys growing up in Harlem were swept off their feet by the onslaught of change. For American blacks in the middle of the twentieth century, racism is another of the dark forces of destruction and meaninglessness which must be endured. Beauty, joy, triumph, security, suffering, and sorrow are all creations of community, especially of family and family-like groups. They are temporary havens from the world''s trouble, and they are also the meanings of human life.
The Grapes of Wrath displays one of America’s greatest stumbles during the establishment of our country. The story follows a family hit with the struggles of the Dust Bowl and the Great Depression. Drought, economic hardship, agricultural changes, and bank foreclosures rip the Joads from the quaint town of Sallisaw, Oklahoma, forcing them to take the dreadful journey across the country. Nevertheless, the Joads drag their feet along the trodden path, dragged on by an unassured perseverance. The Joads were driven by a burning fire of desperation, grounded by the hope promised by orange handbills laden with the deceitful lies of the rapacious. For the hopeless seek hope, an elusive destiny sated by lying promises. Steinbeck’s unique style of writing inculcates an abortive hope in the minds of the readers, instilling a lust for the untouched and unloved land which in turn reveals the impossibility of the “American Dream”; through complex symbols and innovative themes, Steinbeck also educates the ignorant, blinded by the vague history books that blot out the full intensity of the calamities and suffering endured by hopeful Okies on their treacherous journey into the unknown.
Jehlen, Myra. "The Family Militant: Domesticity Versus Politics in Uncle Tom's Cabin." Criticism 31 (Fall 1989): 383-400.
Emerging from and dwelling within an all-consuming lamentation, the characters of William Faulkner's Absalom, Absalom! enwrap themselves in a world of hurt wherein they cannot or will not release the past. Each comes to know the tragic ends of lingering among an ever-present past while the here and now fades under fretful shadows of days gone by. As the narrative progresses. the major players in this installment of Faulkner's fictional Yoknapatawpha County grow ever more obsessed by what alternative actions different circumstances might have afforded. Trapped in his/her own notions of "what might have been" (115), Miss Rosa Coldfield's wistful, yet indignant exhortation, the historicized characters of Thomas Sutpen and Miss Rosa remain fixated by Antebellum illusions--he in a desperate effort to gain what he could not, she in bitter remembrance of what had never, but might have been.
During the course of this work, many ideas and themes are portrayed and readers are able to view subjects that surround the main topic of racial injustice and intolerance. With the three main narrators, Minny Jackson, Aibileen Clark, and Skeeter Phelan, the audience quickly gains an insight on how racial inequalities affected everyone. These thoughts help to form a plot that can easily keep readers entertained throughout the novel. During the course of the novel, there are many points in the plot that decide the actions and events other cha...
Thomas Supten symbolizes the fundamental characteristics of the Southern society. Donald M. Kartiganer suggests that Faulkner uses Supten to describe the brutality of the Southern system of slavery. He concurs that Faulkner criticizes the values of the South and judgment of man’s fate because of their blood line and not their deeds. Kartiganer analyzes Absalom! Absalom! to prove the methods and values of the South and how they contribute to the theme of miscegenation.
...lty, or even the normal versus the audacious. But, the entire story seems to be focused on two: those of the poor versus the rich and society versus the outsider. Those two operations allow for, and even demand, a different reading of the text giving us a young Colonel striving to break out of his limitations and become the opposite of what he was. In the end, Faulkner allows him to succeed. After his father's death, the young man runs through the woods, forever leaving his family. The text ends with the powerful line, "he did not look back" (Faulkner 1566).
The old saying “The South never dies” appears to be all but accurate in William Faulkner’s The Sound and the Fury. Each member of the Compson Family is practically a contrary of old southern ideals and beliefs. Caddy’s promiscuity, Benjy’s mental disability, Jason’s vulgar attitude towards his family, Quentin’s crooked obsession with Caddy, Ms. Quentin’s rebellious attitude due to her own upbringing, and Mrs. Compson’s ability to see her children as punishments from God; they all diverge from an idyllic well-ordered Southern family. Mr. Compson was the only member who managed to held on to his Southern Morality for the most part, only straying from the norm after the death of his son, Quentin. Each character in their own way depicts how old Southern ideals of gentility have begun and continue to dissolve.
Arthur Dimmesdale presented himself as an uncorrupted man by his social status. Inside he felt unworthy and corrupt form the sin he has committed. The town’s people looked up to Dimmesdale as a man who could commit no grand sin. “People say that the Reverend Master Dimmesdale, her godly pastor, takes it very seriously to heart that such a scandal should have come upon his congregation.” (48). Little did they know that the scandal that Dimmesdale took to hear was the fornication that happened between Dimmesdale and adulteress Hester Prynne. His sinful ways was affecting his health greatly. “Some declared, that, if Mr. Dimmesdale were really going to die, it was cause enough, that the world was not worthy to be any longer trodden by his feet.” (106). The town’s people respected him so much so that they figured it was the world that is corrupt and not Dimmesdale.
To Kill a Mockingbird, the novel by Harper Lee embodies a work of Southern literature, set in the 1930s in a small town in Alabama. The book’s genre exemplifies a coming-of-age historical fiction story. The narrator, a young girl named Scout Finch, describes the lessons she and her brother Jem learn when their father, a lawyer named Atticus, defends an African American man who stands accused of raping a white woman. The novel’s premise revolves around the efforts of a father raising his children and guiding them in their moral development. Along the way, the book deals with the themes of courage, prejudice and maturity. These three concepts are defined differently by Atticus than by most of the other people in the town where he lives. According to Atticus, courage means doing what remains as right and resisting what remains as wrong, even if other people oppose you. In contrast to the prejudice of the townspeople, Atticus believes it important to treat everyone equally. Maturity, in Atticus’ view, refers to having a sense of conscience and seeking to protect those who remain innocent. As these definitions show, Atticus Finch displays a strong sense of ethics. His goal as a parent remains to pass his values on to his children. This paper will argue that Scout and Jem learn the true meanings of courage, prejudice and maturity through the influence of their father and the example he sets for them.
William Faulkner uses multiple narrators throughout The Sound and the Fury to depict the life of Caddy Compson without telling the story from her point-of-view. Benjy, a mentally disabled 33 year old, Quentin, a troubled and suicidal Harvard student, and Jason, a racist and greedy man, each give their drastically different sides of Caddy’s story to create an incomplete chronicle of her life. Faulkner’s first chapter explores Caddy’s life through the silent narrator Benjy. As a result of Benjy’s inability to talk, much of how he describes the world is through his heightened sensory awareness. Benjy constantly repeats the fact that, which, to Benjy, symbolizes Caddy’s innocence (Faulkner 6). Later in the novel when, Benjy realizes that Caddy has lost the innocence Benjy once idolized and loved (Faulkner 40).
When a secret is hidden inside it can engulf and even destroy a person. Arthur Dimmesdale, a revered young minister in the town, demonstrates what happens to the soul. Dimmesdale, as it is later made known, commits the serious crime of adultery with a young married woman named Hester Prynne living in the Plymouth Colony. Hester is unwilling to reveal her partner in sin. Dimmesdale’s fear of persecution and humiliation forces him to keep his sin a secret. So he watches as Hester is placed before her peers on a platform in front of the whole town and is then called to speak to her and urge that she reveal her fellow adulterer. In essence, he is called upon to commit yet another sin, that of hypocrisy. Dimmesdale’s accumulated sins build inside of him, constantly afflicting his soul until it begins to affect him physically. Thinking himself a hypocrite, he tries to ease his conscience and requite his sin by scourging himself on the chest during the night, fasting for days on end and even climbing the same platform on which Hester began her humiliation.
Steinbeck's The Grapes of Wrath is a realistic novel that mimics life and offers social commentary too. It offers many windows on real life in midwest America in the 1930s. But it also offers a powerful social commentary, directly in the intercalary chapters and indirectly in the places and people it portrays. Typical of very many, the Joads are driven off the land by far away banks and set out on a journey to California to find a better life. However the journey breaks up the family, their dreams are not realized and their fortunes disappear. What promised to be the land of milk and honey turns to sour grapes. The hopes and dreams of a generation turned to wrath. Steinbeck opens up this catastrophe for public scrutiny.
In this essay I intend to delve into the representation of family in the slave narrative, focusing on Frederick Douglas’ ‘Narrative of the Life of Frederick Douglass, an American Slave’ and Harriet Jacobs ‘Incidents in the Life of a Slave Girl.’ Slave narratives are biographical and autobiographical stories of freedom either written or told by former slaves. The majority of them were ‘told to’ accounts written with the aid of abolitionist editors between 1830 and 1865. An amount of narratives were written entirely by the author and are referred to as authentic autobiographies. The first of more than six thousand extant slave narratives were published in 1703. Primarily written as propaganda, the narratives served as important weapons in the warfare against slavery. Slave narratives can be considered as a literary genre for a number of reasons. They are united by the common purpose of pointing out the evils of slavery and attacking the notion of black inferiority. In the narratives, you can find simple and often dramatic accounts of personal experience, strong revelation of the char...
Parker, Robert Dale. “Red Slippers and Cottonmouth Moccasins: White Anxieties in Faulkner’s Indian Stories.” Faulkner Journal 18.1-2 (2002-03): 81-99. Rpt. in Short Story Criticism. Ed. Jelena Kristovic. Vol. 92. Detroit: Gale, 2006. 136-46. Literature Criticism Online. Web. 31 Mar. 2010.