Maurice Sendak’s Where the Wild Things Are, In the Night Kitchen, and Outside Over There
The three titles of Maurice Sendak’s famous picture book trilogy, Where the Wild Things Are, In the Night Kitchen, and Outside Over There, name what Judith Butler calls “zones of uninhabitability,” places of abjection that form the borders of the self as both its constitutive outside and its intimate interior. These are dangerous places in the geography of childhood, places where the child’s very life and sense of self is threatened. More frightening still, they are present places, places that exist in the same time that the child inhabits, rather than the once upon a mythical time of fairy tales and legends. Hence they are places that beckon the child to trespass the boundaries of their current lived social and material landscapes and explore. What does happen where the wild things are? What goes on in the night kitchen? What fascinations lurk outside over there?
Indeed because they are the mysterious places belonging specifically to childhood, Max, Mickey, and Ida negotiate these places such that they are more comfortable and empowered within these borderlands than they are on the outside. Max becomes King of the Wild Things, Mickey is the hero of the night kitchen, and Ida rescues her sister from the goblins that inhabit “outside over there.” Even though the protagonist of each book is different, there is nonetheless the sense that this trilogy tells a developmental story, a story of the ways in which a clean and proper social body emerges or is constituted through certain exclusions, and how that which has been abjected returns in both threatening and joyful guises. Thus a reading of these stories as a developmental narrative where...
... middle of paper ...
... embodiment that must be worked through in childhood—fantasies of cannibalistic consumption, of the morph-ability of bodies, of infantile sexuality—in order to construct the lived body of adulthood. But as Sendak understands, these fantasies never completely go away, but always return to haunt or thrill the adult subject as terror and jouissance.
Works Cited:
Butler, Judith. Bodies That Matter: On the Discursive Limits of “Sex.” New York: Routledge, 1993.
Kristeva, Julia. “Place Names.” Desire in Language: A Semiotic Approach to Literature and Art. Ed. by Leon S. Roudiez. New York: Columbia UP, 1980.
Powers of Horror. Trans. by Leon S. Roudiez. New York: Columbia UP, 1982.
Sendak, Maurice. In the Night Kitchen. New York: Harper & Row, 1970.
Outside Over There. New York: Harper & Row, 1981.
Where the Wild Things Are. New York: Harper & Row, 1963.
This examination will look at the short story “Killings” by Andre Dubus and the main characters in the story. The story begins on a warm August day with the burial of Matt and Ruth Fowler’s youngest son Frank. Frank’s age: “twenty-one years, eight months, and four days” (Dubus 107). Attending the funeral were Matt, his wife Ruth, their adult children and spouses. Matt’s family is extremely distraught over the murder of their youngest son/brother, in their own way. There are implications of wanting to kill Richard Strout, the guy accused of being the murderer: “I should kill him” (107), as stated after the service. This comment is considered a fore-shadowing of what is to come in the thought progression of Matt and Ruth.
John Karkauer novel, Into the Wild displays a true life story about a young man by the name of Christopher McCandless, who creates a new life for himself by leaving civilization to live in the wilderness. The story displays how Christopher develops and matures throughout the story by prevailing harsh predicaments and learning valuable lessons on the way. Christopher’s character evolves by comprehending several new lessons and such as finding true pleasure, disregarding other people’s judgments, as well as realizing that material things are just material things and nothing else. All through the story, Christopher struggles to discover the true satisfaction in his life. Christopher struggles to choose what makes him truthfully content over what makes his parents glad. Christopher’s parents want him to attend law school, despite the fact that he wants to follow his passion to live in the northern wild. Christopher’s letter to his sister Carine says, “or that they think I’d actually let them pay for my law school if I was going to go….” (Krakauer.pg21). According to this quote it can be known that Christopher does not really feel any pleasure or happiness in wanting to go to law school. He finds his satisfaction with life on the road and experiences this because life on the road gives him endless possibilities and adventures every day. Christopher’s letter to Ron Franz goes as, “I’d like to repeat the advice I gave you before, in that I think you really should make a radical change in your lifestyle and begin in boldly do things which you may previously never have thought of doing, or been too hesitant to attempt……Don’t settle down and sit in one place. Move around, be nomadic, make each day a new horizon.”(Krakaur.pg56-57). The letter details the benefits of living a life in the wild such as the new adventures you face every day. Chris feels what actually happiness is, when he meets face to face with the wild. As he experiences the northern wild, he learns that true happiness doesn’t come from one source, but from various foundations in a person’s life. Chris penned a brief note, which says, “I HAVE HAD A HAPPY LIFE AND THANK THE LORD. GOODBYE AND MAY GOD BLESS ALL!”(Krakauer.pg199) The brief note shows that even though Chris was on the edge of death, he was finally happy with his life.
Bordo, Susan. "Beauty (Re)discovers the male body." Bordo, Susan. Ways of Reading: An Anthology for Writers. Ed. David Bartholomae and Anthony Petrosky. Ninth Edition. Bedford/St.Martin's, 2011. 189-233.
Children have often been viewed as innocent and innocent may be a nicer way to call children naive. Since children’s lives are so worry free they lack the knowledge of how to transition from being a child to becoming an adolescent. Their lack of knowledge may be a large part of their difficulties growing up, which could be a few rough years for many. In books like the boy in the striped pajamas the story is told from the point of view of a little boy, this way we get a full view of how innocent he is. In this book the writer shows the reader first hand how a child viewed the holocaust and how his innocence cost him his life. Then in books like the perks of being a wallflower Charlie is a teen whom is struggling with the transition from being a child to becoming an adolescent. In this book the writer gives a first hand look at how difficult it can be to transition into an adolescent. Charlie has many difficulties in this book; he is in search of his identity and how to fit in.
Since the dawn of the Victorian Era, society has perpetuated unrealistic gender performance ideals that supposedly find their roots within biological sexual differences. Judith Butler has spent a lifetime seeking to break the mold todays social constructions, specifically surrounding gender and sexuality. The theory this pioneer pegged is now known as Queer Theory, and brought forth in the education system through Queer Studies courses. In the text Sexing the Body: Gender Politics and the Construction of Sexuality by author Anne Fausto-Sterling, gender and sex are similarly challenged on both a social and biological level. When reviewing Fausto-Sterling’s work in conjunction with Queer Studies and Human Sexuality, an efficient and effective format is loosely based upon a Critical Literary analysis.
Irigaray, Luce. “That Sex Which is Not One.” The Critical Tradition: Classic Texts and Contemporary Trends. Ed. David H. Richter. Boston: Bedford Books, 1998. 1467-1471.
Rubin, Gail. "Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality." American Feminist Thought at Century's End : A Reader. Ed. Linda S. Kauffman Cambridge, Ma : Blackwell, 1993. 3-64.
In the featured article, “Beside Oneself: On the Limits of Sexual Autonomy,” the author, Judith Butler, writes about her views on what it means to be considered human in society. Butler describes to us the importance of connecting with others helps us obtain the faculties to feel, and become intimate through our will to become vulnerable. Butler contends that with the power of vulnerability, the rolls pertaining to humanity, grief, and violence, are what allows us to be acknowledged as worthy.
Bartholomae, D., & Petrosky, A. (2011). Ways of reading: an anthology for writers (9th ed.). Boston: Bedford/St. Martin's. “Judith Butler; Beside Oneself: On the Limits of Sexual Autonomy.”
“Into The Wild” by John Krakauer is a non-fiction biographical novel which is based on the life of a young man, Christopher McCandless. Many readers view Christopher’s journey as an escape from his family and his old life. The setting of a book often has a significant impact on the story itself. The various settings in the book contribute to the main characters’ actions and to the theme as a whole. This can be proven by examining the impact the setting has on the theme of young manhood, the theme of survival and the theme of independent happiness.
Butler, Judith. "Bodies That Matter: On the Discursive Limits of 'Sex'". New York. Routledge. 1993
The Tale of Peter Rabbit and Voices in the Park were published at either end of the twentieth century, a period which witnessed the creation of the modern picturebook for children. They are both extremely prestigious examples of picturebooks of their type, the one very traditional, the other surrealist and postmodern. The definition of ‘picturebook’ used here is Bader’s: ‘an art form [which] hinges on the interdependence of pictures and words, on the simultaneous display of two facing pages, and on the drama of the turning of the page’ (Bader, quoted in Montgomery, 2009, p. 211). In contrast with a simple illustrated book, the picturebook can use all of the technology available to it to produce an indistinguishable whole, the meaning and value of which is dependent on the interplay between all or any of these aspects. Moebius’s claim that they can ‘portray the intangible and invisible[…], ideas that escape easy definition in pictures or words’ is particularly relevant to these two works. Potter’s book is, beneath its didactic Victorian narrative, remarkably subtle and subversive in its attitudes towards childhood, and its message to its child readers. Browne’s Voices in the Park, on the other hand, dispenses with any textual narrative; by his use of the devices of postmodernism, visual intertextuality and metaphor, he creates a work of infinite interpretation, in which the active involvement of the reader is key.
Blackledge, Catherine. "The Function of the Orgasm." Gender, Sex, and Sexuality. New York: Oxford University, 2009. 272-84. Print.
The boy is haplessly subject to the city’s dark, despondent conformity, and his tragic thirst for the unusual in the face of a monotonous, disagreeable reality, forms the heart of the story. The narrator’s ultimate disappointment occurs as a result of his awakening to the world around him and his eventual recognition and awareness of his own existence within that miserable setting. The gaudy superficiality of the bazaar, which in the boy’s mind had been an “oriental enchantment,” shreds away his protective blindness and leaves him alone with the realization that life and love contrast sharply from his dream (Joyce). Just as the bazaar is dark and empty, flourishing through the same profit motivation of the market place, love is represented as an empty, fleeting illusion. Similarly, the nameless narrator can no longer view his world passively, incapable of continually ignoring the hypocrisy and pretension of his neighborhood. No longer can the boy overlook the surrounding prejudice, dramatized by his aunt’s hopes that Araby, the bazaar he visited, is not “some Freemason affair,” and by the satirical and ironic gossiping of Mrs. Mercer while collecting stamps for “some pious purpose” (Joyce). The house, in the same fashion as the aunt, the uncle, and the entire neighborhood, reflects people
Butler, J. 1990. Gender Trouble. Feminism and the Subversion of Identity. London and New York: Routledge.