The main characters in Jane Yolen’s story “Suzy and Leah” are, Suzy Ann McCarthy, and Leah Shoshana Hershkowitz. Although their relationship had a very rocky start because neither one of them knew each other, Suzy’s feelings begin to revolutionize about Leah throughout the diary because they got to know and care for one another. In the beginning they did not know each other. Suzy’s feelings begin to change about Leah when her mother told her about the excruciating times and places that Leah was in. The two characters, Suzy and Leah read each others diary to get a better knowing of each other. Suzy at first did not comprehend why Leah acted the way she did, but now she realizes that it was such a vast change, and was very frightening for
Lauren Alleyne uses the rigid form of the sonnet to navigate through the healing process after being sexually assaulted. Ten years after that night, she writes the sonnet sequence Eighteen, which deviates from the typical sonnet form in the aspects of the speaker, subject, and format. Playing off of the standard sonnet form, Alleyne is able to recount the emotions of that night during the first sonnet in the sequence. The typical sonnet tends to objectify the female body or one’s lover; in this sequence, the sonnets address what happens when an individual acts on these objectifications and assaults Alleyne. Alleyne deviates from the standard subject and speaker of the typical sonnet form to begin the healing process; the process begins
Deborah Tannen’s essay, “There Is No Unmarked Woman”, explores the idea of “marked” and “unmarked” words, styles, titles, and how females have no ability to choose an unmarked position. She also posits that “The unmarked forms of most English words also convey ‘male’” (88). Tannen is incorrect in her premise because females are able to choose unmarked hair and clothing styles, many unmarked forms of words no longer convey “male,” and men are marked just as often as women.
It all began in and around the year 1919. Sula Peace, the daughter of Rekus who died when she was 3years old and Hannah, was a young and lonely girl of wild dreams. Sula was born in the same year as Nel, 1910. Sula was a heavy brown color and had large eyes with a birthmark that resembled a stemmed rose to some and many varied things to others. Nel Wright, the daughter of Helene and Wiley, was and unimaginative girl living in a very strict and manipulated life. Nel was lighter in color than Sula and could have passed for white if she had been a few shades lighter she. A trip to visit her dying great-grandmother in the south had a profound effect on Nel’s life. In many ways the trip made her realize her selfness and look at things around her in a different light, eventually sowing the seeds that initiated the friendship between herself and Sula. The two girls met each other at Garfield Primary School after knowing each other at a distance for over five years. Nel’s mother had told her that she could not interact with Sula because of Sula’s mother sooty ways. The intense and sudden friendship between them which was to last many years was originally cultivated my Nel. The period in history and the mentality of the people in their immediate surroundings played an impressive part in the formulation of the friendship between Sula and Nel. When they first met at school, it was as if they were always destined to be friends.
There are many religions in the world and each religion has different beliefs. Most religions have a higher power (e.g. a God, a spirit, etc.). Those religions that believe in a higher power also try to communicate with them and often feel as if they get possessed by that spirit or God when they successfully communicate with them. I will be looking at two readings that share the different types of experiences people have when they communicate with their spirits.
“Dad asked me if I wanted to see more of the Compound. I didn’t. We would have to wait fifteen years before it would be safe to go outside. Which left more than enough time to see the rest of the Compound. Our new world. A world I would soon hate” (Bodeen 8). The Compound by Stephanie Stuve-Bodeen, shows that the Compound is a veritable of hell through her use of repetition, and point of view. The Fallout, also written by Stephanie Stuve-Bodeen, through the point of view of Eli, shows the struggles of readjusting to normal everyday life that we take advantage of. Both works show the importance and symbolism, the titles have towards the development of the story.
Alison Bechdel’s Fun Home is a novel about a girl who discovers not only her sexuality, but family secrets too. This novel walks readers through the story of the development of a lesbian identity through the use of visual and verbal representation of memories and interpretive acts. The narrator, Alison, draws pictures of her memories through original scenes, passages from novels, photographs, lines from family letters, interior décor, and dialogue. She opens up her life to readers and wants to make sure they get a clear picture of who she is and what has happened to her. There is a lot of ellipsis. However, with Alison’s narration and drawings, we go into depth of her complicated life and find all the missing puzzle pieces that have been left out for so long.
Marie, who is a product of an abusive family, is influenced by her past, as she perceives the relationship between Callie and her son, Bo. Saunders writes, describing Marie’s childhood experiences, “At least she’d [Marie] never locked on of them [her children] in a closet while entertaining a literal gravedigger in the parlor” (174). Marie’s mother did not embody the traditional traits of a maternal fig...
Brideau made the narrative really “come alive” in various ways. One way was by describing the situation and condition of the hall that housed many of the hurricane survivors. Her choice of words makes it easy for the reader to understand the type of emotion both Lydia and Brideau felt. In the beginning of the narrative, it is quite clear that the first major emotion felt was fear. Towards the middle of the story, Brideau mentions that Lydia described the flooding as “...the
The story begins with and is enveloped by Walton’s letters to his sister. His sister is very close to him; as can be seen by the affection terms used for her and the comfort level that Walton has with her; terms such as “dear sister” and “my sister”. This relationship that Walton has with his sister is placed on the reader through his expressions and use of language.
Some parts of the comic memoir are told out of order, with alternating scenes of therapy between her new therapist, Carol, and her previous therapist, Jocelyn. This interspersion of scenes disguises the progression of the relationship between Jocelyn and Bechdel because Carol brings the narrative back to Bechdel’s family situation, specifically the relationship between Bechdel and her parents. The two therapists and their offices are drawn very similarly, but the astute reader may be able to pick out the chronological order of scenes.
Towards the middle of the memoir, the theme is shown through the irony of Jeannette’s mother’s situation as well as Jeannette’s feelings towards
Their Aunt’s persona is obscure before she arrives, and once she is their full caretaker, they begin to realize that her behavior is contrasting to their formulated notion of domesticity. The entrance of Sylvie puts a strain on the two inseparable sisters. Sylvie represents the opposite of Lucille, who mimics the ideals and values of Fingerbone,therefore; She represents the paragon of a female within the 1950’s. With opposing views such as the matters of schooling ,feeding, cleaning, and responsibilities the relationship is severed between the sisters. For example, the heaps of unwashed dishes, burnt curtains, opened cans reflecting trash to Lucille and art to Sylvie, and the lights that are rarely turned on. Lucille set on finding an escape from her grandmother’s house and rejecting transience, allows Ruth to no longer base her identity to the one her sister and the town has construed for her. With the severing of the relation and Lucille leaving to home economics teachers house, Ruth is liberated from the bondage of her sister who expected her to be her shadow. With the diversion of ideals between Sylvie and Lucille, the differences between permanence and transience is highlighted through the use of the two. This is noted when Ruth says “Lucille hated everything that had to do with transience”(103).And after this statement we
...en. Probably the most striking commonality is how women relate through those by which they are haunted: just as Marisa recalls her cousin Norma who was committed to a mental hospital, Alejandro's death seriously impacts Amalia; Mrs. Peters recalls her dead baby in an effort to relate to Mrs. Wright, and Mrs. Hale remembers the woman Mrs. Wright was before her marriage. Both Glaspell and Moraga explore the universal theme of isolation and how relationships can create, in the case of Mrs. Wright, or diminish it, as with Marisa and Amalia.
Another one of these stories was “Eveline”. Many women of this time period were faced with the reality of choosing the future instead of holding on to the past in order to make a life. Eveline was mistreated by the men in her family but is not able to fully let go of the family relationship that she still found with them. This goes to show that women were underestimated for their compassion role in society. She wants to run away with the man she has been seeing for a long time. His name is Frank. She sees him as a way to escape and maybe have chance at a happier life but backs out of this decision when she hears an organ play in the streets that brought back memories of her mother’s death. Eveline shows the side of humans that desire routine and a need to feel safe in repeated routine. Paralysis is seen through the way she is frozen in her life because of routine and cannot let it go. Joyce blames the Catholic Church for the way women lived and people in general, lived their lives in fear of anything
Plot Summary: Meg, Jo, Beth and Amy are the March sisters. Their father is off to war and they rely on their mother, Marmee, to see them through the hard times of the Civil War. In the first part of this book the reader is introduced to the characters. Meg is the sensible one, Jo is the tomboy , Beth is the sweet one, and Amy is the artistic and feminine one. The girls are all generous and even give their own Christmas dinner to a poor family. Meg has her first dance and brings Jo along. At the dance we meet Laurie, the mysterious grandson of the Old Mr. Laurence living next-door. His real name it Theodore, but he prefers Laurie because he was teased in school by the girls. The girls all spend a lot of time at the Laurences home, all excepting Beth. Because she is afraid of Old Mr. Laurence, she stays away. Mr. Laurence asks if he could have Beth over to play for him. When she does, it creates a lasting bond between them. Old Mr. Laurence loves her playing so much that he gives her a small piano that had belonged to his deceased granddaughter.