Love in A.S. Byatt's Possession, Zadie Smith's White Teeth, and the Full Monty by Peter Cuttaneo
As British literature and film seek to sort out the identity crisis that England finds herself in as a post-imperial nation, a variety of views have emerged concerning solutions for Britain’s confusion. One reoccurring theme to these views is love. A.S. Byatt’s Possession, Zadie Smith’s White Teeth, and The Full Monty, directed by Peter Cattaneo, all deal with a traditional, romantic view of true love, whether it is presented as a necessity or a dispensable ideal. While Possession and The Full Monty show romantic love as an essential part of what will push Britain towards rejuvenation, White Teeth presents romance as something that can be forfeited in light of the fact that mere survival is the ultimate goal.
In Possession, Byatt juxtaposes many different types of relationships in order to set up an obvious comparison between what brings renewal and what does not. Roland Michell, a twentieth century scholar studying the works of nineteenth century poet R.H. Ash, is initially in a boring relationship with Val, an embittered ex-scholar, whom he has admittedly settled for. He does not love her, and, as a result, his life with her is bland. Roland later becomes colleagues with feminist Maude Bailey, whose work with another nineteenth century poet, Christabel LaMotte, coincides with his research on Ash. As they uncover Ash and LaMotte’s secret love affair, Byatt is able to display an exciting yet sorrowful love. Despite its sad ending, LaMotte and Ash’s relationship brings freshness into their otherwise monotonous lives.
As the novel progresses, Maude and Roland come to respect and, ultimately, love each o...
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...r future but rather settle with her present in order to survive.
While Byatt’s Possession and Cattaneo’s The Full Monty are concerned with a Britain that pushes herself towards greatness through love and acceptance, Smith is more concerned with Britain just moving forward. Yet all three of these works have interesting viewpoints on the importance of true, romantic love in post-imperial Britain. Perhaps Britain can be rejuvenated through love, as Byatt suggests. Perhaps only love can bring new life to her bored, undefined citizens, as Cattaneo puts forth. Or, as Smith proposes, perhaps Britain just needs to stop all this focusing on the ideal and trying to redefine herself through these fairytale, unrealistic notions. No matter which stance the British work takes, it is important to note the question that they each pose: could love really find a way?
Hence, The Wenders’ determination to protect their daughter in a hostile society, Uncle Axel’s willingness to love and guide his insecure nephew, and the telepaths’ devotion to their closely-knitted group remind us that no matter how corrupt the majority of society becomes, there will always be those who will keep alive the beautiful qualities that make us human. Thus, it is clear that Wyndham purposely incorporated loving relationships in the midst of suffering to keep alive our hope in the human race. Love is an unique quality that can emerge through hardships. The Chrysalids is meant to remind us that the power of this emotion can overcome despair.
Alan Bradley’s novel, entitled Sweetness at the Bottom of the Pie, and Edward Estlin Cumming’s poem, somewhere i have never travelled, gladly beyond, both underscore the thematic concepts of mystery, adventure, and love, but are shaped from different standpoints. The novel is an old-fashioned whodunit set in a 1950s English countryside filled with odds and ends. Taking inspiration from the illustrious Sherlock Holmes, Bradley features Flavia, an eleven year old aspiring chemist who singlehandedly solves a murder case. The poem, written in 1931, details the intense affection that the poet feels for his beloved by using simple prose to express the abstract complexities of love through imagery and symbolism. The three underlying themes are essentially presented physically in the novel, and mentally in the poem. When the inquisitive prodigy stumbles upon a mysterious dead man in her garden, her unique advantage of age propels her on a thrilling journey through various people and places, and while her love remains fixed on chemistry, her interpersonal relationships fall short. On the contrary, the poem portrays the speaker marvelling over the mysterious power his beloved has over him, as he contemplates the inner adventures he will take with her through an exclusively interpersonal love journey. While holding one’s true passion and love close to heart, a wild adventure that stems from the wonders of the unknown offers insightful reality and meaning into both brilliant pieces of literature.
Love and hate are powerful and contradicting emotions. Love and hate are also the subjects under examination for several centuries yet even to the present day; it remains to be a mystery. For the past centuries, writers and poets have written about love showing that the stories of love can never fade way. For this essay, I will discuss three English literature sources that talk about the theme of love and hate. These are the poem Olds "Sex without Love”, the poem Kennel "After Making Love We Hear Footsteps and the story by Hemingway "Hills like White Elephants. I will use the poems to compare the traditional stance of sex that are within the parameters of marriage and love versus the belief that love is in itself an act of pleasure
From the beginning of fiction, authors have constantly exploited the one topic that is sure to secure an audience: love. From the tragic romance of Tristan and Isolde to the satirical misadventures in A Midsummer Night’s Dream, literature seems obsessed with deciphering the mysteries of affection. The concept most debated is the question of where the line falls between lust and love and what occurs when the two are combined, and few portray it more clearly than Edmund Rostand in his French drama Cyrano de Bergerac. The influence of fickle physical attraction and deep romantic love on each other are explored by the interactions of the four main characters: De Guiche, Christian, Roxane, and Cyrano.
The mid 19th century slavery setting of Beloved acts as a perfect breeding ground for tragedy and justifies the fragmented nature of individual's lives. The characters of Beloved are, in a way, defined by their foibles and insecurities. Sethe, Paul D, and Denver must confront and cope with the realities of an unjust history and an out-of-order world. The central conflict of the novel forces each of these protagonists to directly resolve his or her personal inhibitions and grow into a more composed human being. Had the events linking Paul, Sethe and Denver together been any less painful, perhaps "A life. Could be"(57). Sethe's broken sentences, while hopeful, convey a sense of doubt, and only the shadows are holding hands at the carnival. As a rule, Sethe is reluctant to rely on the advice or assistance of others, placing immense trust in her own abilities. Accepting such responsibility is a fantastic burden indeed, as it not only ostracizes her from a community who view her attitude "uncalledfor pride"(162) but brings her a constant regret and gu...
John Updike’s “A & P,” Richard Wright’s “The Man Who Was Almost a Man,” and James Joyce’s “Araby”
In the book, the two only ever seem to have a casual affection for each
But as soon as Sethe understands who Beloved is, Beloved's claim on her is total. Sethe no longer goes to work; she attends to Beloved's wishes. Denver - who once was the most important person in Sethe’s life - tries to make claims on both Beloved as a sister and Sethe as a mother, but she is gradually shut out of the relationship. Sethe doesn’t want to tell much about her past to Denver, but to Beloved she tells nearly everything. “It became…incomplete reveries.” (p. 58)
In Toni Morrison’s Beloved, love proves to be a dangerous and destructive force. Upon learning that Sethe killed her daughter, Beloved, Paul D warns Sethe “Your love is too thick” (193). Morrison proved this statement to be true, as Sethe’s intense passion for her children lead to the loss of her grasp on reality. Each word Morrison chose is deliberate, and each sentence is structured with meaning, which is especially evident in Paul D’s warning to Sethe. Morrison’s use of the phrase “too thick”, along with her short yet powerful sentence structure make this sentence the most prevalent and important in her novel. This sentence supports Paul D’s side on the bitter debate between Sethe and he regarding the theme of love. While Sethe asserts that the only way to love is to do so passionately, Paul D cites the danger in slaves loving too much. Morrison uses a metaphor comparing Paul D’s capacity to love to a tobacco tin rusted shut. This metaphor demonstrates how Paul D views love in a descriptive manner, its imagery allowing the reader to visualize and thus understand Paul D’s point of view. In this debate, Paul D proves to be right in that Sethe’s strong love eventually hurts her, yet Paul D ends up unable to survive alone. Thus, Morrison argues that love is necessary to the human condition, yet it is destructive and consuming in nature. She does so through the powerful diction and short syntax in Paul D’s warning, her use of the theme love, and a metaphor for Paul D’s heart.
In Literature and Life, Love is a powerful force. Sans love; feelings, desires and relationships may seem empty. This force however, can also be destructive, even may end a marriage. Marital discord, arising in general, due to infatuation, lust or affection for a third person, may crop up primarily facilitated by adverse familial, economic or societal conditions that do frequently find their mention in the written word. Some of these concerns like family, marriage, sexuality, society and death, are notably illustrated by the authors, Gustave Flaubert in Madame Bovary and Laura Esquivel in Like Water for Chocolate.
In this essay I would like to emphasize different ideas of how love is understood and discussed in literature. This topic has been immortal. One can notice that throughout the whole history writers have always been returning to this subject no matter what century people lived in or what their nationality was.
Julian Barnes uses his postimperial novel, England, England, to critique what England, under Tony Blair’s administration, is moving towards – a recreated Britain, an all-inclusive nation with no appreciation of its history, except that which has been distorted in order be politically correct or somehow profit the country. Through this quote, it becomes evident that Barnes sees England grasping to be defined, not by its rich past, but by other nations – possible tourists, possible residents that may add diversity and, thus, a shift towards breaking old stereotypes and becoming a modernized nation.
Love is an important part of today’s society; there is an entire genre of movies and books that revolve around the theme of falling in love and finding a soulmate. It has turned into a genre where the plot can be summarized as a boy meets a girl or vice versa and some problems arise, but in the end their love is pure and lasts. This rarely comes true in modern times. Love has turned into a fantastical and mystical dream women everywhere have; wanting to fall in love in the perfect way that Nicholas Sparks portrays it in his identical twenty or so books. Looking back in history and seeing how the way women have been portrayed, they have not changed much. In Pride and Prejudice, Twelfth Night, and I Want a Wife, the role women have in society
“Violence repeatedly usurps the space that love might hold. Commonly the fantasied antidote to psychic wounds and losses, real and imagined, love is an expected unguent, a form of medication, pain's "natural" anodyne. But Morrison takes a harsher, tougher, less romantic view of love, one fashioned from the accumulated wisdom of the ages, a wisdom infused throughout her novel”. (Mc Dowell)
Thompson, E.P. The Romantics: England in a Revolutionary Age. New York: The New Press, 1997.