Pictured on the back cover of the comic book "Ghost World," by Daniel Clowes, are the two main characters of the book in full color. This strikingly significant image, surely shrugged off by most Clowes' readers, represents worlds of diversity within the frames of the book. Sporting pink spandex pants underneath her goldfinch yellow skirt and a blue t-shirt to match perfectly, Enid seems to live her life outside the bubble. She's a very dynamic girl, especially interested in her surroundings and people around her. On the other hand, Becky is dressed like a "typical" girl, with a long black skirt and a white blouse, thus representing her conforming presence in the world. Becky is much more passive than Enid, going with the flow of things just living life. The contrasting personalities of Enid and Becky come ironically, being best friends. However, it brings out their defining qualities in the comic book while quietly calling attention to the values of life, what is real and what is not.
The title page on the second page of the book can be analyzed to show how Enid lives a different life than those on the "inside." The illustration is colored in a light hue of blue, somewhat casting a bleak and lifeless feeling. The picture shows Enid walking down the street with her hands in her pockets, back turned. Nighttime falls as the luminous moon watches down on Ghost World at dusk, casting Enid's shadow down on the sidewalk behind her. To her right is a house with window and the phrase Ghost World scrawled on the side of building. Everything in the scene is shaded and colored in a robin's egg b...
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...ple, or the adorable old man who bought the pathetic flowers from the grocery store to take home to his wife. Becky doesn't notice these minute details that Enid does, nor does she care very much. In any case, they are in different worlds. Whose world is real? There's no answer to that. If it's real to them, then that's what it will be. The characters are diverse in the comic book, and it helps for the reader to not only understand the plot and distinguish between the two characters, but to show that people are naturally different, immature or mature, conforming or nonconforming. Diversity makes the world what it is, and that's as real is it can get.
Work Cited
Clowes, Daniel. "Ghost World" Fantagraphics (April 1, 2001)
The back panel of 1 Dead in Attic: Post-Katrina Stories by columnist Chris Rose does not summarize his self-publication. Rather, it dedicates the book to a man named Thomas Coleman who met his demise in his attic with a can of juice and the comforts of a bedspread at his side. This dedication closes with “There were more than a thousand like him.” That is the life force of Rose’s book. It is not a narrative, it does not feature a clear conclusion, and there is not a distinct beginning, middle, or end. Rather, it exists as a chronology of Rose’s struggle to reestablish normalcy following a time of turmoil. Rose himself states in his introduction “After the storm, I just started writing, not attempting to carve out any niche but just to tell
Adam Hochschild's "King Leopold's Ghost" is a lost historical account starting in the late 19th century continuing into the 20th century of the enslavement of an entire country. The book tells the story of King Leopold and his selfish attempt to essentially make Belgium bigger starting with the Congo. This was all done under an elaborate "philanthropic" public relations curtain deceiving many countries along with the United States (the first to sign on in Leopold's claim of the Congo). There were many characters in the book ones that aided in the enslavement of the Congo and others that help bring light to the situation but the most important ones I thought were: King Leopold, a cold calculating, selfish leader, as a child he was crazy about geography and as an adult wasn't satisfied with his small kingdom of Belgium setting his sites on the Congo to expand. Hochschild compares Leopold to a director in a play he even says how brilliant he is in orchestrating the capture of the Congo. Another important character is King Leopold's, as Hochschild puts it, "Stagehand" Henry Morton Stanley. He was a surprisingly cruel person killing many natives of the Congo in his sophomore voyage through the interior of Africa (The first was to find Livingston). Leopold used Stanley to discuss treaties with African leaders granting Leopold control over the Congo. Some of the natives he talked to weren't even in the position to sign the treaties or they didn't know what they were signing.
In King Leopold`s Ghost, the author Adam Hochschild conveys many attempts to challenge the actions of King Leopold`s control in the Congo. This was to reach an international audience at the time of the 20th century. Protestors depended on a variety of writing techniques to make their case successful. For example the use of direct letters to officials, published “open letters”, articles in newspapers, and public speeches. These protesters were George Washington Williams, William Sheppard, Edmund Dene Morel, and Roger Casement. These protesters became aware of the situation in the Congo in different ways. They also had diversity in how they protested through their writing. Although Edmund Dene Morel and Roger Casement share a comparative approach.
As the narrator’s mental state changes so does the way she perceives things around the house. The most prominent example of this is the imagery of the wallpaper and the way the narrator’s opinion on the wallpaper slowly changes throughout the story; this directly reflects what is happening within the narrator’s mind. At the beginning of the story the narrator describes the wallpaper as “Repellent...revolting... a smoldering unclean yellow” (Gilman 377). As the story continues the narrator starts to become obsessed with the wallpaper and her opinion of it has completely changed than that of hers from the beginning. Symbolism plays a big part in “The Yellow Wallpaper” too. This short story has a multitude of symbols hidden in it but there are specific ones that stand out the most. The recurrence of the wallpaper definitely makes it a symbol. An interesting interpretation is that the wallpaper represents women, in the sense that the 18th century woman was considered almost decorative and that is exactly what the purpose of wallpaper is. Another prominent symbol that runs parallel with the wallpaper, are the women the narrator would see in the wallpaper. The women appear trapped behind bars in the paper and one could argue that the women the narrator sees represents all women of her time, continuously trapped in their gender
Whaley (2016) has contended, “Black image in comics has been one of grotesque caricature, often taking its cues from white fantasies of slavery and the minstrel stage”(p. 37). Jackie Ormes made a conscious effort to draw Black femininity. In each one of her characters exhibit realistic facial and body features. How would Jackie use her platform through the newspapers to challenge, reframe, and create a counterstory to the narratives in the comics strips and cartoons. Ormes drew her characters in her likeness, light-skin, straight short hair, small shapely physique, small nose, small lips a major contrast to the Mammy images representing Blackness. I will examine the three main comic strips Ormes drew, Torcy, Candy, and Patty Jo ‘n’ Ginger.
During this time period women did not encompass the same rights as their male counterparts, nor where they encouraged to participate in the same activities as they. Gillman describes the yellow wallpaper to the readers as a rationalization of what it means to be a woman during this time period. Women were expected to be child-like and fragile as noted, within the text, “What is it child(Gilman, 1998)?” The color yellow is often associated with sickness; in Gilman’s case her sudden illness refers to oppression. She notes as the story, progresses the wallpaper makes her feel sick. Gilman notes, “I never saw a worse paper in my life,” as a symbol in which refers to the restrictions and norms society places on women. Within her literature she addresses restrictions placed on women. Gilman states, “The color is hideous enough, and unreliable enough, and infuriating enough, but the pattern is torturing.” Meaning, she believed men denying women the right to equality was absurd, and when they did grant women’s freedom it was not equivalent rather a “slap in the face [it knocks] you down and tramples you (Gilman, 1998).” Through her essay she consistently refers to a figure behind the wallpaper. “The faint figure behind seemed to shake the pattern, just as if she wanted to get out (Gilman, 1998).” Meaning, women during this time period seek to feel free from oppression. The women behind the wallpaper represents the need to speak out, “you have to creep on the ground, and everything is green instead of yellow (Gilman,1998).” Creeping placed significance on the experience of being a woman in regards to, how they should think, feel, act, dress, and express themselves. Gilman notes, “And I 've pulled off most of the paper, so you can 't put me back! " The author used this quote to signify, the woman realized she was
"One day he caught a fish, a beautiful big big fish, and the man in the hotel boiled it for their dinner" (p.191). Little did Mrs. Malins know that those words issued from her feeble old lips so poignantly described the insensibility of the characters in James Joyce's The Dead toward their barren lives. The people portrayed in this novelette represented a wealthy Irish class in the early twentieth century, gathered at the house of the Morkan sisters for an annual tradition of feast and dance. Although all of the personages had, at one point, a potential for a beautiful life, sad memories of the past and the despair that invaded Ireland had eventually boiled all true senses and desires into a dull stew, destined to rot. Of particular interest is Gabriel Conroy, whom Joyce singularly bestowed a gift of introspection, though that did not save him from becoming yet another of the living dead.
In William Shakespeare's Hamlet, the ghost of Hamlet’s father is intended to be seen as a real ghost. Around 1600, when the play Hamlet was written, many people believed in mystical creatures like witches, monsters, and most importantly: ghosts. With so many people believing in these characters, it makes sense that Shakespeare portrays the ghost of Hamlet’s father as a real figure. Many examples support this, such as when the guards in Act I scene i see the ghost, which proves it’s not just in Hamlet’s imagination. But some people can not see the ghost, such as Hamlet’s mother in Act III scene iiiii. Hamlet sees the ghost but she can not. This could be used as evidence to say the ghost is not real though. Shakespeare shows us though this information, the high complications oh having ghosts in a story.
Owens, E. Suzanne. “The Ghostly Double behind the Wallpaper in Charlotte Perkins Gilman’s ‘The Yellow Wallpaper.’”
Nancy owns many items that are the same color. Her car is blue and usually wears blue clothing. In today’s society, if something is blue it is tagged as ‘masculine’. Blue blankets and a blue room would be for a baby boy. In all three books I read, I never forgot how sweet of a brave lady who wears blue elegantly. This shows that Nancy’s personality is an adventurous one, as well as fearlessly diving into dangerous situations. Not only is Nancy perfect in the eyes of the reader, but she has excellent qualities of each age and sex. She has a high maturity level and can handle any situation in calm manner. Nancy never looks twice if she should or should not do something because of her sex. Young female adults today, never know when they should start to shave their legs or join in a boys’ game to win their approval, but Nancy Drew does
Hare writes that the color white symbolizes purity and black stands for evil and derogatory referent and that “... theirs brains,..., at last has been washed white as snow.”. At a young age, children are taught how to read children’s books. ‘“Why are they always white children?” asked by a five-year old Black girl” (Larrick, 63), as many books seen are only white. Nancy Larrick wrote an article about children’s book and argued how children’s books portrays only whites in books, while there are many non white children and white children across the United States that are reading these books about white children. Larrick also points out that across the country 6,340,000 million non white children are learning to read and understand the American way of life in books which either omit them entirely or scarcely mention them in it (63), and of the 5.206 children's book, only 394 included one or more blacks, which was an average of 6.7 per cent (64). Children’s books will not contain a black hero/heroine because in the books, being depicted as a slave or a servant, or better yet to ...
Ghost stories have been popular throughout the ages. During the nineteenth century, there was a sudden boom and ghost stories were made popular. Storytelling was the main source of entertainment as there weren't any films, TV's or computer games. People would gather around in groups telling or reading each other stories. The stories were made more real by the superstitions people kept and as the rooms were lit by dim candle light, it built a sense of atmosphere. Most ghost stories were written in the nineteenth century period, so people could imagine such things happening to them, in the places they lived. As storytelling was the main form of entertainment, people had nothing to compare it to, so it built tension, suspense and fear. In the nineteenth century there weren't many scientific advances. Everything was blamed on higher or supernatural forces, therefore, people believed the explanations given in ghost stories. I will be comparing and contrasting four ghost stories which were all written in the nineteenth century. They are ?The Old Nurse?s Story? by Elizabeth Gaskell, 1855 and ?The Ostler? by Wilkie Collins, 1855.
Center stage in Kaye Gibbons’ inspiring bildungsroman, Ellen Foster, is the spunky heroine Ellen Foster. At the start of the novel, Ellen is a fiery nine-year old girl. Her whole life, especially the three years depicted in Ellen Foster, Ellen is exposed to death, neglect, hunger and emotional and physical abuse. Despite the atrocities surrounding her, Ellen asks for nothing more than to find a “new mama” to love her. She avoids facing the harsh reality of strangers and her own family’s cruelty towards her by using different forms of escapism. Thrice Ellen is exposed to death (Gibbons 27). Each time, Ellen has a conversation with a magician to cope with the trauma (Gibbons 22-145). Many times Ellen’s actions and words cause it to be difficult to tell that she is still a child. However, in order to distract herself, Ellen will play meaningful games (Gibbons 26). These games become a fulcrum for Ellen’s inner child to express itself. Frequently, Ellen will lapse into a daydream (Gibbons 67). Usually, these daydreams are meant to protect herself from the harsh reality around her. Ellen Foster’s unique use of escapism resounds as the theme of Kaye Gibbon’s Ellen Foster.
Steven Johnson is an accomplished author who tells a compelling, well written and informative book, The Ghost Map, which tells an intriguing story of the 1854 cholera outbreak in London while at the same time provides a wide array of information surrounding the thoughts and beliefs of the majority of the current society.
In their short stories “The Dead” by James Joyce and “A Modest Proposal” by Jonathan Swift, the author sought to express the disgruntled emotions felt by young men and women of their era. Both authors use commentary and powerful language to justify the emotions felt during this time. They express their displeasure with society, in the case of Swift’s “A Modest Proposal” and the strife of expectations of a man in Joyce’s “The Dead”. The author’s use of tone in both stories reflects the feelings each felt and themes each attack display the emotional state of society of their time.