Written in 1899, Frank Norris’ novel, McTeague serves as a view of societal factions of his time period. Norris illustrates the stratification of society in this San Francisco community by using the concept of Social Darwinism. He gives detailed accounts of the inner workings of society along with the emotions of the time. Through his characters, Norris shows the separation of classes and the greed that grew abundantly during the late 19th century. He also gives a grim picture of survival in his depiction of the theory of natural selection.
In the first chapter, Norris paints a picture of a town setting. He describes Polk Street as
“one of those cross streets peculiar to Western cities, situated in the heart of the residence quarter, but occupied by small trades people who lived in the rooms above their shops. There were corner drug stores with huge jars of red, yellow and green liquids in their windows, very brave and gay; stationers’ stores, where illustrated weeklies were tacked upon bulletin boards; barber shops with cigar stands in their vestibules; sad-looking plumbers; offices; cheap restaurants, in whose windows one saw piles of unopened oysters weighted down by cubes of ice, and china pigs and cows knee deep in layers of white beans.”
In this paragraph, the reader gets a visual image of a town during the 19th century. Cozy, quaint and rather poor, this town exists as an example of any other town at this time. Also, in setting the activities of the time period, No...
The novel’s use of contrast between East Egg, West Egg, and the Valley of Ashes begins to explore the differences between social classes. East Egg houses the most wealthy and aristocratic members of the nearby area. It contains many “white palaces” (Fitzgerald 10) that are quite “fashionable” (Fitzgerald 10). This description paints an image of purity and untouched standards of wealth that are translated into the book’s time period. Due to the pristineness of the village, the homes “[glitter] along the water,” (10) further supporting the idyllic qualities East Egg appears to have. West Egg, on the contrary, is home to people of near equal affluence, but of less social establishment. It is described by the narrator as “less fashionable,” (Fitzgerald
passengersâ€like a city in a nightmare. The street shone out in contrast to its dingy neighbourhood, like a fire in a forest and with its freshly painted shutters, well polished. brass and general cleanliness and gaiety of noteâ€'. The diversity between these two quotes shows how the higher and lower classes differed which reflect the Victorian way of life. However, if you look at the story in more depth, the reader begins to see a deeper meaning hidden in the words of the novella.
The 1946 novel, “The Street” by Ann Petry establishes a struggling relationship between the main character; Lutie Johnson, and her new surroundings. Lutie seeks, her overall objective in finding a safe refuge to live, however; the description of 116th street seems less than an ideal home. Petry uses decrepit imagery and forceful personification showing a battle between Lutie, the town, and the wind. The combination of the destructive town, and the winds haunting figure creates an overall feeling of caution within this gloomy road, making the goal seem near impossible.
We see a prosperous environment with “plentiful natural-gas resources,” “good-looking establishment[s],” and “born gamblers.” The writer shocks the reader by this severely dichotomous picture. Through that, the audience is kept “on their toes” eagerly waiting for any acute surprises this village might bring. This contrast serves the writer’s purpose by highlighting the differences of both the insider and outsider perspectives. Those same ‘lazy’ villagers are now successful businessmen, those banks that were almost falling to the ground are now flourishing with great amounts of wealth, and those institutions that were crumbling down to the floor are now top-tier schools. The change in perspective also highlights that the villagers are modest, close-knit, and isolationists. The like their village the way it is and so they shun away any outside intervention. They are also smart and thoughtful. Being in the midst of the Great Depression in the early 30s, they have kept this low-profile of seeming poverty and disgrace. They have relied entirely on their own resources to get out of the financial crisis (implying that they had suffered from it in the first place). The writer through showing this contrast is confessing a misstep that he committed when he first came to the village. A mistake that we, as his readers, were also made to commit: the faux pas of assumption. Capote when he first came down to the village was fooled by the concealing ornament. His whole two first paragraphs are nothing but a testament to the villagers’ ability: a pat on the back, a congratulation, an acknowledgment... The villagers are, in the writer’s eyes, masters of disguise. To report on their art as genuinely and as accurately as possible, he took us through a drawn-out description of both the outside and inside perspectives. It was all for the goal of giving their masterpiece the justice it
"This is the place; these narrow ways diverging to the right and left, and reeking everywhere with dirt and filth... Many of these pigs live here. Do they ever wonder why their masters walk upright instead of going on all fours, and why they talk instead of grunting?" (Dickens 61) The outlandish filth described by Charles Dickens was a first hand account of the intersection of Orange Street, Cross Street, Anthony Street, and Little Water Street, better known as Five Points New York. It became the setting for many of 17th century gangs, but the most prominent were the Bowery Boys and The Dead Rabbits. This wicked part of town was known for its depravity the crimes that flooded the streets, from mugging to murder. Clearly, the slums were the place for v...
A main factor in the storyline is the way the writer portrays society's attitude to poverty in the 18th century. The poor people were treated tremendously different to higher classed people. A lot of people were even living on the streets. For example, "He picked his way through the hordes of homeless children who congregated at evening, like the starlings, to look for the most sheltered niche into which they could huddle for the night." The writer uses immense detail to help the reader visualise the scene. She also uses a simile to help the reader compare the circumstances in which the children are in. This shows that the poor children had to live on the streets and fend for themselves during the 18th century. Another example involves a brief description of the city in which the poor people lived in. This is "nor when he smelt the stench of open sewers and foraging pigs, and the manure of horses and mules" This gives a clear example of the state of the city. It is unclean and rancid and the writer includes this whilst keeping to her fictional storyline.
Next let us consider the vivid scenery depicted throughout this specimen of literature. Compared to other attempts at re-imagining this piece of literature none of them materialized virtually close to the number of scenes in this film. First, amidst the introductory we are given the scene of Lena catching the public bus transportation system home from work, affording us the opportunity to view the magnificent city on...
The Story begins with a description of the house. The house in itself is a symbol of isolation women faced in the nineteenth-century. The protagonist describes the house as isolated and miles away from the village, but also described as “the most beautiful place” (Gilman 217). During the nineteenth-century, women were in a sense isolated from society, just like the house. The role of the women was to stay home and tend to the
Frazier’s use of detail becomes apparent when rereading the essay. Each moment he describes himself traveling through Brooklyn is so explicitly detailed that his tone and language and layout of the essay starts to become apparent. Frazier detailed description gives the readers a feel of Brooklyn’s environment and the people that create it. When he talks about the bad things he sees in Brooklyn he states in the first sentence, “Brooklyn, New York, as the undefined, hard-to–remember the shape of a stain.” Then he continues to describe where he lives leading up to the F train in his neighborhood. He talks about the street and corner he lives on, “ I live on the edge of Park Slope, neighborhood by the crest of a low ridge that runs through the borough.” From there he continues to talk about the environment in his area. The sound of the planes that fly over his building, the touch of the shadow the plane makes, and the feel of the train makes when shaking his building. The next scene he takes us on is when he is on the F train, “Once a woman… pulled a knife. I remember the knife – it is flat,
The concept of what is "individuality" and what is not has plagued and delighted man since the dawn of time. “All the Pretty Horses” by Cormac McCarthy adds 302 more pages to the pile of all the works that have been on the quest to define individualism. In this novel, McCarthy takes us through four faces of the key character’s life, John Grady, to portray the idea of illusory individualism. He contends that John Grady is simply a product of a society in contrast to his (Grady) notion of free will. Simply put: Grady has no alternatives but an obligation to conform to society. McCarthy uses him to create the platform in which to comment on oppression of individuality, expectation of conformity to the values of the society and the fact that the concept of individualism is a myth.
Physical surroundings (such as a home in the countryside) in works of literary merit such as “Good Country People”, “Everyday Use”, and “Young Goodman Brown” shape psychological and moral traits of the characters, similarly and differently throughout the stories.
The only detail the author gives us is with the individual homes, not with the city itself. It is almost as if she were afraid of impairing the city's inherent symbolism by describing any actual streets or shops. Even when wealth is shown, as with the Carsons, the setting is still ugly and drab; the only difference is that the drabness has been made comfor...
... as giving details about the location” (Benedict). Carol even explains something interesting, “the type of vocabulary the characters use can suggest where they live or where the scene occurs. Teens from Chicago will sound different from teenagers in rural Kentucky” (Benedict). This is why it was important for Hemmingway to show the reader how Krebs was feeling. He set the story and it was the reader’s choice to envision how the character felt about his return.
An ironic ending is also foretold by the town’s setting being described as one of normalcy. The town square is described as being “between the post office and the bank;” every normal town has these buildings, which are essential for day-to-day functioning. The townspeople also establish a normal, comfortable setting for the story. The children are doing what all typical kids do, playing boisterously and gathering rocks. The woman of the town are doing what all stereotypical females do, “exchang[ing] bits of gossip.” The men are being average males by chatting about boring day-to-day tasks like “planting and rain, tractors and taxes.”
Seen as one of the most influential realist writers of his time, Frank Norris changed the foundation of American Naturalism. McTeague is a novel that depicts the complexities found within a society that abides by the law of Social Darwinism. It portrays the animal like behaviors that are present during our subconscious actions. Along with McTeague, his trilogy, starting with The Octopus, showed the tough times that Americans had to overcome in the wheat farming industry. They dealt with rail workers that were ruthless and made their jobs tougher. Norris’s novel made significant contributions to the shape and direction of American literature; it is a touchstone for important developments in American cultural history.