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The jilting of granny weatherall
The jilting of granny weatherall
The meaning of life and death in literature
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Merciless Death in The Jilting of Granny Weatherall
In "The Jilting of Granny Weatherall," Katherine Anne Porter gives readers a glimpse of the thoughts of a woman about to die. Lying in her bed in her daughter Cornelia's house, eighty-year-old Granny Weatherall drifts in and out of consciousness. Through her thoughts of events both current and bygone, it is learned that Granny has worked hard all her life, and frequently tells herself that she did a good job. She thinks of events that made her stronger: digging holes for fence posts, "riding country roads in the winter when women had their babies" (311), taking care of sick animals and sick children. Though Granny Weatherall tries to assure herself that her life has been rewarding, she is in fact unsatisfied in her last hours because of things left undone, being treated like a child in her old age, and loved ones she has lost.
When it becomes apparent to her that her time is running out, Granny realizes there are many things left undone that she meant to do. Granny thinks of tomorrow, a time that is "far away" and ...
To begin, Granny Weatherall is inherently a prideful controlfreak. Granny Weatherall is at her deathbed, facing everything she has staved off for so long. This and all other adversity she faces throughout the short story map out her true personality. For instance, she is full of pride. When that pride takes a hit, as it does several times throughout the short story she metaphorically hits back at whoever or whatever
From the very beginning of this story, it came to my attention that Granny continually repeats are "there's nothing wrong with me" and "that's for tomorrow.” This repetition, to me, shows two very important aspects about Granny Weatherall as a person – she’s stubborn and hardworking, yet procrastinates all the time. When she felt death come upon her on her bed that day, she wasn't expecting it. We know this because of the repetition of all that she needs to do and that she'll get it done tomorrow. At the same, who can blame her for not expecting it? I mean, who really expects to die every day they wake up? Sure, one knows they are going to die, but they don’t wake up planning it to happen that day. Aside from that, it stood out to me that Granny Weatherall didn’t fail to mention that she thought she was going to die once before during her sixties. From this near death experience, she somehow, in my opinion, allowed herself to think she was invisible and immortal simply because she managed to survive.
In the story, The Jilting of Granny Weatherall, written by Katherine Porter, Granny Weatherall is a character of depth. Her name is synomonous with her character. Three main qualities of her character are her strength, her endurance, and her vulnerability. Her strength is not so much physical but mental. She lies upon her bed contemplating all that she needs to do. Her daughter Cornelia does not even come close to handling affairs as well as she does in her own mind. In addition, she tell the Doctor Leave a well women alone...I'll call you when I need you. She does not like the patronizing position that she finds herself in. The fact that she has already avoided death once seems to add to her image of strength. As we follow her mental ramblings we obtain insight to her character as a woman that has endured heartache as well as hardship.
Porter, Katherine Anne. “The Jilting of Granny Weatherall.” Literature: Reading, Reacting, Writing. Fort Worth: Harcourt, 2000.
In “The Jilting of Granny Weatherall,” the story is read in a lighter fashion. It involves the main character, Granny Weatherall, and her triumph through time and love. Granny fights for love and strength for her kids, despite being “jilted” by George at the alter and the issues and pains that come with that memory. Although Granny married, and had children, she never seemed to live up to the fact of her being “jilted” by George. Death is an idea that both stories start, and end with.
Although this story is told in the third person, the reader’s eyes are strictly controlled by the meddling, ever-involved grandmother. She is never given a name; she is just a generic grandmother; she could belong to anyone. O’Connor portrays her as simply annoying, a thorn in her son’s side. As the little girl June Star rudely puts it, “She has to go everywhere we go. She wouldn’t stay at home to be queen for a day” (117-118). As June Star demonstrates, the family treats the grandmother with great reproach. Even as she is driving them all crazy with her constant comments and old-fashioned attitude, the reader is made to feel sorry for her. It is this constant stream of confliction that keeps the story boiling, and eventually overflows into the shocking conclusion. Of course the grandmother meant no harm, but who can help but to blame her? O’Connor puts her readers into a fit of rage as “the horrible thought” comes to the grandmother, “that the house she had remembered so vividly was not in Georgia but in Tennessee” (125).
Granny is having mental flashbacks as death approaches like "a fog rose over the valley" (1296). Granny recalls events throughout her life, from being left at the altar on her wedding day, to losing a child, to coming to grips with her own death as the story reaches a close. All of these recollections and the realization of her death bring together the great ironies of the story, ironies which cause not one but two jiltings for Granny.
of the book, Janie resents her grandmother for “living” her life for her and planning her future. To find out what will happen in a persons future, they need to live their life on their own an...
This is a story of a series of events that happen within an hour to a woman named Louise Mallard. Louise is a housewife who learns her husband has died in a train accident. Feeling joy about being free she starts seeing life in a different way. That is until at the end of the story she sees her husband well and alive. She cries at the sight of him and dies. The story ends with a doctor saying “she had died of a heart disease—of the joy that kills” (Chopin). Even though the story doesn’t describe Louise doing chores at the house like in The Storm we know that she was a good wife because of the way she reacts when she learns that her husband is dead. Louise gets described as “young, with a fair, calm face, whose lines bespoke repression and even a certain strength” (Chopin). From this line we get a bit of insight into her marriage and herself. We get the idea that she wasn’t happy being married to her husband but still remained with him and did her duties as she was supposed to. In reality her being a good wife was all an act to fit in society’s expectations of a woman being domestic and submissive. As she spend more time in her room alone thinking about her dead husband she realizes life would finally be different for her. She knows that “there would be no one to live for during those coming years; she would live for herself” (Chopin) For a long time in
Ellen Weatherall from "The Jilting of Granny Weatherall" suffers from a state of demension throughout the story. Her thoughts and memories grow tangled and confused with age, causing her to live in the dark. ""Here's Doctor Harry." "I won't see that boy again. He just left five minutes ago." "That was this morning, Mother. It's night now. . .""(779 -780). Ellen Weatherall's troubled mind can compare to the demented mind of Emily Grierson. Emily experienced a high status life, but that high status brought her down. Since Emily could never date or really experience a normal life, she surrounded herself with darkness and shut herself off from the world. Her mind slowly warped itself, clouding her morals and better judgment. Emily, like Ellen Weatherall, experienced mental trauma that tormented their thoughts. Ellen lost her child Hapsy and lost her fiance George, while Emily lost her father and eventually Homer Barron. While Ellen expressed her regrets during her mental turmoil, "There was the day, the day, but a whirl of dark smoke rose and covered it, crept up and over into the...
First, I would like to make some broad generalizations about Katherine Anne Porter’s stories. The selections of stories that I have read could be considered stories about transition, passage from an old world to a new. There is a prolific amount of life and death imagery related to changes from slavery to freedom, aristocracy to middle-class, and birth to death. Her stories contain characters from several generations and the narratives move through out this multi-generational consciousness. The stories are as much about antitheses as the move from tradition to modernity or new ideas/ideals. The narrative perspectives illustrate the chasm between old and young/old and new.
Granny Weatherall is an example of someone who let it drag her down. For 60 years she had pined over the loss of George and it made her miserable. She never stopped to look and see what was already there in her life. John was not a bad husband, but she did not even notice because she was still focusing on the loss of being jilted by George. She overlooked any good things In her life because of this misery. Something that happened 60 years ago haunted her for every day of her miserable life (because she allowed it to), until it eventually killed her.
Katherine Porter’s “The Grave” takes place in the year 1903. During this time, all women were expected to fit the typical stereotype roles, which are shown throughout this short story. Using a feminist gender approach to look at this story, we can see how key symbols are used to show the roles of the main character Miranda as compared to her older brother Paul. In Porter’s story, “The Grave”, Miranda, at first goes against the social norm of how the typical women is but then eventually she accepts her role and become the ideal young woman of this time.
...ed to have helped her along the way. She was able to move on from Goerge and eventually marry someone else. On her deathbed , she advises them to get Goerge. She wants him to know that after all that, she was still happy and able to have a family. This is a bold statement that says she didn’t need him to survive. She is also a very indeoendent woman. She feels she does not a doctor. She is often rude with him. Granny tells the doctor, “Where were you forty years ago when I pulled through milk leg and double pneumonia?”. This is letting him know she doesn’t need him. She can survive without him. Being on your death bed can mentally affect anyone. She just didn’t want to be bothered.
Myra, who is dying of illness, escapes the confinement of her stuffy, dark apartment. She refuses to succumb to death in an insubordinate manner. By leaving the apartment and embracing open space, Myra rejects the societal pressure to be a kept woman. Myra did not want to die “like this, alone with [her] mortal enemy” (Cather, 85). Myra wanted to recapture the independence she sacrificed when eloping with Oswald. In leaving the apartment, Myra simultaneously conveys her disapproval for the meager lifestyle that her husband provides for her and the impetus that a woman needs a man to provide for her at all. Myra chose to die alone in an open space – away from the confinement of the hotel walls that served as reminders of her poverty and the marriage that stripped her of wealth and status. She wished to be “cremated and her ashes buried ‘in some lonely unfrequented place in the mountains, or in the sea” (Cather, 83). She wished to be alone once she died, she wanted freedom from quarantining walls and the institution of marriage that had deprived her of affluence and happiness. Myra died “wrapped in her blankets, leaning against the cedar trunk, facing the sea…the ebony crucifix in her hands” (Cather, 82). She died on her own terms, unconstrained by a male, and unbounded by space that symbolized her socioeconomic standing. The setting she died in was the complete opposite of the space she had lived in with Oswald: It was free space amid open air. She reverted back to the religious views of her youth, symbolizing her desire to recant her ‘sin’ of leaving her uncle for Oswald, and thus abandoning her wealth. “In religion , desire was fulfillment, it was the seeking itself that rewarded”( Cather, 77), it was not the “object of the quest that brought satisfaction” (Cather, 77). Therefore, Myra ends back where she began; she dies holding onto