Picture a lake that reflects the sky. It is still and has a surface as smooth as glass. Swimming in the warm water is ideal, so long as its red tint is not off-putting. The neighbors are close by, yet remain amicably reserved. Three small, red-tiled cabins sit on the lakeside’s edge deep in a Finnish forest. Luckily, it is light at all times, so there is no worry of being inextricably lost, never to be seen again. Despite the relatively uncomplicated premise of an unnamed woman gradually coming to the realization that her lover has likely drowned to death, Sarah Hall’s “Vuotjärvi” quickly turns to the darkly complex. However, this is fitting. Within one tale, there are two stories, the former supporting the latter: a loveless love story and …show more content…
Her name is never given, but her thoughts, memories, and feelings are the focus. “She would not ever love in this way again” she promises (184). But in the final paragraph, it is not the neighbor’s cottage that she rows towards, but the one “…where there had once been a wolf” (185). That she is able to let go of the love she spent a fair amount of exposition on may seem jarring, but again Hall uses Realism. In “Vuotjärvi”, love can only go so far. When she says that he must have known she loved him, it is it the midst of several irrational and decidedly untrue statements brought on by fear. No, he likely did not “know” that she loved him, and perhaps it was because she didn’t. It is not a story about love, but it is one about the will to …show more content…
Hall’s prose lulls the reader, contrasting a growingly eerie mood with an overall calm tone. Hall has no great love for her characters in the tone of the narrative, though she shows some sympathy for the woman’s plight. Only at the climax does the prose become fast-paced, and then only for a moment before a terrible calm once again takes over. This too, shows where the real priorities lie. There is no mournful pause for a dead man, but there is a solemnness to the woman’s retreat, allowing the reader to process what the woman’s safety has cost
Nature has a powerful way of portraying good vs. bad, which parallels to the same concept intertwined with human nature. In the story “Greasy Lake” by T. Coraghessan Boyle, the author portrays this through the use of a lake by demonstrating its significance and relationship to the characters. At one time, the Greasy Lake was something of beauty and cleanliness, but then came to be the exact opposite. Through his writing, Boyle demonstrates how the setting can be a direct reflection of the characters and the experiences they encounter.
Laura Deeb’s An Enchanted Modern: Gender and Public Piety in Shi’i Lebanon seeks to rectify post-9/11 notions of political Islam as anti-modern and incongruous with Western formulations of secular modernity. Specifically, Deeb is writing in opposition to a Weberian characterization of modern secular Western societies as the development of bureaucracies through social rationalization and disenchantment. Within this Weberian framework Deeb asserts that Shia communities are in-part modern because of the development of beuorocratic institutions to govern and regulate religious practice. However, Deeb makes a stronger argument oriented towards dislodging the assumptions "that Islamism is static and monolithic, and that
The narrator’s room is furnished with “symbols of restraint” such as, the bed nailed down to the floor, a gate blocking the stairs, and rings in the walls. According to Jeremy MacFarlane’s journal “Enough to make a body riot”: Charlotte Perkins Gilman, Chester Himes, and the Process of Socio-spatial Negotiation, all the things in the room normalize the “repression and self-denial” practice for women. And, of course, the yellow wallpaper reinforces a state of “grotesque, idiotic cheerfulness,” which is the key to a woman’s assent in the status quo (MacFarlane, 8-9).
Throughout the novels we have read this semesters, one can makes observation that many of the characters from each novel have gone through fear whether it was due to racial strife or threat to life. We then see the characters go out and find their salvation or in some cases leave their homes before being faced with the consequences they have brought upon themselves.. Finally, most character are then faced with their fate in life where in most situation it is death or freedom. We see these variations first develop by author Richard Wright 's in his novel and movie Native Son. Each variations can been seen within different characters from both Cane and The Autobiography of Miss Jane Pittman. The variations are shape within
Due to King’s strange and frightening style of writing, the reader is left on the edge since they don't know what to expect when reading the literature of this unusual character. For example, in the text of, “Strawberry Spring”, the story begins in a normal and mellow tone until suddenly a fog hits. The next day the newspapers were drowned with the news that a woman, “had been murdered by her boyfriend”(King, “Strawberry Spring” 2). Accordingly, these actions are very frightening not only because they were unsuspected, but because they were performed by one lover to another. Also, the result of this horrifying incident is what we all dread, and that is death. As a result, this traumatising incident is “daring our nightmares”(King, “Why We Crave Horror, 1). Moreover, this story by King abides by his claim that we all view horror as a way to face our fears, and to show that we are not
After reading A Secret Sorrow by Karen Van Der Zee and “A Sorrowful Woman” by Gail Godwin one can tell they are not only different but alike in many ways. The names of these two pieces of work are not only similar however, the tone/mood, characters, and theme also have similarities and differences. While these two works of literature are exceptionally good in their own way, the difference between Gail Godwin's work compared to Karen Van Der Zee makes it a better piece of literature.
“This passage describes the narrator’s spiritual nadir, and may be said to represent her transition from conscious struggle against the daylight world to her immersion in the nocturnal world of unconscious-or, in other terms, from idle fancy to empowering imagination” (Johnson 525). Which was supported when Jane attempted to fight the urge to engage in her unconscious state. “And it is like a woman stooping down and creeping about behind that pattern. I don’t like it a bit. I wonder – I begin to think- I wish John would take me away from here!” (Gilman 92). This exhibits the struggle Jane was facing while trying to maintain her conscious state of mind. However, John felt that if she was taken out of her environment she would go crazy, which ironically led to her slow decline into the unconscious mind. “There is a recurrent spot where the pattern lolls like a broken neck and two bulbous eyes stare at you upside down” (Gilman 89). It was here that Jane began giving human characteristics to inanimate objects. As Gilman’s story continues, Jane gradually becomes more entranced by her imagination. “There is one marked peculiarity about this paper, a thing nobody seems to notice but myself, and that is that it changes as the light changes” (Gilman 94). Displaying the idea that Jane was immersed in her unconscious world, validating the Johnson’s argument that Jane progressively develops into her unconscious mind throughout the
How far can sorrow in a woman’s heart take her? Who or, what comes to her rescue? In the excerpt from A Secret Sorrow by Karen van der Zee and the story “The Sorrowful Woman” by Gail Godwin, two women’s sorrow takes them into completely different worlds. There are many similarities and differences in the quality of literature each story carries. In this case, “The Sorrowful Woman” is a much better piece of literature. It leaves the reader with much more wonder and questions, when compared to A Secret Sorrow. The theme, the characters in the stories, and the foreshadowing of each make up this division.
It has been said of Anton Chekhov, the renown Russian short-story writer, that in all of his “work, there is never exactly a point. Rather we see into someone’s hear – in just a few pages, the curtain concealing these lives has been drawn back, revealing them in all their helplessness and rage and rancor.” Alice Munro, too, falls into this category. Many of her short-stories, such as “Royal Beatings” focus more on character revelation rather than plot.
As a literal deathbed revelation, William Wilson begins the short story by informing the readers about the end of his own personal struggle by introducing and immediately acknowledging his guilt and inevitable death, directly foreshadowing the protagonist’s eventual downward spiral into vice. The exhortative and confession-like nature of the opening piece stems from the liberal use of the first person pronoun “I”, combined with legal and crime related jargon such as, “ crime”, “guilt”, and “victim” found on page 1. Poe infuses this meticulous word choice into the concretization of abstract ideas where the protagonist’s “virtue dropped bodily as a mantle” (Poe 1), leading him to cloak his “nakedness in triple guilt” (Poe 1). In these two examples, not only are virtue and guilt transformed into physical clothing that can be worn by the narrator, but the reader is also introduced to the protagonist’s propensity to externalize the internal, hinting at the inevitable conclusion and revelation that the second William Wilson is not truly a physical being, but the manifestation of something
Each John, the narrator's husband in “The Yellow Wallpaper”, Brently Mallard, Mrs. Mallard’s husband in “The Story of an Hour” and Henry Allen, Elisa Allen’s husband in “The Chrysanthemums” unknowingly lead their wives to a state of mental confinement through their actions taken that are meant to help them. John tells his wife to rest and not to think of her condition for the sake of him and the children which drove her mad because
In the past two centuries, western mainstream cultures have subscribed to the belief that crying is commonly associated with femininity, regardless of one’s gender (Warhol 182). A considerable amount of literature, including Alice Walker’s The Color Purple, has been considered by critics as effectively using “narrative techniques” to make readers cry (Warhol 183). Emphasizing on these matters, Robyn R. Warhol, the author of “Narration Produces Gender: Femininity as Affect and Effect in Alice Walker’s The Color Purple”, analyzes the usefulness of the novel’s narration approaches, focusing on the meaning of Nettie’s letters to Celie and especially the fairy-tale unity in Celie’s last letter. Using The Color Purple as illustrated example, refusing to consider the accounts of gender and sexuality, the author suggests that the applications of culture’s “feminine mythologies” in the novel give readers chances to experience the physical (openly weeping) and emotional (identify self with the character) effects of femininity (Warhol 186). Although Warhol’s interpretations have successfully carried out the novel’s sentimentality within the context of culture and other novels, there is still a general lack of comprehensive examples that illustrated after each of her arguments. In order to corroborate and extend on Warhol’s central argument, the surprising factors of the novel’s ending combines with the elements of foreshadowing in Celie’s first confrontation with Albert about Nettie’s letters, Celie’s relationship with Shug, and the ugly truths about racism and sexism showing through Nettie’s and Celie’s letters should be considered as significant in creating the novel’s sentimentality.
“Jane Eyre” by Charlotte Bronte is a novel about an orphan girl growing up in a tough condition and how she becomes a mature woman with full of courage. Her life at Gateshead is really difficult, where she feels isolated and lives in fear in her childhood. Her parents are dead when she was little, her dead uncle begged his evil wife, Mrs. Reed, to take care of Jane until she becomes an adult. But Mrs. Reed does not keep her promise, no one treats Jane like their family members even treats her less than a servant. By the end of this essay it will be proven that Jane’s life at Gateshead has shaped her development as a young woman and bildungsroman.
Although told in an aloof and anonymous third-person, the narrativeis always shifting, almost imperceptibly, from an objective stance to less neutral observations which, because of their perspective or particular choice of words, appear to be those of Mrs. Kearney. (Miller,...
Mrs. Mallard’s repressed married life is a secret that she keeps to herself. She is not open and honest with her sister Josephine who has shown nothing but concern. This is clearly evident in the great care that her sister and husband’s friend Richard show to break the news of her husband’s tragic death as gently as they can. They think that she is so much in love with him that hearing the news of his death would aggravate her poor heart condition and lead to death. Little do they know that she did not love him dearly at all and in fact took the news in a very positive way, opening her arms to welcome a new life without her husband. This can be seen in the fact that when she storms into her room and her focus shifts drastically from that of her husband’s death to nature that is symbolic of new life and possibilities awaiting her. Her senses came to life; they come alive to the beauty in the nature. Her eyes could reach the vastness of the sky; she could smell the delicious breath of rain in the air; and ears became attentive to a song f...