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The influence of the age of realism
Impact of realism
Impact of realism
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Sherwood Anderson as the Father of Realism Sherwood Anderson is identified as the "Father of Realism", the master of characterization, and the creator of the epiphany. He broke through the barriers of Classic American Literature and introduced a style that is focused on distinct moments. Although remarkable, many of his stories lack the traditional structure of plot. Instead Anderson states that these single bursts of inspiration are the stories of people, and are therefore to be left untouched upon completion. His crowning achievement, Winesburg, Ohio, is a collection of anecdotes focusing on a town of "grotesques". These tragically hopeless people cannot convey their passion to others. Each has centered his or her life around a profound truth that only he or she is able to recognize; the response the grotesque receives concerning this understanding inevitably leads to their tribulation. Lonely recluses, they continuously struggle with their contained feelings. Anderson portrays moments in which the passion tries to resurface, but no longer has the strength to do so. In essence, these "adventures" are tiny glimpses of failure. The grotesques each represent "a moment, a mood, or a secret that lay deep in Anderson's life and for which he was finding the right words for at last." (4) The book is Anderson's form of expression, not unlike the hands of the main character in his most acclaimed piece: "Hands". In this story, a little man, Wing Biddlebaum, lives isolated from the town of Winesburg. His solitude is a result of a tragic experience years before. He had been a gifted schoolteacher who motivated young boys with his hands until one young student spread wild rumors about him. The Pennsylvanian town was qui... ... middle of paper ... ...ther." (14) Each of the grotesques depicted follow a unanimous theme of being gifted, creative dreamers. Unable to satisfy their hunger for life and expression, their desolation is multiplied. The most critical theme found throughout Anderson's stories is the clear reflection of real life. The problems faced by the people are actual troubles faced by society at large. The only difference is that these tribulations, as well as their effects, are exaggerated to make a point. Everyone lies to himself or herself at one time or another, and living outside one's heart is not uncommon. All individuals have some way of uniquely expressing themselves, some passion to focus their lives on. Perhaps Anderson is trying to warn us that the decision to establish all of one's existence on an absolute truth transforms people into grotesques, and thus their truths into lies.
Why do people tend to falsify tales when in a tragic setting? Many authors of great books have credited their amazing stories to the human behavioral tendency of fabricating stories and having dreams to distract them from reality. Krik? Krak! Is a collection of such stories, in which every story is somehow linked in a not-so-obvious way. In Edwidge Danticat’s novel, it is shown that people in suffering are thus hopeful, yet their hope leads to despair as they realize that hope does not free them from the harsh reality of their own lives.
In Richard Yates’ fictional novel Revolutionary Road, April Wheeler, Frank Wheeler, and John Givings all seek escape from their current captive situations in suburbia; however, while April and Frank employ concrete methods of escape, the mentally unstable John Givings has no solid plan of escape. Foremost, April Wheeler is a young woman seeking freedom and independence, which also means getting away from her suburban life. She first attempts her escape when she joins the Laurel Players in a production of The Petrified Forest. Full of hope, April dreams of something different and exciting. Her dreams are crushed when the play crashes and burns. Her face that she puts on for the stage, bright, glowing, and covered with makeup, represents her dreams for something bigger. Once she fails, she retreats back to suburbia, removing her makeup and revealing a “graceless, suffering creature” with a “constricted” appearance and a “false” smile (Yates 13). The more April tries to conceal her disappointment, the more her anger builds. Soon, she snaps, declaring that her husband Frank has pu...
During the era of P.T. Barnum, the stars of the freak show were those that were visibly deformed, the more extraordinary their disability, the more successful of an act they were (Thomson). Thomson notes that eventually the extraordinary moved from “portent to pathology”, the freaks of the 19th and 20th-century became the medical specimens of the 21st-century (Thomson). As moral values shifted in modern day society, Rose
Grave and somewhat solid in his tone, he is overflowing with purpose. The danger he takes in disclosing his contention's potential defects and testing the readers judgments will yield the uneasiness that penetrates his exposition, as well as additionally individuals' personalities. His dialect and tone, withdrawing from the scholastic investigation of monsters, exhibits a genuine yet energetically inciting demeanor to the group of onlookers. We see the modest, unexpected comical inclination that he has well covered up under the earnestness and details of a
In the text “The Life You Save May Be Your Own” by Flannery O’Connor, a common mood emerges from the somewhat humorous yet unfortunate work. A mood of grotesqueness among the characters and overall story as it presents itself, generally, making the audience feel quite uneasy and uncomfortable while reading it. Grotesque is a literary style, which comically and somewhat repulsively represents a distorted character or a series of twisted actions or thoughts that embody a character. The text creates a grotesque mood simply because the actions carried out by the characters resemble an extreme sense of despair and uneasiness, yet the way in which it is executed is somewhat funny and jocular to the reader, therefore creating an awkward overall mood
The author of the essay, Nicholas Mirzoeff, explores our conscious and unconscious needs to put forward caricatured versions of ourselves. He states that we always have an agenda, be it unconscious or conscious when creating images of ourselves. This is also seen in the self-portrait named the Drowned Man. The artwork by Hippolyte Bayard is cited as a perfect example of a man portraying himself to the audience as something he is not, dead. Some people actually believed by Bayard was dead at the
Straight from the text of Hands, a story about a man and his paranoia of
Now we have examined three stories written by two well distinguished authors known for their Southern Gothic Literature and found many similarities in each story. Each story has its form of the grotesque we have Miss Emily, the Misfit, the Grandmother, and Marley Pointer and let’s not leave out Helga. The characters of each story has some form of cringe inducing quality, meaning some kind of attitude about themselves that gets under ones skin. Then as we can see from the stories they all are Southern based each story is in a Southern setting. And the final thing we look for in Southern Gothic literature is tragedy which all three stories possessed.
Wherein lies the odd attraction and power of the freakish? Just as often as it introduces us to expressions of common human experience, study in the Humanities also introduces us to the decidedly uncommon--to writers, artists and thinkers who push conventional limits of language and narrative, vision and imagination, memory and history, or logic and rationality. For our Freaks of the Core colloquium, we explored the outer limits of human expression and experience. What, we asked, defines the abnormal or the outlandish? the fanatical or heretical? the illusory or the grotesque? Why are we commonly drawn to the very uncommon? "Nothing, indeed, is more revolting," wrote Thomas De Quincey in his famously freaky Confessions of an English Opium-Eater, "than the spectacle of a human being obtruding on our notice his moral ulcers or scars, and tearing away that 'decent drapery' which time, or indulgence to human frailty, may have drawn over them" (1).[1] But De Quincey chose to tear away that drapery in his Confessions nevertheless, believing that his outlandish experiences with addiction, poverty and illusion would teach his readers valuable lessons that outweighed any offense. "In that hope it is that I have drawn this up," wrote De Quincey, "and that must be my apology for breaking through that delicate and honorable reserve, which, for the most part, restrains us from the public exposure of our own infirmities" (1). The essays below also tear away the "decent drapery" which covers the sometimes unsightly extremes of human experience, and they do so with similar hopes and reasons.
This relates to a very significant element in stories meant to scare us: transformation. The most compelling part of this element is transformation in people or characters. There are incredible examples of this in the stories Frankenstein, The Fall of the House of Usher, and The Raven and even in a personal experience of mine involving the popular movie, The Goonies. There are marvelous examples of transforming characters in the book Frankenstein by Mary Shelley. One of these is the book’s namesake himself.
Written by Sherwood Anderson in 1919, Winesburg, Ohio, a collection of short stories, allows us to enter the alternately complex, lonely, joyful, and strange lives of the inhabitants of the small town of Winesburg, Ohio. While each character finds definition through their role in the community, we are witness to the individual struggle each faces in trying to reconcile their secret life within. A perfect example of two characters are Alice Hindman and Enoch Robinson. The loneliness and illusion that encompass the lives of Alice Hindman and Enoch Robinson are the result of the discrepancy between their own capacity for intimacy and affection and the inability of others to truly understand them.
Stories have an opportunity to leave the reader with many different impressions. When you look a different characters within the stories the ones that leave the greatest impressions are the ones that tend to scare us. The figures in Bob Dylar’s “Where Are You Going, Where Have you been?”, in Nathaniel Hawthorne’s “Young Goodman Brown”, and Stephen King’s “The Man in the Black Suite” all instill a bit of fear in the reader. They are symbols that represent the devil or devil like attributes in people and the uncertainties of human nature.
Sherwood Anderson often wrote of other people's misery in his short stories and used it in ironic ways when writing his endings. After reading several of his these stories and reading several biographies of his life, I have come to the conclusion that Anderson's life experiences greatly influence the method in which he wrote them. Also, when comparing some of his stories to his life, you will see that many of them can be closely compared to difficult times in which he went through while growing up and as a grown man.
“Gentlemen, you can't fight in here! This is the War Room!” Most famously quoted from the movie Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, this black and white satiric film produced and co-written by Stanley Kubrick in 1964, is a prime example of Kenneth Waltz’s Realist theories in regards to International theory.
Although the audience is invariably aware of the corruption Gray’s soul suffers, Wilde’s use of gothic language suggests the extent of his malice. The painting could have restrained Gray’s soul but the extent of his hideous actions overwhelms Gray, and the true nature of his soul, represented through the ‘living’ portrait inevitably leaks out into Gray’s pleasant reality and into the tone of the entire text. If it were not for the gothic elements, readers would not be fully aware of the depravity of Gray’s soul. Wilde uses the dark to contrast the naive purity of Gray’s facade, which although appears unmarked cannot hide the ugliness of his soul.