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The symbolism of the The Red convertible in The Red Convertible By Louise Erdrich
symbolism essay for the red convertible
red convertible represents what in the story
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Blood is Thicker Than Water In “The Red Convertible,” Louise Erdrich through her first- person narrator Lyman, creates an unspoken emotional bond between two brothers. This emotional bond between the brothers is not directly spoken to each other, but rather is communicated through and symbolized by “The Red Convertible.” In spite of what appears as a selfless act by one brother, in turn, causes pain in the other brother, as no feelings were communicated. In this case, Lyman explains his version as he takes us through the experiences that he and his brother Henry have with the car. At the beginning of the story, you find that Lyman and Henry are like somewhat typical brothers living on the reservation. Although between the two brothers, Lyman …show more content…
The brothers for the same reason took the car and just drove for one full summer. In fact, they used the car just to drive for a casual and carefree summer. As a result, at one point they just rested as honeymooners would, with Lyman’s remembrance of the place as “the air was not too still...I feel good. Henry was asleep with his arms thrown wide” (325). Afterward, they continue on their honeymoon by picking up a girl and ending in Alaska. Indeed, what better place to honeymoon in the summer than Alaska. As Lyman said, “the sun doesn’t truly set there in summer” (325), and “you never feel like you have to sleep hard or put away the world” (325). Hence, all honeymoons must end, and as the days got shorter they decided to return to …show more content…
Whereas, when Henry was drafted, not to face his feelings and fears he offered his half of the car to Lyman. Clearly, this was his way of using the car to communicate, as Henry said to Lyman, “Now it’s yours” (326). Also, this could also be considered as a means to try to ease Lyman’s pain. Nevertheless, Lyman fought for the relationship without speaking the words. Besides, what’s more Lyman could not deal with the fact that Henry may not return, and he also used the car to communicate by rejecting his offer saying, “Thanks for the extra key,”(326). By the same token, they were using the car, by giving it up, as a symbol of their love; however, neither wanted the car without the other brother. In any case, without the car to connect them, they are in a break-up
of war. Before Henry Jr. went to Vietnam, he and Lyman (his younger brother) bought a
When Denny’s late wife Eve dies, his whole world is changed. Trish and Maxwell - the evil Twins - plot against Denny by pulling him into a major court battle. As a result, Denny is forced to sacrifice major opportunities in order to win custody of his daughter, Zoë. “ “I appreciate your generous offer,” he [Denny] said. “But I’m afraid certain things prevent me from leaving this country – or even this state – at the moment. So I have to decline.” (Stein 276) Luca Pantoni – a man that worked at Ferrari – asked Denny if he wanted to move out to Italy with his family where he could test cars for a living. With the major court battle going on Denny had to politely refuse the offer. Knowing Denny’s personality it would have been difficult for him to decline such a great offer, but at that moment he had to think about his family first. Next to Eve, Zoë is the most important person in Denny’s life. The death of Eve was unexpected for both Denny and Zoë, but Denny could not let his sadness and frustration show...
Paula Vogel’s play, How I Learned to Drive, artistically tackles the disturbing issue of incestual pedophilia. The play’s protagonist Li’l Bit narrates the action as she goes through her memory of specific events. Much like stream of consciousness, her narration does not lead chronologically to scenes in her past. Rather it jumps back and forth between the present and different points in her life. She tells of her memories of youth and her sexual and emotional relationship with her Uncle Peck. Rather than simply telling about her experiences, though, Li’l Bit shares her memories through vignettes which show the audience her role in the affair within the context of learning to drive (Greene 425).
The consequences and effects of war, may be psychological, physical, or emotional. Can effect directly, for example, a solider or indirectly, for example, that soldier’s relatives and friends. “The Things They Carried” and “The Red Convertible” exam these matters. “The Things They Carried examines the psychological, physical, or emotional side of destruction that the Vietnam War bought. While “The Red Convertible” focuses on the psychological strain on soldiers they endure after the war as well as their families. These stories raise the questions is really war really necessary and can a solider back out of duty. Both stories are initiation stories or coming of age stories. These aspects are most effective when analyzing these works. The pieces may go deeper into the issues and questions at hand. The Centering on characterization, the point of view, symbolism or imagery, and significance of the title all help support the theme of these works and develop thoughts and opinions on the stories issues.
Forthright emotions are not necessary in this piece for the reader to connect, understand, or empathize with the plot. Johnson created a character who clearly has emotions, but chooses to safeguard them for a realistic feeling and the ability to concentrate on the more important purpose of the novel: to expose the difficulties a man with dual identity may face in a time period determined on separating and segregating who he is. Detached and emotionless, in this well-crafted and well-thought-out scenario, expresses more emotion and creates a more realistic novel than a complex examination of his inner feelings may have
Throughout a lifetime, one can run through many different personalities that transform constantly due to experience and growing maturity, whether he or she becomes the quiet, brooding type, or tries out being the wild, party maniac. Richard Yates examines acting and role-playing—recurring themes throughout the ages—in his fictional novel Revolutionary Road. Frank and April Wheeler, a young couple living miserably in suburbia, experience relationship difficulties as their desire to escape grows. Despite their search for something different, the couple’s lack of communication causes their planned move to Europe to fall through. Frank and April Wheeler play roles not only in their individual searches for identity, but also in their search for a healthy couple identity; however, the more the Wheelers hide behind their desired roles, the more they lose sense of their true selves as individuals and as a pair.
In Louise Erdrich’s “Tracks';, the readers discovers by the second chapter that there are two narrators, Nanapush and Pauline Puyat. This method of having two narrators telling their stories alternately could be at first confusing, especially if the readers hasn’t been briefed about it or hasn’t read a synopsis of it. Traditionally, there is one narrator in the story, but Erdrich does an effective and spectacular job in combining Nanapush and Pauline’s stories. It is so well written that one might question as he or she reads who is the principal character in this story? Being that there are two narrators, is it Nanapush, the first narrator, him being a participant in the story, who tells his story in the “I'; form? Or is it Pauline, the second narrator, who also narrates in the “I'; form? Upon further reading, the motive for both narrators’ stories become more evident, and by the end of the book, it becomes clear that one character is the driving force for both of the narrators’ stories. This central character is Fleur Pillager. She in fact is the protagonist of “Tracks';. Even though she is limited in dialogues, her actions speak more than words itself.
Her family life is depicted with contradictions of order and chaos, love and animosity, conventionality and avant-garde. Although the underlying story of her father’s dark secret was troubling, it lends itself to a better understanding of the family dynamics and what was normal for her family. The author doesn’t seem to suggest that her father’s behavior was acceptable or even tolerable. However, the ending of this excerpt leaves the reader with an undeniable sense that the author felt a connection to her father even if it wasn’t one that was desirable. This is best understood with her reaction to his suicide when she states, “But his absence resonated retroactively, echoing back through all the time I knew him. Maybe it was the converse of the way amputees feel pain in a missing limb.” (pg. 399)
Henry knows that he has to clear up his relationship with Lyman because they were always close before the war. Lyman comments “we had always been together before” during the period that Henry was working on the car (130). Henry tries to enjoy his time with Lyman since it is the last time they will ever spend together alive. He smiles in the picture and in the car “it [looks] as though he wasn’t thinking of anything in particular except the bare fields and windbreaks and houses […]” (131). At the river Lyman says “We made ourselves a fire, and we sat down and watched the current go” (131). To clear the air since about the car Henry tells Lyman “I know it. I can’t help it. It’s no use” (131). The car has always been shared between the two of them, but as Henry’s farewell he gives the car to Lyman for good. Lyman says “He said he’d just fixed it just to give it back and I should take it,” but does not want to take the car
To what lengths would you go for a loved one? Would you destroy something in hopes that it would save them? That 's what Lyman Lamartine did in hopes to fix his PTSD afflicted brother. "The Red Convertible" was written by Louise Erdrich in 1974 and published in 2009 along with several other short stories. Lyman, and Henry, are brothers. The story starts by telling us about how the two brothers acquired a red convertible. Henry ends up being drafted into the Vietnam War, and comes back home suffering from PTSD. One day the pair decided to take a drive to the Red River because Henry wanted to see the high water. Ultimately, the story ends with a cliff-hanger, and we are left wondering what happens to the boys. The symbolic nature of the red convertible will play a key role in this literary analysis, along with underling themes of PTSD and war.
PTSD, also known as Post-Traumatic Stress Disorder, can cause change and bring about pain and stress in many different forms to the families of the victims of PTSD. These changes can be immense and sometimes unbearable. PTSD relates to the characters relationship as a whole after Henry returns from the army and it caused Henry and Lyman’s relationship to crumble. The Red Convertible that was bought in the story is a symbol of their brotherhood. The color red has many different meanings within the story that relates to their relationship.
The relationship of brothers usually lasts forever, but in Louise Erdrich’s short story “The Red Convertible”, the relationship of the main characters Lyman and Henry takes a turn. Erdrich takes her audience through the experiences these brothers face and how they must come to terms that their relationship has changed. Knowing that it will most likely never be the same both Lyman and Henry try to fix their relationship until eventually one falls because of the experiences he faced in life. While Lyman may think the red convertible will save his and Henry’s relationship, Erdrich makes it clear that it will not through the characterization of the brothers, the plot of the story, and the symbolism she uses to tell her story.
The National Institute of Mental Health recognizes PTSD as a “disorder that develops in some people who have seen or lived through a shocking, scary, or dangerous event.” Since Henry’s return from the war, Lyman describes his brother as tense. There are many examples of Henry’s strange behaviors. However one truly stood out to Lyman and his family. He says, “I looked over, and he’d bitten through his lip. Blood was going down his chin” (970). Lyman continues that, “he took a bite of his bread his blood fell onto it until he was eating his own blood mixed in with the food” (970). Henry clearly is troubled by something, and the troubles all began after Henry went off to the Vietnam War. I’m no doctor, but one could simply recognize Henry is suffering from some form of
Taking place on a present day Indian reservation, Louise Erdrich’s novel Love Medicine introduces us to several fiction characters with very real emotional, mental, social and economic issues that are real to today’s society. At first glance, Love Medicine appears to be a compelling story of love, power, and pride. Its’ collection of characters all tell there own story offering different opinions and views. This variety makes the story very interesting. The reader gets to know each character very personally because of all the different views. Many of the same events are described differently by each character, as expected. But this variance allows the reader to draw his/her own conclusions and affords the opportunity to know the personality
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.