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Symbolism in the flowers by alice walker
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Symbolism in the flowers by alice walker
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In “The Flowers,” Myop is portrayed as an archetypal innocent blind to the harsh world around her. In the beginning stages of the story, the author explains, “The harvesting of the corn and cotton, peanuts and squash, made each day a golden surprise that caused excited little tremors to run up her jaws” (Walker 5). Although the new harvests excite Myop, exhibiting her child-like innocence, the cruel reality is that she is part of a sharecropper family, suggested when Myop is, “Turning her back on the rusty boards of her family’s sharecropper cabin” (Walker 5). Most sharecroppers could not make enough money to buy food or clothes. As a result, sharecroppers took to taking loans from landlords, causing an eternal debt. The author’s purpose behind this is to exhibit Myop’s blindness to her family’s harsh state of life. …show more content…
In the beginning of the short story, Walker explains that, “Myop had explored the woods behind the house many times [...] today she made her own path, bouncing this way and that way, vaguely looking out for snakes” (Walker 5). The author’s purpose behind this quote is to display Myop’s developing independence. During her walk, Myop begins to notice a deep change in the environment around her, “She had often been as far before, but the strangeness of the land made it not as pleasant as her usual haunts. It seemed gloomy in the little cove in which she found herself. The air was damp, the silence close and deep” (Walker 5). Myop’s progression as a young girl enables her to see a different picture. She realizes that the world is not always nice and sunny as it was in the beginning of the story. The author uses a change in mood to express Myop’s growth. As Myop loses her innocence, the story begins to take a dark
This secret world and these secret wishes are thwarted, in fact it turns out that they have always been illusions because nitrates in the water have caused her infertility. A Thousand Acres continually makes connections between patriarchy and capitalism, critiquing exploitation of women and nature in industrial farming alike.
In the beginning, the author explains how this young girl, Lizabeth, lived in the culturally deprived neighborhood during the depression. Lizabeth is at the age where she is just beginning to become a young woman and is almost ready to give up her childish ways. Through this time period she was confused and could not quite understand what was happening to her. In the end she rips Miss Lottie’s marigolds among the ugly place in which she lived. The marigolds were the only things that make the place a bit beautiful to the eye. In this scene the marigolds represent the only hope the people had for themselves in this time of depression. This could reveal how the author has experienced a loss of hope in times of need. In her explanation of how Lizabeth had torn up the flowers and destroyed all hope in that time of depression, might explain that she has also destroyed hope in a time of pain and grief. Later she writes, “And I too have planted marigolds.” This could mean she has learned from her experiences and that she has finally found hope and always tries to seek the good within the bad and the ugly. On another note, it could mean she just wants to act out on something, but she can’t, so she writes about her...
Women’s Escape into Misery Women’s need for male support and their husband’s constant degradation of them was a recurring theme in the book House on Mango Street. Many of Esperanza’s stories were about women’s dreams of marrying, the perfect husband and having the perfect family and home. Sally, Rafaela, and Minerva are women who gave me the impression of [damsel’s in distress].CLICHÉ, it’s ok though. It’s relevant They wished for a man to sweep them of their feet and rescue them from their present misery. These characters are inspiring and strong but they are unable to escape the repression of the surrounding environment. *Cisneros presents a rigid world in which they lived in, and left them no other hope but to get married. Esperanza, however, is a very tough girl who knows what she wants. She will keep dreaming and striving until she gets it. She says, "I am too strong for her [Mango Street] to keep me here" (110). Esperanza learned from all of these women that she was not going to be tied down. She said, "I have decided not to grow up tame like the others who lay their necks on the threshold waiting for the ball and chain" (88). **Especially after seeing that Sally was suffering so much. Sally’s father is making her want to leave home by beating her. Sally "said her mother rubs lard on the places were it hurts" (93). There is not enough lard in the world to be able to cure the pain within Sally’s heart. Sally, "met a marshmallow salesman at a school bazaar" (101). Pretty soon " sally got married, she has her house now, her pillowcases and her plates" (101). Her marriage seems to free her from her father, but in reality she has now stepped into a world of misery. This was supposed to help her heal; " she says she is in love, but I think she did it to escape." (101). Unlike the other women Sally has no escape, no poetry, not even papaya coconut juice, not to mention, " he does not let her look out the window" (102). That is why "she sits at home because she is afraid to go outside without his permission."(102). Rafaela’s situation also involves imprisonment in her own home. Cisneros introduced us to Rafaela, a young beautiful girl whose expectations from marriage were to obtain a sweet home to live in. Instead...
The House on Mango Street is the tale about a young girl named Esperanza who is maturing throughout the text. In it Esperanza documents the events and people who make up Mango Street. It is through this community that Esperanza’s ideas and concepts of the relationships between men and women are shaped. She provides detailed accounts about the oppression of women at not only the hands of men who make up Mango Street but also how the community contributes to this oppression. As the young girls and women of Mango Street try to navigate the world they must deal with a patriarchal society that seeks to keep them confined. By growing up in this environment where women are confined Esperanza seeks desperately to depart from Mango Street for fear
Set during a time when communism was quickly spreading through Vietnam, aspirations for an equal society were forming. This contrasts greatly to the social system evident in The God of Small Things. Narrated by the main protagonist Hang, a young Vietnamese women growing up in an age of turmoil during post-war Vietnam, Paradise of the Blind gives readers a deeper insight into the contrasting lives of those from different social classes. Through Hang’s memory the reader is shown the difficulties in her life which eventually leads to her becoming an exported worker in Russia. Chinh, Hang’s uncle and a communist party member often used his authority to attempt to waver the opinion of those around him, “The merchants, the petty tradespeople, they’re only exploiters. You cannot remain with these parasites,” by referring to the landowning classes as parasites, it shows his political view and his belief in class segregation. The metaphor Duong uses comparing the landowning class to ‘parasites’ emphasises the extreme disdain Chinh and many other communists at the time had for the landowning class. It is also ironic for Chinh to describe the landowning class as ‘exploiters’, as they have done no wrong. Chinh and other communist members are the real exploiters. This concept of class superiority and segregation is also similarly expressed in The
"The Chrysanthemums" is a good depiction of most marriages in the early 1900's, the husband is the chief breadwinner and the wife is considered nothing more than a housewife. "The simple story outlines are enriched by irony and imagery which contrast the rich land and the sterile marriage, the fertile plants and Elisa's inner emptiness" (McCarthy 26). The story begins by introducing the setting: "The high grey-flannel fog of winter closed off the Salinas Valley from the sky and the rest of the world" (Steinbeck 115). This vivid illustration unconsciously gives the reader a look into the dominating theme. However, it is not until the climax of the story that the reader begins to notice Elisa's true pain and need for her own self-identity. The main protagonist i...
The garden is the vehicle in which the narrator reveals her reluctance to leave behind the imaginary world of childhood and see the realities of the adult world. The evidence supporting this interpretation is the imagery of hiding. The narrator uses the garden to hide from reality and the changes of growing up. When she no longer can hide from reality, she tries to hide from herself, which leaves her feeling disillusioned and unsure of who she is.
Estrella and Cleofilas have come to accept that they don’t get much for their hard labor. They both learned how society looks at immigrants from other countries. They both were looked down upon. Estrella works hard in the hot heat. She comes to realize that picking grapes doesn’t earn enough money, and it all depended on the piece rate of the grapes. Society turns around, eats the grapes and doesn’t think twice about how the grapes came to their mouths. When the society doesn’t think of the age or person that has picked the grapes.
When Marie-Neige believed that she was in the extreme depth of hopelessness, the unexpected generosity and kindness from Lucien allowed her to re-evaluate herself regarding her previous negative outlook of life. Lucien’s decision to purchase her property and sign it under her name after realizing all the pain and miseries Marie-Neige experienced instigated a substantial change within Marie-Neige’s character. This revelation caused Marie-Neige to transform from someone who had “been given nothing in her life, on even the slightest scale” (pg.6) to someone who began to “recognize the sudden lightness” (pg.6) in life by discovering the limitless possibilities of her own farm. Because of Lucien’s compassion and kindness, Marie-Neige realized how such a simple act could greatly positively influence her view of the world. This feeling of hope and optimism has allowed her to destroy the barriers encompassed around her poverty-stricken life and discover her true aspirations in society filled with endless opportunities. In addition, the allusion to Cornelius also demonstrates the importance of the farm to Marie-Neige since it is an essential for her way of living. When Marie-Neige was still living a poverty-stricken, difficult life, she attempted to cultivate her plants successfully in order to one day be able to enter society and forever leave her destitute, poor state. Now that she has rights to her own land, she believes that she is now able to “enter the world of the grower of the black tulip” (pg. 6). This means now that Marie-Neige has possession of her own property, she will be able to properly tend her own flowers by herself and compete within the mainstream, competitive society while abandoning her previous sufferings and
And readers are thus exposed to the exploitation and extortion that goes on in this cycle of sympathizers. While the gathering of the women is supposed to be a period of preparing the widows for their confinement, it turns to a period of financial exploitation of the widows. Ramatoulaye succinctly expresses her displeasure,
Lizabeth associates much of her childhood with the vision of “acid, sterile dust . . . the dry September . . . and grassless yards” (Collier, p. 748). The use of this specific imagery relates the effect that poverty had on Lizabeth’s mentality and the role it played in shaping her perspective. A part of that effect is her inability to understand beauty amongst ugliness. This is exemplified in Miss Lottie’s marigolds. Lizabeth describes the marigolds as “the strangest part of [Miss Lottie’s yard]” because “they did not fit in with the crumbling decay of the rest of her yard” (Collier, p. 751). Lizabeth’s preoccupation and apparent disgust with Miss Lottie’s marigolds is a reflection of her unfamiliarity with beauty. It is not until she is familiarized with the beauty present in the marigolds that she understands the fault in her perspective. As a women looking back on the events of her childhood, an older Lizabeth recognizes her fault, yet also states “one does not have to be ignorant and poor to find that life is as barren as the dusty yards of [her] town” (Collier, p.
She was not a master of style, plot development or characterization, but the intensity of feeling and aspiration are evident in her narratives that overrides her imperfections. Sandra Cisneros’ The House on Mango Street, written in 1984, and Anzia Yezierska’s Bread Givers, published in 1925, are both aimed at adolescent and adult audiences that deal with deeply disturbing themes about serious social conditions and their effects on children as adults. Both books are told in the first person; both narrators are young girls living in destitute neighborhoods; and both young girls witness the harsh realities of life for those who are poor, abused, and hopeless. Although the narrators face these overwhelming obstacles, they manage to survive their tough environments with their wits and strength remaining intact. Esperanza, a Chicano with three sisters and one brother, has had a dream of having her own things since she was ten years old.
In the short story “Marigolds” by Eugenia Collier, the narrator Lizabeth realizes that she is no longer a child but a grown up woman who renounces her innocence and begins her adulthood by developing a sense of compassion. She learns that the world is more than just the dusty shantytown and a squad of kids she plays with; there are also the complex realities of depression, indifference and poverty. The reason behind this realization is that Lizabeth, at an age of 14, overhears her parents’ conversation about the harsh economic situation that their family is facing. She is filled with anger and detests the unfairness that is given to her family. All these feelings encourage her towards an explosive, malicious act of destruction. She is especially
Although imagery and symbolism does little to help prepare an expected ending in “The Flowers” by Alice Walker, setting is the singular element that clearly reasons out an ending that correlates with the predominant theme of how innocence disappears as a result of facing a grim realism from the cruel world. Despite the joyous atmosphere of an apparently beautiful world of abundant corn and cotton, death and hatred lies on in the woods just beyond the sharecropper cabin. Myop’s flowers are laid down as she blooms into maturity in the face of her fallen kinsman, and the life of summer dies along with her innocence. Grim realism has never been so cruel to the innocent children.
“Everyone is kneaded out of the same dough but not baked in the same oven”(Yiddish Proverb). These words apply to Katherine Mansfield’s short story, “Garden Party” as she touches on some very controversial points about the social inequality of the Sheridan family with its surrounding neighbors. A great internal and external quarrel over social class rises in the Sheridan family as Laura Sheridan, the daughter, sympathises with the less-fortunate neighbors while her mother, Mrs. Sheridan is the opposite. Mansfield illustrates to her readers the conflict within Laura in various ways, namely, using foil characters between Mrs. Sheridan and Laura, using multiple symbols and appealing to emotion to emphasize her main message of social equality.