Critical Analysis of Sherwood Anderson’s “Hands” In “Hands”, Sherwood Anderson uses hands as a symbol to illustrate the theme of the grotesqueness of the character as well as the grotesque nature of the society. The narrator depicts the story of a lonely schoolteacher whose life has been altered by his inability to be self-expressive. His belief in the possibility of communication and his eventual incapability to achieve it transpire the grotesque nature of the individual and the community he is part of. Wing came to be the structure of meaningful relationships in which he constructed in the past, hence conditioning his existence by drowning him in an existential crisis. Just like an existential therapist effort of rediscovering the living person amongst the dehumanization of modern culture, Anderson goes in the depth of his character’s soul to rediscover glimpses of his lost humanity and determines the causes of his dehumanization. The story initiates by representing the disjointed identity of the protagonist, who is revealed as walking nervously on ‘the half decayed veranda… ‘, which along with the ravine symbolize the alienated environment he lives in. In contrast the berry pickers portray the landscape of an exultant environment, where the youths and maidens can laugh, scream, shout and protest whereas Wing can only watch, fiddle the hands and keep silent. Wing Biddlebaum is an anxious personality, who finds not enough courage to break out from the tormenting chains of his past. Although having escaped from his previous life, where he was named Adolph Myers, he refuses to live a better one, succumbing mechanically to isolation. The narrator introduces him as an outsider who is unable to fit in the society because of the sense... ... middle of paper ... ...om his hands to use ‘the hands’ or ‘the imprisoned bird’. He added the qualifying ‘something like’ in ‘with George Willard . . . he had formed something like a friendship’ instead of ‘he still hungered for the boy’ he wrote ‘he still hungered for the presence of the boy’ in order to avoid any misconception in-between the relation of Wing and George as he identified they were more likely to occur. Most of the revisions of words and phrases were made only once, however. Anderson's first writing of the story must have appeared to him adequate its treatment, as to demonstrate his strive for the humblest prose, using short uncomplex sentences, directness, simple vocabulary and characterization as a narrative technique establishing intimacy with the character in order to provide a chance for the reader to peer deeply into a man’s soul. Bibliography
Literary devices are used by Sandra Cisneros throughout the vignette “The Monkey Garden”, to highlight the mood of the piece. For instance, Cisneros uses symbolism to encompass feelings of mysticality when she describes the Monkey Garden as a place the kids can go too “far from where our mothers could find us.”(95). The garden is symbolized as a haven, that can seemingly alleviate the characters problems. Cisneros also uses juxtaposition to further develop mystical emotions the in the audience. When the author compares two objects like “a dollar and a dead mouse.” (95), she is juxtaposing two inherently disconnected objects to emphasise the range of feelings in the garden. By using literary devices to establish the mood, Sandra Cisneros can
Speak, by Laurie Halse Anderson, is a story written in the first person about a young girl named Melinda Sordino. The title of the book, Speak, is ironically based on the fact that Melinda chooses not to speak. The book is written in the form of a monologue in the mind of Melinda, a teenage introvert. This story depicts the story of a very miserable freshman year of high school. Although there are several people in her high school, Melinda secludes herself from them all. There are several people in her school that used to be her friend in middle school, but not anymore. Not after what she did over the summer. What she did was call the cops on an end of summer party on of her friends was throwing. Although all her classmates think there was no reason to call, only Melinda knows the real reason. Even if they cared to know the real reason, there is no way she could tell them. A personal rape story is not something that flows freely off the tongue. Throughout the story Melinda describes the pain she is going through every day as a result of her rape. The rape of a teenage girl often leads to depression. Melinda is convinced that nobody understands her, nor would they even if they knew what happened that summer. Once a happy girl, Melinda is now depressed and withdrawn from the world. She hardly ever speaks, nor does she do well in school. She bites her lips and her nails until they bleed. Her parents seem to think she is just going through a faze, but little do they know, their daughter has undergone a life changing trauma that will affect her life forever.
While staying at Mel’s home, the adolescent female narrator personifies the butterfly paperweight. The life cycle begins with the narrator “hearing” the butterfly sounds, and believing the butterfly is alive. The butterfly mirrors the narrator’s feelings of alienation and immobility amongst her ‘new family’ in America. She is convinced the butterfly is alive, although trapped inside thick glass (le 25). The thick glass mirrors the image of clear, still water. To the adolescent girl, the thick glass doesn’t stop the sounds of the butterfly from coming through; however, her father counteracts this with the idea of death, “…can’t do much for a dead butterfly” (le 31). In order to free the butterfly, the narrator throws the disk at a cabinet of glass animals, shattering the paperweight, as well as the glass animals. The shattering of the glass connects to the shattering of her being, and her experience in fragility. The idea of bringing the butterfly back to life was useless, as the motionless butterfly laid there “like someone expert at holding his breath or playing dead” (le 34). This sense of rebirth becomes ironic as the butterfly did not come back to life as either being reborn or as the manifestation of a ghostly spirit; instead its cyclic existence permeates through the narrator creating a transformative
The ironic quality of each character’s name is apparent immediately. Joy Hopewell, a woman crippled in a gruesome hunting accident, is depicted as bitter, sullen, and nihilistic. She is anything but well-whishing or Joyful. Her mother named her daughter because she expected her ch...
First of all, Mr.Hillard’s jealousy destroys his relationship with his wife. At one point in the story he suspects his wife, and she questions, “I don’t know why you keep staring at me. You’re frightening me” (Callaghan 22). The author use of diction shows the reader how Mr.Hillard’s jealousy keeps him suspicious, so he habitually spies on his wife. His wife notices this, and begins to become afraid of him, showing how weak their relationship has become as a result of Mr.Hillard’s jealousy. This shows how jealousy can destroy romantic relationships. Furthermore, the author uses Mrs.Hillard’s isolation from society to convey the theme, “he insisted that they move out to the country and renovate the old farmhouse. There they lived like two scared prisoners in the house that was screened from the lane by three old oak trees” (Callaghan 20). The author uses the simile “like two scared prisoners” to show how Mr.Hillard and wife like prisoners are isolated and locked up from the rest of the world. One can view Mr.Hillard as a hunter, both living in a forest and closely guarding their possessions. Clearly, Mr.Hillard treats his wife as a possession and becomes jealous when she talks to other men, due to this, “He insist[s] they move out to the country]”. Evidently, he is scared that someone will take his possession which is why he is so doubtful of her actions and is keen on secluding her from society. Further, the author uses symbolism “the house was screened from the lane by three old oak trees to reinforce the idea that they are secluded from society. This is because, the three old oak trees symbolize how they are cut off from society. This all adds up, to the idea that Mr.Hillard’s jealousy destroys Mrs.Hillard’s social relationships as he keeps her hidden from
The complexity of the plot starts when the reader is introduced to a man lost in a cave and his source of light goes out and continues when the man realizes that “starving would prove [his] ultimate fate” (1). Readers get a sense of hopelessness the man is feeling, and this is where the tensions begins to build. Alt...
Being different can sometimes be somewhat scary because one may be considered an outcast. Being an outcast can be quite difficult especially when people can be cruel. In the short story “The Salamander,” the narrator is considered an outcast because she is different and does not follow society’s norms. The author from this short story, Mercè Rodoreda, can be compared to the narrator because she too did not follow the norms. Rodoreda’s short story includes some aspects that can be compared to her life, yet many other aspects in her story are inexplicable. “The Salamander” by Mercè Rodoreda can be described as a fantastic story because of the fantastic elements it contains, such as hesitation and liminality. The short story fits well into Todorov’s definition of the fantastic because it creates hesitation for the readers when the narrator experiences rebirth and it includes several examples of liminality. Liminality can be seen when the defined lines between human and animal, and life and death are blurred.
Growing up, George had a wild childhood. His parents owned a tavern, which they lived above, and they were rarely around to give George the guidance a small child needs. George felt little love from his parents. He came from a poor family and sometimes didn't even know where his next meal was coming from.
She describes the September morning as “mild, benignant, yet with a keener breath than the summer months.” She then goes on to describe the field outside her window, using word choice that is quite the opposite of words that would be used to describe a depressing story. She depicts the exact opposite of death, and creates a feeling of joy, happiness, and life to the world outside her room. After this, she goes into great detail about the “festivities” of the rooks among the treetops, and how they “soared round the treetops until it looked as if a vast net with thousands of black knots in it had been cast up into the air”. There is so much going on around her that “it was difficult to keep the eyes strictly turned upon the book.” Descriptions like these are no way to describe a seemingly depressing story about a moth, but by using these, joyful descriptions, Woolf connects everything happening outside to a single strand of energy. These images set a lively tone for the world around her, and now allow her to further introduce the moth into the story.
The fictional life and death of a twelve year old little boy named Robert is vividly articulated in this moving tale by Thomas Wolfe. The reader learns of the boy’s life through four well developed points of view. The reader’s first glimpse into Robert’s character is expressed through a third person narrative. This section takes place on a particularly important afternoon in the boy’s life. The second and third views are memories of the child, through the eyes of his mother and sister. His mother paints the picture of an extraordinary child whom she loved dearly and his sister illustrates the love that the boy had for others. Finally, an account from the narrator is given in the ending. It is in the last section of this work that the narrator attempts to regain his own memories of his lost brother.
The story begins as the boy describes his neighborhood. Immediately feelings of isolation and hopelessness begin to set in. The street that the boy lives on is a dead end, right from the beginning he is trapped. In addition, he feels ignored by the houses on his street. Their brown imperturbable faces make him feel excluded from the decent lives within them. The street becomes a representation of the boy’s self, uninhabited and detached, with the houses personified, and arguably more alive than the residents (Gray). Every detail of his neighborhood seems designed to inflict him with the feeling of isolation. The boy's house, like the street he lives on, is filled with decay. It is suffocating and “musty from being long enclosed.” It is difficult for him to establish any sort of connection to it. Even the history of the house feels unkind. The house's previous tenant, a priest, had died while living there. He “left all his money to institutions and the furniture of the house to his sister (Norton Anthology 2236).” It was as if he was trying to insure the boy's boredom and solitude. The only thing of interest that the boy can find is a bicycle pump, which is rusty and rendered unfit to play with. Even the “wild” garden is gloomy and desolate, containing but a lone apple tree and a few straggling bushes. It is hardly the sort of yard that a young boy would want. Like most boys, he has no voice in choosing where he lives, yet his surroundings have a powerful effect on him.
The boy is haplessly subject to the city’s dark, despondent conformity, and his tragic thirst for the unusual in the face of a monotonous, disagreeable reality, forms the heart of the story. The narrator’s ultimate disappointment occurs as a result of his awakening to the world around him and his eventual recognition and awareness of his own existence within that miserable setting. The gaudy superficiality of the bazaar, which in the boy’s mind had been an “oriental enchantment,” shreds away his protective blindness and leaves him alone with the realization that life and love contrast sharply from his dream (Joyce). Just as the bazaar is dark and empty, flourishing through the same profit motivation of the market place, love is represented as an empty, fleeting illusion. Similarly, the nameless narrator can no longer view his world passively, incapable of continually ignoring the hypocrisy and pretension of his neighborhood. No longer can the boy overlook the surrounding prejudice, dramatized by his aunt’s hopes that Araby, the bazaar he visited, is not “some Freemason affair,” and by the satirical and ironic gossiping of Mrs. Mercer while collecting stamps for “some pious purpose” (Joyce). The house, in the same fashion as the aunt, the uncle, and the entire neighborhood, reflects people
Having negative feelings towards a family member is often difficult to handle. An individual may disagree with the actions of a family member; however, they are still related. This struggle is shown in the poem My Father by James Berry. The speaker of the poem deals with his feelings of resentment towards his father. Berry utilizes a list-like structure, contrasting ideas as well as imagery to portray the speaker/son’s negative feelings towards his father. Throughout the poem, the speaker responds to the actions of his father by outlining his feelings.
The short story, “Unlighted Lamps,” by author Sherwood Anderson is about a relationship between a father and his daughter. Their relationship is a stressful one because neither of them talk to each other, nor show their emotions. Throughout the story, you find out why their relationship is the way that it is, and why it is hard for her father to talk to her. The unlighted lamps in the story represent flashbacks of memories wherever light dances across something.
In Kew Gardens, Virginia Woolf takes advantage of the liminal quality of the short story in order to highlight the suspended world that she creates in the garden. For Woolf, the lyrical short story’s subversion of traditional narrative structure allows her to focus on creating a world rather than a plot. Further, the short story creates a liminal space by the very nature of its form. Caught in a space where it is not considered a poem or a novel, the short story exists as undefined. The liminality of the short story, however, is both liberating and restricting. Woolf explores this feature in order to suggest the unsustainable nature of Kew Gardens. While Woolf utilizes the form of the short story to create a liminal, impressionistic space that eradicates the boundaries between human and nature, she also uses the transitory quality of the short story to suggest that such a space can only exist for a short duration due to the restrictions of the imposing outside world.