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Trudging through those familiar doors, Harper sighed in anguish, knowing this to be her final encounter with them. This was the last time she’d be met with the welcoming warmth and the odd perfume of age that the young woman had grown so accustomed to. Ignoring the pitiful glances being tossed at her by caregivers, Harper swallowed hard and proceeded to pour a cup of hot coffee, black, from the pot that always sat on the front desk. This is why Harper liked Cypress Waters Nursing Home-- it tried too hard, just like her. Who really has fresh flowers at home all the time, and matching everything? Harper and Cypress Waters. Soon, the home would be the only thing left common to her. And even then, Harper wouldn’t have a reason to return.
Nevertheless, her feet operate on autopilot, and she aimlessly wandered down the dimly lit corridors to her Bubbe’s room, where she was met by a lanky man, if you even call him that, in a white coat holding a clip board.
“There’s no point in you being here,” she spat, “you updated me on her condition l this morning. I’m fine.” Doctor Grissly squirmed with tension before answering.
“I’m sorry to inform you Mrs. Klein’s condition has worsened. She only has a few hours left. I’ll leave you now,” he stammered and stiffly roamed to another patient’s room. Mustering up her courage, Harper clasped the doorknob, cool with the aura of death, and turned.
As a little girl, Harper always wondered what happened after the end of fairy tails. Would the princess ever grow up and become old and crusty like her horrid stepmother? Who would know that all these years later, she would find out? Bubbe’s wrinkled frame was draped across the bed, her body covered with a pink night shirt and tie blanket that Harper cra...
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...body in the synagogue was really there. Just a memory.
And the scene changed again and again, Harper viewing the same moments viewed by those watery blue eyes she loves so dearly. Yet, she watched distantly, for she could not shake the feeling of loss seeing her Zayde brought. In a flash, a wave of woe washed over her. She knew what she had to do.
Harper awoke with cold hands, only to find that they were not her own. The young woman, although she felt more like a helpless child, swore, Bubbe held on for her. Her water blue eyes were watery with tears of both joy and sorrow. Her voice was barely audible. “We got more than a day or two, mamaleh. We got a lifetime.” With a shaky breath, Bubbe’s body went rigid. Harper kissed her forehead, closed the old woman’s eyes and released her now limp hand. It was time Bubbe got back to Zayde. It was time for Harper to let go
The desire for “home,” or identity, within Lily is the driving force that led her to find the pink house and the Calendar Sisters. This new physical and spiritual “home” that Lily finds illuminates the larger meaning of the novel, which is acceptance and identity, and displays where she truly belongs.
Throughout the years, the story of Cinderella has changed as different authors, including the Brothers Grimm and Walt Disney have weaved their perspectives, morals, and agendas into their retellings. Just as varying rhetors can ha...
The Paper Bag Princess is a counter point to traditional fairy tales about Princes and Princesses as it displays characters in altered roles. Princess Elizabeth challenges the modern view of the masculinity of a hero by reversing gender roles when she chooses to save Prince Ronald herself. By taking on the fire breathing dragon and outsmarting him, Princess Elizabeth defies typical princess roles and fairytale plots. Although lacking Cinderella elegance, Elizabeth's determination, self-confidence and awareness of her inner be...
Presently, many books and fairytales are converted movies and often, producers alters the original tales to grasp the attention of a large audience. However, some of these interpretations hide the primary interpretation. The original interpretations of the Disney classics Snow White and Sleeping Beauty are greatly reinvented from the original fairytales Sun, Moon, and Talia and Snow White and the Seven Dwarfs because of the brutal nature of the treatment women in these original forms. Although there are differences in certain aspects from the original tales to the movies, there are many issues that are influential to the young girls who are still watching the Disney version. I realize this when my youngest niece, Anella asks me, “Why can’t I be beautiful and fall asleep and suddenly wake up to finally find my prince?” This is true in all cases of the four different translations of the fairytales. Every single girl in these stories are in a “beautiful” state of half-death who wake to find a prince who if eager to carry them off. This can lead to negative psychological effects on young girls as they are growing up, creating a large amount of pressure and low self-esteem due to the beauty that these stories portray and maintaining restrictions that these women experience in the stories. While it is true that Sleeping Beauty and Snow White and the Seven Dwarves are considered Disney classics that entertain children and provide meaningful role models, it is evident that the true, vulgar nature of these tales are hidden; these stories are about women who are thrown away.
Even with the pain of bearing children, raising them, doing household and even farm chores, their efforts have never been truly appreciated. Mrs. Wright was “…real sweet and pretty, but kind of timid—and fluttery…” as Mrs. Hale, her neighbor, describes her (22). This would all soon change after her wedding day. With Mr. Wright’s insipid character and lack of patience of any joyous sound, Mrs. Wright’s spirit dwindled to nothing. It seems she spent hours at a time focusing on her quilts, preserves, and caring for the only life there was in the house, her canary. Even when Mr. Hale offered to get a party telephone, Mr. Wright responded, “…folks talk too much anyway…”(5). This silence he preferred also applied to his spouse. There were no hugs given out much less a smile. He failed to give her even the most minimal sing of appreciation much less the emotional warmth she hungered for.
For their second edition of fairy tales, the Grimms and their publisher deemed their original version of “Rapunzel” to be inappropriate for children for “what proper mother or nanny could tell the fairy tale about Rapunzel to an innocent daughter without blushing?” (Tatar 18). The Grimms, in fact, changed details of “Rapunzel,” ridding the story of even t...
Marie, who is a product of an abusive family, is influenced by her past, as she perceives the relationship between Callie and her son, Bo. Saunders writes, describing Marie’s childhood experiences, “At least she’d [Marie] never locked on of them [her children] in a closet while entertaining a literal gravedigger in the parlor” (174). Marie’s mother did not embody the traditional traits of a maternal fig...
Over centuries of children have been enjoying the classic fairy tales of the Grimm Brothers and Charles Perrault. The fanciful plots and the vivid details allow children to be entranced by characters and adventures that can only be found in these stories. One of the most beloved fairy tales, which both the Perrault and the Grimms have their own separate versions of, is Cinderella. Cinderella is able to show how both versions are able to feed off the same plots while personifying the century and social economic situation in which they have lived.
At first glance the characters Connie from “Where are you going? Where have you been?” and Little Red Riding Hood from the classic fairy tale “Little Red Riding Hood” may seem to have nothing in common. However, from the start one can compare how much they actually have in common. Though these two characters are very different they are the same in many ways. Their story, from beginning to end, is similar. It is easy to see how alike and different they are with the description of Connie and Little Red Riding Hood’s lives, the relationship with their wolves, and their tragic endings.
Everyone knows and loves the enchanting childhood fairytales of magic, princes, and princesses, but very seldom are privy to the detrimental impacts of “happily ever after” on the developing youth. Fairy tales are widely studied and criticized by parents and scholars alike for their underlying tone and message to children. Peggy Orenstein, feminist author, mother, and fairy tale critic, has made it her personal mission to bring these hidden messages to the surface. In the article, “What’s Wrong with Cinderella?” Orenstein dissects the seemingly innocent tale of love and magic, and the princess many know and love, and points out its flaws and dangers. Fairy tales, Cinderella in particular, are not suitable for children because upon deeper evaluation,
The stream of consciousness establishes a healthy confusion because all three women of 124, including Beloved, attempt to identity Beloved. Yet, Beloved’s identity becomes more complex. Sethe begins to identify Beloved by stating that “She my daughter. She mine” (236). Morrison includes possessive pronouns to show Sethe’s ownership over Beloved, thus identifying Beloved as her daughter. Morrison continues this idea by leading the reader through Sethe’s thoughts. “Had to be done quick. Quick. She had to be safe”(236). This is one of Sethe’s thoughts concerning her daughter’s death. Morrison includes the verb to have to show Sethe’s determination. If a person must do something, it implies that the person had no choice and the result was the only possible outcome. Just like Sethe’s decisions, the action was quick. Morrison uses short sentences and repetition of quick to express Sethe’s decision and lack of thinking. These devices provide a rushed mood. This quote shows Sethe’s reasoning behind her choice and allows her to connect adult Beloved to her Beloved. Morrison continues Sethe's idea, “but that’s all over now…and my girl come home” (237). This quote expresses Sethe's self-forgiveness and acceptance of the past. Moreover, it shows Sethe's belief that the adult Beloved is her daughter. Morrison shows Beloved’s thoughts last. “I am Beloved and she is mine” (248). Morrison includes this quote to make
...ots her memory, the blossoms her dreams, and the branches her vision. After each unsuccessful marriage, she waits for the springtime pollen to be sprinkled over her life once again. Even after Tea Cake's death, she has a garden of her own to sit and revel in.
Miss Havisham once had soft skin and delicate eyes full of compassion and spirit that was before the fall. The wicked witch had a warm heart and opened up to a man named Compeyson. The two made a lovely couple and soon silver bells were in the air, It was the night of her marriage to this gentleman, there she should waiting at the altar. However, Compeyson never strolled down the aisle to marry her. The reality of him using her for money struck hard like bat to a stained glass window. Rage filled within her soul, her heart shattered leaving pieces scattered across the room. He scammed Miss Havisham and took much of her wealthy, since then she swore revenge on Compeyson. Miss Havisham’s heart turned cool and dark, she planned to raise a beautiful daughter who would crush the hearts of men.
Fairy tales are one of the longest lasting forms of literature. Though now they bring to mind classic movies engendered by Disney, many of these stories were first passed on in an oral manner, meant to convey a message, moral, or lesson. Alison Lurie’s “What Fairy Tales Tell Us” covers a broad range of classic tales, discussing how under the guise of an entertaining story comes life lessons we would all do well to follow. To begin this paper, some of the tales Lurie examines in her article will be looked at and critically examined beyond what she discusses. This will then move the text towards its remaining sections, which will take Lurie’s ideas and have them applied to folk and fairy tales that have not yet been contemplated; for the purpose
Throughout the history of folklore and fairytales, many interpretations of tales have been created and introduced. When exchanged, many details have been lost in translation, only to be redistributed as a similar tale following a certain moral. But throughout the life of the tale “Cinderella,” one objective has never been misconstrued; the social structure and the status Cinderella falls and rises to. Many fairytales display a rise and fall of a protagonist, often in the case of social classes. The many versions of “Cinderella,” including Ever After, exhibit a definite, strong, monarchical settlement with a defined arrangement of classes that create and develop the beloved character of Cinderella, or Danielle De Barbarac, herself.