Another reason the older sister is jealous of Stella –Rondo is because she never appreciates what others do for her. Stella-Rondo has a tendency to mistreat the things that she gets from people and her parents. For instance, in the short story the narrator mentions “she always had anything in the world she wanted and then she’d throw it away” (437). When the older sees that Stella-Rondo throws away the good things that she receives from her parents she gets upset with her younger sister. The older sister thinks that is unfair that she can have anything she wants, but she chooses not to appreciate or take care of the good things her parents give.
The novel indicates that her mother, from the early part of her life, felt a sense of separateness and unworthiness and that she "never felt at home anywhere, or that she belonged anyplace" (111). Consequently, from Pecola's birth, her mother placed upon Pecola the same shroud of shame, weakness, and inadequacy. The circumstances surrounding Pecola's first period are consistent with the vulnerability of her position. Pecola is not even with her own mother when it happens. There is a real sense that Pecola cannot participate in traditions, or receive wisdom from previous generations, because her family life is so unhealthy.
In both the works we have studied, all the characters have trouble dealing with the issues of authority and respect for themselves and for others, they do not show respect to their parents and therefore does not look upon them as authority figures. In Alice Munro's the Red Dress, the narrator and her best friend Lonnie have two totally different relationships with their respective guardians. The narrator, without the mention of her father, is in care of her mother, whom she thinks butts in too much into her business. She sort of resents her mother for being so too close and nosy about her private life. Her mother's stories, which at one point seemed interesting to her, is now 'become melodramatic, irrelevant, and tiresome'.
Laura has the complete opposite temperament of her vivacious mother. Laura always wants to please her mother. Her mother makes her feel guilty about being shy and fearful. She lies to her mother about dropping out of Business School because she cannot bear to see her mother's pain and disappointment over the news. Amanda does not consider her daughter's feelings.
Throughout Nora’s life, she has been mistreated and viewed as a doll not as a human. “Nora’s father, it transpires, an irresponsible spendthrift, brought her up with no sense of social obligations or serious thought for the morrow, while her husband, finding her a delightful companion like this, did nothing to repair the omission and treated her with a playfulness of a teen not a mother.” (Beerbohm147) As a result, Nora realizes that she has been mistreated and treated unfairly. “Nora, however, protests that she has been treated unfairly in being denied the opportunity to participate in her marriage and in society as an informed adult.” (Gosse219) Torvald and Nora’s father both viewed Nora as if she could not make decisions on her own. “The transformation from her carefree days as a girl to marriage meant no more to her than a change from a small doll’s house to a larger one.” (Salome226) In the play A Doll’s House, Nora is not oblivious to her mistreatment; she soon becomes very much aware of it. Nora states, “I was simply your little songbird, your doll […]” (Ibsen230) Nora has never been taken seriously; not by her father and now not by her husband.
This enables Arnold to manipulate her because she doesn’t know what healthy attention is. Along the same lines as her father, Connie’s mother is dissatisfied and hates that Connie is so obsessed with her looks, often “[scolding] Connie about it” (Oates 2203). This causes Connie to be distant from her mother. Thus, Connie feels little, compared to her sister, who gets all the attention from their mother. The absence of both parents allows Connie to be manipulated because she feels alone, often rebels against the rules, and wants to be away from her family.
Katherine Paterson's Happy or Unhappy Ending Happiness seems different for all the characters, for Gilly happiness isn't something she has been able to experience yet. This is due to the fact she does not live with her mother and does not know her mother very well. At the beginning Gilly is very unhappy. Moving from one foster home to another is affecting her badly. She believes that happiness is being with her mother, but her theory soon changes.
“I Stand Here Ironing” by Tillie Olsen is a depiction of a mother-daughter relationship that lacks involvement and warmth. The whole story composed of the mother’s memory of her relationship with her daughter, Emily. The memory was a painful one comprised mostly of the way the mother was much less able to care for Emily. The forsaken of Emily demonstrates the importance of physical and emotional support. The mother was an invisible parent for Emily.
She does not visit her hometown of El Paso, Texas just to avoid her mother. Lydia simply resents Ivon because she wants to create a family with two women as parents. Irene, Ivon’s sister, even tried to defend her sister and was violently hit for disobeying and disrespecting her mother’s wishes. Lydia still lives in a society of heteronormatively that doesn’t allow the LGBTQ community to be together peacefully. She wants Ivon to be religious, follow the cultural norms, and be heterosexual.
And it is a conflict in their relationship, once Ewan said that Dorothy only married him for his mother, but he said it only half joking. He clearly resents his mother for his childhood; he doesn’t even believe she loves him. While Dorothy never can understand Ewan and thinks that everything Lily does is brilliant, both in art and in lifestyle. Once she got children of her own, Dorothy got even more envious of Lily’s way of living. She hated the domesticated life, standing by the usual gender roles of that the mother stays home and takes care of her children while the man is out working.