Frankenstein V

One recurring theme in Mary Shelley's Frankenstein is work, and the dangers of obsession with it. Frankenstein's obsession with his work comes back to haunt him in the physical manifestation of the creature he created. Victor became such a slave to his work in college that he shut himself away from the outside world. He obsessively questions if he can create life, not if he should. Later in the novel, Shelley shows how Victor literally becomes a slave to his work. He is threatened into creating a female creature by his own creation! The creature even states, "You are my creator, but I am your master" (122). Shelley emphasizes this theme more at the parts of the novel that include Walton. Walton, like Victor, has become obsessed with his work. This similarity is what provokes Victor to tell him of the story in the first place, and is an overall theme throughout the novel.

Frankenstein IV

The protagonist in Mary Shelley's Frankenstein is Victor Frankenstein. However, unlike many protagonists I read about, I feel not sympathy for Victor. Most readers hear Victor's story and feel bad for the lonely genius whose entire life was destroyed by one mistake. However, Victor brought all his suffering upon himself. It was his own obsession with his work that caused him to be cut off from his family and friends during his college years. The creature he created also causes him much suffering. William's death and Justine's execution are directly linked to Victor's own creation. It is true Victor did not know the consequences of his actions, and therefore could be forgiven for these first two deaths. This is not true, however, for the later deaths of Henry and Elizabeth. Victor knowingly broke his deal with the creature by destroying his bride. The creature told Victor the destruction he would cause if Victor did not help him. He even threatens him, saying "...remember, I shall be with you on your wedding night" (123). Therefore, Victor's choice makes it difficult for me to feel any sympathy for the grief he experiences.

Frankenstein III

In Mary Shelley's Frankenstein, Victor's creature invokes multiple feelings within the reader. During his life story, sympathy is felt for the creature. His feelings of abandonment and rejection makes his actions, however evil, understandable. He even admits he is "full of fears, for if I fail there, I am an outcast in the world forever" (95). However, as the novel continues, any positive feelings I had for the creature vanished. The creature now understands the world and his actions enough to blackmail Victor into making a female creature. The temper tantrum the creature throws when it does notwork out reflects poorly on him. His brutal murder of Henry and Elizabeth, both innocent parties, is unacceptable. Even after causing the destruction of Victor's entire family, the creature is still not satisfied. He continues to egg Victor into wasting his remaining life chasing after the creature. When Victor finally perishes during the haunt, the creature adds one more death to his total.

Frankenstein II

In Mary Shelley's Frankenstein, both Victor and his creature experience parallel lives. That is, Victor and his creature correspond their moments of happiness and grief throughout their lives. For example, the first spring after the creature's birth, both are at happy points in their lives. Victor has just healed from his illness, and is flourishing in the companionship of his friend, Henry. Meanwhile, the creature is excited and anxious to begin his plan to reveal himself to "his" family. He admits he felt "the future gilded by bright rays of hope, and anticipations of joy" (81). Similarly, that winter both experience sorrow. Victor is unable to return to his family, due to weather that prohibits travel. At the same time, the creature experiences rejection from the family he has been watching. The final example is the creature's devastation at the "death" of his bride. His revenge, murdering Elizabeth, continues the parallelism of the two's lives.

Frankenstein I

The latter half of Mary Shelley's Frankenstein provides much irony. One of the biggest uses of irony is Victor's trial for the murder of his friend, Henry. Victor is accused by the townspeople of murdering Henry, as they saw a man on a boat that same night. One woman said she "saw a boat with only one man in it, push off from that part of the shore where the corpse was afterwards found" (129). However, Victor proclaims his innocence. This is ironic to the reader because, although he did not murder Henry directly, it was Victor's fault. Not only did he create the creature that committed the crime, but it was Victor's act of destroying the female creature that drove the monster to murder. If Victor had not broken the deal, his friend would still be alive. There, although Victor is declared innocent, his feelings of guilt should not diminish. For ultimately, the town was indeed correct. Victor Frankenstein is a murderer.

Frankenstein IV

 Mary Shelley's Frankenstein, makes use of many literary devices, including characterization, personification, and similies. However, her biggest use of literary devices is frame stories. Her novel begins with the focus on Robert Walton, a man with a goal of traveling to the North Pole. When Walton meets a mysterious stranger, he is told the man's story. Robert then relays the story via letters to his sister. This brings it to a story within a story, within a third story. To add to the confusion, Shelley adds another frame story. When Victor finally speaks to his creation, the creature insists upon telling Victor his story. The creature insists "Hear my tale, it is long and strange" (70). With this new tale, it brings the total of frame stories to four, reminding the audience a little too much of Inception. 

Frankenstein

In Mary Shelley's Frankenstein, Victor Frankenstein spends the majority of his college years experimenting to create life. However, his path to creation began much earlier. Victor first became interested in scientific education in his youth. He came across the works of Cornelius Agrippa and became obsessed with the "magic" of science. His father's casual damnation of the volumes furthered Victor's increase in the subject. Victor admits"I continued to read with the greatest avidity." (21). However, Victor was far from only self-educated. His college professors, Krempe and Waldman, foil characters, contributed to Victor's creation indirectly. Waldman encouraged Victor to study all ares of science, even the Agrippa. While Krempe provided him with more common information. This unique education led Victor on his path to creation.

Frankenstein III

In Mary Shelley's Frankenstein, Victor works tirelessly to create an animated creature. However, when he accomplishes his goal, hi pride quickly transforms to disgust. He laments "...now that I had finished, the beauty of the dreamed vanished" (pg 35). However, Frankenstein's lack of platonic feelings for his creation do not cause his creature to lack feelings for Victor. The creature immediately tracks down Victor to his bedchamber after Victor abandons him. He then reaches out for Victor and murmurs inarticulately. Although Victor perceives this as threatening, through his later conversation with the creature he learns it was more an act of seeking acceptance from his creator. The creatures actions resemble that of a baby after birth. This further stresses the bond the creature and Victor could have had, that of a father and son. It become clear during their conversation that having that bond is the only thing the creature seeks.

Frankenstein II

Mary Shelley's Frankenstein was one of the most popular novels of her generation. However, it also secured her a place within the hearts of future generations. The story of the scary creature brought to life by a genius scientist has become a Halloween fixture and a popular culture phenomena. Like many past stories, Frankenstein has been altered slightly from the original with each new version. In the original text, Dr. Frankenstein is not an evil scientist with a hidden agenda, as most films today depict him, but rather an intelligent college student with a noble goal of curing disease. Also in the text, Frankenstein receives no help with his creation, in fact he tells no one about it. In many other tales, the "mad" doctor receives help from a creepy assistant. Another major difference between Shelley's version and folklore is the physical appearance of the creature. Shelley describes him with "yellow skin [that] scarcely covered the work of muscles and arteries beneath" (pg 35). While the giant muscles sound familiar  most modern depictions of the creature portray him with green skin, probably to increase fear in audiences. While Shelley's story continues to spread in the modern world, society has left an influence on the old tale.

Frankenstein I

Mary Shelley's Frankenstein depicts several themes. Lonliness, solitude, and destiny are all heavily mentioned in the first half. However, one major theme after William's death is guilt. This unimaginable act of violence led to many blaming themselves. Elizabeth blames herself, fearing the trinket she gave William on the night of his murder was the motive. Victor's father states she "weeps continually and accuses herself unjustly as the cause of the crime" (pg 47). However, she is not alone in her guilt. Victor also felt an extreme amount of (maybe appropriate) guilt for the death. He believes his creation committed the crime, indirectly making him the cause of the murder. In the end, neither Elizabeth nor Victor are relieved of their guilt, for justice has yet to be served.

APO 96225

Larry Rottmann's APO 96225 relates greatly to the audience. Most readers understand the need for little white lies, told in an effort to protect someone. The young man in the poem wanted to do just that. At first, he kept the horrors of war from his mother. However, while the situation is relatable to the reader, it is also ironic. The mother begs the son to tell of the true terrors he faces, saying "Son, we want you to tell us everything. Everything!" (Rottmann, 846). However, when the son tells a small fraction of his true duties of war, he upsets his mother so much his father rebukes him, stating he should not write to his mother of such depressing topics. This is situational irony, because the reader expects that the mother and father would send comforting words in response to their son's depressing letter. Instead, the mother becomes upset and the father angry. The biggest irony is the mother begged her son to tell her of the truths, but she cannot handle the truth!

I Felt A Funeral, In My Brain

Emily Dickinson's poem I Felt A Funeral, In My Brain gives the reader a glimpse into the speaker's mind. This mind is chaotic, fighting to hold on to reality. The tone of desperation overwhelms the reader with the sense the speaker is seeking help. The speaker uses an extended metaphor to detail their downward emotional spiral. This metaphor is of a funeral inside the speaker's mind representing the loss of the speaker herself, whether it mean her death or merely her sanity. Within the speaker's mind, there has been a loss, or death. The alienation theme is clear with the phrase, "And I and Silence some strange Race, Wrecked, solitary, here" (Dickinson, 776). The speaker feels completely alone, forgotten, and lost within her own mind.  The end of the poem trails off, signifying the end for the speaker. Her descent into the darkness is complete,  whether that darkness is death or the depths of her own mind.

Miss Brill

Katherine Mansfield's Miss Brill captures the fear most reader's possess, growing old and alone. However, it is through literary techniques that Mansfield captures the audiences attention and creates such sympathy for poor, elderly Miss Brill. For example, Mansfield uses personification several times throughout the story with regards to Miss Brill's fur. Miss Brill describes the fur as having eyes that say "What has been happening to me?" (Mansfield, 182). Miss Brill talks to the fur, and believes it to be talking back to her. This particularly saddens the reader, for it is clear Miss Brill must be exceeding lonely to reduce to speaking to inanimate objects as if they were people. Also, Miss. Brill's joy at the beginning of the story stems solely from the act of releasing the fur from storage and getting to wear it. That this simple act brings so much happiness to the women shows how dull the rest of her life must be in comparison. In the final scene, Miss Brill hears unfriendly remarks about her from some teenagers, and then believes to hear the fur crying. This personification of her feelings through the fur show the audience Miss Brill's true lonliness and despair.

Bartleby the Scrivener II

In Herman Melville's Bartleby the Scrivever, the narrator tells of the eccentric and mysterious Bartleby. He clearly admires Bartleby and puts up with his abnormalities because of his excellent work. However, when Bartleby eccentricities begin to effect his work ethic, the lawyer strives to find the cause of Bartleby's strangeness. While depression or his previous job may have effected Bartleby's mental staus, I believe an anxiety disorder is most likely the root of the problem. Throughout the story, Bartleby shows many signs of suffering some kind of mental disorder, such as autism or OCD. Firstly, Bartleby never intiates conversation, and rarely speaks at all beyond saying he "would prefer not to." He also seems oblivious to normal social conceptions, as shown by his obliviousness toward his co-worker's mockery. Also, he takes questions literally. This is shown when the lawyer asks what he is doing and Bartleby replies, "Sitting upon the banister" (Melville, 670). All these examples leader readers to conclude Bartleby suffers from a mental or anxiety disorder.

Bartleby the Scrivener

In Herman Melville's Bartleby the Scrivener, the narrator chooses not to tell us about his own life. Instead, he speaks about a strange fellow named Bartleby. The lawyer tells about Bartleby most likely because he feels a connection to the man based on their similarities. The lawyer subconciously sees that Bartleby is a more extreme version of himself. Both the lawyer and Bartleby are friendless and have no known family. While the lawyer pities Bartleby for never leaving the office, the lawyer himself rarely seems to go anywhere else either. He remains, like Bartleby, set off from society by his own choosing.

These similarities are what allow the narrator to have sympathy for Bartleby, time and time again. Even when the lawyer has seemingly moved on, he continues to come back to Bartleby and even visits  him in prison. This dedication, shown by a man who "has been filled with a profound conviction that the easiest way of life is the best", appears because the lawyer recognizes the connection between himself and his eccentric employee. (Melville, 642).

A Rose for Emily II

William Faulkner's A Rose for Emily had an unique narration, first person plural. This type of narration hold many advantages. The entire town seems to collaborate to tell the story of Miss Emily Grierson. THis use of plural narration shows how tight-knit the community was, and how single-mindedly they focused on Miss Emily. Because so little of Emily's life is known for sure, the combination of the town's collective memory helps tell all that is known. Also, the plural narration allows several generations to tell the story, as it extends over much of Emily's lifetime.

Other form's of narration would have inhibited this story. If it was merely been a narration by a townsperson the reader would have only recieved the opinions and information of the one narrator, and would have had no idea of the rest of the town's thoughts. This is important because just one person most likely would not have known so much about Emily's whole life. That information would have been spread out among those who were physically closer to her and those who had lived during whichever event it was.

Do Not Go Gentle into That Good Night

In Dylan Thomas's Do Not Go Gentle into That Good Night, the speaker focuses on four types of men. The first, wise men, realize their life is at an end. However, they fight aganist this departure because they realize they have yet to make any lasting impact on the world they are leaving. The second type, good men, mourn for the good deeds that will never be accomplished due to their death. The third type of me are wild, who spent their lifetime frivolously. They fight death because they realize how much time the recklessly wasted. The last type of men are grave, who have taken life too seriously. Their realisation is of all the fun they never got to experience.

Although the speaker details how each men lived thier lives completely different, they all dealt with death exactly the same. No man thought he was ready for death. Each many resisted, for they believed there was still more for them to do. The real tragedy was that the men could not have come to their respective realisations sooner, as no one's time on this earth is unlimited.

Crossing the Bar

Alfred, Lord Tennyson's Crossing the Bar details an upcoming death. This death is represented by the speaker's journy on the sea. The speaker uses sailors diction, speaking of the tide and the sea. It is clear he sees death as an adventure, not a tragedy. The speaker even states "And may there be no sadness of farewell When I embark..." The speaker continues to use symbolism in his diction when talking about the afterlife. He expresses his wish to see his "Pilot", or the Creater, God.

The speaker's continued reference to death throughout the poem is the use of time. He frequently expresses that it is not, speaking of the sunset, twilight, and the stars. This continual darkness symbolizes the loss of life, and hope for a new beginning.

A Rose for Emily

William Faulkner's stunning conclusion of A Rose for Emily sends the reader reeling. Emily's obsession with Homer Barron is evident by her hair on the pillow of the bed containing his decomposing body. While this act may seem like undying devotion to a man she loved dearly, it was actually the act of a women obsessed with a false life and love she was willing to kill for. Throughout the text, Emily acts suspiciously regarding Homer, and with a motive and means, she most likely was the reason for his death.

Emily's means to kill Home is quite clear. She resides with him alone, and their anti-society lifestyle allows her access to him away from the prying eyes of the townsfolk. She also purchoses means in which to kill Homer, arsenic poison. She purchosed it suspiciously, asking the druggist for the best kind. She refused to state what it was for until forced, and her hesitation makes the reader wonder if it is really for rats.

Emily's motive for killing Homer remains slightly more complex. It was clear she feared he did not love her and would leave her. Indeed "Homer himself had remarked - he liked men..." Homer's sexual orientation firmly stated he could never love Emily. Her fear of abandonment had grown after her father's death, and her increasing worries that Homer would leave her eventually led to her act of murder.

The Lottery

                                                     

In Shirley Jackson's The Lottery, a tradition-obsessed town annually sacrafices one of their own. Old Man Warner's saying "Lottery in June, corn be heavy soon" shows the town believes this sacrafice is necessary for the corn harvest, and therefore for the good of all. This idea of sacraficing a life for the good of all has been explored continuously throughout film and literature. In C.S. Lewis's adventure The Chronicles of Narnia: The Voyage of the Dawn Treader, the main characters Lucy, Edmund, and Prince Caspian stumble upon an island in which the townsfolk regularly sacrafice a boat full of people to a mysterious sea monster in order for the island to remain fruitful. Another modern popular culture reference occurred on the television series Supernatural. Within the episode, Sam and Dean Winchester fight to stop the supernatural creature that a town in Ohio sacrafices young women to, in order to provide abundantly for the town.


This popular idea raises many moral questions among audiences. Is the greater good more important then the individual? If the sacrafice insures a fruitful harvest, fending off famine and starvation, one could argue the loterry would save more lives than it would cost. This is certainly what the townspeople think. However, if the village banded together in unity all the time just as they do for the tradition of the lottery once a year, then they could insure everyone is adequete, without the loss of life.

The Glass Menagerie V

In Tennessee William's The Glass Menagerie, the story ends with Tom's abandonment of his family. However, unlike his father, it is clear Tom is tormented by guilt for this action. Tom was repressed and his anger and frustration boiled over until he escaped his family, not thinking of the consequences. It is clear by his ending monologue, however, that his decision haunts him. He states "I was pursued by something" (Williams, 1289). Tom is pursued by guilt, although he seeks out vices in his new life in an attempt to forget. In the end, Tom begs Laura to blow out her candles. These candles represent her connection to Tom. Due to his guilt, Tom would rather forget his family and enjoy his new life without them. He feels he cannot do this until Laura willingly breaks the connection, blowing out the candle. In the last line, he states goodbye to her, and she blows out the candle, and their connection forever.

The Glass Menagerie IV

Tennessee Williams uses devices such as foreshadowing in her story, The Glass Menagerie. Tom's eventual abandonment of the family is actually alluded to several times in the story. The greatest way William's foreshadows this event is through mentioning Tom's father, whom also abandoned the family. Several times Tom mentions his envy of his father's route in life. He even tells Amanda that if he was selfish, he would leave just like their father.  Amanda constantly compares the two men, no doubt worried Tom will follow his father's example. She accuses him of being a drunk like his father, and makes him swear he will not. Amanda even compares the two during conflicts, expresssing to Tom during a fight that "More and more you remind me of your father! He was out all hours without explanation! Then left! Goodbye!" (Williams, 1252). Tom even compares himself to his father when he tells Jim of his plans to run away and leave his family behind. The repetitive comparision between Tom and his father foreshadow Tom's eventual departure from his family.

The Glass Menagerie III

In Tennessee Williams' The Glass Menagerie, the characters participate in several external conflicts with one another. One major conflict is between Amanda and Laura. Most of the women's conflicts stem from misunderstandings about each other. Amanda remains in denial about her daughter's physical state and the drawbacks it causes. She goes on and on about Laura's gentlemen callers, ignoring the fact that, due to her shyness and brace, Laura has none. Amanda ignores Laura when she suggests there will be no gentlemen callers, simply stating "Sometimes they come when they are least expected" (Williams, 1238). This denial and pressure placed upon Laura causes strain on their relationship.

In contrast, Laura's shyness and submissive nature cause her to become agitated by her mother's outspoken nature. This leads to many conflicts in the story, such as the woman's arguement over who should answer the door for the gentleman caller. Amanda is unable to accept Laura's embarassment and bashfullness. Laura is unable to overcome her fears and articulate to her mother her concerns and fears. These misunderstandings and lack of communication cause rifts in the mother and daughter relationship.

The Glass Menagerie II

Symbols are a major part of the Tennesse Williams' The Glass Menagerie. One of the most obvious symbols is Laura's collection of glass figurines. The author even specifies that these figurines symbolize Laure and her fragility, stating "...she is like a piece of her own glass collection, too exquisitely fragile to move from the shelf" (Williams, 1234) . However, there are many more similarities between Laura and her collection besides fragility. Like Laura, the figurines have little productivity or usefullness. They resided permonantly in the house, away from the prying eyes of the public. Laura's embarassment and anxioity force her to remain out of the public eye as well. It is clear that Laura also views herself as similar to the glass figures. Laura's favorite figurine, a tiny unicorn, tragically breaks its horn, sentencing it to look like her other horse figurines. However, Laura seems unbothered by the loss, stating it makes the unicorn less freakish. Obviously, Laura sees the unicorn as herself, and thinks that the unicorn losing what makes it different is a good thing because of her desire to be free of her brace. Only when Laura learns to break free of her shy persona, will she no longer by symbolized by her own figurines.

The Glass Menagerie I

Tennessee Williams' characters in The Glass Menagerie have a large impact on the plot. However, one unseen character has an overall impact on each character and their actions, the absentee father. It is clear the father is prevalent in the daily lives of the Wingfield family. He is mentioned in every scene, showing his abandonment still remains in the thoughts of the family. His picture remains over their mantle, a subtle reminder of his life of adventure without them. This has a lasting effect on Tom. His father's abandonment has placed the strain of the family on Tom, a responsibility he clearly detests. But despite his anger at his father, Tom is also slightly amazed and envious that his father was able to leave the family behind for a life of adventure. His admiration for his father is shown when Tom, speaking of the magic show in which he witnessed a man escape a nailed coffin, states "But who in hell ever got himself out of one without removing one nail? (Williams, 1249). In answer to his question, a light shines on his father's picture. Tom views his family situation as a strain and sees the example his father set as his only chance to escape.  His father's example eventually leads to Tom's abandonment of his mother and sister.

Those Winter Sundays

Robert Hayden's Those Winter Sundays depicts a scene of a hardworking, unappreciated father. This is made clear to the reader through the use of imagery. The imagery the author chooses describes the father's busy and misrable mornings. The father seems hardworking, shown by the use of phrases such as, "cracked hands that ached from labor" (Hayden, 781). He devotes himself to his family, getting up early in the "blueback cold", which describes to the reader the utter misery that is those cold mornings. The speaker wakes and says the cold spliters and breaks, implying he was able to wait for warmth to arrive, unlike his father.

The imagery elicits many emotions from the reader. Firstly, the reader feels pity for the father. He spends his mornings working in the cold for his family. Also the reader feels anger on the father's behalf. He is obviously unappreciated, recieving no thanks for his sacrifice. All these emotions are felt by the reader due to the author's use of imagery.

Once Upon a Time II

In Nadine Gordimer's Once Upon a Time, the young boy faces a serious calamity. He enters the fence and "with the first fixing of its razorteeth in his knees and hands and head he screamed... (Gordimer, 236).  Although his state of health is unclear, it is apparent he was at the very least severly wounded. Despite being an accident, some blame for his condition rests soley with his parents. In their obsession with keeping unwanted visitors out, the parents overlooked what should have benn their number one priority, their son. Most parents would reject security measures, such as guns, wire, or even mouse traps, that, while capable of defending aganist intruders, poses a risk to their children. Their niavity also shows when they allow their small child to play around the hazard with zero supervision. Good parents would al least warn him, drilling into his head to stay away from the fence like a pool or a busy street. Unfortunately for the son, his parents neglected to mention the dangers posed to him in his own backyard. They were too busy guarding him from unforseen hazards outside the home.

Once Upon A Time

Nadine Gordimer's Once Upon A Time, despite being two stories in one, has one major theme, the dangers of being overly cautious. The frame story works perfectly in this context, each story contributing the tell the over-arching theme. The first tale is of an author, who is awakened by a noise and remains paralyzed by fear. Paranoid of every little sound, she is unable to sleep. She admits she "was reading every faintest sound, identifying and classifying its possible threat. To calm herself, she begins to tell herself a children's story. In the tale, a family becomes so overly worried of potiential crime that they take extreme security measures, even a spiked fence. However, the gate that was bought for their protection turned dangerous when the son attempted to crawl through it, and was severly injuried.

I think the theme sent a very powerful message. In today's world, many people are obsessed with their own security. While it is important to keep safe, overprotection or paranoia can have dangerous consequences.

The use of a frame story also had a powerful affect on the tale. In the first, the writer feels her fears are unwonted, that she is merely being paranoid. The story she tells then, is about the dangers of paranoia, restoring equilibrium in her mind.

The Drunkard

Frank O'Connor's The Drunkard is full of both humor and irony. Larry's perspective of adult life is honest and unbiased, leading to completely unique,true, and hilarious statements. For example, after tasting some of his father's beer, the boy stated "It looked like he had never tried lemonade" (O'Connor, 347). Later, the boy's drunkand antics, like cursing and yelling at his neighbors, give the reader much to laugh about. Despite the abundance of humor, the story also offers great irony. Mother assigned Larry the task of Guarding his pratically-alcoholic father. The reader assumes she wishes Larry to distract his father or annoy him Into not drinking. When these approaches failed, Larry invented his own approach, downing a beer first. By the reactions of neighbors and his father, Mother was not going to be happy her son was drunk. However, Mother was delighted her son sacraficed to keep his family from suffering through his dad's binge. This questionable sorting of motherly priorities is the story's greatest source of irony.                                                                                                                                              

A Worn Path

Eudora Welty's A Worn Path is a story with a heart-warming theme, a grandmother's love. In order to soothe her ailing grandson, Phoenix makes a treacherous journey to town. She overcomes many obstacles, each more daunting then the last. Thorms ensare her, dogs growl at her, and gunshots frighten her, yet she continues on, all for her grandson. However, these are not Phoenix's only challenges on her quest. She appears to be battling not only the phyiscal conditions, but her own failing mentality. This is apparent when she finally reaches her destination, and forgets why she was there. She admits to the nurse, "It ws my memory that left me. There I sat and forgot why I made my long trip" (Welty, 229). However, these mental problems only cement the theme of a grandmother's love to the reader. Phoenix clearly loved her grandson so much that the physical risks the journey posed were of little consequence. She also loved him enough that, even when she forgot about him, she complete her journey and made it to the medicane. She no doubt felt in her heart she had an important job to do, even if her mind could not remember it.

A Raisin in the Sun

The character's in Lorraine Hansberry's A Raisin the Sun all feel trapped in a vicious cycle of poverty and unfulfilled dreams. However, no character feels as trapped in life as Ruth. Ruth is stifled by her environment, living in a tiny apartment with the entire family. Her husband too feels trapped and unhappy, leading to a marriage filled with strife. She cannot escape him, for she has no where else to go. She remains in the family, poor and unhappy.

The climax of her misery comes in the form of an unwanted pregnancy. A event that should be expressed with celebration is instead met with horror and resignation. Obviously, Ruth and Walter can barely afford the family they currently have. Ruth's contemplation of terminating the pregnancy shows just how trapped in her life she feels. Mama tells Walter "I think Ruth is thinking 'bout getting rid of that child" (Hansberry, 476).To Ruth, the only options are to condemn the family she currently has to a life of severe poverty, or not allow a new unit of the family to exist.

A Raisin in the Sun

Lorraine Hansberry's A Raisin in the Sun contains many contrasting characters. Most the characters deal with the poverty in their lives differently and have different suggestions for a solution. However, the most contrasting relationship exists between Walter and Beneatha. Both Walter and Beneatha dream of bettering their lives by getting out of poverty. However, their views on how to do this wildly differ. Beneatha takes the route of education, believing that being a doctor not only makes her successful, but a better person. She admits she thought healing people was "the most marvelous thing in the world... I wanted to do that. I always thought it was the one concrete thing in the world that a human being could do. Fix up the sick..." (Hansberry, 520). Beneatha's goals are respectable, and with her education has a great chance of better her life. In contrast, Walter believes money is the only fix for his miserable life. He's obsessed with get-rich-quick solutions. His liquor store business is neither respectable nor a true solution for his place in life.

Ultimately, Walter and Beneatha bring different values to the family dynamic.

A Raisin in the Sun

Lorraine Hansberry's A Raisin in the Sun is full of allusions. The one that struck me the most was "Thirty pieces and not a coin less!" (Hansberry, 509). This was stated by Beneatha when Mr. Lindner offers the family money to not move into their new home. Beneatha's allusion is biblical, stemming from Judas betrayal of Jesus for thirty pieces of silver. This line tells the reader Beneatha's opinion on accepting money to essentially allow themselves to be opressed. Lindner was offering the family money to deny themselves the opperutnities of a nice house in a nice neighborhood, all because the white neighbors did not want African Americans in their community. Beneatha's allusion shows she views it as a betrayal, not only to the family that worked so hard to make it happen, but also to their race. Mama's family suffered greatly from their environment, and not taking a chance to improve their surroundings would be a great injustice. However, accepting the offer would be akin to admitting defeat, allowing segregation, and therefore betraying their race as a whole.

I love this allusion purely because of how harsh it is. She compares the act to Judas's betrayal, the ultimate betrayal. This shows how proud and dignified Beneatha is of her family and her heritage.

A Raisin in the Sun

Lorraine Hansberry's A Raisin in the Sun overflows with conflicts, both internal and external. A major conflict within the family is the generation gap between Mama and her children. In Mama's day, the people were fighting for freedom. Because of this, she cannot grasp her son's desire to fight for money, and by extension a better life. Mama admits her children are "talking 'bout things we ain't never even thought about hardly, me and your daddy. You ain't satisfied or proud of nothing we done" (Hansberry, 475). Mama felt her family had a nice life, because they had oppertunities her generation had to fight for.

This generation gap shows the extent of progress. Walter and his generation are fight a battle that decades before would never have been dreamed. When Mama was young, they could not imagine fighting for civil rights, because they lacked even basic freedom. Progress is a vicious cycle, but no generation can fully appreciate the progress made before them, because they never lived through it.Therefore, Mama's frustration stems from Walter's inability to be grateful for the progress made, so he could live the life he leads.

A Raisin in the Sun

Lorraine Hansberry's A Raisin in the Sun expresses amazing characterization. Her characters are vivid and flawed, allowing the reader to form a true connection with the piece. One of my favorite characters was Walter. Walter perfectly represents a dynamic character, in that the plot of the piece changed him in a major way. When the story begins, he portrays a weary, desperate man, itching to fight the injustices bestowed upon him and his family. He convinces himself the only way to help his family is to invest in a liquor store. What Walter does not see is that his anger and frustration affect his family more than their impoverished state. When Walter discovers he was scammed by his "business partner", he is distraught and appears to have lost the fire within. No longer does he wish to fight the seemingly impossible battle and he gives up, as shown by his willingness to accept the offer of the white neighbors who want to prevent his family from moving in.

However, in the end, Walter cannot accept the offer. He state "....what I mean is that we come from people who had a lot of pride. I mean-we are very proud people" (Hansberry, 532). He remembers his heritage and that pride prevents him from accepting the money. This dignified decision restores Walter's respect in the eyes of his family.

Interpreter of Maladies by Jhumpa Lahiri

Jhumpa Lahiri gives a unique perspective on a family of American tourists in Interpreter of Maladies. Mr. Kapasi is a tour guide and translator at a doctors office. However, when he takes the Das family on a tour, he finds himself often diagnosing the maladies of the family. He comments several times on the families seemingly indifferent attitude towards each other. He notices symptoms in the parents such as bickering and having little contact with their children. He diagnoses this as the parents acting as if they were the children's siblings and "they were in charge of the children only for the day..." (Lahiri). However, the family's biggest malady centers around Mrs. Das's unhappiness. This unhappiness stems from her one-sided marriage. In her misery, Mrs. Das has an affair which produces Bobby, adding guilt to the complex emotions of Mrs. Das. Mrs. Das confesses all this to Kapasi, or internally diagnosis her as given up on life.

When the slip of paper containing his address flies away, Kapasi says nothing, despite his earlier fantasies. I believe this was because he realized his fantasy of Mrs. Das was just that, fiction. In reality, she was little more than a selfish, miserable women, searching for a way out.

Everyday Use by Alice Walker

In Everyday Use, author Alice Walker devotes much of the story to characterization. The reader is moved with sympathy as the back story of the mother and Maggie, their many hardships and heartbreaks. However,  a wholly different emotion is felt for the older sister, Dee. It is clear from the beginning Dee causes her mother heartache, as the mother compares their relationship to those of the reuniting families on television, and yearns for that moment with her daughter. Dee seems ashamed and ungrateful for her family's life. When Dee is finally introduced, it is clear is looks only at what can be gained, not the sentimental value. Her character invokes nothing but annoyance from the reader.

It is because of this annoyance that the mother's victory over the quilt situation seems so drastic to the reader. The quilts are important, they symbolize the way life has always been in the family. Dee wants something, Maggie gives in. Maggie seems resigned to the cycle, not even bothering to fight back. When the mother finally steps in and bestows Maggie with the quilts, she restores balance to the relationship, and puts the snobby older girl in her place!

Mr. Z by M. Carl Holman

M. Carl Holman's Mr. Z tells of a biracial man who shuns his heritage. The speaker first implies that Mr. Z is a minority, stating "his mother's skin was the sign of error" (Holman). He continues to allude to Mr. Z's ethnicity, and his reluctance to accept it. He states Mr. Z disowns classic African American culture, such as jazz and a diet of yams and cornbread. When Mr. Z marries a women who shuns her Jewish heritage, he uses a metaphor, calling them both chameleons for integrating themselves in a different culture.

The last paragraph of the poem displays amazing irony. When Mr. Z dies many people called him "One of the most distinguished members of his race" (Holman). I found this terribly ironic, because instead of mentioning his exemplary education, diet, or marriage, they instead merely commented on his race. Mr. Z worked all his life to expel himself from the African-American culture, but at the end of his life, that is still all people saw. However, I do not believe the author was rebuking Mr. Z for his tireless attempt to change himself. Rather, I believe the author is rebuking a society that encourages people to shun their ethnicity in favor of the majority.

Dream Deferred by Langston Hughes

In Langston Hughes' Dream Deferred, the speaker questions what happens to the dreams that are never fully lived. He begins the poem with a question, "What happens to a dream deferred" (Hughes). He then proceeds to attempt to answer this question, with several questions. This technique of not answering the question, but rather suggesting several alternate theories, allows the reader to decide for themselves.

Throughout the questions the speaker asks about the dream, there is always a simile. Each simile describes to the reader the agony of a dream wilting away to nothingness. However, the speakers final question lacks a simile. He simply asks, "Or does it explode?" (Hughes). The speaker felt no need to clarify it with a simile. Due to this, I believe he felt he could end the poem there, for he had discovered his answer.

Toad by Philip Larkin

In the poem Toad by Philip Larkin, the speaker expresses his disdain for work. He states an opinion that many would agree with, that the system of working one's life away is fruitless. However, what really captures the readers attention is the metaphors he uses to convey this idea. The first metaphor, a toad, is explicitly identified as work. He extends the metaphor, stating that he should not let work "squat on my life" (Larkin). He further compares work to a toad by speaking of its "sickening poison". It is clear the speaker despises work, and believes one can live with out, giving examples of those out-of-work people he knows that remain happy. However, the other toad, that squats inside the speaker, prevents him from quitting work. This toad refers to the man's inner greed. He describes it as heavy and cold, and it urges him to continue to work for the materials and privileges in life, whether it is work the sacrifice or not.

Perrine Poem Interpretation

              After reading Perrine's article on the interpretation of poetry, I have to say I could not have disagreed more with the author. To me, by its very definition, interpretation cannot be correct or incorrect. Interpretation is merely the reader's insight into the author's world. Just because 99% of the population interprets a poem one way, does not mean the other 1% is wrong in their interpretation. In fact, thinking outside the norm is encouraged in poetry. Students go through school encouraged to explore poetry, but few embrace poetry due to fear of not understand it. No reader should feel their understanding of a piece of literature is incorrect.  Perrine believes interpretation must be "the simplest or most economical of alternative ways of accounting for the facts." However, one could argue that assuming one interpretation is correct, simply because its the simplest or easiest, is not wise, but unimaginative and lazy. In reality, the simplest answer is not always the truth, and neither is it in the world of poetry. 

 Perrine often refers to an ink blot, stating poetry, unlike an ink blot, cannot be interpreted as anything the reader wants. This notion really struck me. If when one looks at an ink blot and sees a duck, and another sees a rabbit, who really has the authority to say which is correct? I believe that the reader, or in this case viewer, is the only one with that prerogative. If the background of the picture is better suited for a rabbit, by Perrine's standards this would mean the blot must be a rabbit. But who's to say it is not duck, lost in rabbit territory? Despite being less likely, it is not wrong. However, it is wrong for other's to judge any interpretation of poetry. 

       

Just hanging around.

The Great Gatsby: The End

F. Scott Fitzgerald's The Great Gatsby is filled with larger-than-life characters. The narrator, Nick, remains a static character, honest and loyal. Jordan implies he was dishonest with her, "I though you were rather an honest, straightforward person. I though it was your secret pride" (Fitzgerald, 177). However, I disagree with her. Nick was an open, honest narrater throughout the entire novel, to the reader and other characters. He broke up with Jordan, not because he was being dishonest about their relationship or his feelings, but rather because he was being honest and knew they were too different to work out.

The protagonist in the novel, Gatsby, wad definately a round character. At first he appears as a omniscient, aloof, mysterious figure. As Nick delves deeper into Gatsby's past, he discovers different sides of the man. He was self-made, new money, and was overly-concious about it. He was socially awkward, making nervous and lame attempts at conversation. But most surprising was his loyalty, because he went to the grave protecting Daisy's reputation, as any good hero should.

The Great Gatsby: Chapters VIII-IX

At the end of F. Scott Fitzgerald's The Great Gatsby, Nick confront Tom Buchanan. Nick has a lot of pent of rage he releases on Tom, obviously blaming Tom not only for Gatsby's death, but also for leaving. I was not surprise to find that Tom seemed unaffected by the fact that he indirectly caused Gatsby's death by telling Wilson. The wealthy in this story never seemed to bother with anything that does not affect them directly. For example, almost no one came to Gatsby's funeral. While he was alive however, they were more than happy to take advantage of his hospitality.

It soon become clear that Daisy never told Tom who was really driving the car that night, so Tom believed Gatsby got what he deserved for killing Myrtle.

"He ran over Myrtle like you'd run over a dog and never even stopped his car" (Fitzgerald, 178).

The situational irony is extreme here, because obviously Daisy was the hit-and-run driver, not Gatsby. However, only a few characters, and the reader, are given this information.It's also very tragic, because Gatsby's life was lost because he took the blame for one of Daisy's mistakes.

The Great Gatsby: Chapter VIII

In chapter eight of F. Scott Fitzgerald's The Great Gatsby, Gatsby's dead body is discovered. Fitzgerald foreshadows Gatsby's death almost to the point of be obvious. He states Gatsby's butler waited for a message long after there was anyone to give it to and that Nick disapproved of Gatsby from "beginning to end (Fitzgerald, 154). Statements like these strongly hint to Gatsby's death, but it was not until rereading the novel that I even picked up on them. These hints were woven so beautifully into the text that, while alluding to the future, they did little to spoil it for the reader. Fitzgerald uses beautiful figurative language in the chapter, even when describing Gatsby's death.

"A new world, material without being real, where poor ghosts, breathing dreams like air, drifted fortuitously about...like that ashen,fantastic figure gliding toward him through the amorphous trees" (Fitzgerald, 161).

As Nick begins imagining Gatsby's final moments, Fitzgerald uses great symbolism. He writes of going into the new world, most likely symbolizing an afterlife. A place where the spirits have dreams like people here have air would have been a heaven for Gatsby, who was at his core a dreamer. The ashen figure, a slightly cliched symbolism for death, gliding toward Gatsby was the reader's final clue to his untimely end.

The Great Gatsby: Chapter VII-VIII

In chapter eight of The Great Gatsby, F. Scott Fitzgerald reveals Gatsby's tragic flaw, he's living in the past. I believe it's obvious, with the events of chapter seven, that Daisy will not leave her husbend for Gatsby. Gatsby, however, is incapable of seeing this reality, and instead continues to insist their relationship is the same as it was five years previous. Deep down, he must have realized that even if she loved him, five years had passed, and nothing was the same. Daisy was married, had a child, and grown complacent in the life she chose to live. He want her to leave her husbend and child and live the life they should have lived had everything gone to plan. Unfortunately, Daisy lacked the courage and the drive to make such a major decision. This persistant denial ultimately lead to Gatsby's death. Nick advised Gatsby to get out of town, fearing retribution would fall on him for Mrs. Wilson's death. However, Gatsby "couldn't possibly leave Daisy until he knew what she was going to do" (Fitzgerald, 148). Had Gatsby accepted the reality of the situation and heeded Nick's advice, chance are he would not have been home when Mr. Wilson went looking for revenge.

The Great Gatsby: Chapter VII

In chapter seven of The Great Gatsby, F. Scott Fitzgerald describes the external conflict between Gatsby and Tom Buchanan over Daisy. Both affairs have come to light, yet Tom remains in competition with Gatsby for Daisy's hand. Before the arguement, Daisy seemed to have settled on Gatsby. She told him that she loved him, kissed him, and often tried to seperate from the group with him on this trip to town. All outward signs point to her prefering Gatsby to her husbend. However, this is not the case when the men break out in arguement. Simultaniously, the men's external conflict and Daisy's internal conflict combine. Although Daisy may prefer Gatsby, she lacks the independence and courage to actually leave her husbend, despite all his wrongdoings. When the men demand she speak up in the arguement, she remains unable to solve her internal conflict and expresses confusion. Daisy then states to Gatsby she "did love him (Tom) once-but I loved you too" (Fitzerald, 132). It is after this statement I realize Daisy will never leave her husbend for Gatsby. To leave her husbend, she would need tremendous will-power, and overpowering love for Gatsby, and an overwhelming disdain for her husbend. Unfortunately for Gatsby, she seems to be lacking in all three.

The Great Gatsby: Chapter VI-VII

Throughout the F. Scott Fitzgerald's novel The Great Gatsby, Nick describes a Doctor T.J. Eckleburg, whose eyes appear up in sky. Eckleburg most likely symbolizes some all-knowing figure, most likely God. His eyes appear as warning to Nick in chapter seven.

Doctor T.J. Eckleburg

"...I turned my head as though I had been warned of something behind. Over the ashheaps the giant eyes of Doctor T.J. Eckleburg kept thier vigil..." (Fitzgerald, 124).

The Doctor's warning definately foreshadowed the unfortunate turn of events. I find it interesting that Nick seems to be the only person to acknowledge Doctor Eckleburg. It's ironic that Nick is aware of the representation of God watching them, while the others are not. After all, Nick definately sins the least out of all. The fault can really be blame on none or all of the party. Although Daisy was the one driving, Jay allowed her to drive away after hitting Mrs. Wilson and to drive upset in the first place. Tom obviously was the reason she was so shaken up to begin with. In the end, it is not the reader, author, or even other character's right to judge. That right belongs firmly in the hands of a certain Doctor T.J. Eckleburg.

The Great Gatsby: Chapter VI

In chapter six of F. Scott Fitzgerald's The Great Gatsby, Gatsby tells an anecdote about how he came to be Jay Gatsby. This story gave the reader more backround on Gatsby, and revealed much about his character. Gatsby was not born into money, but rather was entranced by it and earned it in a way still unclear. Although he is now clearly wealthy, he still as a stigma of not being from a noteable high-class family. Gatsby clearly overcompensates for this stigma, wanting to be fully excepted into high-society. I believe this is the reason he is infatuated with Daisy. Daisy comes from an old family, and Gatsby wants to be fully inducted to high society by being accepted as one of their own and marrying into an old family.

In the anecdote, young Gatsby, formerly Gatz, happens upon a yacht, which to him symbolizes "all the beauty and glamour in the world" (Fitzgerald, 100). Undoubtably, Gatsby saw a yacht as the ultimate symbol of power. Despite many years and experience, adult Gatsby posses a similar mindset. Gatsby sees Daisy as the life he should have had. To him, she symbolizes ultimate happines, due to her wealth, status, and innocence.

The Great Gatsby: Chapter V-VI

Toward the end of chapter five in F. Scott Fitzgerald's The Great Gatsby, Gatsby mentions a green light hanging on the Buchanans dock across the water. The light obviously held a great importance to Gatsby. I believe the green light symbolized the previous seperation of Gatsby and Daisy. To Gatsby, the space between his dwelling and the green light was the space between him and Daisy. This point is supported by Gatsby's refusal to visit or call upon Daisy, despite pining for her just a few house away. Instead, he throws lavish parties, hoping to draw her attention and for her to visit. However, Daisy, like the green light, remains firmly within her property. Gatsby was afraid to close the gap between he and Daisy and, as a consequence, Daisy and the green light remained forever out of reach. Gatsby began to equate the green light with Daisy, as something he would never reach.

"Possibly it had occurred to him that the colossal significance of that light had now vanished forever" (Fitzgerald, 93).

Now that he and Daisy have been reunited, Gatsby has realized that the importance of the green light has vanished, but has his infatuation with Daisy? Could this "love" simply be a case of wanting what one cannot have?

The Great Gatsby: Chapter V

By chapter five of F. Scott Fitzgerald's The Great Gatsby, Daisy and Jay's love has fully bloomed. They seemed to be in a relationship of some sorts, even kissing and declaring their love in front of Nick and Jordan. The reader is thoroughly convince of Gatsby's devotion to Daisy. I believe this is due to the writer's impressive diction. Fitzgerald also showcases the intensity of their love through his descriptive diction. He uses phrases such as "...he literally glowed" and "her unexpected joy" (Fitzgerald, 89). The author chose these words for a reason. He wants to communicate the strong love the characters have developed for each other, and does so using diction.

"He hadn't once ceased looking at Daisy, and I think he revalued everything in his house according to the measure of response it drew from her well-loved eyes" (Fitzgerald, 89).

Along with diction, Fitzgerald uses poetic phrases, such as the one above, to emphasize Gatsby's devotion to Daisy. I found this phrase to be one of the most romantic so far, due to diction such as "well-loved". Through choice diction, the author conveys to the reader the love Gatsby feels for Daisy.

The Great Gatsby: Chapter IV-V

In this section of The Great Gatsby, F. Scott Fitzgerald makes use of an awesome literary technique, flashbacks. Fitzgerald's flashback was unique, in that the narrator of the flashback was not in fact, usual narrator. Instead, Jordan Backer tells her tale as the first person narrator. I thought the use of the flashback was completely necessary and well-placed within the the novel. It allowed the reader to experience first-hand the events of the past, instead of having the story retold by the narrator years later. I also thought Fitzgerald's briefly switching the narration to Jordan gave the reader a unique oppertunity to glimpse the world from another character's eyes. For example, Jordan is able to explain to Nick (and the reader) unknown information regarding Gatsby and Daisy.Seeing Daisy through Jordan's eyes gives more characterization. For example, Jordan admits Daisy was "by far the most popular of all the young girls in Louisville (Fitzgerald, 73). This more popular and outgoing Daisy somewhat contradicts the slightly shy, introverted Daisy that Nick has come to know. Along with characterization, this flashback also reveals much of Gatsby's motivation throughout the novel, his love for Daisy.

The Great Gatsby: Chapter II

For this blog on F. Scott Fitzgerald's The Great Gatsby , I am focusing not on the writing, but the culture of the novel. The story takes place in the early 1920's, a time not unlike our own. Older people are always saying our generation has lost their moral compass. However, I argue The Great Gatsby is proof that the previous generation is just as depraved as the current. For example, Tom Buchanan's affair with Mrs. Wilson. Buchanan's affair seemed to be common knowledge. Buchanan even toted his mistress around Fifth Avenue.

"So Tom Buchanan and his girl and I went up together to New York" (Fitzgerald, 26).

That this act was hardly even controversial, and seemed to be generally acceptable as long as kept quiet, is shocking. Then there are the crazy house parties, in which drinking seemed to be the main entertainment. Mr. Gatsby's house parties are a free-for-all, tons of people drinking, partying, and then driving home! This book does not reveal a family-friendly and classy atmosphere that my grandparents are always trying to portray. So the next time your grandma comes in the room while your watching any reality show about people in Jersey, don't listen to her saying people in her day never did things like that. They most definately did.

The Great Gatsby: Chapter IV

In F. Scott Fitzgerald's The Great Gatsby, one of the main characters is the mysterious Jay Gatsby. Gatsby seems to provoke much curiousity and gossip. Many of Gatsby's party guests repeated wild rumors about his sordid past. However, these stories merely revealed to the reader that no one really knew the truth about him. Gatsby symbolizes solitude, mystery, and wealth. This is emphasized by Fitzgerald's use of a motif. Character's often repeat the phrase "What Gatsby" (Fitzgerald, 77). Every time a character repeats this phrase, it reiterates the mystery that surrounds Mr. Gatsby.

Although the thrill of the mysterious Mr. Gatsby seems to have worn off on Nick, I remain enthralled by the character. Nick and Gatsby's outing together revealed Gatsby to be less of a god-like figure. Instead, he is revealed to be shy, awkward, and in need of Nick's assistance. These characteristics contradict the night-Gatsby, the powerful and allusive host. He is an enigma, and captivates me as a reader.

The Great Gatsby: Chapter III

Chapter III of F. Scott Fitzgerald's The Great Gatsby introduces the famous Mr. Gatsby. Fitzgerald fills this chapter with excruciating detail of Gatsby's lavish party. He emphasizes the extravegance of the ordeal, obviously wishing to focus on the advantages of the wealthy in the 1920's. Despite the detailed and luxarious party, Nick's introduction to the host is anything but. Nick spent most the night trying and failing to meet the mysterious Gatsby. When he finally gives up on meeting his host, Gatsby strikes up a conversation with him. Nick was even unaware that the man he was speaking to was Gatsby until he introduced himself.

"For a moment he looked at me as if he failed to understand. 'I'm Gatsby,' he said suddenly" (Fitzgerald, 48).

The irony of the situation is not lost on the me. I had been eagerly anticipating Gatsby's intoduction, expecting some fancy, clandestine meeting. Instead, Nick meets Gatsby in a most informal way, and he isn't even revealed to be Gatsby until the middle of the conversation! Although I found the introduction of Mr. Gatsby somewhat anticlimatic, I appreciate the unpredictability of Fitzgerald's plot.

The Great Gatsby: Chapters I-II

Robert Duvall as Boo Radley

By chapter II of F. Scott Fitzgerald's The Great Gatsby, I am loving this story. Fitzgerald's style is inticing, always leaving the reader wanting just a little bit more. This is evident with the mysterious character, Gatsby. Despite being the character for which the book was named, little is known so far about the character. Instead, Fitzgerald teases the reader, casually mentioning the Gatsby quickly before a subject change. The character seems to be known by everyone besides the narrator, or at least gossiped about. He is often mentioned or spectated about in the midst of a story the narrator produces. Therefore, the reader has little chance to learn anything about the mystery figure, and plenty of time to wonder.

"When I looked once more for Gatsby he had vanished, and I was alone again in the unquiet darkness" ( Fitzgerald, 21).

This writing style reminds me greatly of Harper Lee's To Kill a Mockingbird, in particular, her famous character, Boo Radley. Like Gatsby, Boo is sometimes the main focus of the story, but is also often pushed aside during which time other event occur. Occasionally at the end of a chapter, Boo will be referenced to, before being pushed aside again. The same can be said for Fitzgerald's character, Gatsby. I love this writing style, because it makes the reader more interested in the story and compels them to keep reading.

The Great Gatsby: Chapter I

F. Scott Fitzgerald's The Great Gatsby immediately captures the reader's attention through the use of a first peson narrative and an epigraph. The first-person point of view is a welcome change from Wharton's third person point of view in The House of Mirth. Instead of reading of the character's thoughts and actions, the reader is subjected to the innermost feelings and emotions of the character himself as he tells the tale. This gives the reader a special insight into the story, and allows the author the use of more literary tools, such as  flashbacks and foreshadowing. For example, at the beginning of Fitzgerald's novel, the narrator uses a personal epigraph.

'"Whenever you feel like criticiszing any one," he told me, "just remember that all the people in this world haven't had the advantages that you've had"' (Fitzgerald, 1).

Judging by the placement and the summary, this quote accurately reflects the theme of the story. Epigraphs allow the reader a glimpse of how the story will proceed. Throughout the rest of the story, the reader will reflect and reference back to the meaningful quotation. An epigraph's goal, besides giving a hint to the theme, is to emphasize the moral or lesson the characters will learn. The fact that the the quote was from the narrator's father only emphasizes the personal connection the narrator has with the lesson the epigraph, and the author, is trying to convey.

The House of Mirth: My Thoughts

Edith Wharton's The House of Mirth was certainly an emotional rollar coaster. At the beginning, I rooted for Lily Bart in her endeavers, sure this novel's plot would form the same romance known in a Jane Austen story. However, nothing could have been further from the truth. This was not a story of a romance between Lily Bart and Lawrence Selden, but the romance between Lily and money.  Lily's greed consumed her and lead to her downfall. Although Lily was, at times, a sterotypical protagonist, she also seemed the antagonist. Most, if not all, Lily's problems were a result of her attitude or a previous decision. Several times she could have married men of means, but backed out or refused because she believed she had the luxary of better options. She seems to have a unrealistic view on life, and admits she "saw that there had never been a time when she had had any real relation to life" (Wharton, 259). I find it difficult to cheer on a character that causes most her problems and does little to solve them.

Overall, I enjoyed reading The House of Mirth, simply for its unique insight into the world of high society in the early 20th century. Wharton does not romantisize the tale, but tells it from a realistic and honest standpoint that any reader, myself included, must respect.

The House of Mirth: Book II XII-IVX

I found the end of Edith Wharton's The House of Mirth shocking. I'll admit I expected Selden to sweep in and save Lily from her poverty and to live happily ever after. Unfortunately, that is not the ending Wharton had in mind. An interesting aspect of the story, however, is how close it came to being a happy ending. Selden, realizing his love for Lily, rushed to her, but was too late. I think the possibility of a happy future is symbolized in Lily's meeting with Nettie Struther. Like Lily, Nettie was sick and struggling in her life. However, she was able to work her way out of poverty and create a happy marriage and life. Seeing Nettie should have shown Lily how, with hard work and determination, she could put her life back on track. At first it does, Lily admits "she felt stronger and happier: the little episode had done her good" (Wharton, 257). But instead of perservering, Lily continues to spiral into darkness. I believe it says much of Lily's character that, despite hearing Nettie's inspiring story, she was unable to picture a happy future herself. This seems a direct contrast to the passionate and determinate Lily I saw in Chapter I, and goes to show how far her character had fallen.

The House of Mirth Book II IX-XI

Common hat for women in the early 1900s.

At this point in Edith Wharton's The House of Mirth Lily has officially become a member of the lower class. She is forced to get a job and support herself. Lily's transition into the working class did not go smoothly. Although she does manage to find work sewing hats. This is a moment of irony, as before Selden expressed pride that Lily, an upper-class woman, trimmed her own hats beautifully. Now Lily is doing this, not for fashion, but to survive.

Lily's low-class life has one similarity to her old, social rejection. The working girls do not accept her, for she is a upper-class woman who fell from grace. Instead of being awed by her presence as she believes they should, they are merely annoyed at her lack of experience and training. She's not treated with pity or respect, but rather as "an object of criticism an amusement to the other work-woman" (Wharton, 231). Lily's life has come full circle, as two years before she would never considered the option of living in the working-class, and being rejected by them.

The House of Mirth Book II VII-VIII

These chapters in Edith Wharton's The House of Mirth appear to be the major turning point for Lily. Up until now, Lily's largest concern has been how to secure her finances for the future or repay her debts. Now, however, she must be satisfied merely with survival. She is unable to marry into wealth, for Rosedale rejects her due to the drama regarding her and Mr. Dorset. She has no family, no marriage prospects, and looming debt. For the first time, Lily's worries are larger then simply lacking the lastest fashinonable dress. She is in serious danger of losing her apartment, and has few places she can go. No longer can she keep up the illusion that had been failing for months, that she belonged with the rich and powerful. Perhaps by birth or beauty she did, but that lifestyle came with a price Lily pays "by going to the best dress-makers, and having just the right dress for every occasion..." (Wharton, 216).  And she could no longer afford to pay.

However, Lily seeks out work for herself, which I consider a major turning point for her as a character. Throughout the novel Lily has sought out others to financial support her. Now, she will do it herself.

The House of Mirth: Book II V-VI

Eiffel Tower in Paris, France.

In this section of Edith Wharton's The House of Mirth, Lily experiences another major turning point. Luckily for her, this one is good. She is taken in by Carrie Fisher and exposed to new faces in high society, allowing her to begin rebuilding her damaged reputation. As a writer, Wharton has unique signatures given to those residing in upper-class society. One such signature is her chosen diction, or the dialect she uses for the upper-class, educated characters. High society has a vernacular just like other societies, and in Wharton's case it is French words. Although it is common for writers to occasionally place a term from another language in a novel, Wharton specifically places French terms, not in descriptions or narrations, but in the dialogue of the wealthy characters. For example, Carrie Fisher easily slips French into her sentences, saying "I've got carte blanche to bring my friends down there" (Wharton, 188).

Often Wharton's characters will use a French word, most likely to appear fancy, educated, and wordly. It's also a sign of the time period, as in the early 1900s Europe was looked to for trends in everything from food to fashion. It is not surprising then, that the wealthy would use French terms in an attempt to show off their status.

The House of Mirth: Book II III-IV

In Edith Wharton's The House of Mirth, Lily Bart's whirlwind life has taken a turn for the worse. She has been socially rejected, financially ruined, and suffered the loss of her aunt. Throughout all this, however, Lawrence Selden has remained a constant. He shows her unconditional support and concern. He even states "whatever her share in the situation - and he had always honestly tried to resist judging her by her surroundings -...she would be better out of the way of any possible crash" (Wharton, 172). Selden, unlike Lily's other friends, refuses to reject Lily for the poor situations she finds herself in. But Lily is not the victum of unfortunate circumstances, rather the cause. Her decisions, or indecisions, have directly lead to all the trouble she has gained. No matter what drama she causes or is a part of, Selden refuses to judge her, and instead lends his help. He advised her to leave the Dorset's yacht to protect her from gossip. Lily spends most her time begrudging having no one who she can truly rely on, not taking notice that Selden has always been there to support her, even when she does not deserve it.

The House of Mirth: Book II I-II

Modern-day Monte Carlo.

Although Edith Wharton's The House of Mirth is told mainly from Lily Bart's point of view, the author occasionally writes from the view of minor characters, specifically Lawrence Shelden. I think his is the most interesting perspective, as he lives in the same world as Lily, yet has such contrasting views on it. Lily stated in Book I she believed him as more of an outsider of high society, accepted by them but not bound by the rules. Having Selden's point of view during his trip to Monte Carlo gives the reader a chance to view his side of the story. Lily is certainly not an omnipotent narrator. On the contrary, she is extremely biased and often judgemental in her thoughts. Her narrowmindiness and obsession with wealth often trap the reader in her mindset. Selden's perspective not only gives the reader a break, but allows one to view what Lily cannot experience firsthand, gossip regarding her. Lily's actions are often motivated by current rumors or fear of new ones being spread. However, during Lily's point of view, it is nearly impossible to hear this gossip from the source. For example, during Selden's point of view the reader discovers Carrie Fisher believes Lily "works like a slave preparing the ground and sowing her seed; but the day she ought to be reaping the harvest she oversleeps herself or goes off on a picnic" (Wharton, 152). This is most likely a reference to Lily's inability to commit to a marriage, despite often ensnaring men such as Percy Gryce. A new point of view allows the reader a chance to delve into the mind and life of a new character.

The House of Mirth: Book I XIV-XV

Toward the end of Book I in Edith Wharton's The House of Mirth, the point of view switches to a minor character, Miss Gerty Farish. Gerty appears polar opposite in Lily in terms of personality and appearence. However, the two share a few important similarities. Both suffer lonliness, and both are in love with Lawrence Selden. Although Lily has mentioned Gerty's upstanding character, it is shown to the reader when Gerty accepts Lily into her house and comforts her, despite feelings of amnosity toward her. It did not matter to Gerty that she was just left heartbroken and that Lily had indirectly (or possibly directly) caused it. Instead, Gerty pushed aside her hurt and rushed to help her friend. The same could not be said for Lily, who barely mentions Gerty in a positive light until she hits rock bottem and seeks Gerty out for solice. Lily also fails to notice her friend's suffering, as she is too caught up in her how drama. Despite all this, Gerty sacrafices her own happiness and encourages Lily to seek out Selden, stating that "She could not put him before herself in any light but the noblest" (Wharton, 136). Lily Bart may be the protagonist, but Gerty Farish is the real heroine.

The House of Mirth: Book I XII-XIII

In this chapter of Edith Wharton's The House of Mirth, Lily's story takes a dramatic turn. Mr. Trenor's deciet and betrayal are a turning point in the story. No longer can Lily rely solely on her wit and charm to aquire money. In fact, doing so has backfired greatly. Trenor, feeling humiliated, lashes out and exposes rumors regarding Lily and Seldon. The fight leaves Lily emotional distraught with no idea who she can turn to, admitting she "had no heart to lean on" (Wharton, 121). Having no one she can trust brings out Lily's deep fear of being alone. The realization is the main turning point in Book I. So far, Lily has remained confident in her ability to talk or charm her way out of sticky situatioins. When that fails and she finds no one there to comfort her, she truly realizes how alone in life she is. Her rejection of those she feels are beneath her, like Selden or her cousin Grace, has driven them away. Her high-society friends reject her desperation for money and gossip about her alledged flings, created more conflict. Lily is responsible for her own solitude, and that realization is a personal turning point for her character.

The House of Mirth: Book I IX-XI



Lily Bart, the main character in Edith Wharton's The House of Mirth has a very distict personality. She's charming, beautiful, slightly spoiled, and ambitious. She resembles many heroines in modern pop culture today. One of the most popular characters of the generation, Char Horowitz from the movie Clueless, has not only personality traits similar to Lily, but also life events. One major turning point for Char is the scene where she decides to use her wealth and popularity to help a local charity raise money. After recieving money from Gus Trenor's "tips", Lily too has money to do with what she pleases. When told about a friend's humanitarian work, she is compelled to help and donates her newly aquired money.  Much like Char, she gains pride and accoplishment out of helping others. However, unlike Char, Lily feels the her generosity makes up for her unneccesary spending, stating "she felt that her momentary burst of generosity had justified all previous extravagances, and excused any in which she might subsequently indulge" (Wharton, 91). This tells the reader Lily has yet to learn a lesson in regards to her overspending and gambling, although she has hit many rough patches. This signals it may take her hitting rock bottem to seize control of her expenses.

Char in the film Clueless.

The House of Mirth: Book I VIII

Up until this point in Edith Wharton's The House of Mirth, Lily Bart's decisions appeared level-headed and necessary to succeed in her goal of living a life of wealth and luxary. For example, her choice to persue Mr. Gryce due to his wealth would lead her to financial security. However, when Lily befriends Gus Trenor, she aquires through him an alternate means of earning money, investments. To the reader, it appear Lily has found the best solution, a way to earn the money she wants without marrying Mr. Gryce. She instead can afford to marry a poorer man such as Mr. Selden. She has fallen in love with Selden, but fears he is a "a privilage...likely to cost more than it was worth" (Wharton, 71). It does not even appear she would face social rebukes for courting Selden, as he resides in her social group. For these reasons, I am uncertain as to why Lily still strives to win back the favor of Percy Gryce. Her decision to leave Selden and search for Gryce at the wedding suggests she still believes Gryce a more suitable choice, despite barely tolerating him. However, I am confused by her choice. Why would she pass up a passionate marriage for a loveless union?

The House of Mirth: Book I VI-VII

By the sixth chapter of Edith Wharton's The House of Mirth, the write introduces several prominent minor characters. Percy Gryce, a dull and wealthy man, and Lawrence Selden, independent and poor, remain Lily's two marriage prospects. When choosing b

Lawrence Selden

etween the two men, Lily also chooses a lifestyle. Percy Gryce symbolizes the life Lily has always struggled to attain. His wealth and power would allow Lily a life of wealth. However, Lily begins to doubt the necessity of the wealth and privlige for which she had always longed. These doubts stem from multiple conversations with another minor character, Mr. Selden. In Lily's eyes, Selden's lack of money makes him an unsuitable husband. However, Selden represents a life Lily does not even realize she wants, full of spontanity and freedom. Selden and Lily have stimulating conversations, in which the subject often leads to to marriage or the unimportance of money. Selden states, " Isn't it natural that I should try to belittle all the things I can't offer you" (Wharton, 58). Whichever man Lily chooses will drastically alter her lifestyle and the course of her future.

The House of Mirth: Book I V

In Edith Wharton's The House of Mirth, the setting has a major effect on the story itself. The novel sets in upper-class, New York society, in the midst of the early twentieth century. Unlike many modern novels, the time and place of the story is of dire importance. Setting affects everything about a story, from the actions of the characters, to the diction the author chooses. For example, Lily Bart, the antagonist, seeks to secure her spot in high society through a wealthy marriage. The simple fact that she believes the only way for her to live a life of financial security is through marriage reflects she is living in an society dominated by men. This could place her in any time or place before the mid-1900s. However, Lily's ability to choose her husbend, live fairly independently, and travel alone reflect the unique growing changes of society in the 20th century. The setting, however, is not important simply because of the time period. The place, New York's upper class, also effects the plot and characters. Lily often feels the need to bow to high social expectations and obligations, and praises Mr Sheldon on his ability to remain free from society, stating "...most of the captives were like flies in a bottle, and having once flown in, could never regain their freedom. It was Selden's distinction that he had never forgotten the way out" (Wharton, 43). Pressures to bend to society influences many of Lily's decisions. Therefore, the setting a paramount role in Wharton's story.

The House of Mirth Book I III-IV

By chapter four of Edith Wharton's The House of Mirth, the reader has been thoroughly introduced to the main character, Miss Lily Bart. Lily's thought center around her world of extravagance and luxary and her need to supplement her income by finding a rich husband. Her worries tend to focus around her gambling debts and how the upper class women percieve her. She plans to makes use of her unique beauty and intelligance to insnare a rich, if somewhat dull, husband in Mr. Gryce. This shallow and materialistic nature should make the reader despise the character for her personality flaws. However, Edith Wharton's character fails to invoke hatred or even annoyance from the reader. Instead, one feels almost pity for her plight and cheers her on. Wharton clearly writes an endearing character in Lily. The same can be said for Miss Bart's friends, whom at first appear to be spoiled and selfish creatures with little use. However, Lily seems to have found at least one true friend in Mrs. Trenor, whom, despite being a gossip, appears to truly care for Lily. Mrs. Trenor even agrees not to invite Lily in on the bridge games, stating "There's nothing I wouldn't do, you poor duck, to see you happy!" (Wharton, 36). Clearly, Wharton has a unique ability to make a character with the most annoying of characteristics, lovable.

The House of Mirth: Book I I-II

Portrayal of Miss Lily Bart

In Edith Wharton's The House of Mirth, the reader is immediately introduced to a complex character in Miss Lily Bart. Confident and well-born, she was also blessed with incredible beauty. As a New York women living in the early 20th century, Lily's future has one certainty, marriage. Marriage is a source of internal conflict for Lily.  She seems reluctant to give up her freedom, stating to Mr. Seldon "what a miserable thing it is to be a woman," because of marriage expectations (Wharton, 4). However, Lily barely considers the alternative to marriage, living as a single, impoverished woman like Gerty Farish. This is due to her lack of money and love for the finer things in life. Lily's ideal resolution would be to continue living the way she is, independent and as extravegant as possible with her limited means. However, at the age of twenty-nine, she is feeling the pressure to settle down. Within her conversation about marriage and the future with Mr. Sheldon, Lily appears to have resolved her internal conflict. In order to live in the manner in which she's accustom, she must find a rich husbend.