"The Joy of Cooking"
Elaine Magarrell
Throughout the extended metaphor of "The Joy of Cooking," Elaine Magarrell compares the organs of her siblings to gourmet meals. It is slightly humorous, but it also serves as a prime example of the effectiveness of an extended metaphor.
Magarrell expresses somewhat negative, yet nowhere near hateful, feelings towards the least favorite characteristics of her siblings. For her sister, it was the constant talking of some sort. Her brother, his unloving, and small heart. Both of the body parts are common cuisine in many areas of the world which adds to the effectiveness of the cooking analogy.
Her sister's tongue is described as being filled with "roots, small bones, and gristle," none of which sound appealing to the appetite. However, she suggests that she might serve it with a horseradish sauce, a very spicy dressing that shows the "spicy" nature of her sister's speech. Also, Magarrell says that the tongue will probably grow back, implying that even the most conventional methods of silencing her sister never seemed to work.
As far as her brother's heart goes, the author reflects upon its lack of care, and refers to it as simply something necessary for life. By referring to it as a "muscle more than organ meat," she strips the heart of any emotional implications that it traditionally holds. Again, Magarrell uses a sauce to complete the description of her sibling by suggesting the "sour" nature of her brother's affections.
Thursday, September 20, 2012
Those Winter Sundays
"Those Winter Sundays"
Robert Hayden
This poem by Robert Hayden centers about the relationship between a child and his or her father, presumably reflective of the relationship that existed between the author and his father throughout his youth.
The first line of the poem, "Sundays too my father got up early," shows the dedication and hard work that the father executes in his life (Hayden, 781). Sundays are traditionally a day of rest and relaxation, but the father still rises early in order to provide for the well being of his family. The same stanza closes with the phrase "No one ever thanked him," (Hayden, 781). Closing this section of this phrase illustrates the reflective nature of the poem; although the speaker may not have appreciated his father as a young child, but now recognizes this lack of appreciation as an adult.
The rhetorical question at the end of the poem also helps to illustrate the poem's reflective nature. The speaker tells of his lack of knowledge regarding the relationship as a child, and implies that he now knows better as he has matured and grown wiser.
Robert Hayden
This poem by Robert Hayden centers about the relationship between a child and his or her father, presumably reflective of the relationship that existed between the author and his father throughout his youth.
The first line of the poem, "Sundays too my father got up early," shows the dedication and hard work that the father executes in his life (Hayden, 781). Sundays are traditionally a day of rest and relaxation, but the father still rises early in order to provide for the well being of his family. The same stanza closes with the phrase "No one ever thanked him," (Hayden, 781). Closing this section of this phrase illustrates the reflective nature of the poem; although the speaker may not have appreciated his father as a young child, but now recognizes this lack of appreciation as an adult.
The rhetorical question at the end of the poem also helps to illustrate the poem's reflective nature. The speaker tells of his lack of knowledge regarding the relationship as a child, and implies that he now knows better as he has matured and grown wiser.
The Drunkard
"The Drunkard"
Frank O'Connor
As negative as the title of this story may appear, it is actually a light comedy of a little boy who saved his father from the drink. Ironic, as well, is that the son became the actual drunkard of the story after constructing the bad character of the father.
This short story illustrates that although some of the workings of a family might not be perfect, the most important outcome is the preservation of the family as a whole. All the apparent unpleasentness of the inner-workings of a familial relationship help the family to run smoothly like a well-oiled machine. Larry's role in the story, to stay his father from drinking, is fulfilled although not in what would have been an acceptable method. His drinking of his father's alcohol did not allow his father to consume it himself, and thus, Larry fulfilled his mother's wish. "'You were his guardian angel,'" his mother tells him when he thinks he would be scolded (O'Connor, 351).
Frank O'Connor
As negative as the title of this story may appear, it is actually a light comedy of a little boy who saved his father from the drink. Ironic, as well, is that the son became the actual drunkard of the story after constructing the bad character of the father.
This short story illustrates that although some of the workings of a family might not be perfect, the most important outcome is the preservation of the family as a whole. All the apparent unpleasentness of the inner-workings of a familial relationship help the family to run smoothly like a well-oiled machine. Larry's role in the story, to stay his father from drinking, is fulfilled although not in what would have been an acceptable method. His drinking of his father's alcohol did not allow his father to consume it himself, and thus, Larry fulfilled his mother's wish. "'You were his guardian angel,'" his mother tells him when he thinks he would be scolded (O'Connor, 351).
Once Upon a Time
"Once Upon a Time"
Nadine Gordimer
"Once Upon a Time" by Nadine Gordimer is a frame story in which Gordimer decides to tell herself a child's story to calm her own fears as she attempts to fall asleep one night. The story that she tells is not so much a children's story as it is a satirical play on the insecurities of the American family. The story's setting, a well-off suburban neighborhood, is representative of the commonly sought "American dream." However, the action of the story shows how this utopian dream can be diluted by the manner that society manipulates the insecurities of its puppets.
Although the family's increasing of security measures encompassing their property makes them feel safer, it actually increases their fear. This is driven by the knowledge that there is always something bigger and better, reflective of the American dream, but this also makes fears bigger and greater as well. It also satirizes the ignorance that backs these fears. "Don't worry, my dear, cats always look before they jump," says the husband in the story (Gordimer, 237). This ironic phrase seems to put the cat on a higher pedestal of the understanding of the outcomes of its actions than the one on which society stands. The author furthers this point by telling of how the cat remained away from the Dragon's Teeth entrapment, but their son becomes mangled by the very thing that was installed to protect him.
The "child's story" told by the author rationalizes her own fears by realizing the irrationality behind the fears of others.
Nadine Gordimer
"Once Upon a Time" by Nadine Gordimer is a frame story in which Gordimer decides to tell herself a child's story to calm her own fears as she attempts to fall asleep one night. The story that she tells is not so much a children's story as it is a satirical play on the insecurities of the American family. The story's setting, a well-off suburban neighborhood, is representative of the commonly sought "American dream." However, the action of the story shows how this utopian dream can be diluted by the manner that society manipulates the insecurities of its puppets.
Although the family's increasing of security measures encompassing their property makes them feel safer, it actually increases their fear. This is driven by the knowledge that there is always something bigger and better, reflective of the American dream, but this also makes fears bigger and greater as well. It also satirizes the ignorance that backs these fears. "Don't worry, my dear, cats always look before they jump," says the husband in the story (Gordimer, 237). This ironic phrase seems to put the cat on a higher pedestal of the understanding of the outcomes of its actions than the one on which society stands. The author furthers this point by telling of how the cat remained away from the Dragon's Teeth entrapment, but their son becomes mangled by the very thing that was installed to protect him.
The "child's story" told by the author rationalizes her own fears by realizing the irrationality behind the fears of others.
A Worn Path
"A Worn Path"
Eudora Welty
In the short story "A Worn Path," Phoenix Jackson's memory takes the forefront of the action. After her walk to the town, Phoenix struggles to recall the purpose of her extended journey. This struggle begs the question as to whether or not Phoenix actually possesses the ability to collect her thoughts or even remember simple tasks. Therefore, how is her claim to her grandson credible? The grandson is left a nebulous issue, presumably as Welty had wanted him to be. His ambiguity is reflective of the ambiguity and vagueness that is the mind of Phoenix Jackson. But just as the phoenix of mythology is reborn in the ashes as it ages, Phoenix Jackson's memory is also reborn with the nurse's mention of her grandson. "At last there came a flicker and then a flame of comprehension across her face as she spoke," (Welty, 229). Phoenix's grandson is her ashes which causes her mental revitalization. In conclusion, the mind of Phoenix Jackson experiences a rebirth replicating the rebirth of the majestic phoenix from mythology.
Eudora Welty
In the short story "A Worn Path," Phoenix Jackson's memory takes the forefront of the action. After her walk to the town, Phoenix struggles to recall the purpose of her extended journey. This struggle begs the question as to whether or not Phoenix actually possesses the ability to collect her thoughts or even remember simple tasks. Therefore, how is her claim to her grandson credible? The grandson is left a nebulous issue, presumably as Welty had wanted him to be. His ambiguity is reflective of the ambiguity and vagueness that is the mind of Phoenix Jackson. But just as the phoenix of mythology is reborn in the ashes as it ages, Phoenix Jackson's memory is also reborn with the nurse's mention of her grandson. "At last there came a flicker and then a flame of comprehension across her face as she spoke," (Welty, 229). Phoenix's grandson is her ashes which causes her mental revitalization. In conclusion, the mind of Phoenix Jackson experiences a rebirth replicating the rebirth of the majestic phoenix from mythology.
Thursday, September 13, 2012
A Raisin in the Sun - Mr. Younger's Lingering Presence
A Raisin in the Sun
Lorraine Hansberry
Mr. Younger has a very strong presence in the play even though he is dead and never physically present in any part of the action. He continues to influence his family and affect them in a variety of ways.
The most important and the most obvious of these influences comes in the form of the insurance check. Mr. Younger's hard work throughout his life to provide for his family is also providing for his family long after his hard work had concluded. "THAT MONEY IS MADE OUT OF MY FATHER'S FLESH" reinforced Walter (Hansberry 128). The check also connects Mr. Younger to the play because it is Mama's with which to deal and distribute. Mr. Younger was Mama's as well, and together, they sought to build the dream which continued to evade them: home ownership. However, this dream is finally realized by Mama when she uses the insurance check in order to buy her home.
Another of his lasting legacies is that of his impact on the character of his son. Criticized by his mother earlier in the play, Walter begins to understand what it means to be a man through the example set by his father. In the end, he experiences an emotional metamorphisis that allowed him to round into the ideals and morals of his father incarnate.
Lorraine Hansberry
Mr. Younger has a very strong presence in the play even though he is dead and never physically present in any part of the action. He continues to influence his family and affect them in a variety of ways.
The most important and the most obvious of these influences comes in the form of the insurance check. Mr. Younger's hard work throughout his life to provide for his family is also providing for his family long after his hard work had concluded. "THAT MONEY IS MADE OUT OF MY FATHER'S FLESH" reinforced Walter (Hansberry 128). The check also connects Mr. Younger to the play because it is Mama's with which to deal and distribute. Mr. Younger was Mama's as well, and together, they sought to build the dream which continued to evade them: home ownership. However, this dream is finally realized by Mama when she uses the insurance check in order to buy her home.
Another of his lasting legacies is that of his impact on the character of his son. Criticized by his mother earlier in the play, Walter begins to understand what it means to be a man through the example set by his father. In the end, he experiences an emotional metamorphisis that allowed him to round into the ideals and morals of his father incarnate.
A Rasin in the Sun - Walter's Change
A Raisin in the Sun
Lorraine Hansberry
In the course of the play, many characters undergo significant changes. Ruth becomes pregnant. Mama becomes wealthy. Beneatha continuously changes her opinions. However, of all the changes undergone by the characters, the most important occurs within the character of Walter.
Although his change occurs in the conclusion of the novel, it is still significant to the overall meaning of the play. It displays how he has matured as a result of the action in the play and also how he is willing to accept new roles in the life of his family. Early in the play, Mama calls Walter "a disgrace to your father's memory,' stating that Walter has done little to live up to the legacy of the man who had raised him. His father's ideals, morals, and wisdom had apparently failed to take up root within himself. Throughout the play, Walter struggles with borderline alcoholism and the increasing gap between himself and his wife. The epiphany that make him recognize this fault within his character occurs when he realizes he no longer has the money that once drove his ambitions. It is revealed to the audience through one of Mama's final lines of the play: "He finally come into his manhood today, didn't he? Kind of like a rainbow after the rain," (Hansberry 151). With this statement, Mama revokes her earlier claim that Walter could not live up to the legacy of his father. In the end, he did.
Lorraine Hansberry
In the course of the play, many characters undergo significant changes. Ruth becomes pregnant. Mama becomes wealthy. Beneatha continuously changes her opinions. However, of all the changes undergone by the characters, the most important occurs within the character of Walter.
Although his change occurs in the conclusion of the novel, it is still significant to the overall meaning of the play. It displays how he has matured as a result of the action in the play and also how he is willing to accept new roles in the life of his family. Early in the play, Mama calls Walter "a disgrace to your father's memory,' stating that Walter has done little to live up to the legacy of the man who had raised him. His father's ideals, morals, and wisdom had apparently failed to take up root within himself. Throughout the play, Walter struggles with borderline alcoholism and the increasing gap between himself and his wife. The epiphany that make him recognize this fault within his character occurs when he realizes he no longer has the money that once drove his ambitions. It is revealed to the audience through one of Mama's final lines of the play: "He finally come into his manhood today, didn't he? Kind of like a rainbow after the rain," (Hansberry 151). With this statement, Mama revokes her earlier claim that Walter could not live up to the legacy of his father. In the end, he did.
A Raisin in the Sun - The Generation Gap
A Raisin in the Sun
Lorraine Hansberry
"Because [money] is life, Mama!" (Hansberry 74).
With this phrase, Walter finally reveals his obsession with his fortune during his dispute with Mama at the end of the first act. This fight does not only concretely reveal Walter's motives behind his actions in life, but it also shows the generation gap that exists between Mama and her children.
In Mama's earlier days, "freedom used to be life," and she cannot comprehend the obsession with success that both of her children possess (Hansberry 74). Coming from the threat of death and constant racial prejudices, Mama finds the freedom of the northern city of Chicago to be sufficient for her happiness in life as it was for her late husband. Her children, on the other hand, see money as the new path to success and feel they need to have money in order to have any sense of happiness in life.
Hansberry juxtaposes these two ideas in order to show the change in values of the racial minority as their rights and qualities of living increased. Imbedding a political and social issue within the dialogue of her characters, the author is able to draw the attention of the reader to concerns outside of the play.
But this is not the only misunderstanding that exists between the generations. There is also a difference in belief that occurs solely between Mama and Beneatha. Beneatha's denial of religion is incredibly shocking to her mother, a woman who has deeply rooted religious beliefs that were common of the older generation. However, Beneatha has discovered the concept of humanism that suggests that humans are the highest beings and our actions are a result of our own choosing and not the intervention of a divine being. This dispute, although very debated, eventually ends with a concession by Beneatha at the request of her mother.
Lorraine Hansberry
"Because [money] is life, Mama!" (Hansberry 74).
With this phrase, Walter finally reveals his obsession with his fortune during his dispute with Mama at the end of the first act. This fight does not only concretely reveal Walter's motives behind his actions in life, but it also shows the generation gap that exists between Mama and her children.
In Mama's earlier days, "freedom used to be life," and she cannot comprehend the obsession with success that both of her children possess (Hansberry 74). Coming from the threat of death and constant racial prejudices, Mama finds the freedom of the northern city of Chicago to be sufficient for her happiness in life as it was for her late husband. Her children, on the other hand, see money as the new path to success and feel they need to have money in order to have any sense of happiness in life.
Hansberry juxtaposes these two ideas in order to show the change in values of the racial minority as their rights and qualities of living increased. Imbedding a political and social issue within the dialogue of her characters, the author is able to draw the attention of the reader to concerns outside of the play.
But this is not the only misunderstanding that exists between the generations. There is also a difference in belief that occurs solely between Mama and Beneatha. Beneatha's denial of religion is incredibly shocking to her mother, a woman who has deeply rooted religious beliefs that were common of the older generation. However, Beneatha has discovered the concept of humanism that suggests that humans are the highest beings and our actions are a result of our own choosing and not the intervention of a divine being. This dispute, although very debated, eventually ends with a concession by Beneatha at the request of her mother.
A Raisin in the Sun - Question 1
A Raisin in the Sun
Lorraine Hansberry
In literature, as in life, a character may search for a better way of life. Show how two characters from A Raisin in the Sun are searching for a better way of life. Explain what each character is hoping to gain through this search and discuss the ways in which each character attempts to bring about a change in his or her life.
Although each of the major characters has their own search for their personal betterment, two of the most important of these quests are that of Walter and that of Beneatha. The siblings have their own goals in life and their own methods of pursuit; however, they each also have their own methods of attaining these goals.
Walter's goal, at it's most basic level, is to obtain a new personal level of wealth. With this wealth, he can provide a higher quality of life for his family, including better living conditions, the ability for his wife to work less, and a college education for his son. Walter attempts to gain his fortune by entering into a business partnership to start up a liquor store. Initially interested in the seemingly vast reward from the business, Walter waited until he received money left over from his father's insurance check after his mother purchased her new home. Ironically, the check that was supposed to be a panacea for his problems is taken by the very man who he trusted to invest it. The long awaited key to a better life actually ended up almost bankrupting his dreams. In the end, however, he realizes that it is more important to be the patriarchal figure of the household than to chase money that is unlikely to ever come into his possession.
On the other hand, Beneatha is actively pursuing her constantly changing fancies, with the most important being that of becoming a doctor. She is enrolled in college and very well educated. Unlike her consistency in pursuit of education, she has a capricious nature toward almost every other aspect of her life: musical lessons, equestrian memberships, and men, with the emphasis being on the latter. Another goal of Beneatha is to discover her heritage and remove the "little mirage that [she] thinks is the future," but the two men in her life are pulling her to opposite sides of the issue (Hansberry 134). George supports the assimilationist view while Asagai calls her to return to her traditional African roots. In the end, the most consistent thing in her life, her schooling, becomes sidelined as she begins to consider the possibility of moving to Africa with Asagai.
Unlike the personality of Walter, Beneatha's character is easily influenced by others in the story and subject to many passing fancies. Ultimately, however, both of the characters end up changing their goals.
Lorraine Hansberry
In literature, as in life, a character may search for a better way of life. Show how two characters from A Raisin in the Sun are searching for a better way of life. Explain what each character is hoping to gain through this search and discuss the ways in which each character attempts to bring about a change in his or her life.
Although each of the major characters has their own search for their personal betterment, two of the most important of these quests are that of Walter and that of Beneatha. The siblings have their own goals in life and their own methods of pursuit; however, they each also have their own methods of attaining these goals.
Walter's goal, at it's most basic level, is to obtain a new personal level of wealth. With this wealth, he can provide a higher quality of life for his family, including better living conditions, the ability for his wife to work less, and a college education for his son. Walter attempts to gain his fortune by entering into a business partnership to start up a liquor store. Initially interested in the seemingly vast reward from the business, Walter waited until he received money left over from his father's insurance check after his mother purchased her new home. Ironically, the check that was supposed to be a panacea for his problems is taken by the very man who he trusted to invest it. The long awaited key to a better life actually ended up almost bankrupting his dreams. In the end, however, he realizes that it is more important to be the patriarchal figure of the household than to chase money that is unlikely to ever come into his possession.
On the other hand, Beneatha is actively pursuing her constantly changing fancies, with the most important being that of becoming a doctor. She is enrolled in college and very well educated. Unlike her consistency in pursuit of education, she has a capricious nature toward almost every other aspect of her life: musical lessons, equestrian memberships, and men, with the emphasis being on the latter. Another goal of Beneatha is to discover her heritage and remove the "little mirage that [she] thinks is the future," but the two men in her life are pulling her to opposite sides of the issue (Hansberry 134). George supports the assimilationist view while Asagai calls her to return to her traditional African roots. In the end, the most consistent thing in her life, her schooling, becomes sidelined as she begins to consider the possibility of moving to Africa with Asagai.
Unlike the personality of Walter, Beneatha's character is easily influenced by others in the story and subject to many passing fancies. Ultimately, however, both of the characters end up changing their goals.
A Raisin in the Sun - Setting
A Raisin in the Sun
Lorraine Hansberry
As the play opens, the reader is presented with his first impression of the Younger household, the setting for the whole of the action throughout the drama. "All pretenses but living itself have long since vanished from the very atmosphere of this room," (Hansberry 24). The tired and dingy little apartment that is home to the five members of the Younger family, however, plays one of the largest roles in this play.
Reflective of the changing mood throughout the play, the light that comes from the single window also changes its cast from bright and sunny to dark and grey. At the conclusion of the play, the lights dim on the apartment as the family leaves, symbolizes the end of their journey within the cramped living space. The Younger family had spent all their lives in the home, and moving to Clybourne Park shows how the family is closing one chapter of their life in order to move on to a new one. Another thing that helps to contribute to the importance of the apartment is the fact that the reader's only impression of the characters comes from their interactions within the apartment; Asagai, George, and other characters are only visitors, and our sole understanding of who they are is fed by their presence in the apartment or indirect characterization offered by the conversation of the habitants of the apartment. Likewise, most of the disagreeable aspects of the play occur outside of the apartment. For example, the chasing and beating of the rat by Travis and Walter's drinking both occur outside of the house. This happens to feed the theme that the residents try to hold the house together by attempting to remove anything that could be detrimental to the emotional ties of the family: the violence and alcoholism.
Overall, the consistency of the setting of the play adds to the overall development of the action. Watching the world unfold around the interactions of the Younger family allows the reader to develop a personal connection with the characters and an insight into the intimate workings of the family.
Lorraine Hansberry
As the play opens, the reader is presented with his first impression of the Younger household, the setting for the whole of the action throughout the drama. "All pretenses but living itself have long since vanished from the very atmosphere of this room," (Hansberry 24). The tired and dingy little apartment that is home to the five members of the Younger family, however, plays one of the largest roles in this play.
Reflective of the changing mood throughout the play, the light that comes from the single window also changes its cast from bright and sunny to dark and grey. At the conclusion of the play, the lights dim on the apartment as the family leaves, symbolizes the end of their journey within the cramped living space. The Younger family had spent all their lives in the home, and moving to Clybourne Park shows how the family is closing one chapter of their life in order to move on to a new one. Another thing that helps to contribute to the importance of the apartment is the fact that the reader's only impression of the characters comes from their interactions within the apartment; Asagai, George, and other characters are only visitors, and our sole understanding of who they are is fed by their presence in the apartment or indirect characterization offered by the conversation of the habitants of the apartment. Likewise, most of the disagreeable aspects of the play occur outside of the apartment. For example, the chasing and beating of the rat by Travis and Walter's drinking both occur outside of the house. This happens to feed the theme that the residents try to hold the house together by attempting to remove anything that could be detrimental to the emotional ties of the family: the violence and alcoholism.
Overall, the consistency of the setting of the play adds to the overall development of the action. Watching the world unfold around the interactions of the Younger family allows the reader to develop a personal connection with the characters and an insight into the intimate workings of the family.
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