In "The Five-Forty-Eight," the mentally-ill Miss Dent is a character of great dynamic and interest as she stalks and holds hostage her sexual abuser and former boss, Blake, and, through her actions, presents a question for the reader to take away with him or herself: were her actions in the story rational? or just a crazed fit produced by the synergy of her situation and her mental condition? While a bit inquisitive at first glance, a closer examination into the story answers this question, ultimately, revealing to us that, at the very core of her motives, her act of holding Blake hostage was quite irrational and purely a crazed fit caused by her unfortunate life situation.
To explain why this answer seems to be the correct one, one must first look deeper into retribution and the natural tendencies most people have when seeking it. For the majority of us, getting wronged or hurt in almost any way gives us a variety of negative emotions. Whether justified or cruel, that pain has an innate tendency to make us feel downtrodden or demoralized, as if we have failed and thus admitted our subordinance to whoever or whatever caused our suffering. But, as a result, our competitive nature, in turn, is ignited within us and thus begs us to seek out a manner in which we can punish our attackers and thereby regain a feeling of equality with them. For this reason, one can understand the motives behind Miss Dent's act and see how the will to seek revenge is simply human nature and therefore quite justified.
However, the irrationality--and thus insanity--of her crime comes into light upon investigating the execution of her plan to seek that retribution. Most of the time, the need to avenge our pains gives us a choice between two forms of punishments: violent punishment or emotional punishment. Those who choose violence often use anything from their fist to a gun to punish their enemy and, often times, are seeking to avenge a physical pain inflicted upon them. On the other hand, those who choose emotional punishment are usually much more moral in their actions and seek not to hurt their attackers physically, but to cause them to feel apologetic or bad.
With this in mind, the irrationality here becomes utterly limpid. First of all, the pain inflicted upon Miss Dent by Blake, while very evil and demeaning, is not physical at all. Emotional? yes. Sexual and physical? no, especially when one takes into account that Miss Dent slept with Blake voluntarily and with consent, thinking he was not unlike an amazing, divine being. On that note, her pain mostly comes from the act of using her for sex and then firing her from work, causing intense emotional distress and feelings of powerlessness and insecurity within herself (evidenced by her complete disappearance for about two weeks), especially in someone who is mentally ill. Therefore, in her instinctive search for retribution, she seeks the equivalent and would like Blake to feel the same fear, loss of power, and lack of self-confidence that she did.
Typically, given her pain, it would be expected that she would pursue the non-violent form of punishment, possibly filing a lawsuit against Blake or perhaps going to his superior and reporting the incident. That would be the most rational and justified approach. Instead, however, because of her mental condition that predisposes her to an irrational mindset that she cannot control, she chooses a more violent approach that is utterly unnecessary in the situation. Rather than find someone with more power than Blake, she is subjected by her mental state solely to her opinion of him as almost omnipotent. Thus, she is forced to seek out the method of becoming someone more powerful than Blake. This, combined with the fact that she really has no consequences (and is only subject to a return to the mental hospital if found guilty), thereby forces Miss Dent to make an irrational decision to pursue Blake and hold him at gunpoint to get her revenge.
In conclusion, regardless of the irrationality of the act, her attempt was successful and Miss Dent clearly accomplishes what she wants to do: re-establish that power and self-confidence within herself. Regardless of whether Blake learns his lesson or not, the fact that she controls his life for a relatively brief moment, causing him to sweat with fear, to attempt to reach out to his neighbors through eye language, and lie face-down in the dirt, is enough for her to regain her sense of self. Thus, in the end, she can simply walk off into the night, without ever having harmed Blake physically, and still remain as the somewhat heroine of the story. (788)
Sunday, September 28, 2008
Sunday, September 21, 2008
Blind Humor: Analyzing the Source of Humor in Raymond Carver's "Cathedral"
Upon finishing Raymond Carver's intriguing and mesmerizing short story "Cathedral," one seems to find a variety of thoughts and emotions casually strolling through his or her mind as he or she becomes immersed in the relaxed reflection the story invokes. Using surprise, curiosity, intrigue, and confusion, "Cathedral" keeps the reader thinking and inquiring long after he or she finishes it. Yet, among the feelings listed above, there also lingers a certain humor that seems, in many ways, out of place. The subject matter and the characters seem to be more boring and bland than funny. So, therefore, by the end of our reflection, we are begging to know how a story about a man overcoming his prejudices against blind people can be so funny. On further examination, however, the answer does not seem so concealed and it appears that it is Carver's unique writing style and interesting plot that hold the key to that much-anticipated question.
First, Carver's writing style invokes this sense of humor through the relationship he develops between his speaker and the reader. Much like how one would have a funny, casual conversation with a close friend, Carver's writing attempts to make friends between the main character and reader by keeping the speaker's narration rather informal and relaxed. Using interjections, colloquial diction, and side comments, the author crafts both an informality and a close bond between the reader and the speaker while also injecting the element of humor into the story. One example of this is when our narrator finishes his descriptions of his wife's former marriage with "etc." Although quite subtle and obviously leaving us out on many details, the injection of this word enhances the casual tone of the narration and, by its illustration of the speaker's utter indifference to his wife's previous relationships, makes the reader laugh. Consequently, one gets a sense of the narrator not only as someone he or she is talking to, but also as someone who comes off as dry-witted and funny. In turn, this results in a deeper character understanding that allows the reader to appreciate the speaker's mannerisms more and as the story continues he becomes funnier and funnier. Thus, writing like this permeates "Cathedral" and, with the deeper understanding of the main character, makes the story's plot seem even funnier.
On the other hand, the other element causing the humor here is simply the plot itself. At first glance, the story's plot would not come off as very funny. Characterized by no change of setting and absolutely no action, "Cathedral"'s lesson of a lazy, judging, and un-happily married man learning to see a blind man as more than his lack of sight through drawing appears to the unsuspecting reader to be dry at best. After reading it, however, it becomes apparent that this dry subject matter is, in fact, why the story is so funny. In an ironic way, the story's bland subject matter juxtaposed with the interest and intrigue the reader has afterwards very much creates a situation that many can find humorous, as if to say, "did I just read a story about two guys, one blind, smoking dope and drawing pictures?" Yes, you did. Furthermore, the fact that the two men are casually smoking marijuana, drinking, and staying up late adds to the humor because, in American culture, those actions are often associated with laziness and lack of motion, but, since the story has no physical action, Carver is forced to make smoking and drinking the very action that drives the plot forward. This, combined with the speaker's dry wit and Carver's unique and talented writing style, causes the story to end up being quite funny while still provoking thought and effectively getting the main theme of the story through.
In conclusion, "Cathedral" is a remarkably funny short story and the humor, theme, and the way to the two are intertwined within truly show the incredible talent that Raymond Carver had as a writer. The story amazingly demonstrates originality and creativity, and is, all in all, a favorite read so far this year.
First, Carver's writing style invokes this sense of humor through the relationship he develops between his speaker and the reader. Much like how one would have a funny, casual conversation with a close friend, Carver's writing attempts to make friends between the main character and reader by keeping the speaker's narration rather informal and relaxed. Using interjections, colloquial diction, and side comments, the author crafts both an informality and a close bond between the reader and the speaker while also injecting the element of humor into the story. One example of this is when our narrator finishes his descriptions of his wife's former marriage with "etc." Although quite subtle and obviously leaving us out on many details, the injection of this word enhances the casual tone of the narration and, by its illustration of the speaker's utter indifference to his wife's previous relationships, makes the reader laugh. Consequently, one gets a sense of the narrator not only as someone he or she is talking to, but also as someone who comes off as dry-witted and funny. In turn, this results in a deeper character understanding that allows the reader to appreciate the speaker's mannerisms more and as the story continues he becomes funnier and funnier. Thus, writing like this permeates "Cathedral" and, with the deeper understanding of the main character, makes the story's plot seem even funnier.
On the other hand, the other element causing the humor here is simply the plot itself. At first glance, the story's plot would not come off as very funny. Characterized by no change of setting and absolutely no action, "Cathedral"'s lesson of a lazy, judging, and un-happily married man learning to see a blind man as more than his lack of sight through drawing appears to the unsuspecting reader to be dry at best. After reading it, however, it becomes apparent that this dry subject matter is, in fact, why the story is so funny. In an ironic way, the story's bland subject matter juxtaposed with the interest and intrigue the reader has afterwards very much creates a situation that many can find humorous, as if to say, "did I just read a story about two guys, one blind, smoking dope and drawing pictures?" Yes, you did. Furthermore, the fact that the two men are casually smoking marijuana, drinking, and staying up late adds to the humor because, in American culture, those actions are often associated with laziness and lack of motion, but, since the story has no physical action, Carver is forced to make smoking and drinking the very action that drives the plot forward. This, combined with the speaker's dry wit and Carver's unique and talented writing style, causes the story to end up being quite funny while still provoking thought and effectively getting the main theme of the story through.
In conclusion, "Cathedral" is a remarkably funny short story and the humor, theme, and the way to the two are intertwined within truly show the incredible talent that Raymond Carver had as a writer. The story amazingly demonstrates originality and creativity, and is, all in all, a favorite read so far this year.
Sunday, September 14, 2008
The Middle-Age Wasteland: Parental Responsibility in "Teenage Wasteland"
In Anne Tyler's "Teenage Wasteland," the reader gets an extremely in-depth view into the difficulty and significance of parenting through Daisy's desperate attempt to save her son from his seemingly out-of-control, downward spiral. Consumed and overwhelmed with the dream of making Donnie a well-behaved, intelligent kid, Daisy's actions in the story become, in many ways, desperate and hurt Donnie in the end rather than help him, eventually leading to his mysterious disappearance at the end of the story. Thus, by means of this counterexample, Tyler creates a theme illustrating the importance of keeping one's head clear and focused when parenting, showing us that using common sense and logic is often better and more effective than solely using idealism and hope.
Central to developing this theme is the character of Cal, who enters the story about halfway through as an individual who is intended give Donnie "some academic help and a better sense of self-worth;" however, as the plot unfolds, Cal appears to provide Donnie with more of an escape from school and family life than with a means to confront it head on (37). Holding meetings at his house with his other students, rather than one-on-one in a classroom or office, Cal provides Donnie and the other teenagers there with a sociable, laid-back atmosphere, complete with ping-pong, rock music, and a basketball net. Furthermore, he takes them to rock concerts, lets them hang out at his house, and gets involved in their love lives. On top of that, the tutor's attitude and speech, often making comments such as "[we'll] see if we can show that school of yours a thing or two," gives off a sense of immaturity and rebelness that appeals more to teenagers than to the parents that are getting "flutters of panic" through their chests every time they receive a bill from Cal (37, 36). Independent from the context of the plot, these factors alone seem to portray an environment not suited to develop learning skills, but rather to create an escape from that development by providing a party house and a cool adult to make the escape possible.
Therefore, to the rational, clear-minded parent, the initial observations listed above and those that Daisy observes when she first walks in Cal's door should be a clear indication that sending one's child here would not be a good idea; yet, Daisy, in her disparity to salvage what she can of a kid who "had talent, was smart, and was good with his hands" at one time or another, ignores all these warning signs and lets Cal tutor Donnie, thus, becoming blinded by the seemingly quixotic desire to correct Donnie's faults (37). In essence, her optimism overcomes her rationality and common sense and gives Daisy a mindset ignorant of Cal's fallibility or the possible danger he may present to children (i.e. child molestation, assault, etc.). As a result, she foolishly lets Cal, and indirectly, Donnie, overrun her life and control her decisions. For example, when Cal calls Daisy and discusses with her how Donnie does not like the lack of trust given to him by his parents, Daisy agrees with Cal and goes along with his accusations that they "expect the worst from him" and that they "don't understand how [not being trusted] hurts," admitting that he's right rather than supporting her reasons for finding him untrustworthy (such as his drinking and smoking habits) (38). Furthermore, this trend continues even after one of Donnie's teachers call to say that his grades are slipping to F's and after Daisy learns that some of Cal's other students have been knifed, sent to boarding school, or taken out of the program; she simply remains quiet about any qualms she may have or submits herself to the reassuring responses of Calvin. By the end of the story, when Donnie gets expelled from school from having cigarettes and beer in his locker, it appears as if it is too late to help Donnie and Daisy's now-belated, but newly discovered opposition to Cal in his defense of Donnie regarding the expulsion is almost useless. Even though they put Donnie in public school and stop the tutoring sessions, the child "gather[s] no friends, join[s] no clubs," and is "defeated and exhausted" (42). Soon after, he disappears, never to be heard of again, and the story reveals the enormous and devastating impact Daisy's quixotic, blinding hopes had on Donnie. In the end, her good intentions and change of thought are too late and she ultimately becomes a failure by the normal standards of parenting.
In conclusion, from "Teenage Wasteland," we thus learn that truly it is the parent who should have the most influence on a child and that submitting that responsibility to another can often have disastrous consequences. Thus, in the true style of Anne Tyler, this story provides valuable insight into family values and provides us with lessons for us all to learn.
Central to developing this theme is the character of Cal, who enters the story about halfway through as an individual who is intended give Donnie "some academic help and a better sense of self-worth;" however, as the plot unfolds, Cal appears to provide Donnie with more of an escape from school and family life than with a means to confront it head on (37). Holding meetings at his house with his other students, rather than one-on-one in a classroom or office, Cal provides Donnie and the other teenagers there with a sociable, laid-back atmosphere, complete with ping-pong, rock music, and a basketball net. Furthermore, he takes them to rock concerts, lets them hang out at his house, and gets involved in their love lives. On top of that, the tutor's attitude and speech, often making comments such as "[we'll] see if we can show that school of yours a thing or two," gives off a sense of immaturity and rebelness that appeals more to teenagers than to the parents that are getting "flutters of panic" through their chests every time they receive a bill from Cal (37, 36). Independent from the context of the plot, these factors alone seem to portray an environment not suited to develop learning skills, but rather to create an escape from that development by providing a party house and a cool adult to make the escape possible.
Therefore, to the rational, clear-minded parent, the initial observations listed above and those that Daisy observes when she first walks in Cal's door should be a clear indication that sending one's child here would not be a good idea; yet, Daisy, in her disparity to salvage what she can of a kid who "had talent, was smart, and was good with his hands" at one time or another, ignores all these warning signs and lets Cal tutor Donnie, thus, becoming blinded by the seemingly quixotic desire to correct Donnie's faults (37). In essence, her optimism overcomes her rationality and common sense and gives Daisy a mindset ignorant of Cal's fallibility or the possible danger he may present to children (i.e. child molestation, assault, etc.). As a result, she foolishly lets Cal, and indirectly, Donnie, overrun her life and control her decisions. For example, when Cal calls Daisy and discusses with her how Donnie does not like the lack of trust given to him by his parents, Daisy agrees with Cal and goes along with his accusations that they "expect the worst from him" and that they "don't understand how [not being trusted] hurts," admitting that he's right rather than supporting her reasons for finding him untrustworthy (such as his drinking and smoking habits) (38). Furthermore, this trend continues even after one of Donnie's teachers call to say that his grades are slipping to F's and after Daisy learns that some of Cal's other students have been knifed, sent to boarding school, or taken out of the program; she simply remains quiet about any qualms she may have or submits herself to the reassuring responses of Calvin. By the end of the story, when Donnie gets expelled from school from having cigarettes and beer in his locker, it appears as if it is too late to help Donnie and Daisy's now-belated, but newly discovered opposition to Cal in his defense of Donnie regarding the expulsion is almost useless. Even though they put Donnie in public school and stop the tutoring sessions, the child "gather[s] no friends, join[s] no clubs," and is "defeated and exhausted" (42). Soon after, he disappears, never to be heard of again, and the story reveals the enormous and devastating impact Daisy's quixotic, blinding hopes had on Donnie. In the end, her good intentions and change of thought are too late and she ultimately becomes a failure by the normal standards of parenting.
In conclusion, from "Teenage Wasteland," we thus learn that truly it is the parent who should have the most influence on a child and that submitting that responsibility to another can often have disastrous consequences. Thus, in the true style of Anne Tyler, this story provides valuable insight into family values and provides us with lessons for us all to learn.
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