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Accounts of childhood memories
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1. As the number of children in the house grew, the space was enough to fit everyone and therefore, Mama needed more room so that all the children could have their own room. Another reason was, Mama was tired of having so many children. She realized that if she had any more kids, she would not be able to lead the life she desired, and so she needed more room in the sense that she wanted no more kids so she could serve her family better. 2. As she moves inside the house, Cofer singles out on her Mama’s room. Now that she has grown old, her perception of the room and Mama, has both changed. She states in the essay that “both the women and the room have diminished in size”. She means that as she has grown old, everything in the room is not as big as it used to be, and as time has passed, her Mama has become has become old and weak. 3. …show more content…
Cofer remembers her grandmother’s house as a huge house, but not a mansion. In the present day reality, the room and her Mama both seem small. But as a child, it was different. She remembers her Mama’s room as a queen’s chamber where it was difficult for her to look over the countertops and the tall beds. Mama’s room contained all of her symbols of power, and a massive four-poster bed, which was taller than a child’s head. her memory is of the enormous room, and not of the one in reality now. 4. Mama’s room was dominated by the four-poster bed. On her dresser there were herbs that were used to make purgatives and teas. Everyone got a hot cup of tea if they had any problem. This shows us that Mama had knowledge about the herbs and since she is a grandmother, she is experienced. She had monstrous chifforobe which she kept locked with a little key, and no one was allowed to open it, even though she never hid the key. No one was allowed to sleep with her in her room, not even Papa, suggesting her power in the family, which was similar to that of a
All she said to Mama was “she’s dead” (Walker 318). She does not give an explanation further than that, and I can tell that Mama is hurt because she brings up where the name Dee came
Although this story is told in the third person, the reader’s eyes are strictly controlled by the meddling, ever-involved grandmother. She is never given a name; she is just a generic grandmother; she could belong to anyone. O’Connor portrays her as simply annoying, a thorn in her son’s side. As the little girl June Star rudely puts it, “She has to go everywhere we go. She wouldn’t stay at home to be queen for a day” (117-118). As June Star demonstrates, the family treats the grandmother with great reproach. Even as she is driving them all crazy with her constant comments and old-fashioned attitude, the reader is made to feel sorry for her. It is this constant stream of confliction that keeps the story boiling, and eventually overflows into the shocking conclusion. Of course the grandmother meant no harm, but who can help but to blame her? O’Connor puts her readers into a fit of rage as “the horrible thought” comes to the grandmother, “that the house she had remembered so vividly was not in Georgia but in Tennessee” (125).
Mama Day performs magical pregnancies with ease. The occurrence of the supernatural is mainly concentrated in ‘the Other Place’, the Days’ old house where Miranda and Abigail used to live as children. The ‘Other Place’ serves as a meeting point between the real and unreal world where the unexpected events take place. For the pregnancy of Bernice, a local woman, Mama Day uses her supernatural power and natural medicine. She nurtures Bernice so much to prepare her for the final healing element in ‘the Other Place’. With the help of indefinable ancient spiritual hands, Mama Day performs a ritual. She seems to be holding a chicken on her lap. Hens and eggs stand as the symbol of fertility. The ritual that takes place is quite otherworldly. Bernice strips down naked and rests her head on the embroidered pillow. She feels someone’s hand in her body. The exceptional power of the Other Place and the presence of an unnatural spirit serve as mediators between Mama Day and Bernice. She uses the Other Place to enhance the power of her healing and to call for the ancestral spirit to help in the pregnancy of Bernice who desperately longs for a baby. The Other Place is connected to ancestral spirits that is an inseparable part of the island’s history and of Mama Day’s heritage. In Bernice’s case, the Other Place proves to assist in creating a new life but in George’s case, it proves to be the cause of George’s
...cts of the mother and the descriptions, which are presented to us from her, are very conclusive and need to be further examined to draw out any further conclusions on how she ?really? felt. The mother-daughter relationship between the narrator and her daughter bring up many questions as to their exact connection. At times it seems strong, as when the narrator is relating her childhood and recounting the good times. Other times it is very strained. All in all the connection between the two seems to be a very real and lifelike account of an actual mother-daughter relationship.
Even though Mama is a strong woman, there are many flaws. Not so much with her, but more so with her family. Her youngest daughter Maggie was burned in a house fire, which has left her broken and battered. Mama really talks down about Maggie, but it’s all true, she says “Have you ever seen a lame animal,
Torres contrasts the inexperienced Ma with an older, more mature Ma, demonstrating that, over time, mothers develop motherly qualities. Torres describes a solemn last morning, years after the scene in “The Lake,” before the son is sent to an institution to be “institutionalized [to fix his sexuality]” (Torres 117). When illustrating the mother, Torres writes, “[l]ook how she enters, holding a stack of folded clothes, jeans on the bottom, a sweatshirt, some boxer shorts, and on top a pair of socks bundled together. Except for her wild, beautiful face, she looks like a servile woman, a television mom” (Torres 122-123). Torres presents a different mother from “The Lake.” Ma is folding clothes, a stereotypical motherly activity.
We have all heard the African proverb that says, “It takes a village to raise a child.” The response given by Emma Donoghue’s novel Room, simply states, “If you’ve got a village. But if you don’t, then maybe it just takes two people” (Donoghue 234). For Jack, Room is where he was born and has been raised for the past five years; it is his home and his world. Jack’s “Ma” on the other hand knows that Room is not a home, in fact, it is a prison. Since Ma’s kidnapping, seven years prior, she has survived in the shed of her capturer’s backyard. This novel contains literary elements that are not only crucial to the story but give significance as well. The Point-of-view brings a powerful perspective for the audience, while the setting and atmosphere not only affect the characters but evokes emotion and gives the reader a mental picture of their lives, and the impacting theme along-side with conflict, both internal and external, are shown throughout the novel.
She has an uncanny gift for seeing right to the heart of her family 's strengths and weaknesses, and dishing out firm advice, spiritual sometimes and practical always. That 's until she has a stroke, falls into a coma and is hospitalized. Young Ahmad goes to visit her, and in a low-key, emphasized way, seems to communicate telepathically. (He agrees with her about plans for the garden, even though she of course cannot speak.) Later in the movie, it is Ahmad who understands Big Mama 's desires for the family, and brings them about through some sneaky planning of his
“Still Memory” by Mary Karr is a poem that depicts the distant, childhood memory that the author fondly recalls. Karr’s nostalgic diction and word choice is evident when she says, “…till it found my old notch in the house I grew up in…” In this section, Karr is dreaming, hoping to find a happier time in her life, her childhood. Throughout the poem, Karr is recalling a time when she was only ten years old, and shows how each of her family members’ mannerisms influenced her and her future in writing. What may only appear to be the family performing their daily routine, is much more beneath the surface. According to the lines, “My ten-year-old hand reaches for a pen to record it all as would become long habit,” these actions are what influenced her writing. For writers, inspiration can come from the simplest of elements, and for Karr, this happened to be her family.
Ironically, Gilman's narrator cannot retire to the otherwise "personal haven" of the bedroom because she is always already there, enclosed within the attic room of John's desires, bereft of her own voice and personal history. The narrator's imagination is altogether problematic for John, who would prohibit his wife from further fancifulness: "[John] says that with my imaginative power and habit of story-making, a nervous weakness like mine is sure to lead to all manner of excited fancies, and that I ought to use my will and good sense to check the tendency. So I try" (Gilman 15-16). For Gaston Bachelard, who devotes himself to a phenomenological exploration of the home in The Poetics of Space, "imaginative power" is the nucleus of the home, if not the home itself. Memories of prior dwellings are for Bachelard a fundamental aspect of creating new homes based on a continuity with the past and past spaces. "
Mama is a very quiet character in the beginning of the story. The book starts off when papa throws a missal at Jaja for not attending the Communion. The missal papa throws causes Mama’s favorite figurines to fall and break. Mama quietly observes the scene and she cleans it up. Out of respect for Eugene, she has nothing to say even though the figurines were something she favors and cares about. Adichie writes, “She stared at the figurin...
She seemed to always be part of an earlier time. She surrounded herself with reminders of the past. The description of her house showed her desire to hold back time. Another example of Emily's change was also exhibited in how the house began to degenerate. At one time the house was white and immaculate. Now the house was du...
The narrator’s husband keeps her in a big nursery, with barred windows, a bed bolted to the floor with ugly, faded, unclean and torn yellow wallpaper. She is newlywed and mother, she is unable to see her newborn because
Mama's plant symbolizes her family and the African American community during this time period. Just as the plant is sickly and dying in Acts I and II, so too is the Younger family dynamic. At the end of Act III, however, the plant begins to look healthier after getting some sun, just like the family does after deciding to move and standing up to Mr. Lindner's possible threat. At the end of the play, after everyone exits the apartment, Mama "comes back in, grabs the plant, and leaves for the last time"(Hansberry 577), symbolizing that the family has moved on from the dark, sickly times of their past to a brighter, healthier day future. The plant also symbolizes the African American community during this time period. Just as the plant struggles to flourish and must live with limited opportunities for sunlight, the African American community in the early- to mid-20th Century struggled to flourish and was plagued by limited access to
As soon as Mama appears on stage, before she speaks a single word, the stage directions tell us, the audience, that Mama is a strong woman (40). She has endured many things, among them the loss of a child, and now the loss of her husband and yet she preserves. As the play progresses we learn that Mama has managed to act as the head of the family in extremely tough times, working day in and day out. Instead of choosing to be bitter about her l...