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Analysis of maggie a girl of the streets
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Since its publication in 1896, Stephen Crane’s Maggie: A Girl of the Streets has generated speculation and debate over issues like censorship (Dowling 37) and class consciousness (Lawson), but what is possibly the most heated debate concerning Maggie is less about social or literary criticism and more about a plot point—the cause of death of Maggie Johnson; some critics claim that she is murdered, while others claim that she commits suicide (Dowling 36), and, while both arguments have strong cases, they seem to have neglected the most probable cause of the death of a Stephen Crane character—death by natural causes.
Robert M. Dowling and Donald Pizer present opposing cases in their article “A Cold Case File Reopened: Was Crane’s Maggie Murdered or a Suicide?” in which Dowling presents the death by murder while Pizer claims death by suicide (Dowling 37).
Donald Pizer bases his argument on textual, historical, and critical evidence. In a textual context Pizer claims that the debate over the cause of death only began after the release of the second, edited version of the story. The key factor leading to the debate is the omission of a section of the original text that includes a “huge fat man” (Dowling 37) who is depicted menacingly in the scene just prior to the revelation of Maggie’s death. Pizer contends that the reason many claim Maggie is murdered by the fat man is not because of his inclusion in the story, but because of the attention drawn to him because of his omission. Pizer supports this assertion saying:
The possibility that Maggie is murdered did not enter criticism of the novel
until the mid-1960s, following R. W. Stallman’s and Joseph Katz’s discussions
(in 1955 and 1966 respectively) of the significant difference ...
... middle of paper ...
...aw “afar off the lights of the avenues [glittering]” (55). Maggie is not complicated enough to change so much.
Works Cited
Crane, Stephen. Maggie: A Girl of the Streets. Charleston: Createspace, 2011. Print.
Cunliffe, Marcus. “Stephen Crane and the American Background of Maggie.” American Quarterly 7.1 (1955): 31-44. JSTOR. Web. 24 April 2012.
Dowling, Robert M., and Donald Pizer. "A Cold Case File Reopened: Was Crane's Maggie Murdered or a Suicide?" American Literary Realism 42.1 (2009): 36+.Academic OneFile. Web. 23 Apr. 2012.
Lawson, Andrew. “Class Mimicry in Stephen Crane’s City.” American Literary History 16.4 (2004): 596-618. Literary Reference Center Plus. Web. 23 Apr. 2012.
Stallman, Robert Wooster. "Stephen Crane's Revision of Maggie: A Girl Of The Streets." American Literature 26.4 (1955): 528-537. Academic Search Complete. Web. 23 Apr. 2012.
Hartwick, Harry. The Foreground of American Fiction. New York: American Book Co, 1934, p. 17-44 Rpt in Crane,
After evaluating the short story “Everyday Use” by Alice Walker, I came to the conclusion that the narrator made the right choice of giving her daughter, Maggie, the family quilts. Dee (Wangero), her older sister was qualified for the quilts as well, but in my opinion Maggie is more deserving. Throughout the story, the differences between the narrator’s two daughters are shown in different ways. The older daughter, Dee (Wangero), is educated and outgoing, whereas Maggie is shy and a homebody. I agree with the narrator’s decision because of Maggie’s good intentions for the quilts and her innocent behavior. In my opinion Dee (Wangero) is partially superficial and always gets what she wants.
However, the most traditionally "romantic" facets of his artifice are most fully manifested in a series of private correspondence between himself and a certain society maiden by the name of Nellie Crouse. It is these letters that serve to illustrate Crane's writing prowess as it transcends traditional Romantic genrefication. Through these letters, which serve as an informed testament to Crane's marked skill as a writer, we begin to examine Crane in the context of his own existence, devoid of the fictional trappings of his most acclaimed accomplishments.
Bradburry, Ray. "The Utterly Perfect Murder." The Language of Literature. Ed. Arthur N. Applebee. Evanston, IL: McDougal Littell, 1997. 799-805. Print.
In Kate Summerscale’s book, The Suspicions of Mr. Whicher, we are introduced to a murder case at the Road Hill House in the late 19th century. The young child Saville Kent has been murdered and who murdered him is the question the entire town is interested in. All of the evidence we are introduced to points to Saville 's older, half sister, Constance Kent, as the murderer.
Bibliography:.. Works Cited Meyer, M., Ed., (1999). Bedford Introduction to Literature, 5th Ed. Boston: Bedford/St. Martin.
Meyer, Michael. The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 2189.
Mary McDonagh Murphy. New York: Harper Perennial, 2010. 110-18. Print. The. Lee, Harper.
Meyer, Michael. The Bedford Introduction to Literature. Boston: Bedford Books of St. Martin's Press, 1989.
Breit, Harvey. Shirley Jackson. The New York Times June 26, 1949, 15. Rpt. in Modern American Literature, Vol. II. Ed. Dorothy Nyren Curley et al. New York: Continuum, 1989.
Kessler, Carol Parley. "Charlotte Perkins Gilman 1860 -1935." Modem American Women Writers. Ed. Elaine Showalter, et al. New York: Charles Scribner’s Sons, 1991. 155 -169.
The color symbolism in both Crane’s Maggie: A Girl of the Streets and Gilman’s “The Yellow Wallpaper” share the associations of gender, society and the realism of a woman’s sphere within a changing and evolving commercial society. As the societal changes of the nineteenth century move closer to the industrialism, naturalism, and the rise of a new class taboos such as mental illness and poverty; it moves further from an ideal domestic Victorian society. The industrialization of manufacturing and the production of goods and thoughts are most representative through the writings of Crane and Gilman as well as other nineteenth century writers.
Levine, Robert S. The Norton Anthology of American Literature. 7th Edition. Volume B. New York: Norton, 2007. 1696. Print.
Perkins, Geroge, and Barbara Perkins. The American Tradition in Literature. 12th ed. Vol. 2. New York: McGraw Hill, 2009. Print
The Murders in the Rue Morgue begins with “propositions” (Poe 2) to help the reader follow the reading through the use of critical thinking like that of a chess or card player. The chess player must wait and contemplate each move of another player, while the card player is more prone to memory perception. Poe then introduces his acquaintance Dupin and expounds on his abilities. Then “Extraordinary Murders” (5) begins the sequence of the detective like story. The murders were written about in the local paper and giving no clue, leaving the mystery unanswered. The next day many testimonial references were given in the paper and their account of the murders exposed, still without any evidential clues. The evening paper reveal the police have no way of solving the crime, but arrest Le Bon simply because he was the last individual to see the murdered alive. Dupin’s “peculiar analytical ability” (3) begins to kick in and he begins to belittle the ability of the investigators and plans an “examination” (9). After receiving permission, Dupin and Poe (or the narrator as such) went to the Rue Morgue. They carefully scoured the neighborhood and the outdoor area before entering the house and room where the murders took place. Dupin was very intense and refrained from speaking for several hours contemplating on all he had seen. Then Dupin spoke and completely expounded his analysis of the murders, the means of entrance and exit, and the ability that it would take to complete what had been done. When he centered in on the agility, strength, ferocity and lack of motive (14), Dupin revealed the hair he found revealing the intruder and murderer. To draw the orangutan’s owner to him, Dupin posted an announcement in the news paper. ...