Existence of Reality in Christopher Durang's Beyond Therapy and Edward Albee's Who's afraid of Virginia Woolf?
Growing up, I always assumed that my parents would grow old together. I fantasized about introducing my future children to their still-married grandparents and attending, if not personally planning, my parent’s fiftieth anniversary celebration. Although my parents fought and struggled with areas of perpetual disagreement, somehow things always worked out and in my naivety, I believed they always would. However, as time progressed, the unresolved, and in some cases unspoken, issues that had plagued my parent’s marriage since its conception festered and ultimately reached intractable proportions. As a messy divorce loomed, each parent explained his version of the events and “irreconcilable differences” engendering a separation. Although the facts presented in each account matched, my parent’s respective interpretations of the facts differed greatly. As I listened to my parent’s rationalize their inability to get along, I realized that although my parent’s stories did not match, neither party was actually lying. Each parent simply presented to me his or her version of the reasons for divorce. I knew that somewhere hidden in the subtext of my parent’s explanations laid the truth. As I sifted through the slightly convoluted information, I began to wonder, “Is reality a relative concept?” After reviewing my personal experience, Christopher Durang’s play Beyond Therapy, and Edward Albee’s Who’s afraid of Virginia Woolf?, I reached the conclusion that, as inherently paradoxical as it seems, reality exists as a relative concept.
Ostensibly, in the complexities of a divorce, the true reasons necessitating a permanent...
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...xtremes of denial and testifies to the true relativity of reality depending upon mindset.
After overcoming her denial and admitting that no son exists, Martha lies prostrate as George asks her, “Who’s afraid of Virginia Woolf?”(242). Martha wearily replies, “I…am…George….I…am…”(242). In other words, “Who’s afraid of the truth?” My parents, Stuart of Christopher Durang’s Beyond Therapy, and Martha and George from Thomas Albee’s “Who’s Afraid of Virginia Woolf?”. Ceasing to rationalize reality to suit one’s needs entails dealing with the truth and experiencing pain. Therefore, it stands to reason that many smart, reasonable people fall victim to the allure of denial. However, as Martha demonstrates, the walls crumble eventually, and one feels the pain as acutely as ever. So, who’s afraid of the truth? The more appropriate question is who’s not afraid of the truth?
Jacqueline Schectman is a therapist who has focused on the psychological pattern finding archetypes brought out by stories that resonate with the readers own experiences. She attempts to bridge the connection between the reader 's imagination and real life. In “Cinderella” and a Loss of Father-Love, Schectman takes what her clients take from Cinderella, and uses it to understand their case better. Their interpretation of the story Cinderella reveals what they tend to relate with in their personal lives. While in The Truth about Cinderella, Martin Daly and Margo Wilson explain the statistics of stepparent domestic abuse towards children, sexual and domestic violence. While both authors use Cinderella and her wicked stepmother as the analogy between children and their stepparents, Jacqueline Schectman focuses more on emotional abuse, while Martin Daly and Margo Wilson emphasize physical abuse.
In questioning the value of literary realism, Flannery O'Connor has written, "I am interested in making a good case for distortion because it is the only way to make people see."
Society considers divorce as a failure and a destruction to a family unit when in reality divorce should be considered normal considering that the majority of families are blended or single parent homes. Barbara Kingsolver, an american novelist and essayist states her thoughts about divorce, blended and broken families in her essay titled “Stone Soup.” She argues that no family is perfect and that all families have problems. She uses examples, statistics and metaphors to persuade her readers of what a true family is. She informs us based on her own life experiences: her values, changes, and choices which ended in her divorce.
In this millennial it is very common to see a divided family. People get married, discover their differences and often divorce. Yet, with divorce comes many decisions and often a messy outcome. While this may take a toll on a family, remarriage is another issue of it’s own. “Step parents” is what they call them; although no one is quit sure what the word “step” truly insinuates. The sacristy of a marriage and the bond of a family is metaphorically protected by the beamed structure of a home. It isn’t until you read “Stepdaughters” by Max Apple that you catch a glimpse of the interior complications and obstacles, divorced families often face. The author seamlessly paints the very common mother and teenage daughter tension many families endure. Yet, the story is uniquely told by “stepfather number three trying to stay on the sideline” (132). The author focuses on a few issues that a family (divorced or not) may face: overbearing control, lack of trust, and unwanted change. He does this, by use of temporal setting – the dreaded teenage years – and situation – the exhausted disagreement between the mother and daughter.
David loved his step- mother very much and was often jealous of her other commitments and lack of soul attention towards him. During his early teens, David was informed that his step- mother had been fighting breast cancer for some time. He was previously unaware, and felt betrayed by his uninforming parents. Pearl's steady decline left him devastated, and her death in 1967 found him suddenly alone with his father (Bardsley 2001). Traumatic events like David losing his mother does a great deal to an individual's development in society due to the fact that there is no longer a positive cohesive whole unit as a family. We find that many people who lack a solid family background struggle later in life. An example of this would be the two guest speakers that spoke to our criminal justice class on November 12, 2001. Both individuals had parents who were once in jail or they had a limited relationship with.
The author clearly shows how his childhood effected his adulthood, making in a living example of what he is writing about allowing the audience to more easily trust what he is writing about. Instead of using factually evidence from other dysfunctional family incidences, the author decides to make it more personal, by using his own life and comparing family ideas of the past to the present.
Some families go through divorce, like the protagonist's’ mother and father did in the short story. The protagonist’s mother had threatened her husband that she would “pour kerosene over her body and set fire to herself if [the protagonist’s] father [didn’t] divorce her”. The narrator’s father had agreed to divorce his wife, because he was afraid that the mother would follow
Napier provides a crucial exploration of the therapy of a family struggling with battles for the structure of their family and battles to define and grow their relationships with one another. Napier and Whitaker seamlessly and purposely work with each family member, educating and
Family dynamics are patterns in the relationships between family members. Every family has its own dynamics and there are very different from one another because of the many aspects that influence them such as the numbers of members in the family, the personalities of the individuals, the cultural background, the economic status, values, and personal family experiences. This paper will analyze the two different relationship patterns found in the poem “Elegy for My Father, Who Is Not Dead,” by Andrew Hudgins and in the short story “Everyday Use” by Alice Walker. By interpreting those two sources through Freud’s concept of family, the family environment and the relationships between the members will be analyzed to illustrate the ways family dynamics
Until the twenty-second of March, I thought my parents were happy with each other and that they would be together for the rest of their lives, but that was not the case. I was given no reason to suspect that anything bad was occurring, but when I came home from school that day everything was revealed. My father told me that he had been wanting to speak to me alone. He looked fearful and bit anxious. I knew this conversation was going to be different from every other talk we have had. He started off with, “Please just listen and give me a chance to explain myself before you judge me.” I had nodded
Every member of a family fulfills a specific role that allows the group to function as a cohesive unit. In most families, these roles involve traditional genders, where the father plays the role of the “provider”, bringing in money to the family, and the mother is the “nurturer”, keeping the children healthy and content while maintaining an orderly household. When these roles are left unfilled, a family can fall apart almost instantly. In Jeannette Walls’ chilling memoir The Glass Castle, Jeannette’s recollection of her childhood involves a large amount of familial dysfunction due to the lack of fulfillment of these roles. Jeannette and her siblings Maureen, Brian, and Lori grow up with their parents Rex and Rose Mary Walls. Rex and Rose Mary
...t woman that falls downstairs and she loses her baby; in the hospital when she wake up she sees the doctor and told him “my baby is ok? Please tell me that he is fine”! Here she doesn’t want to know the truth; rather, she wants to escape from it since she’s afraid. Whether the doctor tells her “your baby died” or “I’m so sorry to tell you that your baby died, but don’t be sad you can have another one you still young”, the woman is going to cry in both situations because the truth won’t change and it actually do harm. From these examples we can conclude that people are afraid from knowing the truth, and because what is scary leads to harm and pain. Thus truth leads to harm and not the way it’s told.
Today we live in a world that keeps us on the run. There is a way to get in contact with anyone at any given time. There is no such thing as ‘getting away’ because we have created a society of people that want to be found. But it is also through this technology, the same one that keeps us connected to the outside world, that we can get lost. The simplest video game can help a person escape into a different reality, spending hours on end in front of a computer screen, looking for nothing in particular on e-bay. This gets us lost. We engulf ourselves in things that have nothing to do with our daily lives because we’ve had enough, our life is too much to handle. So we focus on AIM, or video games, anything that can take us out of our life, and into something better. But then where do we draw the line? When does it become okay to spend an entire day on the computer because life was too stressful? Or, still worst, when the life we lead to get away, becomes our daily life. We lie about our lives and retell occurrences that really did not take place. Things that happened on our mental breaks become reality. These lies then have to proceed and grow, because we don’t want to be exposed. That cannot happen because that would add more stress, but what we don’t realize is that by perpetuating the lies we become more and more stressed. The exact reason we needed to get away has come back full circle. In the play Who’s Afraid of Virginia Woolf? the line between truth and illusion has very nearly disappeared. No longer does the reader know when the character is telling the truth or embellishing a lie. Even still is the character himself is being honest to his personality.
Spohn, William C., and Barbara Dafoe Whitehead. "The American Myth of Divorce." Santa Clara University - Welcome. Web. 21 Feb. 2011. .
O’Brien Schaefer, Josephine. The Three-fold Nature of Reality in the Novels of Virginia Woolf. The Hague: Mouton and Co., 1965, pp. 111-13, 118-25. (Latham, pg. 72-78).