It is not surprising for an author’s background and surroundings to profoundly affect his writing. Having come from a Methodist lineage and living at a time when the church was still an influential facet in people’s daily lives, Stephen Crane was deeply instilled with religious dogmas. However, fear of retribution soon turned to cynicism and criticism of his idealistic parents’ God, "the wrathful Jehovah of the Old Testament" (Stallman 16), as he was confronted with the harsh realities of war as a journalistic correspondent. Making extensive use of religious metaphors and allusions in The Blue Hotel (1898), Crane thus explores the interlaced themes of the sin and virtue.
Ironically, although "he disbelieved it and hated it," Crane simply "could not free himself from" the religious background that haunted his entire life (Stallman 5). His father, a well-respected reverend in New Jersey, advocated Bible reading and preached "the right way." Similarly, his mother, who "lived in and for religion," was influential in Methodist church affairs as a speaker and a journalist in her crusade against the vices of her sinful times (Stallman 5). This emotional frenzy of revival Methodism had a strong impact on young Stephen. Nonetheless, he -- falling short of his parents’ expectations on moral principles and spiritual outlook -- chose to reject and defy all those abstract religious notions and sought to probe instead into life’s realities.
Moreover, Crane’s genius as "an observer of psychological and social reality" (Baym 1608) was refined after witnessing battle sights during the late 19th century. What he saw was a stark contrast of the peacefulness and morality preached in church and this thus led him to religious rebelliousness. As a prisoner to his surroundings, man (a soldier) is physically, emotionally, and psychologically challenged by nature’s indifference to humankind. For instance, in the story, "what traps the Swede is his fixed idea of his environment," but in the end, it is the environment itself -- comprised of the Blue Hotel, Sculley, Johnnie, Cowboy Bill, the Easterner, and the saloon gambler -- that traps him (Stallman 488).
To further illustrate how religion permeated into Crane’s writing, many scenes from The Blue Hotel can be cited. Similar to the biblical Three Wise Men (Stallman 487), three individuals out of the East came traveling to Palace Hotel at Fort Romper. The issue explored is the search for identity and the desire of an outsider (the Swede) to define himself through conflict with a society.
In Salvation on Sand Mountain, the emotional frustrations, cultural hypotheses, and literary images provide insight into the ethics of the author, Dennis Covington. During his dangerous undertakings while submerged in the religious practices of Appalachia, Covington incites anxiety within the reader when discussing worship services involving snakes, and inquisitorial thought when revealing the number of casualties involved, in turn showcasing his own passions and morality. Covington’s rectitude, goodwill, and intelligence all play important roles in revealing his ethos. Subsequently, they also exemplify his argument: No obstacle can conquer one’s religious devotion.
Ford, Jamie. Hotel on the Corner of Bitter and Sweet: A Novel. New York: Ballantine, 2009. Print.
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.
“Critical discussion of “Sonny’s Blues” has centered on secular matter. Acknowledging the complex interweaving of biblical text that forms the foundation of Baldwin’s short story allows readers the chance to understand and appreciate Baldwin’s significant debt to biblical literature and to grapple with the religious and moral issues at the core of this Christian writer’s most important literary effort” (Byerman 111). Baldwin is a very poignant writer and the majority of his stories are influenced by his experiences during his life. “Sonny’s Blues” is no exception as Baldwin poetically weaves religion and his beliefs through the short story. Even though Baldwin left the religious society at a young age, it was never truly able to leave his writing as evident in “Sonny’s Blues” and his other published works.
A deeply pious man, John considers the Bible a sublime source of moral code, guiding him through the challenges of his life. He proclaims to his kid son, for whom he has written this spiritual memoir, that the “Body of Christ, broken for you. Blood of Christ, shed for you” (81). While John manages to stay strong in the faith and nurture a healthy relationship with his son, his relationship with his own father did not follow the same blueprint. John’s father, also named John Ames, was a preacher and had a powerful effect on John’s upbringing. When John was a child, Father was a man of faith. He executed his role of spiritual advisor and father to John for most of his upbringing, but a shift in perspective disrupted that short-lived harmony. Father was always a man who longed for equanimity and peace. This longing was displayed in his dealings with his other son, Edward: the Prodigal son of their family unit, a man who fell away from faith while at school in Germany. John always felt that he “was the good son, so to speak, the one who never left his father's house” (238). Father always watched over John, examining for any sign of heterodoxy. He argued with John as if John were Edward, as if he were trying to get Edward back into the community. Eventually, John’s father's faith begins to falter. He reads the scholarly books
Wright grew up in the Jim Crow South where everything about his life was socially and culturally inferior to the white masses. In Bloom’s Modern Critical Views Richard Wright, Qiana J. Whitted wrote about Wright’s life as a kid, shedding light on how his grandmother forced him to partake in religious in order to be saved from “religious execution” (123). It was this type of religious interpretation held by his grandmother, that was a “cultural marker” for Wright, reminding us, “that in his life, as in his writing, Richard Wright wrestled with his faith” (122). This struggle can be seen in Wright’s male character, Big Boy, in Big Boy Leaves Homes. Big Boy and his friends go to swimming creek where they see and are saw by a white woman. With the woman, was a white man who shot at Big Boy and his friends. Big Boy wrestles with Jim over the gun and ends up shooting and killing him. In panic, he runs home to retell the story of the murder he committed and the ones he witnessed. As he tells the story, his father sends for some of the religious members in the community. During this time Big Boy’s mother calls out several times for mercy, “Lawd Gawd in Heaven, have mercy on us all!” (36). The religious community members become a fist around Big Boy and come up with a plan for saving his life. In the midst of this Big Boy experiences an internal conflict with his actions and how they look in the eyes of God.
In the short story “ The Open Boat,” by Stephen Crane, Crane does an outstanding job creating descriptive images throughout the entire story. With saying this, Crane uses symbolism along with strong imagery to provide the reader with a fun and exciting story about four guys who 's fight was against nature and themselves. Starting early in the book, Crane creates a story line that has four men in a great amount of trouble in the open waters of the ocean. Going into great detail about natures fierce and powerful body of water, Crane makes it obvious that nature has no empathy for the human race. In this story, Crane shows the continuous fight that the four men have to endure in able to beat natures strongest body of water. It 's not just nature the men have to worry about though, its the ability to work together in order to win this fight against nature. Ultimately, Crane is able to use this story, along with its vast imagery and symbolism to compare the struggle between the human race and all of natures uncertainties.
There is not many a time when men like Stephen Crane come by and take the whole world by surprise. His ideas are not popular for thinkers at the time but very realistic and down to earth. In his time, his short stories were not very prevalent but were read by many people. Stephen Crane found it very difficult to make money off of them and in that way, was inspired to write vigorously even to the point of his death. Stephen Crane craved the attention and support of the people and so gave birth to Naturalism literature. Interestingly, Stephen Crane found his own voice when he wrote The Red Badge of Courage at just twenty years old, and became very famous for the novel. This war novel was followed by a tremendous amount of short stories that had nature as a main theme. Stephen Crane felt nature all around him and felt that, even as a child Methodist, nature is an overwhelming force that should not be meddled with. Stephen Crane’s religious upbringing and life-changing experience led him to incorporate recurring themes of nature in his short stories as seen in The Open Boat.
Stephen Crane was a realistic author who often times wrote about the difference in ideal life versus reality. He is seen as one of the most groundbreaking writers of his time. Crane’s poetry was unique during his time period because most of his poems told a story; they were narratives. In Crane’s poem “In the Desert” he shows that a person who can overcome their mistakes and not let the negative aspects of life overwhelm the positive is a person who is human.
... out that nature, although it does impact the men's lives, does not have any connection to the outcome. With his short story, Crane challenges the idea that men and nature are connected spiritually. He even challenges the idea of religion by leaving the outcome of the men simply to the experience that they have. The boat, an oar, and some directions from their captain save the men from death, not a divine guide. One man simply does not make it to the shore alive. The view of man and nature within this story is somewhat pessimistic, pointing to the philosophy that we are hopeless in the face of circumstance. The point Crane makes in the end is that although people are often victims of circumstance, humans have one another to help survive difficult experiences.
As a recently published book on the works of Stephen Crane, it is rather disappointing to see some of the key moments left out of Stanley Wertheim's criticism in A Stephen Crane Encyclopedia about the short story "The Blue Hotel." Wertheim leaves out a key point in the characterization of the Swede and the plot of the story. This occurs at the point where Patrick Scully, in the story, persuades the Swede to stay in his hotel despite his fears and inhibitions about the Wild West by getting him to drink and not to worry. This by itself is a climatic event because the Swede believes that he is about to be killed or poisoned as Scully brings out the bottle. Another event comes later as Wertheim simply brushes over the murder of the Swede. Both of these events are based on extreme emotional feelings and actions that cause the reader to question the motive behind the Swede's actions as well as his characterization.
Authors’ Steven Crane and Jack London are known for their stories using naturalism, the struggle between man and nature. Naturalism is like realism, but it explores the forces of nature, heredity, and the environment on human beings, who are faced with the forces of nature. Both “The Open Boat” and “To Build a Fire” demonstrate how inferior and small humans’ really are to nature. Humans cannot control nature or determine its outcome. In both stories nature is the antagonist constantly challenging the humans’ ability to survive. I chose the topic over naturalistic elements because I enjoyed reading these stories. Both stories have a strong since of naturalism in it and both authors’ are known for naturalistic features existing in their writings. In this paper I will give you more of an insight to what naturalism is and what naturalistic elements are present in the two stories listed above.
... point of view, and irony. Crane use these techniques to guide the reader in the course of the struggles, both internally and externally, of mans great endeavor against nature. The tone sets the suspense of the story by building the impending doom upon the crew. The stories point of view allows the reader to gradually understand and expect the indifference of nature upon people’s lives. The reality of nature is expressed through the use of different kinds of irony. The universe is represented by the power of the ocean, and the small boat in this ocean is symbolic of man in this giant universe. The immaculate power of the ocean is very indifferent to the small boat, just as our great universe could not care less for man.
Composed of a prologue and six sections, The White Hotel utilizes a variety of literary forms. The main characters of this novel are the celebrated psychoanalyst and theorist Sigmund Freud and Lisa Erdman, a twenty-nine-year-old, half-Jewish Viennese opera singer who comes to Freud for treatment of hysteria in 1919. This novel is by far one of the greatest works of English literature, exploring such concepts as, premonition, inhumanity, sexuality, and briefly, the concept of life after death. It is fashioned with many images of love, death, life, and desire, taking the audience on a horrifying and historical depiction of the Holocaust. Thomas’ novel is written using the third and first person narrator, which seems to have more knowledge than the reader or the character. I have to admit that I was distracted and even caught off guard by Thomas’ disorganization of chronological events. For example, the novel begins with presumably the middle of the story, after which the novel continues with the beginning and then ends the novel with a metaphorical new beginning for Lisa Erdman. Furthermore, many parallels and symbols can be seen in each section, which brilliantly connects them into a cohesive story filled with meaning and dire premonitions of an inevitable future.
Religion, besides the practical need for food and shelter is one of the most powerful drives in Stephen's life. Religion serves as Stephen's guidance and saviour yet it is also responsible for his tormented youth and distracting him from his artistic development. As a child growing up in a strict Catholic family, Stephen is raised to be a good Catholic boy who will follow the teaching of Catholism as his guidance in his life. The severity of his family is shown when his mother tells him either to "apologise" (4) or "the eagles will come and pull out his eyes" (4). Stephen is taught by his mother to be tolerant when she "[tells] him not to speak with the rough boys in the college" (5). Similarly, Stephen's father also taught him a Catholic quality by telling Stephen "never to peach on a fellow' (6). Evidence of Stephen following the "never to peach" (6) quality is shown when Stephen agrees not to tell on Wells for pushing him into a ditch. However, as Stephen matures into his adolescence, religion becomes his savior rather than his guidance. As Stephen's family condition declines, he sees priesthood as a way to escape poverty and shame. In fact, priesthood is an opportunity for Stephen's personal gain...