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Death rituals of the hispanic american, asian american, african american, and american indian cultures
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Within weeks of her unexpected visit, their grandmother went to purchase her own coffin from Detweiler Funeral Parlor and her grandchildren learned that she enjoyed visiting the Pleasanton Cemetery to speak to the dead. Like most southerners their grandmother Margaret had fashioned a small and personal art form out of ancestor worship, and the authentic intimacy of cemeteries made her happy. She looked upon the prospect of death as a journey. The subject of her own death filled her with pleasant reveries of journeys both imminent and surprising .Margaret did not attend church regularly or openly profess a belief in God, because of this it gave her license to embrace a more exotic prescriptive of her spirituality. She maintained an innocent trust in horoscopes and planned her days around the proud alignment of stars. With careless curiosity she sought the advice of fortune tellers, and believed in the shining power of crystal balls. A gypsy in Visalia had read Margaret’s palm and made a prediction that Margaret would not live past her sixty-fifth birthday. Margaret had just turned sixty-two when she came back to Pleasanton to make peace with her son and three grandchildren that she had abandoned for so many years. But she took the gypsy’s death sentence with a stoical and bemused gravity, and began to prepare for her own demise as thought it were a voyage to a fabulous country whose borders had been long closed to tourists. When it came to purchase her casket and to make final arrangements of her internment she insisted that her grandchildren accompany her. Always the teacher Margaret wanted to teach her grandchildren not to fear death. She spoke about the impending purchase of her coffin with gaiety and acted as though she were ab...
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...solute silence in the room before Francis screamed and bolted to the door. They heard her footsteps taking the stairs three steps at a time. Margaret hopped nimbly out of the casket, slipped her shoes back on her feet, and with a sly smile she whispered, “I know the back way out.” The three children followed their grandmother down a narrow set of back stairs and through the small bricked in garden at the back of the mortuary. When they were safely out of view the four threw themselves down onto a patch of grass and screamed with laughter, until their stomachs ached. Harrison and Clara rolled into each other’s arms trying to stifle their laughter, but still they shook with uncontrollable hysteria. Julian shook like a wet puppy on the ground. Then they regrouped arm in arm, made their way back down Gray Street, letting Mr. Adams signal them across the street once more.
One of the only truly inevitable things in life is death. While there are ways to prolong the time before death, there is no escaping it, as the main characters of “The Jilting of Granny Weatherall” and “A Good Man is Hard to Find” knew all too well. Both of these elderly women expected their deaths in some way, and while they may have been initially resistant, they eventually came to accept their fate. When comparing the characters of Granny Weatherall and the grandmother from “A Good Man is Hard to Find”, similar elements such as religion, death, and a less than ideal relationship with their family can be found.
After establishing this sad and bitter tone, Danticat moves to a more rejoiceful tone when she reminisces about the times when her grandmother would tell her stories: “My grandmother was an old country woman who always felt displaced in the City of Port-au-Prince—where we lived—and had nothing but her patched-up quilts and her stories to console her. She was the one who told me about Anacaona” (137). Danticat then shifts to a more neutral tone when she recalls her grandmother’s peaceful death with her eyes open. She took her grandmother’s death calmly because death was so frequent in Haiti. She further explains, “I have such a strong feeling that death is not the end, that the people we bury are going off to live somewhere else” (138).
The interpretations of what comes after death may vary greatly across literature, but one component remains constant: there will always be movement. In her collection Native Guard, Natasha Trethewey discusses the significance, permanence and meaning of death often. The topic is intimate and personal in her life, and inescapable in the general human experience. Part I of Native Guard hosts many of the most personal poems in the collection, and those very closely related to the death of Trethewey’s mother, and the exit of her mother’s presence from her life. In “Graveyard Blues”, Trethewey examines the definition of “home” as a place of lament, in contrast to the comforting meaning in the epitaph beginning Part I, and the significance
The funeral was supposed to be a family affair. She had not wanted to invite so many people, most of them strangers to her, to be there at the moment she said goodbye. Yet, she was not the only person who had a right to his last moments above the earth, it seemed. Everyone, from the family who knew nothing of the anguish he had suffered in his last years, to the colleagues who saw him every day but hadn’t actually seen him, to the long-lost friends and passing acquaintances who were surprised to find that he was married, let alone dead, wanted to have a last chance to gaze upon him in his open coffin and say goodbye.
In Natasha Trethewey’s poetry collection “Native Guard”, the reader is exposed to the story of Trethewey’s growing up in the southern United States and the tragedy which she encountered during her younger years, in addition to her experiences with prejudice. Throughout this work, Trethewey often refers to graves and provides compelling imagery regarding the burial of the dead. Within Trethewey’s work, the recurring imagery surrounding graves evolves from the graves simply serving as a personal reminder of the past to a statement on the collective memory of society and comments on what society chooses to remember and that which it chooses to let go of.
Death and Reality in "Where Are You Going, Where Have You Been?" by Joyce Carol Oates
Nineteen years of my life has passed. By age nineteen, Una Spencer of Ahab's Wife had experienced numerous cycles of contentment and isolation, safety and loss. I cannot pretend to say that I have lived even as marginally an emotionally tumultuous life as Una's, but like most people, I can say something of loss and sacrifice. One of the last things my grandmother said on the hospital bed in which she died was to ask my mother whether I had been accepted to my first-choice college. I was not with my grandmother when she died, but the fact that she had asked about something so inconsequential and irrelevant about my life reveals the way she viewed her own life and death: without idealization, regret, or fear. She instead left my family with a legacy of love, selflessness, and beauty.
Regretfully, though readers can see how Mama has had a difficult time in being a single mother and raising two daughters, Dee, the oldest daughter, refuses to acknowledge this. For she instead hold the misconception that heritage is simply material or rather artificial and does not lie in ones heart. However, from Mama’s narrations, readers are aware that this cultural tradition does lie within ones heart, especially those of Mama’s and Maggie’s, and that it is the pure foundation over any external definition.
In her bedroom, Granny is literally confined to her deathbed, revealing to the reader that death is approaching. Granny speaks of a longer life from the place her life will end, emphasizing that death could come at any moment. As her mind starts deteriorating, she begins confusing the past with the present. At one time, she remembers having to dig hundreds of postholes after her husband’s death, and enlightens the reader with the fact that “digging post holes changes a woman;” (Porter 85). The change from a genteel lift to one of harsh labor representing another type of death. She worked hard for years, foreshadowing the time she will no longer need to work. Consequently, since she familiarized herself with hard work, accepting that her death is effortless is very difficult for Mrs. Weatherall. In the end, nighttime draws near, and Porter uses the time of day to symbolize mortality; the end of day is not only passing so is Granny’s life. Similar to the candle beside her bed, Granny draws her last breath to blow out light of her own life. Just as day has its end, so does every
It is a serious and quiet event. She sees the boys as "short men" gathering in the living room, not as children having fun. The children seem subdued to us, with "hands in pockets". It is almost as if they are waiting, as the readers are, for something of importance to take place.... ... middle of paper ...
An extreme act is almost necessary to bring about the true reflection on one’s life and really question whether or not they are worthy of salvation. The most influential person in determining your after life could have not the slightest meaning to you now. Flannery O’Connor’s writing reflects in her own beliefs. Kaplan creates a case that “The Grandmother’s ability to accept such a death is therefore the supreme test of her faith,” (Kaplan 905). This associates to the story well; Flannery O’Connor is also in her own life suffering from a disease that, in some aspects, should take her faith into inquiry.
While at rock bottom of one’s life, each protagonist maintains sense of security by remembering his past. In Scott Momaday’s The Way to Rainy Mountain, Momaday reclaims his past by remembering the time he spends with his grandmother. Through his grandmother’s death Momaday recollects her: “standing at the wood stove on a winter morning and turning meat in a great iron skillet; sitting at the south window, bent above her beadwork, and afterwards when her vision failed . . . when the weight of the age came upon her; praying. I remember her most often at prayer” (2507). He strongly desires to be at her grave and yearns for belonging through visiting her spiritually. Momaday looks at her grave with despair instead of embracing all the life that she gave him. By Momaday reminiscing about his grandma, he loses hope and bec...
Having a fascination with the idea of death and dying is often considered morbid. Death is a scary subject that most people avoid thinking about. Yet, death is a subject that Emily Dickinson was familiar with, and often wrote about in her poetry. Her fascination with death was evident in many of her poems, she often wrote of her own death. What happens when one dies? How do they feel? What goes through a person’s mind? These are all questions that go through someone’s mind when they allow themselves to think about dying. In two of Dickinson’s poems, “Because I could not stop for Death –” and “I heard a Fly buzz – when I died,” the speakers depict their experiences with death. Although both poems are about dying, they both differ in the tone and the setting. The details of each speaker’s encounter with death vary; one tells of a deathbed scene and the other of a calm and peaceful ride to a final resting place.
James Agee’s novel, A Death in the Family, tells the story of the Follet family’s reaction to a terrible loss. The novel is told from various perspectives and this form of writing offers a more in-depth view of the characters’ feelings and emotions. A major theme of the novel is religion. It is the greatest cause of discussion among the nuclear family and Mary’s side of the family. Out of all the family members, Mary and Aunt Hannah are the most religious. The rest of the family, especially from Mary’s side, does not understand their devotion to this belief. Throughout the novel, one can see two different religions: natural religion and organized or institutionalized religion. Natural religion is the belief in which God, the souls, spirits,
I am in a well-lit room with soft carpet under my feet. The room has a unique sweet smell that I do not recognize. My body is trembling as I listen to the soft music. My worst fear in this instant is that I will pass out and leave my mom to face this on her own. The reason I am in this room right now is not that I have always wanted to experience this. The only reason I am here is that it is not fair to leave my mom to deal with this on her own.