An Analysis of the First Paragraph of O’Connor’s The Artificial Nigger
?In “The Artificial Nigger,” Flannery O’Connor commingles characteristic Christian imagery with themes evocative of her Southern setting. In this essay, a close reading of the first paragraph of this story elucidates the subtle ways in which O’Connor sets up these basic themes of redemption and forgiveness. An additional paragraph will examine the ramifications of this reading on the intertwined racial aspects of the story, which are connected by a common theme of master/servant imagery, which is integral to the first paragraph.
In this story, the key character is named Mr. Head, which immediately signals to the reader that this character is suggestive of rationality and perhaps especially pride (as in the expression “having a big head”). This is appropriate given that Mr. Head’s change throughout the story will emphatically revolve around his spiritual and Christian-oriented awareness of the plight of man and the problem of pridefulness. Mr. Head “awakens” (indeed, the whole story regards his awakening) in the night to a room “full of moonlight.” From the very beginning, elements of light and dark are vying in the story’s background, and in this case, it is a light that shines through the darkness.
O’Connor, through the uses of dashes, alerts the reader to the moonlight being “the color of silver,” the first of many silver/gray references throughout the story. It is hard not to equate this references to the thirty pieces of silver that Judas received for betraying Jesus. Such a reference is consistent with the story’s themes of betrayal and forgiveness (even though Mr. Head’s denial of his grandson Nelson is perhaps more reminiscent of Pete...
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...nship between blacks and whites exist without such interchangeability.
Such a reading suggests that African Americans are often the vehicle through which Southerners experience powerful lessons of hatred (as in Nelson’s first experience with the black man on the train), pride (when Nelson witnesses his grandfather’s witty rejoinder to the stuffy black waiter), sexuality (Nelson’s run-in with the black temptress in the Atlanta ghetto), and even redemption (as they witness the statue in the story’s penultimate moment). No matter that Nelson has only recently learned what a “nigger” is, never mind that the statue itself is plaster and one eye is “entirely white” – the overturning of the master/servant relationship is only possible when firmly on the white side of the segregated line; this reality ensures that all the “niggers” in this story remain
“artificial.”
Prior to the dispatch of September 24, the information which the Japanese sought and obtained about Pearl Harbor followed the general pattern of their interest in American Fleet movements in other localities. One might suspect this type of conventional espionage. With the dispatch of September 24, 1941, and those which followed, there was a significant and ominous change in the character of the information which the Japanese Government sought and obtained. The espionage then directed was of an unusual character outside the realm of reasonable suspicion. It was no longer merely directed to ascertaining the general whereabouts of ships of the fleet. It was directed to the presence of particular ships in particular areas; to such minute detail as what ships were double-docked at the same wharf….These Japanese instructions and reports pointed to an attack by Japan upon the ships in Pearl Harbor. The information sought and obtained, with such painstaking detail had no other conceivable usefulness from a military
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In the novel, the author proposes that the African American female slave’s need to overcome three obstacles was what unavoidably separated her from the rest of society; she was black, female, and a slave, in a white male dominating society. The novel “locates black women at the intersection of racial and sexual ideologies and politics (12).” White begins by illustrating the Europeans’ two major stereotypes o...
...ition, she presents the reader with the differing generations of the old and new south, and she illustrates the contrasting views between the two. O’Connor is not afraid to question Christian theology or the Southern culture. Her irony and satire add depth to ther stories, and her deep cultural analysis of the South brings a higher level to her writings. O’Connor also explores the concept of fallen human nature and how it is brought about. Overall, O’Connor’s works prove to be very in depth in both her social and cultural analysis of the South. She is not afraid to critique the society in which she grew up and lived.
Emancipation was a persistent issue in the twentieth century as was the problem of the color line. Many writers like DuBois argue that in both a conscious and sub conscious way the color line denotes limitations but also sets standards for African American people during this time. Through the use of the main characters and secondary characters as well as foreshadowing Chestnut in his book The Marrow of Tradition depicts the color line in Wilmington, North Carolina. The theory of the color-line refers fundamentally to the role of race and racism in history and civilization. Through the analysis of The Marrow of Tradition readers can recognize and understand the connection of race and class as both a type of supremacy and as an approach of confrontation on a domestic level during the twentieth century for African Americans.
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Over the year and a half between Pearl Harbor and Midway the United States made headway with various technological and military advantages. One of the most important of which was the code breaking efforts of Commander Joseph J. Rochefort Jr. “Most of the U.S’s information [on Japan] came from Rochefort. R...
Clinton, T. & Ohlschlager, G. (2002). Competent Christian counseling: Foundations and practice of compassionate soul care. Colorado Springs, CO: WaterBrook Press.
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