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The past shapes the future and in “Between the Pool and the Gardenias” this heavily applies. This story is focused in the point of view of Marie who in the past had a miscarriage. Her miscarriage affected her in the past and even in the future. That is why when she finds the deceased baby in the street she takes it in as her own and treats it as if it was alive naming it Rosie. After that she treats it like it was a living baby even though she knew it was not. There really is no doubt that she has done this because of the miscarriage that happened previously which more than likely affected her mental stability which all lead up to her taking in the dead baby. When the baby begins to rot she buries it between the pool and the gardenias after
After reading and annotating Marigolds by Eugenia W. Collier, I learned that there are some things we don’t know or realize when we are a child. When we become a woman, we have a different perspective on things. That is what Eugenia learned by the end of the story. Once she ruined all of Miss Lottie’s marigolds, she immediately felt guilty. Miss Lottie stood there with no anger on her face, just disappointment. Eugenia said that was when she saw her childhood fade and womanhood start to begin. Once she began womanhood, she learned that those flowers were precious to Miss Lottie and she was tying to make some beauty out of her shanty house. She viewed Miss Lottie as “… only a broken old woman who had dared to create beauty in the midst of ugliness
From the beginning, the reader is confronted with the idea of a home that cares for its inhabitants, as opposed to the other way around. “They walked down the hall of their soundproofed Happylife Home, which had cost them thirty thousand dollars installed, this house which clothed and fed and rocked them to sleep and played and sang and was good to them” (Bradbury “The Veldt”). This portion of the text creates images we are accustomed to, but instead of a mother or father taking care of these needs, it is their house. It is an unsettling image. The story proceeds with the parents inspecting the children’s nursery; yet this is no ordinary nursery. This nursery fulfills the children's wishes and shows them that which they would like to see. The nursery shows them an African grassland where death is in the air. Bradbury foreshadows their end when the wife suggests they lock the nursery for a few days and George responds with “You know how difficult Peter is about that. When I punished him a month ago by locking the nursery for even a few hours - the tantrum he threw! And Wendy too. They live for the nursery”(Bradbury “The Veldt”). With this statement alone, we know George and Lydia are already losing control of their children, and it is only a matter of time before they lose their control entirely. The days of picture perfect
In Sarah’s Key by Tatiana de Rosnay, there is a central theme of past choices determining future sorrow and loss created through the use of symbolism which appears multiple times in both Sarah and Julia’s individual journeys. Although Julia listens to the pleas of Bertrand pushing for the abortion of the fetus as a baby would ‘kill him,’and be the end of their marriage, Julia chooses to reject his request. She had the baby prematurely but nevertheless was happy.“This child meant so much to me. I had fought for her. I had not given in. She was my victory.” Her happiness came at a price however as shortly after the birth Bertrand summoned up the courage to tell Julia that he loved Améle and that there would have to be a divorce. The baby symbolizes
Instead of functioning as an antidote to death, childbirth seems an introduction to it. For both Addie and Dewey Dell, giving birth is a phenomenon that kills the people closest to it, even if they are still physically alive. Birth becomes for Addie a final obligation, and she sees both Dewey Dell and Vardaman as reparations for the affair that led to Jewel’s conception, the last debts she must pay before preparing herself for death. Which is nature playing a big role of life and death. Dewey Dell’s feelings about pregnancy are no more positive, her condition becomes a constant concern, it causes her to view all men as potential sexual predators, and transforms her entire world, as she says in an early section, into a “tub full of guts.” Dewey Dell and Darl mentally communicated about their mothers death new her mother was going to die,” He said he knew without the words like he told me that ma is going to die without words, and I knew he knew because if he had said he knew with the words I would not have believed that he had been there and saw us”(Faulkner 96). Birth seems to spell out a prescribed death for women and, by proxy, the metaphorical deaths of their entire
In many sit coms, movies, tv shows characters go down a downwards and upwards spiral in the garden motif. The garden motif is the concept that your mind is the gardener, and your soul is the garden, everyone has the choice to either water or tend to themselves, and therefore grow or neglect themselves. In the play Othello, we see this motif develop and originate from the villain Iago. After losing his dream job, he starts to use the garden motif to his advantage. He uses the garden motif to manipulate others to reach his own selfish desires. The garden motif helps develop characters into who they are and who they will be. Iago is the only character who seems to be educated about the motif. This is how he uses it to his advantage, thinking that he must take charge of his own life and tend to his garden. Without this, the characters may choose a different route with different opinions, changing the story.
The movie’s aspects endure on Samantha and how she chooses the way her life should go. In one of the beginning scenes, after Samantha and her friends leave the party, the head onto the road, slam into a truck and their car flips off the side of the road. The next “day” Samantha wakes up confused as to how and why she is still alive. She then realizes that the same day she lived previously, is again, the day she is living at that moment. Since she knows what is bound to come, she goes through her days events to change the outcome of her day. This heavily revolves around the existentialist philosophy of how an individual has freedom of choice, and Kierkegaard's philosophy of how life is a series of choices with regretful actions bound to come with those
“Flower Power” is a historic image captured by photographer Bernie Boston. Taken on October 21, 1967, during an antiwar march to the Pentagon, the iconic photograph demonstrates a young Vietnam War protester placing a flower into a rifle barrel held by the United States National Guard soldier. “Flower Power” became Boston’s signature image and earned him a Pulitzer Prize nomination for news photography. Even though Boston did not win the first place, his photograph has gained global popularity as it successfully chronicled a tumultuous era of 1960s, evoked strong emotions, and even changed traditional worldviews about war. In this critique, three different elements of “Flower Power”, including its background context, story, symbolic meaning, will be discussed.
In Play it as it Lays, Joan Didion gives us the scene of how Maria views the world around her in a pleasant way after having her abortion, she write: “The late sun seemed warm and benevolent on her skin and everything she saw looked beautiful, the summer pulse of itself made manifest.” (Didion 84). With this, Joan Didion is able to show us how Maria Wyeth is not even able to acknowledge the fact the she has just went through with an abortion. Instead, in that moment, Joan Didion gives us the imagine of a place that is warm and happy which suggests that Maria Wyeth is unaffected by what she has just done, or possibly does not realize the effect on her life that it will have. Maria Wyeth could possibly be using this as a way to believe that nothing bad has actually happened in her life, and that she is not someone who has just went through with a horrible thing that she did not want to do in the first place. When Joan Didion writes, “By the end of the week she was thinking constantly about where her body stopped and the air began, about the exact point in space and time that was the difference between Maria Wyeth and other.”, we are given the image that shows Maria Wyeth as being nothing in that moment (Didion 170). Maria Wyeth does not know what is real and what is fake, and feeling as if she is one with air, pace and time we can see that Maria Wyeth at this point can feel how she is disconnected from reality and what is going on around her in Las Vegas. Since she can not tell the difference between who she actually is and what is around her, we can assume that she feels as if she is becoming what is around her which suggests that she is losing sense of self, as Cynthia Griffin Wolff suggests about Maria Wyeth in her critique, “She appears to deny even self itself…” (Wolff
stated in his critical essay how the loss of the first child in “The Children from the Sea” short story was somewhat a foreshadow the other dead child that Marie in “ The Pool and the Gardenias” seems to find. “I never knew before that dead children looked purple. The lips are the most purple because the baby is so dark. Purple like the sea after the sun has set.” ( p25, first paragraph in children of the sea) , Marie gives a similar description which she says “ She was very pretty. Bright shiny hair and dark brown skin like mahogany coca. Her lips were wide and purple, like those African dolls you see in tourist windows but could never afford to buy.” ( p91 first sentence in The pool and gardenias.) This was well stated by Davis Rocio in his critical essay and a good point that can relate the stories even more, Marie was in desperate need to have a baby because it would always require her attention and would be something of hers, she needed love and attention her husband nor anyone did not give that is the reason why she got Rose ,the dumped baby who was left in the streets to die even though such things in Ville Rose were considered a crime , and kept her until the smell got so bad she could not even get close to her. Marie had reached a point of insanity from all the pain she had bared, which took the Dominican man no time to discover. The rest of the people from her everyday life did not even notice that one day she was without a baby and the next with, nobody cared about nobody in the town, at least she
Throughout Marina Carr’s Portia Coughlan it is clear that Portia is a woman who is infatuated by the events and misfortunes of her past. When we first meet her in the opening scene it is clear that she is a distressed and deeply haunted woman “whose legacy is rich only in horror” (Dean, 1997). Her past is haunting her marriage, her relationship with her children and her day to day life. The continuing ghostly presence of her long departed brother immerses her back into the past rendering her present life unimportant and somewhat of a burden. Throughout the play events from the past rear their heads and it is clear that “Portia is fighting blind against a past kept hidden from her” (King, 1997).
These three women were 'stuck' in time but were soon brought back to reality by an unfortunate accident. Their inner world gets destroyed and they are unable to deal with it in a good way. While upholding traditions are fine always being stuck in the past can hold people back from enjoying the world around them. It also keeps the mind closed off; making people unable to understand what is going on around them.
Faye is battling a traumatic accident, which she reference in the story as a car accident. She is a fragile woman, making herself feel distraught “feel the bold drain from her face and thought she was going to faint,” Hearing that she couldn’t have any babies because of the accident that make her fallopian tubes to tits it up causing a long terms problems. This story take place during
Heinlein creates a narrative storyline of a bartender and a man who claims he is an “unmarried mother,” someone who was once a woman and had a child (Heinlein 1). The unmarried mother tells his story of how he grew up as a female orphan, and later fell in love with a man who impregnated her and left her to bear the child on her own. After she gave birth to her child, she discovered not only does she have both a set of male and female sex organs, her female sex organs were damaged beyond repair, so therefore she was converted to a male. Her child was also stolen from him, leading him to plot revenge on whoever took his child, Jane. The bartender agreed to take him back in time if the unmarried mother agreed to fulfill his role as a time travel agent. When he travelled to the past, he fell in love with a woman, got her pregnant, and in guilt, took the child and placed her in an orphanage while he went and joined the time travel agency. The whole idea of the story is that Jane is considered to be the child, the mother, and the father as one, conforming to the idea of solipsism, the philosophical idea that the only mind that surely exist is one’s
Harold Pinter has been known to write many plays that include memory, thus they are aptly known as “memory plays” (Eder 1). They have been given this name because, “they focus on the shifting borders between past and present, between reality and imagination” (Eder 4). This brings back the notion that Deeley is often the girls’ only link to the present. Doris Eder cites Pinter himself saying, “there can be no hard distinction between what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or false; it can be both…” (4). All of this is evident in Old Times as anything Anna speaks of needs to be looked at through many lenses. At one minute she would be speaking of casserole and another she is talking about Kate (Gainor et al 1022). Pinter once told Mel Gussow, “I… feel more and more that the past is not past, that it never was past. It’s present” (Eder 5). The epitome of this statement is how the story from Anna’s past about the man crying in her room on pages 1026 and 1027 is repeated during Kate’s ending monologue on pages 1040 and 1041 (Gainor et al). Accoring to Doris Eder:
However, neither of them care deeply about the baby. They mainly concern themselves with whether or not “The little brat” will come between them (304), and Catherine worries about whether or not Henry still loves her since she is no longer thin. They spend their time detached from reality, and when they face the prospect of a baby coming into their lives, they fear it will ruin their perfect world. Furthermore, when Henry sees the baby for the first time, he pays no mind to the fact that the baby died. Instead, Henry “had no feeling for him” and “felt no feeling of fatherhood” (325). In their eyes, having a baby ruined Catherine and Henry’s isolation because they would have to share their lives with another.