In Brief History of my Thumb, Lucia Perillo’s use of structure, metaphors, and illusion invites her readers to recognize the dangers of life. Throughout her text, Parillo tells various stories of hitchhiking, and when she used to hitchhike herself. Every story she tells seems to have its own lesson and value, contributing to its effect on the reader. Perillo structures her text into different periods of her life and life-experiences. This structure informs the reader Perillo’s individual thoughts and emotions during each time of her life. She starts off “in the beginning,” (Perillo 21) when she is in high school, and ends much later in her life. Starting off her text, she talks about her high school days, and how her and her friends would hitchhike. She explains …show more content…
how “We girls, and it was always girls, let ourselves be borne to strange towns, where we walked around for a while, never too long, then came back home” (Perillo 21). This period of Perillo’s life portrays the ignorance and disregard many people have of danger, unaware of its true abilities.
In this section of the text, Perillo focuses on her youth, and how she would hitchhike, not thinking about any consequences that could have occurred. Another period Perillo focuses on is her college years. In these years, Perillo becomes more aware with the consequences of hitchhiking, and recalls earlier confrontations. She explains how “early on, I’d decided that it was a bad idea to call attention to the transgressions of the men” (Perillo 24). Using this chronological structure of the different periods of her life, Perillo manages to portray these different emotions, and allows the reader to understand how critical danger can be. She also uses various metaphors to help the reader understand what obstacles and challenge she has faced in her life-time, and how she learned the true meaning of danger. She explains how she “rode inside a bubble of luck” (Perillo 23). From this metaphor, it is very clear that Perillo has experienced a lot since her high school years. She has learned from her previous actions, and is becoming more aware of the unknown factors that come from
hitchhiking. In her youth, she was only ‘lucky,’ and never truly acknowledged danger, let alone the consequences of it. Throughout the text, Perillo constantly alludes to Heraclitus, a Greek philosopher. She includes various statements by him, and relates his work to her effect. One example is “You don’t know what kind of river you’re stepping into, I may never be the same, but that doesn’t mean that I am good.” Although not directly stated, this quote is from Heraclitus. This relates to the obstacles Perillo has gone through in her lifetime of hitchhiking. Perillo has obliviously stepped into so many cars, unaware of its danger. Every time she gets into a new car, she risks her life. Using these various devices such as structure, metaphors, and allusion, Perillo invites her reader to acknowledge and ponder the true meaning of danger and its impact on life.
Esperanza, the main character of The House on Mango Street, a novella written by Sandra Cisneros in 1984, has always felt like she didn’t belong. Esperanza sought a different life than the ones that people around her were living. She wanted to be in control of her life, and not be taken away by men as so many others around her had. Esperanza wanted to move away from Mango Street and find the house, and life she had always looked for. Through the use of repetition, Sandra Cisneros conveys a sense of not belonging, that can make a person strong enough to aspire to a better life.
Isobelle Carmody’s short story, “The Pumpkin-Eater”, portrays a middle eastern woman, a lone rider and former princess in the days of the crusades, retelling her story of her childhood living in a tower with her mother and maid, leaving to accept the engagement proposed by a prince, only to discover that in this, she is to be exchanging one prison for another. The discovery of self-reliance is seen through her leaving to take care of herself, to not be locked up and kept hidden away to preserve beauty. Foreshadowing of her journey is utilised through the drawing of tarot cards to set the story in motion. “I remember drawing the card of long journeying the year my firstblood came. The bird of my heart, caged for so long, beat its wings against my chest” The mention of her “firstblood”, a significant component to becoming a woman, as a normally hidden bodily function attends to the process of maturity, and the metaphor of the caged bird of her heart symbolises the anticipation and excitement to escape her tower prison to find love of her own. The drawing of this particular card acts as a catalyst to the protagonist’s story, providing reason for her to leave and start anew. The world the protagonist is confined to the tower, with her mother and her maid warning her from love, therefore, forming her basis of rebellion, challenging the views of the world seen through other’s eyes. “ ‘Was it love then?’
Modern society believes in the difficult yet essential nature of coming of age. Adolescents must face difficult obstacles in life, whether it be familial, academic, or fiscal obstacles. In the House on Mango Street, Esperanza longs for a life where she will no longer be chained to Mango Street and aspires to escape. As Esperanza grows up on Mango Street, she witnesses the effect of poverty, violence, and loss of dreams on her friends and family, leading her to feel confused and broken, clinging to the dream of leaving Mango Street. Cisneros uses a reflective tone to argue that a change in one’s identity is inevitable, but ultimately for the worst.
“Car Crash While Hitchhiking” and “Work” both follow the stream of consciousness of the narrator, which shows the influence of drug on people’s mentality. Both stories are confusing with the narrator moving around the time and place; it seems as if the narrator is talking about whatever comes into his mind without specific plot or message. In “Car Crash While Hitchhiking,” the narrator talks about the family that picked him up, and suddenly switches to the story of him and salesman by saying “…But before any of this, that afternoon, the salesman and I …” (4) In “Work,” narrator says “And then came one of those moments,” (52) when he recalls a memory about his wife while talking about Wayne. Both stories shift abruptly without proper conjunction. In everyday lives, people think of numerous things. However, what they say are limited, as they talk consistently with a specific purpose, considering factors such as time, place, and appropriateness before they speak. On the other ha...
She was not a master of style, plot development or characterization, but the intensity of feeling and aspiration are evident in her narratives that overrides her imperfections. Sandra Cisneros’ The House on Mango Street, written in 1984, and Anzia Yezierska’s Bread Givers, published in 1925, are both aimed at adolescent and adult audiences that deal with deeply disturbing themes about serious social conditions and their effects on children as adults. Both books are told in the first person; both narrators are young girls living in destitute neighborhoods; and both young girls witness the harsh realities of life for those who are poor, abused, and hopeless. Although the narrators face these overwhelming obstacles, they manage to survive their tough environments with their wits and strength remaining intact. Esperanza, a Chicano with three sisters and one brother, has had a dream of having her own things since she was ten years old.
Symbolism is the key to understanding Sandra Cisneros’ novel, “The House on Mango Street”. By unraveling the symbolism, the reader truly exposes the role of not only Latina women but women of any background. Esperanza, a girl from a Mexican background living in Chicago, writes down what she witnesses while growing up. As a result of her sheltered upbringing, Esperanza hardly comprehends the actions that take place around her, but what she did understand she wrote in her journal. Cisneros used this technique of the point of view of a child, to her advantage by giving the readers enough information of what is taking place on Mango Street so that they can gather the pieces of the puzzle a get the big picture.
Literature of the Americas has many stories and they all have comparisons, but they also have many differences. “Day of the Butterfly” by Alice Monro and “Crossroads: A Sad Vaudeville” by Carlos Solórzano have characters that share some traits and ways, but like all characters they have things that are different. The old woman from “A Sad Vaudeville” is a dynamic protagonist who finds herself meeting the perfect man for her, but has a dilemma when he is in denial because she is not the ideal girl of his dreams; she’s old. Myra from “Day of the Butterfly” is a static antagonist who does not have the same care free attitude as most of the children her own age. She is rather shy and does not fit in or socialize much with people her own age.
As she sat at her work table she, “was drawn away,” by the screeching sirens outside her window. In this example, the author uses the word “was” as an indicator of her recollection of the events of that evening. The way they quickly grasped her attention reveals how focused she was on these specific occurrences surrounding her. We also notice how she is reflecting on the bad things that happen in society, yet we find ways to overcome them in order to continue to live our lives. In the following paragraphs, we see the judgment she has towards people who fail to consume themselves within the events happening around them. More specifically, we see her judgment towards the young man across the street who is so dedicatedly working on his table and in fact she wonders why he takes, “all those pains to make it beautiful?” She fails to understand his outlook on life by presenting us with a rhetorical question that she herself could not answer in the very moment. She fails to understand why and how a person can cherish life so deeply when his surroundings consist of nothing but chaos. As we continue to read through her essay we come across a moment that changes her perspective on the idea that people can quite possibly live a life that is consumed in something they love rather than the fear of
Women’s Escape into Misery Women’s need for male support and their husband’s constant degradation of them was a recurring theme in the book House on Mango Street. Many of Esperanza’s stories were about women’s dreams of marrying, the perfect husband and having the perfect family and home. Sally, Rafaela, and Minerva are women who gave me the impression of [damsel’s in distress].CLICHÉ, it’s ok though. It’s relevant They wished for a man to sweep them of their feet and rescue them from their present misery. These characters are inspiring and strong but they are unable to escape the repression of the surrounding environment. *Cisneros presents a rigid world in which they lived in, and left them no other hope but to get married. Esperanza, however, is a very tough girl who knows what she wants. She will keep dreaming and striving until she gets it. She says, "I am too strong for her [Mango Street] to keep me here" (110). Esperanza learned from all of these women that she was not going to be tied down. She said, "I have decided not to grow up tame like the others who lay their necks on the threshold waiting for the ball and chain" (88). **Especially after seeing that Sally was suffering so much. Sally’s father is making her want to leave home by beating her. Sally "said her mother rubs lard on the places were it hurts" (93). There is not enough lard in the world to be able to cure the pain within Sally’s heart. Sally, "met a marshmallow salesman at a school bazaar" (101). Pretty soon " sally got married, she has her house now, her pillowcases and her plates" (101). Her marriage seems to free her from her father, but in reality she has now stepped into a world of misery. This was supposed to help her heal; " she says she is in love, but I think she did it to escape." (101). Unlike the other women Sally has no escape, no poetry, not even papaya coconut juice, not to mention, " he does not let her look out the window" (102). That is why "she sits at home because she is afraid to go outside without his permission."(102). Rafaela’s situation also involves imprisonment in her own home. Cisneros introduced us to Rafaela, a young beautiful girl whose expectations from marriage were to obtain a sweet home to live in. Instead...
...s Antonio, and she teaches him to look beyond what he first sees. She shows that everything connects, that even his parents’ different live styles rely on each other. Her recognition of this connection “profoundly changes a boy who has lived in fear of his environment” (Novoa 4). This lesson is repeated throughout the novel.
Many of the short stories within the collection The Things They Carried, written by Tim O’Brien, can be compared and contrasted in regards to elements including theme, characters, and technique. In “Sweetheart of the Song Tra Bong,” the character Mary Anne Bell appears to be apparently similar to the character Martha from “The Things They Carried,” in that both are young women who have relations with a soldier in the war. Though upon further analysis of Mary Anne, it appears she is far from alike to Martha. Rather, an unexpected parallel can be drawn between the characters Mary Anne and Elroy Berdahl, from “On the Rainy River,” in that both appear to be epitomes of masculinity. The peculiar connection between these characters developed by Tim O’Brien shines a light on the ambiguity of conventional gender roles of men and women.
When one faces a traumatic experience, his or true nature often reveals itself. Trauma forces its sufferers to cope. How one copes is directly linked to his or her personality. Some will push any painful feelings away, while others will hold onto pleasant memories. Both of these coping mechanisms can be observed in Katherine Anne Porter’s “The Jilting of Granny Weatherall” and William Faulkner’s “A Rose for Emily.” In “The Jilting of Granny Weatherall” and “A Rose for Emily,” the two protagonists’ prominent characteristics distinctly affect the way they cope with trauma and influence the short stories’ outcomes.To begin, Granny Weatherall is a prideful control freak. In contrast, Miss Emily is delusional and stubborn.
Welty, Eudora. “A Worn Path.” Literature: An Introduction to Reading and Writing. Ed. Edgar V. Roberts. 4th Compact Ed. Upper Saddle River: Prentice Hall, 2008, pp. 95-100.
The novel Erasure by Percival Everett explores the development of writer Monk Ellison as well as the frame tale Monk sells. After writing My Pafology, Monk continues to struggle with his sister’s death, his mother’s deteriorating health, and the growing sense that he has “sold out”. Monk writes about story ideas, his feelings on art form, and flashbacks to when his father was alive or when he was an adolescent. Through these vignettes of Monk’s thoughts, separated by three ominous X’s, we find not only the extreme intelligence that he has, but also the sadness and isolation his “uniqueness” has brought him. Specifically, he ruins his relationship with Marilyn by criticizing how the book We’s Lives in da Ghetto was on her nightstand, the book
In “ A Rose for Emily”, William Faulkner tells the complex tale of a woman who is battered by time and unable to move through life after the loss of each significant male figure in her life. Unlike Disney Stories, there is no prince charming to rescue fallen princess, and her assumed misery becomes the subject of everyone in the town of Jefferson, Mississippi. As the townspeople gossip about her and develop various scenarios to account for her behaviors and the unknown details of her life, Emily Grierson serves as a scapegoat for the lower classes to validate their lives. In telling this story, Faulkner decides to take an unusual approach; he utilizes a narrator to convey the details of a first-person tale, by examining chronology, the role of the narrator and the interpretations of “A Rose for Emily”, it can be seen that this story is impossible to tell without a narrator.