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Poverty in the grapes of wrath
Racism in the grapes of wrath
Poverty in the grapes of wrath
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Don is ignorant. However, he is not a horrible person. His opinions of those who are different than him is a reflection of the stereotypical white male- fearful of the other. This can be seen when Don asks Ruth if she was worried about leaving her daughter, Althea, with a Mestizo man. He is surprised when Ruth answers no, before asking if Althea's father would mind having a mixed grandchild. When Ruth responds that she is not married, Don asks her why not. This shows that Don believes himself to hold women to the same standard that he holds men; however, he says things such as "The damn women haven't complained once, you understand. Not a peep, not a quaver, no personal manifestations whatever. They're like something out of a manual.". This
Don's first controversial television interview came after the 1986/87 World Junior Championship game, in which Canada and the Soviets had an unbelievable brawl. Don condoned the on-ice violence, and that it what he believes in to this very day. Now it is almost as though every Saturday night, Don has something new and controversial to say. It is for this reason that large numbers of people tune in for the first intermission to see Coach's Corner. Don has been very open with his dislike for European hockey players, especially Russian's. Don is the owner of the Mississauga Ice Dogs of the OHL, and he does not have one European player on the team. Don has also been very open with regards to fighting in hockey. He has stated time and time again that fighting is part of hockey, and for this he has been criticized greatly. This is an example of one of Don's many great qualities.
In two differing stories of departure, The Grapes of Wrath by John Steinbeck and The Road by Cormac McCarthy, Steinbeck’s standard for a writer is met by the raw human emotions exhibited in the main characters’ success and defeat.
Both Smithers and Mitty have low opinions of themselves and permit others to push them around. Smithers shows his feelings of inferiority when he readily admits, “I’m what you might call a small man and in a small way of business”(42). He acknowledges his low opinion of his work of selling relish when he says, “ . . . it is quite easy to push . . . I wouldn’t have gotten the job if it weren’t”(42). Smithers concedes that Mr. Linley is superior when Smithers agrees to sleep in the hall to be out of Linley’s way and to do the leg work to get the clues so that Linley can solve the murder. Walter Mitty exposes his feelings of inadequacy as he remembers bungling the removal of chains from his tires and having to pay a mechanic to correct his mistake. He is totally managed by his wife which is proven when she orders him to buy overshoes, and when he protests, she continues to put him down by saying, “ ‘We’ve been through that . . . You’re not a young man any longer’”(273). Mitty further demonstrates his inability to stand up for himself when he tolerates being given orders ...
...When Clare talks to the maid and cook, Irene feels this is “an exasperating childlike lack of perception” because you are not supposed to be friends or associate with servants. She wants to feel superior to the help she has hired, even though they claim the same racial identity. Irene, being only half white lives in a community where everyone identifies as black, however she desperately wants the white half of her to hold some sort of weight in her life. Although she identifies as black, Irene’s actions display nothing but her wanting to assimilate into white culture. She tries to fuse both races together in an attempt to attain some sort of racial identity, but fails to do so. Ironically, throughout the whole book, Irene tries her best to stay loyal to one race, but the actions she takes constantly clashes with the identity she claims in her black community.
Curley’s wife is a complex, main character in John Steinbeck’s novella, “Of Mice and Men”. She is introduced as an insignificant secondary character, but evidently posses the importance of causing the end of the novella. Despite the weight of her role, her value is hindered because of the culture towards women in the 1930s. Steinbeck uses imagery, foreshadowing, and metaphors to show loneliness analyzed through a Feminist Lens.
Southern society promoted a more sinister version of this hierarchy which deems the older, whiter, and more pious worthy of the most power. Richard, an impudent young boy in need of religious convincing, has the least amount of power according to a combination of the two ideals. Richard reflects on this in the midst of his most intense qualms with religion: “Wherever I found religion in my life, I found strife, the attempt of one individual or group to rule another in the name of God. The naked will to power seemed always to walk in the wake of a hymn” (136). Numerous times throughout the story, his family tries to mollify Richard’s impudence towards obedience and make him thoroughly Christian by either using their own power to enforce their argument or by putting him into a position of powerlessness. His mother forces him to be baptized to maintain public pride; Granny tries to use Richard’s peers to persuade him to commit to the church; Addie tries to reassert her dominance over Richard and therefore his irreligiousness in the schoolhouse; and Tom beats him in an effort to break his spirit. Richard’s powerlessness emerges most lucidly when he is in a religious predicament or being punished, and these two events often occur simultaneously. When Addie beats him for lying during the walnut incident, he said, “I felt the equal of an adult [because] I knew that I had been beaten for a reason that was not right” (107). In this instance, he stands up for himself and realizes, for the first time, that there is no correlation between age and wisdom. In seeing himself as an adult, he recognizes that he sees his ethical opinion matters as much, if not more so, than his Aunt’s. Richard sees beyond the absolutes of childhood innocence and age-equivalent power, both evident the Christian church, as they render him increasingly silent and
Bigger often finds himself lashing out as a way to handle his own fear. He is afraid of not being able to help his family enough and so treats them harshly, holding “toward them an attitude of iron reserve” (10). He is afraid of holding up Blum, a white man, and so projects his own fear onto Gus. He berates him for it, calling him “‘yellow’” when he hesitates to take the job (26). Bigger has been so psychologically beat down in his own community and trained to believe that he is a lesser person that he even feels the need to get ahead amongst his own friends, fighting Gus to “feel the equal” of him (41). Yet his anger still translates most directly to the white people whom he blames for it. He describes the deep and "inarticulate hate" he feels toward Jan and Mary but cannot place the immediate cause of it. This is the partial and subconscious reason that Bigger kills Mary (67). For the first time, Bigger feels a semblance of control over his situation and over the white world that Mary represents in that moment. However, Bigger also knows very consciously that if he is discovered in her room he will be accused of rape just for being black, and so he knows his only option is to make sure he isn’t discovered. In this way, though it was not entirely on purpose, the violent act of suffocating Mary comes about as a result of Bigger’s
In the play ‘Much ado about nothing’, Don John is a puppet whose strings are pulled by various characters and the society in which he lives. Although he does monkey businesses like every character in the play, he is the one who gets harshly judged and punished for it. His villainy is not an innate trait but rather, he chooses it to distinguish him from others.
He is stuck in between life and death when his Spirit Guardian comes and takes him on a journey. The point of the journey is to remind Don what his roots are, and to teach him what being a Hopi is. Don goes home to “eat some good Hopi food,” but his mother and father seem to have forgotten him, and Don notices that “they don’t care,” (122). This symbolizes that Don has forgotten about his family. He rarely spends time with them and was always at school. Even during the summer, he spends time working there. Although Don had learned that family is close in Hopi tribes, he seemed to have left his family in the past, so that he could have an educated future. Later on the journey, Don meets a group of people who tell him that “lots of people love him,” and that he was “being punished,” so that he “would understand,” that he had forgotten what it meant to be a Hopi (127). The second lesson Don learns is about tradition. The same group mentioned above tells him that he has “been careless,” and does not “believe in the Skeleton House anymore,” which was one the major religious symbols in his childhood (125). They want “to teach him a lesson on life,” because he had forgotten the ways of the Hopi (125). They show him the life cycle of the Two Hearts results in a beetle, and the give him the chance to run away from Massau’u to live again (126). They wanted him to “return to them (his family),” because throughout his
For instance, the grandmother continuously mentions the word “good man” as a connotation to represent someone with the same beliefs as her. She discloses to the Misfit that she “knows [he] [is] a good man [and] [he] [does] [not] look a bit like [he] [has] common blood” (“AGMIHTF” 7). The grandmother does not only view herself to be a good Christian lady, she also believes in the Southern pure blood concept in which people are considered “good” based on their ancestry. Alternatively, the conceited Hulga witnesses situational irony through her encounter with the fraudulent Manley Pointer and his deceitful plan. Before their encounter, Hulga “had imagined that she seduced him” (“GCP” 284) when in reality she is the one that fell victim to his cynical mind. She is blinded by her own egotistical mindset that it takes this insidious bible sales man to reveal her true naïve, ignorant, and inferior demeanor. Moreover, O’Connor uses symbolism and irony to convey to Mrs. Turpin’s that she is not superior to others simply based on the privileges she is born with. To Mrs. Turpin’s dismay, Mary Grace ironically “single[s] out [and calls her a warthog from hell], though there [is] trash in the room to whom it might justly been applied” (“GCP” 24). The conceited Ruby Turpin is confronted by her hypocrisy and evil by Mary Grace who represents a message from God to
When analyzing these two characters you tend to see that Don Corleone has had strong morals throughout his life, morals that he will stick to.
When being an illegitimate child like Don John, one begins to think of themselves the way people treat them. Therefore, when Don John acts in his villainous ways, one blame it on Don John or rather the people who made him feel that he is less than human. Don John believes that his only way to be acknowledged is to act in a way no one will forget, therefore he acts as the villain in Much Ado About Nothing, because that what society made him out to be.
On page 43, here I feel that Lenny tries to bring some humour into the
Donne’s point of view comes after sex and he discusses the love between him and his lover and puts lust in his past.
The two most obvious contradictory character traits of Donald, generosity and thoughtlessness, are the cause of much tension in the story.