Helena Maria Viramontes’ “The Moths” I was initially drawn to Helena Maria Viramontes’ story “The Moths” due to the striking similarities between the narrator’s experience and my own experience with being thrust into the role of caretaker for a dying loved one. By tracking a young girl’s transformation through dealings with subjugation (by her culture), freedom (through her grandmother), death (of her grandmother) and grief, Viramontes successfully paints an endearing tale of change. “The Moths” emphasizes the narrator’s oppression by her household’s religion and by the social structures associated with it, juxtaposed by the freedom for development available within the native curandera custom taught by her grandmother. Through vivid yet subtle symbols, the author weaves a complex web with which to showcase the narrator's oppressive upbringing. Two literary critics whose methods/theories allow us to better comprehend Viramontes message are Jonathan Culler and Stephen Greenblatt. Culler points out that we read literature differently than we read anything else. According to the intertextual theory of how people read literature, readers make assumptions (based on details) that they would not make in real life. During these leaps within which we transform facts into values/themes, the reader creates “supplementary meaning” to the text by unconsciously setting up tension, also called binary opposition. Culler describes this process in his statement “The process of thematic interpretation requires us to move from facts towards values, so we can develop each thematic complex, retaining the opposition between them” (294). Though supplementary meaning created within the text can take many forms, within V... ... middle of paper ... ...eedom was found and cultural boundaries were not shattered, simply battered, the narrator’s path was much preferable to that of her sisters (those who conformed to cultural boundaries). Through this story we can see how oppression in certain cultures changes individuals differently, creates tension between those who do not wish to be subjugated and those doing the subjugating, and we see the integral opposition between the path of Catholicism and that of curandismo. WORKS CITED: Contexts for Criticism. Ed. Donald Keesey. New York: McGraw Hill, 2003. ________________. Jonathan Culler. “Structuralism and Literature. 288-297 ________________. Stephen Greenblatt. “Culture.” 436-441 The Norton Anthology of Short Fiction. Ed. Cassel & Bausch. New York: W.W. Norton and Company, 2000. Helena Maria Viramontes. “The Moth’s” 870-874
In the Time of the Butterflies is a historical fiction novel by Julia Alvarez based on events that occurred during the rule of Trujillo in the Dominican Republic. This book shows the hardships the Mirabal Sisters had to go through while being part of an underground effort to overthrow the dictatorship of Trujillo. It also shows that ultimately, it was their courage that brought upon their own death. Alvarez wants us to understand anyone and everyone has the potential to be courageous.
In the Time of the Butterflies, by Julia Alvarez, takes place in the Dominican Republic during Trujillo’s control of the country. Dedé and Minerva are two extremely different Mirabal sisters, shown by how they respond to Trujillo taking over their country. Dedé and Minerva are only two of the sisters. There are four in total: Minerva, Dedé, Patria and María Teresa. The four sisters take turns throughout In the Time of the Butterflies telling their stories from the 1940s while living in the Dominican Republic. Manipulating her point of view and attitude, Julia Alvarez uses an impassioned style of writing to portray Minerva’s strong leadership and an explicit style of writing to portray Dedé’s willingness to compromise.
Mare Barrow, the red blooded protagonist goes through several trials and tribulations dealing with the segregation and morals. A recurring pattern that blew me away was the repetitive idea of anyone can betray anyone. At first I did not recognize this as a pattern, but as the book progressed, it became more and more evident. The symbolism of Mare’s earrings, one rhinestone for each of her brothers that have gone war, was a beautiful symbol for the love of her family. Comprehending several of the symbols as well as the patterns with memory brought the novel onto a whole new level for me and only increased my appreciation and adoration for the characters. After reading the introduction of How to Read Literature Like a Professor, I recognize the importance of symbols, patterns and memory, and I plan to apply these devices on works I read in the
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.
Helena Maria Veramontes writes her short story “The Moths” from the first person point of view, placing her fourteen year old protagonist female character as a guide through the process of spiritual re-birth. The girl begins the story with a description of the debt she owes her Abuelita—the only adult who has treated her with kindness and respect. She describes her Apa (Father) and Ama (Mother), along with two sisters as if they live in the same household, yet are born from two different worlds. Her father is abusive, her mother chooses to stay in the background and her sisters evoke a kind of femininity that she does not possess. The girl is angry at her masculine differences and strikes out at her sisters physically. Apa tries to make his daughter conform to his strict religious beliefs, which she refuses to do and her defiance evokes abuse. The girl’s Abuelita is dying and she immerses herself in caring for her, partly to repay a debt and partly out of the deep love she has for her. As her grandmother lay dying, she begins the process of letting go. The moth helps to portray a sense of spirituality, re-birth and becomes, finally, an incarnation of the grandmother. The theme of the story is spiritual growth is born from human suffering.
Misery, trauma, and isolation all have connections to the war time settings in “The Thing in the Forest.” In the short story, A.S. Byatt depicts elements captured from both fairy tale and horror genres in war times. During World War II, the two young girls Penny and Primrose endure the 1940s Blitz together but in different psychological ways. In their childhood, they learn how to use gas masks and carry their belongings in oversized suitcases. Both Penny and Primrose suffer psychologically effects by being isolated from their families’ before and after the war. Byatt depicts haunting effects in her short story by placing graphic details on the girls’ childhood experiences. Maria Margaronis, an author of a critical essay entitled “Where the Wild Things Are,” states that “Byatt’s tales of the supernatural depend on an almost hallucinatory precision for their haunting effects.” The hallucinatory details Byatt displays in her story have an almost unbelievable psychological reality for the girls. Penny and Primrose endure the psychological consequences and horrifying times during the Blitz along with the magical ideas they encounter as children. As adults they must return to the forest of their childhood and as individuals and take separate paths to confront the Thing, acknowledge its significance in their childhoods, and release themselves from the grip of the psychological trauma of war.
...lm of curanderismo can be misconstrued due to the ideas and images set upon by another culture. Many of the stereotypes that the author Avila mentions in her book, such as “a folkway” (p.4) and “the devil’s work” (p.5), are said to originate from the dominating culture that tried to paint these traditional practices in a bad light in order for the conquered people to practice the traditions of the dominating culture. An example of this can be drawn from the early attempts to push the dominance of the Catholic Church onto many of the natives, forcing them to assimilate and forget about their ancestral roots. Instead of this choice of either or, the idea of black or white, Elena and La Malinche reveal a choice of gray, one in which all of the choices are meshed together not in order to avoid one culture or the other, but to better and broaden their cultural horizons.
Alvarez, Julia. In The Time of the Butterflies. New York, NY: Penguin, 1994. Print Hardback. 31 Oct 2013 - 8 Dec 2013.
The pervasiveness of passive heroines in popular versions of fairytales and folklore has long afforded feminist critics a rich hunting ground to criticize the roles forced on women by patriarchal societies. In The House on Mango Street, Sandra Cisneros uses allusions to female heroines in children’s tales in many of the novel’s vignettes to create a portrait of expected feminine roles within a Latino patriarchal community and recasts the tales to “reveal the true-to-life consequences for women who are socialized to live their lives waiting for the happy ending” (Spencer 278). The women of Mango Street are shown to conform to the traditional roles espoused by quintessential fairy and folk tale heroines. However, their lives, as described through the voice of young Esperanza, are far from magical. Instead The House on Mango Street is suggestive of a social reality in which the women’s lives are constrained by gender roles and social mores. This research paper will endeavour to demonstrate how Esperanza’s coming-of-age transition to an empowered Chicana can only be achieved by rejectin...
It is clearly apparent that "The Moths" is not only the title, but also an important piece of the story which embodies its central theme. The moths become the catalyst that gives identity to the grandmother and her granddaughter, bringing revelation, security, rebirth, and the desire to be reunited. The grandmother, in becoming a moth herself, leaves some of herself behind with her grandchild.
Ruth, Elizabeth. “The Secret Life of Bees Traces the Growth of Lily’s Social Consciousness.” Coming of Age in Sue Monk Kidd’s The Secret Life of Bees. Ed. Dedria Bryfonski. Detroit: Greenhaven, 2013. 63-65. Print. Social Issues in Literature. Rpt. of “Secret Life of Bees.” The Globe and Mail 2 Mar. 2002: n. pag.
Kirszner, Laurie G., and Stephen R. Mandell. Literature: Reading, Reacting, Writing. Boston, MA: Wadsworth Cengage Learning, 2010. Print.
all the different ways a given text can be perceived, and how information can be took differently.
Anne Laetitia Barbauld’s “The Caterpillar” takes on an entirely different tone towards nature. The speaker takes on more of a scientific tone in describing the caterpillar, rather than a philosophical tone as the young boy had in “The Lamb.” She describes its physicality: “Noted the silver line that streaks thy back,/ the azure and the orange that divide thy velvet sides …” (lines 4-6). Barbauld captures an epiphanic moment, not an innocent or tender one. While looking at this caterpillar that has wrapped itself around her finger, she is forced to look at it and admire it and to notice it. The caterpillar makes her “feel and clearly recognize thine individual existence” (line 25). This personal connection saves its life because she now feels
Such views influence both L1 and L2 reading studies. Kern (2000) explains the importance of the social and personal interpretation of reading, he says that readers have the freedom to interpret texts in any way they like if they do not deviate from the so-called interpretive constraints. In terms of fo...