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Narrator in the poisonwood bible
American literature and culture
American literature and culture
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Since its 1998 publication, The Poisonwood Bible has primarily been seen as a statement against American exceptionalism. Upon analyzing the novel it is obvious that subjects such as imperialism, religion, the burden of guilt, and the use of, or lack thereof, voices, contribute to multiple points and themes found in the novel. In Susan Strehle’s current article on American exceptionalism explicitly relating to The Poisonwood Bible, she manipulates the topics and themes found in the novel to support her opinion. Unlike Strehle’s one-sided view, multiple themes and motifs in The Poisonwood Bible combine to form a complex and involved plot, further developed by the use of symbolism and both internal and external conflicts of the characters.
In her article, “Chosen People: American Exceptionalism in Kingsolver’s The Poisonwood Bible,” Strehle maintains, “The Poisonwood Bible shows the historical impact of U.S. intervention in the Congo largely through the retrospective narration of Orleanna” (Strehle 415). In other words, Strehle believes that Orleanna’s voice is symbolic of the voice of the Congo. Much like the Congolese inhabitants Orleanna has no control of her own destiny, being such a free spirit in her younger days; this limited control manifests itself within internal conflicts. After marrying Nathan, a Southern Baptist Minister, at such an early age she loses her voice and power of choice. In this same way the reader sees that the Congo is ultimately powerless against its conquers, as the country is forced to shape and define itself by the new laws and restrictions that are in place. In Orleanna’s opening narrative she states, “Maybe I'll even confess the truth, that I rode in with the horsemen and beheld the apocalypse, ...
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...contradictions within Strehle’s article and the novel leave gaps that must be filled in. Readers can effectively say that American exceptionalism is a dominant theme in The Poisonwood Bible, however themes such as guilt, imperialism, homeland comfort, and family issues lead the reader to believe that the novel cannot be summed up in the narrow topic of American exceptionalism as Strehle suggests.
Works Cited
"Altruism." Merriam-Webster Online Dictionary. 2008. Merriam-Webster Online.
27. Mar. 2011.
Kingsolver, Barbara. The Poisonwood Bible: a Novel. New York: Harper Flamingo, 1998. 18+. Print.
Strehle, Susan. "Chosen People: American Exceptionalism in Kingsolver's The Poisonwood Bible." Critique: Studies in Contemporary Fiction 49.4 (2008): 413-428. MLA International Bibliography. EBSCO. Web. 27 Mar. 2011.
The change in narrators in The Poisonwood Bible by Barbara Kingsolver conveys the theme of western arrogance through naiveté, malapropisms, and the change in mentality found in the various narrations of the characters.
The Poisonwood Bible is the story of an evangelical Baptist preacher named Nathan Price who uproots his wife and four daughters from the modern culture of America and moves them to the Kilanga Village in the Belgian Congo as missionaries. He is bullheaded and obstinate in all his ways. His approach is inflexible, unsympathetic, and unaccepting of the culture and customs of the people of Kilanga. Nathan Price exemplifies the words of Romans 2:4 that says, “Or do you despise the riches of His goodness, forbearance, and longsuffering, not knowing the goodness of God leads you to repentance?” He did not share the goodness of God, but sought to spread his uncompromising pious agenda. Instead of leading people to God he turned them away.
The Poisonwood Bible by Barbara Kingsolver is a work of historical fiction. The novel is based the Congo in 1959, while it was still under Belgian control. Nathan Price is a southern Baptist preacher from Bethlehem, Georgia who uproots his family, consisting of wife and three daughters, and takes them on a mission trip to Kilanga. Orleanna Price, Nathan’s wife, narrates the beginning of each book within the novel. Rachel, Leah, Adah, and Ruth May rotate the narration throughout each book. Rachel is the oldest Price child, and high materialistic. She refuses to accept the ways of the Congo, believing that she is better than everyone simply because of where she had her start in life. Leah is the next oldest, and she is a self-proclaimed tomboy. She likes to climb trees and practically worships at the feet of her father. Adah is the handicapped one, with a physical deformity. However, this deformity does not limit her, instead making her the smartest of the Price girls. Ruth May is the baby of the family, and has not yet lost the childhood innocence that she views the world with. Barbara Kingsolver uses a very interesting narrative style in the novel, switching between four narrators between the ages of five and fifteen, who are all female. Kingsolver's use of multiple narrative perspectives serve to amplify life in the Congo during the early 1960s through characterization, religion, and politics.
There are many widely recognized characteristics that are apart of Southern literature that are present in Flannery O’Connor’s novel Wise Blood. Among the most familiar characteristics of Southern literature is a writing style that is based upon imagery. Another common characteristic which can be drawn from Southern literature is the struggle to understand the difference between what is real human experience as opposed to what is believed to be real, as well as the human/God relationship. Flannery O’Connor’s use of consistent imagery reinforces one of the major themes of Wise Blood – that man seems to only scratch the surface of things, and not see deeper into them.
This short passage introduces the first of many paradoxes and contradictions that dominate the Southern way of life that Smith depicts in Killers of the Dream. It is fitting that Smith (and her contemporaries) should remember their first lesson about God as a terrifying self-contradiction, because this theme perpetuates itself in the Southern view of religion. It lays the framework for a theological doctrine that banishes a person to the flames of hell for taking a sip of alcohol, yet turns its head as human beings banish others to the ghettos and old slave quarters for having dark skin.
McQuade, Donald, ed. The Harper American Literature. Harper & Row Publishers: New York, 1987, pp. 1308-1311. This paper is the property of NetEssays.Net Copyright © 1999-2002
Smith, Karen R. “Resurrection, Uncle Tom's Cabin” and the Reader in Crisis, Penn State University Press, 1996, Accessed April 23, 2012,
One problem with readings which stress the salvific function of the deaths of Tom and Little Eva is their failure to account for the novel's self-conscious acknowledgment of the social forces which constantly challenge the brand of Christianity which it advocates. The Christian message of Uncle Tom's Cabin is ultimately paradoxical. On the one hand, the examples of Tom and Little Eva demonstrate ...
Baym, Nina, and Robert S. Levine. The Norton Anthology of American Literature. New York London: W. W. Norton & Company, 2012. Print.
Perkins George, Barbara. The American Tradition in Literature, 12th ed. New York: McGraw Hill, 2009. Print
Dickinson's We Grow Accustomed to the Dark explains how people need to take steps further into the unknown to get somewhere in life. In The Poisonwood Bible, the Price family takes steps into the unknown by living in Kilanga, and learning the traditions and ways of the natives. They not only modify their entire lives after moving to Kilanga, they also change their religious views after realizing that what they were set out to do wasn't right. These two works go hand-in-hand with one another, and really combine to resemble the true ways to deal with the
The above quote by Ralph Ellison, author of The Invisible Man, is a good starting point for an analysis on the characterization within Harriet Beecher Stowe's Uncle Tom's Cabin. For many modern critics and readers alike, both black and white, harshly criticize the author for her stereotypical depiction of a black man as only being noble if he possesses a "superhuman capacity for love, kindliness and forgiveness," like her most noble and humane character in the work, Uncle Tom. However, a deeper analysis of character will demonstrate that to Stowe's Christian framework, the sacrifices and nobility of Uncle Tom are not ones of defeat and subjugation, rather they are his only option from a moral point of view-and Tom is of the highest moral character possible, some would say a level that is unrealistic in the face of his real abuses. This analysis will show how Stowe uses such characterizations to depict the horrendous nature of slavery in an attempt to change public opinion regarding the once sacredly held American institution. A conclusion will discuss how my own thinking has been affected by the work.
There are a lot of ways that writers and authors explain and get there message to the reader, ways where they connect and make the reader picture what they wrote in their minds. The way these authors write their work for the reader can really change the aspect of how the reader thinks and looks at the image in their heads. One of the ways that these authors and writers are able to give the reader what it looks like and the feelings that are there is through figurative language. The figurative language gives effect and meaning to what the writer's work has said. In this aspect and essay I will be focusing on documents from Early American Literature, specifically Dekanawida's Iroquois Constitution and Jonathan Edwards' Sermon Sinners "In the
Belasco, Susan, and Linck Johnson, eds. The Bedford Anthology of American Literature. Vol. 1, 2nd Ed., Boston: Bedford/St. Martin's, 2014. 1190-1203. Print.
Some may argue that the way Irving portrays faith and predestination through Owen is outlandish. The situations the characters find themselves in may seem unbelievable to life in the twenty-first century. However, it is valid to say that the “weirdly ridiculous yet realistic” (Booklist) scenes of the novel grab the readers’ attention and immerse them deeper into the friendship they’ve grown to love. For example, Owen, swaddled as the baby Jesus in the Wiggins Christmas pageant, is sure to leave readers smiling. Likewise, Owen’s heroic death with his best friend by his side pulls at the heart strings of the audience, leaving them in tears. The unconventional scenes of Irving’s masterpiece exemplifies the amazing bond of the characters and leaves the readers engaged in amusement and