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A few ways that historical events have influenced literature
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Jeffrey Eugenides’ Middlesex dives into the history and development of a person born in the United States as neither a girl nor a boy. The story is told from the perspective of this person who, at certain times in their life, goes by the name of Cal Stephanides and at others, goes by the name of Caliope Stephanides. The novel involves an underlying tendency of the family of the main character to seek out the stereotypical American Dream; life, liberty, and the pursuit of happiness. As the family struggles to find this dream, Cal struggles to find himself. Cal goes through a timeline of his life, not in chronological order, but in circular motion, explaining the reasons for his deformation, the history behind it, and all of his family who were …show more content…
Lefty and Desdemona, grandparents to Cal, follow the typical immigrant story by fleeing their own country during a historical Turkish massacre and arriving to a historical Ellis Island. They then migrate to Detroit, Michigan, where Lefty begins working at the historical Ford Motor Company, and Eugenides explores the wonders of the historical assembly line. Desdemona is a witness to the historical founding of the Nation of Islam. Finally, Cal’s brother becomes a hippie and his father becomes a Greek Nixon after watching the historical Watergate hearings. Lene Renneflott from the University of Oslo points out in her essay Power and Identity in Jeffrey Eugenides’ Middlesex that Cal relates himself and his internal immigration with the immigration and journey towards Americanism of his grandparents when he says “My grandparents had fled their home because of a war. Now, some fifty-two years later, I was fleeing myself. I felt that I was saving myself just as definitively. I was fleeing without much money in my pocket and under the alias of my new gender. A ship didn’t carry me across the ocean; instead a series of cars conveyed me across a continent. I was becoming a new person, too, just like Lefty and Desdemona, and I didn’t know what would happen to me in this new world to which I’d come,” (Eugenides
Meyer, Michael. The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 2189.
Benson, Josef. "An ironic contention: the kid's heroic failure to rebel against the judge's hypermasculinity in Blood Meridian." Southwestern American Literature 36.3 (2011): 70+. Literature Resource Center. Web. 8 May 2014.
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
It was on the moral side, and in my own person, that I learned to recognize the thorough and primitive duality of man; I saw that, of the two natures that contended in the field of my consciousness, even if I could rightly be said to be either, it was only because I was radically both [. . .] If each, I told myself, could be but housed in separate identities, life would be relieved of all that was unbearable; the unjust might go his way, delivered from the aspirations and remorse of his more upright twin; and the just could walk steadfastly and securely on his upward path, doing the good things in which he found his pleasure, and no longer exposed to disgrace and penitence by the hands of this extraneous evil.
Middlesex, by Jeffrey Eugenides, inner struggles are paralleled with each setting. Taking place in the twentieth century each setting plays a significant role in explaining a theme in the novel. Fleeing Greece in a time of war and entering Detroit Michigan as immigrants parallel later events to the next generation of kin fleeing Grosse Pointe Michigan to San Francisco. These settings compliment a major theme of the novel, society has always believed to be missing something in their life and attempted to fill the missing piece.
This connection and kinship is also seen when the Joad’s and the Wilson’s meet, the two different biological families quickly become one new family and collectively share each other’s hardships and commitments to survival. This new family is able to form because both the Joad’ and the Wilson’s are able to rely on this kinship that is needed for both families to survive in this new reality. Another example of how the Joad’s are able to shape their family into one that is based on kinship is inside the unions that Tom Joad and Jim Casy, a former preacher, set out to create to protect the people from the wealthy and the government. The lives of the migrants’ rest on the unions ability to look out for one another in the face of danger.
Stillinger, Jack, Deidre Lynch, Stephen Greenblatt, and M H. Abrams. The Norton Anthology of English Literature: Volume D. New York, N.Y: W.W. Norton & Co, 2006. Print.
Greenblatt, Stephen, and M. H. Abrams. The Norton Anthology of English Literature. 9th ed. Vol. A. New York: W.W. Norton, 2012. Print
Through its mockery of the Grosse Pointe community’s response to the suicides, The Virgin Suicides by Jeffrey Eugenides exposes civilization’s destructive and futile systematic denial. The transformation of the Lisbon house subsequent to the final suicides illustrates civilization’s discomfort with facing reality. Before the Lisbons could move out, they commissioned Mr. Hedlie to clean their home. Afterwards, the new homeowners made more of an effort to decontaminate the house. “A team of men in white overalls and caps sandblasted the house, then over the next two weeks sprayed it with a thick white paste…When they finished, the Lisbon house was transformed into a giant wedding cake dripping frosting, but it took less than a year for chunks
“Nothing is so painful to the human mind as a great and sudden change.” (Shelley 162)
Lauter, Paul. The Heath anthology of American literature. 6th ed. Boston, MA: Houghton Mifflin Harcourt Pub. Co., 2009. Print.
Rodriguez, Francisco Collado. "Back to myth and ethical compromise : García Márquez’s traces on Jeffrey Eugenides’s the virgin suicides." Literature 27.2 (2005): 27-40. Academia. Web. 26 Feb. 2014. .
This enables Leslie to address, divulge and consider each of the points she mentions in the introduction, whilst keeping the structure of the essay neat, in spite of the vast amount of sources that she uses. Her sources are from a broad range of theorists, feminists, critics, philosophers, and writers, which enables her work to be well informed. The range of sources also is essential in depicting Cavendish’s own engagement in a large range of texts, as her interest was peaked in philosophy, science, and literature. Therefore, it is key to include perspectives from notable alumni, which correlate to the inspiration they provided in the Blazing World. In a stronger section of the essay, Leslie engages in an in-depth comparison of the Blazing World and the formal shared similarities to Shakespeare’s Tempest, providing clear examples from the text and comparing the mirroring plot points, which the two forms of literature share. Leslie introduces the essay with a forewarning, “each of the aspects of Cavendish’s Utopian project has been discussed before”, which ironically mirror’s Cavendish’s warning that precedes the opening of the Blazing World. Although the topic of Cavendish and many of the aspects of Utopia have been discussed before, by breaking Blazing World in three of the dominant discourse modes, Leslie explores many facets of Cavendish’s work and provides a unique insight into Gender, Genre and the Utopian Body in the Blazing
The setting for this novel was a constantly shifting one. Taking place during what seems to be the Late Industrial Revolution and the high of the British Empire, the era is portrayed amongst influential Englishmen, the value of the pound, the presence of steamers, railroads, ferries, and a European globe.
Myra, who is dying of illness, escapes the confinement of her stuffy, dark apartment. She refuses to succumb to death in an insubordinate manner. By leaving the apartment and embracing open space, Myra rejects the societal pressure to be a kept woman. Myra did not want to die “like this, alone with [her] mortal enemy” (Cather, 85). Myra wanted to recapture the independence she sacrificed when eloping with Oswald. In leaving the apartment, Myra simultaneously conveys her disapproval for the meager lifestyle that her husband provides for her and the impetus that a woman needs a man to provide for her at all. Myra chose to die alone in an open space – away from the confinement of the hotel walls that served as reminders of her poverty and the marriage that stripped her of wealth and status. She wished to be “cremated and her ashes buried ‘in some lonely unfrequented place in the mountains, or in the sea” (Cather, 83). She wished to be alone once she died, she wanted freedom from quarantining walls and the institution of marriage that had deprived her of affluence and happiness. Myra died “wrapped in her blankets, leaning against the cedar trunk, facing the sea…the ebony crucifix in her hands” (Cather, 82). She died on her own terms, unconstrained by a male, and unbounded by space that symbolized her socioeconomic standing. The setting she died in was the complete opposite of the space she had lived in with Oswald: It was free space amid open air. She reverted back to the religious views of her youth, symbolizing her desire to recant her ‘sin’ of leaving her uncle for Oswald, and thus abandoning her wealth. “In religion , desire was fulfillment, it was the seeking itself that rewarded”( Cather, 77), it was not the “object of the quest that brought satisfaction” (Cather, 77). Therefore, Myra ends back where she began; she dies holding onto