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The life you save may be your own meaning
“The book of the Grotesque”
The life you save may be your own
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In the text “The Life You Save May Be Your Own” by Flannery O’Connor, a common mood emerges from the somewhat humorous yet unfortunate work. A mood of grotesqueness among the characters and overall story as it presents itself, generally, making the audience feel quite uneasy and uncomfortable while reading it. Grotesque is a literary style, which comically and somewhat repulsively represents a distorted character or a series of twisted actions or thoughts that embody a character. The text creates a grotesque mood simply because the actions carried out by the characters resemble an extreme sense of despair and uneasiness, yet the way in which it is executed is somewhat funny and jocular to the reader, therefore creating an awkward overall mood …show more content…
and feeling. In the work “The Life You Save May Be Your Own” a general mood of grotesqueness often appears through character development, the growth of Mr. Shiftlet’s persona throughout the text, character action, the abnormally comical yet apprehensive behavior of Shiftet, and character dialogue, which includes different aspects of certain conversations between Shiftlet and the other surrounding characters. Tom Shiftlet, the shifty main character-conman, uses his duplicitous and grotesque characteristics to con his way into peoples’ lives, gains their most sincerest trust, then proceeds to abandon them and take all of their possessions.
He is made known to be a static character, because his first intention was solely to swindle the vulnerable characters Lucynell, mother, and Lucynell, daughter, and he takes that intention and puts it into play by the end of the text. Though Shiftlet is a static character, his character development is something to consider when discussing how his disposition makes him grotesque. In the beginning of the novel, the audience may believe that he is a character of good will, but through his development it is made apparent to the reader that he is nothing but a con. Upon his arrival, Ms. Crater explains she does not have enough to pay him Shiftlet for his services. In response, O’Conner says, ‘“Lady, there's some men that some things mean more to them than money.”” This indicting to the reader the man is willing to do the job for free because he is of good character. Despite this, a basis for a grotesque mood is laid down once the reader discovers, through his character development, that his only character is one of a
conman. Character action is an essential part to discovering a character’s past, how a character’s thought process works, and what the reason is for those particular actions of a character. Shiftlet’s actions provide the most concrete evidence that he is a grotesque character. The newly weds, Shiftlet and Lucynell, arrive at a diner midway through the text. Since Lucynell is unable to speak, Shiftlet presumes she may be getting hungry. Lucynell is handicap, and though she is really almost thirty years old, she appears to have the underdeveloped mind of a young child. The author says, ““Give it to her when she wakes up,” Mr. Shiftlet said. “I'll pay for it now”…and Mr. Shiftlet left. He was more depressed than ever as he drove on by himself” These actions create a grotesque mood for the audience because they feel uneasy and unsatisfied. Shiftlet leaves a vulnerable and defenseless handicapped person to fend for herself, which is horrific, but the way in which he does it is quite comical. Another significant way to achieve the mood of a story is through character conversations and dialogue. This informs the reader of the character’s mood and feelings, through word choice, expression of words and the place the character is in when they are speaking. The author says, “Tears began to seep sideways out of her eyes and run along the dirty creases in her face. “I ain't ever been parted with her for two days before,” she said. Mr. Shiftlet started the motor.” This conversation between Ms. Crater and Mr. Shiftlet reveal certain aspects about both of their personalities. Again, the grotesque Shiftlet humorously yet rudely starts the car to drive away, while his new wife’s mother grips onto the car crying in sadness to see her daughter go. His character really shows through his act at this point, his lack of sympathy and his eagerness to kick his plan into action. To conclude, the mood of grotesque is shown quite clearly continuously throughout the text by character development, character action and character dialogue. The reader is able to identify Shiftlet’s true intention through these literary techniques. His development from the inception of the work to the very end is crucial to understanding his grotesque features; along with his actions and conversations with other characters. Shiftlet’s comic and repulsive actions correlate with the audience’s overall mood directly, which is why the common mood of this text is grotesqueness.
When an author romanticizes a piece of literature, he or she has the power to convey any message he or she wishes to send to the reader. Authors can make even the most horrible actions, such as Dustan murdering ten savages in their sleep and justify it; somehow, from both the type of mood/tone set in this piece of literature, along with the powerful word choice he used, Whittier had the ability to actually turn the tables on to the victim (i.e. the ten “savages” who were murdered in their sleep). “A Mother’s Revenge” by John Greenleaf Whittier, is a prime example of how authors can romanticize any situation into how they want to convey their message.
Frankenstein is the story of an eccentric scientist whose masterful creation, a monster composed of sown together appendages of dead bodies, escapes and is now loose in the country. In Frankenstein, Mary Shelly’s diction enhances fear-provoking imagery in order to induce apprehension and suspense on the reader. Throughout this horrifying account, the reader is almost ‘told’ how to feel – generally a feeling of uneasiness or fright. The author’s diction makes the images throughout the story more vivid and dramatic, so dramatic that it can almost make you shudder.
I believe that Mr.Shiftlet, the character from the story “The Life You Save May Be Your Own” by Flannery O’Conner is an innocent, truthful, and honest man. Although there are many misconceptions towards Mr.Shiftlet, this is mainly due to his complex character. My first example is as Mr.Shiftlet enters the story. At first he appears to the reader as innocent and pitiful. He shows an emotion to the reader as him being portrayed as helpless, innocent, and as a cripple. Mr.Shiftlet later questions Mrs. Crater why she trusts him stating, “…you never have seen me before: how you know I ain’t lying?” again appealing to his innocent appearance. Mr.Shiftlet’s helpless and pitiful character shows those around him believing that he is trustworthy. Another example is that as he is first led off his religious course by the thought that the car would be his ultimate passage to spiritual freedom. He compares the spirit to a car starting “the spirit...is like an automobile: always on the move.” This supports Mr.Shiftlet complex character because all of Mr.Shiftlet’s actions were specifically put to help himself, or in other words, to obtain the vehicle, as another action of just simply using his resources. A complex character once again expressed in the text, yet this time through his guilt. In the story it relates that Mr.Shiftlet searches for one last chance of redemption. Mr.Shiftlet knew that a man with a car has his responsibilities, so that’s why he gave the boy a lift. This act of kindness was a chance for Mr.Shiftlet to feel better about his mistakes. Once again, I believe that there are many misconceptions towards Mr.Shiftlet actions due to his complex character.
Each literary work portrays something different, leaving a unique impression on all who read that piece of writing. Some poems or stories make one feel happy, while others are more solemn. This has very much to do with what the author is talking about in his or her writing, leaving a bit of their heart and soul in the work. F. Scott Fitzgerald, when writing The Great Gatsby, wrote about the real world, yet he didn’t paint a rosy picture for the reader. The same can be said about T.S. Eliot, whose poem “The Lovesong of J. Alfred Prufrock,” presents his interpretation of hell. Both pieces of writing have many similarities, but the most similar of them all is the tone of each one.
Although the author portrays a bitter tone throughout the text, there are many occasions in which there are multiple tones being used at the same time. For instance, when the author was in the ambulance, he was perceived as having a critical tone. He was criticizing and finding fault in what the paramedics and doctors were doing as he began to lose his feeling of personalization. Diction begins to tie into here as it also reflects onto the tone through complex word choice. Once in the hospital, he began to compare the hospital with prison by using a depressed yet confused tone. He compares them by telling the audience about the infamous Tower of London. Sacks became delirious and was unsure of what was going on. Adding such tone entices the audience though the effect of depersonalization on Sacks. However, after being told about the operation, Sacks’ tone went from constrained to incredulous and unsure. He claims of having “hallucinatory vividness” which ties back to the incredulous tone. This tone adds the suspicion to the hospital because such distinctness is not a normal occurrence. As explained, tone plays a crucial role in exemplifying the negative connotation and subject of the passage by using pathos and feelings of the author to reflect in the
Flannery O’Connor once said, “…It is when the freak can be sensed as a figure for our essential displacement that he attains some depth in literature.” With this, O’Connor correctly uses the freak to symbolize her reoccurring theme of a grotesque viewpoint on the world, and such symbolism is used prominently in two of her short stories, ‘Everything That Rises Must Converge” and “Good Country People.” Within both stories, the freak awakens both the characters in the stories, and, in fact, the reader themselves, to the fact that they embody the same state as the freak.
Many authors have different ways of building characters and how they look. It is up to the reader to build their perspective from the descriptions given by the author in order to understand books. Mary Shelley, the author of Frankenstein, sculpts the readers’ perspective of her monster through powerful diction and emotional syntax. After Dr. Frankenstein finally accomplishes his goal of re-animating a lifeless human, Shelley uses her strong word choice to fully express the extent of horror that Frankenstein had felt, describing his monster as a “demonical corpse to which I had so miserably given life.” (Shelley 45). Frankenstein’s horror is shared with the reader simply from a well descripted sentence. The detail Shelley put into Victor Frankenstein’s perspective is gradually shaping our own, as the reader’s, perspective. Furthermore, the diction being used adds a more definitive appearance to the monster. It helps us imagine what the monster looks like and additionally, how Frankenstein feels about his success.
Mary Shelley’s world renowned book, “Frankenstein”, is a narrative of how Victor Frankenstein, a brilliant chemist, succeeds in creating a living being. Although Frankenstein’s creation is benevolent to begin with, he soon turns murderous after being mistreated by humans. His anger turns towards Frankenstein, as he was the one who brought him into the world that shuns him. The Monster then spends the rest of the story trying to make his creator’s life as miserable as his own. This novel is an excellent example of the Gothic Romantic style of literature, as it features some core Gothic Romantic elements such as remote and desolate settings, a metonymy of gloom and horror, and women in distress.
For a writer, stylistic devices are key to impacting a reader through one’s writing and conveying a theme. For example, Edgar Allan Poe demonstrates use of these stylistic techniques in his short stories “The Masque of the Red Death” and “The Fall of the House of Usher.” The former story is about a party held by a wealthy prince hiding from a fatal disease, known as the Red Death. However, a personified Red Death kills all of the partygoers. “The Fall of the House of Usher” is about a man who visits his mentally ill childhood companion, Roderick Usher. At the climax of the story, Roderick’s twin sister, Madeline, murders him after he buries her alive. Edgar Allan Poe’s short stories employ the stylistic decisions of symbolism, dream-like imagery, and tone to affect the reader by furthering understanding of the theme and setting and evoking emotion in readers.
Wherein lies the odd attraction and power of the freakish? Just as often as it introduces us to expressions of common human experience, study in the Humanities also introduces us to the decidedly uncommon--to writers, artists and thinkers who push conventional limits of language and narrative, vision and imagination, memory and history, or logic and rationality. For our Freaks of the Core colloquium, we explored the outer limits of human expression and experience. What, we asked, defines the abnormal or the outlandish? the fanatical or heretical? the illusory or the grotesque? Why are we commonly drawn to the very uncommon? "Nothing, indeed, is more revolting," wrote Thomas De Quincey in his famously freaky Confessions of an English Opium-Eater, "than the spectacle of a human being obtruding on our notice his moral ulcers or scars, and tearing away that 'decent drapery' which time, or indulgence to human frailty, may have drawn over them" (1).[1] But De Quincey chose to tear away that drapery in his Confessions nevertheless, believing that his outlandish experiences with addiction, poverty and illusion would teach his readers valuable lessons that outweighed any offense. "In that hope it is that I have drawn this up," wrote De Quincey, "and that must be my apology for breaking through that delicate and honorable reserve, which, for the most part, restrains us from the public exposure of our own infirmities" (1). The essays below also tear away the "decent drapery" which covers the sometimes unsightly extremes of human experience, and they do so with similar hopes and reasons.
In the beginning of the story, Tom Shiftlet is revealed as a false prince, with an ability to charm and please. Whenever he first walked up to a widow’s home and was amazed at the outstanding view. As he was watching the sunset, he told the widow that he would “give a fortune to live where he could see him a sun do that every evening” (O’Connor 605). The irony of a romance begins whenever the “charming prince,” a representation of Tom Shiftlet, is offered a place to stay. Although Lucynell is greatly intrigued by the character of Shiftlet, the reader begins to realize that he is not who he seems to be. O’Connor
What type of person comes to mind when one hears “sinner”? Perhaps the mind is clogged with pictures of demonic entities or violence. Others may conjure up images of the Ten Commandments. “The Life You Save may be your Own” by Flannery O’Connor is filled with sin. This story focuses on faith, religion, and refusing redemption. From sayings and signs to the author’s view of faith, one can learn about how sin can affect the lives of these characters.
Although Flannery O’Connor’s short story, “The Life You Save May Be Your Own,” appears at first glance to be no more than a humorous tale, upon further examination it becomes obvious that the aptly-named Tom Shiftlet’s intrusion on the isolated Crater family serves some greater purpose. Characterized throughout the work in the likeness of Christ, Shiftlet’s presence as a male figure in the Crater household initially appears as a blessing, with Shiftlet contributing more to the family than anyone in the previous decade. However, this prospect soon falters, with Shiftlet’s opportunistic and manipulative nature proving dominant over his potentially redeeming qualities. Utilizing color imagery, biblical allusions, and pathetic fallacy, O’Connor
...ther." (14) Each of the grotesques depicted follow a unanimous theme of being gifted, creative dreamers. Unable to satisfy their hunger for life and expression, their desolation is multiplied. The most critical theme found throughout Anderson's stories is the clear reflection of real life. The problems faced by the people are actual troubles faced by society at large. The only difference is that these tribulations, as well as their effects, are exaggerated to make a point. Everyone lies to himself or herself at one time or another, and living outside one's heart is not uncommon. All individuals have some way of uniquely expressing themselves, some passion to focus their lives on. Perhaps Anderson is trying to warn us that the decision to establish all of one's existence on an absolute truth transforms people into grotesques, and thus their truths into lies.
Edgar Allan Poe has a unique writing style that uses several different elements of literary structure. He uses intrigue vocabulary, repetition, and imagery to better capture the reader’s attention and place them in the story. Edgar Allan Poe’s style is dark, and his is mysterious style of writing appeals to emotion and drama. What might be Poe’s greatest fictitious stories are gothic tend to have the same recurring theme of either death, lost love, or both. His choice of word draws the reader in to engage them to understand the author’s message more clearly. Authors who have a vague short lexicon tend to not engage the reader as much.