Maurice Sendak’s Where the Wild Things Are, In the Night Kitchen, and Outside Over There
The three titles of Maurice Sendak’s famous picture book trilogy, Where the Wild Things Are, In the Night Kitchen, and Outside Over There, name what Judith Butler calls “zones of uninhabitability,” places of abjection that form the borders of the self as both its constitutive outside and its intimate interior. These are dangerous places in the geography of childhood, places where the child’s very life and sense of self is threatened. More frightening still, they are present places, places that exist in the same time that the child inhabits, rather than the once upon a mythical time of fairy tales and legends. Hence they are places that beckon the child to trespass the boundaries of their current lived social and material landscapes and explore. What does happen where the wild things are? What goes on in the night kitchen? What fascinations lurk outside over there?
Indeed because they are the mysterious places belonging specifically to childhood, Max, Mickey, and Ida negotiate these places such that they are more comfortable and empowered within these borderlands than they are on the outside. Max becomes King of the Wild Things, Mickey is the hero of the night kitchen, and Ida rescues her sister from the goblins that inhabit “outside over there.” Even though the protagonist of each book is different, there is nonetheless the sense that this trilogy tells a developmental story, a story of the ways in which a clean and proper social body emerges or is constituted through certain exclusions, and how that which has been abjected returns in both threatening and joyful guises. Thus a reading of these stories as a developmental narrative where...
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... embodiment that must be worked through in childhood—fantasies of cannibalistic consumption, of the morph-ability of bodies, of infantile sexuality—in order to construct the lived body of adulthood. But as Sendak understands, these fantasies never completely go away, but always return to haunt or thrill the adult subject as terror and jouissance.
Works Cited:
Butler, Judith. Bodies That Matter: On the Discursive Limits of “Sex.” New York: Routledge, 1993.
Kristeva, Julia. “Place Names.” Desire in Language: A Semiotic Approach to Literature and Art. Ed. by Leon S. Roudiez. New York: Columbia UP, 1980.
Powers of Horror. Trans. by Leon S. Roudiez. New York: Columbia UP, 1982.
Sendak, Maurice. In the Night Kitchen. New York: Harper & Row, 1970.
Outside Over There. New York: Harper & Row, 1981.
Where the Wild Things Are. New York: Harper & Row, 1963.
This examination will look at the short story “Killings” by Andre Dubus and the main characters in the story. The story begins on a warm August day with the burial of Matt and Ruth Fowler’s youngest son Frank. Frank’s age: “twenty-one years, eight months, and four days” (Dubus 107). Attending the funeral were Matt, his wife Ruth, their adult children and spouses. Matt’s family is extremely distraught over the murder of their youngest son/brother, in their own way. There are implications of wanting to kill Richard Strout, the guy accused of being the murderer: “I should kill him” (107), as stated after the service. This comment is considered a fore-shadowing of what is to come in the thought progression of Matt and Ruth.
John Karkauer novel, Into the Wild displays a true life story about a young man by the name of Christopher McCandless, who creates a new life for himself by leaving civilization to live in the wilderness. The story displays how Christopher develops and matures throughout the story by prevailing harsh predicaments and learning valuable lessons on the way. Christopher’s character evolves by comprehending several new lessons and such as finding true pleasure, disregarding other people’s judgments, as well as realizing that material things are just material things and nothing else. All through the story, Christopher struggles to discover the true satisfaction in his life. Christopher struggles to choose what makes him truthfully content over what makes his parents glad. Christopher’s parents want him to attend law school, despite the fact that he wants to follow his passion to live in the northern wild. Christopher’s letter to his sister Carine says, “or that they think I’d actually let them pay for my law school if I was going to go….” (Krakauer.pg21). According to this quote it can be known that Christopher does not really feel any pleasure or happiness in wanting to go to law school. He finds his satisfaction with life on the road and experiences this because life on the road gives him endless possibilities and adventures every day. Christopher’s letter to Ron Franz goes as, “I’d like to repeat the advice I gave you before, in that I think you really should make a radical change in your lifestyle and begin in boldly do things which you may previously never have thought of doing, or been too hesitant to attempt……Don’t settle down and sit in one place. Move around, be nomadic, make each day a new horizon.”(Krakaur.pg56-57). The letter details the benefits of living a life in the wild such as the new adventures you face every day. Chris feels what actually happiness is, when he meets face to face with the wild. As he experiences the northern wild, he learns that true happiness doesn’t come from one source, but from various foundations in a person’s life. Chris penned a brief note, which says, “I HAVE HAD A HAPPY LIFE AND THANK THE LORD. GOODBYE AND MAY GOD BLESS ALL!”(Krakauer.pg199) The brief note shows that even though Chris was on the edge of death, he was finally happy with his life.
In the featured article, “Beside Oneself: On the Limits of Sexual Autonomy,” the author, Judith Butler, writes about her views on what it means to be considered human in society. Butler describes to us the importance of connecting with others helps us obtain the faculties to feel, and become intimate through our will to become vulnerable. Butler contends that with the power of vulnerability, the rolls pertaining to humanity, grief, and violence, are what allows us to be acknowledged as worthy.
Bordo, Susan. "Beauty (Re)discovers the male body." Bordo, Susan. Ways of Reading: An Anthology for Writers. Ed. David Bartholomae and Anthony Petrosky. Ninth Edition. Bedford/St.Martin's, 2011. 189-233.
“Into The Wild” by John Krakauer is a non-fiction biographical novel which is based on the life of a young man, Christopher McCandless. Many readers view Christopher’s journey as an escape from his family and his old life. The setting of a book often has a significant impact on the story itself. The various settings in the book contribute to the main characters’ actions and to the theme as a whole. This can be proven by examining the impact the setting has on the theme of young manhood, the theme of survival and the theme of independent happiness.
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.
Bartholomae, D., & Petrosky, A. (2011). Ways of reading: an anthology for writers (9th ed.). Boston: Bedford/St. Martin's. “Judith Butler; Beside Oneself: On the Limits of Sexual Autonomy.”
Children have often been viewed as innocent and innocent may be a nicer way to call children naive. Since children’s lives are so worry free they lack the knowledge of how to transition from being a child to becoming an adolescent. Their lack of knowledge may be a large part of their difficulties growing up, which could be a few rough years for many. In books like the boy in the striped pajamas the story is told from the point of view of a little boy, this way we get a full view of how innocent he is. In this book the writer shows the reader first hand how a child viewed the holocaust and how his innocence cost him his life. Then in books like the perks of being a wallflower Charlie is a teen whom is struggling with the transition from being a child to becoming an adolescent. In this book the writer gives a first hand look at how difficult it can be to transition into an adolescent. Charlie has many difficulties in this book; he is in search of his identity and how to fit in.
Irigaray, Luce. “That Sex Which is Not One.” The Critical Tradition: Classic Texts and Contemporary Trends. Ed. David H. Richter. Boston: Bedford Books, 1998. 1467-1471.
Butler, Judith. "Bodies That Matter: On the Discursive Limits of 'Sex'". New York. Routledge. 1993
Rubin, Gail. "Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality." American Feminist Thought at Century's End : A Reader. Ed. Linda S. Kauffman Cambridge, Ma : Blackwell, 1993. 3-64.
Potter’s book is, beneath its didactic Victorian narrative, remarkably subtle and subversive in its attitudes towards childhood, and its message to its child readers. Browne’s Voices in the Park, on the other hand, dispenses with any textual narrative; by his use of the devices of postmodernism, visual intertextuality and metaphor, he creates a work of infinite interpretation, in which the active involvement of the reader is key. Although The Tale of Peter Rabbit is not a ‘modern’ picturebook, and was written to a different concept of childhood than Voices in the Park, it certainly falls within Bader’s description.... ... middle of paper ...
Butler, J. 1990. Gender Trouble. Feminism and the Subversion of Identity. London and New York: Routledge.
The boy is haplessly subject to the city’s dark, despondent conformity, and his tragic thirst for the unusual in the face of a monotonous, disagreeable reality, forms the heart of the story. The narrator’s ultimate disappointment occurs as a result of his awakening to the world around him and his eventual recognition and awareness of his own existence within that miserable setting. The gaudy superficiality of the bazaar, which in the boy’s mind had been an “oriental enchantment,” shreds away his protective blindness and leaves him alone with the realization that life and love contrast sharply from his dream (Joyce). Just as the bazaar is dark and empty, flourishing through the same profit motivation of the market place, love is represented as an empty, fleeting illusion. Similarly, the nameless narrator can no longer view his world passively, incapable of continually ignoring the hypocrisy and pretension of his neighborhood. No longer can the boy overlook the surrounding prejudice, dramatized by his aunt’s hopes that Araby, the bazaar he visited, is not “some Freemason affair,” and by the satirical and ironic gossiping of Mrs. Mercer while collecting stamps for “some pious purpose” (Joyce). The house, in the same fashion as the aunt, the uncle, and the entire neighborhood, reflects people
Blackledge, Catherine. "The Function of the Orgasm." Gender, Sex, and Sexuality. New York: Oxford University, 2009. 272-84. Print.