In Passing by Nella Larsen, a very prominent item that influenced the story and held many secrets by Clare Kendry were the letters. These letters were the main source of communication that Clare used to contact her “friend” Irene Redfield. On the surface, the letters are very innocent and upon first reading, the reader might assume the same thing. The letters that Irene received throughout the book heavily affected her emotions and through the thoughts and actions of Irene, it is made apparent that she not only suffers from resentment towards Clare but also a tinge of jealousy. The first letter that Irene receives that the reader sees is at the very beginning of the story in Part One: Encounter. The only information that readers get from this letter is that Clare is lonely …show more content…
When Irene reads this letter, she does not really react to it. She provides background information on Clare and states how she has not seen her in years since Clare’s father passed away. Irene is almost unphased by the letter entirely, only commenting on the physical attributes of the letter, completely casting aside the actual contents of the letter excluding the part that mentions Chicago. When Irene reads “That Time in Chicago”, she describes how “humiliation, resentment, and rage” (pg 7) washed over her, which could be a precursor to her supposed action of pushing Clare out the window in the final part. The end section of the letter really causes negative emotions to engulf Irene in the first chapter of Part One, so much to the point that it begs the question, what happened in Chicago? The second letter that the reader is introduced to appears at the end of Part One, on page 52, after Irene visited Clare’s house and met her husband, who used a derogatory term to refer to
After Liesel steals her second book she pulls it out and her father sees The Shoulder Shrug (Zusak 126). However, he tells her it will be their secret and he will not tell her mother (Zusak 126). Although her father will keep the secret, she is worried about the mayor's wife who saw her take the book (Zusak 132). Much to Liesel’s surprise, when she delivers the laundry to the major's wife doesn't scold her; instead the she allows Liesel to use her library (Zusak 134). Later Liesel finds out the mayor and his wife lost their son, probably, in World War I and she sees their grief (Zusak 145).
There is one letter in particular. which shows how important this correspondence is to her. I hate you. you do not write back nor be my Pen Friend I think you are the Ice Queen instead of a king.
I think that through the book when Sal is telling the story, her character really progresses to learn how these letters fit in with her life, and how maybe she needs to listen to them. One of the quotes
The novel, Passing by Nella Larsen, tells a story of two African- American women’s who work hard for the American dream. Larson demonstrates certain conflicts such as betrayal, jealousy, lies, race, and sexuality. Clare Kendry and Irene Reinfield were childhood friends, but when Clare’s father died, she moved away with her aunts and Irene never saw her again. Both Clare and Irene are light skinned who may pass as white. Irene stays with her race while Clare abandons her race by passing as white. Irene works hard for her American dream and as a black woman it is very difficult to become a successful middle class worker during the 1920s. As Irene struggles for her American dream, Clare, finds the easy route by passing as white and marrying
The narrator’s insecurities unfold when it takes him almost five pages just to demonstrate how close the friendship is between his wife and Robert. It is as though he is justifying his irrational behavior or perhaps questioning if his wife could be secretly in love with Robert. The narrator assumes this because his wife only writes poems if something really important happens to her. He recalls that his wife never forgot that instant when Robert "touched his fingers to every part of her face...
After Liesel learns how to read and write, she receives the task of , “completing a letter for homework” (Zusak 95). Eventually she arrives at the conclusion to write to her biological mother. Liesel then continues to write more letters, but lacks the money to purchase stamps in order to send them. On her birthday, she would give “a present from herself. She would gather all the accrued letters to her mother, stuff them into one envelope, and use just a tiny portion of the washing and ironing money to mail it” (Zusak 98). Consequently, Liesel’s foster mother, Rosa soon discovers the gap in her laundry payments. When enraged, Rosa makes Liesel break just by asking her about the missing money. It was Liesel’s guilt that made her feel the need to confess so easily to the crime.
Suffered the loss of her brother werner, while attending his funeral “there was something black and rectangular lodged in the snow. Only [liesel] saw it. She bent down and picked it up and held it firmly in her fingers. The book had silver writing on it” (zusak 24). It was a book named “the grave digger 's handbook”. This proves that without even understanding the book Liesel was already looking for ways to learn and find a passion to mourn her brothers death. Next, is the relationship Liesel has with her papa, Hans. He shows Liesel how to read and write. Liesel, who doesn 't know how, grabs books that Hans then quietly shows her to translate. He does this through their night time nightmare hours “Unofficially, it was called the midnight class, even though it commenced at around two in the morning” (70). furthermore in the storm cellar, utilizing Hans ' paints to show her how to compose. He is staggeringly understanding, as this is an extremely troublesome and moderate procedure, and he never demonstrates restlessness or dissatisfaction with Liesel 's moderate advancement, thus proving that liesel stuck with her idea and followed through with her passion. Lastly, Liesel 's passion for reading and writing progressed when Ilsa gave her the a journal to write her story in, “[she] thought if [Liesel was not] going to read anymore of [her] books, [she] might like to write one instead.”
As I was watching Joan Erikson’s “On Old Age” videos, I could not help but notice how intelligent as well as how articulate she was, she had a very large vocabulary. The reason this stood out to me is because, we literally just learned, in chapter 7 of our textbooks, that as we age we use simpler and fewer words. Our textbook says that “the changes in memory contribute in part to age-related losses in language.” (Whitbourne & Whitbourne, 2011) So when I started watching the first video, I expected her to use simpler and fewer words. Joan had a very strong vocabulary when she spoke, although, I did notice that she would repeat some things and she also would slow down when trying to recall things, but overall she seemed to be very intelligent.
Nella Larsen 's ' novel "Passing" introduces two dissimilar experiences of "crossing" the race line by two African-American women. With an accomplished and engaging plan, Larson is able to deal with subjects such as sexuality, identity, race, and class division with the use of wit and allegory. Passing is a moving, emotional story, describing the struggles experienced by both Irene and Claire in their fight to support and defend their own race and endure polite society. All these social issues and problems seem to culminate in the end of the question; is what the person you are inside, defined by your race on the outside?
In contrast to Lucy Temple, Charlotte’s mother, La Rue was cunning, selfish, and manipulative. As Charlotte spent time with La Rue going to meet Montraville and Belcour, she constantly questions whether she should be accompanying her friend or not. Initially, she will conclude that it is a bad idea, but eventually comes along anyway. Sometimes, La Rue played a hand in persuading Charlotte to come, but others Charlotte would plan that the visit would be her last, but continue anyway. A turning point in the beginning of the novel occurs when La Rue convinces Charlotte to read Montraville’s letter. At first, Charlotte is hesitant, stating that her mother told her to let her read through letters from men before reading it herself. La Rue quickly dismisses this by exaggerating the absurdity of Charlotte’s notion. Once she read the letter, “Charlotte had taken one step in the ways of imprudence; and when that is once done, there are always innumerable obstacles to prevent the erring person returning to the path of rectitude” (Rowson 29). In making this decision, Charlotte already knew that she should not read the letter. This event serves as the beginning to Charlotte’s
In the second section of Nella Larsen’s Passing, the reader sees Irene’s discontent for Clare grow stronger by the more time she spends with Clare. Throughout the first section of the novel, Irene wants to separate herself from Clare, but she keeps getting pulled back in by her charm. Throughout the second section, the same thing is happening, but it happens much more rapidly and Irene grows more passionate about removing Clare from her life more than in the first second. The ambiguity of the novel increases during the second half considering a potential affair between Clare and Brian, Clare’s involvement in the Redfield’s lives and Harlem community, and Clare’s death. It is up to interpretation whether Clare and Brian had an affair based on the ambiguity of the text, but the text is fairly clear in insisting that Irene felt that Clare and Brian could be having an affair.
...r passing. The abundance of literary devices highlights Mrs. Mallard emotions when she was finally given the freedom she had been longing for throughout her entire life. In the end, the nineteenth century male-dominated society reigns supreme once again, and “when Louise ceases to exist in relation to the patriarchal society around her, she ceases to exist at all” (Cunningham 53).
Goodman Brown's actions in the story, Young Goodman Brown, are a key element to this story's theme. The author uses Goodman Brown's movement in and out of the forest, as a method of symbolizing the theme of a symbolic journey into the depths of consciousness. As the hours of the night pass, Goodman Brown travels farther into the forest, and deeper into the depths of consciousness. This theme is present in many passages of the text.
Chopin describes her as a fragile woman. Because she was “afflicted with a heart trouble,” when she receives notification of her husband’s passing, “great care was taken” to break the news “as gently as possible” (1). Josephine, her sister, and Richards, her husband’s friend, expect her to be devastated over this news, and they fear that the depression could kill her because of her weak heart. Richards was “in the newspaper office when the intelligence of the railroad disaster was received, with Brently Mallard’s name leading the list of killed” (1). He therefore is one of the first people to know about his death. Knowing about Mrs. Mallard’s heart, he realizes that they need to take caution in letting Mrs. Mallard know about it. Josephine told her because Richards feared “any less careful, less tender” person relaying the message to Louise Mallard (1). Because of her heart trouble, they think that if the message of her husband’s death is delivered to her the wrong way, her heart would not be able to withstand it. They also think that if someone practices caution in giving her the message, that, ...
The story begins with the passage; “Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.” The conflict of the story begins here. Mrs. Mallard must be informed of her husband’s death, but there is worry about the condition of her heart and how she will react to the news. The next passage, “It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing,” explains how this initial conflict was resolved. Two people, both close to Mrs. Mallard and Brentley Mallard, came to inform Louise of the bad news. The information was released to her in broken sentences as hints. This means that they did not walk in and tell Mrs. Mallard her husband had died. They used great care to walk around the subject, to lead Mrs. Mallard to her own conclusion that her husband was now dead. (Chopin)