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Childhood trauma literature
Childhood trauma literature
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The Stucco House by Ellen Gilchrist "The Stucco House" by Ellen Gilchrist is a story about seven year old boy named Teddy who lives with his mother and step father, Eric. Because of the existing circumstances concerning his family's relationships, especially between his mom and step dad, the boy seems "scared of everything" as seen by Eric. However this fear is not fear in the pure sense but is mixed in with other emotions such as confusion, disappointment and uncertainty. The child's true fear is losing his stepfather Eric resulting from a possible future divorce from his mother. The author implies that Teddy is a sad and disappointed with his mothers past failed marriages especially to his real father, and he is now …show more content…
Eric was not only a good father for Teddy but also "the best grown person he had ever known."(p. 41) He wasn't like others, "large, very high-strung children who never sat still or finished what they started."(p.40) Throughout the story there is also seen a subtle anxiety Teddy feels about his mother's well being. In reading "The Stucco House" we get the idea that his mother is probably an alcoholic and sexually promiscuous. Although he loves his step dad more he is genuinely worried about his mom's health and future. At the tender age of seven he could not possibly have any answers or solutions to her problems. This confusion and helplessness could elicit fear in such a young child since he, at such a tender age, sees no way out. In this story there are also subtle hints that his older brothers abuse him. The author states that he kept stuffed animals on his bed to protect him from ghosts, vampires and "to keep his big brothers from beating him up."(p. 31) We also get the feeling that his step dad also protects him from them. But, as mentioned before, Teddy is confused and disappointed more than being afraid
Thesis: The Roanoke colony proved to be an unsuccessful venture in the New World for England, since leaders of the expedition held the viewpoint that privateering would prove to be the most profitable aspect of founding the new settlements in the West. However future, still unsuccessful attempts to make a permanent colony at Roanoke, helped England understand how to build a prosperous one; and it became a building block for establishing future colonies for England and helped shape the ideas that would help launch their empire.
Farming the Home Place: A Japanese American community in California 1919-1982 by Valerie J. Matsumoto presents a close and in-depth study of social and culture history of Cortez, a small agricultural settlement located in San Joaquin valley in California. Divided into six chapter, the book is based primarily on the oral interviews responses from eighty three members of Issei, Nisei, and Sansei generations. However, many information are also obtained from the local newspapers, community records, and World War II concentration camp publications.
The poetry “Your buildings” was written by Rita Joe who is aboriginal author. She has been describing her feeling about aboriginal people and history. Rita Joe wrote your buildings reflects on the changed landscape of her people, and her homeland area to the most modern building have replaced the natural landscape and destroyed the beauty of her homeland. Now only a memory in her hearts of people. The author tone in to the poetry was sad, hurt and sarcastic by saying “Your Buildings” she was talking to the white man what have you done to her homeland. Also when the author mentioned in her poetry “while skyscrapers hide the heavens, they can fall” Rita joe mean all of those buildings you build high, they hide the beauty of her homeland, and
On December 10, 1950, in Stockholm, Sweden, one of the greatest literary minds of the twentieth century, William Faulkner, presented his acceptance speech for the Nobel Prize. If one reads in between the lines of this acceptance speech, they can detect a certain message – more of a cry or plead – aimed directly to adolescent authors and writers, and that message is to be the voice of your own generation; write about things with true importance. This also means that authors should include heart, soul, spirit, and raw, truthful emotion into their writing. “Love and honor and pity and pride and compassion and sacrifice” (Faulkner) should all be frequently embraced – it is the duty of authors to do so. If these young and adolescent authors ignore this message and duty, the already endangered state of literature will continue to diminish until its unfortunate extinction.
The first indication of fear transpires as Teddy suspects his paper world would likely be interpreted as inappropriate by his uncle, creating anxiety and unease within him of being criticized. While awaiting his uncle’s reaction regarding his activities in the attic, Teddy was pondering “if his uncle saw them, or even destroyed them”, revealing Teddy’s worries of being exposed, fearing his uncle may label him as immature upon discovering it. Furthermore, Teddy is fearful of his paper world being discovered due to the fear that his enthusiasm for the world would fade if it were to be revealed, as he bears a strong obsession with it, and considers it his second world. He yearns for his uncle to disregard his paper world, as “Theodoresburg had been growing for a year, and often it seemed more real than the town …. in which he lived in.” Teddy feared his uncle would ruin his fixation with his paper world, regarding his it as an equivalent to the real world, which is indicative of Teddy’s immaturity, cherishing a world that does not exist. Teddy’s fear of his paper world being exposed to his uncle is conspicuous, as he is petrified of his uncle discovering it, symbolizing society’s expectation of
would not say it to a living soul, of course, but this is dead paper
The bedroom is an overvalued fetish object that nevertheless threatens to reveal what it covers over. John's time is spent formulating the bedroom in a way that conceals his associations of anxiety and desire with the female body, but also re-introduces them. The bedroom's exterior, its surface, and its outer system of locks, mask a hidden interior that presumably contains a mystery--and a dangerous one. The bedroom in "The Yellow Wallpaper" generates this tension between the desire to know and the fear of knowing: on one hand, the enigma of the bedroom invites curiosity and beckons us towards discovery; on the other hand, its over- determined organization is seated within a firm resolution to build up the bedroom, so that what it hides remains unrealized. Mulvey writes, "Out of this series of turning away, of covering over, not the eyes but understanding, of looking fixidly at any object that holds the gaze, female sexuality is bound to remain a mystery" ("Pandora" 70).
John Grisham’s book, ‘A Painted House’ places the reader within the walls of a simple home on the cotton fields of rural Arkansas. Within the first few pages, the author’s description of the setting quickly paints a picture of a hard working family and creates a shared concern with the reader about the family’s struggle to meet the basic needs of life. The description of the dusty roads, the unpainted board-sided house, the daily chore requirements and their lack of excess cause the reader a reaction of empathy for the family. Although the story takes place in a dusty setting very unfamiliar to most readers, the storyline is timeless and universal. Most everyone has a desire to meet the basic needs of life, embrace their family ties, and make others and ourselves proud. The crux of this book is that it does an excellent job in showing the reader through other’s examples and hardships to persevere and never give up.
Marilynne Robinson gives voice to a realm of consciousness beyond the bounds of reason in her novel Housekeeping. Possibly concealed by the melancholy but gently methodical tone, boundaries and limits of perception are constantly redefined, rediscovered, and reevaluated. Ruth, as the narrator, leads the reader through the sorrowful events and the mundane details of her childhood and adolescence. She attempts to reconcile her experiences, fragmented and unified, past, present, and future, in order to better understand or substantiate the transient life she leads with her aunt Sylvie. Rather than the wooden structure built by Edmund Foster, the house Ruth eventually comes to inhabit with Sylvie and learn to "keep" is metaphoric. "...it seemed something I had lost might be found in Sylvie's house" (124). The very act of housekeeping invites a radical revision of fundamental concepts like time, memory, and meaning.
In “The House on Mango Street” the author Sandra Cisneros explores the ins and outs of a girl living in a neighborhood of poverty. The main character of the book experiences may things that ultimately shape her into the person she wants to become. Through the book Cisneros explains the experiences out of a person’s control creates a foundation for what they value in life by having Esperanza move houses, go through a traumatic event, and have social normalities forced upon her.
“The Yellow Wallpaper” tells the story of a woman who is trapped in a room covered in yellow wallpaper. The story is one that is perplexing in that the narrator is arguably both the protagonist as well as the antagonist. In the story, the woman, who is the main character, struggles with herself indirectly which results in her descent into madness. The main conflicts transpires between the narrator and her husband John who uses his power as a highly recognize male physician to control his wife by placing limitations on her, forcing her to behave as a sick woman. Hence he forced himself as the superior in their marriage and relationship being the sole decision make. Therefore it can be said what occurred externally resulted in the central conflict of” “The Yellow Wallpaper being internal. The narrator uses the wallpaper as a symbol of authenticy. Hence she internalizes her frustrations rather then openly discussing them.
Narration is one literary element of a story that controls the meaning and themes perceived by the reader. The author uses this as a way of putting themselves in their writing; they portray a personal reflection through the narrator. We see this in pieces of literature, such as Charlotte Gilman’s, “The Yellow Wallpaper”, an intense short story that critics believe to be an autobiography. Charlotte Gilman wrote this piece in 1892, around the time of her own personal mental depression, after the birth of her child. This story invites the readers into the mind of a well-educated writer who is mentally ill, and takes you through the recordings of her journal, as her mental health deteriorates so does the credibility of her writing. The author uses the element of the narrators’ mental health to create a story with different meanings and themes to her audience. Gilman uses the role of an unreliable narrator to persuade the audience’s perception of protagonists’ husband John and create a theme of entrapment.
For decades now critics have viewed, Gilman’s novella, “The Yellow Wallpaper” mainly in a feminist way, focusing on the way women acted and how they were treated in the 1800s. Although there are good points to the feminist criticism, one could go more in depth by psychoanalyzing it because feminism fit more into the 1800s when women did not have the roles they have today, by looking at the psychoanalytic effect the restrictions had on her, and observing the effects the room had on her.
What is the source of your success? My own definition of success is about overcoming my obstacles and hardships. If I can’t overcome the obstacles and hardships along the way, then I will try again so that I am more prepared and have the right knowledge. I want to meet obstacles and hardships because I want to feel the pleasure of success when I overcome them. In order for me to overcome and embrace hardships, I need to find the missing link, have the right knowledge, and practice effective time management.
Weintraub, Stanley. ""Doll's House" Metaphor Foreshadowed in Victorian Fiction." Nineteenth-Century Fiction 13: 67-69. Web. 6 Jan. 2011.