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Solitude in one hundred years of solitude
Solitude in one hundred years of solitude
Solitude in one hundred years of solitude
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The major irony for the wives in “A Field of Wheat” (Sinclair Ross) and “A Garden of Her Own” (Shani Mootoo) is that the isolation both experience in their marriages is also that which connects them the most. Although the two stories may be set in completely different locations and time periods, the underlying themes of loneliness, of loss, and of dissatisfaction with their husbands and with their lives transcend time and place. However, the motivations and coping methods employed by Martha (“A Field of Wheat”) and Vijai (“A Garden of Her Own”) are vastly different. Martha draws strength from her children, while Vijai reminisces about her happy family growing up and dreams of a happier life for herself. This essay will explore the parallelisms …show more content…
Martha, who is spurred on by her love of her children, survives all but the harshest of storms. But when she finally sees “John sobbing there, against the horse” (Ross 179) and realizes the burdens he bears and the emotional turmoil within him, she finds even more strength in herself to push on and do everything she can to help ease John’s hardships. In “A Garden of Her Own”, Vijai relies on memories of her family growing up and the happiness she once experienced at home to comfort her during her lonely periods. She constantly addresses her Mama and Papa, talking about happier times gone by. Unfortunately this only seems to remind her of how bleak her present situation is. And so, just like Martha, Vijai’s ultimate comfort lies in looking towards the future. However, unlike Martha, Vijai’s dreams revolve solely around her instead of her children. She dreams of trips to “mountains, of touching them with the palms of [her] hands, of bicycling in them, and of hiking” (Mootoo 207); of a “drive in the country to see the pictures in the calendars pinned on the wall” (Mootoo 207); of canoeing “on a river or a big lake with no shores” (Mootoo 207). The reality that the futures that both these women envision are unlikely and mostly inaccessible to people of their fortunes does nothing to damper their hopeful …show more content…
Conversely, the lack of communication and awareness between Vijai and her husband only serves to highlight their differences and to amplify the discord in their marriage. Everyone will face hardship in their lives, and everyone will experience turmoil in their relationship, but the biggest responsibility a married couple has is to try to understand their partner, and to work find a common cause to help them work through the rough
Mrs. Ames from “The Astronomer’s Wife” and Elisa Allen from “The Chrysanthemums”, two women in their best ages, did share similar lives. They were loyal wives, of decent beauty and good manners. They were married for some time, without any children and they were fighting the dullness of their marriages. At first, it looked like they were just caught in marriage monotony, but after the surface has been scratched deeper, it was clear that these two women were crying for attention: but they had different reasons.
Grief played a large role in the lives of the Boatwright sisters and Lily Owens. They each encountered death, injustice, and sadness. Grief impacted and left an imprint on each of them. Grief proved fatal for May. August knew that grief was just another aspect of life; that it had to be accepted and then left in the past. June and Lily learned to not let grief rule their lives. Life is not inherently good or bad – events not solely joyful or grievous – it is glorious in its perfect imperfection.
Harwood uses poetry to document her experiences and observations of marriage. She opens her life to the reader as she shares personal and intimate reflections on her choices in life. By this Harwood is able to re-create a vivid image of a life of a married lady during the 1940’s. Gwen Harwood was married during the year 1945 and moved with her husband, William Harwood, to Tasmania and away from her beloved childhood home in Brisbane. This change in Harwood’s life was a struggle as she did not completely agree to the move that will forever be thought of negatively. Harwood’s struggle of acceptance of her new life was evident in her poem “Iris”. In the poem Harwood looks at the positives and negatives of a marital relationship. Harwood uses the word ‘…singularity…’ to describe her relationship, this word makes the point that her and her husband have become one unit in which they walk through life and experience the good and the bad together. As well as having positive co...
In “The Yellow Wall-paper by Charlotte Perkins Gilman, the unnamed female protagonist is going through a rough time in her life. (For now on, this paper will refer to this unnamed character as the “the narrator in ‘Wall-paper,’” short for “The Yellow Wall-paper. The narrator is confined to room to a room with strange wall-paper. This odd wall-paper seems to symbolize the complexity and confusion in her life. In “The Story of an Hour” by Kate Chopin, the protagonist, Mrs. Mallard must also deal with conflict as she must deal with the death of her spouse. At first there is grief, but then there is the recognition that she will be free. The institute of marriage ties the two heroines of these two short stories together. Like typical young women of the late 19th century, they were married, and during the course of their lives, they were expected to stay married. Unlike today where divorce is commonplace, marriage was a very holy bond and divorce was taboo. This tight bond of marriage caused tension in these two characters.
Marriage is an important theme in the stories Their Eyes Were Watching God by Zora Neale Hurston and The Story of an Hour by Kate Chopin. When someone hears the word “marriage”, he thinks of love and protection, but Hurston and Chopin see that differently. According to them, women are trapped in their marriage and they don’t know how to get out of it, so they use language devices to prove their points. Chopin uses personification to show Mrs. Mallard's attitudes towards her husband's death. Louise is mournful in her room alone and she is giving a description of the nature as a scene of her enjoying “the new spring life” and “the delicious breath of rain was in the air” (Chopin1).
Our first introduction to these competing sets of values begins when we meet Sylvia. She is a young girl from a crowded manufacturing town who has recently come to stay with her grandmother on a farm. We see Sylvia's move from the industrial world to a rural one as a beneficial change for the girl, especially from the passage, "Everybody said that it was a good change for a little maid who had tried to grow for eight years in a crowded manufacturing town, but, as for Sylvia herself, it seemed as if she never had been alive at the all before she came to live at the farm"(133). The new values that are central to Sylvia's feelings of life are her opportunities to plays games with the cow. Most visibly, Sylvia becomes so alive in the rural world that she begins to think compassionately about her neighbor's geraniums (133). We begin to see that Sylvia values are strikingly different from the industrial and materialistic notions of controlling nature. Additionally, Sylvia is alive in nature because she learns to respect the natural forces of this l...
In the age of industrialization when rural life gradually was destroyed, the author as a girl who spent most of her life in countryside could not help writing about it and what she focuses on in her story - femininity and masculinity, which themselves contain the symbolic meanings - come as no surprise.
of the book, Janie resents her grandmother for “living” her life for her and planning her future. To find out what will happen in a persons future, they need to live their life on their own an...
Kate Chopin’s “The Story of the Hour” and Charlotte Perkins Gillman’s “The Yellow Wallpaper” are viewed from a woman’s perspective in the nineteenth century. They show the issues on how they are confined to the house. That they are to be stay at home wives and let the husband earn the household income. These stories are both written by American women and how their marriage was brought about. Their husbands were very controlling and treated them more like children instead of their wives. In the nineteenth century their behavior was considered normal at the time. In “The Story of the Hour” and “The Yellow Wallpaper,” both women explore their issues on wanting to be free from the control of their husband’s.
In “Hills Like White Elephants” and “The Story of an Hour”, the woman in each story imprisons in the domestic sphere. In “Hills Like White Elephants”, the woman in this story conflicts between keeping the baby or getting abortion although the relationship with her boyfriend would not improve as he said. In “The Story of an Hour”, even though Louise Mallard, an intelligent, independent woman understands that she should grieve for Brently, her husband and worry for her future, she cannot help herself from rejoice at her newfound freedom. The author of this story, Kate Chopin suggests that even with a happy marriage, the loss of freedom and the restraint are the results that cannot be avoid.
This story represents the suffering induced by the isolation. In the time period on which this history was reflected, it was socially tolerable for wives to be
Looking back on the death of Larissa’s son, Zebedee Breeze, Lorraine examines Larissa’s response to the passing of her child. Lorraine says, “I never saw her cry that day or any other. She never mentioned her sons.” (Senior 311). This statement from Lorraine shows how even though Larissa was devastated by the news of her son’s passing, she had to keep going. Women in Larissa’s position did not have the luxury of stopping everything to grieve. While someone in Lorraine’s position could take time to grieve and recover from the loss of a loved one, Larissa was expected to keep working despite the grief she felt. One of the saddest things about Zebedee’s passing, was that Larissa had to leave him and was not able to stay with her family because she had to take care of other families. Not only did Larissa have the strength to move on and keep working after her son’s passing, Larissa and other women like her also had no choice but to leave their families in order to find a way to support them. As a child, Lorraine did not understand the strength Larissa must have had to leave her family to take care of someone else’s
Marriage can be seen as a subtle form of oppression, like many things which are dictated by social expectations. In Kate Chopin’s The Story of An Hour, Louise Mallard finds herself in distress due to the event of her husband’s death that makes her question who she is as a person. The author cleverly uses this event to create the right atmosphere for Mrs. Mallard to fight against her own mind. As the short story progresses, we see that Mrs. Mallard moves forward with her new life and finds peace in her decision to live for herself. This shows that marriage too is another chain that holds oneself back. Not wanting to admit this to herself, Louise
The bleak tone of this story takes a particularly sad and disturbing tinge when the wife illustrates a scene from early on in her marriage where she tries to get her husband to satisfy her desire and provide her with mutual satisfaction, only to have him rebuke and reprimand her. In fact, the husband responds in such a particularly brusque and hysterical manner that the reader can see how traumatized the wife would have been at ...
In Mariama Bâ’s book, “So Long a Letter”, the readers experience these injustices first hand through the main characters. Years after their marriages fall apart through polygamy and feelings of betrayal, when Modou experiences an unexpected heart attack and is unable to be saved, Ramatoulaye decides to write letters to Aissatou who is now in the United States with her four sons. In these letters, she talks about their memories together before they were separated from one another as well as providing Aissatou with news about her current life. She first writes about Modou’s death and the forty-day funeral of her late husband, but soon moves on to their lives as married women. Keeping the main idea of the story in mind, Bâ has her talk about their marriage, starting with Aissatou.