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Role of the narrator
The literary theme of loss
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Alice Munro’s “Memorial” is one of a group of stories in the larger work, Something I’ve Been Meaning to Tell You, which explores the limitations of human emotion and understanding in its attempt to deal with reality and death. Consequently, Munro’s use of third-person narration focalized through Eileen signifies her difficulty of dealing with emotions especially during times of bereavement. As “Memorial” is focalized around Eileen, the reader views the world through her eyes in which June becomes an antipathetic character. The relationship between Eileen and June is strained due to the way of life each sister currently lives as well as their relationship with their parents during their childhood. The Analepsis episodes of their youth signify …show more content…
Eileen has come to do what she can to help June with the details of her son’s funeral but what she finds makes her feel irrelevant and worse, it made her feel deeply disturbed. “She found that she disliked even the tone [June used on the phone], she was discouraged by it” (Munro 183) suggesting that June was dealing with the untimely death of her son in a strange manner without exhibiting any negative emotion that Eileen could find. Therefore, Eileen becomes “a convincing and sympathetic centre of consciousness to human emotion during times of bereavement” (Martin 88), solely from the response to death that is given in Eileen’s viewpoint. However, due to Eileen’s perspective of June’s life, it is difficult to discern if June could have had a sympathetic consciousness as well. As everyone deals with emotions and death in their own way, having only one focalizer makes it very difficult to be sympathetic towards June since Eileen’s perspective taints her. The perspective of the narrative suggests that June is ambiguous and mysterious in her display of emotions due to distortion from wealth as well as her mode of knowledge, psychology. Eileen identifies her as the ideal “missionary wife” (Munro 182) due to the social stratifications associated with her wealthy lifestyle and the way that she fulfils her
In her article, Quindlen delivers her position to the massive mixed audience of the New York Times, drawing in readers with an emotional and humanizing lure; opening up about her family life and the deaths she endured. Later presenting the loss of her brother's wife and motherless children, Quindlen use this moment to start the engine of her position. Quindlen uses her experiences coupled with other authority figures, such as, the poet Emily Dickenson, Sherwin Nuland, doctor and professor from Yale, author Hope Edelman, and the President. These testimonies all connect to the lasting effects of death on the living, grief. She comes full circle, returning to her recently deceased sister-in-law; begging t...
The interpretations of what comes after death may vary greatly across literature, but one component remains constant: there will always be movement. In her collection Native Guard, Natasha Trethewey discusses the significance, permanence and meaning of death often. The topic is intimate and personal in her life, and inescapable in the general human experience. Part I of Native Guard hosts many of the most personal poems in the collection, and those very closely related to the death of Trethewey’s mother, and the exit of her mother’s presence from her life. In “Graveyard Blues”, Trethewey examines the definition of “home” as a place of lament, in contrast to the comforting meaning in the epitaph beginning Part I, and the significance
Her family life is depicted with contradictions of order and chaos, love and animosity, conventionality and avant-garde. Although the underlying story of her father’s dark secret was troubling, it lends itself to a better understanding of the family dynamics and what was normal for her family. The author doesn’t seem to suggest that her father’s behavior was acceptable or even tolerable. However, the ending of this excerpt leaves the reader with an undeniable sense that the author felt a connection to her father even if it wasn’t one that was desirable. This is best understood with her reaction to his suicide when she states, “But his absence resonated retroactively, echoing back through all the time I knew him. Maybe it was the converse of the way amputees feel pain in a missing limb.” (pg. 399)
In Amy Hempels’ Short Story “Going,” our journey with the narrator travels through loss, coping, memory, experience, and the duality of life. Throughout the story is the narrator’s struggle to cope with the passing of his mother, and how he transitions from a mixture of depression, denial, and anger, into a kind of acceptance and revelation. The narrator has lost his mother in a fire three states away, and proceeds on a reckless journey through the desert, when he crashes his car and finds himself hospitalized. Only his thoughts and the occasional nurse to keep him company. The narrator soon gains a level of discovery and realizations that lead to a higher understanding of the duality of life and death, and all of the experiences that come with being alive.
The critics who perceived this book's central theme to be teen-age angst miss the deep underlying theme of grief and bereavement. Ambrosio asks the question, "Is silence for a writer tantamount to suicide? Why does the wr...
The funeral was supposed to be a family affair. She had not wanted to invite so many people, most of them strangers to her, to be there at the moment she said goodbye. Yet, she was not the only person who had a right to his last moments above the earth, it seemed. Everyone, from the family who knew nothing of the anguish he had suffered in his last years, to the colleagues who saw him every day but hadn’t actually seen him, to the long-lost friends and passing acquaintances who were surprised to find that he was married, let alone dead, wanted to have a last chance to gaze upon him in his open coffin and say goodbye.
Death has feelings as much as any human, imagining, getting bored, distracted, and especially wondering (350, 243, 1, 375 respectively). Odd, one could say for an eternal metaphysical being. But then again, not that queer once having considered how Death spends his time. He is there at the dying of every light, that moment that the soul departs its physical shell, and sees the beauty or horror of that moment. Where to a human witnessing a death first hand (even on a much more detached level than our narrator) can easily be a life changing event, Death is forced to witness these passings for nearly every moment of his eternal life. Emotional overload or philosophical catalyst? Death gains his unique perspective on life through his many experiences with the slowly closing eyelids and muttered last words. Yet in this...
It has been said of Anton Chekhov, the renown Russian short-story writer, that in all of his “work, there is never exactly a point. Rather we see into someone’s hear – in just a few pages, the curtain concealing these lives has been drawn back, revealing them in all their helplessness and rage and rancor.” Alice Munro, too, falls into this category. Many of her short-stories, such as “Royal Beatings” focus more on character revelation rather than plot.
Through an intimate maternal bond, Michaels mother experiences the consequences of Michaels decisions, weakening her to a debilitating state of grief. “Once he belonged to me”; “He was ours,” the repetition of these inclusive statements indicates her fulfilment from protecting her son and inability to find value in life without him. Through the cyclical narrative structure, it is evident that the loss and grief felt by the mother is continual and indeterminable. Dawson reveals death can bring out weakness and anger in self and with others. The use of words with negative connotations towards the end of the story, “Lonely,” “cold,” “dead,” enforce the mother’s grief and regressing nature. Thus, people who find contentment through others, cannot find fulfilment without the presence of that individual.
Imagine that the person you love most in the world dies. How would you cope with the loss? Death and grieving is an agonizing and inevitable part of life. No one is immune from death’s insidious and frigid grip. Individuals vary in their emotional reactions to loss. There is no right or wrong way to grieve (Huffman, 2012, p.183), it is a melancholy ordeal, but a necessary one (Johnson, 2007). In the following: the five stages of grief, the symptoms of grief, coping with grief, and unusual customs of mourning with particular emphasis on mourning at its most extravagant, during the Victorian era, will all be discussed in this essay (Smith, 2014).
Kenyon’s choice of a first person perspective serves as one of two main techniques she uses in developing the reader’s ability to relate to the poem’s emotional implications and thus further her argument regarding the futility of mankind’s search for closure through the mourning process. By choosing to write the poem in the first person, Kenyon encourages the reader to interpret the poem as a story told by the same person who fell victim to the tragedy it details, rather than as a mere account of events observed by a third party. This insertion of the character into the story allows the reader to carefully interpret the messages expressed through her use of diction in describing the events during and after the burial.
Right from the moment Louise Mallard hears of her husband's death, Kate Chopin dives into a her vivid use of imagery. “When the storm of grief has spent itself” introduces a weather oriented theme (para.3). This imagery depicts a violent and dark setting that denotes death and grief. Her reaction to her husband's death ideally what society would expect. Her acute reaction instantly shows that she is an emotional, demonstrative woman. Even tho...
The reader reads in order to feel sorrow for the protagonist in a manner the reader can assimilate. Yet, it seems that the nature of Margaret’s thoughts is inherently dialogic or, to work with Duke’s terms, empathic: neither Margaret nor the reader uses the text in order to solicit pity from the other. What function would a “pity party” serve a reader by herself? To the contra...
The characters in Alice Sebold’s The Lovely Bones are faced with the difficult task of overcoming the loss of Susie, their daughter and sister. Jack, Abigail, Buckley, and Lindsey each deal with the loss differently. However, it is Susie who has the most difficulty accepting the loss of her own life. Several psychologists separate the grieving process into two main categories: intuitive and instrumental grievers. Intuitive grievers communicate their emotional distress and “experience, express, and adapt to grief on a very affective level” (Doka, par. 27). Instrumental grievers focus their attention towards an activity, whether it is into work or into a hobby, usually relating to the loss (Doka par. 28). Although each character deals with their grief differently, there is one common denominator: the reaction of one affects all.
Katherine Philips is desperately trying to renew her faith in life, but she is struggling to do so because of the death of her son. She is attempting to justify the loss of her child as a form of consolation, while keeping somewhat emotionally detached to the later death of her stepson in “In Memory of F.P.” The differing phrases, words, and language contrast the two elegies and emphasize the loss and pain in “Epitaph” while diminishing the pain in “Memory of FP.”