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In Alice Munro`s short story “Dimensions”, the main character Doree has married Lloyd and wishes of ending with “happy ever after”, but ends up getting her three children killed by daring husband. Lloyd first appears in the beginning of the story with a very favorable impression. Even though he is only few years younger than Doree`s mother, he marries Doree and gets two daughter and one son. However, Lloyd`s image of nice fatherhood falls apart in the early stage of the story. Although Lloyd treats Doree kindly at first, but it is obvious that Lloyd is controlling Doree as the story advances. In fact, Doree is caught in Lloyd’s traps in order to control Doree which makes her loyal to him, but the relation between them breaks at the end.
Lloyd is certainly not a person that most people want to hang out. He treats Doree carelessly. Even in the story it is hard to find Doree and Lloyd in a good mood. The only place where the reader can imagine Doree and Lloyd smiling is when they meet at the hospital. As a matter of fact meeting Lloyd makes Doree loyal to him. When Doree first meets Lloyd, he is a great gentleman. He is funny, has strong touch, and authoritative. He is the perfect model for most of the girls and Doree likes him more than as her mother`s friend. Doree is now completely opens her heart and made Lloyd very easy to get into her. In other word, Doree`s first impression of Lloyd made her loyal to him. In order for Lloyd to control Doree, or make her respect him, he plans a well calculated trap which he thinks it would work perfectly. The crafty trick Lloyd performs is to win Doree`s heart with a sweet word: “He kissed Doree in the elevator and told her she was flower in the dessert” (Alice Munro 6). From here, Doree is go...
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...murder, Doree does not leave him. Lloyd did not think of Doree breaking free from his control, but saving the boy helped Doree getting out from his hand. It could be said that Doree and Lloyd’s relation is strong tied in a way how the murder did not break the bond, but it is also weak in a way how saving the boy just broke the control.
Throughout “Dimensions”, Doree is controlled by Lloyd until the end of the story. It all starts when Doree met Lloyd in the elevator. At that point, Doree has no idea that Lloyd sets careful traps slowly to make her loyal servant. She is loyal to him and is controlled by him for a long time. Maybe Doree wanted to break free from Lloyd’s control before those nightmares came, but didn’t have strength to break away. Although in the last, by saving the injured boy Doree gets out of Lloyd's control and decides to move on without him.
In the beginning years of Janie’s life, there were two people who she is dependent on. Her grandmother is Nanny, and her first husband is named Logan Killicks. In Their Eyes Were Watching God, “Janie, an attractive woman with long hair, born without benefit of clergy, is her heroine” (Forrest). Janie’s grandmother felt that Janie needs someone to depend on before she dies and Janie could no longer depend on her. In the beginning, Janie is very against the marriage. Nanny replied with, “’Tain’t Logan Killicks Ah wants you to have, baby, its protection. ...He done spared me...a few days longer till Ah see you safe in life” (Hurston 18). Nanny is sure to remind Janie that she needs a man in her life for safety, thus making Janie go through life with that thought process.
No matter what actions or words a mother chooses, to a child his or her mother is on the highest pedestal. A mother is very important to a child because of the nourishing and love the child receives from his or her mother but not every child experiences the mother’s love or even having a mother. Bragg’s mother was something out of the ordinary because of all that she did for her children growing up, but no one is perfect in this world. Bragg’s mother’s flaw was always taking back her drunken husband and thinking that he could have changed since the last time he...
Alice Munro's creation of an unnamed and therefore undignified, female protagonist proposes that the narrator is without identity or the prospect of power. Unlike the narrator, the young brother Laird is named – a name that means "lord" – and implies that he, by virtue of his gender alone, is invested with identity and is to become a master. This stereotyping in names alone seems to suggest that gender does play an important role in the initiation of young children into adults. Growing up, the narrator loves to help her father outside with the foxes, rather than to aid her mother with "dreary and peculiarly depressing" work done in the kitchen (425). In this escape from her predestined duties, the narrator looks upon her mother's assigned tasks to be "endless," while she views the work of her father as "ritualistically important" (425). This view illustrates her happy childhood, filled with dreams and fantasy. Her contrast between the work of her father and the chores of her mother, illustrate an arising struggle between what the narrator is expected to do and what she wants to do. Work done by her father is viewed as being real, while that done by her mother was considered boring. Conflicting views of what was fun and what was expected lead the narrator to her initiation into adulthood.
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 writer Bells Hooks remembers her mother as a young fifties women who loved learning from the commercials and magazines about motherhood. She had learned about not letting the children know about grown-up problems so, she would discuss the problems with her husband in their room than in front of their children. She had married the writer’s father after a divorce with two children. She loved fun and freedom just like her husband. She was really happy when she had finally left her mother’s house which was full of old traditions and morals.
This construct can be seen through their relationship since they have a harder time in agreeing with one another and working through their personal problems of anxiety, helplessness, want of au-tonomy and responsibility. With that being understood, their disagreements can exclude Wilma since the main concern of the family’s dysfunction does not truly involve her. Wilma’s presence becomes extremely needed when tensions arises. I believe that Fred, Wilma, and Rose have clear, but also somewhat unclear boundaries within their family system. Unclear boundaries are prevalent with Fred and Rose. The physical and emotional separateness to ensure effective family functioning becomes difficult when Rose and Fred cannot agree or understand why Rose may inflict self-harm, why she is not fond of the rules, and how Fred’s guilt can hinder his
First, Jack’s mother has the uncanny ability to attract men of all ages and backgrounds, despite her age, and ‘was the kind of woman who had to have men around and had to make them dance to her tune’ (Warren 110) to make herself feel secure and loved. This has led to many marriages, all of which except for the current one to the Young Executive, of which Jack had ‘wondered how permanent they were’ (Warren 115), had ended in divorce. Jack recalls that his young self watched all of these marriages disintegrate, and as a result never expected a continuous lifestyle or a father figure to look up to. The strange thing about Jack and his mother is they both pretend that their relationship isn’t strained by these issues every time he returns home to Burden’s Landing. However, he cannot stand to be near his mother ...
Domestic violence can come in various forms such as physical, mental, and verbal abuse. In the novel the most vulnerable victims to go through this experience was the women and children. The mother, Beatrice, first- hand experience this abuse from her husband and endures it in silence. In this type of culture the women become part of their husbands, their identities in society are their husbands (Fwangyil, 262). Beatrice undergoes several miscarriages at the hands of her husband. For example, one evening the children witnessed their mother hanging over their father’s shoulders and “trickle[s] of blood, which trailed away” (Adichie, 33). Even through all the abuse and miscarriage’s, she continues to defend her husband to the end. Women during
In Emma Donoghue’s novel Room, Donoghue tells the story of Jack and Ma both in and out of captivity. For seven years Ma is held by Old Nick in the confinements of Room, an elev-en-by-eleven foot space equipped with only the bare necessities. In Ma’s second year in Room, she gives birth to her son Jack, who at the beginning of the novel does not believe in the world outside of Room. However, due to Ma’s perfectly organized escape plan they are able to escape Room, thrusting themselves into the outside world, a place completely different from inside Room. This drastic change in setting exposes a new side to nearly every aspect of their lives, completely opposite to that of Room. When this text is analyzed using structuralist theory, one
Alice Hindman and Enoch Robinson were two perfect examples of how a person can live a life full of illusions and loneliness. The main cause of their distorted lives was due to the inability of others to truly understand them. For example, Ned and Alice’s friends didn’t understand Alice and Enoch’s wife and art friends didn’t understand them. This caused them to make their own lives interesting, which they did by creating illusions, which also encompassed unwanted loneliness from Alice and Enoch both.
Marie, who is a product of an abusive family, is influenced by her past, as she perceives the relationship between Callie and her son, Bo. Saunders writes, describing Marie’s childhood experiences, “At least she’d [Marie] never locked on of them [her children] in a closet while entertaining a literal gravedigger in the parlor” (174). Marie’s mother did not embody the traditional traits of a maternal fig...
In the short story “Eveline “ by James Joyce, Eveline, the protagonist is given the opportunity to escape from her hard unendurable life at home and live a life of true happiness at Buenos Ayres with Frank, her lover. Throughout the story, Eveline is faced with a few good memories of her past from her childhood and her mother, but she also faces the horrible flashbacks of her mother’s illness and her father’s violence. In the end, she does not leave with Frank, Eveline’s indecisiveness and the burden of her family’s duties makes her stay.
While Huynh presents his work in a graphic novel Do writes a narrative that both focus largely in this storm. Do finds himself surrounded by family and friends while Huynh portrays his characters to have no connection whilst these details are diffrent both find them selfs relying on human relationships. Huynhs bleak images compliment Dos vivid description of the horrific circumstance, the fourth panel contains Mai's worried face just after the storm has broken trying to look for Troung, this sense of commitment to the relationship shows how deep the need to protect the young boy and even help her with her own mental survival. Do has his family and his mother that hold on to him throughout the raging storm, by Do's mother never letting go and protecting her sons this relationship proves to help protect her little boys. In correlation Do has support all around him whilst Mai is left all alone needing to protect other while she has no one to protect her. Do and Huynh both convey the need for human relationships as they provide protection and help with
Alice Munro's creation of an unnamed and therefore undignified, female protagonist proposes that the narrator is without identity or the prospect of power. Unlike the narrator, the young brother Laird is named a name that means "lord" and implies that he, by virtue of his gender alone, is invested with identity and is to become a master. This stereotyping in names alone seems to suggest that gender does play an important role in the initiation of young children into adults. Growing up, the narrator loves to help her father outside with the foxes, rather than to aid her mother with "dreary and peculiarly depressing" work done in the kitchen (425). In this escape from her predestined duties, the narrator looks upon her mother's assigned tasks to be "endless," while she views the work of her father as "ritualistically important" (425). This view illustrates her happy childhood, filled with dreams and fantasy. Her contrast between the work of her father and the chores of her mother, illustrate an arising struggle between what the narrator is expected to do and what she wants to do. Work done by her father is viewed as being real, while that done by her mother was considered boring. Conflicting views of what was fun and what was expected lead the narrator to her initiation into adulthood.