The novel Tsotsi, by Athol Fugard, is a story of redemption and reconciliation, facing the past, and confronts the core elements of human nature. The character going through this journey, who the novel is named after, is a young man who is part of the lowest level of society in a poor shanty town in South Africa. Tsotsi is a thug, someone who kills for money and suffers no remorse. But he starts changing when circumstance finds him in possession of a baby, which acts as a catalyst in his life. A chain of events leads him to regain memories of his childhood and discover why he is the way he is. The novel sets parameters of being “human” and brings these to the consideration of the reader. The reader’s limits of redemption are challenged as Tsotsi comes from a life lacking what the novel suggests are base human emotions.
The word Tsotsi means “thug”, which is what the character is portrayed as at the start of the novel. He kills for the money to survive, but the manner in which he does suggests it is not out of necessity but rather choice. When killing a man in public for his money, he “smiled at the growing bewilderment on the big bastard’s face... Even as that was happening, Tsotsi bent close to the dying man and in his ear whispered an obscene reference to his mother” (12). The novel suggests that he kills not from desperation, but as a way of life. His reasons are psychological. “The big men, the brave ones, stood down because of him, the fear was of him, the hate was for him. It was all there because of him. He knew he was.” (7). Tsotsi kills not only for survival, but as a way of justifying his existence, a way of confirming that he does exist. This makes more sense when his fear is explained, a fear of nothingness. He kill...
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...ell of the church of Christ the Redeemer is tolling” (122). Its position in the storyline, the fact that it is the church of Christ the Redeemer and the present tense are a technique used to suggest that at that point Tsotsi is redeeming himself. The novel ends with Tsotsi sacrificing himself for a baby, which is the final act committed in redemption.
Tsotsi begins as a thug, suffering no remorse. But he changes and his last deed is committing a great act of love; sacrificing himself for a baby. He regains memories of his childhood and discovers why he is the way he is. The novel sets the parameters of being “human” as feeling empathy, having a mother, having morals, having an identity, having a spirituality and feeling love. Tsotsi learns these and is redeemed. It is a very moving story about the beauty of human nature and hope for redemption no matter what.
Art Spiegelman's Maus II is a book that tells more than the story of one family's struggle to live thought the Holocaust. It gives us a look into the psyche of a survivor's child and how the Holocaust affected him and many other generations of people who were never there at all. Maus II gives the reader a peek into the psyche of Art Spiegelman and the affects of having two parents that survived the Holocaust had on him. Spiegelman demonstrates the affects of being a survivor's child in many ways throughout the book. Examining some of these will give us a better understanding of what it was like to be a part of the Holocaust.
Duong Thu Huong’s novel, ‘Paradise of the Blind’ creates a reflective, often bittersweet atmosphere through the narrator Hang’s expressive descriptions of the landscapes she remembers through her life. Huong’s protagonist emphasises the emotional effects these landscapes have on her, acknowledging, “many landscapes have left their mark on me.”
Human nature has many elements that reveal the growth and personality of a person. In Markus Zusak’s “The Book Thief”, the author successfully portrays various aspects of human nature through Hans’ conflicts that originate from the tough reality that he lives in. Elements of human nature can be seen as a result of Hans’ constant struggles with guilt, kindness, and love.
Amy Tan’s ,“Mother Tongue” and Maxine Kingston’s essay, “No Name Woman” represent a balance in cultures when obtaining an identity in American culture. As first generation Chinese-Americans both Tan and Kingston faced many obstacles. Obstacles in language and appearance while balancing two cultures. Overcoming these obstacles that were faced and preserving heritage both women gained an identity as a successful American.
English is an invisible gate. Immigrants are the outsiders. And native speakers are the gatekeepers. Whether the gate is wide open to welcome the broken English speakers depends on their perceptions. Sadly, most of the times, the gate is shut tight, like the case of Tan’s mother as she discusses in her essay, "the mother tongue." People treat her mother with attitudes because of her improper English before they get to know her. Tan sympathizes for her mother as well as other immigrants. Tan, once embarrassed by her mother, now begins her writing journal through a brand-new kaleidoscope. She sees the beauty behind the "broken" English, even though it is different. Tan combines repetition, cause and effect, and exemplification to emphasize her belief that there are more than one proper way (proper English) to communicate with each other. Tan hopes her audience to understand that the power of language- “the way it can evoke an emotion, a visual image, a complex idea, or a simple truth”- purposes to connect societies, cultures, and individuals, rather than to rank our intelligence.
This man is the absolute opposite of everything society holds to be acceptable. Here is a man, with intelligent insight, lucid perception, who is self-admitted to being sick, depraved, and hateful. A man who at every turn is determined to thwart every chance fate offers him to be happy and content. A man who actively seeks to punish and humiliate himself. Dostoyevsky is showing the reader that man is not governed by values which society holds to be all important.
Chinese Cinderella is a compelling autobiography by Adeline Yen Mah, a struggling child, yearning for acceptance and love in her dysfunctional family. In this novel of “a ‘secret story of an unwanted daughter”, Adeline presents her stepmother Niang, as a violent, impatient, biased, domineering and manipulative demon. Analysing the language used by the author, we can discover how effectively she does this.
This book is full of extraordinary courage, determination and will. Kien was subjected to many injustices, most of which were inflicted by the males in his life and community. Kien’s mother’s boyfriend, Lam, was a cruel man who took advantage of people around him. He raped the family maid, Loan, and he raped Kien as he slept alone at night. Lam was a sociopath and very manipulative, he took advantage of Kien’s family. Kien’s cousins were also cruel to him and his brother. They were poor, and took great joy in tormenting Kien and Jimmy. His cousins were glad to have others around who were considered “lower” then they were. Tormenting Kien’s family made the cousins feel better about themselves. When the boys were given a dog, the cousins kicked it to death while laughing. It was mostly males, but there were also female figures who took part in the violence surrounding him. His aunt was a person who had the power to stop the violence, but she only encouraged it. She got a sense of power by having Kien’s family being so destitute and dependant on her.
It is hard to tell the story of a “typical” youth and it is hard to write a story that
Throughout the novel, Purple Hibiscus, by Chimamanda Ngozi Adichie, the narrator- 15 year old Kambili- suffers from the restrictions that her devout father has implemented on every aspect of her life. Her every action revolves around the idea of religion and completing God’s purpose- due to her father’s piousness; however, when she visits her Aunty Ifeoma in Nssuka, she is liberated, as a clear change in Kambili is evident, brought by her time with her aunt and cousins. As a result, Kambili begins to become stronger, expressing herself and going against her father’s restrictive ways in order to form her own life. Through this, it can be seen that Kambili transforms into a stronger character througout The Purple Hibiscus, as a result of her exposure to her Aunty and cousins in Nssuka that sparked her change, shaping her to become a more independent character.
Whether a warning to or a reflection on society, the book stimulates thought and forces the reader to look inward at his or her own...
In the novel “Hunger” by Knut Hamsun, the novel’s narrator is unfortunate enough to go through delusions and pains that are caused by what many people cannot experience in the modern days; state of being hungry. As the novel progresses narrator becomes more intoxicated into state of delusion as the hunger deepens. In many scenes of the novel, narrator relates to God many times. Narrator blames, thanks, and even to talk one-sided dialogues with his imaginary God. While many can think that God doesn’t take key parts in novel and let it slip as just another symptom of narrator’s delusion, the scenes with God being a part reveals that God plays both scapegoat and a person of gratitude for narrator’s outcome for every action he takes. From the passages it can be deducted that both narrator and Hamsun have attitude that God is ominous and act as catalyst in everyday life.
In Pouliuli, a novel written by Albert Wendt, Faleasa Osovae awakens to find the life he’s been living all along is a mere façade. Pouliuli invites readers into the Samoan community of Malaelua, which is turned topsy-turvy when Faleasa misleads his aiga and community by acting maniacal. Albert Wendt ties a famous Malaelua saga about a mythological hero named Pili to Faleasa Osovae’s life. In the myth as well as in Faleasa’s story, they both had the same goal, which was to live the rest of their life “free”. To accomplish this goal, they both had to accomplish three tasks. Pilis’ tasks were to eat a mountain of fish which the giant’s had caught that day, to race the giants down a river, and make himself disappear. Faleasas’ tasks were to destroy Filemoni, Make Moaula the new leader, and remove Sau and Vaelupa as council leader. Of course they couldn’t have done these tasks alone so both of them enlisted help from friends. Pili enlisted the help of Tausamitele, Lelemalosi, and Pouliuli. Faleasa enlisted the help of his long time friend Laaumatua and his son Moaula. Finally to get the freedom they so wished for they had to complete one last task. In Pili’s case it was to divide his kingdom among his children while Faleasa had to remove Malaga as congress of the village. In the end, they both end up with nothing. Both ending up in the darkness of Pouliuli.
In this text Mohanty argues that contemporary western feminist writing on Third World women contributes to the reproduction of colonial discourses where women in the South are represented as an undifferentiated “other”. Mohanty examines how liberal and socialist feminist scholarship use analytics strategies that creates an essentialist construction of the category woman, universalist assumptions of sexist oppression and how this contributes to the perpetuation of colonialist relations between the north and south(Mohanty 1991:55). She criticises Western feminist discourse for constructing “the third world woman” as a homogeneous “powerless” and vulnerable group, while women in the North still represent the modern and liberated woman (Mohanty 1991:56).
The young man’s predicaments all revolve around his need to satisfy those that will judge him and he becomes trapped between the apartheid rule and humanity’s desire for equality and respect towards others. This is purely a personal issue that can be resolved solely by him, but should take into the consideration of those involved. We see glimpses of this coming through the young man, but being raised in an era of apartheid it overpowers his common understanding of respect.