Barbara Taylor Bradford once said, “Priceless things matter not for their value, but because they offer us an enduring reminder of stability and permanence” (Quotes About Antiques). In We Were the Mulvaneys, Corinne’s antique shop is a appears to be a cornerstone in her life. While it is often criticized within the family and its importance is understated, the antiques add another level of meaning to the multifaceted novel. These pieces come together to represent her children, her will to hold on to her family, and the misuse of beautiful things. Throughout We Were the Mulvaneys, written by Joyce Carol Oates, Corinne’s antique shop, and the connection she has with it, represents the Mulvaney family as a whole. At first glance, it is surprising …show more content…
to see that Patrick Mulvaney’s favorite antique is the Huntsman, a wood carving depicting a huntsman about to shoot, but, as the novel progresses, the similarities begin to unfold. This formerly shy boy who was against even holding a gun morphs into a thoughtful killer when he decides that he is the only one who can avenge the rape of his sister, Marianne. According to Oates herself, Patrick was supposed to be more like a “terrorist,” but instead he becomes more “civilized and judicious” having more depth and self control than the statue he represents (We Were the Mulvaneys Teacher’s Guide). He allows Zachary Lundt to go free after realizing he is not the same boy that destroyed his family all those years ago. The internal struggle Patrick faces between killing Lundt and letting him live is also foreshadowed by the statute. When describing it, Judd says, “The drawing had been executed in the instant before the huntsman pulled the trigger - so it seemed. But was the huntsman really going to shoot? Or, just possibly, was he contemplating the handsome animal, about to change his mind and lower the rifle. Don’t shoot! you wanted to shout” (Oates 238). Patrick;s connection to the Huntsman statue not only foreshadows the events of the novel, but more importantly gives the reader a sense of his thoughts and struggles throughout the process. While Patrick has the hard wooden Huntsman, Marianne is represented by a picture entitled The Pilgrim.
Marianne is in fact a pilgrim as she bounces around from one residence to the next once she is exiled from her family. During this time, she longs desperately for an unattainable goal, a home at High Point Farm. Due to this constant desire, Marianne is unable to feel truly happy anywhere else. She is also afraid to settle down, wondering if she will be forced to leave again or if her family will ever call her home. It is because of this that she leaves the Co-Op when Abelove suddenly professes his love for her without as much as a goodbye. Later, she flees from Mrs. Hagstrom when her duties are increased and their relationship grows (We Were the Mulvaneys). Oates describes her constant movement saying, “She’d become a girl who turned up places, stayed if she could get halfway decent employment and moved on if she couldn’t; she made friends, sometimes very close friends, then with no warning, as if it wouldn’t occur to her that anyone might miss her, moved on” (400). Her pilgrimage stops, however, once she finds a home in Dr. Whit West and his animal sanctuary. At this point she is able to trust again, still waiting for a call from home, but content with where she is. Her stability is detailed by Oates, saying, “By the time he (Muffin) died, for the second time it almost seemed, Marianne would have joined the full-time staff at Stump Creek Hill and would have been living on …show more content…
the premises for most of those months” (415). Marianne’s struggle throughout the novel is epitomized in the Pilgrim painting of her youth as she moves around for years without feeling at home until she finds her salvation at Stump Creek. While Patrick and Marianne are characterized by their antiques, Judd is characterized by his lack of an antique. Throughout the novel, he expresses how left out he feels from the rest of the family dynamic. As Judd says himself, “... as I was the last-born of the Mulvaney children, I was the last to know anything” (Oates 156). Being the youngest Mulvaney child, he is often forgotten about by his siblings or not included in many of the family’s memories. This is revealed in the first pages of the novel as he says, “What worried me was I’d come along so belatedly, everyone else was here except me! A complete Mulvaney family without Judd” (Oates 4). Judd’s importance in the family is often overlooked, yet without him, there would be no one to tell the story. His lack of a personal antique shows how he is removed enough from the family to portray the true events that occurred without too much personal bias affecting his memories. This establishes him as a trustworthy narrator and allows for the other characters to shine through him. If there was an antique to personify Corinne, it would have to be the multiple clocks that she refused to sell.
Oates herself draws this connection as she writes, “Mom described herself as a ‘fool about a clock’” (237). These clocks show her desire to hold on - to the past, to her family, and to their way of life. Corinne struggles throughout the novel as she tries desperately to keep her family alive. Without her, they surely would have crumbled and fallen apart completely, unable to ever be mended. Each clock also says a different time, none of them being the correct time, which symbolizes her desire for any other time than the present. Whether this means the seemingly happy family of the past or a healed family of the future, she craves a change from her current situation. Corinne believes that this period is truly just a phase that will pass with time. She thinks to herself, “They were all going through a phase, the entire Mulvaney family, and they’d come out of it soon? Just a phase - the very words made everything seem hopeful again” (Oates 166-167). Corinne’s desires to hold on to her family and stop its decay over time is shown by the clocks that litter her home and the walls of her
store. Although Corinne is focused on holding on, to her family and her antiques, she is willing to let Marianne slip away. Throughout the novel, it is mentioned that Corinne rarely sells her antiques, playing into her difficulties of letting go, and yet she allows Michael to send her only daughter away. She has no desire for Marianne to leave, but effectively chooses Michael Sr and the possible good of the family over her daughter. As Oates says, Corinne “... never ceases loving, and grieving over, Marianne...” just as she never is ready to let an antique go (We Were the Mulvaneys Teacher’s Guide). The issue is that by sending Marianne away, her healing process is stalled, “If her parents could have accepted Marianne as changed by her experience and loved her despite that change, her trauma would have likely had less effect and those effects would have neutralized sooner” (We Were the Mulvaneys). In this way, Corinne’s desire to hold on to her antiques foils her acceptance of letting Marianne leave, even though it is done with good intentions. Corinne’s love for antiques is based on their hidden values. As Judd details, “How people misuse beautiful things! was Corinne’s frequent lament” (Oates 26). He also describes the antique barn as being, “crowded with such things, most of them awaiting restoration, or some measure of attention” (Oates 26). This misuse of beautify can be paralleled in the rape of Marianne. Before the incident, she was a popular, beautiful, and involved cheerleader at her high school. In fact, it is her beauty that draws Zachary Lundt’s attention at the St. Valentine’s Day Dance. He finds himself being able to open up to her about his life, even saying that “she brings out the best in him,” and then abuses her beauty by raping her. After this, Marianne is left as a fragile shell of herself, criticized, separated, and at fault for the demise of her family (We Were the Mulvaneys). While Corinne may be distraught about the abuse of the antiques, she never would have believed that her daughter would be in the same position. The Mulvaney family also represents another truth about antiques, that ordinary things passed in time become more precious. After years of separation and individual growth, the family is able to come together once again for an Independence Day celebration and family reunion (We Were the Mulvaneys). Corinne’s pleasure at their unity is expressed as she says, “I’m just so, so happy everyone of you is here! It just seems so amazing and wonderful, and, well, a miracle, but I guess it’s just ordinary life, how we all keep going, isn’t it” (Oates 446). While they are finally together now, the passage of time was necessary for things to be this way (We Were the Mulvaneys). This arguably was most important for Patrick, who needed to distance himself more than any of the other children. His return is described by Judd, who says, “Now he’d come back to us, it was as if that old Patrick, and those old sorrow, had never been” (Oates 448). The reinstated stability of the Mulvaney family, once a common and ordinary thing taken for granted, is now more precious than anything else. Throughout Joyce Carol Oates’s We Were the Mulvaneys, Corinne’s antique shop comes to represent many characters and themes in the novel. Individual characters, like Patrick, Marianne, and Corinne, all have special antiques where Judd has none. Certain themes, like holding on to the past, the misuse of beautiful things, and increase in value of things from the past also hold many purposes. Oates’s creation of the antique shop adds depth to the details that she hides throughout the novel and allows the reader to discover new meanings with every page turned.
Before going to Alaska, Chris McCandless had failed to communicate with his family while on his journey; I believe this was Chris’s biggest mistake. Chris spent time with people in different parts of the nation while hitchhiking, most of them whom figured out that McCandless kept a part of him “hidden”. In chapter three, it was stated that Chris stayed with a man named Wayne Westerberg in South Dakota. Although Westerberg was not seen too often throughout the story, nevertheless he was an important character. Introducing himself as Alex, McCandless was in Westerberg’s company for quite some time: sometimes for a few days, other times for several weeks. Westerberg first realized the truth about Chris when he discovered his tax papers, which stated that “McCandless’s real name was Chris, not Alex.” Wayne further on claims that it was obvious that “something wasn’t right between him and his family” (Krakauer 18). Further in the book, Westerberg concluded with the fact that Chris had not spoken to his family “for all that time, treating them like dirt” (Krakauer 64). Westerberg concluded with the fact that during the time he spent with Chris, McCandless neither mentioned his
People have goals everyday, believe it or not some people think that dreams aren't worth it. I believe that it is worth it to dream because it gives a person a goal, it makes them feel good, and it makes them stronger. I know this from The Pearl, A Cubs video, the Susan Boyle video, and We Beat the streets.
Courage is valued in many ways. It is measured by bravery, heroism, physical strength, and morally correct behavior. The world mostly defines courage as having physical strength and being brave. Atticus, Scout, and Jem show many acts of courage through the novel To Kill A Mockingbird by Harper Lee. They all have different views and opinions on courage. The novel is told from the point of view of Scout. She, and her brother Jem, live with their widowed father in Maycomb, Alabama in the 1930’s. Their father, Atticus, is also a lawyer who defends his black client, Tom Robinson, who is innocent of rape. The title To Kill A Mockingbird explains that “it’s a sin to kill a mockingbird” because they “make music for us to enjoy” (Lee 119). In other words, the mockingbirds are harmless and have never done anything wrong. It would be considered a sin to kill a harmless and peaceful mockingbird. Similarly, accusing an innocent and
Makeup is used by woman to enhance their appearance to others. Susie as the omnipresent narrator, questions the meaning behind this. “That morning there were no lipstick marks because there was no lipstick until she put it on for...who? My father? Us?” (43). When Susie brings up the idea of lipstick and makeup, the audience is forced the question its role. The notion of an illusive mask that hides an individuals true identity is metaphorically similar to that of which was previously discussed, Abigail’s mystery. Now that the makeup is off her face, it compliments the idea that her mother is a stranger; however, it also reviews the reason women use makeup. By posing the question, for “who?”, the audience is left to wonder whether it is for her family, or just culture fixing the women of suburbia to the role of being pretty wives, instead of having individual personalities. Sebold then makes Susie, when narrating about her father’s description of Abigail’s eyes, a product of the same society that confines women to a lifestyle. “‘Ocean Eyes’ my father called her...now I understood the name. I had thought it was because they were blue, but now I saw it was because they were bottomless in a way that I found frightening” (43). Again, the author, by utilizing the metaphor of “ocean eyes” brings forward the idea that Abigail is more than just a mother and wife. The endless depth of
Therefore, the symbolism of the clock is open for individual interpretation to the films’ viewers. Perhaps, there is irony in the fact that after the clock was built then unveiled, not too far away in another state; an unusual child was born simultaneously. The mother of this child, shortly thereafter giving birth, dies unexpectedly. The father then cradles his child, and removes the blanket to see his sons face for the first time. The father bellows in absolute repulsion, after he realizes his son is an octogenarian infant. As a result, the father scurries away with his son in disgust, and contemplates throwing this child of oddity into the river. Instead he opts to leave his child on the steps of a very large home after hearing people inside the home, and leaves whatever money he had with the baby. An African-American couple walks out onto the porch, and notices the abandoned child. The woman (Queenie), whom is barren, decides that she would adopt responsibility for this child of god, and raises him as her own. She names this child Benjamin. In conclusion, the viewer is left to ponder the symbolism: perhaps, when the clock began ticking backwards, at the same time, so has Benjamin’s
...daries and what belongs to her. She seems to think that objects that are important in Mother and Maggie's life are just aesthetic pieces of art instead of real life tools. Her idea of reality became warped around the lack of respect she showed the rest of her family.
The “Glass Menagerie” by Tennessee Williams shows a family facing economic and social hardships due to the father abandoning them. The father’s absence forces the rest of the family to fill roles that they wouldn’t be obliged to face if the father remained. The mother, Amanda, is a strong single mother who pushes her kids to be economically self-sustaining individuals. Amanda tries to impose her desires for her kids in a very direct and controlling manner which causes them to dislike her initiatives. The son, Tom, is the breadwinner for the family, however is dissatisfied with his situation due to his increased responsibilities. The daughter, Laura, is handicapped and dropped out of business school. Each member of the family is limited by their ability to grow out of their negative habits, however, it is likely that these habits or characteristics came from the family situation and the roles that each member was forced to fill.
...her room she will no longer be bound to her husband but rather free to do what she wants whenever she chooses to. Mrs. Mallard is at last apart from a person who was once somebody she loved but then started to dislike him because of his selfishness towards her. Then at last she comes to a point when she sees him and dies because she knows she will be jailed up again with his possession with her.
Mrs. Mallard’s repressed married life is a secret that she keeps to herself. She is not open and honest with her sister Josephine who has shown nothing but concern. This is clearly evident in the great care that her sister and husband’s friend Richard show to break the news of her husband’s tragic death as gently as they can. They think that she is so much in love with him that hearing the news of his death would aggravate her poor heart condition and lead to death. Little do they know that she did not love him dearly at all and in fact took the news in a very positive way, opening her arms to welcome a new life without her husband. This can be seen in the fact that when she storms into her room and her focus shifts drastically from that of her husband’s death to nature that is symbolic of new life and possibilities awaiting her. Her senses came to life; they come alive to the beauty in the nature. Her eyes could reach the vastness of the sky; she could smell the delicious breath of rain in the air; and ears became attentive to a song f...
The speaker also manipulates time to bring out his or her message. Lines 3, 8, 11, 21, 34, and 36 all contain some order of either “spring summer autumn winter” (3), as in lines 11 and 34, or “sun moon stars rain” (8), as in lines 11, 21, and 36. As the order of these seasons changes, it indicates the passage of time. This manipulation of time draws attention away from these lines and towards the lines with deeper meaning hidden within. However, there is another form of time: the progression of life. The speaker comments on the growth of children in terms of their maturity levels and how as they get older, children tend to forget their childish whims and fancies and move on. He or she says that they “guessed (but only a few / and down they forgot as up they grew” (9-10). He or she then goes on to say that “no one loved [anyone] more by more” (12), hinting at a relationship in development, foreshadowing a possible marriage.
Tennessee Williams’ play, “The Glass Menagerie”, depicts the life of an odd yet intriguing character: Laura. Because she is affected by a slight disability in her leg, she lacks the confidence as well as the desire to socialize with people outside her family. Refusing to be constrained to reality, she often escapes to her own world, which consists of her records and collection of glass animals. This glass menagerie holds a great deal of significance throughout the play (as the title implies) and is representative of several different aspects of Laura’s personality. Because the glass menagerie symbolizes more than one feature, its imagery can be considered both consistent and fluctuating.
The Glass Menagerie is a fascinating play. In the Glass Menagerie by Tennessee Williams, the story revolves around a girl name Laura Wingfield; her brother Tom and mother Amanda are secular characters who ignite Laura to solve her personal issues. In the Wingfield family, Tom and Amanda are very supportive and optimistic in concerns to Laura’s disability. As a single mother, Amanda’s one true pursuit American dream is getting gentlemen callers for Laura, which assents her to be married to a happy and satisfying life. Although the lives of the Wingfields may seem conclusive, encouraging and yet minor in pessimistic, Wingfields are nothing compared to the Cabot family of Eugene O’Neill’s, Desire Under the Elms. In Desire Under the Elms, the major American dream for the Cabot family is dominance over a plantation. Acquiring a plantation is everything to Eben Cabot, the youngest brother of the Cabot’s. Rather, considering marriage as a hopeful family stimulation like the Wingfields, the Cabot’s sees marriage as a negative outcome which gravely tears the family apart. Since the arrival of Eben’s new step-mother, Eben has been in defense over his rights of his family farm from Abbie. But the struggle in Eben was that Abbie will profit and Eben will be divested. This, Eben agonizes internally. In revere to the Cabot’s family ties, the three Cabot’s hate their father Ephraim for overworking them to death on the farm. Disrespect is perceived between the Cabot brothers and the father. Heedlessly, the father harasses Eben addressing that “Eben’s a dumb fool – like his Maw – soft an’ simple!” (O’Neill 967). This would not have been unacceptable in comparison to the Wingfields of the Glass Menagerie. Regarding the family ties in the Glass ...
Jolemore, Nancy. "Lecture Notes and Study Guide Questions for Tennessee William's The Glass Menagerie." Old Dominion University. 18 January 2000.
Janwillem Van De Wetering says, “Greed is a fat demon with a small mouth and whatever you feed it is never enough.” Guy De Maupassant’s “The Necklace” tells of Mrs. Mathilde Loisel’s longings for the finer things in life. Her desires are so intense she risks her husband’s affections, the friendship of an old chum, and even her mediocre lifestyle to pursue these cravings. One small decision based on an ill-placed desire causes a slow drawn out death of the spirit, body and relationships.
The excitement is building up inside of me, just like Eudora Welty feels when she reads, as described in a passage from One Writer’s Beginnings. I know exactly what I am looking for; two purses for my mother and sister. Nothing to big, or to small. One is going to be black, one brown. Try as I might to keep my mind on the task at hand, it is difficult to concentrate on just purses when there are fascinating items all around me! Leather jackets, jewelry, bolt upon bolt of the most gorgeous fabrics I have ever seen, and so much more. I can’t help but walk over to the people when they call to me; I am drawn by their eagerness and obvious love for their product. They have to be really great scarves if the man holding them thinks so much of them,...