A Short Lit Comparison of Hemingway's The Snows of Kilimanjaro and Anderson's Winesburg, Ohio

        There is something similar about Hemingway’s The Snows of Kilimanjaro and Sherwood Anderson’s Winesburg, Ohio’s section Mother in that both main characters are dying, and while dying they reflect on the life they have been apart of thus far. Also, both Harry and Elizabeth had, what seemed like awkward encounters, with their supporting characters Helen and George due impart to their impending deaths and their unusually lonesome personalities. “Don’t pay any attention to me.” (836) it wasn’t that Harry wanted Helen to truthfully leave him alone he just did not want to keep hurting her and be bothered with her steadfast attempts to stay positive. He did not want to hurt this woman who had been dealing and putting up with all of his pungent words that he flung at her and his neglect to care for himself, essentially putting them both in this unfortunate situation. He was dying and she was trying to hold on. It was like digging a knife of guilt into his soul and he retaliated and desired the comfort of solitude so he could continue on with his dying and internal pity party of self-reflection and regret.

        “I think you had better go out among the boys. You are too much indoors” (273) It was never that Elizabeth truly wanted her son, George, to leave her side but she was painfully aware of how awkward their meetings were and she did not want him to feel obligated to have to remain there while she sat lifelessly self-indulging in her own inevitable death. For as long as George sat there with her in silence it was like he was digging a knife of guilt into her soul so she encouraged his departure.

        There are also distinct and vast differences as well, including main character genders, cause of characters oncoming death, the characters who sit with each dying characters gender, setting, allusions within each stories context, and the fact that Harry dies at the end of Hemingway’s story but Elizabeth is still alive at the end of Anderson’s section titled “Mother”. All of these result in completely different stories however that underlying personality that Harry and Elizabeth posses that is psychologically known as guilt brought on by remorse is present in both stories. Both Harry and Elizabeth feel guilty for not having achieved certain goals in life and now knowing the chance will shortly be taken away for good upon their deaths and they now feel remorseful for time wasted.
“No, he had never written about Paris. Not the Paris that he cared about. But what about the rest that he had never written?” (838)

“Between Elizabeth and her one son George, there was a deep sympathy, based on a girlhood dream that had long ago died.” (269) 

       Each character seemed to represent a lost quality that each writer, Hemingway, and Anderson, had inside his soul. Harry and Elizabeth each had things that they never accomplished in their lives and it now created a void. Both Hemingway and Anderson express this void through these characters and their loner past that clouds their minds. Harry could not be understood by anyone, or so he thought, and his missed opportunities are now images that plague his sleep. Elizabeth could not be understood, even by the Theatrical group that she wanted so much to be apart of and she magnified their laughs that “It’s not like that” (272) when she ventured to speak her inner thoughts. Both Hemingway and Anderson used these characters as a metaphor for their own personal regrets.



                                                                       Works Cited:
  • “The Snows of Kilamanjaro.” The Norton Anthology: American Literature, edited by Nina Baym. Norton, 2012, 836, 838. “Mother.” The Norton Anthology: American Literature, edited by Nina Baym. Norton, 2012, 269, 272, 273.

Short Lit Response to Wallace Stevens/William Carlos Williams Vs. Ezra Pound

        Had I not been told that Wallace Stevens and William Carlos Williams had other professions other than writing I would not have been able to tell by simply reading their poetry. It is detectable that they think differently then Ezra Pound, but not detectable that they were not full-time writers. Their poetry has as much sustenance, if not more, then Pounds does due to Pound’s common inability to be solidly coherent at all times in his writings. It seems that Pound was trying to impress a certain elitist group when he wrote his continuation to Homer’s Odyssey along with many of his other poems geared at furthering the Mythological poetry of the past. This was ever clear with the number of footnotes needed in the Norton Anthology just for the common person to attempt to get through Pound’s relatively short continuations. When reading Stevens or Williams very few footnotes were added because there were very few references made to past works that required readers to read and/or know in order to understand. Wallace Stevens says “Death is the mother of beauty; hence from her, Alone, shall come fulfillment to our dreams And our desires.” (287) This is not cryptic, it does not include words that come from another dialectic point from the past; it is simple and straight forward. It does not boast legal professional jargon nor stories of past clients, nor descriptions of how to run or better our lives. His job did not define his poetry, it provided him money to survive, and possibly a more level head. Pound’s sole career included writing and nothing else, it could then be remarked that possibly Pound was too engrossed in the literary world that he was becoming disconnected to humanity giving his writings a bias towards other writers and not the general public at large.



                                                                        Works Cited:
  • Baym, Nina, and Robert S. Levine.The Norton Anthology of American Literature. D, New York, W.W. Norton & Co., 2012. Page. 287.

"The Gilded Six-Bits" by Zora Neale Hurston Short Analysis

                                                               Southern Forgiveness
        I chose to read The Gilded Six-Bits by Zora Neale Hurston which is set in the south during the Great Depression. In this story, it is evident through dialect the class setting of Missie May and Joe, a middle-low class husband and wife, who were married within the past year and saving up to start a family. This story was not overly laden with descriptive details about their surroundings but the ones that it did provide were strong within the story. It starts off short, sweet, and to the point in its clear cut description that stated “It was a Negro yard around Negro house in a Negro settlement…” (421) the story then quickly established that Missie May kept a clean house that was “scrubbed white” from a “weekly scouring”. We learn quickly that Missie May’s ability to keep such a clean tight ship is all made possible by the job Joe keeps with “G and G Fertilizer”. These elements gave Hurston’s settings that “something happy” feeling that drove the climb to the climax. It was within this “something happy” that Joe was contented by the wife he adored, that “So long as Ah be yo’husband, ah don’t keer’bout nothin’ else.” (424) This “something happy” was a setting that represented strength, stability, and security for Joe and through his eyes, he assumed it represented the same to his wife. However, Missie May did not here contentment within her husband's words when the walked home from Otis’s ice-cream parlor. Instead, she heard her husband wrapped up in Otis’s money and the way he flaunted it proudly. She didn’t understand his admiration from afar. So it was within that “something happy” that Missie May accepted Otis’s sexual advances in exchange for some of his illusionary gold. As in her mind having this illusionary gold was what seemed to appeal highly to her husband’s happiness. As ironies of life go, Missie was caught and ashamed on a night when Joe got off work early. Joe, upon seeing this unexplainable indiscretion was lost and confused as to why Missie May was unhappy. It took time and patience to heal the wounds of the “something happy” and the assurance that their new baby brought that solidified the “something happy about the place” again.



                                                                      Works Cited:
  • Hurston, Zora Neale. “The Gilded Six-Bits.”The Story and Its Writer: An Introduction to Short Fiction", Bedford/Saint Martin's, 2015, pp. 421-429.

My Thoughts on "The Love Song of J. Alfred Prufrock" by T.S. Eliot

        In The Love Song of J. Alfred Prufrock T.S. Eliot addresses ageism in love. How time stands between comfort and frustration. How we allow ourselves to become bound by time, but in doing so time slips by and we miss out on what is important, lending to regrets. Eliot also brings forth the thoughts of human psychological delusional justification, because we always seem to want what we cannot have; once it is attained we become disinterested. So we are involved in a tiring battle with all aspects of mortality. It is written as if Eliot is Prufrock and we are being given a window into his mind. As we walk through life with Eliot/Prufrock we see what he sees…

“Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster shells…”
…feel what he feels…

“And I have known the eyes already, known them all-
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall;
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?”
…and he even remarks on what he thinks to be the remarks of those who he feels are judging him…

“With a bald spot in the middle of my hair-
(They will say: ‘How his hair is growing thin!’)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin-
(They will say: ‘But how his arms and legs are thin!’)
Do I dare
Disturb the universe?”.
        By asking whether or not he should “Disturb the universe” or not he is showing us his clear understanding that this is bigger than a personal id/ego and more so something that is bound to all of our morality and the justification we give to all aspects of it that is the universal property of all humans. So he is allowing the readers into the inner thoughts, harsh realities, and inner fantasies that are bringing what is imaginary, possibly illusionary, in his mind, into our reality. If something is not spoken out loud is it really real? All of this is a Modernist twist on non-time constraint thoughts that were suppressed in the predecessor Victorian era.

My Career Path With Regards to Linguistics

“English is a complex, rule-governed system that we use every day without having to think about its intricacies”. (Curzan, Adams 1)
        Rules are always meant to be broken and we who speak this language do just that, as time goes on. In our week 8 discussion I wrote that words are vocal utterances that we put together in specific patterns to create singular or strung together sounds that are to stand for expressions of emotions, people, places and things and we weigh heavily how we use these sounds to describe any and everything/one on the reactions we get from those we value. I believe this is exactly how the history of words has evolved, through meant and unmeant vocal utterances. Through these meant and unmeant noises and the reactions our friends and loved ones have had towards them we have then changed to suit ours and their emotional needs with these utterances. As we have evolved in life our vocabularies have evolved and expanded to encompass our new environments around us. As people have moved around the world to and from different places in expeditions our languages have expanded as well. According to wordorigins.org “English is a member of the Indo-European family of languages.” (wordorigins.org) This essentially means our language comes from a strong Germanic and old Roman Latin background, which I believe is what gives our language such depth. By depth, I simply mean that we have many words that mean the same thing or different spelling of the same word for other things. Our language is also a dialect of many cuts and clips mixed together to formulate a storytelling language.

        After our group discussion with the Lord of the Rings clip, knowing our origin makes me want to develop a story that makes use of our origin language, bring it to life again if you will. It seems like such a waste of perfectly good dialect to let it all go dusty. In my particular career path of contemporary realistic fiction writer, I could conceivably take the old languages and revive them with contemporary backdrops, like the Lord of the Rings seems to have done. I could possibly even tweak their sentence structure like Yoda does and come up with a new Old English altogether. It makes me giddy to think of all the exponential amount of possibilities.

        It is important to study and mindfully apply linguistics because it helps people to communicate with each other. Communication is a key part of human existence and while we can communicate through other forms such as body language, it is important to understand the linguistics of speech so that our speech isn’t misinterpreted. It’s important to study when to raise our voice to indicate a question or when to deepen our voice for authority. We also have a specific tone for excitement as well as anger and can even vary our pitch of voice when we cry so that our cries are differentiated. These are all differences in linguistics that are important to learn so that we can successfully cooperate and especially communicate with those around us. In our week 7 discussion, we discussed atmosphere and our authors and I chose excerpts from all three of Steinbeck’s books that I was reading to illustrate that he used linguistics to emphasize each book characters locations because without giving his characters linguistic nuances of speech that derived from where they were from then the reader would have a harder time really getting caught up in the story.

        As an aspiring author, I hope to be able to learn what I have learned about linguistics to further develop my characters like Steinbeck has been able to do by really hearing how people talk and translating that to paper so that my readers can be transported to wherever my story takes them.

        Society changes English linguistics simply by trying to null and void them to an extent. By this I mean that with the evolution of the smartphone and how much people are texting with acronyms trying to convey thoughts too quickly, it’s stripping the linguistic of language away, which even though it makes the message come across quicker it leaves a lot more room for miscommunication. There are still windows available for communication as it is always evolving, such as video chat and emailing, however, it seems that the acronym of text is spilling over to the next generation n the form of speaking in an acronym. By this measure, I believe that the emphatic nature or empathetic one is getting lost and becoming increasingly drone-like. It seems real emotions are getting lost in the new technology as they are getting replaced by emoji emotions which lack personalization. In our week 9 discussion, we discussed evolving technology and in it, I discussed the pros to why evolving technology isn’t hindering society's interrelationship with English by allowing its constant use of acronyms and emoji’s to break certain foreign language barriers. While in high school it’s stripping our children and teenagers of emotional connectedness it seems to be allowing more people to communicate across language barriers that before technological interventions on society’s people were hoping that their pee-pee dance was enough to let a foreigner know they needed a restroom.

        In my particular career path, I plan to simply write. I am an avid reader and avid lover of the written word especially when it is done with style and sarcastic flare. I love reading stories that involve real-life situations that are almost impossible to believe. Whether the stories have a happy ending or not, I appreciate the point and/or lesson; as a writer, I plan to provide a point and/or lesson with every piece I write. I am pursuing this track because books are eternal, they are immortal, they are a way for my mind to go wild and a way for others to keep a piece of my wild mind long after it ceases existence physically.

        In my career choice, it is imperative for me to acquire my own writing style if I want to be able to make and keep a name for myself. Everyone is looking for that new way to spin the plan that already works and it is my goal to figure out how I can spin that plan to fit who I am and also give my audience words they will connect with.



                                                                        Works Cited: 
  • Curzan, Anne, and Michael Adams. How English Works A Linguistic Introduction. Longman. 2012. Pg. 1.
  • Wilton, Dave. “A (Very) Brief History of the English Language.”Wordorigins.org, Wordorigins, 15 Jan. 2001, www.wordorigins.org/index.php/site/comments/a_very_brief_history_of_the_english_language3/. Accessed 2 June 2017.

Aldous Huxley's "Brave New World" Psychoanalytical Literary Analysis

        In the book Brave New World by Aldous Huxley we are taken to a world that is unlike any we have experienced, or is it? The imagery is completely unique but the story itself is one that even in today’s culture we experience via power driven Capitalists that is complicated by an over-analytical justification of all the good intentions that only rarely become actuality that mask themselves under the philanthropist's umbrella. In this paper, I plan to explain how the “Controller” aka Mustapha Mond, ran his utopia. Through a Marxist lens was what the “Controller” was going for, a Capitalist one is what prevailed through its consumerism and rank. I also plan on explaining how Huxley intended the book to come across through psychoanalysis of its when, where, why, what, how, and who. By using a Psychoanalytical lens I will flesh out the “Controller’s” (Huxley’s) uncanny need to build his imaginary utopia on the foundation of test tubes, Hypnopaedia, and a parentless society in the Industrial Revolution Great Depression era.

        Marxist literary analysis consists of viewing literature from an economic and societal standpoint. Marxism, named after its forefather Karl Marx, takes the theory of capitalism and breaks it down through the middle-class value of labor to explain why we as a society, as humans, do what we do. “The worker belongs neither to an owner nor to the land, but eight, ten, twelve, fifteen hours of his daily life belong to him who buys them.” (Rivkin, Ryan 661) The money that is collected for these hours given is the wage the worker works for. It is given by the capitalist as monetary compensation for the hours of work put in, and after it is given it is used for the life that the worker feels “begins for him where this activity ceases, at table, in the public house, in bed.” (Rivkin, Ryan 660)

        Capitalism, however, is “an economic system based on the private ownership of the means of production and distribution of goods, characterized by a free competitive market and motivation by profit.” (Encarta 2009) Capitalism does not see the labor being performed, only what comes from the labor, the commodity produced. In Brave New World we are introduced to an “economic system” that is solely run by the “Controller” where he has “private ownership” of the entire utopia that he has created; wherein he manipulates the social classes that he has created for the “means of production and distribution of goods”. One of the true, yet central satire, themes of the book is to always remember "The existence of a class which possesses nothing but its capacity to labor is a necessary prerequisite of capital." (Rivkin, Ryan 663) We see this very early on when the “Director” explains to a student

“Flowers and scenery, he pointed out, have one great fault; they are free. A love of nature keeps no factories busy. It was decided to take away the love of nature, at any rate among the lower classes; to take away the love of nature, but not the need for transport. Of course, it was necessary that they should keep going to the country, even though they hated it. The problem was to make the use of transport for a reason which was economically better than a mere affection for flowers and scenery. It was solved. ‘We condition the lower classes to hate the country,’ ended the Director. ‘But at the same time we condition them to love all country sports. Then we require that all country sports require expensive equipment. So they buy and use manufactured articles as well as transport.” (Kindle location 139)
        This is clearly a market-driven (albeit dictatorial and somewhat communism sounding with its controlling nature) speech that has a clear “motivation by profit” point. This is however masked to society by having classes that give the impression of an upper, middle, and lower class.

“Alpha children wear grey. They work much harder than we do, because they’re so clever. I’m really very glad I’m a Beta, because I don’t work so hard. And then we are much better than the Gammas and Deltas. Gammas are stupid. They all wear green, and Delta children all wear light brown. Oh no, I don’t want to play with Delta children. And Epsilons are even worse.” (Kindle location 181)
        In appearing to have a social order it gives the society as a whole the appearance of a Marxist society where labor is valued, and while it is, because the “Controller” knows that without a “stupid” labor-intensive working class all of the “clever” ideas of the Alphas would go unproduced, this is all market-driven. Marxist theory is “The worker belongs neither to an owner nor to the land” (Rivkin, Ryan 661) but to his self as he values his labor and time. In Huxley’s utopia all Alphas’, Beta’s, Gamma’s, Delta’s, and Epsilons belong to the “Controller” who has classed them as he saw fit to produce happily what is needed to keep society running smoothly, happily working and happily buying in a constant loop. In Capitalism, there isn’t a clear need for social classes excepting a working-class and a non-working class (business owners). So a clever way to disguise a controlled group of people is to give them more social classes to divide themselves amongst giving the appearance that there are levels to intelligence, responsibility, and fun (i.e. other things to think about than the fact that they come from test tubes). Gregory Claeys puts it best when he states that this story is about “the quasi-omnipotence of a monolithic, totalitarian state demanding and normally extracting complete obedience from its citizens challenged occasionally but usually ineffectually by vestigial individualism or systematic flaws, and relying upon scientific and technological advances to ensure social control.”

        In a Marxist society, people think for themselves and give value to what they want to work for, in Capitalism they are told what to value and therefore they work to produce that while being essentially told they are only worth their weight in pay via the test tube they were raised in.

        Psychoanalytical literary analysis consists of viewing literature from a psychological standpoint. Psychoanalysis, named after Sigmund Freud’s technique of psychoanalyzing the human thought process, aims to see literature through a series of questions that look to answer when, how, where, what, why, and who the story came into existence. It aims to look at these questions through the eyes of the author to analyze all the elements of his/her story. This can be described by Freud’s narcissistic theory of the “ego ideal” or later termed “internalization/introjections” which are “a mental representation that gives expression, according to Freud, to repressed narcissistic libido.” Where “they will come to be seen as representations built up in the self as a way of securing for itself the benefit of relations with others that have become unstable or insecure.” (Rivkin, Ryan 415) In doing these things an author can play out hidden emotions through made-up fictional characters. Psychoanalysis looks to uncover these and explain why these emotions are hidden and how they play out in each specific character.

        So when did Huxley write Brave New World? He wrote it during the Industrial Revolution and the Great Depression. So it is understandable that this book has revolutionary thought processes with regard to raising children in test tubes and flying transportation as it appeals to the depressed brain of that time period as having possible hope for the future that utopia might be a possibility. Though that is all in the perspective in which one chooses to read the book. Through a psychoanalytical lens, we can dive into the reason why Huxley wanted to write this book, why he felt Hypnopaedia was so crucial as to incorporate it into his book, and why saying mother was worse than swearing since Huxley himself had a better relationship with his mother then he did with his father.

        How did Huxley feel during this time period to make this book so impactful? In another book by Huxley’s titled Ends and Means, he starts off “About the ideal goal of human effort…” where he says “There are some who believe – and it is a very popular belief at the present time – that the royal road to a better world is the road to economic reform. For some, the shortcut to Utopia is military conquest and the hegemony of one particular nation; for others, it is the armed revolution and the dictatorship of a particular class. All these think mainly in terms of social machinery and large-scale organization. There are others, however, who approach the problem from the opposite end, and believe that desirable social change can be brought about most effectively by changing the individuals who compose society. Of the people who think in this way, some pin their faith to education, some to psycho-analysis, some to applied behaviorism. There are others, on the contrary, who believe that no desirable “change of heart” can be brought about without supernatural aid. There must be, they say, a return to religion (Unhappily, they cannot agree on the religion to which the return should be made.)” (Huxley, 1)

        In this, we can see what he felt so inclined to express as the changes occurring within and around society in this time period. Where “economic reform” comes from the Capitalistic-Marxist classed social statuses that love the sport and buy the merchandise even though they hate the country. He gave the “Controller” “dictatorship” of all social classes, since he made each social class from scratch. Huxley then created his “large-scale organization” of “Alpha’s, Beta’s, Gamma’s, Delta’s, and Epsilons” to run the central business of test-tube baby creating on large-scale “machinery” that creates human life in complete organized controlled settings where

“The sound of well-oiled machinery rose softly from below, the lifts rushed up and down. On all the 11 floors of the Nurseries, it was feeding time. From 1,800 bottles 1,800 carefully labeled infants were sucking down their bottles of artificial milk.” (Kindle location 903)
This “machinery” was complete with sleeping quarters where Hypnopaedia can occur daily;

“They’ll have that repeated a hundred and twenty times three times a week for thirty months while they are sleeping, then they go on to a more advanced lesson. Sleep-teaching is the most powerful force of all time in social education. The child’s mind becomes these suggestions and the total of these suggestions is the child’s mind. And not only the child’s mind. The adult’s mind too, all his life long. The mind that thinks and desires and decides. But all these suggestions are our suggestions!’… ‘Suggestions of the State.’”
        This also allows Huxley to incorporate his notion that there are those “who approach the problem from the opposite end, and believe that desirable social change can be brought about most effectively by changing the individuals who compose society”. It seems to be very important to Huxley, at the time of writing this story, that people be made aware of just how much a person could be controlled and manipulated via one’s subconscious mind. It also seems important to Huxley to make sure that his story’s “Controller” had the power and knowledge to essentially take care of everything, creating the appearance of a safe and calm environment for all at all times. Those reading this book may enjoy the thought of a Marxist social class separation that keeps like-minded people together. Even if someone thinks outside of the proverbial box they were still, in the best-case scenario, being given the opportunity to pick the exile island they wanted to be sent to, which also housed like-minded people.

‘If he had any sense, he’d realize that his punishment is really a reward. That’s to say, he’s being sent to a place where he’ll meet the most interesting set of men and women to be found anywhere in the world. All the people who, for one reason or another, are too individual to fit into community life. All the people who aren’t content to be the same as the others, who’ve got independent ideas of their own.” (Kindle location 1443-1451)
        Therefore, it would appear that being a puppet had its cushy advantages. The downsides to the “Controller’s” safe and calm “World State” are side effects inclusive of and not limited to, drug addiction, whore like behavior, lack of intimacy, lack of individuality, non-existent mother and a father-to-all called Ford, sexual harassment that you receive but don’t understand is not cool, unexplainable notions to dislike others in social classes not your own, inability to chose your own profession, lack of social outlets, forced to give up your sperm and eggs for harvesting, never knowing how to love someone else, never knowing how to accept love from someone else, subjectivity to wearing the same colors and clothes all the time, and of course having no voice or notion to want a voice of your own ever. All in all, it’s the best dream for a psychotically controlling lifestyle.

        Why create this back-handed compliment? Brave New World can put its reader in the mindset of perfectionism as it is the “Controllers” purpose to take away freedoms from his society of people in an effort to stabilize everyone’s emotional happiness. From the very beginning of the story, we are introduced to the “Director” who follows orders that he has been conditioned with over the years just as he directs his subordinates with orders they have been conditioned to follow as they help to condition the next generations and so on to keep the perfect order. Huxley’s Brave New World dives deep into the subconscious of human nature and societal conditioning to creatively explore this universal truth that the goal of society is to constantly create something for all humans to do.

        Who was influencing Huxley’s mind when he wrote Brave New World? Though the whole book is not centered on Freudian theories it is clear that the number of psychological studies being explored during this time period, that had Freud leading the pack, was seeping into Huxley’s brain while writing. Huxley suggests that the "Director's" purpose in this grand utopia is to strip what Freud called the Mirror Stage away from the children preventing their ability to assume their own image. By telling the nurses to condition all babies in some way or another at early stages in their development, he is telling them to not allow each child to find their own likes and dislikes. No person is allowed to be an individual as it always has to be about the hierarchy.

        Despite Huxley’s public words of distaste for Freud, we also see significant signs of another Freudian theory, the Oedipus complex, with regard to its lack of family orientation. The central and main father is one that is of a Godly stature that is named after Henry Ford, the automotive headmaster, and mother is a completely forbidden word. Where one could possibly get away with saying “father” without saying Ford, saying mother was intolerable; in effect completely abandoning the family concept altogether. This is where“…the Oedipus complex is deemed such a dangerous and powerful force that it (along with the family structure that produces it) has been eliminated from civilized life, as far as possible. Children are no longer born to a set of parents but produced in an assembly-line process from fertilized eggs, which are then “decanted” into bottles and subjected to endless chemical alteration and conditioning. By controlling all aspects of a child’s birth and upbringing and by keeping adults in a condition of infantile dependency on a larger social body, Huxley’s imaginary state has taken over the role of parent and robbed the child of his or her Oedipal potentialities. Indeed, it could be argued that the active suppression of the Oedipus complex is the principal tool of social stability practiced in this future.” (Buchanan 76)

        In an effort to keep everything uniform and systematic in lieu of the absentee family dynamic Huxley had his “Controller” make sure each child fell into a specified spectrum in an effort to always ensure the populace of money was continuing to generate and humans are never knowingly unhappy. In the intimate conversation that the “Controller” has with the “Savage” John, the “Controller” explains why he didn’t make everyone an Alpha Double-Plus.

‘Because we have no wish to have our throats cut,’ he answered. ‘We believe in happiness and stability. A society of Alphas couldn’t fail to be restless and unhappy. An Alpha would go mad if he had to do Epsilon work – or start destroying things. Only an Epsilon can be expected to make Epsilon sacrifices. His conditioning has determined the life he has got to live. He can’t help himself.’ (Kindle location 1410)
        He went on to explain that it’s like an ‘iceberg – eight-ninths below the waterline, one-ninth above.’ (Kindle location 1410) Huxley made this hard for his character John to grasp therefore allowing his “Controller” to continue with his explanation as it would be hard to explain to any general society that in order to have order and calm there must be an equality among the masses that appear to the untrained eye as unequal as we all seem to think that everyone thinks as we do, when in fact they do not. Sleep-teaching or not, the “Controller” (Huxley himself) knew that we all think differently so to run an actual society without levels would never work. Levels can be broken down into minimal numbers of levels but there always must remain a plural, as a singular level ensues unhappy fighting amongst peers for top spot; that is our human/animalistic nature.

        In an effort to make this essay run current with today’s day and age I will quickly tie Brave New Word to current thinking. When Huxley wrote this book there was a lot less to consume though there was the theory of consumerism. Through the years and all that the Industrial Revolution and New Technologies that have been made available to us, we have been afforded the luxury of individual identities. The same something that Bernard and Helmholtz sought after and the “Controller” eventually granted them with their exiles. However, these individual identities have become levels themselves now. In Brave New World Huxley created Alpha’s, Beta’s, Gamma’s Delta’s, and Epsilons which coincided with the amount to consume back then, but today we have our own levels that come with sublevels to accommodate the influx in people alive. We are now given these distinctive levels when we are in school, on our taxes by way of our jobs already determined rank and income level, and as well as social rank in our own communities we live in, communities that are also ranked on levels of poor, middle class working, or rich/elite. In today’s age “Human beings buy objects not only to consume them but also to establish and reproduce status and identity. People shop for “identities” in a variety of urban contexts, thereby collecting and consuming many dimensions of the “I”. Increasingly, the “I” itself has become a product to buy. Consumer goods and shopping environments are consumed to create new identities as well as to select those already on the market. In doing so, we as consumers have adopted a mobile lifestyle to find commodities, people, and places to materialize a preferred status and lifestyle (Spierings, 2006). Consumer goods and shopping environments we (do not) want to construct our identity. We need something, someone and somewhere to belong to, to demarcate ourselves from, to define ourselves.” (Spierings, Van Houtum 901)

        While Huxley did not make his characters able to shop for their identities as we shop for ours now, that is not to say that he did not set the stage that the original “Controller” didn’t shop for these identities when creating this utopia. Huxley knew of the identity behind the “I” and knew when writing this that to have a utopia there could not be an “I” anymore then there could be a “mother”.

        In conclusion, Brave New World is a literary masterpiece that takes a made-up world and society and explains the political, economic, and cultural time period of the Great Depression and Industrial Revolution era with just enough lee-way room that it could still be an applicable foretelling of a future on its way. Aldous Huxley, despite his feelings on Freudian beliefs, incorporated an incredible amount of psychoanalytical material from the Id/Ego to Mirror Stage, and the Oedipus complex in every aspect of the book. He also structured his made-up world off of the appearance of a Marxist society while underlying it with capitalist theories that would translate today to our consumerism of the “I”. When put together Marxism works its best when it can feed off of the psychosis of its society it’s looking to be used in. Marxism cannot flourish without a society full of people who feel the need to outdo someone else in the society. Just as Capitalism cannot flourish in a society where ideas do not form from Alphas and there are no minions to carry out the ideas of those higher class individuals. In order to have classes, a society must have those people whose thoughts constantly feed off of an animalistic dominance in which they will constantly produce ways to fulfill those thoughts and needs for power over others. Therefore, much as in life, we find two lenses of thought, Marxist (sometimes with a capitalists subset) and Psychoanalytical, that effectual can feed off of each other to create dysfunctional yet functioning worlds. Huxley understood this and was able to capture and present a story of just enough satire and out of this world imagery to fool the mind into thinking its fiction when it really depicts a future in slow fruition.



                                                                     Works Cited: 
  • Buchanan, Brad. “Oedipus in Dystopia: Freud and Lawrence in Aldous Huxley's Brave New World.”Journal of Modern Literature, XXV, no. 3/4, 2002, pp. 75–89., ezproxy.snhu.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edspmu&AN=edspmu.S1529146402300759&site=eds-live&scope=site. Accessed 14 May 2017.
  • Claeys, Gregory. “5 The Origins of Dystopia: Wells Huxley and Orwell.”The Cambridge Companion to Utopian Literature, Cambridge University Press, Cambridge, MA, 2010, p. 109.
  • Congdon, Brad. “'Community, Identity, Stability': The Scientific Society and the Future of Religion in Aldous Huxley's: Brave New World.”English Studies in Canada, vol. 37, ser. 3-4, 2011, pp. 83–105.3-4, ezproxy.snhu.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsgao&AN=edsgcl.312014349&site=eds-live&scope=site. Accessed 14 May 2017.
  • Huxley, Aldous (2014-07-01). Brave New World. HarperCollins. Kindle Edition.
  • Huxley, Aldous, and Howard Schneiderman. “Goals, Roads, and Contemporary Starting Point.”Ends and Means: An Inquiry into the Nature of Ideals, Transaction Publishers, pp. 1–2.
  • Murdock, Kayla. “Capitalism versus Marxism.”Capitalism versus Marxism, Grin, 2009, m.grin.com/document/150605. Accessed 1 June 2017.
  • Rivkin, Julie, and Michael Ryan. “Chapter 3: On Narcissism Sigmund Freud.”Literary Theory: An Anthology Second Edition, Blackwell Publishing, Malden, MA, 2004, p. 415.
  • Rivkin, Julie, and Michael Ryan. “Chapter 5: Wage Labor and Capital Karl Marx.”Literary Theory: An Anthology Second Edition, Blackwell Publishing, Malden, MA, 2004, pgs. 660-661,663.
  • Spierings, B., and H. Van Houtum. “The Brave New World of the Post-Society: The Mass-Production of the Individual Consumer and the Emergence of Template Cities.”European Planning Studies, vol. 16, no. 7, Aug. 2008, pp. 899–909., ezproxy.snhu.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edswss&AN=000258452800002&site=eds-live&scope=site. Accessed 14 May 2017.

Joseph Conrad's "Heart of Darkness" Analysis and Discussion

        For the passage in Heart of Darkness by Joseph Conrad that I chose to compare this passage that Conrad wrote early on in the story along with a follow-up passage he wrote in section two of the story. Since we are to analyze this passage within the scope of feminism and psychoanalysis I felt Charlie's reaction to his aunt's words was the most fitting for comparison.

"You forget, dear Charlie, that the laborer is worthy of his hire, ' she said, brightly. It's queer how out of touch with truth women are. They live in a world of their own, and there has never been anything like it, and never can be. It is too beautiful altogether, and if they were to set it up it would go to pieces before the first sunset. Some confounded fact we men have been living contentedly with ever since the day of creation would start up and knock the whole thing over."

"I laid the ghost of his gifts at last with a lie," he began, suddenly. "Girl! What? Did I mention a girl? Oh, she is out of it -completely. They- the women, I mean- are out of it- should be out of it. We must help them to stay in that beautiful world of their own, lest ours gets worse." 

        According to Wikipedia feminism "is literary criticism informed by feminist theory, or, more broadly, by the politics of feminism. It uses feminist principles and ideology to critique the language of literature. This school of thought seeks to analyze and describe the ways in which literature portrays the narrative of male domination by exploring the economic, social, political, and psychological forces embedded within the literature."

        With that being said, readers can view Charlie's statement as sexist. "...out of touch with truth..." Conrad writes this in a piece that is about one man's story, his decisions as a man, and his feelings about everything going on around him. Therefore by allowing his main character to say this passage, it allows the reader to believe that the main character has no use for a woman's beautiful world, that apparently women live outside the realm of reality, a reality where only men live. Not only does Conrad narrate Charlie to say this once but then again in the second part of the story reiterating his feeling that women live in a world all of their own when he says "We must help them to stay in that beautiful world of their own, lest ours gets worse." Conrad's insinuation through Charlie that women could not manage the stresses of reality and therefore live only in a beautiful facade is the exact passage that feminism works to negate.

"In general, feminist literary criticism before the 1970s—in the first and second waves of feminism—was concerned with women's authorship and the representation of women's condition within the literature; including the depiction of fictional female characters." (Wikipedia)
        The benefits of looking at this passage through the feminism lens are that we can see how women were treated in the past and work to correct it for the future, as we are not just creatures of naive fantasies living in a realm that is not reality alongside our human counterparts.

        The disadvantage would be the other side of the double-edged knife. While sexism is not right, we run the risk of losing chivalry to a notion that we of the female race, know is not true, but when we fight to change how men see us after seeing us for so long as helpless, it creates a backlash of inequality. Women know men need us to need them whether we really need them or not but did we/do we really need to scream inequality for all when not all feel the same way. Some women are proud to be of a beautifully naive mindset. Also, analysis of books can strip them of their chauvinistic ways only to put great literature under scrutiny for something that was a factual reality of the male thought processes of years past. Also picking apart an author's words, meaning, theme, etc. is an attempt to understand what the author meant when we all read things differently.

        To psychoanalyze these connected passages under the psychoanalytical umbrella that says psychoanalysis of literature "can be the psychoanalysis of the author or of a particularly interesting character in a given work." (Wikipedia) leads us to question why Charlie thinks the way he thinks by way of Conrad's mind. We have to ask whether Conrad was simply describing how it was on that day in age or was that truly how he felt about life around him.

        The advantages of looking at this passage through the psychoanalytical lens are that we can get a better picture as to why the story was written. What the significance is to have this story published and read by the masses. It allows us to look deep into the context of Charlie's words for the meaning of how he feels and why."The chief function of the psychoanalytic critic is to reveal the true content, and thus to explain the effect on the reader of a literary work by translating its manifest elements into the dormant, unconscious determents that make up their suppressed meaning." (Devardhi)

        The disadvantages of looking at this passage through the lens are that we strip away the enjoyment of just reading the words and allowing ourselves to simply be engulfed by the author's characters, settings, tones, and themes. Sometimes picking something apart is helpful and other times it just takes away from the simplicity of reading for light-minded fun.



                                                                         Works Cited: 

  • "Feminist Literary Criticism."Wikipedia. Wikimedia Foundation, 31 Mar. 2017. Web. 13 Apr. 2017.
  • "Psychoanalytic Literary Criticism."Wikipedia. Wikimedia Foundation, 05 Apr. 2017. Web. 13 Apr.
  • Devardhi, J. "Application of Freudian Concepts to the Explication of Literary Texts: A Case Study of Walt Whitman’s “The Sleepers”."African Research Review3.1 (2009): n. pag. Web. 13 Apr. 2017.
  • Conrad, Joseph. "Heart of Darkness."Gutenburg.org. N.p., n.d. Web. 13 Apr. 2017




                                                                       My Discussion Responses:
Hi Amy, 

         Thank you for agreeing. However, despite my stated point of view above, I will now play devils advocate to my own words. As I am quirky like that. So from a feminist standpoint, yes, the passage is sexist and paints women in a less than flattering light intellectually speaking, but when you read the whole story and read the women symbolically then a whole new light is shed on Conrad's story.
        The story is, while still in a somewhat sexist way, literally all about a man and his journey, though literature is full of these kinds of stories about women too, where the male roles of the story are symbolic of the woman's journey. Conrad seemingly, specifically, made only a select few things in this story feminine. Two of which were Kurtz women, which much like the whole stories paralleling good vs evil nature, Kurtz had one woman of bright lighted purity and one of savage intensity. The third would be the feminine-named vessel that carries Charlie along the river and deep within himself.
        Though I completely stand behind what I wrote above, I felt I needed to further state my feelings on the book to clarify that I do understand the immense symbolic nature of this novella. I do agree that many literary pieces do take an extreme sexist approach in describing women within their stories, however, I believe the sexist parts of this story are to aid the symbolic nature of how Kurtz viewed the woman with regard to the standard views of women of this novellas time period. Charlie actually, in one respect feels women are better then men if you read into the words through a psychoanalytical lens that follows the thinking that by not wanting women to have their beautiful worlds tainted by the possibilities of a man's worse world he is helping to preserve woman's beauty. It's a double-edged knife, in stripping a woman of their ability to handle the nitty-gritty, he is allowing women to be in a category that doesn't need to be amongst the nitty-gritty, which men tend to think is complimentary while some women think it's insulting.
        Perspective is always subjective to an individual's personal views on life. Open-mindedness allows for vast interpretations of all things tangible and non. That's the true beauty of life, to me of course.
        I really enjoy exploring this with you too. Part of the reason why I wanted to go back for my masters was so that I could talk to intelligent people who enjoy using their brains as much as I do. So thank you!
        I can't say I disagree at the moment with anything that you have stated or how you have stated it. In literature, I don't believe there is a right or wrong per-say because it is all subjective to how the reader wants to interpret the written piece. However, there is always the way that the author intended to write it but some authors don't always give up their intentions because they like hearing the debate. From the little bit I have read on Conrad I think he definitely intended his women to be symbolic statues that embodied that time period for exactly what they were supposed to stand for at that time period. While I think that this was a story specifically written by a man about a man's journey I don't think women mattered much more then they needed to matter which is why he left them symbolic and nameless, I can't say I haven't written a character as such because the character was important to the story but not enough to have a life, just a presence, and a purpose. However, in doing that, it does allow for many doors to open up with questions and possible reasonable answers as to why it was written that way.
        I believe Conrad's women were symbolic of good and evil as he presented polar opposites and that due to the nature of the stories events and the relationship between Krutz and Charlie that surrounded them, I can see the women being a foreshadowing of those ominous events in a way that paralleled the actual voyage into the darkness that was central Africa where Charlie was faced with Krutz's darkness and finding his way out of it back to the beauty.
         I really enjoyed reading your interpretations and having you read my thoughts as well. Thank you very much, Amy!!!
~Maria

Comparing John Steinbeck with Richard Russo

                An In-depth Comparison Between Steinbeck's "Winter of Our Discontent"                                                                               and Russo's "Nobody's Fool"

         I have chosen to read and compare The Winter of Our Discontent by John Steinbeck which was set in 1960 in New Baytown, a reflection of his hometown of Sag Harbor, New York starring Ethan Allen Hawley and Nobody’s Fool by Richard Russo which was set in 1984 in North Bath, New York starring Donald Sullivan aka Sully. In each story, there is a main male character from a small town down on its luck town in the northeast part of the country and while the time frame is a difference of 20 or so years each story the main character is regardless in need of changing who he is. Both of these two main characters have gotten into a rut that he can no longer justify being in. A rut that by way of subtle outside circumstantial evidence has shed light on each mans situation and need for life change.

        In the story The Winter of Our Discontent by John Steinbeck it is stated within the first 15 pages just how much the main character Ethan Allen Hawley doesn't like his current position in life. Thus, stating the conflict in my opinion as "I went under all right. It's the first time in history a Hawley was ever a clerk in a guinea grocery." (Ethan pg. 14) This statement screams how much he is unhappy and how he comes from a heritage line that was more valuable than grocery clerks. It also lets us know that he is in his current position because he allowed himself to go under. The central conflict arises quickly from this point and erupts, in my opinion, on page 34 when Ethan is having a discussion with his wife Mary. This conflict is not divulged in one sentence as much as it is through the conversation.

"And money would prop up your head?" 
"It would wipe the sneers off the faces of your holy la-de-dad." 
"No one sneers at Hawley." 
"That's what you think! You just don't see it." 
"Maybe because I don't look for it." 
"Are you throwing your holy Hawleys up at me?"

"No, my darling. It's not much of a weapon anymore."

"Well, I'm glad you found it out. In this town or any other town, a Hawley grocery clerk is still a grocery clerk." 
"Do you blame me for my failure?"

"No. Of course, I don't. But I do blame you for sitting and wallowing in it. You could climb out of it if you didn't have your old-fashioned fancy-pants ideas. Everybody's laughing at you. A grand gentleman without money is a bum."
        Because this conversation occurred and Ethan felt the true depth to his wife's humiliation at what her family (being her, Ethan, and their two children Allen and Ellen) had become he came to a quick resolution that became the premise for the rest of the book. "I'll rob a bank." (pg 34) Ethan says and his wife is the type to put no stock in his “silly” words because how many people say that very statement yet go thru with it.

        In order to have this heist go off without a hitch Steinbeck must weave in a cast of supporting characters that each alone are just a character but as you go through Ethan's Easter holiday in part one and Ethan's fourth of July holiday in part two the reader realizes just how entwined everyone in Newbay Town really is; also how much of an impact they all have on Ethan's life. Meaning it takes Joey Morphy to plant the seed of how to rob a bank in Ethan's mind right off the bat on their walk to work on Good Friday morning. This followed by bank owner Mr. Baker grilling Ethan about his financial situation stating to Ethan "Now that's what I don't understand, Ethan. Anybody can go broke. What I don't see is why you stay broke,.." (pg 14) This angering Ethan because Ethan a man of Mr. Bakers means can't walk a mile in a man like Ethan's shoes. But Mr. Baker doesn't back down, he says "Wake up, Ethan." and "Risk isn't a loss." (pg 15) He gives Ethan things to think about. Then it takes Margie Young-Hunt to read his wife's fortune that same day convincing her that Ethan will come into large sums of money by July; which she told his wife that as a get back to Ethan for not accepting her advances. Then the grocery store owner, Mr. Marullo, stops by to see his employee and talk about business. "You got to learn kid." (pg 20-22) He tells Ethan repeatedly till Ethan pops his cork, then hears himself speak in retort to Mr. Marullo, then realized how much he sounded like a child. Then Biggers, the new black-market dealer in town, enters, and bribes Ethan onto the dark side of American economics of a cliché you scratch my back and I'll scratch your's kind of deal. ""Don't be a fool. Everyone does it." he said "Everybody!"" (pg 25) to which Joey Morphy reiterates this point when Ethan tells him what had happened. He then goes home to have a conversation with his wife that exposes her humiliation. Had each of these characters acted alone on different days they wouldn't carry the weight in the story as they do all surmounted together on one day. This is how Steinbeck swoops in quick with his narrative structure and uses realistic character development strategies to keep the characters simple yet powerful. It doesn't take a lot of explanation to describe who a character is if you give them an objective and simply let them speak.

        Steinbeck uses a slew of great storytelling elements in this work that truly bring this book to breathing life. Centering the premise of this story on Ethan's self-deception and need to evolve from a too nice guy to a businessman, I believe, sets the tone for the diverse character lineup he has to neatly and orderly push Ethan right along.
        From his wife's naive bubbly personality that solidifies Ethan's reasoning for changing. Joey Morphy's subtle teaching style of how to rob a bank and get away with it. Mr. Bakers with his nebby, inquisitive, personality that kept him always needing to be involved in Ethan's finance’s, about Mr. Marullo, and Danny Taylor's whereabouts. Mr. Marullo’s hard, straightforward teaching style that tells Ethan he has to weigh the meat before he can trim the fat. In Mr. Bakers' eyes, Ethan was a lame duck and in Marullo's eyes, he was a kid. Ethan was starting to take shape in his own eyes as he was taking shape in ours. I would be inclined to think our antagonist was Mr. Baker with his constant prodding or Miss Margie Young-Hunt with her vixen ways but even after all her trying to break Ethan's loyalty shell she wasn't even the books perfect antagonist. Ethan was his own worst enemy in this book and it is so blatant by the end of the book when his son cheats on an essay contest and gets caught for it by his snitching sister. Ethan confronts his son and says:

"Did you hear what you did?"

The driven mouse attacked. "Who cares? Everybody does it. It's the way the cooky crumbles." 
"You believe that?" 
"Don't you read the papers? Everybody eight up to the top- just read the papers. You get to feeling holy, just read the papers. I bet you took some in your time, because they all do." Pg. 276
        Had Ethan stayed true to his nice guy self and not made Margie Young Hunt's card readings of his wife come to fruition by listening to the un-pointed yet extremely detailed directions from bank worker Joey Morphy on how to rob a bank, (which he did over July fourth weekend) Ethan might have been able to digest his sons statements better. But, Ethan's reality was not so digestible. He had just robbed a bank, and accepted bribery from a man named Biggers after charismatically regaining control of his grocery store he had previously lost to Mr. Marullo charging Biggers an extra percentage of market share without letting on that Mr. Marullo didn’t own it anymore. Then blackmailed Mr. Baker into the ownership of 51% of the land for an airfield the corrupt people running New Baytown wanted. Land that had belonged to his best friend, the town drunk Danny Taylor, who Ethan managed to catch before Mr. Baker could, on a sober moment and had Danny sign the land over to Ethan before he went on another bender where he died of his own alcoholism.
        This all happened because his wife finally spoke her mind about how she felt about her current lifestyle and Ethan was slapped out of his wallowing self-loathing. To her "A grand gentleman without money is a bum." Pg 34

        Had all these characters not whispered in Ethan's ear over and over again that nice doesn't pay bills and his wife couldn't hold her head up, Ethan probably would have continued to wallow along and his sons' actions would have been punishable. But, because he was no better then what was written about in the papers he couldn't hold his head up.
        All of this took place within the span of 4 months and all in Ethan's own hometown where he was born and raised; where his ancestors were from. Where everyone knew who he was and where his family had been. Nothing was secret except for all the secrets being told. In this town, at this time, Ethan searched for a way to be what he needed to be by everyone else's standards despite his core self and what he found was a beast who superseded the whispers that floated through his ears about what he should do and who he should be. He took all the advice and executed his plan flawlessly (bank heist and land security) as finally acknowledged by Mr. Baker when he addressed Ethan about Danny's death and his outstanding land. Mr. Baker was taken aback when he was shown the papers giving Ethan Danny’s land and Ethan replied: "You'll feel better, sir, when you have got used to the fact that I am not a pleasant fool." (pg 260)

        Steinbeck kept this book in constant flow through each of its two sections. It was all getting worse then better then the bottom dropped out when his son Allen plagiarized his essay and Ethan realized he had no further will to live.

        Steinbeck does an amazing job on the conflict in the story because it is subtle. It is an intellectual conflict because Ethan isn't a fighting man. He couldn't box a man out of the ring or street fight a gang for his life, but he can outwit the dimwitted on any day of the week. On page 34 he has a conflict with his wife when he finds out her feelings about her lifestyle which he baited her into expressing using his clever wordplay. When she spoke her feelings he didn't fight her words he just spoke the truth "I'll rob a bank." On page 73 Ethan again baited his wife into conflict when he exposed his wife's proclaimed best friend Margie Young-Hunt for the possible man-eater and psychic fraud she could be. When he told his wife that Margie had been into his store earlier Mary didn’t believe him so when Margie came over for dinner that evening as planned Ethan stacked the conversation deck so Margie would verify that she was indeed in the store earlier. Ethan could see this burned his wife's blood. But Ethan remained calm on the outside the whole time. Then on page 259 when he stopped Mr. Baker from being able to take control of Danny's land he simply corrected Mr. Bakers' thought-process and hit him where it really hurt, his pocketbook amongst other things. Ethan doesn't scream, yell or carry on in creating this conflict; he simply remains that nice guy on the outside. On page 276 the conflict was there because his son Allen was infuriated when he found out that his sister snitched on him causing Ethan to confront him about what he had done. The contempt in Allen's words could be felt about his sister and the fact that he didn't get away with it. That Ethan just fixed his daughter's bleeding nose, which Allen caused him to have before Ethan decided to leave on a mission to kill himself. Ellen pleaded for him not to go or take her with him. Ethan had a running conflict with himself the whole story through that he used his dead aunt Deborah as his conscience to talk to.

        There was also a symbolic talisman in the book that Ethan had for good luck and only on rare occasions was it touched. But when you read the very last chapter of the book his daughter knew her father was on his way out to kill himself and without Ethan knowing, slipped the talisman in his pocket, and for that, she became the hero of the story. She became the antithetical beacon of light to Ethan's constant protagonist wallowing. In the end, as Ethan is searching his pockets for his razorblade in the water, on his way out to sea to drown, he finds the talisman instead and has to fight the sea to get back to his daughter.

        All of this literary creativity is done fully within the context of the time period. Not only does he use a dialect of the time and continental placement but he captures the mood of that time period which was complacency. It was post-war from when the soldiers came back to those women who had waited for them like Mary and they tried to make that American dream of an American fortune come true. It was a time where people either sank or swam and you were damned if you did and damned if you didn't because there was always someone like Biggers and Ethan's son chanting "Everybody does it" because it was impossible to hold down a household and be empathetic. It was a time of business and to be a businessman as Marullo and Mr. Baker kept preaching to Ethan. Thematically Steinbeck made this book about survival through that time period and how a person goes about finding it in them to do whatever is necessary and still is able to live with themselves after it’s all said and done.


        In the story Nobody’s Fool by Richard Russo we are taken through two weeks in the life Donald Sullivan aka “Sully”. A bum of sorts that has fathered a family and maintains the bare necessities for small economically busted town living. He is surrounded by a wonderfully dysfunctional cast of characters that help Sully realize that there is more to life than just survival. This story is told in narrative third person by the author Richard Russo. It seems to me that the conflict lies in man versus self as Sully knows who he is but has a hard time learning what people in his life expect from him and why and how he needs to be there for these people and not only care for just himself. The crisis seems to come to its brink when Sully’s ex-wife Vera has a breakdown.

“Vera was able to identify this fear because she shared it. She had always carried with her the knowledge that Sully possessed the power to destroy them all, possibly through carelessness, perhaps even through misguided good intentions. Her most nagging fear when Peter was growing up was that Sully might one day wake up and take an interest in their son.” (pg 149)

“You treat him as if he didn’t exist,” Peter said quietly.

For a moment Vera was unable to respond. “I don’t mean to,” she finally managed. “I mean, I do mean to, but I don’t know why.”

Neither said anything for some time.

“Everything’s coming apart, isn’t it,” she said when she could finally locate her voice.

“What, Mom?” Peter said, not bothering to disguise the frustration in his voice. “What’s coming apart?”

“Me,” she told him, grinning now. “Can’t you tell?” (pg. 155)
        It seems that Vera’s fear of Sully ruining her well thought out life stipend her quality of life as well as her son’s while leaving Sully fearless of responsibility. His ex-wife didn’t need him to grow up and take care of his son, nor want him to, so Sully didn’t need to worry about anything. Though in Vera allowing this thought process to manifest it put guilt on Sully’s conscience that he didn’t know what to do with or deal with just as much as it put guilt on hers. As for Peter, their son, when his life fell apart in his adult life it was Sully he ran to for help against all of Vera’s stressful efforts.

        Therefore the resolution came when Sully realized on Friday of part three that his son of all these live long years, was his “savior” (pg 487). Though, like most people, it is a hard pill for the pride to swallow when you have to concede that you need another person to survive. So Sully decided to encourage his son to stay in North Bath while his son was getting back on his feet in life that way they could help each other out, Sully accomplishes this without actually stating this is what he needs to happen. Then when Peter told his father that he had won the lottery Sully’s pride again didn’t want to make money from his son because he was sure his son bought the ticket, he struck a deal with his son. “Why don’t we call it a loan?” (pg. 491)

        Through all the secondary characters and backstory to set up the stories the main theme of survival, responsibility, and dysfunctional family love, nothing explains this clearer then Vera’s breakdown on page 155, her conceding to Sully “Just to say you win.” on page 360 and Sully finally realizing it was his son’s devotion he won on page 487 though he couldn’t let Peter be his “deliverer” on account of that pride on page 491.
        Russo takes us all through the small town of North Bath and the many lives that Sully touches and impacts and it definitely lends itself to interesting side stories. Sully is a hard worker and a loyal person and to convey that Russo introduces us to Sully’s world that consists of his boss Carl (who’s snow-blower he steals by drugging Carl’s’ dog with the help of Peter), and his best friend/co-worker Rub (who gets jealous of Peter when he comes to work with his father after Peter’s break up with his wife Charlotte) are the men who give Sully’s character his edge. The diner employees, who give Sully his compassion is where he helps out at and serves food in the morning to loosen up his bum knee before doing construction for Carl (when he isn’t running after the diner managers mother Hattie, the owner of the diner. 3 out of the four times she ran away from her daughter Cass, Sully was the one to bring her back, pg 205). Sully’s landlord Miss Beryl, whose husband was Sully’s football coach is the character to bring Sully a past. She is also Sully’s biggest fan like her belated husband was; so she left herself a note that says “Don’t let Clive Jr. talk you into evicting Sully, who is fond of you, just as you are fond of him. If Sully burns your house down with you in it, he will not have meant to.” (pg 268) Miss Beryl left herself this note in case she loses her scruples one day and the things that her son Clive Jr. says make sense, she wanted a back up to remind her that her son doesn’t even make sense. Also his sometimes girlfriend Ruth is married with a grown daughter but still depends on Sully because she can’t depend on her husband.

        Then there is Vera’s secondary cast of characters that consist of her husband Ralph who puts up with everything that Vera dishes out and she is in desperate need of psychotherapy and her father Robert Halsey. Ralph is needed to ground Vera’s character and Robert explains how Vera became Vera, “Her love for him was the most terrible thing he’d ever witnessed, and he could think of no way to combat it, no way to prevent her from injuring herself further. By selling the house and giving her and Ralph the money, by moving to Schuyler Springs and into the VA home, he had fled her devotion and helped his daughter and her second husband get out from under the burden of debt brought on by her earlier lapses in judgment.” (pg 148-149)

        Lastly, there was Peter and his secondary character list that consisted of his wife Charlotte who was Peter’s rival giving him his personal conflict, and their kids. Will, one of their kids, is an important part of the story because he saw Grandpa Sully as his hero. Early on in the book, Will defines the depth of Peter’s dilemmas when Will jumped into the back of Sully’s pick-up truck to run away from Thanksgiving at Grandma Vera’s and his home in general. Sully had no idea until he was already driving down the road. When Sully heard something and realized Will was there in the truck with him they stopped for ice cream and Will said: “I’d rather live with you.” Will is around for most of the book acting as what seems to be a reminder to Sully of what’s important. Not always at the forefront of Sully’s mind, but always there easing Sully into an easier understanding of father-son relationships as he watches Peter and Will interact as well as how he interacts with Will himself. Aside from his actual family, we are introduced briefly to a college student that Peter was having an affair with that signifies the lengths Peter was willing to go to try and achieve the feeling of desire over responsibility. A parallel to his father's relationship with Ruth, it was nothing of meaning just something to fill a void.

        Russo provides us with a great visual of how important Sully was to those around him and it was that way whether Sully liked it or not. He was our protagonist on a one day at a time kind of journey and while due to her attitude towards Sully, the reader might be inclined to think Vera was the antagonist, however, it was Sully. While Vera made it clear on several occasions to most everyone in her life including Peter and Sully that she hoped Sully would disappear from Peter and her lives, it was Sully who never protested this. Sully even admitted that Peter was “the son whose existence he’d often allowed himself to forget for many months at a stretch” (pg 487) by addressing this issue with these strong statements Russo effectively, in my opinion, conveyed the man versus self-conflict of the story. It was never Sully against the small world of North Bath, it was always Sully against his own self-pity.

        All of these elements together with his use of things such as the type of car, the El Camino, the battle with his boss’s snow-blower, the town’s battle to want a theme park to entice more tourism against the rival Schuyler Springs established time period. Russo chooses a topic that is very fitting for the times, depletion of old towns, and depletion of old family values/theories. On the first page, Russo successfully sets the stage for setting with “were mostly dinosaurs, big, aging clapboard Victorians and sprawling Greek Revivals that would have been worth some money if they were across the border in Vermont and if they had not been built as, or converted into, two- and occasionally three-family dwellings and rented out, over several decades, as slowly deteriorating flats.” Much like old towns and property in the early ’90s families were becoming the same way. The whole family was a dinosaur concept that was big and aging and iconic-ly worth money if it was across the ocean in Europe, but as of when Russo wrote this book, families were being converted into split families of deteriorating theories of family values. 

        Russo uses the narrative storytelling element that allows the reader to watch what Sully is going through which lends to what Russo wanted to achieve in having us see the optimal big picture. How a family interacts, how a town interacts, and how it all comes together to influence even the smallest of family units because units are becoming sprawling vines instead of solid tall oak trees.



        Comparatively, both of these two authors are similar in their conversational writing styles for their use of realistic cynicism and sarcasm. It’s unfortunate blue-collar romanticism. Both Steinbeck and Russo write dialogue in a humorous way depicting a reality that most working people speak amongst themselves daily that is undeniable. In The Winter of Our Discontent, Ethan Allen Hawley was at the top of his game until he lost the game. Then he let his mind wrap him up in words that Joey Morphy seemingly selectively picks. Joey Morphy is the quintessential seed dropper and Ethan Allen Hawley is the exact depiction of the great American scorned and depressed by crappy luck just eager to soak up suggestions, whether right or wrong. This book is a classic for a reason. Despite its age, the theme is still prevalent today. The need to read John Steinbeck's words in an effort to comfort and clarify the still befuddled mind of and about humanity is still present. This book and Nobody’s Fool are both what I consider to be real book t.v. for the educated mind. In Nobody’s Fool Sully finds himself in a huge rut trying to muddle through life with a cast of characters all blue-collar America seems to have to lurk up their family/friend tree. It’s the way he chooses his battles and the way he addresses the solutions that form the humor of the book because they’re as plausible as eating at McDonald's and spilling a milkshake on your pants and walking around with a big wet stain on them because stuff just happens. Both authors tell impactful stories that span time generation after generation through an array of storytelling elements that may tell two stories from different era’s but they’re told in a similar way. Each main character is in a different age bracket in life, Ethan being a father of two children still at home, and Sully the father of one child grown with children of his own. With Ethan being from the '60s and Sully in the '80s each author is able to set a different psychical stage but with similar reflective character thought processes. This allows each author to also convey similar human emotions, such as the depression both Ethan and Sully endure from the choices they’ve each made in life. Both authors express their lead male character's role in life perfectly by mirroring each other grasp on how life can be one big cynical sarcastic roller coaster. Both Steinbeck and Russo present men whose roller coasters start with a financial obligation to themselves and their families for survival and end the ride in a grown-up realization about the reality of the choices they’ve made. Both authors set a tone of two men that know what they're doing for being two men who have no clue what they’re doing. Ethan may rob a bank and Sully may only steal Carl Roebuck's snowblower but each knows exactly what they are doing. Ethan may work as a clerk in a grocery store he used to own and Sully as a help at the diner he doesn’t own but they are both jobs that expose them to the people they each need to know. Ethan’s wife is a bubbly woman who trusts her husband implicitly while Sully’s ex Vera is troubled and the complete opposite of bubbly, however, both women shape the main characters in tremendous ways. Ethan’s son forges an essay that his daughter reveals bringing Ethan to a crashing conclusion in life, while Sully’s son teeters on divorce after banging a grad student and goes to Sully for guidance bringing Sully’s to a crashing conclusion about life. Each story is vastly different yet the message is still the same and it matters not how old you are or what year the calendar says, these problems occur without bias or prejudice.

        Each author has his own style of writing that is, of course, individualistic in that Steinbeck can capture the mood and tone in conversation quicker than Russo can capture it with all his in-depth picturesque details but each has a style for animating a character realistically. With both authors, the reader will be carried through the story at an even pace. Steinbeck has a knack for comedy in his words through satire and figurative language while Russo has a more dry comedy that is more every day non-figurative but literal coincidences and ironies to life. They both write in the contemporary realistic fiction genre that pulls, successfully, bits and pieces of each main character's surroundings together to help build a solid street for Ethan to walk to work down and a solid house for Miss Beryl to house Sully in. Without these two elements giving light to each character's past we wouldn’t know how exactly these two characters got to be such characters. Both writers have a wonderful way of capturing each main man's ability to have created a world around themselves full of blinders that stayed thoughtfully intact until their kid shattered all the tinted glory. Both authors do this while also capturing the frailty of each books strong woman. A man is only a man with a strong woman behind him and the thought that he must keep that woman safe from harm, even if that harm is himself. Thematically both Steinbeck and Russo create characters who are self-destructive for a man verse a self-style narrative. Steinbeck allows Ethan to tell his own story while Russo tells Sully’s story for him, but in either case, the self-reflective of surviving life’s hard lessons and being able to accept one's own self and choices is clearly depicted to be the central point to both.




                                                                    Works Cited:
  • Steinbeck, John, and Susan Shillinglaw. The winter of our discontent. New York: Penguin, 2008.Print.
  • Russo, Richard. Nobody's fool. New York: Vintage, 1994. Print.

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