Showing posts with label Social Consequences. Show all posts
Showing posts with label Social Consequences. Show all posts

Wednesday, November 3, 2010

Somein' Tells Me Yer Not from 'Round These Here Parts...

Another interesting tidbit about William Faulkner's "A Rose for Emily" concerns the deliberate choice of the early twentieth-century South as the story's setting. This setting is initially established by the narrator's mention of the "graves of Union and Confederate soldiers." Combined with the emphasis on "tradition," this mention indicates a Deep Southern sentiment to the narration. This Southern perspective impacts the plot of the story tremendously. Through the narrator's descriptions, it is clear that the city of Jefferson operates largely on the basis of reputation and social hierarchy. Instead of sympathizing with Miss Emily in her period of grief after her father's death, the community only indicates their relief that "at last they could pity" her because "she had become humanized."

It was this entrenched belief in social order, and the accompanying derision for the members of the city's aristocracy, that likely influenced Miss Emily's actions. Miss Emily was unable to truly connect with anyone within her community due to her elevated status. That is why Homer—a Northerner and, therefore, not a member of the dysfunctional Southern community—is accepted and even loved by Miss Emily. I think Miss Emily murdered Homer not out of anger or revenge—if that had been the case, she would not have slept next to his skeletal corpse—but out of misguided desperation. After living a life of detachment from her community, Miss Emily had become so desperate to keep Homer with her that she poisoned him in order to keep him with her dead or alive. While this is admittedly a rather macabre idea, it simply is a tragic, if not exaggerated, result of the Southern mindset.

Tuesday, July 6, 2010

A Cycle of Despair (Motif)

“On his tenth turn around the lake he passed the hiking boys for the last time. The man in the stalled motorboat was gone; the mud hens were gone…The band shell was deserted…On his eleventh revolution he switched off the air-conditioning, opened up his window, and rested his elbow comfortably on the sill, driving with one hand. There was nothing to say.”

-The Things They Carried
, p 146-147


In this chapter, O’Brien utilizes the image of Norman Bowker’s driving repeatedly around the lake as a motif throughout the tale. As O’Brien gradually reveals Bowker’s memory of Kiowa’s death, he weaves in the idea of Bowker driving along the town lake over and over again, disconnectedly observing the lives of the townspeople. After the war ends, Bowker returns home from Vietnam; yet in reality, Bowker has lost his home. The years have gone by, and the town has moved on without him. The war has affected him so that he is unable to share his experiences and emotions with others. Isolated in a town that does not understand his plight and simply does not care, Bowker is stuck in a rut, going in circles with no end in sight.

This circular motion is captured in the motif of Bowker driving around the lake. Even when he attempts to escape the circle by stopping at the town’s A&W, he is socially despondent and is unable and unwilling to open up to others. He returns to his circle around the lake, back into his cycle of withheld emotions and tortured reclusion. Just as the lake is constantly before Bowker, so are his memories constantly gnawing at Bowker, leaving him entrapped in a cycle of guilt and shame.