Poets in the Television.

Paule Marshall’s work, “Poets in the Kitchen,” describe Marshall’s early interactions that shaped her writing. Her family structure and Marshall’s proximity to the women in her life gave her an appreciation for words and a greater understanding of the human language. I, too, was influenced my environment. While Marshall learned language in the kitchen, I learned it in my family room in front of a black box.

 

Sure, I listened in on my parents, caught onto their sense of humor and views of the world, but I was left alone more than not. I turned to books on occasion, reading dumbed down versions of classics, explored “A Wrinkle in Time” and got lost in “The Chronicles of Narnia.” Mostly, in their absence, I turned to the perpetual babysitters, Nickelodeon and Disney. While my mother was flying around the country and my father was reading science fiction, my sense of language came from television.

 

Television taught me about relationships and values, all in an ideal setting. Having so much of my world view formed in environments filled with Astroturf and rooms with only three walls had its pros and cons. I learned what most would consider appropriate values and how to interact in “common” situations. The Matthews family and the Brady Bunch taught me that marriages are supposed to be balanced and formed from love, friends are supposed to help you no matter what, the world will embrace my differences, and dogs never really die. Some of these lessons have shaped me into a better person, but they’ve also created unrealistic expectations.

 

I grew up thinking I would have a convertible when I was 16, a boyfriend shortly after that, a full ride to Harvard, and a stable family structure. Television blinded me from the reality of life. I got a 1996 Toyota Camry when I was 17, am suffering from a chronic long-term single-girl syndrome, and my mother’s apparent alcoholism is forcing my parents into a much needed divorce. Very little has lived up to what I expected. I have been thrown into situations Disney never explained existed; financial hardships, death, divorce, falling out of love.

 

I don’t blame television entirely for this, after all, there is also religion, books, and films. While I was misguided by television, it also provided me with a priceless tool for coping with life: humor. Humor comes out in my interactions as well as my writing. Television helped me learn what I though was funny as well as what the majority respond to.

 

Humor is one of the few things that connects people around the world. Laughter and joy are emotions anyone can identify and that everyone wants to feel. When used correctly I can alleviate social pressures and open emotional doors. I’m grateful for televisions affect on me. Even when I realized life in my world is different than it is in that black box, I was able to take humor into various situations. I may not have a white picket fence, but I know how to laugh when someone walks into one. 

Don DiLillo’s novel, White Noise, is not arbitrarily titled. The term “white noise” refers to the constant presence of technological distractions, which have become so routine they are indistinguishable from one another. Whether the noise come from a radio, a supermarket intercom, the washing machine, or the television it is an acknowledged part of our existence. DiLillo attempts to show American life in the most realistic sense. This would be impossible to do without commenting on the progress of technological advancement. Through these technological references DeLillo suggests a comfort is found.

“The smoke alarm in the hallway went off, either to let us know the battery had just died or because the house was on fire (pg 8).” By slipping these references into everyday occurrences DeLillo demonstrates their presence. After this alarm goes off, Jack and is family continues to eat their lunch. They don’t respond to the alarm, they simply acknowledge it. DeLillo doe not associate these experiences with positive or negative outcomes, he simply acknowledges that they are in our lives. “The National Cancer Quiz was on TV (pg 214).” This quote does not intend to foreshadow any event or explain another event that has already taken place. It just is, like all the other references.

DeLillo inserts technology throughout the book, so frequently that while it was once shocking, confusing, or noticeable it ends up being white noise. The reader becomes as desensitized as the characters. The reader is expecting or, at the very least, accepting these references. By using his examples of white noise throughout the novel, DeLillo creates awareness within the reader. The novel acts as a snapshot of reality. If the reader can become desensitized by reading the words, “The TV said…( pg 29),” repeatedly than he/she can no longer deny the effect of technology on his/her life. Even the most common of appliances can contribute to white noise. The garbage disposal and the washing machine have been around for so long, the reader might not even consider them as part of this distracting, unnatural noise. DeLillo shows the reader that even these useful tools impact our daily routine.

White noise exists in every American’s life. DeLillo suggests that it distracts the main character, Jack Gladney, from his preoccupation with death. This constant sound, this white noise, can distract Jack from his fears, if only for a moment. The white noise suggests company. On some primal level we believe that noise implies that other people are around. One could argue Jack’s fear of death stems from a fear of loneliness. Support for this is found through Jack’s many marriages, his house full of children, and his career choice (standing in a crowded room). Technology has created the illusion of connection. We can hear or see other human beings whenever we choose too. The friends are always there, just waiting for a push of the button or the turn of a knob. There is no real interaction, but perhaps all we need to distract from fears is to know other exist. If others exist it’s possible they share our fears.

 

 

 

Love Medicine

Louise Erdrich’s Love Medicine has a unique writing style. By the most literal definition, it is Western in that the book depicts the lives of Native Americans; however, the writing is far from what most consider traditionally western writing. The focus lies heavily on character interaction, the narration style is experimental, and the writing is much more stylized.

 

A common theme of early Western writing is the idea of the land. Westerners thrive on the notion of Manifest Destiny. This is wonderfully shown in Willa Cather’s O Pioneers in which the land is it’s own character. Character development and understanding is important, but mostly shown through how that character works the land. For instance, Alexandra of O Pioneers works with the land. This allows the reader to see Alexandra as a strong, highly intelligent woman. Erdrich realizes the importance of the land, she makes references to the government reparations given to the Native Americans and expresses regret over decisions to sell the land (12). The central theme of the novel is the characters and their personalities are shown via their interactions with others. For instance, through King’s interaction with the rest of his family (namely his wife) the reader gets the sense he is unstable and disturbed. Similarly, Lynette’s shocked response to the men’s conversation regarding skunk eating paints her as an outsider (31).

 

Love Medicine follows a different story telling pattern. While many western novels are told from one perspective in a continuous timeline, Erdrich tells her story via multiple narrators. This is shocking and confusing initially. Immediately, the story jumps from an afternoon of June Kashpaw to a visit home by Albertine Johnson. These stories are connected, but the connection is easily missed or misinterpreted. Erdrich has no obvious pattern to the shift it narrators. Through this the reader gets a sense of the distance and closeness within the family. Each secret or common thread of knowledge is seen or ignored through the narrators.

 

 

Finally, the writing is more stylized.  Edrich incorporates the use of short, quick sentences simultaneously with longer, descriptive ones. This combination creates a unique flow; allowing the reader to fully grasp the internal and the external. The narrator will describe the environment and through the reader learns even more about the character. For instance, “He broke out time after time and was caught each time he did it, regular as clock work (199).”  The reader feels as comfortable with this fact as Albertine does. Comparing it to clockwork makes the notion of jail time less intimidating while explaining history to the reader.

 

In conclusion, many factors makee Erdirch’s writing less conventionally western. Most natoably being that the characters are not conventionally western, they are true westerns. While new Americans were building cities, creating jobs, and finding a culture Native Americans were forced to hold on to whatever they could. In many ways, Love Medicine could be considered a true Western novel as it depicts the lives and struggles of real Americans. Everything from land reparations to confusing family ties to the subsequent alcoholism is touched on. While Love Medicine may not possess the qualities of a “true” western novel, such as O Pioneers, one could argue it is one of the most western novels in a literal sense.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

WORKS CITED

 

Cather, Willa. “O Pioneers.” New York: Vintage Books, 1992

 

Erdrich, Louis. “Love Medicine.” New York: Harper Perennial, 1993. 

Cong-no! Am I right?

 

Barbara Kingsolver’s novel, The Poisonwood Bible, takes place in the Congo region of Africa in the middle of the 1900’s. A missionary family from middle America traveled there to save lost souls and civilize the “barbarians.” During this time period many used this philanthropic mission statement. While some, such as the Price’s, were sincere in their efforts others used this as a cloak for selfish motives. While the Price’s had very religious, humanitarian motives, King Leopold is an example of the latter.

 

According to BBC’s documentary, White King, Red Rubber, Black Death, the beginnings of this horrific event are described. Through the guise of the Association International Africain, King Leopold exploited Africa for it’s resources and the native for their labor. Through this exploitation, the Congo’s population decreased by over half of it’s inhabitants.

 

The Congo provided King Leopold with rubber. The automobile industry was booming at this time and rubber was in high demand. In post World War II America almost everyone had a personal mode of transportation. World trade and technological progress were experiencing new heights.

 

In order to retrieve this valuable resource, King Leopold took the native women captive and sent the men to work. Adam Hochschild’s history novel, King Leopold’s Ghost, does an excellent job at painting the portrait of the Congo in this time. Hochschild makes the characters relatable while giving graphic descriptions of the horrors many endured. If the men did not bring back enough rubber, one of their hands was cut off. The laborer was marked for the remainder of his days. This forced labor prevented the natives from harvesting and hunting their food, leading to a collapse in their simple economy. Instead of “civilizing” this group, outsiders tore apart their livelihood.

 

The Poisonwood Bible is set when this is beginning to take place. It allows the reader to see the transition of these people. The election Belgium had set up for the Congo’s “new leader” is seen from the native’s perspective. Anatole explains how his vote felt of little to no importance. The sense of helplessness is easily felt.

 

Since this period the trend of exploitation and corruption has continued. A Western ideal of  a capitalist society seems out of reach. The leaders of Africa’s nation use their power to drain the area of resources while hoarding all of the financial gain. Africa was blessed with its natural resources, but lacks appropriate leadership to distribute the rewards.

 

America’s system of capitalism paired with a system of checks and balances within the government allow our countries wealth to be more evenly distributed than Africa’s. Forcing this system on another country without taking into consideration its disposition is a recipe for failure. The Poisonwood Bible explains the fear of communism that was so prevalent in the 1950’s way through the 1980’s. The irony discussed in class as well as the end of The Poisonwood Bible is how if Africa did join the Soviet Union, the system of communism would allow for everyone to get a fair share of the countries’ wealth.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

WORKS CITED

 

 

White King, red Rubber, Black Death. BBC, 2004. Youtube. 02 Nov. 2008. Web. 27 Oct. 2009 <www.youtube.com/watch?v=qx2SjlfhSso.>

 

Hochschild, Adam. King Leopold’s Ghost: A Story of Greed, Terror, and Heroism in       Colonial Africa. Boston, MA: Houghton Mifflin Harcourt, 1999.

 

Kingsolver, Barbara. The Posionwood Bible. New York, NY: Harper Perrineal, 1999.

Purple is the color!

 Alice Walker’s The Color Purple is told through a series of letters. This method of writing is called epistolary. Although this style of writing is undeniably intriguing, it has other positive and negative affects on the reader. While this system accurately explains the protagonist’s point of view and aspects of her personality, it also prevents the reader from seeing an unbiased perspective. The letters provide another view of Celie’s growth throughout the novel, via content and whom the letters are addressed to.

 

Every entry within The Color Purple reveals a little more about Celie’s character. Through her writing the reader gets a basic understanding of her intelligence. Celie misspells words and has only a vague understanding of proper grammar.  Celie talks about how Columbus arrived on the “Santamareater (19)” and writes sentences like, “Sofia right about her sisters (69).” This writing is juxtaposed against Nettie’s letters to Celie, which use proper grammar, a higher vocabulary, and correct spelling. This further reiterates Celie’s unfortunate circumstances contrasted with Nettie’s opportunities. While these contrasts are undeniable, the content of the letters shows a mutual understanding if pain, suffering, and hope.

 

The person Celie addresses the letters to gives the reader an idea of her progression throughout the novel. During most of the novel Celie addresses her letters to God. Celie is scared and alone. God acts as a last resort for a confidant. Once Celie finds out Nettie is alive, she writes to her. Celie writes, “ I don’t write to God no more. I write to you (175).” This transition shows Celie’s personal growth and understanding. Celie no longer needs to write to a white male who doesn’t seem to care about her. Celie now has hope and a confidant in and outside of the letters who responds with love and understanding. She begins to deal with her feelings of bitterness that have been developing since the first page of the novel. Finally, Celie writes “Dear God, dear stars, dear trees, dear sky, dear peoples, dear everything, dear God (249)” This represents Celie’s complete life fulfillment and spiritual satisfaction. Celie now sees God everywhere and her situation is so fortunate she wants everything (God) to know about it.

 

Unfortunately, the perspective of celie’s letters makes it impossible for the reader to understand anything more than Celie does. There is no overlooking via explaining what is happening and allowing the reader to infer conclusions. The reader is only given Celie’s knowledge. Celie’s perspective may be biased or at least not reveal any more than Celie chooses too. For instance, the reader doesn’t know how often Mr. beats Celie or if Celie’s romance with Shug is constant. Only what is important to Celie is revealed.

 

Epistolary writing format is unusual and therefore interesting. It gives the reader a protagonist’s centered point of view with no option for outside influence. This method creates a closeness to the protagonist few others could match. While the reader is left with less knowledge about Celie’s actual situation, her thoughts are almost completely known. The reader, essentially, is Celie’s confidant and there is no better way to understand a character than to know her inner most thoughts.

 

 

 

 

 

 

 

 

 

 

 

Works Cited

Walker, Alice. The Color Purple  New York: Pocket Books, 1982

 

 

Stein+Picasso= <3

Picasso was one of the leading patrons of the modern art movement now known as Cubism. When Gertrude Stein moved to Paris she took an extreme liking to Picasso and the Cubism movement. This interest is reflected very obviously in her work, Tender Buttons. Stein used similar techniques as those used in Cubism to create a literary work of equal caliber in both skill and uniqueness.

To understand this relation one must first understand the cubism movement. Pablo Picasso and Georges Braque created the Cubism movement(Stokstad 1078). These artists used fragmented and broken views and distorted them to convey images seen in every day life (Stokstad 1079).  The idea was to shift perspective into something unexplored. One way artists accomplished this was by breaking up an object into parts, analyzing those parts, and pasting them back together to create an image resembling the original image (Stokstad 1080).

Gertrude Stein took these basic ideas and attempted, successfully, to transform this visual system of creation into a literary one. The titles of the poems resemble the titles of Cubists pieces. They are simple and not very descriptive such as “A Box” or “A Piece of Coffee.” The subject examined in Tender Buttons and those of Cubists artists are also similar. An example is Stein’s “ A Carafe, That is a Blind Glass” next to Picasso’s “Glass and Bottle of Suze.”

Aside from these superficial similarities, the composition of the poems as well as the art work is are comparable. For instance, in Picasso’s “Violin and Palette” the viewer is confronted with a distorted view of the objects in the title. The viewer is forced to search and work to put the objects in familiar terms. Although all of the elements are present; strings, handle, music sheets, color of the wood, the object is presented differently.

Similarly, in Stein’s poem “A Petticoat.” She describes the title writing, “A light white, a disgrace, an ink spot, a rosy charm (1).” All of the elements are within that one line, yet the organization of the elements leaves the reader feeling uncomfortable. This is not how the majority of the population would describe a petticoat. Stein takes prominent parts of this object and brings them to the surface. Just as the violin’s strings were obvious in Picasso’s piece, the color, stain, and broach on the coat are visible. The coat as a whole, in the way a reader understands it, must be reconstructed in one’s mind.

In conclusion, the most prominent similarity between the writings and the paintings is the emotions many felt after reviewing them. The techniques these artists use cause certain emotions. The artists’ interpretation and representation of reality is so unusual they tend to leave the viewer or reader feeling uncomfortable. The artists tear down any sense of reality and completely reshape the common things in life. While many artists and writers attempt to simply further explore what is already complex, Stein and Picasso choose to find the complexity in everyday life. Seemingly simple and explored items are put in a new life and re-explored to their fullest extent. The goal of any artists, writer or painter, is to evoke some sort of emotion. In this respect, both Stein and Picasso were incredibly successful and thus memorable.

 

 

 

 

 

 

 

 

 

 

 

 

Works Cited

 

Stein, Gertrude. “Tender Buttons Objects—Food—Rooms” Project Gutenburg.  7 March 2005. Web. 2 October 2009 https://campus.fsu.edu/webapps/portal/frameset.jsp?tab_id=_2_1&url=%2fwebapps%2fblackboard%2fexecute%2flauncher%3ftype%3dCourse%26id%3d_6296890_1%26url%3d

 

 

Stokstad, Marilyn. “Art History 3^rd Edition.” New Jersey: Pearson Prentice Hall, 2008. Print.

Shall we have another martini?

Earnest Hemingway’s “The Sun Also Rises” is a tragic story narrating the perpetual downward spiral of an entire generation. Hemingway utilizes unusual writing techniques and explores uncomfortable topics. This approach makes Hemingway’s “The Sun Also Rises” a perfect example of the avant garde movement translating into literature. Avant Garde directly translated means “to make it new,” and that is exactly what Hemingway did.

“Sometime on or after December 1910, human character changed.” Virginia wolf spoke these words. She was referring to England entering World War I. Many people were confused about their place in World War I and ultimately felt dissatisfied with the outcome. Those involved in the war came out of it with a depreciated sense of human worth and repressed emotion.

Hemingway illustrates this emotional repression in the scene where Jake, the main character, only allows himself to cry alone in his room. “I was thinking about Brett and my mind stopped jumping around and started to go in sort of smooth waves. Then all of a sudden I started to cry (Hemingway 39).”

Alcohol almost acts as a main character throughout the book. It is involved in almost every scene. It is as if these characters don’t value reality enough to experience it fully.  The war exposed them to enough experiences for a lifetime, so experiences are of little concern. On page 250 Brett plead with Jake to “not get drunk” despite her inability to follow suit. This implies a realization and understanding of the self-destructive behavior, but to the individual it does not matter.

Aside from the war changing outlooks, different theories and beliefs became popular that questioned all prior beliefs. Einstein created his theory of relativity. If all things are subjective and dependent on the viewer, can there be a God? Darwin’s theory of evolution became popular and caused many to question our divinity as humans. If evolution created humans then God did not, so we are no better than any other creature. Sigmund Freud claimed there was a duality within one’s self. This especially affected Hemingway’s ideas because Hemingway felt the need to repress emotions. Hemingway only wanted the interaction of the outer self, while letting his inner self remain private.

With all of these uncertainties looming, society felt a lack of center. This is exemplified by Hemingway’s writing style. The writing is fragmented without explanation. It can be quite difficult to understand exactly who is speaking in a conversation. People will be introduced after they’ve spoken or never at all. This is shown on page 37 when Jake goes to the bar to say good bye to Brett, then all of a sudden the Count is involved in the conversation saying a short farewell.

Similarly to the war, “The Sun Also Rises” ends unresolved. The reader is left wondering if Jake will continue chasing Brett. A growth is seen, but there is no definitive answer. “A Sun Also Rises” ends with Jake’s arm around Brett suggesting a continuing relationship, but there is a better understanding of Brett suggesting slightly different behavior. When Brett begins talking about how great her and Jake could have been together Jake responds with, “Isn’t it pretty to think so?”

In conclusion, Hemingway personified this feeling of loss and confusion after the war. His unique writing style and depressing characters is a reflection of the times. Fortunately, this pessimistic outlook contributed to one of the more interesting movements of the past century, the Avant Garde.

Edith Wharton

Wharton, like many artists, used writing as a cleansing tool, Subsequently; her personal life was reflected in her writing. “Roman Fever” is no exception. Edith Wharton’s “Roman Fever” introduces the reader to “two American ladies of ripe, but well-cared- for middle age (Wharton pars. 1),” Mrs. Ansley and Mrs. Slade. It quickly becomes apparent that these two subdued women are of high society. Mrs. Slade and Mrs. Ansley are enjoying an afternoon in Rome. They make small talk and reminisce. Throughout the story the reader learns that both women are widows and childhood friends. The shocking conclusion reveals a hidden affair and an explanation for the constant tension. Wharton pulled from her own experiences to create these demure women as well as their less than acceptable actions.

Mrs. Ansley, Mrs. Slade, and Wharton were all “Museum specimens of old New York (Wharton Pars. 14).” In the late 1800’s and early 1900’s New York was a hot spot for high society. Wharton spent the majority of her early life in Manhattan (Smithsonian: Wharton’s World pars. 2).

This environment produced very emotionally repressed and superficially extravagant individuals. A perfect representation of these individuals is found in Edith Wharton’s “Age of Innocence.” Not unlike Mrs. Slade who would rather “live across from a speakeasy for a change (Wharton Pars. 14),” Wharton craved some change is society (Smithsonian: Wharton’s World pars. 6). Wharton did not want to live the dull life of a proper lady. Wharton was all too aware of the hypocrisy within this society and revealed these hypocrisies through her writing.

Mrs. Slade and Wharton both endured loveless marriages (Smithsonian: Wharton’s World pars. 7). These forced marriages and expectations of society lead to an affair for both women. Wharton experienced a passionate, but short, love affair with Morton Fullerton (Ehrlich 86). Mrs. Ansley’s short affair is revealed in the final line of “Roman Fever” when she states, “I Had Barbara.”

Europe acted as an escape for all of these women. Mrs. Ansley and Mrs. Slade remember their childhood moments spent in Rome (Wharton Pars. 26). Wharton used Europe as an annual “tonic for her depression (Smithsonian: Wharton’s World pars. 6).” These women were able to escape the politics and traditions of New York high society by escaping the people. Europe held no expectations for these women. Though they acted with civility, they felt they had more freedom in Europe.

Finally, all these women experienced loss of their husbands. While Mrs. Ansley and Mrs. Slade were widows (Wharton Pars. 15) Wharton herself experienced the loss of a marriage. Wharton divorced hr husband in 1913 (Smithsonian: Wharton’s World pars. 6). This behavior was extremely frowned upon in society and undoubtedly left Wharton with some ill feelings.

In conclusion, Wharton used Mrs. Slade as well as Mrs. Ansley to represent different aspects of herself; her youth and her mid life. While Mrs. Slade acted as a fine woman of the current society, Mrs. Ansley was more rebellious. Mrs. Slade valued her husband’s status in society (Wharton pars. 16). Mrs. Slade loved the excitement of society life such as the parties and the travel. Mrs. Ansley let her desires get the better of her . Wharton married Teddy Wharton when she was twenty-three. He was of similar social background and had good standing in society (Smithsonian: Wharton’s World pars. 6). Wharton’s early life resembles Mrs. Slade; longing for change and excitement. Wharton’s later life resembles Mrs. Ansley’s. Wharton eventually took action and ran with the emotions she felt.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Works Cited

 

 

 

Dwight, Eleanore. “Edith Wharton’s World: Portraits of People and Places”

        Web. 24 September, 2009

        <http://www.npg.si.edu/exh/wharton/whar3.htm>

Ehrlich, Gloria. “The Sexual Education of Edith Wharton”

          Berkeley University of California Press, 1992. Print

Wharton, Edith. Collected Stories, 1911-1937. Library of America, 122.

       New York: Library of America, 2001.

 

 

 

The Scarlet Letter: Girls Rule

Hester Prynne in is publicly humiliated, forced to wear The Scarlet Letter, for physically expressing her love with a man who is not her husband, an act a man in this period would be permitted, if not encouraged, to engage in. Despite this initial antifeminist action, Hawthorne’s The Scarlet Letter proves to be a tale of female empowerment. Nina Baym writes “Revisiting Hawthorne’s Feminism,” arguing for Hawthorne’s feminist sentiments as well as refuting other’s interpretations.

Baym explains that all of her conclusions about Hawthorne’s feminist ideals sprout from the assumption that Hester, not Dimmesdale nor Chillingworth, is the main character (543). Puritan/tradionalist interpretations as well as gay/queer interpretations are masculine centered finding Dimmesdale and Chillingworth the main characters. Puritan/tradionalist interpretations see The Scarlet Letter as a story of Dimmesdale fighting the temptations of Hester, while gay/queer interpretations see it as a love story between Chillingworth and Dimmesdale (544-546).  Many feminists see Hawthorne’s writings as antifeminist all together, claiming Hawthorne felt threatened by  “ emergent feminism… in fact, by any sign of women’s desire to improve their lot,” with his only goal being to silence women completely (545).

Once opposing views have been properly explained, Baym begins her argument. Within the first paragraph she powerfully states, “I grant too that if a feminist position must be manifested by plots wherein women live happily ever after on their own terms, Hawthorne fails (548).” While Hester is not blessed with a conventional happy ending, she does remain a valuable member of society. Hawthorne creates a world where women can live without men, though they might not prefer it (549). Nothing is more feminist than independency. Baym argues that Hester’s flaws only make her a stronger feminist character, expressing that feminism does not imply or require a perfect woman (550). While some feminist see Hester continuing to wear the letter as a sign of submission and weakness, Baym believes her resilience shows her strength, Hester not only wears the A, enduring its shame, but she changes its meaning (550).

Although Hawthorne recognizes and addresses the difference between the sexes, Baym argues that this recognition is necessary for social change; a wisdom that Hawthorne, too, possesses (551). Hester “rescues” Dimmesdale by revealing Chillingworth’s true identity, an extremely masculine act (553).  Within the puritan/tradionalist perspective Hester is Dimmesdale’s unrelenting temptress, forcing him into a life of sin; however, Baym argues that it is Dimmesdale who manipulates Hester into leaving the town (554). After the use of many more specific examples from many of Hawthorne’s works Baym concludes her argument by suggesting the use of Hawthorne’s writing as inspiration to  “reconstruct the social system” to create true equality between the sexes (556).

Baym’s arguments are solid and well articulated. While reading The Scarlet Letter Hester’s strength was constantly being proven; from the beginning when she nobly refuses to speak the father’s name, to when she “rescues” Dimmesdale, to her ability to “bounce back” from the loss of Dimmesdale and continue to be a productive woman in society. If Hawthorne wanted a weak female character, he would have burned Hester at the stake in the second chapter and the rest pf the story would be centered on a male character. Another feminist characteristic of Hawthorne’s piece is that despite Hester’s weaknesses, the men of this story prove to be much weaker. Hester accepts her punishment and improves her situation as best as possible, while in the background Dimmesdale is literally dying of guilt because he is too cowardice to come foreword and Chillingworth is possessed by a desire for revenge.

Hawthorne did create a “man-less” world for Hester. In doing so, he not only had her survive, but she became incredibly successful in her life pursuits (other than love, of course). She transforms her punishment into her blessing, her inspiration. Hawthorne addresses the difference in sex and shows that women are capable of being equals of men, if not surpassing men completely.

It is entirely possible that my gender has affected my thoughts towards this novel, though, generally, being a woman would create an anti-Hawthorne attitude. Bayne did not convince me of these feminist undertones, but she reinforced my beliefs with the equivalent of steel welding support.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

WORKS CITED

 

Baym, Nina. “Revisiting Hawthorne’s Feminism” A Norton Critical Edition: The Scarlet Letter and Other Writings. Leland S. Person New York, NY: W.W. Norton & Company, Inc., 2005. 541-57

 

Hawthorne, Nathaniel. A Norton Critical Edition: The Scarlet Letter and Other Writings. Leland S. Person New York, NY: W.W. Norton & Company, Inc., 2005. 541-57