An Analysis Of Raymond Carver 's ' So Much Water So At Home '

This is Water, was a commencement speech given by David Foster Wallace at Kenyon College in 2005. Ever since this speech has been given it has become well known. Because of the length, it can be hard to read through the speech while trying to understand the whole idea of it. Wallace fills the speech with stories, examples, and vivid ideas while trying to convince these college graduates how to view life in a positive perspective. While this speech is packed full of ideas he manages to give it in a way outside of the norm for commencement speeches. Yet still gets all the information to the graduates and anyone else who listens to it.

Furthermore, Downey’s apt use of pathos, or emotional appeals, draws readers in and triggers an emotional response in them, keeping them engaged for the duration of the essay. To expand, he uses blunt phrases like, “permanent loss” (445) and “distant, angry aliens, lacking emotional bonds” (446) to create a severe impact on readers. Also, stirring examples of “descent into alcohol, drugs, and prostitution” (445) and “children committing suicide” (446) illustrate for readers the acute level of damage and suffering that Aboriginal victims experienced. Downey’s use of evocative and graphic imagery in his recounts of “residential schools” (446) and the physical, “emotional and sexual abuse” (447) that specific victims endured elucidates the turmoil and anguish felt by victims of the ‘Sixties Scoop’ in general. As such, this technique fully immerses readers in his essay. Downey creates both a sense of compassion and guilt in his readers through his mention of children who were “enslaved,

In So Much Water So Close To Home, Raymond Carver explores the hardships that society brings upon us by using dialogue and character development to reveal that men and women alike have difficulty reconciling the differences in ethical and moral values. Carver is able to do this by relating to topics that demonstrate the character’s difference in morality. These include such things as death, gender stereotypes, and relationships. While discussing these topics, Carver reflects upon society’s social standard and compares that with the roles of the characters throughout the story.

Contemporary artist, Ah Kee, has created a work, “Unwritten #9”, references past racial murders and the way they resonate in the present context and explore Australian Indigenous and non-Indigenous culture in the contemporary society. Ah Kee created this series of artworks in response to the apparent police cover up of the death of a young man in their custody and protection of their own lead to accusations of racism, riots by the Islanders and their further oppression by the police. The faces are also non-specific and have no identity, this refers to the devastating history of racism and violence against indigenous peoples in Australia. This symbolism also suggests the often unspoken motivations for actions and interactions between Australians

2. The narrator, Ray Bradbury, says these words using beautiful imagery. This creates wonderful imagery because it explicitly shows us how Montag is trying to understand what the women are thinking by studying their facial expression, since he cannot find any other way of trying to understand them. He feels whatever the women say to him is meaningless.

The notion of the contemporary indigenous identity and the impact of these notions are both explored in texts that have been studied. Ivan Sen’s 2002 film ‘Beneath Clouds’ focuses on the stereotypical behaviours of Indigenous Australians highlighting Lina and Vaughn’s journey. This also signifies the status and place of the Australian identity today. Through the use of visual techniques and stereotypes the ideas that the Indigenous are uneducated, involved in crime and the stereotypical portrayal of white people are all explored. Similarly the notion of urban and rural life is represented in Kennith Slessor’s ‘William Street’ and ‘Country Towns’.

Written during one of the most defining moments in Indigenous Australian history, Enoch and Deborah Mailman’s ‘the 7 stages of grieving’ follows a young Aboriginal woman as she retells some of the hardships and injustices her and her people have and will continue to face. With the quote above in mind, it is clear to see that ‘The 7 stages of grieving’ combines the contemporary conventions of Australian theatre, such as applying multimedia with a decidedly traditional twist. Through the use of stagecraft and symbolism,

The river represents the period between life and death. Another part of this symbol is the air representing life and under the rocks and waterfall representing death. Just as the transition from life to death is in motion, so is the rushing of the water. Both have a beginning and an ending point, but the part in the middle is constantly moving, swirling and churning. As the girl loses hope for survival and the waterfall is approaching, the narrator states, “[S]he becomes part of the river” (45). The girl now crosses over the borderline of life and death, and she is about to be swallowed up by the falls of death and can never return to life. However, when the diver goes into the river to save her, he comes out saying that “he’d never enter that river again” (47). He encounters the spiritual eccentricity of the edge of death when he looks into lifeless girl’s animated eyes, and he can not fathom that experience. Another symbol that is introduced twice is the gurgle of the aquarium, which symbolizes the attempt to understand nature’s cycle of life. As she floats downstream, the girl remembers “her sixth-grade science class, the gurgle of the aquarium at the back of the room”(45). During this moment, all of her thoughts are puzzled, and she cannot understand the death awaiting her. Later on, after sleepless nights, the diver is in the empty school where “the only sound the gurgle of the aquarium” (48). This moment is the point at which he decides

 Water represents Sethe's transition from slavery to freedom. Sethe left Sweet Home pregnant with Denver, "and ran off with no one's help" (p.224). She ran scared and fearful of the trackers following her trail.  Sethe met Amy Denver, a white women, on her way to Ohio.  Amy helped Sethe find the Ohio River.  The river was "one mile of dark water...[and] it looked like home to her and the baby"(p.83).  When Amy left, Sethe traveled downstream and met Stamp Paid.  He helped her and Denver cross the river to freedom.  Stamp took Sethe upstream, "and just when she thought he was taking her back to Kentucky, he [Stamp Paid] turned the flatbed and crossed the Ohio like a shot" (p.91).  The river locked away the memories of Sweet Home and began her life with Denver at 124.   Water represents the transition of Sethe's slave life to her life of freedom.  Again, water has cleansed the soul of the sin of slavery. The river is now a barrier.  It separates Sethe's life of slavery, to her new life of freedom.

The water is symbolic of romantic love as an overwhelming and transforming force that changes in form and changes the people involved. The wave is large, unpredictable and spans out as far as the eye can see. The movement of an all-encompassing emotion like love is impossible to contain, much like water. It is free flowing and goes on forever. “Love was a game, a perpetual creation (Paz, 2). Love and water are both creations of the divine and humans tend to use and abuse them. However, humans are emotional and social animals who need both love and water to survive. Waves have a way of hitting humans all at once, just like love. It renders humans excited and full of surprise at first “wave of surprise” (Paz, 2) like a crashing delight. It also leaves us always wanting more. We have an unquenchable thirst for love and affection, thus we chase it even in its most sinister forms, like an abusive relationship. The narrator is accepting of the wave 's presence when she appears in his home where he was once hesitant of the idea of her in his life. Love also transforms and can change us, like water changes states. It can become overwhelming and hard to breathe, but it is often all around us and

Men are from Mars, women are from Venus. We've all heard the saying, but what does it mean? We are different, that goes without saying. As evidenced in Raymond Carver's "So Much Water, So Close to Home", men and women differ on many key issues of morality, perception, and judgment. The two do have something in common, believe it or not, and that is the expectation of the opposite gender to communicate, think, and react in the exact way they do. Hence, frustration. Not with themselves, God forbid the two ever see a situation from each other's point of view. The frustration is with the opposite gender, over something that for the most part, they cannot help. As we have seen time and time again and as Carver proves, it's in our blood.

The thoughts and emotions that occur in connection with water are triggered by the lake, and they help Ruth choose transience over any other form of existence. When water floods Fingerbone, the boundaries are overrun, exposing the impermanence of the physical world, and the world’s own natural push towards transience. Water shifts the margins, warning us that the visible world only shows us part of the whole--or perhaps even a mere reflection of a false reality. After the fantastic train wreck in which Ruth’s grandfather perished, the lake sealed itself over in ice, changing boundaries again, while it concealed, like a secret, the last traces of the victims with the illusion of its calm surface. The lake, a source of beauty and darkness, life and death, is “the accumulated past, which vanishes but does not vanish, which perishes and remains” (172). Water carries the symbolic possibility for rebirth– the flood causes the graves in the town cemetery to sink, “so that they looked a little like…empty bellies," suggesting that the dead were born into the receding waters (62). As water and death are so pre-eminent in Sylvie’s consciousness, in dream, she teaches Ruth to dance underwater, to live a life of transience to be

One cannot truly change the world around without first mastering the art of looking beyond oneself and into the outside world. This idea of looking beyond oneself has been the focus of ancient and modern philosophers throughout the world. In “The Is Water”(2005), a commencement address, David Foster Wallace, a modern day philosopher, implies that people generally view the world from a selfish perspective and elaborates on how the world should work to reverse its self-centered ways. Wallace reveals his topic through a series of anecdotes, each highlighting a different way we are focused on ourselves and then providing a way to view each situation from a different perspective. Wallace’s purpose is to point out the faults in thinking only for

Finally, it appears that Carver does not give an adequate description of his characters. The male and the female characters in this story are flat, stock characters. Because Carver relies on commonly held gender-based stereotypes this helps the reader to create his or her own image of the characters. The need for physical or psychological description is not necessary. For example, the woman?s opening statement, ?I?m glad you?re leaving! I?m glad you?re leaving! Do you hear?? (265), illustrates that she is a stereotypical, emotional female, who is out of control. Furthermore, the man?s refusal to acknowledge her illustrates a stereotypical male response to conflict. It shows that he considers her unworthy of a response. As if the same fight has occurred many times before and he knows there is no sense in replaying this scene again. The story escalates to a

This bitterness and sarcasm is revealed as strong characteristics of the narrator. Throughout the majority of the story, the narrator continues shows his distaste for any "happy" situation. Much like the hyphenated asides, Carver implements fragmented sentences behind description, to show the narrator pausing for a moment of color commentary.