Analysis Of Caught In The Widow's Web By Gordon Grice

In the story “Nethergrave” by Gloria Skurzynski, lies a boy named Jeremy. Jeremy is a misfit, a person that don’t belong anywhere, or a person that is different. Jeremy is the kind of boy who can memorize a whole book of sports, but can’t physically play any sports. He vaults to the internet for hope of his four friends, but instead he finds something different. Even though, Gloria Skurzynski story “Nethergrave” is a science fiction genre, I believe that the meaning of this story could be that there’s always a place for everyone.

Despite an expanded outlook on the world, Luke and Anna find themselves in a place of vertigo as they struggle to come to terms with the harsh world that is Garra Nulla. The metaphor “some days she feels like a fly caught in an invisible web” establishes a visual of one who is confined by their negative experiences, unable to escape, whereas the description of “an invisible web” depicts an image of an unexpected challenge that has impacted on Anna’s initially idealistic view of country living. However, despite the couple’s dislocation and the destructive yet regenerative bushfires an overall feeling of hope at the end of the novella is reassuring. Lohrey delineates this through the symbolisation of the black swans at the closing stage of the novella. “Look”, she says, “the swans are back.” Representing a return to normality in their world as the re-emergence of the swans metaphorically represents the return of hope. The omniscient narrator reveals Anna’s inner dialogue “Ah, she says so you are leaving us. So you are on your way at last. But it’s okay, it’s alright; yes, she thinks, I am ready for this…” displaying that they are finally able to attain comfort over the grief of losing their son. Despite Anna’s and Luke’s negative experiences, the responder attains a feeling of reassurance as through the distinctive images created we observe a return to normality and ultimately a positive feeling of

In ‘I kneel to pick frail melancholy flowers among ashes and loam’ a tone of loneliness and sadness is established as the persona enters. Harwood describes the violets as ‘frail’ and ‘melancholy’, terms that arn’t usually associated with flowers. This is also explored in the juxtaposition of ‘ashes’ and ‘loam’. Ash is symbolic of death and decay which contradicts the ‘loam’, symbolic of life and birth. The persona’s dark and unpleasant perceptions reveal their uncertainty and state of mind. The present tense indicates the persona’s adulthood and their sense of longing and unsatisfaction conveyed through the nostalgic delivery of

Language and imagery plays a dramatic role in portraying relationships and feelings/thoughts of the persona. Whilst in ‘Burning Sappho,’ the mother’s attitude towards tasks is portrayed as emotionless (“the child is fed, the dishes are washed, the clothes are ironed and aired,”), language is utilised within ‘Suburban Sonnet’ to construct the mother’s mental state and situation as dire. “Zest and Love drain out with soapy water.” The use of two personal, passionate adjectives and the depiction of them being physically overcome by soapy water directly link the mother’s loss of feelings and fiery emotion to the household chores and duties. For example, she “scours crusted milk,” as a part of her role as mother and housewife as the reader is positioned to reject this requirement as a result of the huge impact to her quality of life (“Veins ache”). The literal image of a dead mouse symbolises the mother’s situation as the ‘soft corpse’ directly represents the mother, that is, emotionally dead as a result of the entrapment by society. The reader is positioned to fully

a widow’s walk was on the roof, but no widows walked there—from it (Lee 82).

There were also reported that on occasions Gardiner's lover Catherine Browne had been participating in robberies alongside 'The Darkie' disguised in men's apparel. Consequently, all reports, however, continued to state that the bushrangers 'can be identified'. Although many of the correspondents in the country areas where the offences had occurred either knew of or were well informed as to who the perpetrators were they appeared reluctant to name them, either as a way of assisting the police by not alerting the criminals or their friends as well as protecting themselves against possible reprisals. Therefore, in most instances, as with the NSW police gazettes, descriptions of the assailants were only printed in newspapers by correspondents as

Grete’s shifting feelings, actions, and thoughts toward Gregor makes her go through her own transformation. This transformation which she goes through is a central theme in the story. Grete goes from being a powerless child to a decision making women. Gregor’s transformation leads to his inevitable downfall (death) and Grete’s transformation ends in the power and responsibility which Gregor once held.

Animal motifs add significance to the narrative when Mildred, the wife of Montag, is treated with a snakelike mechanism. Bradbury’s intent to use an animal metaphor is to enlighten the reader about how wildlife is misrepresented during the work of literature. Within the world of destruction he created, Bradbury explains the lack of construction; therefore, the natural order is distorted. Over the course of the writing, creatures portray the corrupt environment; for instance, Montag describes, “They had this machine. They had two machines, really. One of them slid into your stomach like a black cobra down an echoing well looking for all the old water and the old time gathered there. It drank up the green matter that flowed to the top in a slow boil” (Bradbury 12). As Mildred lays unconscious in her bed the operator uses a snakelike pump machine to drain and replace Mildred’s blood; evidently, the symbol of animals is used to connect the meaning of altered

            The author uses a number of different literary devices to describe the hardship she feels such as metaphor, simile, and imagery. The author revels that her life and the chickens are not very different. “I felt her body break deep inside my own chest” (6). The way the chicken has to be killed after being loved for so long is the same way Hall feels about being with her husband for so long and then having him cheat on her and leave her. “Guilt and fear tugged me like an undertow” (7). The chickens are being killed by the one that loved them and in the same way; Hall is killed by the one she loved: her husband. The author uses a numerous number of vivid imagery to describe the struggle she is going through with her husband leaving and her having to kill the chickens. “Her shiny black beak opened and closed, opened and closed” (5). The rumors and suspicions that the author’s husband was cheating on her would come and go, until it reached a breaking point

The short story “Greenleaf” by Flannery O’Connor tells of Mrs. May, an old, bitter, and selfish woman. She thinks badly of everyone around her, including her own two sons. It also compares her family to that of the Greenleaf family, who Mrs. May sees as inferior to her. O’Connor unveils the story of Mrs. May and her demise through the use of point of view, character, and symbolism. She uses the third person omniscient view to give the reader a sense of Mrs. May’s character, and the symbols of the bull, and the conflict between the bull and Mrs. May to show Mrs. May’s destruction as well as give the story a deeper meaning of God’s grace.

In this paper, I will explain how the article “The Lady and the Tramp (II): Feminist Welfare Politics, Poor Single Mothers, and the Challenge of Welfare Justice” by Gwendolyn Mink relates to the thematic focus of working women and the Marxist and socialist branch of feminism. In Feminist Thought: A More Comprehensive Introduction, Rosemarie Tong explains that Marxist and socialist feminists understand women’s oppression as a labor issue. Women’s work is not viewed as a productive contribution to society. One of the ways Marxist and socialist feminists sought to improve women’s oppression was through the wages-for-housework campaign of the 1970s, which fought for work done in the domestic sphere to be paid and respected by society. In this same vein, Mink’s article can be viewed as a continuation of sorts of the wages-for-housework campaign. Mink suggests that poor single mothers have the right for their work to be recognized by society and supported economically like the Marxist and socialist feminist in the 1970s.

Finally, the reader is introduced to the character around whom the story is centered, the accursed murderess, Mrs. Wright. She is depicted to be a person of great life and vitality in her younger years, yet her life as Mrs. Wright is portrayed as one of grim sameness, maintaining a humorless daily grind, devoid of life as one regards it in a normal social sense. Although it is clear to the reader that Mrs. Wright is indeed the culprit, she is portrayed sympathetically because of that very lack of normalcy in her daily routine. Where she was once a girl of fun and laughter, it is clear that over the years she has been forced into a reclusive shell by a marriage to a man who has been singularly oppressive. It is equally clear that she finally was brought to her personal breaking point, dealing with her situation in a manner that was at once final and yet inconclusive, depending on the outcome of the legal investigation. It is notable that regardless of the outcome, Mrs. Wright had finally realized a state of peace within herself, a state which had been denied her for the duration of her relationship with the deceased.

The narrator’s feelings of inferiority and powerlessness parallels the female figure she sees trapped behind the pattern in the wall-paper adorning her room. She gradually withdraws from both John and reality by locking herself in the room and ultimately merging with the figure. Through the changing image of the pattern from a “fait figure” (Gilman 46) to a “woman stooping” (Gilman 46) behind the paper and “shaking the bars” (Gilman 46) as if she wanted “to get out” (Gilman 46), we can see her becoming one with the figure: “I pulled and she shook, I shook and she pulled, and before morning we had peeled off yards of that paper.”(51) Her collapse into madness as reflected in her behavior with the “bedstead [that] is fairly gnawed” (Gilman 51) and her “creeping all around” (Gilman 50) is a direct result of her passive submissiveness to John’s control of her life.

IV. What is the main problem Breyer describes in Breaking the Vicious Circle concerning United States policy making? What causes it and how does the problem develop? How does it affect business? What solution does Breyer propose? Describe another plausible solution. Which of the two solutions, Breyer’s of that you just described do you consider morally preferable and why? What ethical theory discussed in class best supports your position? Critically assess this theory by contrast with other ethical theories discussed in class.

Robert Herrick, an author from the 17th century enjoyed writing about intimacy and pleasure within his poems. The poem to be discussed throughout the paper is The Vine, by Robert Herrick, because of it’s rich metaphoric and symbolic aspect to love, pleasure, and dominance. Essentially the poem, The Vine, as a whole is a metaphor because the speaker has taken the form of a vine or tendril in the poem. The poem is about a man actually dreaming of a woman, Lucia. Lucia is referred to as dainty and the speaker describes her physical characteristics which helps the reader picture what is happening. Robert Herrick specifically uses certain words to express his love and feelings for Lucia. The simile in the poem that is most significant in its entirety is “And found (ah me!) this flesh of mine/More like a stock than like a vine” (22/23). In these lines, the speaker is waking up from his sexual dream. The speaker explains that he is feeling more of a stock than a vine. This is symbolic because the title of the poem is, The Vine, as the speaker has transformed himself into a vine in his dream. By saying he is feeling more like a stock can be interpreted as the growth has diminished and he can no longer love freely for a long time. His love for Lucia is hardening or ending. The physicality of the stock to a vine can also imply that he is waking up with an erection. The speaker is turned on by his dream and has woken up with the feeling of pleasure. These lines are extremely important to the entirety of the poem because it ends with the speaker waking up from his dream and the reader is aware of how he feels.