Analysis Of Mad Shadows

It’s apparent that Louise’s identity has changed from being a shy and isolated girl to someone that wants to have power.

In addition to his loving home life, Joe also experiences the dark side of toxic and abusive families. Family is the group of people closest to the individual. This can be beneficial if the family members harmonize, but it can also foster abuse if the family members do not respect each other. One example of this is how Linda’s mother acts when Linda is born. Mrs. Lark saves Linden, Linda’s twin brother, but the doctor “ask[s] if he should use extraordinary means to salvage it [Linda], the answer was no. No, let it die” (115). Linda’s mother disregards Linda’s rights as a human and her place as a daughter in the family. This scars Linda for life and ruins any chance of Linda and mother building a healthy relationship in the future. When Linda tells him her story, Joe realizes that he

Does every family love and respect one another? Are all families in a healthy relationship with each other? In the book Mad Shadows, the answer to these questions are clearly displayed. Mad shadows, is a fictional novel written by Marie-Claire Blair. It tells the story of an unusual family who are in a prolong feud with one another, which is the by-product of their illusions. The character, Louise, is the mother of the family. Her superficial view of life and constant denial of truth is the root cause of the dysfunction, misery, and jealousy in her family. Which consequently, fuels her own death and destruction by the end of her tragic life.

her mother on the inside but not on the out. Louise does not care for the inside which is

An example of how her family values each other is her description of the conventions and norms of her family. They are thoroughly supportive of one another, attending every graduation, baby shower, birthday, and house warming party. Her father and siblings have burial plots together so that they are never separated. Life is lived with everyone being connected and concerned for not only each person’s well-being, but happiness as well. She says her “relatives form an alliance that represents a genuine and enduring love of family…”

Louise falls, subbing, into her sister's arms, then retreats upstairs to her room. Josephine, who asks Louise to give her access, would be stunned on the off chance that she recognized what considerations were hustling through her sister mind. Louise has cherished her significant other, who has, thusly, adored her, and treated her compassionate, yet his passing does not squash her, nor does her appearance make her wiped

When most people think about family they think of the perfect relationship between the parents and the kids, In the book Hotel on the Corner of Bitter and Sweet this was not always the case. The book highlights three main families that operate in different fashions.

Jean Louise was able to gauge the reaction of one of the mob members by making a personal connection with him about his son. She succeeded in getting through to this individual, Mr. Cunningham, by saying, “I go to school with your boy. I go to school with Walter; he’s a nice boy. Tell him ‘hey’ for me won’t you?”(174.6) thus bonding with him over his son. For Jean Louise to figure out how to personalize with an almost stranger is very impressive for a girl of her age. She was very comforting though the man she was talking with was going to try to kill her father. This proves that her social and societal skills are very mature and necessary for the continuation of the

Louise brings forth her own annihilation, as her health takes a downward turn at the same time Patrice began to lose his wholesome beauty. Nearing the third quarter of the book, she reflects on the time when “her skin had been pure and white. Now her mirror revealed a mauve face, streaked with black.” (120). After a long spell lasting decades under which Louise has fed her own ego and desire for beauty through Patrice’s youthful body, the fortress of self-preservation she has built around herself crumbles with the virginal splendor of the Beautiful Beast. What she had failed to realized is that by constantly utilizing her son’s model body as an affirmation of her own beauty would create a bond between them, one summed up perfectly by the cliché “for better or for worse”. As the quote explicitly states, the condition of one reflects the condition of the other. As Patrice’s condition and life of blissful luxury collapses due to various events such as his starvation at the hands of Isabelle-Marie, and his ostracism at the hands of Lanz. In this context, her mirror is Patrice itself, and her downward spiral parallels Patrice’s. However, the difference between Patrice and Louise resembles the difference between idyllic ignorance and deliberate malevolence. Nearing the end of the book, as her house is burning all around her, Louise prays “’God in heaven…have mercy!’ But her mirror did not answer.” (121). This quote shows

Her work was always questioned just because of the above listed facts. She was often dismissed as a sculptor because, as she recalls, they told her, “‘You know, Louise you’ve got to have balls to be a sculptor’” (Nevelson, 69). This challenged triggered her to emphasize her feminine sensibilities and built grater sculpture than man did. She was vocal about the difference in artworks made by man and woman in relation to the different ways of thinking and always emphasized the feminine quality of her thinking. Another major difference, that Nevelson observed between male and female artists, is exemplified in the labor behind the artwork. She

Louis cannot feel free unless her husband is no longer in her world. It seems this condition only affects Louis’s heart and shows that her misery from this disease comes from something internal not external. For instance, in one of the quotes from the story, it is evident that her husband loved Louise when she describes his face as “the face that had never looked save with love upon her.” (pg. 499) Her own feelings of love in exchange are only slightly described and it is evident that she does not share her husband’s feelings. When Chopin describes Louise’s emotions concerning something she is excited about, her dialect becomes alive and full of energy. This contradicts the parts in which Louise seems emotionally unattached. For example, in one of Chopin’s quotes, which begins with a very simple statement “And yet she loved him—sometimes. Often she had not” (pg. 499) demonstrates emotional indifference, but as the paragraph continues and her true emotions come to the forefront, the dialect comes alive along with Louise. When her emotions become too much to bare, so do the sentences and dialect. “There would be no one to live for in those coming years; she would live for herself” (pg. 499). There are no exciting words, just an

This victory, however, was short-lived, her husband then unlocked the door, causing Louis’s heart to stop and for her to die of shock (Chopin). The doctors in the story, however, proclaim that her heart stopped from “the joy that kills” (Chopin 557). From this work we can determine how constantly completing a woman's work could make someone unhappy and depressed. With a single glance a reader can easily tell that Louise was excited to have the burden of being a wife taken off her shoulders. Studying deeper though can can see how truly excited for a single life Louise was.

The narrator states, “There will be no powerful will bending hers in that blind persistence…private will up a fellow-creature.” I believe this quotation implies more strongly that Louise felt trapped in her marriage and that it proved to be a larger toll on her health. This explains more thoroughly why she felt such an impulse of freedom rather than sorrow as a result. Louise seemed to have been tied in a relationship in which decision were being forced upon her without her consent or even asking her opinion beforehand.

Her fate is completely dependent in his yet she is given no control of either. Louise cannot even learn to control her own imagination. She begs Brently to tell her how to, "make the colors." She does not understand that the colors were just in her mind. The Louise of The Joy That Kills cannot help but feel relief and freedom at the news of Brently's death. He has represented all authority in her life that she has secretly resented but the freedom she feels is not real. She does not possess the sophistication to realize that the prison walls still stand. Louise remains unchanged throughout the film from her childish tantrums to her constant desire to see the world that would kill her. In the end it is her prison itself that kills her.

The shadows are just simply what is made when an object blocks the light's path, right? That’s what it would seem like, but have you ever wondered about the possibility of there being more there? Something with a mind of its own? Ever thought of something malicious being there, waiting for your downfall?