Carrie’s mom in the 2013 film is more interested in harming herself than harming Carrie White. In the original version there was a sense of self-hatred, but in the latest version that self-hatred is magnified. Margaret White’s self-harm in the original version seemed like a ploy to increase the fear of her daughter. However, in Pierce’s version anytime she is on screen in the new edition it raises her undisclosed infatuation with self-harm. In this film, it is apparent that a rape caused her unyielding disgust of sex. This makes her mother less of an antagonist and more of a victim to sufferings rather than a catalyst. At the beginning of the film, Margaret is in the midst of giving birth, completely alone, and ignorant of how babies are made.
While the narrator recognizes the great care with which her husband is treating her she seems to constantly feel that she is being ungrateful. She calls herself out in her journal for being a “comparative burden” (Gilman) The room in which the narrator resides has a sturdy bed that is nailed to the floor. The narrator notes that there are bars on the windows and rings hooked into the wall. She wrongly assumes that this room was used as a nursery or gymnasium by the previous owners. As the reader, we are able to instill our own thoughts that this room was in fact built to house someone with a mental disorder. This begs the question of what the house really is, to contain such a room away from decent society.
Setting allows the readers own primal fears to kick in. The writer decides to separate the main character, Connie from the rest of the neighbourhood. Her house is described as “the only one that had been built on the other side of
The three female Characters (Connie, Her mother and her sister) are perfect examples of the effects of the drastic changes in the late 1960’s. Connie is portrayed as an average teenager. She is always wrapped up in herself and thinks she has all the answers. “She knew she was pretty and that was everything.”(p.120), “Her mother was so simple, Connie thought, that it was maybe cruel to fool her so much.”( p.124). Connie’s mother symbolizes an older era. Woman in her time were viewed as good for only two things, domestic house work and the bearing of children. It is clear that Connie mother is a little envies of her. "Stop gawking at yourself. Who are you? You think you're so pretty?"(p.120). The society that Connie is growing up in is allowing more freedom for her then her mother had. To Connie’s mother, Connie is a consist remainder of what she has lost(her beauty) and what she could have been. This is way
In addition to scenery, the props strategically placed around the housed illustrated the family’s cares and values. Throughout the room, the audience could see many picture frames. However, the two that were predominately displayed were a picture of Christ hanging over the front door, and a picture of Lena’s deceased husband that stayed on a table in the living room. These props emphasized importance the Younger’s placed on family and religion, which came up many times throughout the production. The entire family lived under one roof, looking after one another and making ends meet, together as a whole. In addition, the plot centered around a life-insurance check from the death of Lena’s husband. This kept the element of religion present since he was deceased and in the eyes of Lena, watching over the family. Both the design of the apartment and the detail of the props within it gave the audience a greater understanding of the deep-rooted values and conflicts of the family.
John’s seemingly overwhelming need to ensure she is healthy mentally and physically, drives him to control all aspects of her life. He has his sister come to the mansion to keep an eye on his wife while he’s away in town with his patients. John chose the mansion for its isolation and privacy as he needs to have his wife healthy or it could affect his reputation,. He also picked the nursery as their bedroom as another way to have his wife secluded. The location of the room is on the uppermost level of the house with stairs are gated at the top. There are also bars on the windows as if it is a jail. There is busy ugly peeling yellow wallpaper around the room and they’ve moved in furniture from downstairs. She pleads with John to allow her to stay in the lovely room with veranda on the lower floor. He argues that the nursery with the windows, air and sunlight will be much better for her and he may need a second bed or room for himself. As a compromise, he tells her she could have the cellar whitewashed (239). Either place, the nursery or the cellar, is a prison, which the asylums of the time resembled. John is just containing his wife the only way he knows given his status as a physician. He loves and cares for her and needs her to recover and take care of the family. John is exerting himself by pushing her back into the role she has agreed to by being his
The book uses fictional documents, such as book excerpts, news reports, and hearing transcripts, to frame the story of Carietta "Carrie" White, a 17-year-old girl from Chamberlain, Maine. Carrie's mother, Margaret, a fanatical Christian fundamentalist, has a vindictive and unstable personality, and over the years has ruled Carrie with an iron rod and repeated threats of damnation, as well as occasional physical abuse. Carrie does not fare much better at her school where her frumpy looks, lack of friends and lack of popularity with boys make her the butt of ridicule, embarrassment, and public humiliation by her fellow teenage peers.
Her family has food, a home, and they have a stable income. These circumstances begin to diminish as the story continues. They experience one problem after another, constantly being knocked off their feet. Even when a luxury came their way, it seemed to disappear faster than it appeared. For example, when they moved into their house on Little Hobart street it seemed withstandable However, she explains, “During on particular fierce rainstorm that spring, the ceiling grew so fat it burst” (Walls 153). As the story proceeds, the determination to work to support their family that the parents once held deteriorates just as the house will continue to. As they sink deeper into poverty, Jeannette decides it’s up to her to mold the life she
At no point in time did the couple attempt to privatize their lifestyle by putting up curtains to cover the window. Seeing as Diane also choose the same position to live with no curtains covering the window as she was younger and now as mother of a three year old child, she can relate to how that lifestyle brought her happiness. The couple’s style of living reminded her of how she used to live to point that they became a symbol of her younger years. After some time, Diane became engrossed with their lives. Their lives grew into a part of her life as her fascination drew her closer; she even picked up on the smaller things in their lives, such as the buying a new pot for plants. In subsequent time, the couple was forgotten over the seven to eight month period of time in which the couple had become absent to their room and only the girl would be seen from time-to-time. Following this, Diane saw a chubby in the room with a skeletal bald man. She came to the conclusion that he was terribly sick and she started to watch the window all the time. Over some time, the man would just be seen lying in bed curled up with his head to the window. He dwindled in size as the days passed and one day, with a notice from her husband, she gained knowledge of activity going on in the couple’s bedroom. She saw that people had gathered around the man in this room to give their goodbyes.
She tells of the feeling of shame which emerge from not even having a bed throughout her entire childhood (3). She does reassure that she has the security of her family being the only constant in her life, “Close and sweet and loving. Lucky me on my small pallet on the floor” (4). Travelling every summer “We never knew from one day to the next, from one year to the next, where we would go or live or what we would do” (127), her security of her family seemed always there “Having lived in other people’s houses, barns, and in migrant housing in various stages of decay and repair, it felt as though we could make a home out of anything” (99).
From a young age, Anna had been thrown from home to home, living with a callous grandmother when she was found to be too ‘intolerable’ to be around her poor addled mother. Her room, which was originally upstairs, was seen as being too much of a risk to her mother considering her numerous rumored problems and as such
Cofer’s mother, had moved from Puerto Rico to New York in 1954. While the mother lived in New York, the readers could feel the sensory detail of when the home movie was made of the smell of rice, perfume, and peas cooking, and the atmosphere of the area that they lived in. Cofer's mother was only twenty at the time so she was a bit new to America. Cofer and her family had lived in an apartment where they could hear the heater pipes rattling, and they would wake up from it. Her mother thought the concept of apartments and living under people was very strange. Cofer's mother at the party had worn a bright red dress, spiked heels, and her hair that hung to her waist. She represented the Puerto Rican culture by only shopping at
We learn from the first paragraphs that focusing on the scenery will help her forget the nervous depression which she has been diagnosed with: ""So, I will let it [her illness] alone and talk about the house"(947). The main character’s focus on the environment is the reason for which the reader gets plenty of information about the setting.
Connie is a pretty girl, and “her mother had been pretty once too”, but she is not so much anymore and almost anything Connie does aggravates her (Oates 369). This rigid relationship pushes Connie further away the older she gets. Everything about Connie has “two sides to it,” her shirt “would look one way at home and one way when she was away from home”, she was not fully herself anywhere she went (370). This act shows the way Connie lacks a sense of self. She feels as though she has to behave differently when she is with her family compared to when she is with her friends. The fact that Connie does not have a positive relationship with her mother has a direct effect on how she acts as a young woman. The lack of support and positive attention from a female role model leaves her seeking it out from other
As Arnold Friend tries to seduce Connie into the car she went deeper and deeper into the house searching for her youth. Yet, it was not there. She uses the home as a place to hide from her fears yet not realizing that she lives there. ?The kitchen looked like a place she had never seen before, some room she had run inside...? ( ). There is a sense that she has changed from her childhood ways and the house is no longer her youth and she is now an adult.