Code Name Genie Analysis

After some suspicious exchanges between the duke and messengers, they have to move to a new castle. The queen discovers Nicola’s illiteracy and gets a governess named Madam Jacqueline, a cruel woman who loves corporal punishment. Queen finds out of here violent ways of teaching and demands here a new teacher. Nicola learns to read and can communicate with more people. A rival army begins riots within the people and they must again move.

narrator because we only know what she wants us to know, resulting in leaving out important facts. “I did write for a while in spite of them; but is does exhaust me a good deal---having to be so sly abut it, or else meet with heavy opposition.” (Gilman, p326) She is not honest about writing with her husband, and this proves that she is more than willing to tell her story her way.

The main character throughout most of the book is “Verity”, or Julie. She is actually telling the story of Maddie, however, although her presence seems to still be main focus throughout the story. Halfway through the book, however, it switched to Maddie’s point of view, or “Kittyhawk”. With both of the girls, you can see the changes in them. They both develop greatly and you can see it through them by just looking at what they are afraid of. It mentions once in the story that Julie once said that she was afraid of growing old, and then she say’s later that she could eat her words: she is now afraid of never growing old. “But mainly so very, very stupid. I desperately want to grow old” (114). With Maddie, you can see her

Through Vanessa’s writing, it is revealed that she uses her mind and body to escape the real

When first introduced to the narrator, readers quickly pick up on how observant she is to the world around her. However as the novel draws to a close, many quick events take place with little to no explanation or commentary from the

In essence, the book gets its name at first from the rules that Catherine writes down for her autistic brother, David, who she often cares for. These rules are set up to protect him from getting hurt. Catherine loves her brother, but it is easy to imagine that caring for him has its drawbacks. For instance, it interferes with her ability to make friends with a new neighbor who does not understand David's condition or limitations.

The lines in the poem all connect to George and Lennie’s dream, and how it lived in them through different points in the book.

Queenie, on the other hand, is symbolic of all that is alluring about women and life that might be possible for Sammy on the outside, a life that seems palatable yet unattainable to Sammy.

As a symbol of tragedy rain is frequently used by Hemingway in this novel. Rain is a symbol of disaster already beginning in the first chapter when the reader learns that the war is not going well and that the " the permanent rain brought the cholera". Here rain is related to illness. Rain also falls when Frederic and Catherine are looking for a hotel room so they can be together before Frederic must leave for the front. Catherine buys a nightgown for the evening. And when they find a room, she looks in the mirrors and feels cheap, while Frederic looks outside at the storm. The rain degrades the farewell of Frederic, and Catherine tells him that „[she] never felt like a whore before". Rain also falls during the troop's retreat which is symbolizing a failure. One night when Catherine and Frederic are in the hotel in Italy, Frederic awakens to the sound of rain and learns that he will be arrested. And during their time of escape from Italy to Switzerland it is very windy and rainy. That symbolizes how their escape would definitely be difficult. It takes them many hours to row to Switzerland’s shore.

In one of Mate’s last entries while in jail, she becomes a serious and sneaky revolutionist. Maria Teresa gets interviewed by OAS Peace Committee and she “unwound that ribbon just enough so the first note with the statement Minerva and Sina had drafted slipped out” (252). Maria Teresa realizes the questioner may be public, even though it was stated as private. Minerva, Sina, and Maria Teresa devise a plan to write a note to the committee and tuck it in her braid. Once Maria Teresa arrives in the room she will take the braid out and the paper for the committee about their life in the prison will be revealed. The reader experiences the change Maria Teresa undergoes from the begin to the end of the novel.

This belief is supported by the text throughout. Firstly, she displays an attention-seeking behavior. It appears to stem from the lack of attention that she receives from her mother. Although she hates her mother for not treating her right, she continues to devise new ways to please her and come under her notice. When she realizes that her mother will never be that source of comfort for her, she turns to external sources by using deceitful means. She seeks it from the nuns at Saint Christopher’s and the nurses, both at her school and at the various hospitals where she faked seizures. Her relationship with Christopher is characterized primarily by her need to receive some affection for which she initiates writing to attract him. Similarly, she starts attending AA group meetings only to receive some comfort from its members even though she is not an alcoholic and she acknowledges that it is dishonest to be posing as one. She looks for attention from so many people, but with no one else to turn to, the readers feel that she is ultimately asking them for it. The strongest evidence is presented when she says that writing is a way for her to reach out to others, encouraging readers to continue pursuing this line of thought (173).

The interaction between Lengel and Queenie intensifies as she formulates excuses toward Lengel regarding his reprimand “My mother asked me to pick up a jar of herring snacks” (194). This very moment in the story, Sammy abruptly formulates a deeper perception of Queenie, “All of a sudden, I slid right down her voice into her living room” (193). His dream-state imagery of her life, and the sharp contrast to his own, helps him create a more constructed identity for Queenie. His dreamlike state of comparison with Queenie establishes for Sammy a logic in his rationale for yearning to truly form a deeper relationship with and be recognized by Queenie.

When the readers meet the young, subordinated wife of a physician, who remains nameless throughout the entire story, perhaps hinting at the commonness of such situations where all those women are the same: faceless and nameless, this woman’s dilemma becomes obvious. She has been stripped off the only function a woman in those times had, the domestic one, due to the fact that she suffers from a mysterious illness which requires the infamous bed cure. Gradually, she is treated more and more as a child, unable and even forbidden to express herself in a creative way, namely to write, being persuaded that it cannot do any good to someone in her condition. This is why the protagonist (who is simultaneously the narrator), takes it upon herself to write a journal about her experiences and the mysterious woman that haunts her from the

I like your idea that Clara writes to help her make sense of the world. In the passage you gave a lot of great examples of her writing in a journal right after she experiences something that troubles her. This was something that I hadn’t noticed while reading Wieland because it’s not something that she really talks about directly. I think it’s interesting, her writing is clearly something that is very important to her, so I wonder why she doesn’t talk about it. It seems to me that although she wrote in her journal about the events that happened to her family she is still struggling to understand these events. I wonder if maybe she wrote the narrative that we read as a way to ask the reader for help to find reason in those events. If her journals

The first example of this narrative, “You better not never tell nobody but God. It’d kill you mammy” (1). This statement was obviously only spoken between the narrator and her abuser. “I am fourteen years old. I have always been a good girl” (1), is a second example of the novel’s point of view. This type of narrative brings the reader close to the quality and rhythm of life that Celie experiences. It allows the reader to intimately get to know Celie. Through Celie’s dialect and poor grammar, the reader becomes personally engaged in Celie’s experiences and struggles. Almost like reading the unedited thoughts that go through a person’s mind.