Cruel Optimism And Grotesque In Winesburg, Ohio

In Mary Shelley’s novel, Frankenstein, Robert Walton, Victor Frankenstein, and Frankenstein’s Creation reach similar conclusions humanity by seafaring to the North Pole, delving into the dark depths of science, and observing the rejecting nature of humans. The three tragic heroes Walton, Frankenstein and the Creation are all character doubles in their initial enthusiasm for knowledge, inner dualist personalities, religiously glorified personal goals, possessive relationships and negative effects of gaining knowledge. The three character’s views of humanity are a microcosm of the culturally accepted importance of beauty, and how the culmination of knowledge can be blinding and lead to utter ruination.

William Faulkner’s “Barn Burning” and Flannery O’Connor’s “A Good Man is Hard to Find” are two famous short stories written in the early 1900’s. These stories are commonly studied together because of how much they embody southern gothic writing and other striking similarities. “Barn Burning” and “A Good Man is Hard to find” are largely similar in their themes about morals, their southern gothic aesthetics, and their widespread violence with only minor differences.

Why are grotesque characters so popular in the Modernist movement and the Southern Gothic movement? In Southern Gothic literature grotesque characters are used to portray deeply flawed characters. Grotesque characters allow a talented writer to exaggerate their writing making it longer and believing it made their writing better. Grotesque characters can also help with unpleasant aspects within society without making it to church-like. McCullers used grotesque characters to bring about the truths of the human society. In the Modernist movement grotesque characters were used to describe the aberration from ideal form, it helped to create misshapen, ugly, or formless characters. In Modernism they are characterized by the qualities they lack such as fixity, stability, order, and sometimes even sanity. Writers in this period used grotesque characters to shape the history, practice, and theories in the nineteenth and twentieth century’s.

“Whereas the senecan tyrant rages against virtue in the name of ambition, or lust, R.B.Pierce argues that Richard, ‘like the formal vice, Iniquity’ (III.i.82), thrives by an ironic detachment from all the standards of traditional morality including the claims of the family” (Robert.B.Pierce, 1971:90-91) Shakespeare in his play, Richard III, added a physical deformity to incite people to see his plays. A both deformed and mobile character was found to be a scary monster.

(Favert 1) We must begin to read Frankenstein more as a well-wrought "baggy monster" of correspondences, and less as a singular, alien phenomenon. If we read it as an interactive combination of tales, rather than one linear narrative, we can refrain from casting the novelist into the narrow role of a "young girl" with "so very hideous an idea." Frankenstein is Mary Shelley's novel; it is no more her story than Walton's, Victor's or the monster's. Within the text, the various narrators slide from their own stories into the histories of others, and with each movement, we are asked to extend our "willing suspension of disbelief." As the novel multiplies its story-tellers and listeners, it renews the problem of narrative authority. Whose story do we believe? -- the novel defuses such a question. The fantastic nature of the stories preclude rational explanation or judgment, and we do not,

Through her essay, “Some Aspects of the Grotesque in Southern Fiction”, she defends the individuality and moral value of Southern fiction. She makes a clear distinction between the correct and incorrect usages of the “grotesque”. Many fiction authors, particularly those from the North, write stories that deal with social and economic issues. O’Connor disagrees with this tradition. Fiction, she argues, should not reflect the concerns of the public but rather the perspective of the author. It should “distort” the reader in a way that does not “destroy… [but] reveals” and that requires a lot of self-reflection on the author’s part who must then transmit that vision to his or her readers no matter how skeptical they may be (“Novelist and Believer”). And the reader must approach the story from an open-minded position. They should not expect the story to be uplifting or entirely pleasant. Only then would readers be able to understand that seemingly “grotesque” characters hold much more moral value than at

“Isn’t it ironic? We ignore the ones who adore us, adore the ones who ignore us, love the ones who hurt us, and hurt the ones who love us.” As anyone can see, life is full of irony and imperfection. To illustrate this ironic and imperfect world are three short stories: Sherman Alexie’s “Because My Father Always Said He Was The Only Indian Who Saw Jimi Hendrix Play ‘The Star-Spangled Banner’ At Woodstock,” Flannery O’Connors’s “A Good Man is Hard to Find,” and Gabriel Garcia Marquez’s “ A Very Old Man With Enormous Wings: A Tale for Children.” Although each of these short stories has different authors and different plots, an abundant amount of irony is presented in each one.

Edith Wharton, author of the novel Ethan Frome, speaks through her narrator to tell the ironically realistic tale of a poor, wishful New England farmer, who quickly realizes that his desire for happiness is futile. Ethan Frome’s acquaintances in town describe him as a man who has lived in the small town of Starkfield, Massachusetts for “too many winters,” yet Ethan is only fifty-two years old (Wharton 10). As the narrator relates the “tale of unremitting isolation, loneliness, intellectual starvation, and mental despair,” it is obvious that Ethan’s suffering is something “neither poverty nor physical suffering could have put there” (Faust 817; Wharton 13). The misery from which Ethan suffers is the heartbreak over the unaccomplished dreams of his past. In Edith Wharton’s novel Ethan Frome, the author examines the effects of reality on the fulfillment of the dreams of the characters and the narrator through social conventions, isolation, and fatalism.

Alienation is a product of society’s inherently discriminatory bias, catalyzed by our fear of the unknown in the realm of interpersonal conduct. Mary Shelley, in her novel, Frankenstein, dissects society’s unmerited demonization of individuals who defy—voluntarily or involuntarily—conventional norms. Furthermore, through her detailed parallel development of Frankenstein and his monster, Shelley personifies the tendency to alienate on the basis of physical deformity, thereby illustrating the role of the visual in the obfuscation of morality.

Mary Shelley’s Frankenstein has undoubtedly withstood the test of time. Frankenstein’s direct association with fundamental Gothic literature is extremely renowned. However, the novel’s originality is derived from the foundational thematic values found within the relationship (or lack there of) between Victor Frankenstein and the monster he had created, in combination with a fascinatingly captivating plot. Understandably, Frankenstein can often be associated with a multitude of concepts; however, in this particular instance, the circumstances in the book seemed remarkably coherent with Shelley’s Romantic beliefs in preserving the natural world, and one’s natural existence. These values present themselves as metaphorical symbols that

This example of the significance of appearance in modern society is also echoed in Frankenstein. The parallel between the society in the novel and modern society is that of snap judgements based solely on appearances. In the novel, Victor Frankenstein is a perpetrator of such judgements. Victor “selected his features as beautiful.” Here it is seen Victor’s shallowness as he picked the most perfect body parts and beauteous features, all to be pieced together in great anticipation. However as one can see, the result is horrific and due to the hideousness of the wretch that he has created, he abandons him. This same shallowness of judgement due to appearance again surfaces when Victor accuses the creature of murdering William

In Shirley Jackson’s short story the Lottery and Flannery O’Conner’s “A Good Man is Hard to Find”, there are a few aspects of a similar nature that attempt to tackle the nature essence of the human condition. Both short stories respectively portray two similar types of foreshadowing where one is random the other is premeditated, which leads these stories to their very surprising dramatic climax that is held until the end of each story. I believe that these important variables of both stories have a strong influence on the reader’s objectification regarding the way each story presents the idea of the human condition.

Ever since the invention of language, humans have been obsessed and intrigued with the aspect of storytelling. Each story, whether written or spoken, holds an important theme within its creative words and exciting plot. While each story is special and unique, over the course of history, different periods of literature have formed where authors tend to focus on similar themes and messages. One of which was the American Romantic era, where authors used their stories to challenge the boundaries of society, and delve deeper into what makes people inherently human, both the flaws and perfections. Some of America’s greatest works of literature were born in this period, like those of Poe, and Hawthorne. A very common literary theme during the romantic period was that of good versus evil, in both individual characters and society as a whole; this theme is especially evident in works such as The Tell Tale Heart, The Raven, and Young Goodman Brown.

A reader's subconscious often disables their ability to notice moral foundations that the author develops through the text; thus, making it difficult for an individual to recognize the value the text holds and its importance. In the article “Why Study Literature?” the author explains that “literature teaches us better courses of action and more effective responses to situations”; essentially he or she says that literature has the ability to shape one’s morals; as it can teach us what do in certain situations and how we should act. Similarly, in Mary Shelley’s Frankenstein, the author builds morality in readers by stressing the wrongs of using one’s visual appearance to determine their inner nature. At birth the monster is abandoned for his hideousness, the monster is “endowed with perceptions and passions” (Shelley, Chapter 16) after which he is “cast[ed] as an object for the scorn and horror of mankind” (Shelley, Chapter 16). For example, the monster chases for love when he assists the poor De Lacey family in collecting their lumber, however he is driven out by their horror upon seeing the face of their secret patron for the first time. Looking at this from an aesthetic stance, Shelley appears to be examining our natural tendency to judge a book by its cover. The author manifests the importance of inner beauty rather than one’s outer beauty, for it speaks more sincerely of their qualities as an individual. Had the protagonist realized the creature’s nobility from the

A person could then appropriate a single one of these truths and try to go by it. That is when he or she would become a grotesque. The stories in Winesburg, Ohio do grapple with Anderson 's intended theme, and a story such as "Hands" clearly illustrates what he means by grotesque (Ellis 2).