Drea's Sacrifice: A Narrative Fiction

As the narrator, Claire creates an emotional and compassionate tone throughout the story. Her dialogue constantly consists of words such as “honey”, “mommy”, “love”, which constitutes to the overall mood of the text (Carver 363). Additionally, she is constantly catering to her husband and child by cooking, cleaning, and performing tasks of the typical “stay-at-home” mom. Her affectionate personality, want for control, and mother-like performance plays a role in Carver’s explanation of the stereotypical mother and wife.

The heroine, Mrs. P, has some carries some characteristics parallel to Louise Mallard in “Hour.” The women of her time are limited by cultural convention. Yet, Mrs. P, (like Louise) begins to experience a new freedom of imagination, a zest for life , in the immediate absence of her husband. She realizes, through interior monologues, that she has been held back, that her station in life cannot and will not afford her the kind of freedom to explore freely and openly the emotions that are as much a part of her as they are not a part of Leonce. Here is a primary irony.

Together we raised an outstanding child. I had also remained friends with Fortunato. We would dine together at each others’ homes and, of course, Léonie would also dine with us. I was truly happy, but all of those happy memories I had created with her and my son, were later destroyed. One evening I went over to Fortunato’s home for a share of drinks, for I had found a rare wine. A maid had welcome me in the mansion. While, I was strolling through the halls in search of him, I saw something I should have not seen. My wife in the arms of my most trusted friend. I froze where I stood… I overheard what was being spoken by the two in the other room. “When will I have time to spend with my son?” He asked. The amount of anger that filled me began to flood. I wanted Fortunato to suffer by my hands. I left his home as if I had not been there from the

Victoria Roubideaux is a seventeen year old girl, who finds out that she is pregnant. She and her mother had a fight in the morning and in the evening, after work, she starts to walk home. “The evening wasn’t cold yet when the girl left the café. But the air was turning sharp with a fall feeling of loneliness coming. Something unaccountable pending in the air.” (31). In that line we see the foreshadowing of her feelings and her mother throwing her out of the house.

The inn keeper's parlor was the best in town, they told her. His wife was wearing a heavy dress, adorned with lace and a massive broach that she raised a plump hand to touch, as if to be certain it was still there. They spoke of the massive rug, bought from Paris, and the finely crafted furniture they all sat upon. The preacher listened quietly, smiling as though their vanity wasn't a sin, while Mrs. Hartford eyed the dress with longing. Della thought that the dress was tasteless. The lace was poorly made, and the line of the bodice wasn't flattering. The fabric was an odd shade between blue and green, and the woman inside it was far less appealing. She didn't bother to mention that her own parlor had been filled with crystal, and priceless art her father had collected around the world. She didn't mention that her toys had cost more than Mrs. Johnson's gowns, or that she was mispronouncing the tea they'd been served. Not to be kind, not to be deceptive, but because did not matter anymore. Nothing mattered anymore. She'd given up that life to marry Ben, given up her family, given up her home and her gowns and her education.

From a reader’s standpoint, how a character develops throughout a story is one of the most intriguing parts of reading. In Susan Glaspell's A Jury of her Peers, the narrator, Mrs. Hale, obsesses over how Minnie Wright changes since she was a girl. Similarly, in Everyday Use by Alice Walker, the narrator awaits her daughter’s arrival, to find that she is radically different from before. One of the core reasons for these changes in the characters are the relationships they are a part of. The two characters’ significant others each have a unique influence on the returning characters (Wangero and Minnie).

Ethan had an idea that if she were to marry a man she was fond of the dormant instinct would wake, and her pies and biscuits become the pride of the county; but domesticity in the abstract did not interest her. At first she was so awkward that he could not help laughing at her; but she laughed with him and that made them better friends. He did his best to supplement her unskilled efforts, getting up earlier than usual to light the kitchen fire, carrying in the wood overnight, and neglecting the mill for the farm that he might help her about the house during the day. He even crept down on Saturday nights to scrub the kitchen floor after the women had gone to bed; and Zeena, one day, had surprised him at the churn and had turned away silently, with one of her queer looks.” (15). She tries hard to be a good housekeeper for Ethan and Zeena, but no matter what her work just isn’t exceptional. After the event of a precious pickle dish breaking, Mattie was sent away by Zeena. Ethan became devastated, Mattie and Ethan vowed to never spend a day apart, which left her and Ethan miserable and crippled.

Sarah slugged through the early morning work and realized-too soon- that she needed to make a trip to the house. She made her way, clasping her arms around her for warmth in the cold November morning. Painted Girl’s borrowed sweater did not help dissipate the cold air, and neither did the lingering whiskey in her system. A light shone in the window illuminating Grandfather and Dingle, who sat at the table together eating pie. She watched as Dingle grabbed a juicy strawberry from Grandfather’s pie and nibbled at it greedily. Grandfather must have finished his hunt early, Sarah realized. She had hoped to avoid Grandfather today but nature called. There was no choice, either the woods or the house. Sarah did an about turn and went for the

According to Torrance (2007), In her article, "The Princess's Gruesome Death and Medea 1079" it states that for the past few years, with regards to Medea's role there has been some contrast oh how the role was played. There were some discussions that claim contrast between passion and reason using Platonic Genesis made by Galen. Also another author namely H. Foley emphasized that there was gender conflict. Whether it was gender ideology or Platonic exegesis, it was clear that Euripides wanted to show through his monologue Medea the internal struggles between two forces.

Désiree was far too excited to truly hear the suspicion in her mother’s voice. Mistaking her concern for surprise at the child’s growth, it being a while since last her mother had seen the baby. Even after her mother’s departure from L’Abri Désiree continued to allow her excitement and bliss to blind her. But that bliss would soon turn to misery shortly after her son grew past three months old. Gradually, Armand became a stranger to Desirée. Lack of eye contact with Desiree, avoidance of her and the child, and terrible treatment of the slaves all became regular activity for Armand when home. The breaking point however, came upon her whilst sitting in her robes on a hot day in her room with the child. A mixed child stood fanning her son. As Désirée gazed upon her son as he slept, she looked back up to the mixed boy fanning him. Looking back and forth between them a realization hit her and left her speechless. Wordlessly she dismissed the boy immediately as her husband walked in. She called her husband’s name three times before clinging to his arm; almost pleading with him she asked him to look at their son, to tell her what it

       As the tale begins we immediately can sympathize with the repressive plight of the protagonist.  Her romantic imagination is obvious as she describes the "hereditary estate" (Gilman, Wallpaper 170) or the "haunted house" (170) as she would like it to be.  She tells us of her husband, John, who "scoffs" (170) at her romantic sentiments and is "practical to the extreme" (170).  However, in a time

Wallace expresses how distracted she gets while speaking because Wallace's anxiety catches up to her and she gets lost in her words. Wallace also explains how life in school never really teaches you how to be alone day in and day out; life outside of high school causes boredom and frustration, old folks know how this feels. How annoying people can be, how petty you can be when you're all alone so you overthink about life and you literally think your brains out till you can't any longer which is impossible because your mind never stops thinking; you go to sleep and still dream about what you left off thinking about. You choose the way you think, negative or positive that is all on you. If you've learned how to closely pay attention and learn

Widow Wycherly, in her prime, was a beautiful woman who became a recluse because of scandalous stories that were spread about her. When they were given the chance to change their ways, they couldn’t do it. “But they were young: their burning passions proved them so. Inflamed to madness by the coquetry of the girl-widow … the three rivals began to interchange threatening glances. … They grappled fiercely at one another's throats.

Through her play, Eurydice, Sarah Ruhl takes the liberty to step in and bridge the gaps in the ancient myth of Orpheus and Eurydice. In doing so, she takes a more contemporary approach and focuses on Eurydice’s perspective as the play is written from her point of view. Ruhl transposes the liberty she took in writing the play to the designers by leaving only few specific design specifications and leaving freedom for interpretation for the rest of the designs. The few specific design specifications integrate the central theme of endangered unity and the choice that Eurydice must make, and similarly they propel the designers into their own creativity of interpreting the play through their choice in the design.

The story develops two old college friends gathering for a chat, in a week afternoon, talking for hours straight. During this period there is abusive alcohol consumption, a robust evidence of personal problems. The conversation evolves around gossip and complains. It is Eloise, the protagonist, who complains the most throughout the whole story, and about every aspect of her current life. Including her own daughter, which until that moment she barely considers as her descendent: “I need a cocker spaniel or something” (24). Even though the text only brings up the distinct appearances between them, Eloise believes Ramona is so far apart from her that anything would be closer to her – even a dog.