Failed Mother-Child Relationships in Margaret Atwood’s Oryx and Crake

Kincaid’s choice to separate pieces of advice by semicolons instead of full-stop periods lends the piece a sense of urgency, almost as if the mother is trying to impart all of her knowledge to her daughter as quickly as possible. However, this often makes the mother’s words come across tersely, and the their relationship seems strained at best. The daughter is allowed very little input overall; one of her sentences comes across defensively, as she denies her mother’s accusations that she is singing provocative music in Sunday school, and the other is posed as an innocent question which receives an aggressive answer. The mother’s main concern seems to be that her daughter is turning into a “slut”, and because of this apparent fear, she can be argumentative and tense towards her daughter. However, near the end of the piece, some of the advice seems to take a softer turn. The mother gives her daughter advice about love, and says, “don’t feel too bad about giving up” (1), which is much gentler than many previous sentiments. She even gives advice about “how to spit up in the air if you feel like it” (1) and how to move away; this reads much more like play than work, and almost gives a sense of playfulness between the mother and daughter, practicing a useless but entertaining trick. However, by the end, the mood turns again, as the girl’s innocent question provokes an angry answer: “you mean to say that after all you are really going to be the kind of woman who the baker won’t let near the bread?” (1). While there may have been some progress in the mother-daughter relationship, it is ultimately returned to the same frustrated and almost resentful

In Anne Tyler’s “Teenage Wasteland,” the reader is given insight into the difficulty of parenting through Daisy’s desperate attempt to stop her son from his seemingly uncontrollable downward spiral. The paranoia of her “perfect” parenting techniques leads to the tainting of Donny’s innocence over time and eventually his mysterious disappearance at the end of the story. Through symbols of innocence and corruption, Tyler demonstrates the importance of keeping one’s head clear and focused while parenting, and that using common sense and logic is far more effective than relying on idealism and hope.

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 reader is almost forced to look at the actions of the grandmother as being similar to that of a young child. There's not a quiet moment with her around and she never sits still. The reader tends to have a negative perception of the grandmother due to these personality traits. However, these traits are expressed in a comical way causing the reader to be annoyed by the grandmother, but also entertained.

Although the daughter’s shame in her mother is evident, she is also prideful of her as well. The strong love that the mother and daughter share is pervasive throughout the story. The story is being told by the daughter after she is all grown up. The fact that Jones uses such vivid detail on the mother’s preparation for her daughters first day of school shows that the daughter loved her mom and all that she did for her. The daughter recalls that her mother spent a lot of time preparing her when she says, “My mother has uncharacteristically spent nearly an hour on my hair that morning, plaiting and replaiting so that now my scalp tingles.” (Jones) She also remembers that her “pale green slip and underwear are new, the underwear having come three to a plastic package with a little girl on the front who appears to be dancing.” (Jones) The daughter having remembered details like these illustrate that she has an immense love and takes pride

The most difficult time in a child's relationship with his/her parents is mainly during its teenage years. These are times of rebellion, disagreement, strong emotion, psychological changes and sexual experimentation just to name a few. In Mary Gaitskill's short story "Tiny, Smiling Daddy", the main theme "of how people seek intimacy but don't know how to achieve it" (Gaitskill, 289) is conveyed by the author through the characters, symbolism and setting and imagery.

If not thought about or read over more than once, the fact that Connie’s father was almost a phantom in her life might be missed. In this era, fathers in particular were not very active in their children’s lives, daughters especially; they were the mother’s problem. This same idea carries over to the father of Connie’s best girlfriend, who after driving them to the stores or movies “…never even bothered to ask what they had done.” (Oates, "Where Are You Going, Where Have You Been?"), the name of the story is also a question that should be asked of any daughter by her father. The fathers in question here display a sense of total apathy to the question of what their daughters are actually doing. These fathers came from a time in the 40’s and 50’s when men worried about men things and woman issues were exactly that. Men and in particular fathers of that time made no effort to be involved in their daughters lives as they are today. Oates noticed that issue in society and attached it to her work in this story although minutely. The main conflict in Connie’s life is trying to balance a fine line between the way she acts at home in front of her mother, and her secret wild side which she only shows to her friends and the boys she meets. Oates’ characterization of Connie is that of a round character, one of intense

In this novel Taylor is a dynamic character, we see her transform from a young girl who didn’t want to get married or have kids to an independent single mother. In the beginning we get to know her as a self-owned, determined and a stubborn girl who is focused, ambitious and thinks outside the box; because she knows firsthand what is like to see her mother struggle as a single parent. She learned to value every day because pregnancy was like a disease. An example of her considerate outlook is “believe me in those days the girls were dropping by the wayside like seeds off a poppy seed bun and you learned to look at every day as a prize” (3). This small but

Initially, Reyes begins her article with an emotional appeal as she shares with her audience a story about a man named Brent Kroeger, who so happens to be a stay at home father. Consequently as he was viewing vulgar comments concerning stay at home fathers, Brent was troubled “wondering if his friends [thought] those things about him” claiming

The line between being an acceptable and unacceptable parent is often blurry and is seen on different perspectives when it comes to class, culture, and generation differences. Based on the two stories of Amy Tan’s, “Two Kinds” and Tillie Olsen’s, “I Stand here Ironing” we see these two perspectives that derive from different maternal upbringings of the children in the stories. What is found between them is the conflict of being too little or heavily involved in a child’s life has had more negative outcomes during their childhood than positive.

The character of the mother executes the tell-tale signs of counterfeit happiness when she tells the murderous story of the narrator’s father’s brother. “‘Oh honey,’ she said, ‘there’s a lot that you don’t know. But you are going to find out’” (36).

"You think because I am her mother I have a key, or that in some way you could use me as a key? She has lived for nineteen years. Over and over, we are told of the limitations on choice--"it was the only way"; "They persuaded me" and verbs of necessity recur for descriptions of both the mother's and Emily's behavior. " In such statements as "my wisdom ! came too late," the story verges on becoming an analysis of parental guilt. With the narrator, we construct an image of the mother's own development: her difficulties as a young mother alone with her daughter and barely surviving during the early years of the depression; her painful months of enforced separation from her daughter; her gradual and partial relaxation in response to a new husband and a new family as more children follow; her increasingly complex anxieties about her first child; and finally her sense of family balance which surrounds but does not quite include the early memories of herself and Emily in the grips of survival needs. In doing so she has neither trivialized nor romanticized the experience of motherhood; she has indicated the wealth of experience yet to be explored in the story’s possibilities of experiences, like motherhood, which have rarely been granted serious literary consideration. Rather she is searching for

As I first started to read ‘Oryx and Crake’, I was somewhat skeptical of whether or not I would enjoy reading it. The first chapter confused me with unusual words that I have never heard or seen before. Whenever I read something it is usually a book or magazine that I plan on reading or that is based on actual facts on a certain subject such as history or sports related. This book came as a surprise as I started to read it because it was not as hard to understand as I thought it would be and was actually quite enjoyable. The symbols in this book can mean many different things based on what the reader believes since religion plays a big part in it.

The mother begins to rebel against tradition by taking an active role in educating and freeing herself. Through her radio, telephone and trips out with her sons she develops her own opinions about the world, the war, and the domination and seclusion of woman. She loses her innocence as a result to her new knowledge and experience.

       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