Katherine Anne Porter's Rope

While Bartels does a poor job at owning up to any of the tension in the marriage, he does understand where his wife is coming from with her anger. He understands the hardships of marriage by saying “I think it’s fairly well established by now that marriage is a challenge, a creaky, old institution that may not have fully adapted itself to modern life, one that now fails in this country more often than not. Put children in the picture and you have an

The setting of both stories reinforces the notion of women's dependence on men. The late 1800's were a turbulent time for women's roles. The turn of the century

The wife exalted the husbands integrity. The husband was a good father and was well liked. " He was just purely good to me. A hard worker and never lazy, and so big and fine-looking. Everybody looked up to him..... He had such a beautiful voice" (Le Guin 4). To the wife the husband seemed perfect. However, things began to take a dark turn when the wife started to discuss these events. "It was the moon, that’s what they say. It 's the moon 's fault, and the blood. It was in his father 's blood" (Le Guin 4). Members of the community blamed the moon, a connection with blood and the moon. The

Bartels explains that wives often let out their stress induced, pent up anger on their husbands. He uses his own life and instances he has experienced with his wife to support himself. He describes his wife as tired, angry, and wanting to take that out on him (Bartels 58). Bartels has experienced this spousal anger firsthand, giving him credibility to write about it. He understands how the cycle of spousal anger works. However, his lack of other means of support makes his article fall short in some areas. Whereas telling a personal story may appeal to one reader, it may not appeal to the next. Bartels lacks a balance of logical and emotional appeal. The emotional appeal that Bartels uses is successful, though. He says that at times his wife is so negative that is “threatens to grind [his] spirit to dust” (Bartels 59). This use of emotional language is well executed because any reader will either be able to relate to him or feel sorry for the situation he is in. However, some women may sympathize with him less as they take the side of the wife in his story. His stance is flawed because he comes at this argument at an obviously subjective position. Bartels overlooks the idea that many women will not feel sorry for him if they disagree with what he has to say.

However, like in most marriage there were times when either party could slip in a comfort zone which can be displeased. The first conflict identified with Judith and her husband was when Judith started feeling her marriage was growing stale. This conflict latent stage was when Brice started working long hours, not spending quality time and not giving Judith the attention she accustoms to. At the latent stage in conflict, people have differences that bother one or the other in ideas, values or need (Brookings, n.d). The conflict emerged when Harley started making advances at Judith which she tried to resist frequently for a long time despite her husband

In the article “The Myth of Co-Parenting: How It Was Supposed to Be. How It Was.,” author Hope Edelman claims her husband does not put forth effort in their marriage. Edelman discusses the difficulties of parenting with a spouse who is seldom present and her misconception of marriage. In the article “My Problem With Her Anger,” author Eric Bartels claims his wife is angry with him all the time regardless of what he contributes to their family. Bartels discusses how the effort he puts forth in his marriage goes unappreciated and how he thinks his wife’s anger is negatively affecting their marriage. Bartels and Edelman both believe they entered marriage with unrealistic views resulting in dissatisfaction of marriage however, Edelman

In 1854 Fanny Fern published what was to become not only her most successful works, but one of the most popular and enduring works of English literature during the Antebellum period: Ruth Hall; A Domestic Tale of the Present Time. Though the title – especially to a modern reader – does little to convey the level of thoughtful and heady critique that Fern expounds through this book, it is actually is a strong indictment of the feminine position as the subordinate housewife, mother, and societal agent. However, despite this criticism, it does not seem that Fanny Fern is critical of the institutions of marriage or motherhood as a whole. Her critique is based on the limiting effects of the conventional roles into which wives and mothers fall, and the deleterious consequences these roles have on the personal development and self-actualization of the women who enter into them. Therefore, it is not the institution of marriage or motherhood that Fern is critical of, but rather the expectations and limitations that society assigns to the women who assume these roles.

A number of the stories, graphic memoirs and poems we discussed in class have introduced us to women who have been trapped in some way in their lives. Henrik Ibsen’s A Dolls House (1879) and Charlotte Perkins Gilman’s “The Yellow Wallpaper” (1892) both demonstrate women being trapped by men in a patriarchal society in the nineteenth century. However, Joyce Carol Oates’ “Where are you going, where have you been?”(1974), Jamaica Kincaid’s short story “Girl” (1978) and Marjane Satrapi’s graphic novel Persepolis (2005) are about social norms and girls being sexualized at a young age in the 20th century.

In Duhamel’s poem, this is clearly represented. One couple appears to be far from having a “happy day at the beach;” they’re arguing, the female’s body language reveals a need for acceptance, distance, and rejection. The second couple’s belief of what is stirring and their relationship comparison based on these thoughts, solidifies the underlying truth that marriage is not easy. Lines 20 to 21: “I start to coach the girl to leave her no-good lifeguard, but my husband predicts he’ll never leave,” are depicting the couple’s mirroring on what they would actually do in this situation. The relationship judgement concept continues in lines 23 through 25 with “That’s your problem-you think every fight is funny. You never take her seriously,” and he says, “You never even give a guy a chance and you’re always nagging” where a compromise issue is portrayed this time, obviously on both couples. Relationships require you to extend yourself for the sake of the other, that is collectively understanding each other’s needs, accept mistakes, and practice forgiveness.

     In "The Jilting of Granny Weatherall," Katherine Anne Porter gives readers a glimpse of the thoughts of a woman about to die.  Lying in her bed in her daughter Cornelia's house, eighty-year-old Granny Weatherall drifts in and out of consciousness.  Through her thoughts of events both current and bygone, it is learned that Granny has worked hard all her life, and frequently tells herself that she did a good job.  She thinks of events that made her stronger: digging holes for fence posts, "riding country roads in the winter when women had their babies" (311), taking care of sick animals and sick children.  Though Granny Weatherall tries to assure herself that her life has been

The following passage is an excerpt from Katherine Anne Porter’s short story “The Jilting of Granny Weatherall.” Read the passage carefully. Then write an essay in which you analyze how such choices as figurative language, imagery, and dialogue develop the complex emotions the character is feeling.

   In their works, Charlotte Perkins Gilman and Kate Chopin show that freedom was not universal in America in the late nineteenth and early twentieth century. The three works, "The Yellow Wallpaper," "At the 'Cadian Ball," and "The Storm" expose the oppression of women by society.  This works also illustrate that those women who were passive in the face of this oppression risk losing not only their identity, but their sanity as well.

In the story the reader gets a feel for what Mollie is experiencing during her day as her husband Gerald. Charlotte Perkins Gilman does an amazing job getting her point across using the third-person limited omniscient point of view. At the end of the story Gerald is now conscious of new views and feelings about women that he never had before. Without Gilman’s use of the third-person limited omniscient point of view the reader wouldn’t have gotten that much out of the

The nineteenth century is popularly known for its traditional view of gender roles, especially regarding women. The term “True Woman” refers to what society at that time thought to be the ideal woman, carrying qualities of “modesty, submissiveness, physical weakness, limited education, and complete devotion to husband and home” (White, 2009, p. 1). Women were restrained in terms of sexuality, dress, language, and economic decisions. In Amy Gilman Srebnick’s The Mysterious Death of Mary Rogers, Mary rebels against these standards by being a single women that is also sexually active, however, her actions are what seemingly lead to her demise. Similarly, Fanny Fern’s Ruth Hall also goes against gender norms. In her case, she earns her own economic independence through her writing and lives a more unconventional life as a mother, but faces repercussions from her family. Through the novels Ruth Hall and The Mysterious Death of Mary Rogers, the main female characters revolt against being “True Women” through their daily actions and behaviors, however they’re each punished with consequences for trying to deviate from society’s path.

In American literature, women have been portrayed differently depending on the sex and race of the author. Henry James who wrote “Daisy Miller: A Study” (1878) characterized Daisy as a tramp who breaks expatriate social customs. When a male writes about a woman, she is sometimes portrayed as a troublemaker and often up to no good. On the other hand, in Charlotte Perkins Gilman’s “The Yellow Wallpaper” (1892), the narrator is trapped by domestic life. When a woman writes about women, they are usually victims of their society. James and Gilman each seem to display women differently because of their own sex, personal preferences, and experiences.