How Does Lebert Joseph Change Throughout The Novel

Zora Neale Hurston takes readers on an enlightening, delightful journey into her childhood years before she realized that she is colored and beyond. While Zora is the main character in the story, there are plenty of distinctions she shares about Eatonville, its citizens and the later exposure to feeling “most black [when thrown] against a sharp white background” (p.942) while attending Barnard College which had been an all-white college until she walked through the doors. It’s powerful to know that she had confidence and pride to remain true to herself and her race despite all of the hurdles and roadblocks along her life’s path.

Gordon Grice is fascinated, maybe obsessed with the black widow. He begins provocatively “ I hunt black widows. I capture it. I have found them in discarded wheels and tires and under railroads tires. I have found them in house foundations and cellars…I have found them I hospitals and in the den of the rattlesnake…. (176) In this quote Grice start with first person in place and with the repetition of “I” so that the reader can get the attention into it. Grice’s purpose in the “ Black widow” essay is to inform the audience about the widow’s life style. He shows inspiration, fascination, respect and love for widows. He furthers his purpose by using rhetorical strategies throughout his text.

She learns to control her voice after she finds it. Similarly, the narrator is silent in exposed places, neither revealing why Janie isn’t upset with Tea Cake’s beating nor disclosing her words at the trial. Although Janie returns to Eatonville alone, she returns as a strong, new woman. Hurston’s narrative advocates both freedom from sexist and racist harassment, and the rejection of community and cultural values that enforce such harassment. Hurston also presents an imaginative consciousness that speaks of wandering and independence in a time when women were somewhat restricted. In the end, Janie, like Hurston and many African American women of the twentieth century, becomes a woman who can think and act for herself.

One of the most noticeable elements of this novel is within the structure and plot in which Janie goes on a quest to find herself as a person. Through Janie's struggles and happy moments throughout this story with numerous relationships, Janie grows as a woman and learns something new within each marriage. The third person narrator allows the reader to follow not only Janie's interpretation certain situations, but the thought process of the other characters too.

“I love the way Janie Crawford left her husbands,” begins one of Alice Walker’s poems, alluding to the heroine of Zora Neale Hurston’s iconic Their Eyes were Watching God. Following the perspective of a black female in the 1930s and more importantly, written by a black female in the 1930s, today, Hurston’s work is one of the most influential books from the post-Harlem Renaissance. What ultimately makes the narrative so compelling is that her characters resonate with culture and complexity. Through the complex, deeply intimate narrative, Hurston writes about what is personal to her, making her novel— and thus, her values— personal for her readers as well.

And through such character, Hurston effectively channels the essence of all paradigms that plagues a young black woman, Logan represents stability and security through his possessions of a 60-acre potato farm, the “high seat” that her grandmother always yearns for her. When Nanny rigidly declares, “You com heah wid yo ' mouf full of fullishness on uh busy day. Heah you got uh prop tuh lean on all yo bown days, and big protection, and everybody got tuh tip dey hat tuh you and call you Mis ' Killicks, and you come worrying ' me 'bout love.” (23), she breezily cast out the notion of love, and in doing so explores the role of black woman in post-slavery period as they have yet the freedom to pursue other goals than primarily financial survival. As time marches, Janie barren relationship with Logan worsen as she tires of Logan’s disparagingly assigned jobs. When Janie laments, “Maybe if someone was to tell me how” (23), she ponders regretfully of herself but ultimately fails to make a change to her life on her own. Her dream was stomped on by reality’s demands to fulfil other’s wishes and so she saw the world for what it truly is, “She knew now that marriage did not make love. Janie 's first dream was dead, so she became a woman” (25); fatigued, an enticing light on the other side of the tunnel calls out to her in the name of Joe Starks which swiftly drove her from an unsatisfying relationship.

A. Mrs. A, came from a family of seven, being the youngest of five in a family that had a father who never hugged or kissed anyone, including his wife. Only one of her brothers had a remotely close relationship with their father. Her brother, close after being presented with a part of the family business he became very ill. During this time, her brother became a highly religious person. Jacobs assumed: “Mrs. A fell in love with Mr. A become she was a member of the clergy of that religion. He was very successful at what he saw was his chosen business, and it was on the basis of this similarity between her brother and Mr. A that Mr. A became Mrs. A’s hero” (Jacobs). Jacobs hypothesized whether or not Mrs. A married Mr. A, who did not love her because she was subconsciously guilty of having negative feelings towards her

She describes the painful process of foot binding her grandmother endured in order for her to adhere to the close to dead traditional fetish of the time. Her father helped arrange her to become a concubine to a Warlord in order to further his economic and social status without much regard for his daughter’s wellbeing. Her grandmother’s life after that could be described as gilded somberness. She lived in a large home complete with servants, but she was isolated from the outside world. She describes that her Grandmother felt her life was hollow and without purpose until her mother was born almost seven years into her privileged imprisonment.

Carolyn Norma Slaughter’s article addresses the idea of language and meaning in the novel, with particular focus on Addie’s view of these themes. She points out that the story revolves around Addie, whose death is the reason for the novel, and to whom the central chapter of the book is given. Because of this, it’s important to note her ideas about words and what they mean. Slaughter

Foster’s death and Mrs. Foster’s freedom. In this point of view, Mrs. Foster is our narrator and main character. Mrs. Foster’s experiences mixed emotions. She displays how “fond of her daughter” she is and her “yearning to set eyes on her three grandchildren”, yet feels guilty and “disloyal to have thoughts...while her husband was still alive” (380). Her internal conflict is clear to us; she feels chained down by her husband who limits her desires, with her silly obsession of punctuality enhancing the effect.

The underlying themes found throughout D.H. Lawrence's short story The Rocking-Horse Winner are crucial to the readers understanding of what ultimately drove young Paul to a short lived life and the literary devices used to add emphasis and thought. The themes reveal how Paul feels he must take over the responsibility as the “bread winner” for the family specifically the always unpleased and greedy mother, Hester. His actions are demonstrating of the Oedipus Complex, which is when the offspring of a mother, usually male, feels the unconscious sexual desire towards the mother and wishes to exclude the parent of the same sex.

I-I Well Joseph this is why we try to tell you guys playing fighting is not a good thing to do.

All the three novels represent inevitable shaping of identities through memories of slavery and the past. For this reason, the main characters in the novels are tightly connected to their homelands as it is essential part of their beings although American culture is strange and complicated for them to fit in and be a part of it. This is because of their alienation from cultural practices such as the use of a common dialect. The novel Praisesong for the Widow written by Paule Marshall revolves around a character named Avey Johnson who is crossroads to define her destiny generated from years of poverty and a rocky marriage. According to the detailed novel, Avey Johnson faces discrimination and attempts to assimilate her into being a white. It is evident throughout the novel that the senior citizen is unable to clearly acknowledge the white culture as a result of endless memory running across her mind. In her school of thought, the dense population of whites was not a representative of her identity but as conformity to the majority perspective. In this regard, this novel highlights the hegemonic practice of the ideology of selective retention. For example, Avey Johnson is singled out as one among many of the assimilated Americans who follow a certain culture blindly to limit violence and extremism from the majority of the citizenry. The Avey Johnson, the main character in Praisesong for the Widow (1983), in trying to become a part of wealthy, white society, forgets her

Toni Morrison’s A Mercy, based in 17th-century America, attempts to highlight systematic issues of religion, slavery, race, motherhood, and more. Morrison illustrates the novel through a plethora of different first-person narratives. Each telling their own story about the challenges of living in 17th-century colonial America. Within the first five pages, Morrison—through Florens narrative—subtly informs the reader of A Mercy’s multiple thematic interpretations. Florens states, “Often there are too many signs…I sort them and try to recall, yet I know I am missing much,” (Morrison, 4). Morrison suggests to the reader that A Mercy is contextually ambiguous, while simultaneously contradictory with each independent

Toni Morison’s Beloved depicts the struggle of African American women to put their lives back together and claim their identity after never having one due to slavery. Although Sethe escapes Sweet home, she is still trapped in her intense past that it prevents her from freeing herself mentally. Sethe tries to take care of her children as much as she can since it is her duty as a mother, however, this duty prevents her from taking care of herself and finding her identity. She also struggles to identify herself as a woman since she had been treated as an animal and object and was depended on her owner. Once she is physically free, Sethe needs to learn how to provide for herself and her family, therefore take the role of a man. “Freeing yourself