Say Yes Essay

In Nella Larsen’s Passing: A Problem of Interpretation, Claudia Tate argues that race “is not the novels foremost concern, but is merely a mechanism for setting the story in motion” (344). Tate’s decision to focus on the “psychological ambiguity” (343) of the novel forbids her to elaborate on the relation between race and social class. As a result, I disagree with certain statements from Tate’s argument due to the lack of acknowledging the issue regarding race and social class. Tate initially claims that Irene’s understanding of race becomes a concern “when the impending exposure of Clare’s racial identity threatens to hasten the disruption of Irene’s domestic security” (Tate 344). However, Irene’s fear of being spotted as a

is spraying the silverware and ?darkened to pale blue? (Wolff 518). This shows again the

He says “her officer—why should he have a name? he was the childhood sweetheart, and what more does he want?” (Carver 449). Moreover, the narrator can also be considered a little selfish and ignorant. He briefly mentions his wife’s suicide attempt and does not give Robert any credit for actually helping her go through those hard times. He gives this almost no importance. Additionally, the narrator has a hard time understanding that Robert, who is white, was married to Beulah, who was black and just died. He states “That’s a name for a colored woman” and the narrator’s wife has to explain that Robert is blind, it would not matter what color Beulah was, but the narrator begins to feel sympathy for Robert (Carver 449). Even though in reality looks are not important and Robert might have seen through his hands how Beulah looks, the narrator cannot understand how someone is able to love someone else without ever looking at them. He states that “all this without his having ever seen what the goddamned woman looked like” (Carver 450). Soon after he also begins feeling sympathy for Beulah by saying describing how she would “never receive the smallest compliment from her beloved” and even worse, she died knowing that “he never even knew what she looked like” (Carver

This case shows a presentation of 'not the concept '. The similarities are present, but the contrary case is easily noted that it is not a representative of the concept of pain. Ms. Black is suffering from

Pain not only involves the physical reaction to damaged tissue, but also involves an emotional and cognitive response by the person experiencing the pain (Backer, 1994). A person's prior experience will influence how pain is managed. Pain is a signal that something is not

First pain is an everyday experiences that is expressed through the use of language and is then legitimized (Waddie, 1996). If a patient as a history of depression or chronic pain they have pain every day and the concept is used to help explain their pain. As nurse we use the concept of pain to find a base line of the pain and to assess new pain. In surgical patients they may have multiple types of pain from the incision, emotional, and history. The concept educates the nurse of the different form that pain can present itself. Pain can also guide how we treat the patient. Emotional pain would not be treated with the “so know pain pills”, but with talking or listening to patient. Concept of pain also address the different form of patient and how the nurse and patient response to it. If a patient is having somatic pain from an incision the nurse could react by applying heat or ice. Pain is what the patient says it is.

She believes that the men are good hearted men at the mercy of their own mistakes. They’re women’s standard for failure as men, as husbands, and as fathers. She speculates that because Walter is a bighearted man, it’s no wonder that his obvious depression is allowing him to look closely at the ‘messy bits’. In the story “Don’t Eat Cat”, Glock points out that Walters observation that “Sure, the world seems crazy now. But wouldn’t it seem just as crazy if you were alive when the sacrificed peasants, when people were born into slavery…… Maybe it’s always the end of the world”, is incredibly astute. She says that “it’s funny because it’s true, and horrible because it’s true, and funny because it’s horrible..” and so on and so forth. Glock had many insightful points, though I did not agree with her interpretation of the meaning of the phrase ‘we live in water’. I felt more that it was about being in a tank. That we can never escape and have to do like everyone else. You swim or you swim. I don’t agree with that sentiment but I believe that’s how Walters meant it. I felt like I understood the point of the book a lot more after reading this article. Before I just assumed Walters was a touch crazy and just a lacking writer, with just enough substance and character to make the stories limitedly interesting. Glock’s article showed me the rhyme and

Although they are both having trouble with the marriage they are in they cope with it differently. In The Yellow Book, the wife is fighting mentally with herself telling herself over and over that she is not crazy. “I've got out at last, […] in spite of you and Jane. And I've pulled off most of the wallpaper, so you can't put me back” as much as she says that she is not free because she is still confined in the same room and most readers can assume that her mental condition only got worse from time to time of being stuck inside that room staring at the hideous wallpaper where she pictured herself in. “She not only grows to like it, but goes so far as to become, in her mind, literally one with it. Her relationship with the wallpaper, in part, reflects Lacan's mirror stage, albeit in an unusual, psychotic way. The mirror stage “manufactures for the subject […] the succession of fantasies that extends from a fragmented body-image to a form of its totality” (Lacan 4).” As stated by the author Suess, Barbara says that unknown crazy wife from the short story was not only a piece of wallpaper that she would see but it was something she saw herself becoming and could see herself in it but by tearing that wallpaper down she, unlike the others she saw stuck in it, was free and did not have to

In the book, Irene’s need for certainty about her own being leads to Clare’s demise. At the beginning of the book, Irene has defined her concepts of race and sex and never revisits them. She can only function when her world is in stasis. She makes it her priority to keep her husband and sons happy and have their lives remain the same. Her determination to maintain security derives the action in the book. When Irene is in the Drayton, a restaurant for whites only, a woman whom she does not realize is Clare is staring at her. Irene thinks, “White people were so stupid about such things for all that they usually asserted that they were able to tell; and by the most ridiculous means: fingernails, palms of hands, shapes of ears, teeth, and other equally silly rot. They always took her for an Italian, a Spaniard, a Mexican, or a Gypsy. Never, when she was alone, had they even remotely seemed to suspect that she was a Negro. No, the woman sitting there staring at her could not possibly know” (Larsen 16). Clare represents a disruption from Irene’s routine and security and, she will always bring instability in her life. Irene was afraid Clare would give her away. When Irene is in Clare’s company, she is forced to revisit how she defines her race and sex causing her so much emotional turmoil that she loses mental stability. This

     We also see a misunderstanding and unbalanced relationship in the story "The Yellow Wallpaper,'; by Charlotte Perkins Gilman. In this case, the main characters are husband and wife. The wife has a temporary nervous depression and is repressed by her whole surroundings. First of all the room she has to stay is very confined having bars, and has little funiture and ugly wallpaper. She is left in the room by herself during the day, while her husband is at work. Her husband and her brother are physicians who are highly educated, and whatever they say seem right. The housekeeper also, who is her sister-in-law is a perfect housekeeper which gives comparison with the wife who is

A symbol, is a representation of a thought or an idea. In the Story of an Hour Kate Chopin does a great job of using many examples as symbolism. She uses these symbols to represent the main theme she wants to get across to the readers. And the idea she wants to get across is the renewal of Mrs. Mallards life. The three major examples of symbolism are, when she says blood coursed through her body, the use of nature, and when she welcomes her new life with open arms.

Wolff writes the short story from the first person perspective of the Husband who, "…went to school with blacks … worked with blacks and lived on the same street with blacks and … always gotten along just fine.", however; Wolff did not intend for the reader to perceive that the Husband is racist. Although his wife feels two cultures with two distinct backgrounds could "know" one another; her Husband's insight of multi-cultured relationships remained unchanged. Although in love, two people of differing races or cultures could never conceptually "know" each other.

Dev then asks “White Erica or Black Erica?” Denise responds “Nah, mixed Erica.” That dialogue foreshadows further complexities, showing that things are never as simple as black and white. Dev responds “Oh, yeah, I know mixed Erica.

How does one show his or her pain? Jonathan’s agony from the death of his father is

The husband is stereotypically male chauvinist. He wants to dominate, by saying “shut up” and he cannot be bothered with his wife’s wishes.