St Lucy's Home For Girls Raised By Wolves Analysis

Throughout human existence, mankind has had to overcome difficult obstacles in order to prosper. In Diane Glancy’s “Pushing the Bear”, the reader discovers how the Cherokee Indians overcome their hardships and flourish into a new, thriving community. In this novel, the audience observe how these Cherokee Indians outlast the harsh environment during the Indian Removal Act. Additionally, Glancy creates a human experience during the Trail of Tears; giving a different perspective of various characters. Through the eyes of characters such as Maritole and Knobowtee, the reader is able to sense the desperation that the Cherokee endured. The upheaval of being forcefully removed from the land stripped the Cherokee of their identity. This disruption left the Cherokee confused, causing frustration to arise because they were unable to live their familiar roles. Men were no longer able to farm. Women had a loss of property and wealth. The bear symbolizes these struggles throughout this novel. Maritole explains, “The bear had once been a person. But he was not conscious of the consciousness he was given. His darkness was greed and self-centeredness. It was part of myself, too. It was part of the human being” (183). In other words, the “bear” is the personal dilemma each character is put up against during this removal. Furthermore, each character has their own personal struggles to overcome; whether that be Knobowtee’s loss of masculinity or Maritole’s loss of family. These struggles,

Throughout the story however, It becomes apparent the narrator isn 't just one of those weird ' 'dog people ' ' (like myself). The humanized wolf is seen by some of the other people in the story exactly like she does. In the second paragraph of the story she mentions this, an old man named Grady - who lives next to a community garden and Bessie, a homeless woman who lives out of a shopping cart are also acquainted with the wolf. It seems to me that the narrator isn 't trying to teach us good morals for animal equality with the tale. She is trying to get another point across with the constant presence of the being throughout the story, and the highlighting of the certain

Kanye West said it best, “Everybody knows I’m a M*f**ing monster” and honestly, as humans we are.

Karen Russell’s St Lucy’s Home for Girl Raised by Wolves is about a pack of wolf girls that are taught how to act civilized at St Lucy’s. Over the course of the story, there are three main wolf girls, Claudette, Jeanette, and Mirabella. At St Lucy’s the girls go through five stages. Some of the girls will either be ahead, stay at the same pace as, or be behind the program. The epigraph for Stage One suggests that the girls will have a new-found curiosity and excitement. It also suggests that they will enjoy the new environment that they’re placed in.

The epigraphs in St. Lucy's Home for Girls Raised by Wolves are intended to give information as to what development the wolf-girls of the school will experience. The information they give us typically concerns the actions the girls may perform and the feelings they might experience by telling us the stage that they are at in their transition. With the exception of Mirabella, all the information we're given concerning the girls matches up with the quotes's corresponding epigraph. Epigraph two and it's sequential text is no different.

The second epigraph of St. Lucy’s Home for Girls Raised By Wolves refers to a “Stage 2” from the Jesuit Handbook on Lycanthropic Culture Shock. According to the text, in this stage, the wolf-girl pack will realize that they are required to make an effort to adapt to their new environment and begin the stressful process of integrating themselves into the host culture. During this period, the epigraph explains, students may feel frustrated, depressed, confused, out-of place, or somewhat insecure, reminiscing about their old home and ways of life. Stage 2 marks an important phase in the development of the pack as a character, and of the wolf-girls as individuals.

In every good initiation story the protagonist experiences a range of changes. In Karen Russell 's story “St. Lucy 's Home for Girls Raised by Wolves”, the protagonist Claudette is quickly submersed in a new world. She and her pack go from living with their lycanthrope parents in the woods, to being raised by nuns and taught to act human. She has to learn a whole new way to exist. She learns what to do, how to think, and how to become an individual. Karen Russell effectively shapes Claudette as a dynamic character. Throughout the story Claudette experiences changes in her personality and behaviors, producing a stark contrast in the end.

With the application of imagery, the reader can illustrate a representation of the situation. Many disapproving glances from the white society, meanwhile, this is also shown to be genuine as the result of the author using symbolism once more; a coyote. The significance of the coyote in relation to the story is generally depicted on page three with references such as “ She had known that it hadn't been a matter of animal stupidity, because a coyote always remembered where it had came from” with the extension of “ She thought of the coyotes hanging around in the cities these days. Nobody wanted them there, so nobody made friends with them, but once in awhile they made the papers when they did something wrong or showed up, trotting along Broadway, cool as could be”. Physical objects such as the door and the coyote exhibited unmistakable bond between the overall round and protagonist character, Lena and the objects itself and the author. As a matter of fact, Jeanette Armstrong is a person who grew up on the Penticton Indian Reserve which heavily explains why the story was written in third person; the connection between author and protagonist was more personal.  The fact that nobody wanted to be friends with Lena and used the stigma of First Nations being viewed inaccurately by modern society.  No matter how

Whether one would like to admit it or not, change is a difficult and not to mention uncomfortable experience which we all must endure at one point in our lives. A concept that everyone must understand is that change does not occur immediately, for it happens overtime. It is necessary for time to pass in order for a change to occur, be it days, weeks, months, or even years. The main character, who is also the narrator of “St. Lucy’s Home for Girls Raised by Wolves”, realizing that “things felt less foreign in the dark” (Russell 225), knows that she will be subject to change very soon. The author makes it evident to readers that the narrator is in a brand new environment as the story begins. This strange short story about girls raised by

In the excerpt “St. Lucy’s Home for Girls Raised by Wolves” by Karen Russell the narrator speaks as a half wolf half human mind set. She discusses the improvements and difficulties of living in captivity after being free and wild their entire lives. There are three (3) main characters, Mirabella (youngest), Claudette who is the middle child of the three (3) sisters, and last but certainly not least, Jeanette. These girls are few of an entire “pack” of half human half wolf. The pack is referred to as a whole throughout the duration of this excerpt. They experience difficulty in the transition of the “wolf-identity” into more of a “human-identity”. This short story exemplifies how the difficulty of change after being exposed to ones “tradition” for so long differs for each “person” wolf or not.

Symbolism allows the reader to go beyond what is known or seen by creating connections between otherwise very different concepts and experiences. In the novel, Motorcycles and Sweetgrass by Drew Hayden Taylor, symbolism defies the natural evolution of Native Anishnawbe culture to the current Canadian culture. Three examples illustrate this change. First, the reader is witness to the replacing of Sweetgrass, a symbol of Ojibway culture, to the worship of holy crosses and holy water. Secondly, the reader is exposed to the adaptation of names from the mythical Ojibway figure, Nanabush to those that represent English explorers. Finally, the raccoons that have a profound conflict with the man whose name continues to change. The Sweetgrass, the changing names and the raccoons is symbols that emphasize the theme, dual cultures, which shines a light to the transformation taking place on Native reserves.

In “Monster Culture”, Jeffery Cohen develops an idea that “monsters” are essential to society. In fact, they construct what is “normal”, “rational”, and “civilized”. Specifically, “monsters” are foundational to how we view ourselves. “Monsters” contain all the traits deemed unacceptable and odd. It can be concluded that every outlier is a “monster”. In St. Lucy’s Home for Girls Raised by Wolves, Karen Russell tells the story of a pack of wolf girls who are transitioning into young ladies. Russell delves into society’s need for conformity, gender roles, and change. The story is told from the point of view of the middle wolf girl, Claudette, and follows her on her journey from wolf to woman. In relation to Jeffery Cohen’s idea of monster culture, Claudette’s journey applies to Thesis IV “The Monster Dwells at the Gates of Difference” and part of Thesis I “The Monster’s Body is a Cultural Body”. Claudette is torn between two worlds and she has to learn how to successfully “move between the two cultures”. Through Cohen’s theses, Karen Russell uses character development and dialogue to depict the inner and outer battle of societal femininity and individualized femininity and the decision of accepting either side. The presence of “monsters” are essential for this acceptance.

The poems “The Raven” and “Annabel Lee” by Edgar Allan Poe have many similarities, as well as many differences. They have two different dates they were published. “The Raven” and “Annabel Lee” have much in common when it comes to their themes or their motifs, they also have differences in their themes. These poems are alike and unlike in imagery and figurative language. Lastly, they can be compared and contrasted in their form, structure, and their sound devices.

At the age of fourteen, the nameless protagonist meets Old Chief Mshlanga on a walk with her dogs, a native tribal leader who used to own the whole area. The chief's pride and respect make the girl gingerly change her opinion of natives and reconsider her prejudiced vision and idea. As a result, she begins to be more pleasant towards the natives she encounters.

In her transformation of the well-known fable "Little Red Riding Hood," Angela Carter plays upon the reader's familiarity. By echoing elements of the allegory intended to scare and thus caution young girls, she evokes preconceptions and stereotypes about gender roles. In the traditional tale, Red sticks to "the path," but needs to be rescued from the threatening wolf by a hunter or "woodsman." Carter retells the story with a modern perspective on women. By using fantasy metaphorically and hyperbolically, she can poignantly convey her unorthodox and underlying messages.