Stella-Rondo In Eudora Welty's Story

The narrator, as a fifth-grader, thought that having his sister lie out on the street and getting hit by the car was a “perfect solution” to their problem, getting their mother’s attention, and making her feel bad about the way that she has been treating the children all day. As an adult, I do not think that the narrator thinks that this is a good idea because he now understands the true consequences of his actions. Some clues from the reading that demonstrate his feelings are that he understands the concept of death, and the way that he describes how they talked his sister Tiffany into going on the street. The narrator was describing his sister as “poor Tiffany”, “All you had to do was call her Tiff and whatever you wanted was yours,” and “her eagerness to please was absolute and naked.” Through this narration we can see that the author knew that he and his sisters were taking advantage of his little sister; as opposed to his fifth-grade self who was able to make sense of what they were doing

The first-person point of view is crucial to the theme of Welty?s story. Sister is self-centered and melodramatic. Sister 's descriptions are exaggerated, and because of this we tend to view her accounts of events

Their narrative, pieced jointly from relatives credentials and memorabilia, inscription, and past records, enlightens of Katy's marriage toward Frietz, a Loyalist, as well as, Anna's, to Peter Dorst, a Patriot. A huge drama discloses as the two sisters, pursuing their husbands' political affairs, locate themselves at likelihood with everyone. Ostracized in the society, Katy along with other Loyalist relatives started an innovative existence in Nova Scotia. The correct story has a wonderful ending-the two sisters, subsequently elderly, joins up and coped with all the resentment and conflict of the

7.The author chooses to describe the bleakness of life on North Richmond Street rather than beginning with Mangan’s sister. The narrator describes life on the street rather short but goes into great detail about Mangan’s sister and his love for her. The choice was done on purpose to show that the narrator pays more attention to Mangan’s sister rather than what goes on the street. Mangan’s sister is small part of life on North Richmond Street and the narrator seems to focus his attention on Mangan’s sister.

Stella-Rondo works hard to seem perfect to her family, though she is far from it. She is the antagonist in “Why I Live at the P.O.” because in order to make herself look better, she turns everyone against her sister, who is the only one who can see through her lies. Sister points out obvious lies that Stella-Rondo tells, such as the fact that Shirley T. is her biological daughter. Stella-Rondo also seems to be in denial about the mistakes she made, such as getting pregnant and recently divorced, because she is ashamed of them. Katya is also ashamed of her past because it is dark and difficult for her to think about, though her circumstances were not her fault like Stella-Rondo’s were. Katya is the protagonist in “Puffed Rice and Meatballs” and the conflicts she seems to have are with herself. Though she lied in order to please her lover, she also has a hard time becoming happy with herself. She seems to need other people’s validation of her

Sister immedietly began to pack her things, she decide she would take everythin that belonged to her and live in the P.O that Papa Daddy had brought for her. Sister made sure that everone knew she was leaving she snatched the pillow she needle pointed right from under Papa-Daddy, next she took back the charm bracelet she gave her sister, the fern that she only waterd , the radio , the sewing machine that she helped pay for," a good big calendar, with the firsy-aid remideis. The thermometer and the Hawiian ukellele" that she thought feor certain were hers. ‘the watermelon preserves and every fruit and vegetable

Even though Hattie has always felt unwelcomed by her sister since birth, she continues to try to rebuild their relationship. This is evident at the hospital when Hattie leaves Paris to comfort her niece and nephew while her sister is ill. Hattie demonstrates selflessness by putting her own life on the back burner to take her niece and nephew on a road trip to find their father. “You, me, Thebie, we’re going on a road trip, I said. We’re gonna look for Cherkis” (The Flying Troutmans, pg.52). These examples demonstrate Hattie’s devotion to strengthen the relationship in her family.

The old man's response to his niece is similar to Sonny's response to his elder brother in that they detach themselves from them. The protagonists are misunderstood by their own family members and interestingly react the same way to this conflict.

“The woman with the tambourine, whose voice dominated the air, whose face was bright with joy, was divided by very little from the woman who stood watching her, a cigarette between her heavy, chapped lips, her hair a cuckoo's nest, her face scarred and swollen from many beatings, and her black eyes glittering like coal” (14). The shared stories of their ancestors connected the two women. “Perhaps they both knew this, which was why, when, as rarely, they addressed each other, they addressed each other as Sister” (14). In this moment, two strangers have more sibling love for each other than the two brothers simply because they share a community. The narrator is unable to relate to the people on the street because no longer considers himself a part of their community. Though the narrator and his brother were unconnected in witnessing the revival, a different type of music soon connects

Jess, who had two younger sisters, two irresponsible older sisters, he made younger sisters a sandwich for each sister for their dinner instead of his mother, exhausted with housework when his older sisters went to shopping. Here, readers can realize that Jess had responsibility for his own duties. In addition, by showing Jess concerning about Leslie, who sat in front of the school on her first-day wearing different clothes with

The brother is the person who has the most information about the family. His knowledge of his uncle’s account and conversation with his mother contribute to the overall completeness of the story that would have been missing otherwise.

The storyteller was no solid in the story since she blend feelings with the truth, perhaps infrequently sister was envious with her more youthful sister. Sister is precisely one year more seasoned than Stella-Rondo and was included with Mr. Whitaker before Stella-Rondo got to be locked in to him. Sister is straightforward and frank, however her triviality and envy frequently outdo her, obfuscating her perspective of the world. Sister's recounting the story is brimming with drama, and her cleverness helps her adapt to push and the hurt that her relatives at times

After deciding to move to the post office, Sister’s point of view towards her uncle, mother, and grandfather changes, yet it remains the same towards her sister. While Sister was living at the house, she mentioned at the very beginning of the story that she “was getting along fine with Mama, Papa-Daddy, and Uncle Rondo” (Welty 40). Also, she refers to her uncle as being “a good case of a one-track mind” (Welty 43); this is positively stating that her uncle is only focused on one certain thing and nothing else.

Stella-Rondo brings out jealousy in Sister that causes tension between them. Sister hates that Stella-Rondo married Mr. Whitaker since Sister supposedly had him first. She feels like Stella-Rondo broke them up by lying. Most likely, Sister is upset because she was not the one to end up with the guy she liked, but she displays her feelings childishly. Sister’s

You see as the day progresses how spoiled Stella Ronda is and how deceitful she can be as she turns everyone in the family again Wetly and in the end causes Wetly to come to the decision to leave. Showing of an example of siblings who did not develop a more independent stance on life and how one can be pushed towards it. It’s been stated that ‘Brothers and sisters develop patterns of love and hate, care and abuse, and loyalty and betrayal. There are power struggles, sexual possibilities, interdependencies, role experiments, and divisions of emotional and instrumental labor. All of these will shape future adult functioning, perceptions, expectations, self-care, and self-worth. In other words, here is where many people directly learn some of the basics about who they are—or dare not to be—as individuals, partners, parents, and peers (Watanabe-Hammond, 1988).’ Again as stated before it seems like you shouldn't trust what Whelty is saying about her self and her family but reading the commentary by her family and their extreme reactions to little things, it is obvisoe that her point of