Summary of ”Weekend” by Fay Weldon

The object of examining gender roles is to answer the question why should women and men be equal and "Are there populations in which men and women are absolutely equal? Are there societies in which women dominate men?" (Gender 238) By understanding the culture in which this piece of literature is written, the gender roles and the rules of behavior for a woman, then the relationships between genders can be realized. The general myth about women and their gender role in the American society is that the mother works in the home and supports her man in every way. For each relationship, the people in that relationship must decide the particular roles that they will play. In the literary work "Girl", Kincaid shows clearly that the woman's role in this work was to serve the family and to work mainly in the house. The mother writing this story tells her daughter that "this is how you iron your father's khaki shirt so that it doesn't have a crease" (Kincaid 489). In this marriage, it is understood that the wife is to do the laundry for the husband. Today's society does not always provide these clear roles since many women work a full time job and the house chores are a responsibility for both to handle. Though the woman is still mainly held responsible for the home. There should be a constant search for equality in gender roles. Kincaid explains how the man is working to bring home the money and the wife supports

In the novel, “We Have Always Lived in the Castle,” there are many extremely important themes, such as domesticity. This novel focuses heavily on domesticity because it portrays characters who are highly devoted to their home. In this novel, Constance Blackwood, Mary Katherine Blackwood, and Julian Blackwood are three of the only Blackwood’s which are still alive. However, the cause of death of the rest of the Blackwood’s causes many of the townspeople to hate Constance and Mary Katherine Blackwood especially. Although very hated in the village, the two girls and their uncle Julian remain in

“Who giveth/presents this woman?” is asked by the priest in Vincente Minelli’s 1950 film Father of the Bride and in Charles Shyer’s 1991 remake of the same name, respectively. Both films are extremely similar in content, as the remake borrows heavily on dialogue, temperament of characters, scene progression, and the overall essence of the theme of adoration between a father and his daughter, even though they are set 41 years apart. It would be foolish to say that post-war 1950s gender roles of the original film are the same of those of 90s remake, but regardless of the vast societal progressions and gradual increase of women’s rights from the 50s to the 90s (and now) there is still a subconscious stereotype of a “traditional” family that conforms to the ideas of gender roles that live within films of today.

Laurel Thatcher Ulrich proves with this book is that the every day journal entries that may seem mundane and unimportant at first are actually very important to understanding Martha’s life. If one is to truly understand Martha Ballard’s life historians must dive deeper than the larger, more attention grabbing details of her diary, such as the Puritan family incident. It is the daily seemingly “less important” events that can show Martha’s internal struggles and emotions of what she had to go through as being a women during that time period.

The narration of the mother lecturing her daughter with commanding diction leads to the theme of women conforming to domesticity and if they don’t conform then they will lead a life of promiscuity that will affect the way people perceive them. Women in the past believed that a woman’s role was that of a domesticated housewife. The narration of the third point of view in this story and the commanding diction of it places an importance in the reinforcement of this idea, that if a woman doesn’t follow social norms, she will eventually turn to a “slut” one that her family will be ashamed of. She must set the table for lunch and for breakfast that is “how to behave in the presence of men who don’t know [her] very well, and that it the way they won’t recognize immediately the slut that [the mother has] warned her against becoming.”(Kincaid 485) through her commanding diction, the mother is telling her daughter how to set a table, how to cook, she

Women are taught from a young age that marriage is the end all be all in happiness, in the short story “The Story of An Hour” by Kate Chopin and the drama “Poof!” by Lynn Nottage, we learn that it is not always the case. Mrs. Mallard from “The Story of an Hour” and Loureen from “Poof!” are different characteristically, story-wise, and time-wise, but share a similar plight. Two women tied down to men whom they no longer love and a life they no longer feel is theirs. Unlike widows in happy marriages Loureen and Mrs., Mallard discover newfound freedom in their respective husband’s deaths. Both stories explore stereotypical housewives who serve their husbands with un-stereotypical reactions to their husband’s deaths.

In the stories “A Worn Path” by Eudora Welty and “The First Seven Years” by Bernard Malamud characters persevere for love. In “A Worn Path” Phoenix Jackson, an old grandmother, goes through a long journey and overcomes multiple obstacles to get medicine for her sick grandson. Phoenix perseveres through emotional and physical trials because of her love for her grandson. Likewise in the story “The First Seven Years” Sobel perseveres for seven years of unfair pay to try and marry his love, while Feld perseveres to make his daughter's life better than his own. Both of these stories exemplify that humans will go to great lengths for the ones that they love.

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.

In both short stories, it is evident that aged traditions possess the capability to construct barriers between the strong bonds existent in families. Traditions have the ability to turn

As hardworking women living of the prairie, Mrs. Hale and Mrs. Peters can relate to Mrs. Wright’s situation. They know personally that long days of doing laundry, cooking, and cleaning can become very tiresome (Hedges 91). They realize that living on the prairie can force a woman to be confined to her own house for weeks at a time, and because Mrs. Wright never had children, the grueling loneliness that she suffered must have been excruciating. Mrs. Hale and Mrs. Peters both experience the constant patronization and sexual discrimination that most women in the early twentieth century lived with. They empathize with the difficulties of Mrs. Wright’s life and almost immediately a bond is formed with a woman they do not even know.

In her story, “Old Woman Magoun” she delivered a feminist message more directly than ever. It’s based in turn-of-the-century New England, patriarchy still defined relationships even though the men themselves had degenerated. The story reflects the realities of Freeman’s own life, as her father’s business failed and her mother became the support of the family. However, Freeman’s life was not unique; rural New England is

Martha's mean bitterness is her way of proving to everyone and her self, that she has control. But in reality she has very little control over her life; she is trying to live through her husbands eyes, living up to her father expectations, and drinking heavily. She does not have much power, because her fate is so tied up in the men around her.

For centuries, women have had the role of being the perfect and typical house wife; needs to stay home and watch the children, cook for husbands, tend to the laundry and chores around the house. In her short story “Girl”, Jamaica Kincaid provides a long one sentence short story about a mother giving specific instructions to her daughter but with one question towards the end, with the daughter’s mother telling her daughter if she had done all the instructions to become a so called “perfect” woman, every man would want her. Kincaid’s structuring in “Girl,” captures a demanding and commanding tone. This short story relates to feminist perspectives. The mother expects a great deal from her daughter to have a certain potential and she does not hesitate to let her daughter understand that. As a matter of fact, the story is about two pages long, made into one long sentence - almost the whole time the mother is giving her daughter directions to follow - conveys a message to the reader that the mother demands and expects great potential in her daughter. The daughter is forced to listen and learn from what her mother is telling her to do to become the perfect housewife. Throughout the story, Kincaid uses the symbols of the house and clothing, benna and food to represent the meanings of becoming a young girl to a woman and being treated like one in society. Women are portrayed to appeal to a man to become the ideal woman in society, while men can do anything they please.

       As the tale begins we immediately can sympathize with the repressive plight of the protagonist.  Her romantic imagination is obvious as she describes the "hereditary estate" (Gilman, Wallpaper 170) or the "haunted house" (170) as she would like it to be.  She tells us of her husband, John, who "scoffs" (170) at her romantic sentiments and is "practical to the extreme" (170).  However, in a time

Although Martin’s family faces dilemmas, the love in the family remains evident. Initially, the devotion that Martin shows towards his children illustrates his good nature. Martin views his children’s faces as “radiant as flower petals, equally loved” (103). Moreover illustrating his love for his children, Martin “kissed the tiny hand that lay palm-upward” (103). Furthermore, Martin’s hope to hold his family together exhibits his affection for his family. Martin constantly attempts to calm his wife in order to avoid displays of anger(101). “Please go upstairs,”(101) Martin begs of his wife so the children do not get upset seeing their mother frustrated. Lastly, the physical and emotional desire for Emily that Martin has, further shows how he cares for his family. Comforting his wife, Martin exhibits his love for her(104). Martin watched Emily as she slept and his “old anger vanished”(104).