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The Cure For Anything Is Salt Water - Tears, Sweat, Or The Sea

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As Isak Dinesen famously states in Seven Gothic Tales, “The cure for anything is salt water - tears, sweat, or the sea.” Paradoxically, since the days of ancient creation epics, the sea has been a symbol of chaos and danger; clearly, water takes on these characteristics in the terrifying ocean in The Awakening and in the river that swallows Virginia Woolf in The Hours. Yet for each major character in the two novels, water yields lucidity in its wake; it is the “cure” that brings closure to each story and enlightenment to each woman. Water, in many forms, affects every major character in [oh god what’s a synonym for “the two novels”]. Fears of submersion, overpowering tears, visions of deep-sea creatures, and baptismal deaths all seep into the pages of the two novels. In some cases, water is clearly something to be avoided; take, for example, Laura Brown’s reluctance to begin her tasks as a housewife in the morning. She must “[summon] resolve, as if she were about to dive into cold water” (41) just to put down her book, because there is more passion and promise in Virginia Woolf’s words than in her own existence. For Clarissa Vaughn, too, water invokes feelings of discomfort; as she steps from her home onto the streets of Greenwich Village, she “pauses at the threshold as she would at the edge of a pool, watching the turquoise water lapping at the tiles, the liquid nets of sun wavering in the blue depths” (9). She admires the freshness of the morning, “[delaying] for a

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