The Destruction Of Sexuality In Rachel's Nella

What makes an interesting and impactful novel often revolves around conflict, obstacles, and adversity and how the characters within the fictional universe cope with or triumph over these challenges. The manner in which characters choose to interact with adversity in their own ways enlightens who they are as a character and can help illuminate the meaning of the work as a whole. The character of Sula in Sula by Toni Morrison as well as the character of Zoe in Lorrie Moore’s You’re Ugly, Too both face the adversity of isolation through sexual and social rejection, but they handle it in radically different ways. Sula challenges this adversity by facing it directly, experiencing and therefore empathizing with and respecting the possessive relationship she is trying to avoid. Conversely, Zoe deals with this adversity in the same way she always has, barricading herself from growing as a character. Through their interactions in the face of their own adversities, these characters reveal a central message that dropping what is expected of one’s self sexually will eliminate isolation and perhaps lead to a healthy relationship.

Rachel took her arm away from his but still walked close to him. Then he had cried out "Rachel! Do you not love me? Is not my love for you as sacred as anything in all of life itself?" Rachel was quiet. They passed a street lamp. Her face was pale and beautiful. He had made a movement to grab her arm and she had moved a little farther from him. "No," she had replied. He then said "Some time--when I am more worthy?" he had asked in low voice, but she did not hear him, she did not even say goodnight and went into her house.

Thirteen-year old Briony’s childish fantasies reveal that she lives a protected life and has little understanding of adult issues. She is naïve about sexual matters and resorts to fairy tales to resolve any confusion she may have about it. After the fountain incident she says, ”This was not a fairy tale, this was the real adult

She knows she is an anachronism in an alien world and yet she will not compromise. She cannot and will not surrender the dream she has of herself, and even though she wants desperately not to be lonely, it is precisely the clinging to this dream, the airs, mannerisms and sense of herself, which alienate her further. She is trapped in a terrifying contradiction. Her need to be special, to adhere to codes and a tradition no longer valid, creates an intense isolation, while simultaneously her desire to not be alone, to be loved, threatens to break through this isolation. It not only threatens, but does break through. Betrayed by love once in her life, she nevertheless seeks it in the effort to fill the lonely void; thus, her promiscuity. But to adhere to her tradition and her sense of herself as a lady, she cannot face this sensual part of herself. She associates it with the animalism of Stanley's love-making and terms it “brutal desire”. She feels guilt and a sense of sinfulness when she does surrender to it, and yet she does, out of intense loneliness. By viewing sensuality as brutal desire she is able to disassociate it from what she feels is her true self, but only at the price of an intense inner conflict. Since she cannot integrate these conflicting elements of desire and gentility, she tries to reject the one, desire, and live solely by the other. Desperately seeking a haven she looks increasingly to fantasy. Taking refuge in tinsel, fine

“You gonna do what your mammy wouldn’t.” “He start to choke me, saying You better shut up and git used to it” (3). This scene consists of a vulgar sexual encounter occurring between Celie and her stepfather. This opening scene informs the reader to look forward to a depressing story about Celie an abused teenager, forced to have sex with her stepfather because her mother’s too sick to provide care of his sexual needs. Her stepfather constantly rapes her and she becomes pregnant twice. Celie’s fears that her stepfather will rape her little sister so she lays down and let him rape her. Celie’s abusive stepfather’s the first male that had her seeking the affection and attraction of women.

Rachel acts more like a child than a tween. It's Rachel's birthday and turning 11 but I don't think she wants to be. Rachel acts like child than a tween. In paragraph 10 it states " That's not you're not... Not mine," I finally say in a little voice that was maybe me when I was four". This shows she act more like a child because she speaks like she is 4 and usually 11 year olds act more mature. Further more, the author states in paragraph 9 "Maybe because I'm skinny she doesn't like me, that stupid Sylvia Saldivar says, "I think it belongs to Rachel". This show also she act more like a child because usually kids are mature enough to not say things like stupid. This is why Rachel acts

Readers discover Ashley’s feelings for her mother after meeting her for the first time in eight years. With the use of irony, the author conveys the message to the reader that Ashley’s perception on her mother has altered. Ashley always had high remarks towards her mother, Ashley considered her mother to be strong and ardent, however during this encounter with her mother Ashley sees how cunning and sadistic her mother is. From her facetious insults to her sardonic remarks, readers see Ashley’s view on her mother change. The author chooses to put Ashley’s encounter with her mother in the book because it adds depth to Ashley. Ashley had a lot of expectations when meeting her mother, she thought that this encounter will be life-changing for her

Manghan’s sister appears to the boy like an angel, with her hair back lighted almost like a halo. But in reality she is just the girl across the street in a lower middle class neighborhood – a dead-end street that suggests nobody there is going anywhere. He admires her longingly from behind a window shade across the street, just as I longingly stared at Linda, who, if she even had known I was alive, probably would have laughed at the glasses-wearing, book-wormish nerd that I was. Just as “her image accompanied [the boy] in places most hostile to romance,” so did Linda’s image accompany me – in the pew at early church service and in the back seat of my parents’ car as we drove farther and farther away from my her on a vacation trip to Georgia.

The affair with this man brings the narrator the realization that she never actually felt happiness. This novel presents three different archetypes; initiation, taboo, and metamorphosis. They all create a theme of love, pain, and the past. A mixture of themes disclose thoughts and concepts that are existing in all of us.

The beginning of Two Boys Kissing by David Levithan is a beautiful introduction into what is sure to be a meaningful and impactful look into the lives of queer youth in modern times. His choice of narration, the gay men of the past who suffered and died during the AIDs epidemic of the 1980s serves only to make the voice of the story more powerful. The love stories that are introduced and expanded upon in the first 42 pages of the book are exciting, but also saddening, stories of hope and fear and darkness, all of which come together to grab the reader’s attention and hold it until the very end of the book. Indeed, I would like to focus on the narrators in my reflection. The depth they add to the stories of Craig and Harry, Neil and Peter, Ryan and Avery, Tariq, even lonesome Cooper, is a large part of what makes the novel so moving.

While reading this someone can clearly tell that the unnamed boy has so many limitations to what he is actually able to do for the girl, so this causes him to look for an escape from reality and into his fantasies. He uses the idea of sexual realization to get a better grip on becoming something more than just a boy. “These boys are on the brink of sexual awareness and, awed by the mystery of the opposite sex, are hungry for knowledge(Joyce1).” This passage shows that the boy uses that thought as a perception of life as an

Sixteen years old, unattuned to the vagaries of human nature, and at the stage where sexual curiosity ruled her universe, evidenced by the naivety in which she'd fallen for the predatory charms of her High School English Teacher. McHugh couldn't stop those thoughts from intruding into his mind as he continued to listen to Emily, in no doubt she was unaware of his inner fantasies or the hard, throbbing cock, he rubbed under the desk, imagining how it 'd feel buried in her hot mouth or tight, teen cunt.

After reading through the two novels this one summer by Jillian, Mariko Tamaki’s and The Sula’s by Toni Morrison, we understand that both novels demonstrate how family and friendship connect to prevalent issues of individual identity, sexuality, and race? The both novels expressed the gender inequality as well as the ideology of how women view each other. A careful review of the novel, This One Summer, and Sula shows lack of love, friendship and family options can be traced to several important factors. How the both mother relate on a wide’s gendered level? How sex and sexuality impact tweens experience in their adolescence?

First, loneliness, shame, self-deprecation, and regret are the dangers associated with female sexuality in Susan Minot’s Lust. The reader is introduced to a nameless, teenage girl, who decides to

Many arguments have been presented that Louise Mallard demonstrates distinct, selfish acts of self assertion. “There has been, moreover, virtual critical agreement on what the story says: its heroine dies, ironically and tragically, just as she has been freed from a constructing marriage and has realized self-assertion as the deepest element of her being” (Berkove 1). In this article it proposes this quote, but thereafter it compromises the previous thought that Mrs. Mallard is ordinary. In agreement, she is just like any other woman in this world. The reader must take into an account that women should be secure in themselves before entering in a relationship. She did not depend her life on her husband. Mrs. Mallard was solely calm and reserved about the situation. Though the story did not express her religious beliefs, conclusions might be drawn that she was content knowing she would see him once again. In a