The Mother Of Law Asks The Daughter

As Wendy Martin says “the poem leaves the reader with painful impression of a woman in her mid-fifties, who having lost her domestic comforts is left to struggle with despair. Although her loss is mitigated by the promise of the greater rewards of heaven, the experience is deeply tragic.” (75)

“But of course they know no reason why beyond what they daily have come to know. She think thinks of the man who will be her husband, feels shut away from him because of the stiff severity of his plain black suit. His religion. A lifetime of black and white. Of veils. Covered head (Walker pg.2). In this quote the author expresses the views Roselily has on her new husband and what he life will be from this point forward. Roselily sees how different she is from her husband and that scares her. She sees her future being a simplistic world where she will have no more hard choices to make, no more worries, and even perhaps no more emotion (encyclopedia.com). “ These two should not be joined,” as the Preachers’ speech continues Roselily’s mind ventures to the past once again.

This is the ultimate loss of identity because indirectly by Mavis denying her children and breaking the bond between mother and child, she is in a sense denying herself and her natural inclination to care for her children. When Mavis and her husband are in bed together, we see Morrison compares her to a ?Raggedy Ann doll,?(26) illustrating the fact that Mavis? identity meant nothing to her husband. Ironically, it takes this initial shed of self for Mavis to be able to escape the bondage her husband has over her. An article by the Radicalesbians supports this fact by stating that the male culture?s definition of ?woman? binds a woman to sexual and family functions (Radicalesbians). Unfortunately, Mavis? husband didn?t allocate ?family functions? as including the needs of his children coming before his own needs. Another indication of a lack of identity in this is Mavis? mother?s ability to turn Mavis in when she runs away to her home. Her mother, a traditional woman, is unable to understand the idea of a woman running away from her family even if it is to save herself. Her informing Mavis? husband of Mavis? whereabouts is the result of her unwillingness to recognize the similarities between her own lack of identity and her daughter?s, another tendency of women stated in the article.

By comparing the narrators thoughts to Gertie’s actions, we see how Enright prioritizes on leading a pure, well deserved life earned by working hard, even if it means having bumps in the road at first, as opposed to one that is impure and taken for granted. Enright also underlines by comparing the weddings of both the narrator and Gertie that we shouldn’t do things just because we are supposed to and

She selfishly praised quilts as "priceless" (91) whereas she thought the same piece was old fashioned and out of style when offered to her for college. By carrying the quilts she claims to carry the heritage, however, she shuns the lifestyle of her family, which is of course a part of her heritage.

Rose Mary, from the memoir The Glass Castle, is a naturally self-centered woman; this can be viewed as a bad quality for a mother to possess, but in her case it does benefit her children in a certain way. Although Rose Mary’s selfishness is the reason she never provides for her family as a mother, the positive twist on this unmotherly characteristic is that it helps teach her kids not to conform to social norms. Children naturally look up to their parents, and when Rose Mary’s kids see how freely she acts when other people obviously are judging her, it influences how they perceive the opinions of others. An example of this was when the Walls were living in Phoenix. It was so unbearably hot one day that Rose Mary told her children to swim in

housewives versus the lifestyles led by other women. The last line of the poem (?Wait ?til they

According to Elizabeth Lowell, “Some of us aren't meant to belong. Some of us have to turn the world upside down and shake the hell out of it until we make our own place in it.” Sometimes what every situation needs is an outsider to flip the script and create a new outlook on everything. In Shirley Jackson’s novel, “We Have Always Lived in the Castle,” the speaker, Merricat, is an outsider of society on many levels, such as mental health, gender, and that she is an upper class citizen in a poor area. Although Merricat is mentally unstable, her outsider’s perspective criticizes the social standard for women in the 1960s, indicating that social roles, marriage, and the patriarchy are not necessary aspects in life such as it is not necessary to have the same outlook on life as others.

It says in the text “ You’ve let this room and this house replace you and your wife in your children’s affections.” (8) This shows that if parents give their children false love, and false care, then the children will become attached to that false love and care. Then they will not care for their parents and will only care for the creature comforts. They will try to push the parents out of their lives, and the parents want to be part of the children’s lives, so they give them even more creature comforts, letting the children know that they are the ones that give them the things they like. But the children will get attached to these

The journey that Janie embarks on is to find herself. She learns that she can be happy with or without a man, and with or without riches and superficial items. It is also a quest for love and fulfillment. In her marriage to Joe, Janie has all of the worldly possessions one could dream of having, but she does not love Joe. She is not happy in that marriage because even though she has every tangible item she could want, she does not have love, and that is an essential part of life. With Tea Cake, however, she does not have expensive items galore, but she does have love. Her marriage to Tea Cake shows that you do not need what money can buy to make you happy, you need love. The contrast between the two places also shows that individual freedom is necessary to be happy. Living with limited expression is harmful to a person. No one desires to live a life, having their ideas suppressed by another. Janie’s need to be free and for expression is one that every person in the world can relate to. The contrast between Eatonville and the Everglades highlights the meaning of the

Second of all, Janie 's second husband was a man by the name of Jody Starks. He made Janie fell in love with his sweet talks but later in the relationship he abused her. The abuse drove them to become distant partners. With Jody, Janie thought that she would forever have “flower dust and springtime sprinkled over everything” (59). She thought she’d have “a bee for her bloom” (59). Sadly, she didn’t find this in Jody. Instead she found change in him but still not the love she was searching. Before they weren’t married, the author said that "Janie pulled back a long time because he did not represent sun-up and pollen and blooming trees, but he spoke for far horizon. He spoke for change and chance" (28). Meaning that Janie might have known that Jody might not be the one that will make her happy and provide the kind of love she was looking. Jody was very protective of her, and he didn’t want anyone

Rich believes the male dominated society categorizes women as a lower class. She declares “this drive to self-knowledge, for women, is more than a search for identity: it is part of our refusal of the self-destructiveness of male-dominated society” (Rich 7). Rich reasons that women searching for individuality is the start of escaping male supremacy and becoming equal to males. Because Rich believes women are treated differently, it indicates that there is going to be a change in the concept of sexual identity towards the stereotypical gender roles. When women started to hear about Rich they began to explore their own potential that the male civilization ignored.

In the 20th century, the average home life in rural Oklahoma was full of hard workers in the pursuit of the picture-perfect home surrounded by plentiful land. The sun rose over the land, signaling the commencement of the day ahead. The farmer had already been awake since before the sun broke the horizon, preparing his little equipment and his animals for his land’s work. The farmer’s wife was in the kitchen, cooking her husband a warm breakfast as a sign of her gratitude. Their children woke and soon were running into the kitchen, bellies growling. After gobbling up the breakfast, they ran outside to play and do chores of their own. The rest of the farmer’s wife’s day was spent cleaning, cooking, and looking after the kids until the sun went down and it was time for bed. Set in this time, The Grapes of Wrath, by John Steinbeck, holds contrasting female characters. Some characters show the defiance of the gender roles at the time, while others adhere to them. In some instances, a female character can surpass the expectations set upon her by the patriarchal society in which they live she lives, setting her free to use a voice she never was allowed.

In contrast to her children, who simply “growl” at her when they are hungry, the ingredients in the kitchen actually assist her in making the “soup.” The “salt” is particularly important, as we only notice it when it is absent from food rather than when it is present. When it is not in the food, its omission is strongly reflected in the taste of the food. Hence, it is taken for granted. Similarly, this housewife is criminally underappreciated and if she was not around, her family would instantly feel her absence from the household. She also compares herself to “the celery and the parsnip”, who are regularly “forgotten” and seen as “bit players.” The housewife knows “exactly” this feeling, as she is similarly overlooked and seen as playing a more minor role in the household than the man, who is traditionally the breadwinner. Overall, although the poem is essentially a parody and uses plenty of humour, there is an overbearing feeling of underappreciation, loneliness and frustration towards her family on the part of the speaker. While at the beginning of the poem the speaker’s tone is mocking towards her family for having many expectations of her yet taking her for granted, at the end of the poem there is a sense of isolation, as the only “applause” she gets is the “blue” flame of the stove.

She notes that at the age of thirteen, marking her arrival at Sweet Home, Sethe "has never seen the likeness of her own face" (151). Beyond this individual and specific way in which slaves may be deprived of self-image, Davis traces how the social structures created by slavery inherently efface self-image. She also identifies the ways in which Morrison's characters find ways of identifying and viewing themselves as separate from slavery. The first example is the wedding. The novel's description of Mrs. Garner's wedding and its extravagance serves to highlight the contrast between black and white. Davis notes that under the institution of slavery, Sethe's wedding to Halle is not and cannot be validated since "no such sentiments, no such sacraments apply to her" (152). However, "Sethe cannot see herself in this way and so she creates her own ways of consecrating her marriage" (152). Davis links this self-appropriation of imagery to Sethe's habit of bringing flowers and herbs to work with her "thus appropriating for herself the place where she is to work" (152). By creating her own symbols in these two situations, Sethe is able to become her own subjective self, beyond the objectification of slavery. As further example of the loss of identity under slavery, Davis discusses the lack of modeling that results from the lack of a community of older women to teach Sethe about child-rearing.