The Philosopher's Beam: The Maltese Falcon

This mystery follows the escapades of Sam Spade as he hunts for the missing Maltese Falcon, and the killer of his partner. Spade is described as a “Blond Satan” (1). This is not a rather flattering way of describing your protagonist, and Hammett knew this. He knew that when solving crimes, one must place himself into the mind of the criminals to truly understand their reasoning. To do this for a living will take its toll, as Hammett knows all too well from his life as a private detective in L.A. His private eye is gruff, cynical, and drinks far too much alcohol. Spade is known for being far too honest at times saying, “people lose teeth talking like that” (94) when trying to gain information. These are the coping mechanisms that Hammett gives Spade to show his readers the human aspects of him. Spade might not be the most enjoyable company but if you give him a case to solve he will give his all to solving it. This sounds like another brilliant detective from the past. Sir Doyle would understand why Sam Spade is an effective detective just by looking at his habits. Sherlock Holmes and Sam Spade are akin to one another in the fact that they are both fallible humans with a knack for solving mysteries. Hammett is brilliant in the way he uses the influence of perhaps the first hardboiled detective to add a human side to the private eye. This type of writing is far above the caliber expected of a pulp fiction author, and to this day literary scholars site “The Maltese Falcon was vastly ahead of any other work in its weight class.” (Smith, 178) Dashiell Hammett proved the worth of an entire subgenre, and helped the hardboiled detective become a part of American literature. To this day, when people think of the private eye they jump straight to the cliché of a tough man of few words drinking bourbon and hunting down the bad guys in a dark city street. This is

Man is a product of two worlds— the one he inhabits and the one he strives to create. The fisherman in Lawrence Sargent Hall’s “The Ledge” is caught somewhere between the two. A calloused, hardworking man who lives in a cold corner of the world, he is a father, a husband, and a man. Hall uses the perception of others, the actions of the protagonist, and direct narration to ultimately expose the real, imperfect humanity of the fisherman.

The protagonist’s struggle to decipher what the reality of his situation is a particular conflict in the source. The central character often makes statements about how much faith he has in his boat. One clear example

The short story “The Boat” by Alistair MacLeod is narrated by a man who comes from a fishing family. His mother’s side of the family has forever lived and worked by the sea and continues this tradition. The narrator’s father always wanted to be an academic, but worked on the boat to support his family. Through this passage it is evident that the parents’ characters clash in many aspects of their lives and are in constant conflict. MacLeod demonstrates this through the use of repetition, the contrast in other unrelated ideas, and through information that is withheld.

The first-person perspective, as presented in the story, is a vital tool used by John Edgar Wideman to plant a seed in our minds. Wideman’s use of first-person perspective, not only allows him to explain his story as the narrator, but also enables him to provoke an argument that is viewed through his perspective. The instigation of evoking thought is possible because we eventually trust Wideman, such as trusting him in the belief that "You begin and right in the eye of that instant storm your life plays itself out for you in advance" (Wideman 570).

The title of the play “Trifles” is a major symbol of how men viewed women in the early nineteen hundreds, something small, and of little value or importance. One of the examples of trifles within the play is the bird in the cage which symbolized Mrs. Wright and the life not only she had to live, but other women faced during this time as well. Women, as well as Mrs. Wright, felt caged in her own homes, and some were not able to associate with their friends. Women had no right to vote, or have a say so as to anything except what went on inside the home as far as cleaning, cooking, sewing, and tending to their children.

Twenty-eight-year-old Anthony Frederico was fired from his dream job as a sports reporter after making the mistake of publishing an article with a racist headline. After years filled with regret over his career-ending mistake, Frederico finds new life as a Catholic priest living by the word of god (Zauzmer 1). The world is teeming with second chances and forgiveness, which is a recurring theme in the novel, The Other Wes Moore and the classic, The Scarlet Letter. The theme of second chances is supported throughout these narratives using the literary elements of imagery and stream of consciousness.

For this paper, I will critique Wendell Phillip’s speech, “Murder of Lovejoy”, and examine it in relation to its history, audience, speaker, and purpose. It is considered one of the greatest rhetorical successes of the era, and one of the only speeches where the speaker’s goal can be seen taking effect. It is also notable for being both spontaneous and directly after an opposing speech.

In “An Occurrence At Owl Creek Bridge” by Ambrose Bierce, the story of a man by the name of Peyton Farquhar whose unlawful actions landed him in a heap of trouble is told. The story is split into three sections which goes back in forth between the past, the present and Farquhar’s falsation of both. By taking the approach of using symbols throughout the story, Bierce gave the opportunity for the reader to feel like they are apart of the story as well as leaving them with a shocker in the very end. Since the story goes back in forth between reality and illusion, the reader may get a bit confused while reading but you get

The tide was coming in and there was only a narrow strip of firm beach between the water and the white, stumbling stuff near the palm terrace. Ralph chose the firm strip as a path because he needed to think, and only here could he allow his feet to move without having to watch them. Suddenly, pacing by the water, he was overcome with astonishment. He found himself understanding the wearisomeness of this life, where every path was an improvisation and a considerable part of one 's waking life was spent watching one 's feet. He stopped, facing the strip; and remembering that first enthusiastic exploration as though it were part of a brighter childhood, he smiled jeeringly. He turned then and walked back toward the platform with the sun in his face. The time had come for the assembly and as he walked into the concealing splendors of the sunlight he went carefully over the points of his speech. There must be no mistake about this assembly, no chasing imaginary. . . .

​Throughout time, many literature works of art have shown the common theme of man with the mindset that he is the superior being in control. Around the 1830s, literature took a turn from the romantic view of the world to a more natural take of the universe. One of the better portrayals of this naturalistic view is Stephen Crane’s “The Open Boat” in which the short story exhibits the lives of four men cast out at sea after their steamer, the Commodore, sank and they were then forced to take refuge in a life boat. This story follows the men through the focalizing viewpoint of the correspondent and descriptively as well as effectively portrays his psychologically changing viewpoints of the ocean and their take on nature as a whole. This short story is a classic representation of naturalism with the extensive use of literary tools such as personification, metaphors, and similes to convey the message that nature is indifferent to mankind and exhibits the steady-changing viewpoint of the correspondent as the story progresses.

Dashiell Hammett’s novel, The Maltese Falcon, is a hard-boiled detective novel; a subset of the mystery genre. Before the appearance of this sub-genre, mystery novels were mainly dominated by unrealistic cases and detectives like Conan Doyle’s Sherlock Holmes. As Malmgren states, “The murders in these stories are implausibly motivated, the plots completely artificial, and the characters pathetically two-dimensional, puppets and cardboard lovers, and paper mache villains and detectives of exquisite and impossible gentility.” (Malmgren, 371) On the other hand, Hammett tried to write realistic mystery fiction – the “hard-boiled” genre. In the Maltese Falcon, Hammett uses language, symbolism, and characterization to bring the story closer to

Symbolic objects can be observed by inquisitive and perceptive readers. Symbols fit naturally into context and can be overlooked by even the most perceptive reader. A symbol can have no apparent connection to the text, and therefore be considered as irrational, but the symbol's relation to the object is often typical for what it stands for. However, the main goal in using symbolism is to grasp a more complex meaning beyond its natural state. Glaspell's use of a birdcage is an apparent connection to Mrs. Wright's life on the farm with her husband. While Mr. Wright works on the house farm, Mrs. Wright is held captive; as a caged animal, alone to fulfill wifely duties. In agreement, a composed analysis by Ariang Bangga on Glaspell's Trifles explains how, "Traditional beliefs have held women captive for years. In Trifles, [readers] clearly [see] that there is an obvious distinction between men’s and woman’s role" (Ariang Bangga 1). The bird cage signifies Mr. Wright's treatment and harshness toward his wife to prevent Minnie from socializing with the outside world. Due to his cruelty, Minnie is like the trapped bird imprisoned by traditional male dominance. With that being said, another object of significance is brought forth, that being the bird. Glaspell strategically places symbols for readers to form their own suggested significance. In this matter, the bird is only allowed to wonder within its cage and depend completely on its owner. Relatively, Minnie is conformed to housekeeping matters and what Mr. Wright allows. Turning back to the birdcage that the two women found later in the play, it was found already broken without a bird inside. Marisarah’s article, "A Study of Symbols," suggests that the bird was removed roughly, resulting in the cage breaking. "It implies what just happened to Minnie's life, which she can finally [break away] from a cold and hard husband with a rough way too"

Don’t attempt to change your fate, I’m warning you. “The Masque of the Red Death” and “The Monkey’s Paw” are examples of why not to mess with your fate. In both stories, the characters attempted changing their fate and ends in a very bad outcome. The characters, both learned that if you try changing your fate there is going be a horrific consequence.

The use of imagery is displayed heavily throughout the story to reflect the feelings of Mrs. Mallard following the news of her husband’s abrupt death. The setting outside her window is very descriptive and allows the audience to connect this imagery to the future that Mrs. Mallard is now seeing opening for her. As she is looking out of the window in her bedroom, she sees “trees that were all aquiver with new spring life” as well as sparrows “twittering in the eaves” (Chopin). This represents the joy and realization of a new life for Mrs. Mallard. She can now start over as a free woman instead of living as a man’s property trapped inside the house; this is where the woman’s place was during this period while only