Themes in Green Grass Running Water

This paper looks to define and explore three books which are a crux to various food histories which in the last decade has become a scholarly journey as food history is becoming increasingly studied as a scholarly endeavor by historians where previously it was not seen in such a scholarly light. The three texts which are going to be examined are: Planet Taco: A Global History of Mexican Food by Jeffery M. Pilcher, The Invention of the Restaurant: Paris and Modern Gastronomic Culture by Rebecca L. Spang, and lastly To Live and Dine in Dixie: The Evolution of Urban Food Culture in the Jim Crow South by Angela Jill Cooley. Each of these books seek to redefine how people see their perspective topics whether it be Mexican identity rooted in cuisine, the evolution of southern food in a racially divided south, or even the concept of the restaurant emerging from a revolutionary culture. These texts bring awareness to various topics which have both social, cultural, and economic stigmas associated with them.

Daly Walker has written a story about a doctor who is haunted by the shame and guilt he carries with him from the atrocious acts he committed while serving in the army; acts so horrible that he cannot speak of them. The story depends on his use of three literary elements: setting, plot and symbolism.

What would he think of our noisy Chinese relative who lacked proper American manners? What terrible disappointment would he feel upon seeing not a roasted turkey and sweet potatoes but Chinese food (74). But as Tan grows older she begins to realize that giving up her Chinese heritage for more American customs is not what she truly wants in life. Similarly, “Museum” by Naomi Shihab Nye conceals irony in the authors thoughts. Nye thinks that mistaking the strangers home for the McNay was a big mistake in her young life. But as it turns out this “mistake” unintentionally taught a valuable lesson to the residents of the home. This is reveled to the reader by Nye through a quote from one of the residents “That was my home. I was a teenager sitting with my family talking in the living room. Before you came over, I never realized what a beautiful place I lived in. I never felt lucky before” (80). Including these traces of irony helps add character and comedy to the already entertaining articles.

* The author gives the story from two different perspectives one from the mother’s perspective, Ruth, and the other from the son’s perspective, James.

James grew up as a black child living in a black neighborhood with a white mother during one of history’s biggest era’s for civil rights movements. The title “The Color of Water” correlates to the issues about religion and race that occur in the book with major characters such as Ruth and James. The aspects that had the most significant impact on James’ identity is environment because of the racist and segregated times, the poor neighborhood he was raised in and his mother, Ruth.

In the two novels, Masters of the Dew and Praisesong for the Widow, water is an evident representation of change between opposite ideas throughout the overall plots. In Masters of the Dew, Jacques Roumain tells the story of Manuel, a Haitian peasant who struggles to save his native village, Fonds Rouge, from severe drought and division of the villagers. Later, Manuel finds a large reservoir of water but only tells the secret to one person. Towards the end of the story, the village is saved, but only after the divided village agree to work together and build an irrigation system after Manuel dies. In spite of Manuel’s death, the people of Fonds Rouge finally access water. In his death, there was change--reconciliation. In this novel, water symbolises change, from death to life--revival. In Praisesong for the Widow, the symbolism is similar, but not as literal. The story starts with Avey Johnson, an African American widow, on a cruise ship with her friends. However, Avey starts to feel an indescribable urge to

The water is symbolic of romantic love as an overwhelming and transforming force that changes in form and changes the people involved. The wave is large, unpredictable and spans out as far as the eye can see. The movement of an all-encompassing emotion like love is impossible to contain, much like water. It is free flowing and goes on forever. “Love was a game, a perpetual creation (Paz, 2). Love and water are both creations of the divine and humans tend to use and abuse them. However, humans are emotional and social animals who need both love and water to survive. Waves have a way of hitting humans all at once, just like love. It renders humans excited and full of surprise at first “wave of surprise” (Paz, 2) like a crashing delight. It also leaves us always wanting more. We have an unquenchable thirst for love and affection, thus we chase it even in its most sinister forms, like an abusive relationship. The narrator is accepting of the wave 's presence when she appears in his home where he was once hesitant of the idea of her in his life. Love also transforms and can change us, like water changes states. It can become overwhelming and hard to breathe, but it is often all around us and

The geography of rivers is important to their symbolism in this story. Antonio’s river starts from a lake, a place of no morals; studies prove that infants are selfish beyond belief, and so is water at its birth. His river carries the water to the ocean, the place where all water lands, carrying the blood and salt and debris that it picks up on its long journey. All high rivers go to the ocean, no matter how many lakes they go through. The ocean is where water goes to die, until its spirit, in clean water, is carried through the clouds back into the frigid mountain lakes, where it is born again. This is the cycle of water, and the cycle of life.

Humor is a universal language whose breadth spans that of all ages and cultures. As a fundamental method of communication, it links humanity and fosters a deeper understanding of each other’s lives. In Sherman Alexie’s short story excerpt, The Approximate Size of my Favorite Tumor, Alexie highlights the identity of his people through the use of humor. Occurring throughout the work, humor defines Alexie’s style and view of the world around him. It acts as both a coping mechanism and a way of communicating with those around him, as humor is a language everyone can understand. In this sense, it weaves together Alexie’s view of Native American identity. Alexie uses this humor both to reveal long standing stereotypes about Native American people and communities and to maneuver through everyday life.

James McBride's memoir, The Color of Water, demonstrates a man's search for identity and a sense of self that derives from his multiracial family. His white mother, Ruth's abusive childhood as a Jew led her to search for acceptance in the African American community, where she made her large family from the two men she marries. James defines his identity by truth of his mother's pain and exceptionality, through the family she creates and the life she leaves behind. As a boy, James questions his unique family and color through his confusion of issues of race. Later in his life, as an adolescent, his racial perplexity results in James hiding from his emotions, relying only on the anger he felt against the

At the beginning of The Color of Water, James McBride’s mother Ruth goes on to introduce particular aspects about her upbringing. She mentions how she grew up in an Orthodox Jewish family and begins to describe both her parents. Ruth’s father was a very cold and hard individual who didn’t care too much for his children’s overall well-being, while her mother was very sweet and kind in nature. She also goes on to talk about how her family was originally from Poland but decided to move to the United States from fear of oppression from the Russian government. Along with outside forces that proved to be a problem for Ruth’s family were similarities in oppressive behaviors in their family as well. Since Ruth’s family were Orthodox Jews,

Two other important symbols are the moments of silence throughout the story, and the reoccurring usage of water. Each occurrence of silence in James Baldwin’s story is of great importance. In a tale centered around music, silence stands out more than noise. Once Sonny was confronted by Isabel and her family about his constant piano playing and stopped, “The silence of the next few days must have been louder than the sound of all the music ever played since time began” (Baldwin 351). To Sonny, this silence is deadly. He lives his life for music. The stillness marks the beginning of his downfall. During the narrator’s first flashback to childhood, he recalls a sense of dismal seriousness, “For a moment nobody’s talking, but every face looks darkening, like the sky outside” (Baldwin 344). Even a child can feel that there is some sort of inescapable impending pain that everyone knows about, yet no one wants to discuss. However, that is the exact subject that Sonny addresses in his music. Water

The swamp’s characterization carries density and weight, referring to life’s repeating rhythm that seems perpetual. The pressure of the “endless, wet thick cosmos,” prevents progression through the passage, as the heavy words slow the pace of interpretation. Oliver considers density in the opening lines to deliberately present life’s slow and repetitive movement.

In “A Drug Called Tradition,” Alexie’s humor efficaciously shows the bitter reality on the reservation. For example, at the beginning of the story, Alexie uses humor to reflect poverty on the reservation. After Junior shouts at Thomas, questioning “[h]ow come your fridge is always fucking empty,” Thomas goes inside the refrigerator and sits down, replying Junior “[t]here…It ain’t empty no more” (Alexie 12). As seen in this example, having Thomas sit inside the refrigerator and reply in a humorous tone, Alexie is successful in mirroring the issue of poverty, or the bitter reality, on the reservation. This point can also be supported by Stephen F. Evans’s essay, "'Open containers': Sherman Alexie's Drunken Indians,” in which Evans discusses Alexie’s use of satire and irony in his stories and poems. As Evans claims that “[c]onsidered as a whole, the best artistic moments in Alexie's poems, stories, and novels lie in his construction of a satiric mirror that reflects the painful reality of lives,” this further verifies the argument that humor in Alexie’s stories helps reflect the bitter actuality on the reservation (49).

The thoughts and emotions that occur in connection with water are triggered by the lake, and they help Ruth choose transience over any other form of existence. When water floods Fingerbone, the boundaries are overrun, exposing the impermanence of the physical world, and the world’s own natural push towards transience. Water shifts the margins, warning us that the visible world only shows us part of the whole--or perhaps even a mere reflection of a false reality. After the fantastic train wreck in which Ruth’s grandfather perished, the lake sealed itself over in ice, changing boundaries again, while it concealed, like a secret, the last traces of the victims with the illusion of its calm surface. The lake, a source of beauty and darkness, life and death, is “the accumulated past, which vanishes but does not vanish, which perishes and remains” (172). Water carries the symbolic possibility for rebirth– the flood causes the graves in the town cemetery to sink, “so that they looked a little like…empty bellies," suggesting that the dead were born into the receding waters (62). As water and death are so pre-eminent in Sylvie’s consciousness, in dream, she teaches Ruth to dance underwater, to live a life of transience to be