To begin, the horrifying language in the beginning of the story gives the reader an example of how people in their neighborhood speak. The author, Bambara does this to show the reader that children from lower class neighborhoods are affected by their surroundings and that children learn from experience. When Sylvia says Miss Moore always plans "boring-ass things for us to do” (171), we, the readers get insight concerning Sylvia’s rebellious behavior and her deficiency of respect towards adults in her life. Sylvia uses irony to mock or convey contempt when she mentions her experiences with Miss Moore. Bambara presented this to bring out Sylvia’s traits. Even though Sylvia is quick to be involved in mischief, the reader can clearly tell she has a sense of moral principles as a result of her not being able to go through with the crash of the Catholic church. When Sylvia says, “everything so hushed and holy and the candles and the bowin and the handkerchiefs on all the drooping heads” (175). Sylvia also describes churchgoing as a practice within the community. When she says, "Miss Moore, who always looked like she was going to church, though never did" (171). If Sylvia liked Miss Moore or not, the author, Bambara is not using faith as an instrument to shape the story. Rather, it is Miss Moore’s education that is being used to affect Sylvia resistance.
Mildred and Yvette were embarrassed about the incident, they wanted to talk about it but they didn't want to remember that uncomfortable event. They felt like talking about the incident would bring a discussion about their differences but they didn't care about them , they just wanted to continue being best friends. According to the article ,"Somehow each girl was afraid of disturbing that feeling of closeness they felt for one another"(p.57). In other words, the girls didn't want to bother each other talking about the incident because they didn't want to reduce or lose those good feelings of strong friendship that they felt for each other. They just wanted to talk or have fun like they used to do it before the incident, and they did it. They broke their silence and started making jokes about the vice principal and having fun. They didn't feel like the incident made them to lose the feeling they had for each other , it made their friendship stronger. They didn't talk about their differences because those weren't important for them , they just wanted to continue their friendship.
Even though Margot may not have treated them with complete kindness, this is no way to interact with others. As the sun came closer, the children’s behavior got worse. “Hey everyone, let’s put her in the closet before teacher comes!” (Bradbury, paragraph 26) said one boy. Overall, this behavior that Margot’s classmates display is rude at the very least and violent at the most.
Melinda, the main character of speak was raped at a summer party. She calls the cops and that is where it all started. When Melinda reaches high school she is faced with all her old friends. They all hate her and want nothing to do with her, because of her calling the cops. Throughout the whole book Melinda runs into tough situations that eventually lead to her standing up for herself. Eventually, everyone finds out the truth, of why Melinda calls the cops. Although Melinda learns to stand up for herself, throughout the book she shows signs of depression such as poor performance in school, sadness and hopelessness, and withdrawal of friends and activities.
And there is a clique of girls at the school who refer to their group as "the Marathas," that is the Martha Stewart wannabes. There doesn't seem to be a place where Melinda fits in. Where does a girl who has been sexually assaulted fit-in?
Esperanza, a strong- willed girl who dreams big despite her surroundings and restrictions, is the main character in The House on Mango Street by Sandra Cisneros. Esperanza represents the females of her poor and impoverished neighborhood who wish to change and better themselves. She desires both sexuality and autonomy of
Despite all her rebellious actions, Sylvia feels slightly uncomfortable when everyone is about to enter F.A.O. Schwarz. She states, “…but when we get there I kinda hang back. Not that I'm scared, what's there to be afraid of, just a toy store. But I feel funny, shame.” (Bambara 4). The quote signifies that for some reason, Sylvia is feeling insecure. She is not afraid of a simple toy store, but it is something different. She knows it is embarrassment. In this context, the cognizance is coming to Sylvia in the form of embarrassment. After witnessing the immensely different lifestyles on Fifth Avenue, she starts to understand Miss Moore’s ideas. She is slowly learning just how big the cavity is between the different economical classes. She feels like an outsider. The child in her is slowly growing up, absorbing the harsh reality of the world in the process. In addition, when the children are at the store, the exorbitant prices of the toys compels Sylvia to question herself of the social and economic differences. She states, “Who are these people that spend that much for performing clowns and $1000 for toy sailboats? What kinda work they do and how they live and how come we ain't in on it? ” (Bambara 5). According to the quote, all the children have arrived at the toy store F.A.O. Schwarz and got a look at the inflated prices of the toys. Sylvia is questioning herself about
Female Relationships in Virginia Woolf's Mrs. Dalloway Clarissa Dalloway, the central character in Virginia Woolf's Mrs. Dalloway, is a complex figure whose relations with other women reveal as much about her personality as do her own musings. By focusing at length on several characters, all of whom are
Book: Bread Givers by Anzia Yezierska Section One In the early twentieth century, Fania, Bessie, and Masha, the older children of the Smolinski family are unable to find work to support their hungry, weak family.The youngest daughter in the Smolinski family is named Sara and will go outside and make some money
Blinding Anger - Only Drunks and Children Tell the Truth In the play, “Only Drunks and Children Tell the Truth” by Drew Hayden Taylor, the story of two sisters, Barb and Janice is told. They had not met each other for the first time until Janice had turned 35 and had returned for her first visit. The two are basically strangers and their relationship consists of nothing but anger. The development in their relationship seems to be impossible with the two who are unable to understand each other. Janice’s anger towards her own life and Barb’s anger towards Janice blinds them from understanding and accepting each other. Janice continuously struggles to find her identity and her frustration turns to anger. Barb is angered by Janice’s
When Doris and Wilfred were younger they were said to of had a baby which had died at birth, when the baby had died the nurse had raped it up in newspaper, and in Doris’ eyes she associated this with being “dirty”. This reveals how Doris does not want her child to have anything to do with anything dirty, even though it is dead, showing her
Sara Smolinsky is the youngest of four sisters; the eldest is Bessie, whom everyone calls the “Burden-bearer” because the whole family lives on her pay check. “I knew the landlord came that morning hollering for rent. And the whole family were hanging on Bessie’s neck for her wages. Unless she got work soon, we’d be thrown in the street to shame and to laughter for the whole world.”(1) The second eldest
Bread Givers by Anzia Yezierska is a story primarily about a young girl Sara Smolinsky who comes from poverty, rejection, and countless amount of failures faced as a child. Throughout the novel Sara Smolinsky unluckily never actually gets to thrive as a grown-up due to the continuous amount of obstacles
The children in the neighborhood are probably the most influential people in Sylvia’s life, since she is around them most frequently, and they are her peers. They too seem to come from the same kind of background as Sylvia—poor, defensive,
The initial death of Cecilia and Joan shape the girls as they continue trying to navigate their way through adolescence. This does however, mark a significant change in how the sisters and Esther deal with suicide. Cecilia's death creates "an airborne virus," that the other sisters "in coming to save her, [contract]," and she also quickly becomes the scapegoat, as "transmission became the explanation."(Eugenides, 153). This first suicide becomes "the pivotal narrative moment," and is the start of the downward spiral that the girls go through as they try to cope with the loss of their sister (Shostak, 1). While Cecilia is not inherently responsible for the death of her sisters, her death does seem to be the foundation. It is unknown whether