She takes her anger out on the youngest daughter, Rose. Usually Camille would redirect Cookie’s rage, but Camille hasn’t been home for months. So, Regina intervenes, and Cookie responds by beating her to the edge of consciousness. A teacher suspects abuse and reports the family to a social worker. One day, Regina comes home to find a social worker waiting to speak to her.
When she was seven years old she recalled not having a stable housing. Her mother worked and different family members would care for her siblings and her. When she was 8 year old a 19 year old cousin tried to sexually abuse her. She told her aunt but she did not believe her so did not say anything to her mother. When she was ten years old she experienced bullying in school due to her body shape.
Clara was told to nurse him back to health, which took two years. Caring for her brother made her realize that she wanted to become a nurse. Taking care of her brother caused her to be behind schooling. To make up for this she was sent to a private boarding school. From being homeschooled, Clara was very shy.
In addition to unrealistic standards, Orenstein is alarmed by the growing popularity of princesses because she views them as “retrograde role models” (329). Therefore, she thinks princesses teach false lessons on morals, speculating less attractive girls will be bullied. Although Orenstein takes a second wave feminist approach, Poniewozik has a third wave feminism viewpoint, which states women can perform female and male tasks. Poniewozik describes various new princess movies that have a third wave feminism approach, for example in The Prince & Me, Paige chooses her career of becoming a doctor over the prince (324). However, in the sequel, she marries the prince and continues working as a doctor.
In The Glass Castle Jeannette Walls faces harsh stuff through her childhood because of her parents. In the beginning of the book she finds her mother digging through trash. She feels embarrassed, so she turns around and goes home without saying hello. Jeanette then calls her mother and asks to have dinner with her. She offers her mother help because she feels guilty, but her mother rejects her help.
Zora Neale Hurston’s Their Eyes Were Watching God, portrays the story of young woman named Janie struggling with relationships that become crucial to the way she chooses to identify herself. Janie goes through the constant struggle of being controlled by others and allowing others to dominate her identity rather than her owning herself. When she marries her second husband, Jody, he forces her to wear a handkerchief around her head in public because he declares her to be his property and is scared that her beauty will attract other men. However, when Jody gets ill and dies, Janie is placed into a predicament and finds herself face to face with the pain caused by her relationship. Hurston describes the transition Janie makes from being identified by others to recognizing her self worth.
This week’s movie is called The Others (2001) by Alejandro Amenábar. In this film, the audience oversees a desperate mother, Grace Stewart (Nicole Kidman) struggling with the living situation of being a mother whose has to deal a whole showcase of things. Some of these things include having a husband whose is not there, caring for her own children who are sensitive to sunlight, and living in a Victorian mansion where some people throughout the film have claimed that it is haunted. Grace at first doubts these haunted claims, but subsequent events began to occur which cause her to become very protective of her kids and at the same time crazy. All in all, this enigmatic and suspenseful movie ends with her and her children becoming ghost and that things that were haunting the house were of future being.
Gail Godwin’s protagonist in “A Sorrowful Woman“ is a classic example of a short fiction protagonist based on Edgar Allen Poe’s quantifications. One of these quantifications includes being set apart from the social norms of their society because of some physical, emotional, or mental attribute/disability. Another quantification is often that the protagonist is very much an anti-hero. In the story “A Sorrowful Woman,“ the unnamed wife embodies the traits of an outsider because she does not like taking care of her household. Also, she is an anti-hero because she locks herself up in the white room.
Martha E. Widmayer pointed out a quote from Christa Grossinger in “Death and the Maiden in Joyce Carol Oates’s “Where Are You Going? Where Have You Been?” that, “a woman’s concern for her hair might attract the attention not only of the seducer, Death, but of the devil, as in a 1493 woodcut that ‘illustrates the dangers of looking into the mirror, the potency of long, flowing hair, symbolic of pride and vanity in call up the devil’ (Grossinger 15)” (1). Connie has blond hair that’s described as eye catching. She takes extra care of it during this Sunday afternoon, and later receives a comment from Friend about her having it ready for him. Oates has an article she wrote for The New York Times called: “When Characters from the Page Are Made Flesh on the Screen.
In the second paragraph of the story the author states that she is suffering because she doesn't have the things she wants by saying, “She suffered endlessly, feeling herself born for every delicacy and luxury. She suffered from the poorness of her house, from its mean walls, worn chairs, and ugly curtains.” (Guy de Maupassant 2) “She had no clothes, no jewels, nothing. And these were the only things she loved;” (Guy de Maupassant 2) The author included this to let the readers know what kind of “Poverty” Matilde was living in. Mathilde doesn't seem to love her husband as much. He thinks different about her.