Analysis Of William Faulkner's As I Lay Dying

The Awakening is a book written by Kate Chopin and it is quite a journey. Being just over a hundred pages in length, this novel gives an adequate picture of the protagonist Edna Pontellier, who consistently challenges the roles that society has placed on her. In her own words, she says “I would give my life for my children, but I wouldn’t give myself ” (45). This not only foreshadows her ultimate fate, but it also shows the readers that Edna is not willing to suppress her passions and desires for anybody. It appears that Chopin is making the argument in her book that Edna’s form of resistance, while admirable, comes at a price.

Although Mr. Grierson was very overbearing and caused most of his daughter’s internal issues, he was not present for a great portion of her life. Therefore, he could not have a say so in whether or not she freed herself from the imprisonment he forced her to live in. The central conflict was not driven by a gender issue because the person responsible of the problems leading to the conflict was pointed toward Emily herself. It is clear to see that Emily took her life in her own possession despairingly for the worst. She was able to have complete self-control and freely make any decision she wished to make, but she could not rescue herself from the dreadful consequences that awaited

Women deviating cadets from their main task is just a myth, and as proven by Sacks everyone has the ability to adapt no matter what the situation is, so surely the Citadels could adapt too with women in the

She must be the perfect wife and mother or else she is critiqued on every mistake. This happens all too often in “The Awakening.” Edna Pontellier was born of wealthy family in Kentucky which automatically gives expectations to live up to. The only thing that she has to herself is her painting in which she could never do because she is expected to be the mother first. While also being brought up in the society she was, she chose to marry someone of the Creole descent which is another culture that expects optimum qualities out of people.

The five authors, Skloot, Dyer and Flynn, Capote, and Dillard each present enticing storylines, yet the people, place, and subject matter within their books stand at polar opposites. Skloot uncovers a story of injustice for a family alongside a scientific discovery that alters history; Dyer and Flynn bring to mind the pain of a horrific tragedy from the viewpoint of those who suffered it firsthand; Capote shares a brutal account of mass murder and the truth to be found within it; and Dillard offers words of discovery of both herself and the world through the art of writing itself. Yet among these seemingly unique and different authors, a similar thread within their books connects them all. Through the language they convey and feelings they arise from the heart of the readers, these authors share a similar unspoken story through their writing.

Instead, it exhibits a journalistic aesthetic that completely transposes what the title infers. “Interviews and the actual events they treat— the distant past and a more recent past— conflate as the narrator shifts his focus frequently and without warning from the murder to its subsequent verbal versions” (Source 1). This journal-like prose is used in order to uncover the motives behind the murder, rather than the perpetrators, which are already known. The sudden transition of the narrator’s recollection and the revision of memory through time casts doubt over the resolution of Nasar’s death. Although it appears the resolution to his death is found, there is an element of uncertainty.

Throughout the novel, Nelly acts as the voice of reason to many of her mistresses, although sometimes their actions have consequences. For example, Nelly encourages Isabella to renounce her love for Heathcliff. Nelly knows that Edgar would never approve of him as her husband, but Isabella disregards her advice and seals her elopement with Heathcliff anyway. Their marriage provoked the tension that had remained after Catherine 's decision to elope with Edgar rather than Heathcliff. Brontë scholars believe that Nelly is one of the only characters in Wurthering Heights that has the power to "shape the plot" by the fact that she has been a support to a handful of the characters throughout the novel.

William Faulkner’s novel, The Sound and the Fury, represents an experiment in writing, as was said by the writer himself. It depicts the tragedy of the Compson family, and in the broader view, the fall of the Old South, in a very unusual way. The novel is an experiment in regards to the very specific use of the narrative technique, and the results obtained from it. The whole book echoes various forms of absence which account for the ever-present chaos, and disorder that render the book so hard to understand. Absence in some cases stands for the state of being away, or in other cases the non-existence or the lack of something.

Jane Eyre, on the other hand, is confronted with mother-like figures everywhere, although she is not accepted by her relatives. At Gateshead, Bessie is the only person who takes care of Jane when everyone else despises her. When she is put into the red room, Bessie is the only person who comes and talks to her. At Lowood, her teacher Miss Temple saves the children from the bad conditions at the school and becomes a good friend to Jane. While Mr Brocklehurst judges Jane for no reason, Miss Temple defends her and she is the only one who wants to learn the truth about Jane’s actions before judging her.

Gaillard is portrayed lacking humanity and emotion, which was the prevalent belief of the time period. She is the only character who is able to keep Grenouille for an extended period of time due to the fact that she lacks her olfactory senses. Madame Gaillard had “lost for good all sense of smell and every of human warmth and human coldness – indeed every human passion” (Süskind, 19), thus exemplifying the notion that human senses induce human instincts and emotions, both of which she lacked. Her whole life she worked with one aspiration and one thought in mind: to die a private death, unlike the manner in which her husband had died. Therefore, she was completely rational, doing only what was needed to achieve her goal, “She had it figured down right to the penny” (Süskind, 20).

You ain’t no good now, you lousy tart” (95). In other words, Curley 's wife does not even have to be alive to cause trouble, and her death alone exhibits enough power to create distress. In addition, Candy is implying that Curley’s wife has had the ability to cause trouble all along. For example, George saw that the first time Lennie was introduced to Curley’s wife he immediately fell under her spell, which caused George to continue to warn Lennie about her since her knew what she was capable of. The constant warning was nagging on the back of Lennie’s brain each time he came in contact with Curley’s wife, wondering when she was actually going to strike.

She vows to never reveal the name of Pearl’s father, however it is later revealed that he is the ever-so-respected town Reverend Arthur Dimmesdale. Hester is more than aware of her exclusion from the groups of the colony, even though she was working to rebuild her name by working and keeping busy, “In all her intercourse with society, however, there was nothing that made her feel as if she belonged to it. Every gesture, every word, and even the silence of those with whom she came in contact, implied, and often expressed, that she was banished, and as much alone as if she had inhabited another sphere, or communicated with the common nature by other organs than the rest of human kind” (page 108). The judgmental community that Hester is a part of, ceases to affect her actions. She refuses to leave, and raises her daughter the best that she can- with love, respect, without revealing to Pearl what makes her different.

She loved and valued her children so much that she could not bear to even think about letting them go back to being a slave. “The best things she was, was her children. Whites might dirty her all right, but not her best thing, her beautiful, magical best thing—the part of her that was clean…Sethe had refused—and refused still” (Morrison 296). Her refusal was the stepping stone to her extreme actions, as she picked up the weapon that would end their lives she would also be liberating them forever. “It ain’t my job to know what’s worse.

Our Film pays homage to the ways in which Faulkner portrays Cash and Darl in As I Lay Dying. During the film, Darl’s perspective is an introverted and bitter person that has has been isolated with his thoughts over five years of being in an Asylum. As a result, Darl’s violent thoughts about burning the guards show the audience how he has become more like his mother Addie. Cash’s character as a thoughtful and understanding person is consistent with Faulkner’s portrayal in the novel. Additionally, Cash and Darl utilize the same Southern diction as they did in the book, using words and like “ere” and phrases like “chicken-hearted

Anse Bundren is the father and husband in William Faulkner’s 1930 novel “As I Lay Dying.” Anse is a “ignorant and poor white man” (“As I Lay Dying”). “Addie’s husband”, Anse, starts off being “afraid that the boys might not get back in time” (Atchity). Anse wants his sons to return, so he does not have to carry his wife’s “body to the Jefferson graveyard” (Atchity). Anse gets “across the river on ruins of the bridge” and leaves his older sons to get the wagon across (Atchity).