Teenagers, in general, are rebellious and often tend not to follow the norms of the society. Max Apple’s “Stepdaughters” and John Updike’s “A & P” depict the same situations; teenage girls doing things against societal rules, and some people opposing their actions while some are supporting them. In “Stepdaughters,” the teenage girl, Stephanie, practices shot-put, a male dominated sport, going against the norm that girls should not play masculine sports. But her mother, Helen, does not like Stephanie practicing shot-put as she feels it takes away the girl’s femininity, while her stepfather grows to support the girl’s passion for shot-put. In “A&P,” three unnamed girls come to the grocery store wearing swimsuits, against the norm that girls …show more content…
In contrast to her mother; Stephanie receives some support from her stepfather, the narrator. When initially confronted by Helen, the narrator says “I’m neutral,” (Apple 133) even though he continuously opposes Helen. After describing Helen’s opposition, the stepfather says that when he and Stephanie are alone, Stephanie likes to talk to him about her passion for shot-putting (Apple 137). Although the narrator claims to be neutral, he likes to hear about his stepdaughter’s passion. He shows his support for Stephanie by mentioning, “…her mother destined to misunderstand the beauty of Stephanie’s strength,” and by imitating her shot-put stances (Apple 138). In “A&P,” Sammy shows his support for the three girls by quitting his job. After Lengel confronts the girls, Sammy says, “I quit” (Updike 159) to Lengel showing his support. According to a critic, “Sammy feels ashamed of Lengel and the “crummy” mentality he represents” (Saldivar). Later, when Lengel questions him, Sammy says that Lengel should not have embarrassed the girls in front of everyone (Updike 159). As Sammy feels bad for the girls, he stands up for them thinking they might notice him (Updike 159). Apart from supporting the girls, the stepfather and Sammy show their support in return for some bonding between them and the girls. For the stepfather, he shows his support hoping that Stephanie would begin considering him as her father, and for Sammy, he shows his support only to get attention from the three girls. The stepfather and Sammy also are different from each other as the stepfather does not demonstrate his support quickly, but his support grows gradually, while Sammy shows his support quickly, acting right away. In return for showing their support, the protagonists will have consequences of showing support for the
He comes over and says, "Girls, this isn't the beach." " (Updike pg. 163). Lengel tells the girls that their outfits go against store policy and that they must dress differently the next time they enter the shop. This embarrassed the girls and enraged Sammy. He tells Lengel that he quit and that Lengel didn't have to embarrass the girls the way he did.
In Michael Lehmann’s facetious Heathers, various characters display their perspectives on the complications and difficulties of navigating the dynamics of adolescence. The teenage years are known throughout American culture to be some of the most trying times in one’s life. The pressures of fitting in, being popular, and feeling loved can become so important to teens, often close to obsessions. JD is someone who sees the falsehood behind these needs and looks down on those who epitomize them. While shown in an exaggerated form, JD’s animosity towards those in the popular clique reveals itself to the extreme.
At this point in the story, Sammy has already announced that he quits, in hopes that the girls would hear him before they quickly left the store. Sammy also show signs of maturing when his manager says “Sammy, you don’t want to do this to your mom and dad” (Updike 7). Sammy replies “It’s true, I don’t. But it seems to me that once you begin a gesture its fatal not to go through with it.”
In the end of the story, Lengel, the manager of the A&P, tells the girls off for not having their shoulders covered while they are inside the store. Sammy is offended for the girls so he attempts to impress the girls. By standing up to Lengel, telling him that he is quitting, he hopes that they will seem him as their “unsuspected hero.” The fact that he is willing to give up his job over a girl that he has barely had a conversation with shows his level of infatuation with Queenie. However, the girls do not seem to even care that he quit his job over them; the girls do not even bat in eye to what he just did.
John Updike's short story "A&P" is about a 19-year-old boy “Sammy” who is going through changes in his life, and has to make crucial decisions that are going to affect his job and his future in the long run. The story is set in an A&P grocery store, in a town north of Boston, and begins with Sammy’s description of the three girls that enter the store. Sammy decides to quit his job in order to impress the girl “Queenie.” Unfortunately, his gentlemanly act goes unnoticed by Queenie and her friends, and he has no choice but to face the consequences of his action. The author of the story clarifies that Sammy’s immaturity comes from his judgmental attitude, sexist beliefs, and disrespectful attitude.
As made apparent by Sammy’s first thought outside, “I look around for my girls, but they’re gone of course” (pg. #7), Sammy initially quit his job in the moment to gain praise from the girls and hopefully to have them swooning over him, but all along he knew the chances of gaining praise from them was slim. Although Sammy was hoping the girls would be waiting for him after he quit his job to stand up for them, he wasn’t really surprised by their absence; He expected it. As Sammy stated “I felt how hard the world was going to be to me hereafter,” (pg.#7) without a job and without any form of reward for his somewhat heroic act, Sammy finally realized the challenges women in society face. Overall, A&P by John Updike is a short story raising awareness for women’s rights as well as proving that you shouldn’t judge someone based on their appearances.
Lengel states, “We want you decently dresses when you come in here”. Which the girls respond, “We are decent”. Blushing, the girls seem to feel embarrassed and uncomfortable. Disliking how Lengel speaks to the girls, Sammy decides to take a dramatic step and quits his job. He tries to impress the girls with this gesture, but the girls had already left.
Nevertheless, the girls are gone and he is alone facing his problem in reality. However, he does not regret quitting. “Now here comes to the sad part of the story[quitting], at least my family says it’s sad, but I don’t think it’s so sad myself” (748). Sammy knows in order to defend for something more valuable, he must give up something which also implies his growth as a young adult. Through the conflicts between the characters, Updike implies his protest for personal
He felt sympathetic towards her after getting embarrassed by Lengel, and he went after her, despite wanting her for her body. Although in the end, when Sammy fails his goal, he is changed by the events that happened to him, and he is hopeful for the
Sammy’s decision is stated by all as a terrible mistake. Sammy slips out of his slot and walks straight towards the door and walks out without looking back. Not surprisingly he thinks to himself, “I look around for my girls, but they're gone, of course.” While trying to use a heroic gesture to feel equivalent to the girls they seem to have not appreciated the gesture and leave.
Sammy defends the girls from his boss' policy. “The girls, and who’d blame them, are in a hurry to get out, so I say “I quit” to
In observation of oppression, Sammy proves the surprising yet often discerned motivation of the teenager: dismantle wrongdoing and protect common peers (especially when desire is at the doorstep). Held within the confines of the store, Sammy discovers a longing for these three girls through the contrast of the background; without it, Queenie and her friends may remain confined and their indecency not captured. While most may oppose the teenagers’ apparel, Updike illustrates that adolescents are powerful; strength, fortitude, and discovery are instantaneous, even in The Great Atlantic & Pacific Tea Company. Ultimately, A&P is a cultural awakening; adults, guardians, and leaders must recognize that adolescents are vulnerable and passionate. Without support and understanding, teenagers are likely to make rash, abrupt decisions.
Quitting his job was a spontaneous decision he made to protect his ego. Lengel calls out “you don 't want to do this” but Sammy keeps walking (Updike 5). Sammy’s stubbornness to admit he’s wrong can be interpreted by the quotation: “It 's true, I don ' t. But it seems to me that once you begin a gesture it 's fatal not to go through with it” (Updike 5).
This is where the dramatic conflicts comes into place because Sammy is upset that Langel has embrassed the young ladies. (Until almost the ending where Sammy confronts Lengel) Sammy does not stay quite and starts to stand up for these girls. Sammy is so displeased with Lengel's actions that he quits. Sammy quits his job because he wants to start living the life that the girls in the bathing suits were living.
Mean Girls, set in Illinois, depicts the socio-political climate of an American high school, with it’s protagonist, Cady Heron moving from Africa and homeschooling to be socialised in her new society. The antagonist throughout the film, Regina George, is portrayed as an authoritarian woman who has total control of the school (Mean Girls 2004). Regina is shown to engage with numerous sexual partners at the same time and promotes her liberation through wearing a tee-shirt with her bra protruding out the front when she finds two holes cut at her breasts; motivating a new fashion trend throughout the cohort (Mean Girls 2004, Robinson-Cseke 2009, p. 45). This depiction of a strong, independent woman aligns with ‘Post-feminist texts-films, books, magazines and television programs characterised by a model of young womanhood that is empowered, successful, entitled, independent, socially mobile and free to choose her destiny’ (Toffoletti 2008, p. 72). Post feminism is further reflected in the film through the power change which occurs, transferring from Regina to Cady, mirroring the transfer of power from second wave feminism to post feminism.