This is one of her fears, not to be accepted by the American society, because that means she will never leave behind her parents` tradition, a tradition that she does not respect or desire for her. Second of all, she is in disagreement with her Chinese upbringing. She feels as if she does not belong there, that she is the black ship of the family: ``I thought every house had to have its crazy woman or crazy girl, every village its idiot. Who would be it at our house? Probably me.
Referring to women of color, Anzaldúa reveals, “Alienated from her mother culture, “allien” in the dominant culture, the woman of color does not feel safe within the inner life of her Self” (42). In “Woman Hollering Creek,” the previous is evident when Cleofilas doesn’t react after her husband hits her. She recalls how “in her own home her parents had never raised a hand to each other or to their children” (Cisneros 47). The problem is she left the place and culture she associated with home. Now, she was in an unfamiliar place, one hostile towards women.
She actually refuses to speak to another kid when he talks to her; she will not play any of their games. Bradbury writes, “If they tagged her and ran, she stood blinking after them and did not follow. When the class sang songs about happiness and life and games her lips barely moved” (156). This is important because it shows how Margot keeps herself apart from the other children and she keeps talking about the
Through this, Toni Morrison focused on the unjust relationships within the novel that pointed back to the antagonist, Sula. One relationship that emphasized the fluctuation of loyalty is the connection between mother and daughter. This relationship is closely shined upon as the dominant figures, such as men, are decrease and eliminated from the lives of the women. Morrison has created several instances where there is a conflict between Hannah and Sula in order to emphasize the central theme of loyalty by demonstrating the selflessness mothers possess to provide for their children. While creating a complication between mother and daughter, Morrison also fulfilled the problematic trust that is displayed within the friendship of Sula and Nel.
The telling of the secret is to test her strength and established realities. Although Maxine’s mother forbid her to tell other people or even discuss it with her father because he never talks about her “you must not tell anyone, what I am about to tell you” (Kingston 3). The beginning of the story shows that her no-name aunt is a ghost of the family after her death and never to be discussed throughout eternity. The ghost of her aunt is present and powerful and she went on and write about it in her memoir. In addition, the ghost of her aunt reflected on her childhood that she doesn’t want to be disowned by her family like the way they did her aunt.
In the novel, Scout is a tomboy and because she does not have a mother as she is dead so she doesn’t really have any female influence growing up. Scout looks up to Jem and wants to be like him. One day, Jem says, “I declare to the Lord you’re gettin’ more like a girl every day!”(69). Scout is outraged by this and takes the word as an insult. Also, in Maycomb females should be wearing dresses and acting lady-like, nevertheless Scout likes to wear overalls and play with Jem and Dill which can be seen as very un-ladylike.
Speaker: Alice Walker writes in a first person point of view. The speaker is a single mother who “never had an education” (Walker 49). She is a minority, and accepts the lower status: “Who can even imagine me looking a strange white man in in the eye?” (48). The mother refuses to challenge the people society deem as better than her. Occasion: Alice Walker writes the story to draw attention to the mindset of the minorities.
Brick's wife, Maggie, attempts to twist morality so that she appears more likable. Maggie is suffering because Brick will not make love to her, and during a discussion with Brick she "steps out of her dress" and "stands in a slip of ivory satin and lace" (18). Maggie's undergarment is ironic, it is white, the color of purity and virginity, yet she describes how she misses making love with Brick. The white garment is worn under Maggie's normal clothes because her real intentions are innocent and pure and not exposed to the rest of the world, she only wants love from her husband. Although her intentions are clean and righteous, her only goal is to have the undergarment removed, exploiting the idea of purity.
Within the book, there are instances which state that women can’t/won’t do a certain task/thing because of reason/excuse. One example of this is when Scout asked Atticus, the Finch’s father, about why people in Maycomb couldn’t sit in the jury stand and mentioned Miss Maudie, a gentle woman who never lets others forget her thorns, Atticus replied, “For one thing, Miss Maudie can't serve on a jury because she's a woman-" (188). He says the reason for this is, “I guess it's to protect our frail ladies from sordid cases like Tom's. "(188) and also that he, “...doubt(s) if we'd ever get a complete case tried—the ladies'd be interrupting to ask questions."(188). Atticus is saying that the reason why they can’t be in the jury is because they need to ‘protect them’ and that they just slow down the entire trial process.
A Sorrowful Woman was written by Gail Godwin an American novelist and short story writer. She wrote this short about a young woman who seem to be depressed and wanted nothing to do with her husband and son, because she felt overwhelm from her duties of being a wife and a mother. She tried different roles within the home, like writing poetry, but none made her feel satisfied (Pg.39). She was secluded from the rest of the world. In spite of the fact that she tries on numerous roles none of these appear to fulfill her; she attempted these identities like trying on outfits, then disposed of them.
After dinner, Esperanza “leaves the table like a man, without putting back the chair or picking up the plate,” (89) revealing her aspiration to be strong and independent. “Esperanza 's refusal to adhere to social expectations of female behavior goes far beyond the mere action itself, as it is a symbolic refusal to 'grow up tame,’ to accept a prescribed female destiny” (Eysturoy). Since “Mexicans don’t like their women strong,” (10) Esperanza wants to be a self-reliant woman and defy societal convention after seeing the women in her neighborhood poorly treated by their husbands. Esperanza will focus on herself rather than wait for “someone to change her life” (26) because she does not want to join the group of women on Mango Street who