Runaway Theme, Plot and Conflict Theme: Through ‘Runaway’, Alice Munro intends to show that women themselves are the source of the problem as they resist change, especially women like Carla who are so used to their lives in the countryside that they are mostly dependent on the source of income, in this case, Clark. She may have also written this to depict events of her own life, when she divorced her first husband, James Munro to get a sense of real freedom and joy but soon after married a second husband because she did not like her life so much. In ‘Runaway’, Carla is shown to be a very complex and intricate character as she realizes her limitations when making her own decisions. Initially, Carla seems confident to leave Clark and Sylvia helps her to escape, but as soon as she gets of the bus station outside of town, she realizes she can’t really survive without his security
This characteristic of Grace, owner of Grace’s diner, expresses that her behavior is a fight against common perceptions on how women should behave in the 1950s because she runs her own business and is able to support her own life without relying to a man. During the 1950s, women were entitled to do domestic work, such as taking care of their children and preparing meal for their husband when they come from work. On the other hand, Grace is a divorce woman who is having an affair with the bus driver, Carl, because she feels lonely and desire that companionship from a man. During her marriage with Barton, she still felt lonely just not when making love. Overall, Grace can characterized as someone who has gotten used to doing things on her own because she didn’t have a reliable man figures.
Similarly, Esperanza continues with this idea of owning her own house in the vignette “Bums in the Attic”, where after expressing resentment towards her family’s pitiful visits to a house they could never afford, Esperanza declares, “One day I’ll own my own house but I won’t forget who I am or where I came from” (Cisneros 87). Stemming from Esperanza’s previous discomfort with her family’s low socio-economic status, her statement reflects a commonly experienced effect of poverty, determination to pursue dreams. Again Esperanza demonstrates a strong desire to escape the societal and economic bonds she was born into in the vignette “Born Bad”. Her dream that “One day I’ll jump out of my skin” (Cisneros 60), while not about her specifically owning a house, still communicates her ambition to change. Additionally, the use of the words “will” and “one day” in both of her aspirations demonstrate Esperanza’s certainty
This open rejection provides insight into Fermina’s value of independence, a value so ingrained that she refuses the concept that higher power guide her actions, or of others. However, she is made to transition into a domestic role. For the largest part of her youth, Fermina Daza longed for independence and rebelled against her father, and once again when married, “she felt herself losing her mind, as the mad woman [screaming] in the asylum next door” (207). Marquez metaphorically shows the way Fermina is unhappy in her house, but also the way she is controlled. As a result of male influence, her freedoms are being deprived and she is being forced into a domestic role she dislikes.
The most turbulent and liberating moment of life is the moment one ‘leaves the nest’. Jamaica Kincaid’s Lucy paints the troubled narrative of a young woman finding a new life in America and wrestling with the roles society has placed upon her. Lucy remarks that “on their way to freedom, some people find riches, some people find death” (Kincaid, 129). Lucy’s battle leads her down a road of riches of newfound independence, however, she ultimately finds herself in desolation. There is a social norm to respect one’s elders that is universal throughout the world.
And accepting what society wants you to, leads to the lack of fulfillment in life as shown through the novel’s flashbacks towards the narrator 's memorable past, and through the narrator 's interior dialogue. Women had to give up everything they had pursued in their lives to end up in the lives of those who then owned them. The narrator of the novel, Offred, illustrates the sacrifices that were put upon her to take, due to a request from this new civilization. In the novel, Offred would be contemplating the loss of her daughter, in who is or in who has been a huge part of her life, “She fades I can’t keep her here with me, she 's gone now. Maybe I do think of her as a ghost, the ghost of a dead girl, a little girl who
Torvald tells her that Nora has a duty as a mother and a wife but Nora tells him that “she is an individual”, showing that she is finally putting herself on par with Torvald, and no longer allowing Torvald to control her, but instead she is trying to gain independence and liberation from social norms in order to break free from the “Doll’s House.” She tells him that she must leave him, because “for eight years [she’d] been living with a stranger”, emphasising how there was never any proper communication and mutual understanding between them, and hence no proper marriage, as she didn’t actually know what his true character was like up until that night, as she was convinced all along that Torvald would be the man to take everything upon
She wrote a short story The Awakening, which took place in New Orleans and told the struggle of Edna, a housewife and a mother, whether she should follow her heart or respect the tradition. She made the choice of rebelling the past and she started to seek for herself. It was an extreme role, once she realized what she is then she abandoned everything she had in the past; and she wanted to be set free from her family role and motherhood. “The years that are gone seem like dreams—if one might go on sleeping and dreaming—but to wake up and find—oh! Well!
The two kids never did anything against their mother, but she holds are grudge that stands firm while she drowns. In an essay, Suzanne Green describes Edna's state of mind at the end of the novel as, "incensed that her husband and children presumed that they could “drag her into the soul's slavery for the rest of her days."". (Green) Green writes that Edna is "incensed" with her children, and quotes that Edna believed the kids were holding her soul as a slave. Edna was doomed to unhappiness from the beginning of her children's lives because of these thoughts. She holds an intense anger for the children and is convinced that they were keeping her in bondage and wasting her life.
Edna said that she would give up unessentials for her children, which means that she does not care about them. Kate Chopin uses Adele to describe how a typical dedicated wife should treat her husband and children. Edna is not Creole and she does not treat her husband and her children right. Adele and Edna were different in many ways because of the way they both react to the nineteenth century expectation “ a mother - woman” she idolizes her children and worships her husband. Edna is the opposite of Adele, She does not worry about her children and she is not devoted to her husband.
Not even for her ill husband would she turn off let alone turn down a program she was not even actively watching. Place higher value over an inattimate than one 's own spouse is clearly inhumane and lacks compassion. Mildred even called the actors on her program her family demonstrating just how much the characters on a show meant to her. The distraction of her so called family eventually lead to her death because “the family pratted and chatted and said her name and smiled at her and said nothing of the bomb” (Bradbury, 152). Essentially Mildred used her “family” as a distractions from her problems.
No longer could she enter into a convent, and she was forced to live with her father and later her sister and brother-in-law. After Claude’s death, Marie did not gain any of the benefits of being a widow. In her brother in-law’s shop, she was subject to his rules and his work. Her business-like mind allowed her to keep books and inventory, which placed her ahead of most women. Even so, she was thrust into a position that she did not want to be in, thus placing her in a more marginalized state.
The Glass Castle suggests that in order to have a successful life you will have to make a huge sacrifice and learn from yours or other mistakes. Jeanette learns that for her to be successful she needs to leave her parents and her sibling behind. She chose to learn from the mistake of her parents and she took a huge risk in leaving her home, her family and moving to New York to make sure that she doesn’t become like her parents. She didn’t want to make the exact mistake that her parents did when they were in her position. Just like in the Glass Castle when Jeanette mention that if she continues to live with her parents she‘ll eventually adapt their way of
He forces his wife, the narrator, to confront new problems and fix them in more of a restricting way using self imagination and creativity. Although John tries to bypass and escape his problems, this is not the case for his wife who chooses to solve her personal obstacles differently. The narrator is very self aware of her problems in life and despite what her doctor and husband suggest, she tackles them head on by confronting her feelings and issues in her journal. For example, when the narrator says, “I did write for a while in spite of them,” (648). She shows that she knows that hey forbid her from writing, but it is the only way that she knows she will get better.
Mallard’s weakness by conveying a feeling of fright and hysteria. For example, she cries “with sudden, wild abandonment” (555) in her sister’s arms, and then feels something “creeping out of the sky” (555); she waits for it “fearfully” (555). She is afraid because she feels happiness approaching her and that is not the socially correct feeling she should be having about the report of her husband’s passing. She does not want people to realize that she feels freedom because they will criticize her for not being destroyed by the news. She is ecstatic that she will not have a “powerful will bending her” (556) actions anymore and “her fancy [is] running riot along [the] days ahead of her” (556).