Sula came back to Nel’s house so she can see her and remind her of their fun past and the never ending friendship, but while Sula was setting there she realized that Nel had a powerful thing that she didn't have which was: her family. She thought about all the sacrifices she mad so she could have what Nel has but she never did. As Jude walked in Nel’s husband, Sula realized how much attention he gave Nel. She felt powerless and not just powerless, but sexually powerless. As Sula felt comfortable around the house she started looking for her desires, “They had been down on all fours naked, not touching except their lips right down there on the floor” (Morrison, p.105).
This was right after the first destroying of the marigolds, and instead of joining with the kids in merriment, she instead felt ashamed as a woman. Elizabeth also turns into a child in the story. In a certain case she has to decide between both of them: "I just stood there peering through the bushes, torn between wanting to join the fun and feeling that it was all a bit silly." Elizabeth ends up being less mature than her brother in the end. When she destroys the marigolds for the last time, her brother keeps on trying to stop her: "Lizabeth, stop, please stop!"
In this fiction novel by Zora Neale Hurston, “Their Eyes Were Watching God”, Janie- The main character- is constantly going through emotional journeys to try and find herself. We read about her different stage from a young child to a full-grown woman. We see how she gets to that point through plenty of heartbreaks, from her grandmother and especially guys. she significantly changes on the inside and out due to many things but after she leaves Logan -who crushes her marriage dreams- to be with Jody-who makes her feel like her dreams are restores- as time goes on their relationship goes down the drain and her views change from idealistic to realistic, like when Jody is in his death bed and blames her for him being there. As we know, when Janie had to marry Logan she gets her dreams of a beautiful and happy marriage crushed.
The woman refers to herself in the past tense as well as in the first person when she speaks ‘of the thoughts that once [she] had’, conveying that she and the inflicting ‘darkness and corruption’ will leave. Through this, the reader insinuates that she is now gone, and that once again the narrators husband is at a loss because he has now lost a loved one. Alike in repetitiveness, Harwood, through the voice of the mother, continues to write of the contrived and feigned small talk that is in-personal and ‘rehears[ed]’. Once again, the reader is exposed to the mother’s attempt at convincing herself that she is happy. However, it is through the ‘flickering light’ as ‘they stand’ there ‘rehearsing the children’s names and birthdays’ that the mother finally reveals to herself that she has lost her identity.
She cried out in agony, sure they would all hear and come help, but they didn’t” (407). All of this terrifies her just like the fear of adulthood. Andy shooting the doe was like her killing her innocence as a young woman and experiencing the doe’s death made her flee the scene. She said she would no longer be Andy. She would be Andrea.
Hester gave Pearl and herself a life of seclusion by living outside of the town. “Children have always a sympathy in the agitations of those connected with them; always, especially, a sense of any trouble or impending revolution, of whatever kind, in domestic circumstances; and therefore Pearl, who was the gem on her mother's unquiet bosom, betrayed, by the very dance of her spirits, the emotions which none could detect in the marble passiveness of Hester's brow.” (21.4) Pearl’s intelligent, perceptive, unorthodox attitude possibly was do to her never around other children. Hester in many occasions calls Pearl mythical begins because she had a supernatural aspect about her. Pearl becomes the scarlet letter in the flesh, by being the physical effect of Hester’s actions. The scarlet letter changed meanings from having a negative connotation to a positive one when it changed how Hester acted, which changed how the people saw Hester and her letter.
My mother always warned me that crying is an admission of weakness. With her thick skin and hunched back she trudged and taught me coping mechanisms that she embraced as survival skills. At a young age, I learned to cry silently, to be skeptical, and to always look to the future for happiness. However, as I have grown older and experienced my own challenges I have learned to ignore the lessons of my mother; something that I consider to be a sign of socioeconomic progress for our small immigrant family. The catalysis was that throughout my college years, I had to deal with the prosecution of a family member who sexually abused me when I was a child.
As she puts: “My relationship with my father was a strange one. In my extreme childhood, he was a remote and much revered figure. As I grew older and saw more of him, he became rather a frightening person (Jennings, “Autobiography”) In the poems and elegies she wrote after his death she confronts after his death confronts the ambivalence of her feelings about him. In the final lines of one of these poems, “For My Death Father,”“she creates an image which evokes a sense of their troubled relationship. “There was love now I see of a strange kind./We could move about in each other’s mind”(Jennings, TCP 261).
Rolson Jakabot Elizabeth Switaj ENG 210-1 Poetry Essay Broken Heart First of all, I am going to describing my broken heart of a mother who’s having problems in a family, as well as the readers want to know what happened with these two poems Marks and At the Hospital. Now we’re going to find out what was happened in these poems as the authors were talking about into it. There are many different of the poems in the many kind of situation of the pattern of sounds, but the audiences want to know these poems just as the authors who created the poems. First we have to looking for the authors of these two poems and we wants to know what’s going on at the poems, to know what’s going on into the poems and anything about the poems with the senses.
Much unlike its counterpart Infant Joy the child in this poem is born far from innocent. The infant comes kicking and screaming from the womb explaining how his mother groaned and his father wept; according to Jeff Gillett this “sets the scene for a relationship built on mutual resentment” (Infant Joy and Infant Sorrow). Although the child is still very much central to Blake’s work we do also see a strong focus on the loss of innocence. Much like a child must give in to socialisation in order to become an adult the child in this poem gives up the struggle to be free when it submits to being fed: “Bound and weary I thought best/ To sulk upon my mother's breast.” (7-8).The child ends the narration of its own birth and we see that the infant has again taken a central role in Blake’s poetry as the only speaker of Infant Sorrow. Similar to Infant Sorrow the narrator of The Chimney Sweeper from Songs of Innocence is a child.