In Savage Inequalities: Children in America’s Schools, Jonathan Kozol exploits extreme inequalities between the schools in East St. Louis and Morris High in Rye, New York in the 1990s. The living conditions in East St. Louis were deplorable. There was no trash collection service, the sewage system was dysfunctional, and crime, illness, poverty, and pollution ran rampant. The schools in East St. Louis had a predominately black student population, and the buildings were extremely obsolete, with lab equipment that was outdated by thirty to fifty years, a football field without goalposts, sports uniforms held together by patches, and a plumbing system that repeatedly spewed sewage. In addition, there was a substantial lack of funds that prevented
“St.Lucy’s Home for Girls Raised by Wolves”, the short story written by Karen Russell, concenters on the narrator and primary character, Claudette who lived as though she was a wolf for the majority of her life. Once being sent to St.Lucy’s along with the rest of her pack, Claudette began to carve a new path for herself where she would become a well-rounded, decent human. The text, The Jesuit Handbook on Lycanthropic Culture Shock that the nuns at the home follow as a guideline through the process of helping the girls adapt to the human culture, assumes how the pack, including Claudette, develop, act, and feel under the circumstances they state
People who endure dislocation feel out of place and have many mixed emotions. Karen Russell’s “St. Lucy’s Home for Girls Raised by Wolves,” tells the story of a group of girls who suffer from lycanthropy including Jeanette, Claudette, and Mirabella. The “pack” of girls go through many stages to rehabilitate to their human identity. The girls experience culture shock and have to work as they progress through the stage.
This work may be stressful, and students may experience a strong sense of dislocation. They may miss certain foods. They may spend a lot of time daydreaming during this period. Many students feel isolated, irritated, bewildered, depressed, or generally uncomfortable” (page 229). The Jesuit Handbook on Lycanthropic Culture Shock states that once the wolf girls experience these negative sentiments, they have entered stage two. During stage two, Russell’s development of Claudette directly corresponds with the epigraph. Claudette found that she was always “irritated, bewildered, depressed… uncomfortable and between stages”(page 229). This lines up perfectly with the Handbook, which describes feelings of discomfort and dislocation among the pack. Claudette had even “begun to snarl at [her] own reflection as if it were a stranger,” showing that she is very uncomfortable with the changes that have happened to her, both physically and mentally. In Stage 2, when the girls had begun to drift apart, Claudette found where she fit in, explaining that she “was one of the good girls. Not great and not terrible, solidly middle of the pack” (Russell 232). This idea of Claudette being a good but imperfect character connects to her relation to the Handbook, as she mostly follows along with its expectations but occasionally lags
In the short story, “St. Lucy’s Home for Girls Raised by Wolves,” written by Karen Russell, a pack of wolf girls leave their home in the woods for St. Lucy’s in order to be able to live in human society. Within the story, Russell has included epigraphs before each stage from The Jesuit Handbook for Lycanthropic Culture Shock. This handbook was for the nuns at St. Lucy’s to help guide their students. Karen Russell included the epigraphs, short quotations at the beginning of a chapter intended to suggest a theme, from the handbook to help the reader understand what the characters might be feeling or how they will act in a certain stage. In Stage One, the epigraph closely relates to the characters’ development, yet doesn’t consider that the girls could be fearful in their new home due to interactions with the nuns.
In “St. Lucy’s Home for Girls Raised by Wolves”, Claudette, Mirabella, and Jeanette is taken to a foreign place to adapt to human nature. They are taken through the process of 5 stages of becoming human. Claudette, the speaker of the story, is stuck between two faces, the human and the wolf face. While Claudette is in between these two worlds, she has fully conformed from wolf to human. She has completed the transformation from wolf to human because her own mother doesn 't recognize her, trying to make herself seem more like human, and not even caring about her own fellow wolf mates anymore.
In The Glass Castle Jeannette Walls faces harsh stuff through her childhood because of her parents. In the beginning of the book she finds her mother digging through trash. She feels embarrassed, so she turns around and goes home without saying hello. Jeanette then calls her mother and asks to have dinner with her. She offers her mother help because she feels guilty, but her mother rejects her help. Jeanette’s mother then tells her that her values are all wrong. Jeanette opens up to her mother about being embarrassed and passing her up in the streets. When her mother asks her why, Jeannette says, “I was too ashamed, Mom. I hid”(5). This quote also relates to her childhood. Jeanette’s childhood was shameful due to her parents careless way of living. Throughout The Glass Castle Jeannette hides her childhood just like she from her mother because she is ashamed of what people might think.
In the story, “St. Lucy’s Home for Girls Raised by Wolves”, the author, Karen Russell, uses feral diction to establish that although people strive for perfectionism in their lives, people cannot become someone or something that they are not, thus causing a loss of identity.
However, she still preforms bad wolf habits showing that she has not successfully adapted to the human culture. Little things such as translating wolf into English in her head before saying them is one example of the little things that go unnoticed. Still at stage three, Claudette wags her invisible tail, repeats the steps of being a well-mannored student, and licks her packs cheeks to comfort them. Claudette tries extremely hard to welcome her new culture but some things happen instinctively exhbiting that she is not ready to leave. For example, Claudette was at the dance and got mad at a boy so she instinctively displays her wolf personality. “I narrowed my eyes at Kyle and flattened my ears, something I hadn’t done for months” (Russell 243). Even though Claudette is almost at the end of stage four, she still fails to deminish her wolf instincts. Having the wrong mindset forces Claudette to forget what she has previously learned and return back to her wolf instincts. As much as Claudette wishes to adapt to the human culture, instinctive habits and hopes cause her to not
Paul Ryan once said, “Every successful individual knows that his or her achievement depends on a community of persons working together.” Individuals must strive upon excellence based on the society they are placed in. Watching how others react can help one become the best they can be. Throughout The Glass Castle, Jeannette is exposed to society by her parents. Her parents, Rex and Rose Mary, see society in different means than how others perceive it. They think they can bend the rules and do what they think is necessary. Jeannette is exposed to these understandings, making her the person she grew up to be. Jeanette demonstrates how she struggles with her family throughout numerous portions of the novel: “The Desert,” “Welch,” New York.” These struggles developed and defined who she came to be.
There are many literary devices used across stories. Color imagery is one of these literary devices that is used when colors give objects a symbolic meaning. In the short story “St. Lucy’s Home for Girls Raised by Wolves” by Karen Russell, girls who have been raised as wolves are thrust into the unknown as they are forced to adapt to human society. Their childhood was spent living with wolves, however they are taken in by nuns of St. Lucy’s who attempt to assimilate them into the human world through different phases. Throughout the story, color imagery is used to emphasize the key theme of unity, establish the conflicted tone, and metaphorically develop Claudette’s character.
“You change your life by changing your heart.” said Max Lucado. This is exactly what Catherine did in Karen Cushman’s Catherine, Called Birdy. Her experiences led to the discovery of the need for change. The interactions and experiences she had with the Jews, her mother, and a villager led to Catherine becoming more gentle, caring, aware of her surroundings, and more of herself than she was before.
In Karen Russell’s short story, “St. Lucy’s Home for Girls Raised by Wolves”, she develops the progression of the characters in relation to The Jesuit Handbook on Lycanthropic Culture Shock. The characters, young girls raised as if they were wolves, are compared to the handbook with optimism that they will adapt to the host culture. The girls’ progression in the five set stages are critical to their development at St. Lucy’s. The author compares Claudette, the narrator, to the clear expectations the handbook sets for the girls’ development. Claudette’s actions align well with the five stages, but she has outbursts that remind her of her former self.
One of the most predominant themes in “The Woman Warrior” is finding ones voice. Throughout the book, voice is referenced many times and most often as a disability of the women in Kingston’s memoirs. Being voiceless is not always a defect that one is born with but can also be due to societal pressures and expectations. The women that appeared as voiceless in the book were most often the ones that did not have an identity of their own. They simply led their lives following someone with a voice hoping that they would be able to live under the shelter of other’s voices. Kingston gave voice to women in this book that were not able to speak for themselves and to deny the accusations and taunts of society. She expresses in the beginning of her book how
The PERMA model of Seligman (2011) suggests that people are most happy when they experience positive emotions, engagement, positive relationships, meaning and achievement. Therefore Seligman describes a multimodal construct for which happiness can be measured from these 5 components (fig.1). The PERMA model predecessor was the “Authentic happiness model” of Seligman, in which he first described happiness consisting of three components: meaning, positive emotions and engagement (Seligman, 2003). In Seligman’s recent PERMA model, he states that happiness is a multidimensional subjective construct build up out of the five components. In contrast, others (who are the others? You need to specify who you are talking about) describe well-being