On the other hand, in Two Kinds, the mother and daughter face a culture shock in which they both are unable to come to terms on how and for whom they should live their life for. These two mothers and daughters represent that every household is different and whether you do too much or too little as a mother, the outcome depends solely on how each individual copes with the given conditions. Taking in account the parenting methods used by the two mothers, it can be deduced that despite their approaches not being exemplary, their actions were provoked by economic strain, societal pressure, and simply testing the waters of parenthood. Claiming that these mothers are either good or bad role models is a subjective assertion because what might work for one person might not be ideal for another. In I stand Here Ironing, the mother and her daughter Emily are showcased to portray a relationship in which the mother’s role is compromised by financial and family support instability.
Wos uses this specific tone to demonstrate her stubbornness in throwing away food. Which ultimately links back to anger at her sister’s death due to lack of food. Consequently Wos’ syntax presents a childlike tone, which intentionally helps to display her complex reaction over eliminating
I can’t stop crying,” (31). Her use of imagery enables readers to picture her situation, but the intensity in her words gives the readers a sense of agony. Although it was challenging, Dugard expresses the excruciating feelings she receives during each occurrence. Not only are readers able to grasp an understanding of her experiences, but the tension between Nancy Garrido and Dugard is easily perceivable. After Dugard has her second daughter, Nancy has troubles trying to make them more like a true family.
Ammu begins to look for ways to regain control over her own life, such as her relationship with Velutha. However, because of the events that transpire from the relationship, she begins to resent her children even more, once even shouting at them that “If it wasn 't for you I wouldn 't be here! I would have been free!" (240). This event showcases that when Ammu begins to focus on her own wish to be free of society’s constrictions, she no longer can prioritize the needs of her children, and in fact begins to view them as a
Zora Neale Hurston’s Their Eyes Were Watching God, portrays the story of young woman named Janie struggling with relationships that become crucial to the way she chooses to identify herself. Janie goes through the constant struggle of being controlled by others and allowing others to dominate her identity rather than her owning herself. When she marries her second husband, Jody, he forces her to wear a handkerchief around her head in public because he declares her to be his property and is scared that her beauty will attract other men. However, when Jody gets ill and dies, Janie is placed into a predicament and finds herself face to face with the pain caused by her relationship. Hurston describes the transition Janie makes from being identified by others to recognizing her self worth.
In the Bildungsroman, The Secret Life of Bees, by Sue Monk Kidd, Lily, the young motherless protagonist, exists in a life which lacks love and care, but with an act of rebellion, alters the entire course of her life. After enduring cruel punishments from a sadist father, Lily accepts this as the way of life she must live. However, after a crucial moment, Lily begins to consider the idea of freedom from her oppressive life; she realizes this when she and Rosaleen, her substitute mother, come under arrest for disrupting the public and Terrence, her father, would only take Lily out of jail. This is a pivotal moment as Lily a heated conversation with her father and exclaims, “You don’t scare me”(Kidd 38). Her brash action to rebel against her father
Instead of the conflict of the story being between a husband and wife, the conflict is between a mother and a daughter. In the beginning of the story, we can see the obvious conflict between the two. The mother is what one might consider to be strict or abusive or maybe even just tough love. Many times, throughout the story, the mother is said to have hit or choked her daughter. Because of this, the daughter has turned into a disobedient girl and will do anything to go against the wishes of her mother.
Montag tells Mrs. Bowles, “Your children hate your guts... Go home and think how it all happened and what did you ever do to stop it?”(101) Montag is trying to get Mrs. Bowles to change her mind using emotions like sadness and regret. Sadness is used when he reminds her that her children hate her. This is sad because usually your children love you and if they do not it is a sign of a troubled family. Another emotion from pathos is regret. There is regret because Montag wants Mrs. Bowles to think about what she could have done or regret what she did to get to the point she is at.
Self-doubt often arose because women were frequently bombarded with messages of what is proper and improper as a lady; their thoughts were often dismissed if they disagreed. Women were aware of these social pressures and struggled to follow them, even subconsciously burying their thoughts from the constant oppression that has almost become intrinsic to them. In “The Yellow Wall-paper,” when the unidentified woman is starting to lose her sanity, she starts to think that she is the creeping woman trapped behind the wallpaper: “I don 't like to look out of the windows even — there are so many of those creeping women, and they creep so fast. I wonder if they all come out of that wall-paper as I did? But I am securely fastened now by my well-hidden rope — you don 't get me out in the road
In the poem Mother in a Refugee Camp, the themes of power and powerlessness are shown at the same time consistently throughout the poem. The powerless aspect is shown by the mother’s lack of ability to help her child, as he is described as ‘her tenderness for a son’ that she will ‘soon’ have to ‘forget’. This foreshadows the inevitability of his death and shows the difficulty of the position his mother is in, having to helplessly watch her own son perish. This is also further foreshadowed later on in the poem. Such as when the poet describes the mother’s actions towards her child: he says she is ‘combing’ the ‘hair left on his skull’.