Curley treats her as a possession by isolating her and forcing her to stay in his “house alla time.” Even Crooks, Lennie, and Candy– a crippled “nigger”, a “dum-dum” and a “lousy ol’ sheep” – refuse to talk to her, suggesting that being a merely being a woman is the worst kind of ‘disability’. Steinbeck uses this hierarchal disparity to illustrate the injustice of sexism. Steinbeck further protests this injustice when Curley’s wife reveals she has a “dream”, yet is too “lonely” to tell anyone else. She has “nobody” to share her thoughts and feelings with because of her sex. Her death represents the futility of trying to overcome sexist prejudice – she dies trying to confide her loneliness in Lennie – and Steinbeck uses this fact to emphasise the extent to which sexism defines her life.
Most of all, Sethe is a mother. During her escape from Sweet Home, motherliness is accentuated as the toughest propeller. The most apparent question of a reader is that why a mother should kill her infant and whether this act can be made clear and be justified, by the ruthless structure of slavery. Many articles served the main topic of Sethe’s role as a affectionate mother in Beloved. Liz Lewis, for example in Moral ambiguity in Toni Morrison’s Beloved and Jazz, argues that, “Beloved reflects how in such a society allowing oneself to love is dangerous practice doomed to heartache.” (2) The slaves somehow did not have the ability to love anyone.
In both novels, the Crucible and Ethan Frome, the main characters are stuck in pointless marriages, however revenge and love led the two plays into slightly different paths. In the crucible John Proctor has a seemingly miserable marriage with Elizabeth Proctor. She was an unhappy, depressing wife, and the cold house she kept led to John having an affair with the housekeeper Abigail Williams. Similarly in Ethan Frome, Ethan is married to a mean, sickly, and depressing wife, and found a way to escape from his misery through the housekeeper Mattie. We can see that in both plays, the two main characters are not happy with their marriages and lives, therefore they try to get away from them by having an affair with other women who seem to be their
Heller is an unusual person because of her terrible experience in the Auschwitz concentration camp under the Second World War. Mrs. Heller is handicapped because of her incapability to walk and her blindness. As she says “My eyes are blind” after which she explains how it is a curse to her that people have an aversion to believe in her story and therefore she has to picture the horrible events multiple times. She has a will to make people believe her stories, she demands that people know to the terrifying history and how shocking events can never be fully forgotten. Hereby a main theme for this short story could be: Lack of recognition of problems in hope of dodging uncomfortable feelings.
This double oppression of a young black girl in a patriarchal society is an example of Du bois (2008) “double consciousness”. Pecola is also a symbol of the black community’s self-loathing and belief in its own ugliness. She is absented even more from existence by her mother when she tells her of the ordeal and she doesn’t believe her but beat her instead. This cause Pecola to self-loathe and absent herself from existence because she is made to believe that the bad experience she had was her fault. Pecola is pushed furthermore into her imaginary world, which is her only shield against the pain of her existence.
While on the other hand Susan Rawlings in To Room Nineteen saw suicide as her only outlet to her lack of freedom in her marriage. “Some declared the institution of marriage to be a form of slavery and thus recommended its abolition”(Somers 263). Self confidence and the outcome of standing up for yourself are the main connecting themes, Mrs. Rawlings fails to stand up towards her degrading social role, while Maya in Still I rise exceeds and flourishes in wearing the pants in her
Wright’s belongings are incomplete and out of place, particularly in the kitchen. The women find this to be abnormal and begin speculating the significance of these items. During one point in the play, Mrs. Hale notices an uneven stitch in Mrs. Wright’s unfinished quilt. She asks Mrs. Peters, “’what do you suppose she was so nervous about?’” Because of the death of Mr. Wright, Mrs. Hale views the stitching in a suspicious manner. She sees it as vital information; something that could present them with Mrs. Wright’s state of mind around the time of her death.
If you had a vagina in John Steinbeck 's Of Mice and Men, a novel about extremely different people with their own individual disabilities and facing seemingly unending hardships, you were at a complete disadvantage to your male counterparts.John Steinbeck utilizes Curley 's wife to portray the views of someone who is utterly lonely, unable to apprehend her dream, and constantly oppressed due to the sole fact that she is a woman, demonstrating how the sexism in society leads to women not being able to participate in the American dream. One could say that Crooks, the only black character in the book has it harder, but this is not true. Although he is alone, he is not nearly as alone as Curley’s wife. Crooks gets to work with the other men during the day and sometimes spends time with them in the evenings. Although many men are mean to Crooks he has friends that he can confide in.
In “The Painted Door” by Sinclair Ross, “The Yellow Wallpaper” by Charlotte Perkins Gilman, and “Behind the Headlines” by Vidyut Aklujkar, inequality and dissatisfaction are central topics shared by all the stories. Ending with some sort of a rebellious act which changes the protagonists’ lives, the three authors deal with the fact that inequality or isolation may lead to a breakout behaviour of the victims. The wives, Ann from “TPD,” the protagonist of “TYW” and Lakshmi from “BH,” are dissatisfied with their lives as they live in inequality and loneliness; this causes them to finally act out in some way, standing up for themselves. their breakout behaviours not only change their own lives but also the lives of their husbands. Inequality
In The House on Mango Street by Sandra Cisneros, Esperanza’s shame and despair dragging her down, contrasted with her vivid dreams of escaping her economic class providing purpose and hope demonstrate the dual contradictory effects of poverty on an individual. While she does express ambition for her aspirations, Esperanza’s economic troubles cause her to feel despondent and isolated, demonstrated by her disappointment with her material possessions. Her despair is first introduced in the vignette “The House on Mango Street” where a passing nun views Esperanza’s run-down house. The nun responds to her house with disbelief and disgust, prompting Esperanza’s embarrassment: “The way she said it made me feel like nothing. There.