Put me down easy, Janie, Ah’m a cracked plate” (Hurston 20). Nanny is successfully able to convince her granddaughter through her own traumatic experiences and make her feel “sympathy” as she tells Janie she doesn’t want her life to be spoiled like her own life was. At first, Janie refuses to marry Logan Killicks. Nanny being the older one, defends herself by saying “put me down easy” since she can no longer care for Janie and only her wish is for Janie to get married and be protected from the dangers she and her own daughter faced. By calling herself a “cracked plate” Nanny further elucidates that she went through many hardships in her own life and wants to do the right thing for her granddaughter by
Rachel never fully connects with any of the Congolese people, and finds it absolutely revolting about the idea that the Chief wants her as a wife. Her religious views are almost nonexistent throughout the novel, so she never comes to terms with if it is something she does or does not believe in. Besides her clinging to American civilization, she has nothing guide her through the darkness, and never even attempts to learn how to. She doesn 't let herself connect to anyone, except for the only other American in the village, Eeben Axelroot. Because of this, she cannot grow and adjust, only remain in the same spot she had when they had first arrived in the Congo.
What seems to confuse her the most was not the physical violence she encountered but the verbal violence she was a victim of. “I am not,” she said tearfully, “a warthog from hell.” (pg 24) But her denying it didn’t seem to help, Ruby did not believe she deserved to be attacked in that way, “She had been singled out for the message, though there was trash in the room to whom it might justly applied to.”(24) “There was a woman there who was neglecting her own child but she had been overlooked. The message had been given to Ruby Turpin, a respectable, hard-working, church-going
Orleanna hates her husband for making their family live like this. In Excerpts from the Awakening, Kate Chopin conveys that women deserve the same freedoms as men, so when Edna sets out to find her independence, much like Orleanna, who is tired of being treated poorly by her no good husband, it creates a connection between the stories. Orleanna appears to be a good mother who keeps her kids in check, and in line, for the most part. Her children aren’t too thrilled about being stuck in the Congo on their trip, but they all have to do what their father says. Orleanna obeys her husband Nathan during the beginning of the book because she is too afraid to step out of line because she knows how Nathan gets when he
Curley’s wife is not dedicated to Curley as she has the eye for other men (pg 28, p4). Evidently Curley’s wife isn’t loyal to him as she doesn’t bother hiding her interest in other people. Since she has no dedication to him, their partnership is broken. Curley’s wife doesn’t care about Curley at all which is shown when he gets into a fight and she expresses her appreciation of him getting injured (pg 81, p11). She has no respect for her husband and doesn’t show any concern for him.
Training alludes to how the female is situated in the home and how the nurturing of the child and additional local errands has now turned into her circle and obligation. This is exactly the situation for Sethe in Morrison’s Beloved. Sethe questions the very conventions of maternal narrative. A runaway slave of the later half of 19th century, she possesses a world in which “good mothering” is extremely valued, but only for a certain class of women: white, wealthy, outsourcing. Sethe’s role is to be aloof: deliver flesh, produce milk, but no matter what happens, she cannot love.
Hakim doesn’t immediately pick up on Maggie’s behavior and continues trying to make unwelcome advances. Maggie’s personality is one of apprehension and suspicion toward anyone but her mother. The mood stays the same as Dee, Mama, Maggie and Hakim-a-barber sit down together to talk and Dee announces to the family that she has changed her name to Wangero Leewanika Kemanjo with the reasoning that she refuses to have the name of the people who oppressed her. Mama doesn’t know how to react and is slightly puzzled because her daughter is throwing away her family name. When Dee (Wangero) began taking things that belonged to her mother in order to decorate her new house, the mood changed quickly from bewilderment to acrimony when Dee finally went too far.
The second least important element in this book to be kept or change is How Minny left Leroy. In both forms of “The Help”, Minny Jackson ends up leaving her husband, Leroy, with her kids, but why and how she leaves him changes with the media. In the book Minny tells the readers that while she is pregnant Leroy does not beat her
In conclusion, the novel “Their Eyes Were Watching God” presents the theme of love and that being in a relationship hinders independence but in an unique way. Hurston uses symbolism like Janie’s head rag which stifled her independence and when burned, made her feel free. She also uses the motif of communities, which are ever present throughout the book, using specific examples such as when Janie isn't allowed to go to the funeral, which hinders her independence because she isn't making choices for herself and isn't doing
The customers of the A&P, consisting largely of old housewives and husbands, do not show acceptance of Queenie’s views; they would rather conform to social norms. As such, they avoid her, as if they fear her views will spread like a disease. Never taught to think for themselves, these people would rather avoid such change, and continue living their lives in mindless obedience of the social norm. They are unable to accept Queenie or the other two girls, merely because they are “unique in all aspects of their beings: walking, down the aisles, against the grain, going barefoot and in swimsuits, against the properly attired clientele” (“An Analysis of John Updike’s A&P”). Because the girls,