The Myth Of Co-Parenting Analysis

Hope Edelman, a writer and mother, discusses her thoughts and experiences of the reality of marriage in, “The Myth of Co-Parenting: How It Was Supposed to Be. How It Was.” Edelman details how at the beginning of her marriage her husband was starting an internet business and had to take long hours causing Hope to cut hers in order to care for their child. Hope describes how she expected marriage to be a place where the spouses split homemaking and breadwinning equally. She quickly realized that that was not the case. Hope details how she became a primary housewife quickly and ended up becoming angry not doing what she wanted to do. Throughout, Hope asserts her anger and the situations she was put in that caused her frustration. By the end of

The braking of the dish resembles how fragile a marriage could be. First the scene, the dish is knocked over by the cat,. The dish symbolizes the relationship between Ethan and his wife Zeena. The dish is important to the

Co-parenting is an essential issue to a married couple. Co-parenting as a concept concerns with sharing responsibilities at workplace and home equally between the married couples. Co-parenting is a matter that both the couples strive to achieve and maintain regardless of how much it is hard to sustain it. Hope Edelman and Eric Bartels in "The Myth of Co-Parenting: How It Was Supposed to be. How it was." and "My Problem with Her Anger" respectively demonstrate through first-hand experiences the difficulties married couples face during co-parenting. With Edelman’s article “The Myth of Co-parenting: How it was supposed to be. How it was" coming from the notion of a frustrated wife and Bartels ' article "My problem with her Anger" perceives a distressed

He expresses the little credit he got for cleaning out and organizing the armoire, a project which took a day for him to do, and led to an argument about where the contents should go (58). Under his own consent, Bartels also stresses how he made dinner for his wife

In the conclusion paragraph, Barry talks about the point of view of his wife, that before womens liberation, men took care of cars and the women took care of the kitchen. Women had a more womanly jobs, while the men had the more manly jobs. The stereotypes of women having a job of working in the kitchen and doing all the chores in the house, make men believe nowadays that it’s okay for women to do all the work and that men don’t need to do as much as they have to in the kitchen. In conclusion “Lost in the Kitchen” portrays a story that focuses on the food of Thanksgiving, football, and the inability for men to multi task.

New recipes for hibachi, fondue, quiche, crepes and the most recent addition salsas, were added to her mother’s recipe box. These foods indicate how far she has come from the traditions of her southern hometown. Additionally, she describes how cooking isn’t solely controlled by women but to men as well in the 21st century. The chapter provides a stark between the conventional housewife and the new aged husband who shares the responsibility of cooking. The starts the comparison by describing the image of her mother waiting for her father to come home from work every day.

He asked for popcorn kernels, and put them near the heat.” This is how we got microwaves

When the argument shifts its setting by moving from the bedroom to the kitchen, Carver’s use of symbolism adds intensity to the story. Too busy with their selfishness, “In the scuffle they knocked down a flowerpot that hung behind the stove” (329). Neither parent stopped to see the broken pot, nor did any of them break focus on their fight with the child. The kitchen is usually a place where a family comes together, but here they were breaking apart at the seams.

The brokenness of the kitchen supplies provides evidence for how the people living in the Fromes house are broken, their love lives are broken, and their everyday lives are broken. They do not even bother to try to fix the utensils, they do not care for how their kitchen is presented exemplifying the lack of motivation and drive for a good happy life. The conditions of a person's home says a lot about them and the conditions of the Fromes home says that they have a dejected and miserable

Men are unable to function in the extremely high pressure situations that women try to put them in, such as helping out in the kitchen or cleaning the house. In “Lost in the Kitchen” by Dave Barry, these incapabilities are highlighted and ridiculed by Barry in order to put a comedic spin on the situation. The use of different resources of language such as stereotypes, hyperboles, and comparisons all support the main point that men are subpar in the kitchen compared to their female compatriots. Throughout “Lost in the Kitchen”, Barry speaks of the kitchen as if it contains its own consciousness, a place where women are unparalleled and reign dominant over men. The kitchen seems to be described as a trap of sorts, and he states that he would not have a preference between landing a nuclear aircraft or going into that foreign domain.

Bradbury wrote and I quote, “watched the stove busy humming to itself, making supper for four.” Although the kitchen actually is making dinner for the family, it is unrealistic and the author is making the kitchen seem like a person because it is “humming.” This is the first sign of how much the family relies on the “Happylife Home.” In my eyes, it is extremely ironic that “His dream home actually turns into a nightmare” (Milne). This is referring to George Hadley who thought the house was going to help the family; instead, everything that could go wrong did go wrong. The family became over-dependent on the technology to such a far degree that, in turn, the family destroyed

Aunt Paula aided them on there journey to America. She provided them with a condemned apartment. The apartment is roach infested and the only source of heat they have is an oven. In return for Aunt Paula’s actions they must repay her, by working in her sweatshop under compromising conditions. At the beginning of the novel Kimberly and Ma are mainly stuck in their situation.

Similar to the father, he tries to pass on the culture hoping it could survive within the family. Sadly, the culture “[was] slowly dying” (341) in the sink. When the fish was being cooked in the wok, it is described as “tires on gravel, a sound so loud it drowns all other noises” (342). The noise level hints a tense argument that has been built up within the family for years. As such, when the fish is served, the tension and dissatisfaction between the son and father imploded; hence, the father acted violently towards his son for being “ungrateful” (344).

Brooke nonchalantly implies that she needs to wash the dishes with hopes Gary will want to help her by showing some appreciation for all her hard work. Gary, however, only wants to relax and unwind from his hard day at work. This is an example of lack in Relational maintenance (pg. 300). When Gary does not help with cleaning the house, cooking the food, or washing the dishes he is not sharing task (pg.301) which is one of seven strategies couples routinely use to maintain their relationship. This task involves taking mutual responsibility for chores.

In expositions, writers usually tend to focus on certain techniques to not only enhance their writing, but also make their audience believe in whatever they are writing. These age old techniques have been used for so long for one common goal, to create clear messages from their writing that the audience are able to connect with. When their is a feeling of understanding of what the writer is attempting to portray, it makes it far easier to obtain a deeper knowledge. In Hope Edelman’s essay, The Myth of Co-Parenting: How it Was Supposed to Be. How it was, she doesn’t fall short on exemplifying these certain techniques through the act of making her audience feel sympathetic. In her piece, she utilizes emotion and first hand experiences to make the audience identify with the situation, enabling them to make comparisons between Edelman’s marriage and their own.