Day: September 1, 2023

Introduction to African American characters in “A&P” & “The Long Ranger…”

Modern living and the arrival of supermarkets have not only affected the general populace in the United States but also African Americans. Hence, presenting African American characters in “A&P” & “The Long Ranger…” inevitably highlights the effects of the modern lifestyle on the youths of this marginal community. African American youths have had to adjust to the new realities of joblessness, new lifestyle, and new transformations in the social fabric. The main character of “The Long Ranger and Tonto Fistfight in Heaven” is fully aware of these social changes and the effects of the new market mechanism. That is why he makes his appearance in the famous Third Avenue 7-11, for just Creamsicle and considers himself a hero (Alexie 3). In the same way, Sammy does leave his job just to show his heroism to the girls who do not even see what he has done. It just dawns upon him that he has nowhere to go after he leaves his job (Updike 4-5). The use of first persons in the narrative by both the characters in “A&P”, and “The Lone Ranger and Tonto Fistfight in Heaven” shows the assertiveness of these two young men, their behavioral frustration at stores, and their reflection over their failed lives in the material world.

First Person Narrative of African American characters in “A&P” & “The Long Ranger…”

As far as the use of the first person in the narrative is concerned, it is a symbol of assertive behavior. Both African American characters in “A&P” & “The Long Ranger…” are assertive. Although Sammy has a family, it is not clear whether Sherman Alexie’s boy has a family or not, but he is shown as an assertive fellow. His behavior with his girlfriend, his separation from her, and even his behavior at the store; this points to assertiveness in his character. “I wanted to whistle low and menacingly but I never learned to whistle”, he says when he is at the store with the shift manager to purchase Creamsicle (Alexie 3). Sammy, on the other hand, narrates his entire episode with the girls, his work at the store, and even his final moments with assertiveness. About the girls, he says, “I began to feel sorry for them, they couldn’t help it” (Updike 3). Both African American characters in “A&P” & “The Long Ranger…” show their assertiveness almost everywhere, and it is more clear through their first-person narrative. Their assertiveness, however, is a reflection of their frustration.

Frustration of African American characters in “A&P” & “The Long Ranger…”

Young people mostly felt frustrated during the 70s and 80s on account of fewer employment opportunities. The only opportunities were in the career of salesmen in the stores such as A&P and 7-11. Both African American characters in “A&P” & “The Long Ranger…” “are doing jobs in an outlet of these chains of superstores. Sammy is still employed, while the boy has left long ago. The article, “How The A&P Changed The Way We Shop,” tells in detail about these supermarkets and superstores saying that the arrival of more customers made the young men more frustrated, “In a supermarket, you were likely not to know your customers,” though it sometimes happens that the world goes according to the market mechanism where morals and rules hold little importance (“How The A&P Changed The Way We Shop”). Sammy does not know what to do with Lengel when Lengel asks the girls to abide by the policy of the store that does not exist. This further adds to Sammy’s frustration. In the case of the boy in Sherman Alexie’s story, this frustration is pounded with the unrequited love that is also due to his unemployment (Alexie 5). And this unemployment is the reflection of a career failure.

 Survival of African American characters in “A&P” & “The Long Ranger…”

In fact, those were very hard times, where survival without proper education and skills was not possible. Specifically, the black community lagged far behind in education and skills. The odd jobs of working in the supermarkets and the introduction of major stores further shrank the opportunities. The mother of the boy in Sherman Alexie’s story is worried about her son, “Where are you going to do with the rest of your life,” she asked him and he is frustrated as he said only “Don’t know” (Alexie 5). The same is the case with Sammy. He has said that he is going to leave the job, knowing nothing about what to do next. Although the manager, Lengel, reminds him, “I don’t think you know what you’re saying” to which he responds, “But I do” though by the end of the story, he confesses, “I felt how hard the world was going to be to me hereafter” (Updike 5). This is a clear indication of his career failure. Both African American characters in “A&P” & “The Long Ranger…” do not know what to do in their lives.

Conclusion

In short, the argument of difficulties and frustration the decades of the 70s and 80s posed to African American communities proved really very hard as two young characters of the story “A&P” and “The Lone Ranger and Tonto Fistfight in Heaven” show. Both African American characters in “A&P” & “The Long Ranger…” show their assertiveness through first-person narrative. However, this too shows their frustration which is a reflection of their failure in the world. In other words, this community was at its wit’s end after the introduction of new shopping ways and new superstores and markets. The stories clearly show this dilemma of the African American community through the young characters who display the condition and behavioral frustration of the entire community. The story also depicts the changing times and its effects on the behavior of the youths. Although both African American characters in “A&P” & “The Long Ranger…” are specific ones, they are representative characters of a community that is feeling the heat of materialism.

Works Cited

1. Alexie, Sherman. “The Lone Ranger and Tonto Fistfight in Heaven.” Duke. n. d. Web. Accessed 22 Feb. 2017.
2. “ How The A&P Changed The Way We Shop.” NPR. 23 Aug. 2011. Accessed 22 Feb. 2017.
3. Updike, John. “A&P.” Brainstorm Services. n. d. Accessed 22 Feb. 2017.

Relevant Questions about African American characters in “A&P” and “The Lone Ranger…”

1. How do the African American characters in “A&P” and “The Lone Ranger and Tonto Fistfight in Heaven” contribute to the themes of identity and societal expectations in these stories?
2. In “A&P” and “The Lone Ranger and Tonto Fistfight in Heaven,” how do the African American characters navigate their roles and relationships within the predominantly white environments, and what impact does this have on the narratives?
3. What similarities and differences can be observed in the portrayal of African American characters in “A&P” and “The Lone Ranger and Tonto Fistfight in Heaven,” and how do these characters influence the stories’ exploration of race and culture?

Introduction

With minimum adjectives and minimum words, setting in “Hills Like White Elephants” by Hemingway captures not only the tense relations between characters, but also the spirit of the age within two and a half pages. With just two characters and a railway station in the hilly background, Hemingway has succeeded in creating a conflict that starts from the very beginning of the story and lasts until the story ends. This conflict does not end; rather, it forces the female character, whose name is Jig, to become silent and taunts the American for not being silent. It also synchronizes with the barren setting of the countryside where the story is set. Therefore, in a way, Hemingway in “Hills Like White Elephants, has put the girl in a conflicting situation to make a difficult decision following which she is engaged in a deep introspection regarding the likely consequences amid this barren setting where the train is to take them to the other world.

Lost Generation and Setting in “Hills Like White Elephants”

The story seems to be written after WWI when money, sex, and lawlessness created a new generation, or the lost generation as John Steinbeck called it. This generation was not only rootless but also moral-less, having nothing to live, no purpose to live and nobody to live with (Sanchez). The American seems to be representing this lost generation, for he has no name, no place to go by, and nothing to live by – the reason that the girl is pleading with him not to leave her.  This puts the girl in a dilemma, as he poses her two choices – to either go for abortion or to let him leave her. It is clear from this when the American puts forward the proposal before her that “it’s really an awfully simple operation, Jig” (Hemingway 75), she stays silent. He repeats and promises her, “I’ll stay with you all the time” to which she responds “Then what will do afterward?” based on which she is to make this decision (75). Now the onus of the decision is upon her that was the hallmark of the lost generation in that they shirked the responsibilities like the American here. This forced acceptance leads her to a critical point of decision-making within in this minimal setting in “Hills Like White Elephants”.

Jig and Setting in “Hills Like White Elephant”

Jig is, then, lost in introspection about whether to consent to him and whether consenting to his suggestion would not lead to having him with her or not. These likely consequences make her meditate on her future despite his repeated assurances that he would be with him through think and think. She thinks about whether her decision to undergo this operation would be really long-term relations that she doubts because when he promises her again, she says that “I don’t feel any way” (76), adding, “I just know things” by which she means that she knows he will leave her (76). It is because she has never called him even once by his name. In the entire story, he is a nameless character, the American, who could go anywhere at any time, having no responsibility and no accountability. That is why she is lost in introspection over the likely consequences that could be against her. This is shown by her chagrined response to his assurances when she says, “Would you please please please please please please please please stop talking?” and Hemingway notes that “he did not say anything” because he has nothing else to say (77). Both of them know this reality because their surrounding or setting in “Hills Like White Elephants” is telling them.

Barren Setting in “Hills Like White Elephants”

This surrounding is their setting that is totally devoid of greenery, shade, and even grass that typically grows at any place. The setting of any story sets the moods of the characters, showing how they are going to behave and what they will have in the future. Both of the characters, the American and the girl are sitting amid the barren setting. This setting is a symbol of the futility of the conversation, infertility, and sterility. On the side where they were sitting there “was no shade and no trees” while the hills were “white in the sun and the country was brown and dry” where nothing grow (75). This shows that the attempt of the American to convince the girl may succeed but the relationship is infertile like the landscape. She would not succeed in having the American with her all the time is the case here. His claims that he would stand by her all the time are just based on this topical assumption that she would undergo surgery and they will be fine like before. But it is unclear whether they have been meeting for how many years. That is why the setting in “Hills Like White Elephants” only adds to the infertility of the situation.

Conclusion

In short, not only the dialog but also the situation of the characters add tension to the conflict existing between both characters. Hemingway has not wasted more words in showing it and showing the setting. He has mentioned abortion or operation only once which makes the entire situation clear. Then the setting in “Hills Like White Elephants” adds further to this bitter relationship between the girl and the American where they feel the futility of their meeting and conversation – the reason that the girl has to insist on the American’s silence. They have nothing to do at this railway station but only wait which seems to them reasonable because they cannot do anything else.

Works Cited

1. Hemingway, Earnest. “Hills Like White Elephants.” Mays. Kelly J. et al. The Norton Introduction to Literature. 8^th Ed. Norton. New York. 2002. Print. 75-78.
2. Sanchez, Salina. “The Lost Generation.” CCHS News Quest. n. d. Web. Accessed 16 July. 2015.

Relevant Questions about the Setting in “Hills Like White Elephant”

1. How does the setting in “Hills Like White Elephants” by Hemingway contribute to the overall atmosphere and tone of the story?
2. In “Hills Like White Elephants” by Hemingway, how does the setting play a symbolic role in conveying the underlying tension between the characters?
3. What specific details in the setting of “Hills Like White Elephants” by Hemingway help to emphasize the theme and central conflict of the story?

Introduction to Freedom in “The Story of an Hour”

Women’s freedom in “The Story of an Hour” is a hot debate. It is also surprising that Kate Chopin who was surrounded by female characters more than the male members of her family in her entire life has come up with such a strong character in her fiction. Due to presentation of Mrs. Louise Mallard has been termed a strong feminist of the 19^th century. Peggy Skaggs states this fact in her book about her that Kate Chopin was in the middle of female characters – the reason that she has projected feminism and freedom in “The Story of an Hour” and other stories. However, the calm attitude that she has inherited from her father could not find a trace in her short stories (Skaggs 17). Although the character of Mrs. Louise could hardly prompt the critics to label Kate Chopin a forerunner American woman feminist, it has some traces of independence, freedom, and desire for unshackling the patriarchal domination, that “The Story of an Hour” seems Chopin’s first attempt to project feminism (Skaggs 17).

Feminism and Women’s Freedom in “The Story of an Hour”

In fact, feminism could be traced back to Nathaniel Hawthorne, who has projected feministic characters in his short stories and novel, The Scarlet Letter, as stated by Nina Baym in her book, Feminism and American Literary History: Essays (36). As far as the theory of feminism is concerned, if the criterion is to project female characters, it goes as far back as the Greek and Roman civilizations. However, in American literature, it emerges mostly in the fiction of Nathaniel Hawthorne, but the term itself needs a clear definition before debating the story in the light of this literary theory. Where the feminism term is concerned, the online Merriam- Webster Dictionary claims that it was first used in 1895 by some anonymous critic, as “the theory of the political, economic, and social equality of the sexes” asserting women ‘s rights and interests (“Feminism”). This explains that feminism is a movement in literature, politics, or society. It asserts that women should have rights equal to men. In this connection, Mary Eagleton explains in her book, Feminist Literary Criticism, that the objective of feminist theory in literature is to appreciate and explain a piece of fiction or poetry regarding its role in projecting female characters and female rights (63). It becomes clear that women’s freedom in “The Story of an Hour” means projecting Mrs. Louise as having faced oppression in her marriage bond with her husband that following his death she sees it an opportunity to shed his domination. For example, when, “She arose … and opened the door to her”, this rising and opening the door suggests suggest that she is rather thinking of her sister as prodding her about her past life that she wants to forget (Chopin pr. 20). Her movement here is the projection of a female assertion Kate Chopin demonstrates everywhere in this story. In fact, freedom in “The Story of an Hour,” presents the issues of the oppressive bond of marriage, unspoken patriarchal domination, social traditions, and some other social barriers as the major reasons for the feminine desire for independence and freedom though some signs of postmodern feminism could also be traced.  

Marriage Bond and Freedom in “The Story of an Hour”

Where the presentation of the bond of marriage in “The Story of an Hour” is concerned, it is not very much clear from the story. Her presentation of the life of Brently and Mrs. Louise rather shows that Kate Chopin has a very traditional view of marriage. However, the lines in the story, “She was young, with fair, calm face, whose lines bespoke repression” clarifies the “repression” of marriage, as the word “repression” is highly suggestive of this fact (Chopin pr. 8). She has certainly gone through the repression of marriage in the story, though Chopin is showing her here as a loving and loyal wife. The next hint about the bond of marriage as oppressive comes when Mrs. Louise confesses that although “she had loved him – sometimes. Often she had not” (pr. 15). It means that there have been times in her marriage when she had felt that she did not love Brently. In this connection, Robert Evans has commented on this fact in “Literary Contexts in Short Stories: Kate Chopin’s ‘The Story of An Hour.’” He argues, “The essential honesty of the story (often a trait of Chopin’s best writing) continues when Louise concedes that although she had usually loved Brently, often she had not. Her feelings for Brently, however, suddenly seem less important than the prospect of her bright future of freedom” (Robert). By this, he means that Mrs. Louise has realized that she can live without her husband, and now she finds the opportunity for her to assert her being after his death. Therefore, she suddenly becomes happy. That is why a prodding from any other person to alert her to come out of her pleasurable stupor, even from her sister, seems her an anathema. It is because she is enjoying this freedom from the bond of oppressive marriage. And it is clear from her silent utterance of free and enjoyment of nature outside the window which show freedom in “The Story of an Hour”.

Mrs. Louis Mallard and Freedom in “The Story of an Hour”

Another evidence, in this connection, is her “wild abandonment” regarding the significance of the event, which has taken place in her life (Chopin pr. 3). This significant event is the death of her husband, Brently. Abandonment shows that she has not guessed the significance, while her initial response is just emotional. This realization of the fact of her husband’s death shows that one hour is not enough to fully realize the significance of the death of Brently. However, thes time is enough to make a person feel about his / her own self and the surroundings as Selina Jamil suggests in her paper, “Emotions in THE STORY OF AN HOUR.” She argues that to “simply observe the world through one’s rational faculty is nowhere near as powerful as observing with the vibrant, vigorous, acute and heightened awareness that emotions make it possible” (220). She fully realizes her emotional response at this point that she is now in her own self. The fact is that she has found the bond of marriage unshackled before her at this point. She realizes her independence, she might never have realized in the presence of her husband, which is quite natural here. The reason is that she would not have the opportunity to respond to the natural events taking place around her such as the tops of the trees quivering, the breath of the fresh rain, the crying of the peddler, the distance song, and the patches of the blue sky (Chopin pr. 5-6). Her emotional response to these natural happenings shows that she has become aware while the oppressed bond of marriage, at times when she did not love her husband, has not allowed her to look into these happenings.

Patriarchy and Freedom in “The Story of an Hour”

Also, the domination of the male members in society was perhaps imperceptible at that time. In this connection, the final scene of the appearance of Brently at the doorstep is critical but Mark Cunningham states referring to most of the critics as having commented on its patriarchal impact on the feminine psyche, as an assumption, for there is no other evidence, he claims, to suggest that it is really the return of the patriarchal domination that causes her death. However, he argues that “the story portrays the position of women in late nineteenth-century American society as so bleak that the attempt to break from the life-denying limitations of patriarchal society is itself destructive” (49). This fact of a patriarchal society clarifies that all limitations and avenues of the society were the subjects of the male members. Had she done any other attempt to come out of this, she might have harmed herself. Therefore, it is important to assume that at that time patriarchal domination was strong that breaking the limitation of having no husband and enjoying alone in one’s room, for a married woman, seems an impossibility which when broken could have taken the life of Louise Brently. In other words, when she sees Brently by the end of the story, she realizes that she has not found the fulfillment that she has just realized in his supposed permanent absence.

Another point is the position, which the patriarchal social setup of that time offers to women. Women were subservient to men in every respect. Louise Mallard is not shown as a working lady. Brently Mallard is working in the railway, a point that cannot be missed in that he is the breadwinner of the family and obviously has a big say in the family affairs due to his position. The fact that she is financially and socially subservient to him shows that it definitely has degraded her position. This is the cause of the oppression that she suffered in this marriage bond that she has been left to play second fiddle to Brently, though she is not habitual of being subservient as she ordered her sister Josephine to “Go, away” adding, “I am not making myself ill” (pr. 18). She wants to realize her being by staying alone. However, she does not know that the independence from the male domination that she has won naturally may not live long. This independence could be limited and isolated, as Mark Cunningham argues that, “her position would be defined as that of a widow, so any current freedom is based on her relation to the past” and not the present (57). What he means is that this patriarchal domination is so complete and overwhelming that a woman cannot shed off these shackles of her own will. She has to stay within these limits set by men even after the death of a husband. Even the future freedom of women is dependent on the role and attitudes of men, for they have the final say in the affairs of widows whether they are to stay at home or not.

As far as social traditions with reference to freedom in “The Story of an Hour” are concerned, there are no obvious references to these traditions except when there is an opportunity to inform the lady in question. There could be a tradition that the widow should be informed by her sister, the reason that Josephine comes to her. But it is the industrial age when traditions were changing fast. For example, there is no connection between Richards and Josephine, for no relation is clear in the story about them. However, their arrival together shows that society has come to the point where an unfamiliar male could meet an unfamiliar female. Another importance of social tradition is the change that industry is bringing. The railway has brought this change that now accidents are common. Mourning has taken place before the arrival of the dead body and the widow has assumed that she is now free and independent. She is experiencing the arrival of this freedom in her body, “There was something come to her and she was waiting for it, fearfully” where the word “fearfully” is highly suggestive, for it tells that she has already harbored such ambitions in her heart (pr. 9). It could be no other than freedom from the social traditions. In fact, it is a woman’s failure to follow the tradition of keeping herself confined within the limits of mourning instead of shedding these limits so fast.

Social Norms and Freedom in “The Story of an Hour”

Another side of the traditions is that men create them. The story does not mention that she has not followed them, but the arrival of her sister and the friend of her husband shows that she is a traditional woman, as she cannot go out now to get the information by herself. In this connection, the comments of Mark Cunningham are very important. He is of the view that social traditions create social systems, and it is a sorry affair that “women have been unable to create a system of their own” adding that, “The female self will have gained autonomy only to find that she has no life to lead” (53). In this connection, he means that women would lead their autonomous lives only if they are able to create their own system. Regarding freedom in “The Story of an Hour”, Mrs. Louise Mallard fails to create her own system. She is only feeling the joy of being independent in her dreams. And the problem is that dreams seldom become realities. They often stay dreams. There was “Someone…opening the front door with a latchkey” (pr. 24). That someone is always a man, which means that wherever Louise may go, she would have to face the men who have created every system, including norms of consolation over a loss, conveying of a message or not conveying, and homecoming, as Brently comes at the end and causes her death.

Despite all these barriers women’s desire for independence is always alive. It is a continuous struggle from which she cannot shy away curbing her freedom in”The Story of an Hour”. Whatever the situation at home may be, every woman vies for freedom, autonomy, and independence. Although reasons for her failure are always there, the desire for independence and freedom never dies. However, there is a slight difference in independence and freedom in “The Story of an Hour”. Independence means that she is able to think, act and do whatever she wants in the total absence of a patriarchal world. However, freedom means a partly free world where a man can step in at any moment. In the case of Louise Mallard, she is just feeling freedom. The passage clarifies that she has shown that sometimes she loved her husband but sometimes not. The passage ends with the word “free” where she says “Body and soul free”, a transitory feeling of freedom, but of course no independence (Chopin pr. 6). However, Scott Johnson has termed the implicit meanings as dependence, freedom, indifference, love and several others saying that such dual structure exists throughout the story, not clearly saying that this is freedom or independence (285). Although it is clear that she wants freedom for her soul as well as body, it is unclear that this is akin to independence which means a permanent state of freedom where she has the will to come and go anywhere. Yet, the turning of the latchkey at the end of the story suggests that something is coming to shackle her again which leads to her death. This means that even if freedom is transitory, it means a lot to her.

However, as far as independence is concerned, it is also one of the several themes of the stories, but not the whole theme. She is seeing something in the long run, as the “patches of the blue sky” suggest (Chopin pr. 6). In fact, the blue sky suggests a distance, and distance means that she has a long life ahead of her to live. Her demonstration of relief shows this fact. The fact is that when a person is happy, he does wild things such as “When she abandoned herself a little whispered word escaped her slightly parted lips”, which shows that earlier she was restricted to some area from where she is now free (pr. 13). Also, it is clear from this passage that she loves her husband and that whenever she has the chance to see his dead body again, she would weep again. Therefore, it is also a sign that she is seeing her independence from something oppressive, and this is long-term independence as is clear from the story, “But she saw beyond the bitter moment a long process of years to come that would belong to her absolutely” (pr. 13). The sense of possession makes a person desire or not desire something. Even time is on her side, and the long years of her life seem that they are just in her possession.

All these qualities of feminine desire for freedom in “The Story of an Hour” about soul and body, the wish to come out of the patriarchal dominance, and the want to remove social and other barriers have made the story a representative story of feminism. Yet, there is more to tell besides the freedom and independence of women. The article about the collection of different responses, “Appendix: Applications: Diverse Responses to Kate Chopin’s “The Story of an Hour” shows different facets of modern and post-modern feminism which include self, gender, power of sexuality, and recognition. Quoting Kathleen B. Durrer, the article says that the physical tiredness of Mrs. Mallard is an evidence that she has gone through a lifelong battle in her mind. The article further says that she is going through a conflict between “the id, the ego, and the superego” adding that “she has led a sexually repressed life” and that “Her reaction to her husband’s death may imply that marriage did not abound in sexual passion” (276). Kathleen Durrer even goes too far in saying that the death of her husband even “touched off an internal battle in her unconscious mind”, adding that her id might have been enjoying this pleasure of Brently’s death that her superego could have been appalled. Therefore, there is a possibility that her ego could have attempted to mediate between the two (277). But there is not much evidence in the text in this connection to show that there is a such mental conflict going on in her mind.

However, as far as the modern sign of sexuality is concerned, some terms suggest that it is present showing freedom in “The Story of an Hour”. In this connection, the article, “Appendix: Applications: Diverse Responses to Kate Chopin’s “The Story of an Hour” quotes a Freudian Barbara Larson who suggests that almost all the words associated with Mrs. Louise Mallard are suggestive of feminine sexuality, “especially, “sank”, “pressed down”, “her body”, “reached into her soul”, and “physical exhaustion.” (277). She adds that this “is passive and implies domination” by which she means patriarchal domination, an entirely contradictory approach of modern feminism (277). The article quotes two other Freudians, Lara Bridger, and Geni Williams respectively that it could be a violent “release of primal energy” after long repression of married life, and that it seems that “the adrenaline has stopped pumping through her body and exhaustion has sent in”(277). Whatever interpretation modern feminists may offer; the truth is that the text does not offer much evidence in this connection except for some words or phrases though some ambiguity could support this aspect of the story that these interpretations might be true.

Conclusion

In short, women’s freedom in “The Story of an Hour” has been much more advanced than the actual age in which it was written. If compared with that age, it is clearly a feminist approach of a female writer who might have wished to win freedom though she lived most of her life in an environment dominated by females, a contradiction often found in writers. The signs of feminism are clear from the character of Mrs. Mallard who not only expresses a sudden release of emotions as she expresses a newly won sense of freedom feeling that now long life is ahead for her to enjoy. She also is enjoying this freedom from the unspoken domination of the male setup where men have created systems for women to stay subservient to them. This she has experienced when Richards comes to inform her about the death of her husband though Josephine is with him. The presence of a male member is necessary.

There is also a sign of freedom in “The Story of an Hour” from social traditions and other social norms such as the presence of Richards, the moving of a latchkey in the hole in the door, and the way she is told about the death of her husband. This leads the story to show having all the qualities of feminism. Along with it, some critics have also traced some postmodern feministic aspects of having mental conflict between her id and ego and superego and even release of repressed sexuality in the form of jubilation that she expresses on the death of Brently. Some have gone too far in interpretations suggesting that it could be that her repressed sexual passions became free after the death of her husband or that she must have led a repressed sexual life, but these claims find not much support from the text itself. In fact, all these interpretations require much textual support which in these cases comprises only some words and single phrases and not much. Other than this, all other qualities of propagating or showing women’s repression from conjugal life, male domination, social setup, and social traditions against feminism are very much present with full-textual support. One thing is certain that “The Story of an Hour” started a feminist movement at that time when it was considered almost a taboo, and no any female writer has touched these aspects of women’s lives in such a vigorous way as Kate Chopin has done.

Works Cited

1. “Appendix: Applications: Diverse Responses to Kate Chopin’s “The Story of an Hour.” Short Fiction: A Critical Companion (1997): 271-295. Humanities Source. Web. Accessed 30 May 2016.
2. Baym, Nina. Feminism and American Literary History: Essays. New Jersey. Rutgers University Press. 1992. Print. pp. 35-36.
3. Cunningham, Mark. “The Autonomous Female Self and The Death of Louise Mallard in Kate Chopin’s ‘The Story of an Hour’.” English Language Notes 42.1 (2004): 48-55. Humanities Source. Web. Accessed 30 May 2016.
4. Eagleton, Mary. Feminist Literary Criticism. New York.Taylor & Francis, 2014. Print. pp. 63.
5. Evans, Robert C. “Literary Contexts in Short Stories: Kate Chopin’s “The Story of an Hour.” Literary Contexts in Short Stories: Kate Chopin’s ‘The Story of an Hour’ (2006): 1. Literary Reference Center Plus. Web. Accessed 30 May 2016.
6.  “Feminism.” Merriam-Webster Online. Merriam-Webster, n.d. Web. 30 May 2016.
7. Jamil, S. Selina. “Emotions In the Story Of An Hour.” Explicator 67.3 (2009): 215. MasterFILE Premier. Web. Accessed 30 May 2016.
8.  Skaggs, Peggy. Kate Chopin. The University of Michigan. Twayne Publishers. 1985. Print.

Relevant Questions about Freedom in “The Story of an Hour”

1. How does the theme of freedom in “The Story of an Hour” by Kate Chopin reflect the protagonist’s inner desires and the constraints of her time?
2. In what ways does Kate Chopin use the concept of freedom in “The Story of an Hour” to convey a feminist message about women’s roles in society during the late 19th century?
3. Can the concept of freedom in “The Story of an Hour” be seen as a symbol of liberation from societal expectations, and how does it contribute to the story’s overall message about gender and autonomy?

Introduction to Feminism in Argentina

Although feminism in Argentina in the political landscape is not a new term, in the Latin American context and specifically with reference to literature and politics in Argentina, feminism found rich soil and rich minds during the Peron era and military rule of the decade of the 80s and 90s. It is because the educational landscape in Argentina fully supported the rise of political as well as literary feminism. However, the rise of Eva Peron changed the entire feminist landscape in the decade of the 40s. Working as an actress in the Argentinian film industry, Eva Peron joined politics following her marriage to a colonel, Juan Peron, in 1945. The next year, Juan Peron became the president following which Peron’s influence in the country’s politics increased manifolds. She believed in women’s suffrage and gender equality for which she started moving government resources, and for this purpose, she unofficially supported improvements in the health and labor ministries. Marifran Carlosn (2005) describes her as “ruthless and clever, had captured the imaginations of these women”, for she was popular due to her skillful oratory that the poor citizens almost adored her (190). Although she left the landscape following her failed health and dissidence within Argentinian politics, her work for feminism has left its indelible imprint on the minds of girls who were in schools and universities at that time. This situation did not last long, as she left the scene in 1952, but her impact continued making ripples until dictatorship was imposed in 1976. The propaganda and repression continued to give secondary roles to women, but the atmosphere turned hostile to this repression. The incident of fourteen women marching into the Plaza de Mayo in the capital regarding the forced disappearance of their children led to a mass movement called “Madres”, which continued making headlines in local and international media outlets. This minor movement which was left on its own, soon developed into a social movement, picking up momentum until the military junta realized the force behind it, but it was too late. During this time, several ideologues and leftist revolutionaries contributed to the change and democracy but repression increased. The ultimate victims were the poor and the innocents. The impacts of this repression were witnessed more on women, as women became consciously engaged in opposing the military junta. Gwendolyn Diaz (2007), an authority on feminism in Argentina, is of the view that this Dirty War led to more than 30,000 missing persons which “fueled the creative minds of the women authors who chose to write about the power struggles in politics and their effects on society” (3). The short stories written following this period reflect feministic trends of feminism in Argentina and impacts of the past struggles. “Red Summer” by Liliana Heer”, “The Blond Madonna” by Alicia Dujovne Ortiz, and “Combatant Love” by Tununa Mercado demonstrate the effects of man’s dominance and woman’s status, including the spirit of rebellion against the past generation, marginalization of female voice and willful subjugation.

Liliana Heer and Feminism in Argentina

The past sets the directions for the present and the future struggle. Feminism in Argentina and voices to support it emerge from the new generation as well as the expression of sexist situations about the status of women in the struggle. Liliana Heer has consciously made efforts to show feminism in Argentina and this empowerment through her story “Red Summer” in which the mother supposes her daughter to follow her on her path to committing suicide. It is perhaps a hint of desperation in which a mother finds death the only salvation from the repression. However, the daughter does not follow the mother and rebels against her, leaving her to explore the world. This is the first voice that she has given to the females of her age; empowerment, intellectual courage, honesty, and above all the will to love and be loved. However, this is a post-modern view as the daughter makes it clear that her “vision of the events is surreal” (174). In fact, the entire story is woven into images as Lillian has written it in cinematic technique on account of her experience with movies. Although true to her own powerful nature, she does not divulge questions about this story as having autobiographical questions, but then she calls “most of the story fiction” a hint to her powerful creative power and the situation prevalent at that time (171). This is perhaps the wave of feminism in Argentina. Moreover, Tununa Mercado has highlighted this fictional character of feminism in her short allegory-type of the story “Combatant Love”, which does not have real characters. However, this story is written in battle imagery in which the woman is the ultimate vanquished territory, while the male is portrayed as an invader. Although implicit meanings are clearly in favor of male chauvinism, this combatant nature of the story ends it. It is clear as the story shows that “The combatant is all alone” where it is a lesson that even if the invader is hell-bent on showing no love, still the vanquished ‘woman’ can see that he is all alone, where there is hope for recovery and ultimate empowerment (134). She herself states it during her interview with Diaz that “Only seldom is love described as a relationship between equals” that she is implicitly showing male domination in the story (141).

Non-conformity of Feminism in Argentina

Another point of consciousness is the rebellion against the former generation. In fact, this is the consciousness due to the education and awareness left by Eva Peron, as several writers emerged after her during the military rule. “Red Summer” shows this amply when the daughter does not conform to what her mother has persuaded her for. She leaves her, but at the same time makes her own argument rebelling against her mother’s proposition that only suicide is the solution to problems. She is of the view that the girl has left her mother “alone to explore the town” (171). This is a sort of rebellion that she says appears in her story. However, this is an intellectual rebellion that the reference to the Danube, Neitzsche as a spiritual guide, and the slogan of “Live dangerously to the end” are suggestive of this (174).  Alicia Dujovne Ortiz has debated the same point during her interview, saying that though she owes a great deal of her intellectual development to her parents, she has developed her own personality after engaging in writing about familiar and unfamiliar things including a biography of icons such as Eva Peron. About Eva, she writes in “The Blond Madonna” that when she becomes aware of her beauty, she lets it blossom, and takes hold of everything that comes on her way. This is a tribute to Eva in that she is posing her as a rebel who rebelled against the previous generation where “she so longed to live” (156).  This is actually rebellion though it comes at a price they have to pay.

Marginalization of Women and Feminism in Argentina

The other thing projected in both Ortiz as well as Liliana Heer is the marginalization of women as well as their willful subjugation. Although this is not much clear in “Combatant Love”, it is somewhat implicitly stated by Mercado through battle and combatant imagery of male sexual violence devoid of love. Pointing to the male domination in “Combatant Love”, she clearly hints at the undefeated and dominating male sexual obsession, saying “the combatant does not concede” and this “combatant love yearns to leave a mark” (132). It is a hint of the awareness of the feminine marginality against this sexual attack. Ortiz also shows this in her stories and biography of Eva Peron. By the end of the excerpt from her book, The Blond Madonna, she says that Eva “would often say, laughing, “I am a repentant brunette” a veiled hint that she has been marginalized in the male-dominated political arena, though Oritz states that it was said as a joke. But it “remind us of Mary Magdalene” (157). Oritz has also stated it in her interview saying that Eva Peron has put her husband to the task that she wanted to do, as she “had always felt anger for being poor, marginalized, and ignored” (154). In fact, this marginalization of women has come into the foray in the writings of Lillian Heer and Ortiz regarding the emergence of feminism in Argentina.

In short, these three writers have not only reflected the conscious awakenings of the female voices, but also the conscious efforts of the Argentinian women to come out of the stupor that lasted for a decade and make efforts to realize their voices. All three stories “Red Summer”, the excerpt from “The Blond Madonna” and “Combatant Love” show that male domination has played havoc with the female blossoming that Eva has prompted through her struggle. And this shows the emergence of feminism in Argentina, specifically in short stories. These stories also highlight the status of Argentinian women, their spirit to rebel against the past generation’s thinking and ideas to bear insults, and their wilful subjugation as their repressive marginalization by male dominance.

Works Cited

1. Carlson, Marifran.  Feminismo: The Woman’s Movement in Argentina. Chicago Review Press. 2005. Print. 190-191.
2. Diaz, Gwendolyn. “Introduction.” Ed. Gwendolyn Diaz. Women and Power in Argentine Literature. University of Texas Press, 2007. 1-10.
3. Fields, Shawn. “Alicia Dujovne Ortiz”. Ed. Gwendolyn Diaz.  Women and Power in Argentine Literature. University of Texas Press, 2007. 141–160.
4. Fradinger, Moira. “Liliana Heer”. Ed. Gwendolyn Diaz. Women and Power in Argentine Literature. University of Texas Press, 2007. 161–182.
5. Kahn, Peter. “Tununa Mercado”. Ed. Gwendolyn Diaz. Women and Power in Argentine Literature. University of Texas Press, 2007. 121–140.

Relevant Questions about Feminism in Argentina

1. How has feminism in Argentina influenced the narratives and themes explored in contemporary short stories, and what are some notable examples of this influence?
2. In what ways have short stories contributed to the ongoing dialogue surrounding feminism in Argentina, and how do authors use their storytelling to address key feminist issues in the country?
3. Could you provide insights into the evolution of feminism in Argentina as depicted in short stories over the years, highlighting any significant shifts in perspectives, voices, or approaches within the literary realm?