Day: September 21, 2023

Introduction Characters in “Where are You Going …”

Characters in “Where are You Going …” are not only interesting and eccentric but also human-like. Foster claims that Characters have goals yet sometimes even living characters have no goals at all. They just carry on living their lives. However, they have personal wishes and desires on the basis of which they prefer their family members or loved ones and demonstrate their love or hate likewise. Connie is the central character of this story of Joyce Carol Oates. She is in her teens. The problem with Connie is she wants independence to enjoy her life for “her mind was filled with trashy daydreams” (Oates 589). However, her mother was an obstacle in way to fulfilling her dreams due to which she “wished that her moth was death and she herself was dead” (589). She satisfies her carnal desires by hook or by crook by going out with her sister to meet her boyfriends or with other friends that according to her was “not even a face but an idea” (592) in which she was fully engrossed. Therefore, these are not only the wishes Connie harbors, but also her nature coupled with the deceit of Arnold Friend whom Oates has created from her inspiration of living characters in “Where are You Going, Where Have You Been”

Connie and Other Characters in “Where are You Going, Where Have You Been”

Connie is a teenager who wishes like all other teenagers to enjoy life with her boyfriend and have a good time. However, her mother wants her to be responsible and often taunts her with sentences like “you think you’‘re so pretty?” (589). Despite this, she does not forget what she wants to have, as she has several types of daydreams. She considers her mother “so simple” because she does not understand her and always draws a line between other girls and her daughters. June is there for her as a model to follow. However, she always tries to deceive her mother because as stated in the lecturer, “A wish combined with deceit often leads to certain doom” (Lecturer 1). She was going to her doom, as she does not agree with her mother and always tries to deceive not only her mother but also herself. It is because even when the strange boy stares at her by showing his grin, she does not stop f looking back at her that she listens to him saying “Gonna get you, baby” to which she does not respond (592). She is often found “dreaming about the boys she met”, while her mother is always there to bring her back to the world of reality (592). However, as is the case that deceit meets with deceit, same happens with these characters in “Where are You Going, Where Have You Been”.

Deceiving Characters in “Where are You Going, Where Have You Been”

The reason is that she is deceiving her mother whom she considers a simpleton. The sentence that “her mother was so simply” is actually very ironic having multiple meanings of utterances spoken by characters in “Where are You Going, Where Have You Been”. It is because she after takes after her mother and is absolutely simple like her – the reason that Arnold Friend knows all about her and comes to see her (592).  He exactly echoes her words when talking to her mother about some other girls “Oh, her. That dope” (592). He talks about his friend in the same way, “You dope. You miserable creepy dope” (593). It means both are of the same type. And they are on the lookout to deceive somebody but come in front of each other. Here Arnold Friend proves more dexterous and tries to convey his message through different means such as his words “My sweet” then “honey” and then “blue-eyed” (596), demonstrates. It is something “that signifies a message” (Foster 147) but she does not give approval which means that the meanings “can be deflected from the expected meaning” (147). However, it is another point that she becomes a victim instead of making somebody a victim. And it is because when he comes at the end, she has become obedient and in a sense has accepted her role as Neslihan Guler Ugur states that “the characters Connie and Arnold symbolize the roles women and men have in patriarchy” (Ugur 35-39). He means that these are self-destructive forces in the women that force them to submit to men Patrick Paul Christle has also quoted the same words referring to Luce Irigaray that a woman is a character that acts on the fantasies of man, because she is ultimately to please him (Christle).

Adult Characters in “Where are You Going, Where Have You Been”

It is also because it is the nature of Connie or at least she has become like that, who is among good adult characters in “Where are You Going, Where Have You Been”. Otherwise, her sister June is always with her. She is often quoted as an example that “Why don’‘t you keep your room clean like your sister?” and like that (589). However, her nature was similar to her mother’‘s. She was as pretty as her mother used to be in her teens. It is certain that “her mother had been pretty once too” (589). That is why she knows that her daughter is not sensible but is exactly like her as she was in her teens. It is also clear what she thinks about her mother but she at least acts in some instances sensibly even at the end when Arnold Friend coaxes her into his car for a ride, and she resists it fiercely. Interestingly, it is unclear what makes her accept his offer and move on though she first threatens him to call the police. In this connection, the character of Arnold is very important. He acts like a “Great Fiend” and succeeds, or at least seems to have succeeded. In fact, it is the creativity of Oates that after having been inspired, she creates a character like this one.

Critics about Characters in “Where are You Going, Where Have You Been”

Talking about the story in the book, Women Writers: Texts and Contexts, Tom Quirk explores the inspiration. He is of the view that it is not difficult to trace the inspiration Oates has used to create the character of Arnold. At that time, Time, Life, and Newsweek used to publish several stories and reports of such characters during the decade of 70s. Such a story of the criminal from Tucson, Arizona, Charles Howard Schmid who used to tempt girls and killed them, also appeared in Newsweek. As he grew older, the disguised himself and became a serial killer who used to coax teenagers. Not only by his behavior but also by his appearance and audacity he seems similar to Arnold. He is of the view that perhaps Oates saw his photograph published in the newspapers and got a clue about him. Therefore, she has painted his character like Schmid (Schowalter 82-85) and made him merge with other characters in “Where are You Going, Where Have You Been”.

Conclusion

Briefly, Connie has desires and wishes like her mother but she disobeys and deceives her. That is why she is deceived in the end and becomes a victim of an archfiend in this skill in which she considers her mother a simple woman. She is led by Arnold Friend to where he wants to take as is clear from her walk and feelings. However, it happens to her because she has the thinking to go on that way and Arnold Friend instantly recognizes the prey who wants to have a good life. It shows how Oats has presented different characters in “Where are You Going, Where Have You Been”.

Works Cited

1. Christle, Patrick Paul. “The Horror of Connie’‘s Story and Ours: A Feminist Analysis of Oates’‘s “Where Are  You Going, Where Have You Been.” Freeshell. N. d. Web. 23 July 2015.
2. Oates, Joyce Carol. “ Where Are You Going, Where Have You Been” Charters, Anne. The Story and Its Writer. New York: Bedford /St. Martins, 2014. 575-591.
3. Schowalter, Elaine. Women Writers: Texts and Contexts “Where Are You Going, Where Have You Been? Rutgers. New York. 2002. Print.
4. Ugur, Neslihan Guler. “Self-Destructive Forces in Oates’‘ Women.” Studies in Literature and Language 4.3 (2012): 35-39.

Relevant Questions about Characters in “Where are You Going, Where Have You Been”

1. How does the character of Connie in “Where Are You Going, Where Have You Been” evolve throughout the story, and what does her transformation of persona reveal about the themes of innocence and vulnerability?
2. What motivates Arnold Friend’‘s character in “Where Are You Going, Where Have You Been,” and how does his presence challenge Connie’‘s understanding of the world and her own identity?
3. In “Where Are You Going, Where Have You Been,” how do Connie’‘s family members, such as her mother and sister, contribute to the development of her character and the story’‘s exploration of adolescence and rebellion?

Historical Background to A Lesson Before Dying

Written by Ernest J. Gaines, A Lesson Before Dying, is a lengthy historical novel. The novel deals with racial discrimination, a grave problem in the United States of 40’s when Jim Crow Laws and segregation movements were ripping apart the American society specifically in the South where most of the events of the novel took place. The World War II started at the same time when the African-Americans were given a word that they would be equal to the whites in the post war period, while they were still considered second-class citizens. Segregation drives by the whites and the Ku Klux Klan were making the mess of things. Set in the Creole Louisianan background of that time, A Lesson Before Dying, presents a real picture of the Louisianan Creole society of the 40’s when segregation laws were gnawing at the very social fabric of that local community. The novel not only mentions several historical places but also very popular figures of the time such as Jackie Robinson, who was the first African American to play the Major League Baseball, and Joe Louis, a great African American boxer.

 Summary of A Lesson Before Dying

The novel, A Lesson Before Dying, revolves around the execution of a black young man, Jefferson, who is charged for murdering a storekeeper, Alcee Grope. The narrator, Grant Wiggins, who happens to be his friend, tells that the evidences also point to Jefferson as the killer, though he has not committed the murder. The white jury turns against him and convicts him for murder and orders his death sentence through electrocution. It happens that Jefferson is insulted none other than this his own defense lawyer who terms him a hog, pleading that nothing good could be expected of him in such cases. This sort of plea was bound to backfire and it did.

Emma, the godmother of Jefferson meets Jeffrson’s friend Grant with his aunt Tante Lous to persuade him to teach Jefferson to be a good man in the jail, for he is working as a teacher. However, as African Americans, it is not easy for them to visit Jefferson in the jail. In this connection, Emma meets brother-in-law of the local sheriff, Henri Pichot, to get permission for Grant to meet Jefferson in the prison. Although several other happenings make the novel something interesting to read such as Grant’s meeting with his beloved, Vivian, the visit of his school superintendent and his advice, and the reminiscences of Grant, yet his own major preoccupation is meeting with Jefferson and teach him how to die with dignity.

During next few visits, Grant finds out that Jefferson is uncooperative, while living conditions also are not respectable. Jefferson really shows that he is a hog by crawling on his four legs in these worse conditions. When coming back, Grant hears about Jackie Robins and Joe Louis from some people. He immediately reaches the point that the people need heroes to keep their spirits high.

Meanwhile, Grant is accused by Tante Lou, Emma and Reverend Ambrose for lying about Jefferson. Therefore, on his next visit Grant is determined to teach Jefferson to live and die with dignity and honor. He meets deputy Paul who is somewhat sympathetic to Jefferson. When Grant meets Jefferson following this, he becomes highly rude and furious. Grant and Emma manages to meet Jefferson in a dayroom after the permission instead of the cell which has degrading conditions. Grant and Vivian continues making progress with the behavior of Jefferson, and he improves a bit with these efforts. Jefferson now asks Grant for ice cream, and radio which he brings in their next meeting. Although Tante Lou and Reverend Ambrose taunts Grant for giving Jefferson a radio, he defends his decision that Jefferson is learning civilized manners. Grant soon tries to put hero worship idea in the mind of Jefferson, explaining that hero is a person who thinks about his community first, saying that Jefferson should become a hero by keeping himself upright in the face of death. Jefferson takes his point and behaves civilly to them next time. Then Grant gives him a note book that Jefferson uses to record his thoughts though in clumsy writing. On the execution day, Grant goes to school while Reverend Ambrose goes to see the execution, who later informs others that Jefferson went to the electric chair with dignity and strength, a hero’s departure.

Author’s Message in A Lesson Before Dying

Through this historical novel, A Lesson Before Dying, the author Ernest J. Gaines, conveys a very important message that even if heaven falls, we should stick to our self-respect and dignity. Facing injustice with upright head and standing gait is not an insult, but a great way to show the world that despite injustice you have not lost to live in dignity. The last message of the Jefferson, that he has been shaking but has become strong despite going to the execution chair, shows that a person should not face or tolerate dehumanization of his soul and body through injustice. The implicit message is that African Americans also deserve better treatment by the public institutions.

Author’s Sources of Historical Information for A Lesson Before Dying

The author has taken historical information for A Lesson Before Dying from the 40’s when Jim Crow Laws were being implemented. The parks, shopping malls, hotels and restaurant were labelled with ‘Whites Only” or ‘Not for Colored People’. Marriages between the white and the blacks were declared illegal. Even the Jim Crow Laws were not consistent in their application. However, the story has its own sources. Gaines stated that his colleague had a young man as his client, and he was on the death row. Gaines instantly started making plans to portray that young man in his stories after his execution, which he told during his interview with Dan Stone, on August 2007. Dan Stone was working with National Endowment for the Arts.      

Works Cited

1. Gaines, Ernest J. A Lesson Before Dying: A Novel. Vintage, 1997.  

Three Relevant Questions about A Lesson Before Dying: Historical Analysis

1. In A Lesson Before Dying, how does the historical backdrop of the Jim Crow South during the 1940s impact the characters’ lives and decisions, and how does the title of the novel relate to the historical context presented in the story?
2. What role does the concept of racial injustice and systemic racism play in A Lesson Before Dying, and how does the novel’s title allude to the broader historical struggles and lessons faced by African Americans during this period?
3. Within the framework of A Lesson Before Dying, how does the novel explore the historical and cultural significance of education and literacy, particularly for African American communities in the segregated South, and how is this theme tied to the titular lesson presented in the story?

Introduction to Aristotle’s Three Unities

Poetics is a remarkable critique about Aristotle’s three unities on the contemporary poetry, tragedy and epic of the Greek time and all the times to come. He defines poetry as the imitative and mimetic use of language. He calls it a representation and reflection of ideas. In the same vein, Aristotle defines tragedy as the most refined interpretation and version of poetry. He says, “Tragedy is an imitation not of men but of actions”.  This is the reason why it attracts audience and is most appealing to the senses. He also says that it is imperative for a tragedy to observe three unities namely, unity of time, place and action which means that the tragedy should have continuity of time and action and its place should not be shifted in order to keep the audience in control. These are called Aristotle’s three unities. Its action must also follow cause and effect. He regarded Euripides, Aeschylus and Sophocles as the great playwrights who tried to follow the rules of Greek tragedy. But according to him the coming tragedians paid more emphasis on characters than on plot itself. So for him these two and Sophocles were the tragedians who tried to observe the tradition of three unities which to him was the essence of a tragedy. Aristotle defined poetry in general; epic and tragedy in particular and also underlined the necessity to use the three unities in the tragedies as was used by Aeschylus, Euripides and Sophocles in their works to make them comprehensive units for the understanding and entertainment of their audience.

Oedipus, Agamemnon and Aristotle’s Three Unities

In Oedipus the whole action takes place in twenty four hours. The unity of time is strictly observed by the writer. The action does not exceed twenty four hours. Most of the action takes place just before the mansion of Oedipus. Some of the action is already supposed to be understood by the audience and that is not acted upon on the stage thus it saves the time. In Agamemnon, the tragedy by Aeschylus, the action also takes less than twenty four hours because the time starts when he comes back from the war and is received by his wife who wants to kill him. So within a span of one night the things come to an end. So in both these plays we find the unity of time which does not let the audience deviate their attention. This is one of the unities of Aristotle’s three unities.

Oedipus and Unity of Place

Among Aristotle’s three unities, the tragedy of Oedipus also observes the unity of place. The action does not move from one place to another. It remains within the residence of Oedipus. So the locale of the action does not shift or change. In the tragedy of Aeschylus Agamemnon, the action takes place just before the palace of the king Agamemnon. The previous action of war and Agamemnon’s adventure of ten years has not been shown on the stage. The story starts when he is back and is received by his wife with a malicious intent.

Unity of Action in Oedipus and Agamemnon

Among Aristotle’s three unities , unity of action also plays an important role in Greek tragedy. Unity of action means the flow of action without any break. There is a cause and effect relationship with all the actions.  In the play Oedipus, we see all the evens are intertwined with each other. Nothing is superfluous. He is being chased by fate and he is running away from it. However, with his own error of judgment he brings about his own downfall. In the same way, in Agamemnon, the action or events follow each other. Agamemnon remains away for ten years which give an opportunity to his wife to find another man. Moreover, he kills his daughter, Iphigenia and in response he is going to be avenged by his wife. In both these plays action begets action and there is a chain of actions.

In short, Poetics is a book which studies poetry in all its forms such as epic and tragedy. To him tragedy is an imitation of action and it is a part of epic tradition. It clearly mentions Aristotle’s three unities. He says that poetry represents ideas while philosophy gives ideas. In this sense, poetry is more appealing to the senses as tragedy is. He appreciates some old playwrights like Euripides, Aeschylus and Sophocles because they followed all the rules and regulations in writing their tragedies.  He lays down certain rules for a good piece of tragedy. It should have a good plot. He complains that new tragedians were focusing their attention on characters rather than their plots. There should be a good protagonist, an environment arousing pity and fear and then the catharsis of those emotions. Moreover, a tragedy should have three unities—unity of time, unity of action and unity of place. Without these unities, the tragedy loses its exaltation and grandeur.

Works Cited

1. Aristotle. Poetics. Translated by Malcolm Heath, Penguin Classics, 1996.

Relevant Questions about Aristotle’s Three Unities

1. How do Aristotle’s Three Unities of time, place, and action influence the structure and presentation of a dramatic work? What are the benefits and limitations of adhering to these unities in terms of storytelling and audience engagement?
2. Can you provide examples from classical Greek plays that effectively demonstrate the application of Aristotle’s Three Unities? How do these examples showcase the unity of action, the unity of time, and the unity of place, and how do they contribute to the overall impact of the drama?
3. In what ways have playwrights and theater practitioners throughout history embraced or deviated from Aristotle’s Three Unities in their works? How does the evolution of theater and storytelling techniques impact the relevance of these unities in contemporary drama?

You may read more on Short Essays below:

• Beowulf as an Epic  
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• Characters in “Where are You Going…”
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Introduction to Creon’s Speech in Antigone

In Sophocles’ play, Antigone, the chorus of the Theban elders speaks these lines in the praise of man defying Creon’s speech in Antigone. These lines explain the wonders achieved by human beings. It states, “Many things cause terror and wonder, yet nothing / is more terrifying and wonderful than man” (Sophocles 332-333). This ode explains further that man has conquered not only beasts but also the forces of nature, praising his wisdom and power, and adding that “He has power through his ways over the beast who traverses / the mountains and haunts the open sky” (348-350). This is a very important ode that comes after the second episode, summing up the whole argument of the play. The analysis of the play in terms of this ode shows Creon’s speech in Antigone and how he becomes clever in the use of language by mixing religion with laws, terming his own commands as divine fiats.

Wisdom and Creon’s Speech in Antigone

The reference to wisdom in the ode actually points towards the ingenuity of Creon. Although at first, it refers to human beings in general as how he has conquered the seas and faced, it refers to the wisdom that he must learn after Creon’s speech in Antigone. Tiresias clearly supports the Chorus after this ode when he says, “I give you sound advice. / It is best to learn from a good adviser” (1140-1141). His point is clear that Creon is going out of the control of his patience. Therefore, he should be reasonable as he is not only threatening Antigone, but also not letting her brother to have a proper burial. On the top of it, he is making his common threats as commands. In fact, this is his ingenuity of making his command as respectful as divine laws though they are not accepted and questioned constantly. However, his cleverness in turning blind eyes to Chorus and Tiresias further exacerbates his situation when Antigone also steps forward saying “These laws – I am not about to break them” (509). Ode clearly voices this, “And speech and thought, quick as the wind.” (395-396) as Creon reacts at Antigone’s charge. The Chorus comments on it further “Man the master, ingenious past all measure / past all dreams, the skills within his grasp—“ (405-406) to show a way out after Creon’s speech in Antigone.

Laws and Creon’s Speech in Antigone

The law has been repeated several times by Creon at several different places. However, it is his ingenuity that he has given it different connotations and different shades of meanings, insisting that what he says is law while others must obey him. The ode beautifully refers to his ingenuity saying that only having laws in his hands can bring glory to the city. Creon is insisting that what he says is law whether he says right or wrong but the Chorus denies this declaring that he should live by the divine laws that are eternal and old, although there is difference in their opinions. It is because Antigone has put up resistance before his ingenuity of inventing his own interpretations. She says, “Such, I hear, is the martial law our good Creon / lays down for you and me” (36-37). If Creon is a master in the use of language, she is equally master. She is also ingenuous as she says “It was not Zeus, not in the least, /  who made this proclamation – not to me. / Nor did that justice, dwelling with gods / beneath the earth, ordain such laws for men.” (449-451). When she puts up resistance after such a long argument, the Chorus also sides with her saying that commands of the king are to be respected but not in case they are doubtful. That is why the Chorus casts doubt on his ingenuity of mixing religion with his own sayings, stating that it is law that he is dictating to others. Therefore, the Chorus states that this is not the case and that Creon must abide by the divine laws ordained by Zeus and his daughters.

Personal Commands and Creon’s Speech in Antigone

When he terms his own commands as divine fiats, Creon’s speech in Antigone shows clear arrogance that the Chorus has pointed out in the ode as a “wonderful” thing. This is a reference to Oedipus and his arrogance that led to his downfall. Tiresias points out to this fault of Creon at which the Chorus comments on it saying that haughty and arrogant lose the right path. The reference is very much clear. It is the arrogance of Creon, who is terming his own commands as divine fiats in order to force Antigone to surrender her every right of burying her brother. When Creon asserts his authority, “But that man / the city places in authority, his orders / must be obeyed, large and small / right and wrong.” (748-751), he is clearly saying it as himself that it is his right to government the land as he wants and what he says is law. However, on the contrary, the sane voice of the Chorus points out that a wise man continues learning and does not assert his wisdom. The point is to use language or words cautiously. In fact, this is appraisal of the Sophoclean idea that man has found out language to defy divinely ordained laws and he should not defy gods by making his own words supreme instead of the divine words. However, the reference is clear to the ode after having Creon’s speech in Antigone as how ingenuous has he become.

Conclusion

 In a nutshell, his character in the light of this ode becomes very much clear after Creon’s speech in Antigone in that he asserts his right to government through his ingenuity of using the language. He makes his words as divine laws and asks others to accept what he sees, though the Chorus does not agree with him or his interpretation. Although he tries very much that his words, if lost on deaf ears, would create chaos and disorder in the city as he is ordained by gods to rule the land, this does not make any difference. In fact, his ingenuity of using the language backfires and he loses his worth in the face of the sanguine thinking of the Chorus and the resistance of Antigone.

Works Cited

1. Robert Fagles, trans. The Three Theban Plays: Antigone; Oedipus the King; Oedipus at Colonus by Sophocles. New York: Penguin, 1984. Print.

Relevant Questions about Creon’s Speech in Antigone

1. How does Creon’s speech in Antigone shape the central arguments and justifications for his decision to prohibit the burial of Polynices? How do these arguments reflect his beliefs and values as a ruler?
2. Within the context of the play, how does Creon’s speech in Creaon, its rhetorical tone and style during his speech about the burial prohibition convey his authority and unwavering resolve as the king of Thebes? Are there moments in Creon’s speech where his language becomes more emotional or less authoritative, and what might these moments reveal about his character?
3. What is the dramatic impact of Creon’s speech in Antigone on the other characters in the play, particularly Antigone and Haemon? How does Creon’s speech contribute to the escalating conflict and tragic events that unfold in the play?

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Introduction

When the author “David Sedaris” moved to Normandy, France, he wrote a number of essays among which “Jesus Shaves” is one in his compilation Me Talk Pretty One Day. From the essay “Jesus Shaves”, it can be easily gathered that the knowledge of all characters is based upon their personal beliefs, cultures and their experiences. However, due to the obvious language barrier, the students within the classroom are unable to transfer their knowledge to others. It gets hard for them to explain their exact thoughts and what comes out in speech seems far too ambiguous for the rest of the classroom. It cannot be denied that the language barrier was one of the reasons why the Moroccan woman could not understand the significance of Easter. However, what Sedaris fails to understand in “Jesus Shaves” is that the different cultural beliefs and religious views and the lack of their complete knowledge were also contributing factors to the entire story.

Assumptions of David in “Jesus Shaves”

When the topic of Easter was touched in the classroom, a Muslim Moroccan woman had no idea about what Easter really was. David assumed in “Jesus Shaves” that “Despite her having grown up in a Muslim country, it seemed she might have heard it mentioned once or twice”, but she really had no idea about what this occasion really was (Sedaris). This is when “The rest of the class jumped in, offering bits of information that would have given the pope an aneurysm” (Sedaris). The language barrier was indeed a barrier. The students tried to explain what this day really was based on their own cultural knowledge such as according to the Poles, “”It is a party for the little boy of God who call his-self Jesus” while the other one added “He call his self-Jesus, and then he be die one day on two morsels of lumber” (Sedaris). The other students then continued to deliver their knowledge based on the culture they were brought up in but the Moroccan Muslims woman was still very confused and did not really understand the true meaning and the significance of Easter in Christianity. When everyone was unable to explain the actual importance of Easter and why it is celebrated, the class did “what any self-respecting group of people might do. We talked about food instead” (Sedaris). The discussion in “Jesus Shaves” then led to the dinner parties and the celebration of Easter rather than focusing on the exact impact or importance of this day in Christianity.

Discussion of Easter in “Jesus Shaves”

While this discussion was going on, the Italian woman claimed that “Easter is a party for to eat of the lamb. One, too, may eat of the chocolate” (Sedaris). This is where the argument between the teacher and Sedaris started off. The teacher asked the class where does that chocolate come from and to which Sedaris responded “The Rabbit of Easter. He bring of the chocolate” (Sedaris). However, David’s response was welcomed with shock and astonishment by not only the teacher but the entire classroom. Even though majority of the classroom belonged to Christianity, their cultural beliefs and knowledge was the major barrier to their understanding and not the fact that they all did not speak the same language. Even the teacher was not open to the idea of accepting knowledge of different cultures and countries and that can be seen when she asked David about the rabbit: “”A rabbit?” The teacher, assuming I’d used the wrong word, positioned her index fingers on top of her head, wiggling them as though they were ears. “You mean one of these? A rabbit rabbit?”” (Sedaris). The teacher was clearly disappointed with what David had tried to deliver in the class and claimed that in France it is actually the Easter Bell that brings the chocolate. Instead of respecting the different cultural beliefs, the essay portrays how every individual believed that their culture was perfect and what their country follows is the perfect ritual. A simple question asked by a woman who did not even belong to the same religion made it very obvious how people cannot communicate their knowledge only because of their difference in cultural beliefs and rituals. The factor of language barrier also played some role, but the arrogance of not accepting each other’s culture was the major obstacle in delivering the knowledge to the Muslim woman.

Ideas in “Jesus Shaves”

            Another aspect in “Jesus Shaves” that was clear was that even though the students and the teachers had different ideas, concepts and beliefs about Easter, not a single person had the clear and exact knowledge of what their culture really was. It might be that they were unable to explain the exact matters due to the language barrier but the fact that their own knowledge was not clear is also very evident from the essay. The teacher only explained that the chocolates are brought by the Easter Bell in France but she did not give any information regarding the entire history of the Easter Bell or how exactly was it that people started believing in this? David and the teacher were both pretty confident that their culture is the right one and the Muslim woman should know about their culture rather than the other one. It is very evident because when the teacher said that how can a rabbit know where one lives, to that David writes in his essay that “but at least a rabbit has eyes. That’s a start. Rabbits move from place to place, while most bells can only go back and forth–and they can’t even do that on their own power. On top of that, the Easter Bunny has character; he’s someone you’d like to meet and shake hands with. A bell has all the personality of a cast-iron skillet. It’s like saying that come Christmas; a magic dustpan flies in from the North Pole, led by eight flying cinder blocks” (Sedaris). From these lines of “Jesus Shaves”, it is pretty evident that David could not even think that his culture was wrong and the teacher believed that the culture and beliefs followed in France or what was taught to her was right. However, none of them were able to explain their point precisely, not because of the language barrier but because of their lack of knowledge with regard to the Easter Bunny and the Easter Bell.

Language Barrier in “Jesus Shaves”

            What started off as a mundane and usual class of learning about the French culture and the language in “Jesus Shaves”, it turned to be rather unusual that day; when people were asked to explain about Easter, they were unable to do so because of the language barrier and their lack of knowledge as well? Every individual in the classroom believed that their culture and knowledge was the correct one. However, the Muslim woman was still very ambiguous about the Easter day and the author believes that it is due to the language barrier and his classmates and he were unable to deliver their knowledge to their class fellow. However, the major problem behind this entire scene was that nobody had complete and solid knowledge about the Easter Rabbit or the Easter Bell and hence they were unable to explain this concept to the Muslim woman.

Works Cited

1. Sedaris, David. “Jesus Shaves.” Seattle Central. Seattle Central. n. d. Web. 04 Feb. 2016.

Relevant Questions about “Jesus Shaves” by David Sedaris: Analysis

1. How does David Sedaris use humor in “Jesus Shaves” to highlight the challenges of language and cultural differences? What specific comedic techniques or anecdotes contribute to the essay’s humor?
2. What does the essay reveal about the complexities and misunderstandings that can arise when individuals from different cultural backgrounds attempt to communicate? Are there any moments in the essay where cultural stereotypes or assumptions play a role in these misunderstandings?
3. In “Jesus Shaves,” Sedaris and his classmates are attempting to explain the concept of Easter to their French teacher. What does this exchange reveal about the cultural significance of holidays and rituals, and how does it illustrate the difficulties in translating such concepts across languages and culture

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