Day: February 14, 2024

Introduction: Maya Angelou’s “My Name is Margaret”

Maya Angelou’s “My Name is Margaret” digs into the complexities of identity and self-discovery through the lens of a young girl confronting the challenges of social expectations.

Facts: Maya Angelou’s “My Name is Margaret”

1. Coming of Age Preparations: Both white and African American girls underwent extensive preparations for their transition into adulthood, despite the often irrelevant nature of these rituals to the challenges they would face.
2. Cultural Learning through Work: African American girls, like Maya Angelou, often learned domestic skills such as cooking and table manners while working in the homes of others, highlighting the practical aspect of their education outside of formal settings.
3. Mrs. Viola Cullinan’s Traditionalism: Mrs. Viola Cullinan, characterized as a meticulous housekeeper, upheld traditional values not only in her meticulous household organization but also in her adherence to meal timings and pride in her aristocratic lineage.
4. The Tragic Neglect of Motherhood: The narrator expresses pity for Mrs. Cullinan’s lack of biological children and her neglect of the daughters she had with her husband. Despite the daughters’ beauty, Mrs. Cullinan seems unaware of the love she is missing out on.
5. Identity and Name: The narrator’s reaction to being called “Mary” instead of her full name suggests a deeper significance attached to identity and respect. Feeling insulted, she reacts impulsively by breaking crockery and fleeing, highlighting the importance of names and the impact of perceived disrespect.

Strategies: Maya Angelou’s “My Name is Margaret”

1. First-Person Narration: The story unfolds through the first-person perspective of Maya Angelou herself, providing a singular viewpoint without insight into the perspectives of Miss Glory or Mrs. Cullinan, thus contributing to its rapid pace.
2. Imagery of the House: Describing the house as an “Alice-in-Wonderland house” conjures a magical atmosphere where everything is meticulously organized, suggesting a sense of wonder and whimsy. The imagery of “fluttering” further enhances this fantastical portrayal, likening the narrator to a bird or fairy.
3. Humorous Moments: Amidst the narrative are several humorous instances, with one standout moment being the narrator’s impulsive reaction to “flying crockery” at Miss Glory’s face, resulting in injury and ensuing chaos. The absurdity of the situation, coupled with Miss Glory’s reaction, adds a comedic element to the story.
4. Use of Simile: Maya Angelou employs the simile of the Cheshire cat’s smile to convey her pity for Mrs. Cullinan’s ignorance regarding her own daughters’ beauty. This comparison effectively underscores Mrs. Cullinan’s obliviousness to the qualities of her own children.
5. Character Relationships: The mention of Bailey as Maya Angelou’s brother and Mr. Freeman as her mother’s boyfriend suggests familiarity with these characters, implying a deeper backstory that is not fully explored in the short article. Maya’s decision not to delve into her own name or familial relationships in this context hints at their detailed exploration in her biography.

Works Cited

Burt, Sharon, and Lauren Curtright. “Maya Angelou.” (1998).

1. How does Maya Angelou explore the themes of identity and self-discovery in Maya Angelou’s “My Name is Margaret”?
2. In Maya Angelou’s “My Name is Margaret,” how does the protagonist’s journey reflect broader social expectations and cultural norms?
3. What literary techniques does Maya Angelou employ in Maya Angelou’s “My Name is Margaret” to convey the protagonist‘s emotional and psychological journey?

Introduction: Irony in “The Yellow Wallpaper”

Irony in “The Yellow Wallpaper” is evident in the narrator’s descent into madness, which is exacerbated by the very treatment meant to cure her. Once captivated by the pattern on the yellow wallpaper of her room, the narrator of Gilman’s story becomes increasingly ironic. This irony is evident from the beginning of the story but may not be fully realized by readers until later, particularly with the statement, “why would that man have fainted?” (651), referring to the physician. Both her husband John, who is also her physician, and her brother, who is also a physician, share the belief that her mental state is weak. They prescribe various treatments, leading the narrator to question their mental strength, their dominance, and their assumptions about women’s mental health. Despite being educated men, they firmly believe she is mentally ill. The narrator’s narrative thus critiques not only patriarchal assertions of control and masculinity but also the assumption that women are inherently mentally frail.

First Line and Irony in “The Yellow Wallpaper”

The opening lines of the story introduce the ironic notion of equality, as the female narrator remarks, “people like John and myself secure ancestral halls” (641). This apparent equality is quickly juxtaposed with the narrator’s subsequent questions, highlighting her observations about aspects that the men fail to comprehend. She notes the inferior quality and vacant state of the hall, yet her husband John and brother fail to acknowledge her concerns, dismissing her as mentally frail. Through her ironic tone, the narrator subtly critiques the ignorance of John and her brother regarding her mental state and the significance of her observations. Similarly, the theme of control, both over oneself and others, is also subject to irony throughout the narrative.

Self Control and Irony in “The Yellow Wallpaper”

The irony regarding self-control becomes particularly apparent considering both male members are physicians. The narrator sarcastically refers to her husband as a “physician of high standing, and one’s own husband” (642), implying that his professional status grants his opinions undue authority. Similarly, her brother’s authority is unquestioned. Consequently, she is compelled to comply with their prescriptions for medication and rest, despite her reservations. However, as the story progresses, it becomes evident that their supposed self-control is not as steadfast as they project. The narrator confesses, “I get unreasonably angry with John” (643), undermining the facade of control they maintain. Furthermore, her husband’s loving and caring demeanor is juxtaposed with his advice for her to exercise self-control to improve her mental strength, adding another layer of irony. This irony is heightened by the narrator’s growing sense of resentment and her eventual descent into madness, despite her efforts to maintain control.

Women and Irony in “The Yellow Wallpaper”

It is often believed that women possess a unique ability to perceive things beyond the surface, a skill perhaps rooted in their biological capacity for creation. In “The Yellow Wallpaper,” this notion takes on a startling reality as the narrator imagines a living woman trapped within the wallpaper, eventually bringing her to life. Despite her husband’s admonition against indulging in such fantasies, cautioning her “not to give way to fancy in the least” (843), he himself falls victim to the same delusion. The irony lies in the fact that he, a physician presumed to be strong-willed and mentally stable, succumbs to fainting after witnessing the same hallucination that his mentally ill wife has been experiencing. While the narrator does not elaborate on his condition, she recounts his peculiar reaction to her and the wallpaper, highlighting the absurdity of the situation. This juxtaposition of the husband’s supposed rationality with his unexpected fainting spells adds layers of irony to the story.

Conclusion: Irony in “The Yellow Wallpaper”

In “The Yellow Wallpaper,” the narrator employs biting irony to expose the pervasive patriarchal dominance in opinions, medical treatment, and psychological understanding of her condition. Despite outwardly acquiescing to her husband John and brother’s authority, she subtly presents a contradictory perspective. Through her sharp observations, she reveals the inconsistencies in their beliefs and actions. For instance, while they claim she is not ill, they prescribe medication and take her to a supposedly restorative but unsettling health resort. Additionally, she demonstrates her own self-control by maintaining her sanity amidst her hallucinations, while her husband faints at the sight of her behavior. Even when faced with hysteria from John, her calm response to obtaining keys and opening a door highlights the irony of male doctors who lack composure in handling simple situations.

Works Cited: Irony in “The Yellow Wallpaper”

Gilman, Charlotte Perkins. “The Yellow Wallpaper.” From The Norton Anthology of American Literature, ed. By Nina Baym and Robert S. Levine. WW. Norton. 2018. 841-852.

Relevant Questions about Irony in “The Yellow Wallpaper”

1. How does the irony in “The Yellow Wallpaper” contribute to the theme of gender roles and the oppression of women in the late 19th century?
2. In what ways does the narrator’s ironic perception of her surroundings reflect her growing sense of rebellion against patriarchal authority?
3. How does the irony surrounding the narrator’s mental health diagnosis challenge the reader’s assumptions about the reliability of medical professionals and societal attitudes towards women’s autonomy?

Introduction: “How It Feels to be Colored Me” and “Champion of the World”

“How It Feels to be Colored Me” and “Champion of the World” both offer deep insight in the experience of racial discrimination, demonstrating challenges and resilience of individuals passing their time in a society marked by prejudice and inequality. Maya Angelou and Zora Neale Hurston are two prominent female writers from the African American community, renowned for their exceptional literary contributions. Both authors eloquently portray their respective experiences of living within the black community and facing the repercussions of discrimination from the white community. While “Champion of the World” celebrates the triumph of a black boxer, “How it Feels to Be Colored Me” delves into the innocent perceptions of a thirteen-year-old black girl in Eatonville, Florida, who initially does not perceive racial differences until encountering discrimination upon moving to Jacksonville for school. Despite enduring significant racial discrimination and feelings of inferiority compared to white people, the situation has gradually shifted in favor of African Americans. Today, African Americans are excelling in various fields, competing on equal footing in games and other arenas, reflecting the progress made in combating racial inequality.

Maya Angelou and “How It Feels to be Colored Me” and “Champion of the World”

During the 1930s, when Maya Angelou was young, she recounts an incident involving a boxing match where a black man named Louis is set to fight a white opponent. This match holds immense significance for the black community, as their sense of pride hinges on Louis’s victory, while defeat would validate accusations of their inferiority as human beings. Similarly, Zora Neale Hurston describes experiencing discrimination at school when she was sent to Jacksonville. She reflects, “Some is always at my elbow reminding me that I am the granddaughter of slaves.” This indicates that within their community, they were consistently reminded of their African American identity, and tensions between the black and white communities persisted, whether on the playing field, in educational settings, or elsewhere.

New Situation, “How It Feels to be Colored Me” and “Champion of the World”

However, after many decades, the situation has evolved significantly. While instances of discrimination may still occur sporadically, it is not as pervasive as it was in the past. The election of Barack Obama as President of the United States for two terms exemplifies this shift, signaling that both African American and white communities are now seen as simply Americans. Although occasional instances of discrimination may persist in interactions with certain individuals or officials, overall, significant progress has been made. Widespread protests akin to those seen in the past are now less common, as greater equality and stricter adherence to the rule of law prevail. Without figures like Martin Luther King Jr. to continually advocate for freedom and equality, African Americans are no longer judged solely by the color of their skin. They are now free to pursue any field they choose, even aspiring to the presidency if they possess the requisite abilities and rhetorical skills to enter politics.

Conclusion: “How It Feels to be Colored Me” and “Champion of the World”

It suggests that discrimination has significantly decreased. While Maya Angelou and Zora Neale Hurston highlighted instances of humiliation they faced in their essays, both also expressed pride in their heritage. Being a person of color is not inherently negative, but being treated as inferior is unacceptable. In comparison to the past, both African American and white communities are now more equal. While isolated cases of discrimination may still occur, particularly in certain states, the overall situation has greatly improved. Therefore, I believe that the current state of racial discrimination does not align with the propositions put forth by Angelou and Hurston in their time. Today, all individuals, regardless of their African American or white heritage, are considered Americans.

Works Cited: “How It Feels to be Colored Me” and “Champion of the World”

1. Angelous, Maya. “Champion of the World.” Online Literature. n. d. Web. Accecssed 07 March 2017.
2. Hurston, Zora Neal. “How It Feels to be Colored.” UGC. n. d. Web. Accessed 07 March 2017.
3. King, Martin Luther. “I have a dream.” US Speeches. n. d. Web. Accessed 07 March 2017.

Relevant Questions about “How It Feels to be Colored Me” and “Champion of the World”

1. How do Maya Angelou’s “How It Feels to be Colored Me” and Zora Neale Hurston’s “Champion of the World” explore the experiences of racial discrimination and resilience within the African American community during their respective time periods?
2. In what ways do the narrative perspectives and personal experiences of the authors in “How It Feels to be Colored Me” and “Champion of the World” contribute to a deeper understanding of the complexities of racial identity and societal expectations?
3. How do Maya Angelou and Zora Neale Hurston employ literary techniques such as imagery, symbolism, and narrative voice to convey the challenges and triumphs of navigating racial discrimination in their works “How It Feels to be Colored Me” and “Champion of the World”?

Introduction: Reflection on “Girl” by Jamaica Kincaid

Reflection on “Girl” by Jamaica Kincaid reveals the highly complex twists in social expectations, cultural norms, and the dynamics of mother-daughter relationships embedded in the narrative. Firstly, it’s important to note that before engaging in free writing, advising, and the writing activity, I had no inkling that I would arrive at this revelation. However, now I find myself recognizing that this piece is essentially a monologue encompassing all the points that her mother used to impart to her from time to time. Her role was merely to respond occasionally and listen to her mother’s advice. The advice given by Jamaica Kincaid’s mother is not unusual; however, its presentation is highly unconventional. It provides insight into her mother’s life experiences and demonstrates her profound understanding of what she wishes to impart to her child, emphasizing the importance of domestic chores in shaping a woman’s strength, particularly in the context of “St. John,” where she was raised.

Argument in Reflection on “Girl” by Jamaica Kincaid

Secondly, it is the fate of every girl to learn the skills necessary for navigating this male-dominated world, as she is reminded by her mother, “you are not a boy, you know,” a mantra she should always remember. Other pieces of advice touch upon topics such as sexuality and how to leverage it for influence over men. The instructions are direct, including guidance on making remedies for colds and, notably, how to induce abortion, reflecting societal attitudes towards premarital sex in West Indian culture. Consequently, it’s unsurprising that she ultimately left St. John permanently to pursue her writing career, a path restricted by the conservative beliefs of her family members in her hometown.

Conclusion: Reflection on “Girl” by Jamaica Kincaid

Further elaboration reveals the pervasive influence of male chauvinism in the world, as emphasized by the mother’s explicit instruction, “this is how to bully a man.” She underscores the notion that women possess the power to stand up to male domination and even to assert dominance over them. However, before employing such tactics, the daughter must understand how men attempt to bully her, enabling her to respond effectively. Additionally, the mother advises that her guidance is not definitive, acknowledging the existence of numerous approaches. The key, she emphasizes, is perseverance, urging her daughter not to succumb to defeat but to persistently explore alternative strategies. This encapsulates a profound life lesson: in the face of failure, one should never abandon hope but continue to seek paths to success, whether in matters of love or otherwise. The final lesson imparted is the empowerment of women to break societal barriers, illustrated by the example of approaching the “baker” for permission to “squeeze the bread” to ensure its freshness. This metaphor underscores the idea that women should leverage their feminine qualities to their advantage, asserting their agency and maximizing their potential in interactions with men.

Works Cited: Reflection on “Girl” by Jamaica Kincaid

Kincaid, Jamaica. “Girl.” Creative Writing. Routledge, 2013. 478-479.

Relevant Questions about Reflection on “Girl” by Jamaica Kincaid

1. How does “Reflection on ‘Girl’ by Jamaica Kincaid” prompt readers to reflect on themes of gender roles, power dynamics, and cultural expectations within the context of a mother-daughter relationship?
2. In what ways does the structure and repetition in “Reflection on ‘Girl’ by Jamaica Kincaid” contribute to the overall impact of the narrative, and how does this influence readers’ interpretations of the mother’s guidance and the daughter’s experiences?
3. How do the specific instructions and advice given by the mother in “Reflection on ‘Girl’ by Jamaica Kincaid” reflect broader societal norms and values, and what insights do they offer into the complexities of intergenerational communication and cultural transmission?

Introduction: “Lay of the Lone Survivor”

“Lay of the Lone Survivor” recounts the harrowing tale of resilience and perseverance amidst the wreckage of adversity. An elegy is a meditative lyrical poem that laments the death of a person, typically a relation, friend, or loved one, broadening its themes to encompass human morality and mortality. However, in classical literature, it was simply a poem written in dactylic hexameter and sometimes in pentameter, with the subject not specifically focused on lamentation or death. When it was embraced in English Literature, it evolved into a lugubrious expression of the death of near and dear ones to the speaker or poet. There are several famous pastoral elegies in English Literature, the foremost being “Lycidas” by John Milton, written on the death of his friend Edward King. Another notable example is “Adonais” by P. B. Shelley, composed in memory of his friend Keats.

Major Features of Elegy 

A short glance at both of these pieces demonstrates that an elegy has three major features that distinguish it from an ode or epitaph.

1. The first one is it is a sort of lamentation or expression of lugubrious feelings generally over the death of somebody close to the poet. It is an expression of grief of the speaker that he feels at the death of the person for whom he writes.
2. The second point is that the poet admires the person he has idealized and narrates his exploits and achievements.
3. The third one is that he draws consolation from the narrated event or incident or past that has made him express his sorrow.

“Lay of the Lone Survivor”: An Elegy

Regarding the son of the lone survivor in Beowulf, it contains almost all the elements of a pastoral elegy and could have influenced elegiac writings in classical English literature. However, within Beowulf, it is considered merely a digression as the lone survivor remains unnamed. This individual, a servant of a princess during Beowulf’s reign, escapes brutal punishment by seeking refuge in a dragon’s cave, where he discovers rich heirlooms, suggesting a noble lineage. Death permeates everything except him, granting him a temporary reprieve. In his solitude, he chants a lay, which transforms into an elegy. These lines encompass the essence of a pastoral elegy as the nobleman or prince mourns the death of his lineage, lamenting over the desolation of the earth.

“Now hold thou, earth, since heroes may not,
what earls have owned! Lo, erst from thee
brave men brought it! But battle-death seized
and cruel killing my clansmen all,
robbed them of life and a liegeman’s joys.” (2257-2262)

Death and “Lay of the Lone Survivor” as an Elegy

These lines lament the death of all those who perished in battle. The cruel hand of death has claimed them all, from heroes to earls, now resting in their graves. Before him, in the cave, lies everything belonging to these fallen warriors, as he remains their faithful follower. His grief stems from the realization that there is no one left for him to fight for. All his valiant noblemen have succumbed to death’s embrace, leaving behind only their treasures. Their armor, swords, and shields now accompany the heirlooms, evoking a lugubrious tone as he reflects on their loss.

“My brave are gone.
And the helmet hard, all haughty with gold,
shall part from its plating. Polishers sleep
who could brighten and burnish the battle-mask;
and those weeds of war that were wont to brave
over bicker of shields the bite of steel
rust with their bearer.” (263-273)

These lines also contain the admiration and praise of those brave who have gone and all their gold and war tools have been left there to rust forever. Despite these feelings, the lamentation is still there in the lines. Nothing is left now;  

“No harp’s delight,
no glee-wood’s gladness! No good hawk now
flies through the hall! Nor horses fleet
stamp in the burgstead! Battle and death
the flower of my race have reft away.” (272-276)

Conclusion: “Lay of the Lone Survivor”

Contrary to a pastoral elegy and adhering to the classical form of praising after lamentation, the lone survivor engages once more in mournful reflection, lamenting the absence of harp songs, the disappearance of joyous gatherings, and even the demise of horses. Battles and death have laid waste to all. He continues, remarking that only their possessions remain, now left to rust in the barrow, guarded by the dragon. The first element, lamentation for the lost loved ones, expressing grief and sorrow, is evident in these lines. Additionally, the second element of praise and admiration for the reputation, courage, and warrior nature of his clansmen is present. This is evident in his admiration for the shields and battle armors that belonged to them. However, there is no consolation for this lone survivor, perhaps due to his own lowly status as he nears death, finding no solace in who would succeed him. Nonetheless, as the first unconscious effort, it could be deemed an elegy in Beowulf.

Works Cited: “Lay of the Lone Survivor”

Anonymous. Beowulf. Trans. Francis Barton Gummere. Vol. 1. New York: Wily, 2010.

Relevant Questions about “Lay of the Lone Survivor”

1. How does “Lay of the Lone Survivor” explore themes of isolation and resilience in the face of adversity?
2. What narrative techniques does “Lay of the Lone Survivor” employ to evoke a sense of atmosphere and tension?
3. In what ways does “Lay of the Lone Survivor” challenge traditional notions of heroism and survival?

Introduction: Feminism in Doris Lessing’s Short Stories

Feminism in Doris Lessing’s Short Stories illuminates the subtle experiences of women navigating societal expectations, gender roles, and power dynamics in diverse contexts depicted throughout her literary works. The world has undergone significant changes since the introduction of feminist theory, leading to transformations in social, financial, psychological, and relational structures, resulting in complexities in various aspects of life. The concepts of freedom and liberation, once central to feminism, have evolved to encompass broader themes of identity, recognition, social perspectives, and power dynamics. Postmodernism has given rise to a new feminist theory, with postmodernism serving as a significant prefix. However, before delving deeper into postmodern feminism, it’s crucial to understand postmodernism itself, distinct from postmodernity. Tim Woods, in “Beginning Postmodernism,” contends that knowledge is partial, fragmented, and subject to change, rejecting the notion of absolute truth. This new form of epistemological freedom challenges overarching patterns that disregard individual experiences and differences. Marianne Hirsch and Evelyn Fox Keller’s “Conflicts in Feminism” aligns postmodern thought with feminism, emphasizing interpretative multiplicity and cultural indeterminacy. Somer Brobdribb’s “Nothing Matters: Feminist Critique of Postmodernism” attempts to ally feminism with this new theory, celebrating feminist narratives as grand narratives of the past. Jane Flax highlights the central issues of self, gender, power, and knowledge in “Transitional Thinking: Psychoanalytic, Feminist, and Postmodern Theorist,” noting the ambivalence of knowledge in the modern world. Postmodern feminism moves beyond traditional notions of women’s liberation, equality, and political freedom, focusing instead on how relations of domination intersect with the self and intertwine with desire. As feminist sensitivity evolves, new social issues emerge, challenging dominant male perspectives within feminist discourse. Female minds now explore bewildering questions about identity, gender, sexuality, and social relations, while theories like psychodynamic theory offer insights into the psychological forces shaping women’s behavior, feelings, and relationships, extending the understanding of feminine psyche.

Feminism in Doris Lessing’s Short Stories

As for Doris Lessing, she perceives feminism not merely as political discourse concerning women’s independence or rights in literature, but rather as a novel psychoanalytical approach to understanding women. In an interview with Johan Raskhin published in The Progress in June 1999, she remarked that “feminism has been turned into a religion,” though she quickly added, “It can’t go much longer,” suggesting that this phase has run its course. Lessing views feminism as primarily championed by the elite class, asserting that it has failed to impact the lives of impoverished and working women in the Third World. Her writings exemplify postmodern feminism, wherein female characters grapple with issues of identity, recognition, sexuality, power dynamics, and self-actualization. In “To Room Nineteen,” the character Susan navigates modern-day depression, self-realization, identity crises, and gender recognition, while “Notes for a Case History” delves into object-relations theory through the lens of mother-daughter dynamics and the influence of social relationships on gender identity and sexual power dynamics. Conversely, “A Woman on a Roof” explores the wielding of sexual power and its manipulation to exert influence over male counterparts, as observed by Jane Flax in terms of self-recognition and the power dynamics at play.

Postmodern Feminism in Doris Lessing’s Short Stories

The signs of postmodern feminist issues are glaringly evident in Doris Lessing’s story “To Room Nineteen,” which depicts the marriage of Susan and Matthew Rawlings, a rational couple who believe their union is proof of sensible discrimination, as Lessing notes “That they had waited so long (but not too long) for this real thing was to them a proof of their sensible discrimination,” a notion underscored by Jane Flax’s observation of gender differences. However, Susan soon realizes that their marriage is not founded on sensible discrimination but rather on the capitalist mode of living, which exacts a psychological toll on her, as argued by Wang Ningchuan and Wen Yiping in their paper “In Room Nineteen, Why Did Susan Commit Suicide? Reconsidering Gender Relations from Doris Lessing’s Novel.” They suggest that Susan’s suicide can be understood through Karen Horney and Lacan’s theories of self, indicating a conflict between her social status and self as well as a contradiction between her ideas and her gender identity and patriarchal domination. Susan grapples with the conflict between her desire for freedom and her reality of being imprisoned at home, symbolized by her waiting for the demon to claim her in the garden, a manifestation of her acute depression. This conflict deepens as she acknowledges the word ‘bondage’ in relation to her marriage for the first time, signifying her loss of identity in her roles as wife and mother. Wang Ningchuan and Wen Yiping suggest that Susan’s reconciliation toward marriage leads to her acceptance of patriarchal domination, resulting in economic oppression and a loss of financial stability and identity. Susan’s resentment of never being alone, even when her house is empty of children, underscores the suffocating nature of her situation within the patriarchal structure.

Domestic Issues and Postmodern Feminism in Doris Lessing’s Short Stories

This exacerbates her depression as she grapples with the loss of independence due to her work and domestic responsibilities, revealing deeper psychological issues. According to Jane Flax, this internal struggle impacts not only feminism but also fundamental aspects of self, including the actual self and idealized self. Susan has idealized a version of herself that contrasts sharply with her current roles as a responsible wife and mother, leading to a sense of disillusionment. Wang Ningchuan and Wen Yiping note that Susan struggles to actualize her true self, likening it to a sensitive plant in need of nurturing. This dissatisfaction with her circumstances contributes to her depression, while her husband Matthew remains content with their life together. Susan unconsciously compares herself to Matthew, perceiving his independence and responsibility, which she feels she lacks. Despite moments of solitude in a hotel room, where she experiences fleeting self-realization, Susan falls short of self-actualization, unlike the woman in “A Woman on the Roof” who asserts control over her sexuality. Unlike the confident woman on the roof, Susan remains unaware of the power her gender holds over men, leading to a loss of confidence and a sense of irrationality.

Interpretations of Feminism in Doris Lessing’s Short Stories

Kun Zhau offers another feminist interpretation, suggesting that Lessing uses various objects—such as the river, the garden, the demon, and Susan’s reflection—to portray Susan’s search for identity, indicating an identity crisis. Each object symbolizes identity in some way, yet Susan finds herself devoid of any. Zhau further asserts that Susan harbors a fear stemming from the realization that she has been confined by her familial responsibilities; her husband and four children seem to suffocate her, akin to a snake devouring its own tail, with Susan herself being the serpent’s victim. Zhau posits that Susan perceives even her soul as not her own, feeling imprisoned within her own home, which she escapes only through suicide, achieving a semblance of freedom. Zhau suggests that Susan’s mental and spiritual growth have been stunted, leading to her identity crisis and subsequent quest for freedom. Seeking refuge in Fred’s Hotel in Paddington, Susan adopts the identity of Mrs. Jones, yet this newfound independence is short-lived as her husband’s intrusion exposes her true identity, leading to her suicide. The symbolism runs deep; the river represents the flow of life, while the hotel room symbolizes both the stifling responsibilities of domestic life and a fleeting sense of freedom. Susan’s physical escape to the hotel exacerbates her spiritual and mental turmoil, ultimately culminating in her suicide. Furthermore, the hotel room, initially seen as Susan’s sanctuary and new identity as Mrs. Jones, reflects the transient nature of identity for a working woman who often loses herself upon becoming a mother. Despite her efforts to excel as a wife and mother, Susan loses her true self in the process, seeking solace in her newfound identity as Mrs. Jones. However, this identity proves ephemeral as her husband’s discovery prompts her tragic demise, highlighting the fleeting nature of freedom and identity.

Oppression and Feminism in Doris Lessing’s Short Stories

Seher Ozsert, a lecturer at Zirve University, Turkey, offers a similar interpretation of the hotel room, positing that Susan finds liberation within its confines, escaping the oppressive routine of domestic life that she finds suffocating compared to the idyllic future she once envisioned. Ozsert draws parallels to Virginia Woolf’s assertion that “a woman must have money and a room of her own” to attain independence, suggesting that Lessing may have been inspired by Woolf’s ideas in crafting this story’s conclusion. While Susan may not have fully discovered her authentic self, Ozsert echoes her sense of artifice, noting Susan’s inner conflict between fulfilling her roles as wife and mother and her desire for genuine self-expression. Susan’s inner turmoil manifests as a feeling of impostorship, prompting her to seek refuge in the hotel room where she can shed the societal masks she wears. Rula Quawas further explores this theme, observing Susan’s struggle to break free from societal expectations and uncover her autonomous self, a common motif in literature. However, Susan’s newfound peace is shattered when she learns that someone has come looking for her, prompting her to end her life, symbolizing her inability to exist authentically in a world that stifles her true identity. Quawas delves into various post-structuralist perspectives to elucidate Susan’s quest for self-discovery, ultimately concluding that societal constructs hinder rather than facilitate her journey toward authenticity. For Susan, these constructs serve as barriers to self-realization, compelling her to seek solace in solitude before succumbing to the pressures of societal expectations.

Gender Identity and Feminism in Doris Lessing’s Short Stories

The theme of postmodern feminism’s exploration of gender identity is also evident in another of Lessing’s short stories, “Notes for a Case History.” This narrative resonates with the sentiments expressed in Lessing’s interview, where she suggests that feminism is not solely a theory of the oppressed but rather serves the agenda of elite-class women. “Notes for a Case History” delves into the object-relations theory, particularly in the context of mother-daughter relationships and the influence of social dynamics on gender identity and sexual power. While Chodorow and Dinnerstein, proponents of this theory, offer differing perspectives on mother-daughter relationships, there are parallels between Chodorow and Irigaray’s views, as noted by Jane Flax. Both suggest a unique level of mutual identification between mothers and their infant daughters, shaping the daughter’s gender identity from an early age. Maureen’s mother, for example, instills in her the belief that she is more beautiful than her friend Shirley, fostering a sense of confidence and entitlement in Maureen’s future. This maternal influence extends to Maureen’s perception of her own attractiveness, as evident in the attention she receives from men and her internalized belief in her beauty. This mother-daughter dynamic profoundly impacts Maureen’s identity, influencing her decisions and shaping her perception of herself well into adulthood. However, Chodorow and Irigaray diverge in their conceptualizations of self and language within this framework, a discrepancy attributed by Jane Flax to their differing theoretical and social backgrounds.

Identity and Feminism in Doris Lessing’s Short Stories

One other key aspect of Nancy Chodorow’s theory is the notion that feminine or masculine identity is shaped by social relations within the family. Jane Flax contends that while patriarchy can theoretically be dismantled, there’s a significant challenge in disentangling the psyche from its deeply ingrained social ties. Children’s behavior, she argues, is profoundly influenced by their mothers’ behavior, which is determined by societal norms and expectations.

Maureen’s behavior reflects this dynamic. She consistently displays deference to her mother while receiving less frequent reprimands from her father, indicating an unconscious effort within the family to subvert patriarchy. The family’s concerted effort to secure a glamorous future for Maureen originates from her mother, not her father, underscoring the unconscious nature of this phenomenon.

Flax emphasizes two critical points: first, the tangible impact of mother-daughter relations on behavior, and second, the symbolic significance of behavioral changes. Maureen’s relationship with her mother significantly shapes her outlook and future prospects. Conversely, Shirley’s relationship with her mother fosters more modest aspirations.

Maureen’s mother instills in her a sense of entitlement and ambition, while Shirley’s mother encourages a more resigned attitude. Maureen’s resistance to undervaluation and her aspiration for a grander future stem from her mother’s influence. This familial capital, transmitted through identity and reinforced by societal expectations, informs Maureen’s understanding of her potential.

As Maureen navigates her relationships with Stanley and Tony, she grapples with conflicting desires and societal expectations. Her mother’s deference to her father’s decisions influences Maureen’s struggle to assert her own agency. Flax’s interpretation of Chodorow’s theory suggests that Maureen’s turn to men reflects not only a desire to escape her mother but also a deep-seated need for acceptance and love. Stanley represents a failed attempt at finding this acceptance, as evidenced by his rejection of Maureen’s joke, while Tony symbolizes a potential successor lover who might offer the validation she seeks.

Sexuality and Feminism in Doris Lessing’s Short Stories

Although Maureen possesses knowledge of the power of her sexuality, its influence is inherently limited by her middle-class background and social circle. This constraint becomes evident as she moves from one company to another, realizing the boundaries of her impact. In contrast, Shirley, aware of her comparatively lower effectiveness in wielding sexual power, navigates her interactions with a pragmatic understanding of her social standing. She recognizes herself as the “pretty girl’s plainer girlfriend,” acknowledging her position relative to Maureen and the limitations of her allure. Unlike Maureen, who absorbs the fantasies of others through her readings and exploits her sexuality with different boyfriends, Shirley operates within the confines of her perceived limitations. Stanley, perceptive of Maureen’s power and his own influence, manipulates the dynamic between them, exploiting both Maureen’s sexuality and his own financial status to assert control.

Social Contexts and Feminism in Doris Lessing’s Short Stories

In their shared social context, both Maureen and Shirley hail from relatively affluent households in impoverished neighborhoods. Doris Lessing illustrates this by describing them as “two pretty little girls in smart mother-made dresses, [who] were children of plenty” (Lessing 381). While Maureen’s family may have greater financial resources compared to Shirley’s, this discrepancy does not significantly alter their social circumstances. However, their physical appearance does influence their social interactions and perceptions. According to Jane Flax, gender identity is shaped not only by individual autonomy but also by factors such as race and economic status (25). These factors play a crucial role in reshaping the girls’ understanding of their gender identities. Maureen’s awareness of her own attractiveness compared to Shirley reflects a deeper understanding of gender consciousness and selfhood. As Flax suggests, an adequate examination of subjectivity must consider the impact of gender on the formation and expression of identity (26). Maureen’s recognition of her beauty and its implications on her interactions with others highlights her heightened consciousness of her gender and its significance in shaping social dynamics. This awareness is evident in Maureen’s realization that she is perceived as the more attractive of the two girls, influencing the behavior of boys who seek her out for dates (Lessing 385). Lessing portrays Maureen’s experience within her social context to underscore the modern complexities of feminist themes.

However, Lessing presents Stanley as having a similar ambivalence towards Maureen’s sexuality as she does towards his patriarchal domination. It becomes apparent later that both harbor conflicting feelings: Maureen struggles with her power over Stanley, while Stanley grapples with his attraction to Maureen despite feeling threatened by her independence. Stanley’s deeper understanding of Maureen’s sexuality leads to a loss of interest on his part, and consequently, Maureen loses her hold over him. Their relationship remains fraught with ambiguity, exemplified by their reactions to each other’s behavior. Maureen’s playful invitation for Stanley to meet her parents is met with disdain, indicating Stanley’s dismissal of her as a potential partner. This ambiguity persists until the story’s conclusion, as Maureen reflects on her changed circumstances, recognizing that the power dynamic between them has shifted irreversibly. She acknowledges that while she once held sway over Stanley, she is now at his mercy, signaling the end of their relationship. In this way, Maureen concedes defeat in her bid to establish herself as a formidable figure against Stanley’s architectural background and future prospects.

Sex, Power and Feminism in Doris Lessing’s Short Stories

In “A Woman on a Roof,” the power of sexuality and its conscious utilization to challenge patriarchal dominance is vividly portrayed. Jane Flax’s assertion that “Gender also partially structures how each person experiences and expresses herself” holds true in the cases of Maureen, Shirley, and Susan in “To Room Nineteen.” Maureen, for instance, exhibits a freewheeling attitude towards her numerous boyfriends, demonstrating a partial expression of her gender. Conversely, Susan initially suppresses this expression, ultimately surrendering her identity to patriarchal dominance. Her perpetual quest for freedom underscores her internal struggle. However, Maureen’s perceived freedom rings hollow as she repeatedly finds herself drawn back to Stanley.

In contrast, the unnamed woman on the roof unabashedly embraces the power of her sexuality, openly displaying it. Her realization of this power becomes evident when a young man is captivated by her presence on the rooftop. Men of all ages are enthralled by her allure, evident in their whistles and shouts. Yet, she remains indifferent, demonstrating a keen awareness of her sexual power. Despite Tom’s attempts to distance himself from the others, he too falls under her spell, indulging in fantasies about her. His vivid dreams depict the profound impact of her sexuality on his impressionable mind, highlighting the potency of gendered sexual power.

Ultimately, Susan’s tragic demise may stem from her realization that her power has succumbed to patriarchal authority, a fate she could no longer tolerate. This stark contrast illustrates the transformative potential of feminine sexuality in challenging and subverting patriarchal norms.

Ambivalence of Sexuality and Feminism in Doris Lessing’s Short Stories

In “A Woman on a Roof,” the ambivalence in response to sexuality is evident among the male characters, particularly Stanley, Harry, and Tom. Stanley and Harry resort to whistling and shouting, attempting to deflect the impact of the woman’s sexuality, knowing they cannot attain it. Conversely, Tom experiences a different reaction. He senses a connection with the woman but is uncertain about its nature. When he approaches her, he does so with a foolish grin, seeking tenderness but unsure of what to expect. His response is further muddled by stammering dialogue and a sense of panic, reminiscent of his relationship with his mother. This ambiguity reaches a climax when the woman dismisses him, leaving Tom bewildered.

In summary, Doris Lessing’s stories exemplify postmodern feminism and its distinctive characteristics. “To Room Nineteen” delves into themes of depression, self-realization, and identity crisis, while “Notes for a Case History” explores object relations theory in mother-daughter relationships. “A Woman on a Roof” offers a reverse perspective on this theory through Tom’s attraction to the mature woman. Additionally, the impact of social relations on gender identity and the power of sexuality are central themes across these narratives. Lessing’s portrayal aligns with her assertion in the interview with Raskhin that feminism transcends boundaries, addressing the dilemmas faced by modern women from various socio-economic backgrounds.

Works Cited: Feminism in Doris Lessing’s Short Stories

1. Flax, Jane. Thinking Fragments: Psychoanalysis, Feminism, and Postmodernism in Contemporary West. Berkley. University of California Press. 2004. pp. 15-285.
2. Lessing, Doris. “A Woman on the Roof.” Doris Lessing. A Man with Two Woman and Other Stories. Simon and Schuster. 1963. pp. 2-8.
3. —————-. “Notes for a Case History.” Doris Lessing. A Man with Two Woman and Other Stories. Simon and Schuster. 1963. pp. 381-392.
4. —————-. “To Room Nineteen.” Doris Lessing. A Man with Two Woman and Other Stories. Simon and Schuster. 1963. pp. 524-549.
5. Ningchuan, Wang and Wen Yiping. “In Room Nineteen Why Did Susan Commit Suicide? Reconsidering Gender Relations from Doris Lessing’s Novel.” Studies in Literature and Language 4.1 (2012): 65-75. CSCanada. Web. 16 Apr. 2020.
6. Raskhin, Jonah. “Doris Lessing: The Progressive Interview.” The Progressive. Dorrislessing.com. Jun. 1999. Web. 26 Apr. 2020.
7. Ozsert, Seher. “The Hotel Room Nineteen: A Passage to Freedom.” The Journal of Language and Literature 11 (2014): 60-68. Web. 16 Apr. 2020.
8. Quawas, Rula. “Lessing’s ‘To Room Nineteen’: Susan’s Voyage into the Inner Space of ‘Elsewhere.'” Atlantis. 29.1 (Jun. 2007): 107-122. Web. 26 Apr. 2016.
9. Woods, Tim. Beginning Postmodernism. New York. Manchester University Press. 1999. Print. 21-32.
10. Zhau, Kun. “An Analysis of Three Images in Doris Lessing’s To Room Nineteen.” Theory and Practice in Language Studies 2.8 (Aug. 2012). 1651-1655. Academy Publishers. Web. 25 Apr. 2020.

Relevant Questions about Feminism in Doris Lessing’s Short Stories

1. How does “Feminism in Doris Lessing’s Short Stories” explore the theme of feminism, and what specific techniques does Lessing employ to depict the challenges faced by women in various societal contexts?
2. In what ways do the female characters in “Feminism in Doris Lessing’s Short Stories” navigate issues of gender inequality, autonomy, and agency, and how do their experiences contribute to a broader understanding of feminist discourse?
3. How does “Feminism in Doris Lessing’s Short Stories” challenge traditional gender roles and expectations through the portrayal of male-female relationships, and what commentary does Lessing offer on the dynamics of power and control within these relationships?

Introduction: Franklin’s Ideas about Education

Similar to his pragmatism in politics, Benjamin Franklin’s ideas were also practical about education, where his impact is even greater. His approach has been based on the benefit or utility of education rather than merely reading and writing. He eschewed traditional grammar school education in favor of modern languages, arguing that the teaching methodology should begin from scratch and progress sequentially (232). He believed that language acquisition is more effectively facilitated by the environment rather than traditional classroom methods, which he deemed to be based on “false principles” lacking practical utility (242). Franklin also expressed views on the education of women and slaves, advocating for their inclusion in educational endeavors, recognizing them as integral parts of the population. His association of education with the economy reflects a utilitarian perspective, as his school later evolved into a university that played a significant role in the United States. Additionally, Franklin prioritized listening and speaking skills in education, aspects often overlooked in previous educational paradigms.

Franklin’s Ideas about Deism

Despite being raised by devout Christian pastors, Franklin soon grappled with the issue of reconciling his Christian beliefs with the modern realities he encountered. He argued that he harbored doubts about his religious doctrine, finding it lacking in utility for his life (219). He emphasized the importance of sincerity, honesty, and truth, attributing them to God (253). This suggests his inclination towards deism. However, during his interactions with Ralph and Collins, he observed that divine intervention seemed absent, as both individuals wronged him without consequence or remorse. Consequently, he concluded that although God governs life’s affairs, many Christian ideas are sidelined when it comes to practical life.

Franklin’s Ideas About Errata/Errors

Like other human beings, Franklin too acknowledged and reflected upon various errors in his autobiography, recognizing them as opportunities for learning and growth. The first mistake he mentioned was stealing money from Vernon during a visit to Philadelphia, an act driven by revenge, which he mentioned briefly without expressing remorse (232). Another error he identified was the wasteful use of money while living in London with his friend Ralph, neglecting their familial responsibilities in pursuit of frivolous desires. Franklin also considered his marriage to Read and the publication of a pamphlet as mistakes, acknowledging his subsequent realization of their imprudence. These instances of error and subsequent reflection illuminate Franklin’s worldview, emphasizing the importance of prudence and avoiding mistakes as integral to achieving success in life.

Works Cited: Franklin’s Ideas

Franklin, Benjamin. The Works of Benjamin Franklin. Campe, 1835.

Relevant Questions about Franklin’s Ideas

1. How did Benjamin Franklin’s ideas about self-improvement and personal development influence his approach to life and work, and what impact did they have on society during his time and beyond?
2. In what ways did Benjamin Franklin’s political philosophy, as outlined in his writings such as “Poor Richard’s Almanack” and his autobiography, contribute to the development of American identity and the ideals of the Enlightenment?
3. How did Benjamin Franklin’s scientific inquiries and inventions reflect his broader worldview and philosophical beliefs, and how did these contributions shape the fields of science and technology during his era and beyond?