Category: Short Essays

1. How does “To Build a Fire” by Jack London deal with man’s struggle with nature?

The story “To Build a Fire” deals with man’s struggle with himself, with his willpower, and with nature. It is clear from the very outset that “He was quick and alert in the things of life, but only in the things, and not in the significance” (London 120). It means that he knows that there is ice everywhere. He is also sensing that the temperature is going below 50 and even below 75, and even remember the old man’s advice about not going out in such a freezing cold. However, he could not understand the significance of this in his life. By the end, he comes to know his limits, and there the struggle starts from nature to himself when he thinks that his strength cannot take him running to the camp where he comes to know the reality that “His idea of it was that he had been making a fool of himself” (128). That means that he came to reality at last after fighting with himself that he should not die, but death is staring in his face.

2. Was hubris involved in “To Build a Fire” by Jack London?

Hubris which means taking excessive pride in one’s ability seems to be at work in the character of the man who starts his journey to the camp in the freezing cold of below 70 degrees. In fact, it is more than this because he does not care to pay heed to the advice of the old timer who tells him clearly that a man should not go out when the temperature is below zero. He remembers it when he is around halfway through trapped but still, he thinks of them as “womanish, some of them” (London 124). He thinks that “All a man had to do was to keep his head” (124) and by the end, he loses this. Hence, this is his hubris given in the outcome of this story.

 3. How is the setting of “To Build a Fire” by Jack London is minimal or rich?

The setting in the story “To Build a Fire” is minimal in that wherever the man looks, there is only ice, “North and south, as far as he eyes could see” (London 120) that is ice and snow. However, it is quite rich in the description as he not only thinks about the present, about himself, and about his future. The man thinks about the freezing temperature, its effects, and the things that he has worn to ward off the frost “mittens, ear-flaps, warm moccasins, and thick socks” (120). Then his acts of making a fire unsuccessfully and his final race toward the camp further enriches the setting.

 4. From what point of view is London’s story told?

The story “To Build a Fire” has been told in the third person point of view. The third person is always an omniscient narrator who stays above the characters and tells everything about them. He even enters the thoughts of his characters as does Faulkner who is a third-person narrator and analyzes the thoughts of the man. He shows the contrast through the thoughts of his character and the dog which is with him. The narrator has also passed judgment on the man saying that “He was quick and alert in the things of life, but only in the things, and not in the significance” (London 120). According to him, it was this significance of the advice of the old timer of the Sulphur Creek.

 5. What is the impact of the anonymity of the character in “To Build a Fire” by Jack London?

This technique used in “To Build a Fire” by Jack London shows that he is a naturalist who believes that survival is for the fittest and the dog is better equipped to cope with the freezing temperature than the man. The theme is universal that though man is a rational creature, sometimes even the man has a trouble that Jack London says “The Trouble with him was that he was without imagination” (London 120). He could not sense any sense in the advice of the old-timer “But the dog knew; all its ancestry knew, and it had inherited the knowledge” that the man could not” (122). Therefore, by making the man anonymous, Jack London has put the man against nature and side by side with the animals who are instinctively fit to survive in extreme weather.

Relevant Short Questions about “To Build a Fire” by Jack London

1. In “To Build a Fire” by Jack London, how does the harsh Yukon wilderness serve as a central antagonist in the narrative, posing significant challenges to the protagonist?
2. What role does the theme of human hubris play in “To Build a Fire” by Jack London, and how does it contribute to the protagonist’s predicament?
3. “To Build a Fire” by Jack London explores the theme of survival in extreme conditions. How does the protagonist’s experience in the story reflect the harsh realities of nature and the consequences of underestimating it?
4. Can you discuss the significance of the title, “To Build a Fire,” and how it encapsulates the story’s central struggle and theme?
5. In “To Build a Fire” by Jack London, how does the relationship between the protagonist and the dog symbolize the fundamental differences between instinct and intellect in the face of nature’s unforgiving forces?

Works Cited

London, Jack. “To Build a Fire.” American Literature, https://americanliterature.com/author/jack-london

Introduction to Mathilda in “The Necklace”

Regarding Mathilda in “The Necklace”, it is easy to pinpoint her as a narcissistic character. However, it is very difficult to pinpoint how narcissists react when they feel envious, or jealous of others. This perfectly describes the character traits that Mathilda in “ The Necklace” portrayed by Guy De Maupassant shows. She is not only suffering from her own lowly position as she was born into a low family, but she is also suffering from her marriage with the clerk of the education department. The very title of clerk gives her a shock as to her position in society. And this is what tortures her more that he husband was not from the upper class. Her low middle-class status tortures her so much so that Mathilda in “The Necklace” showed narcissism through her envious character traits as well as through her own competition with other women which ultimately led to her suffering.

Mathilda in “The Necklace” as Narcissistic Character

 Most narcissists think that they are very charming and attractive and that “they must be seen as perfect or superior. Mathilda in “The Necklace” is the same character that the very first line of the story shows that she was pretty and charming and thought that it was a blunder that she was born in such a low family (Maupassant) and artisans are often in the middle-class not elite or upper class. Therefore, what she thought of “getting known” (Maupassant) was quite out of question, and to add fuel to the fire, she married a lowly clerk. This became a reason for her suffering as “She suffered endlessly.” She wanted to be loved and “sought after” (Maupassant). Her mental torture started with her consciousness of being very attractive and this consciousness made a frail woman a very easy victim of narcissism. Such persons when they become a victim of this psychological disorder, “criticize, gripe, and complain” (Ashmun) and that is why she was doing it.

Mathilda in “The Necklace” Showing Envious Nature

First, Mathilda in “The Necklace” became envious whenever she met her friend Madam Forestier and whenever she met her, “She would weep” (Maupassant). Her mental agony further intensified whenever her husband used to bring her something or tried to gladden her. When he brought the invitation from the Minister of Education, her immediate response was what to do with it (Maupassant) because she thought that without an excellent dress, she would be looking from a low class and not so beautiful was not acceptable to her. Somehow, he managed to make up the sum for her expensive dress but when the question of wearing some jewelry to suit the occasion arose, again she made his life hell. Her response was she was looking miserable (Maupassant), and this made him think about it. When she put forward the suggestion of borrowing it from her rich friend, he had nothing to go against it and he readily accepted to pacify her mental agony. When she finally got it, “She danced madly” (Maupassant) as her envious nature was finally satisfied. However, this cost not only her but also her husband dearly.

Mathilda in “The Necklace” Showing Competitive Nature

 The second argument is about her competitive nature which made her a narcissist. Whatever she had she compared it with others to see whether it was all right. She had the quality of being “pretty” that distinguishes her, but she competitively wanted to be “getting known,” more than the other women of her ilk and that is what led to her downfall (Maupassant). Her competitive nature came to the fore when her husband gave her an invitation and instead of rejoicing and thinking about preparations, she started making a fuss (Maupassant). This clearly shows that she wanted to compete with other women and woo men which other women also long to come near them. Her consciousness of being pretty but from low family background made her know that she could not dream of having that due to her poverty and this consciousness of being a beauty but not a bedecked one, tormented her. At the party with the necklace that she borrowed from her rich friend, she found herself the cynosure of the party. This was what she wanted to have. It means all other women were neglected and she won. This was a fundamental weakness in her character that she wanted to compete with others in every matter but when she finally became aware that her necklace was lost, she had to undergo suffering for the next ten years. It is another thing that later she discovered that it turned out fake.

Consciousciosuness of Mathilda in “The Necklace”

The consciousness of being a beauty among the general lot and the desire to be differentiated from others due to her beauty and further elegance became the basis of her narcissism. It further fueled her desire to look charming with jewelry and fine clothes. The major desire behind it was to be counted among the elite class. Consciousness of Mathilda in “The Necklace”,is a sign ofnarcissism born out of her competitive nature, led her to do what they could not afford. They not only purchased an expensive dress but also borrowed a necklace whose loss proved costly that they had to undergo ten-year long suffering to repay it. Therefore, it was this personality disorder of Mathilda that cost her and her husband dearly that they had to waste their young years for it.

Works Cited

1. Ashmun, Joanna M. “Narcissist Personality Disorder.” Halcyon, 2008, http://www.halcyon.com/jmashmun/npd/traits.html. Accessed 13 Apr. 2023.
2. De Maupassant, Guy. “The Necklace.” Exploros, n.d., http://exploros-shared-media.s3.amazonaws.com/OER/ELA/Grade+8/ELA8.2.02.passages.pdf. Accessed 13 Apr. 2023.

Relevant Questions about the Narcissism of Mathilda in “The Necklace”

1. How does Mathilda in “The Necklace” exhibit narcissistic traits through her relentless pursuit of social status and material possessions in the story?
2. In what instances can we observe Mathilda in “The Necklace” displaying self-absorption and a lack of empathy for others, characteristics often associated with narcissism?
3. How does Mathilda in “The Necklace” seek attention and admiration at the ball, and how does her pursuit of these desires shape the events of the story, reflecting her narcissistic tendencies?

Introduction to “Greasy Lake”

“Greasy Lake” by Boyle is a story about rebels in society specifically when teenagers find freedom and intend to exploit it, behaving naturally as stated “it was nature” in the story (Boyle 01). The time is not good as the narrator states in the opening of the story that there “was a time when courtesy” is not the style of speaking, and the narrator along with his similar friends Digby and Jeff try to become “dangerous characters” but it boomerangs and they get the taste of their being bad (02). This proves that others could be bad too at the same time. The story “Greasy Lake” sums up their actions of how they start committing mistakes of their bad behavior but are paid back in the same coin.

Bragging of the Narrator

The narrator of the story “Greasy Lake” first brags about their bad behavior saying “we wore torn-up leather” and leading a bohemian lifestyle, drinking and taking drugs (03). Similar to their clothing and behavior, some others are also looking for enjoyment in which they bang and find out something else. They are going to the lake, the Greasy Lake, which is a good hangout for characters like them. However, Boyle has described the lake exactly like these three characters who are out to show their bad behavior and the lake is bad too as it “was fetid and murky” (04). He uses military jargon such as “There was a single ravaged island” which shows how it has faced destruction from other characters like them (05).

Greasy Characters

In the story, “Greasy Lake” when they go there, they come across another car where according to the narrator a “greasy character” has been hanging out with his “fox” with whom they pick up a brawl (02). The narrator of “Greasy Lake”, during the scuffle, loses keys, and all three of them face severe thrashing though they succeed in overpowering the “greasy character” the fox also comes out screaming which terrifies them (04). The narrator is aware that they are committing mistakes. In fact, their intended target is not what they imagine. Hence, they have to pay back. The narrator has to use a “tire iron” to overpower the “greasy character.” Soon they all, in disheveled shape, took to their heels and he enters the lake where a dead boy blocks his way out. The people after them smash their car and throw trash in it and soon they also realize their bad behavior and leave. When they come back, they find the car drivable and try to leave but two girls spot them who offer them free sex, but they refuse. They have faced the consequences of their actions – a moment of epiphany that shows them that there could be others like them at the spot they are going and this exactly happens to them.

Setting and Order

The setting, chronological order in which the story, “Greasy Lake”, takes place, vocabulary, and brisk flow also match the situation and behavior of the character. Exactly like its setting and plotting, every sentence of “Greasy Lake” oozes dirtiness and badness.

Works Cited

Boyle, T. Coraghessan. Greasy Lake and Other Stories. Penguin, 1986.

Relevant Questions about “Greasy Lake” by T. C. Boyle

1. How does the physical filth and decay of Greasy Lake mirror the moral decay and recklessness of the story’s main characters? What are some specific examples that highlight this connection?
2. What role does the lake itself play in symbolizing the characters’ descent into filth and darkness? How does the lake transform from a seemingly appealing location to a symbol of their moral deterioration?
3. In “Greasy Lake,” the characters engage in destructive and immoral behavior, such as violence and drug use. How does the story depict the consequences of their actions, and what message does T. C. Boyle convey about the price of rebellion and hedonism?

Introduction to “The Belonging Kind” as a Cyberpunk Story

“The Belonging Kind” as a cyberpunk story could invite various interpretations. Written by John Shirley and William Gibson presents several characters including a lecturer of linguistics and a robot type of lady after whom he leaves his job and home but does not find her in the physical world. The story belongs to the new genre of cyberpunk, but it still misses several of its major features. The characters except Coretti are not only nameless but also sans identity. Their entire daily routine comprises visiting bars, drinking, rhythm-less dancing, and absurd conversation. The complete story presents a few days routine of the professor in a way that he is like a robot who is after robots, who are drinking but not feeling drunk, eating nothing, and engaged in a mechanical routine. Their identities stay the same, but their clothes, styles, and features change abruptly that they seem to him of a “kind”, he himself is. “The Belonging Kind” as a cyberpunk story not only shows signs of a cyberpunk story through its nameless characters but also through technical language and sexual seduction.

Opening of “The Belonging Kind” as a Syberpunk Story

When “The Belonging Kind” as a cyberpunk story opens, there is mention of bars in which Coretti is after a girl he has seen once. The first time he notices her in the Backdoor Lounge. In fact, “he hadn’t ever had a girl like the one”, he has seen there whose dress is “the green of  young corn” and hair is “coppery.” He instantly falls into her magical appeal and experiences some mechanical type of erection. After this, he goes ahead with his chase which takes him into another bar where he drinks too much. He watches her with a young man but when he chases both, he sees her dress as “green foam, fizzing, dissolving, gone” like that of aliens. He could not sense that he is after aliens, but he carries on chasing them throughout the story. His chase then gets prolonged so much so that he loses his job and even his residence. He rents a new room and continues chasing the girl and the young man with her in Lothario, Waylons, cabs, and hotels. This becomes his routine.  There is mention of her name as Antoinette but not of the young man who has been depicted with only the name of his shirt which is different each time.

Language of “The Belonging Kind” as a Cyberpunk Story

The language used by Shirley and Gibson in “The Belonging Kind” as a cyberpunk story shows it as highly technical or comprises technical and mechanical jargon. Even human emotions and acts have been represented through this language. When Coretti first sees that lady, he sees her “through the wrong end of a powerful telescope” which shows how far ahead of time the characters are placed. He might have seen her on some different planet. Then the writers have used words like “coppery” and “spikes” for her hair. They have also described her dress in digital terms “fizzing, dissolving, gone” exactly like her who “vanished there, into robotic flashing.” Then finally, he concludes that though he is an eavesdropper himself, this woman is “not a woman, this human wallpaper” that he is after. It means that he is either after shadows or he is placed in the far future when a human would have the power to move like shadows and then disappear. However, the interesting point is that he himself experiences feelings such as “cellular relief” while his heart throbs like “wipers.” This type of language shows that this story was heralding the more digitally stuffed novels or stories when interpreting “The Belonging Kind” as a cyberpunk story.

Sexuality in “The Belonging Kind” as a Cyberpunk Story

The third point is that sexual seduction has changed in this cyberspace of the story. The story shows Coretti going after the girl and when he finds her in a bar, he feels an erection. This has strangely occurred to him that she would know it and it was a fact that “he was startled to realize that he had one to hide.” Then when he found her with another young man, they were sitting with their hips touching each other which made him jealous of them. These sexually appealing parts dominate his mind from the very first of the story to the last and even when he chases her and sees that her “breasts had become slightly larger and her hips a shade heavier.” And very important thing takes place that now alcohol does not make him intoxicated. By the end, he feels that they are of its own kind like him, and he is also like them as his wife told him very early that he looks like a Martian. He experiences a strange type of copulation that even hips touching was sending “slow orgasmic waves” in him in which he felt that he was “two men” as if his other part was after her while real was with him. Its evidence is his last comment “like a real human being” showing the idea of sexuality in “The Belonging Kind” as a cyberpunk story.

Conclusion

In short, “The Belonging Kind” as a cyberpunk story shows not only its nameless characters but also the use of language as a representation of the cyberpunk genre. The character except Coretti stays nameless. Even the real name of the girl has not been mentioned though Annoinette has been mentioned at some places by the authors. It has also been observed the language has been merged with technical jargon including emotions and passions. To top it all, the hero, Coretti experiences not only erection but also copulation and ejac**lation in a strange way that could be called as if it has been happening in cyberspace. Therefore, on the basis of these elements, “The Belonging Kind” as a cyberpunk story confirms its place in this genre.

Works Cited

Shirley, John & Gibson, William. “The Belonging Kind.” Cyberpunk Project. n.d. Web. 08 March. 2022.

Relevant Questions about “The Belonging Kind” as a Cyberpunk Story

1. How does the narrative style and the portrayal of a futuristic, dystopian society in “The Belonging Kind” as a Cyberpunk Story” align with the typical characteristics of the Cyberpunk genre, such as the exploration of advanced technology and its societal implications?
2. What role do the themes of social stratification, corporate control, and resistance to authority play in “The Belonging Kind” as a Cyberpunk Story,” and how do they contribute to the overarching narrative and world-building within the Cyberpunk genre?
3. How does “The Belonging Kind” as a Cyberpunk Story” address the idea of human augmentation and the blurring of the line between humans and machines, and in what ways does it draw upon the traditional Cyberpunk fascination with transhumanism and its ethical dilemmas?

Introduction to Symbolism in “A Hunger Artist”

Symbolism in “A Hunger Artist” peeps through every line. The characters in stories, as Foster says, are not what they are. They symbolize something else, as Jane in “The Yellow Wallpaper” is a symbol of women who are restricted within their boundaries and face hallucinations because of their restrictions. However, with great artists, it is sometimes different. It happens that somebody becomes too much obstinate to make a name that he not only inflicts injuries to himself but also makes others feel discomfort. The story of the hunger artist told by Franz Kafka is written in the same vein. In fact, it could be stated in Foster’s words that it is quite “unfortunate that genius was harnessed to someone who may not have worn it well” (Foster 139). He was not suited to become this type of artist, or he should have used this intelligence for some other purpose. It has been suggested that this sort of ridiculous relationship is often common as it shows that “this sort of macabre relationship between performer and audience is common” (Lecture 4). At the same time, the hunger artist wants to become a name among his audience so that they should appreciate him. However, when he is at the peak of his career and the interest of the public is alive, his manager cheats on him. When he crosses all of his previous records, the public loses interest in him. The great mistake that he makes is that he tells everybody that “it is the easiest thing in the world” (489). It leads the people to become disenchanted with him, thinking he is not doing any feat. Therefore, the hunger artist symbolizes the loss of the interest of the people through his own blunder though he chooses something that does not have any value, while the relations he builds with his audience are based on his own disenchantment. 

Symbol of Hunger Artist: Symbolism in “A Hunger Artist”

The hunger artist symbolizes a person who has no other skill except his hunger or the power to overcome his hunger that he shows to the people through symbolism in “A Hunger Artist”. In fact, these sorts of people are found in a society doing bizarre things to impress others so that they could win the public approval and applause. He thinks that he could always be treated as the cynosure of the people. They also form their own code of honor as they consider themselves artists as in the case of this hunger artist who does not eat because “his code of honor as an artist forbade it” (Kafka 488). A great critic of Kafka, Noami Ritter has termed the hunger artists as the “ultimate symbol of suicide” (Ritter 72) because he knows that if he does not eat, he will die but the intoxication of winning public approval ultimately overpowers him that leads to his death. As stated by Foster, in fact, he is a genius who can overpower his hunger but he uses it wrongly but putting himself to suffering. Therefore, he loses the battle in the end when nobody comes to see him. It is also that he does not see the sudden transformation in times as people have more interesting things to see in the circus. He is also a symbol of eating which attracts people and not what he does for the public.

Public and Symbolism in “A Hunger Artist”

The strange thing about the hunger artist is the selection of his medium that he wants to connect with his audience. This is his hunger. Most artist chooses what they have a profession or make some art as their profession to earn their livelihood. However, it is never shown in the story. The only thing that he considered important was the glory that he was winning by fasting as he thought about the people who “want to rob him of the glory of fasting longer” (490) that he wanted to have had. The matter is that the attraction of the artists is built on the validity of the art that stays up-to-date with the changing times. The problem with his art is that it has a limited marketability and its perfection is in death that he would no more be able to enjoy what others see him with pleasure. Gray in his book A Franz Kafka Encyclopedia states the same thing. His view is that Kafka has shown a mirror to the people that an artist does not exist without the public and if he forgets himself, nobody cares to think about him as happened with the hunger artist where Kafka leaves his readers “with the question whether art can exist if there is no audience” and his answer is in negative as the hunger artist is left alone at the end (Gray 7).

Audience and Symbolism in “A Hunger Artist”

Although at one point, Kafka is also right. Suffering is involved when it is the matter of audience because sometimes artists and performers die merely because they want to win the hearts of their spectators. However, this is the rule of the plays that the audience wants to see suffering whether it is tragedy or comedy. It is another thing that when there is no audience, the actor or performance becomes his/her audience himself. The idea of Kafka through through symbolism in “A Hunger Artist” is marketability that when a performer loses his/her worth, he/she is no more kept in mind and nobody pays attention to what a great artist that person might have been in the past. This makes the artist turns away from his/her audience. It is a turning point as Celeste Escobar says in her article on the story that “The turning point towards his complete disconnection with the humanity outside begins. This transition is possible through the means of his art that makes him bear life” (Escobar).  By this, she means that he gets disillusioned because the people start ignoring him at the end seeing through this symbolism in “A Hunger Artist”.

Effectiveness of Symbolism in “A Hunger Artist”

However, when he is seen in the graphic version of the story, he seems to have aroused sympathy as is shown just a handful of bones at the end when the supervisor gives him his ears (Mairowitz & Crumb 153). However, it is more effective in the prose form where it is told that he does not seem to exist as he has become a straw with straws. It is clear from this that at the end the circus workers came and “poked into the straw with sticks and found the hunger artists underneath” where he is so weak that he even cannot speak (Kafka 496). Therefore, he turns his wish toward his desire that he could not find anything to eat due to which he fasted. It is actually the hunger for popularity that brings him to his grave. Therefore, the prose is more effective with symbolism in “A Hunger Artist” than the picture where he is shown as an active person.

Conclusion

In short, the hunger artist is a symbol of those demagogues and artists who inflict self-injuries to gladden their audience and attract people but they lose their lives in the game. This interpretation through symbolism in “A Hunger Artist” shows that the hunger artist could not assess that the thin thread of his relationship with his audience could break at any time when he loses his worth but he does not know that his art would lose its worth. The pleasure-seeking audience turns their back to him and he becomes satisfied with the perfection of his performance which is his death. However, this is more persuasive and beautiful in prose than in graphics.

Works Cited

1. Escobar, Celeste. “A Hunger Artist.” Panorama. 03 July 2003. Web. 30 July 2015.
2. Foster, C. Thomas. How to Read Literature Like a Professor. Harper Perenial. 2009. Print.
3. Gray, T. Richard. A Franz Kafka Encyclopedia. Greenwood Publishing Group. 2005. Print.
4. Kafka, Franz. “A Hunger Artists” Charters, Anne. The Story and Its Writer. New York: Bedford /St. Martins, 2014. 488-494
5. Mairowitz, David Zane & Robert Crumb. Kafka. Fantagrahics Books. Seattle. 2009. Print.
6. Ritter, Noami. Art as Spectacle: Images of the Entertainer Since Romanticism.  University of Missouri Press. 1996. Print.

Relevant Questions about Symbolism in “A Hunger Artist”

1. How does the repeated act of fasting and the barren cage serve as powerful symbols of the alienation and disconnect from society experienced by the protagonist in “A Hunger Artist,” and how does this symbolism contribute to the overall meaning of the story?
2. What is the significance of the audience’s changing tastes and preferences for entertainment as a symbol in “A Hunger Artist,” and how does this symbolism comment on society’s tendency to trivialize and forget the suffering and artistry of those who deviate from the norm, as depicted in the story’s events?
3. How does the symbolism in “A Hunger Artist” surrounding the panther, which replaces the hunger artist in the circus, convey the theme of liberation and the longing for a more primal and authentic existence, and how does this symbolism contrast with the hunger artist’s self-imposed suffering throughout the narrative?

Introduction to Transformation in “The Most Dangerous Game”

The transformation in “The Most Dangerous Game” is in the character of Rainsford. Although in our lives we see several people staying on the same course, several characters do not witness any transformation even in the imaginary world of fiction. They stay flat and the same as they are in the beginning of the story. Even among several such characters, there is an inner transformation manifested in their habits and attitude more than in their outward acts. Such as the stories of Richard Connell have the same characters who do not change their outward actions, but still, they go through a certain psychological or inward transformation. This transformation takes place due to several reasons. This transformation in “The Most Dangerous Game”, presents a situation where a big-game hunter goes through a situation of being hunted by another hunter. Rainsford changes inwardly because he becomes a beast at heart and kills his pursuer, but outwardly he does not change and stays the same hunter who merely hunts.

Transformation in “The Most Dangerous Game”

Rainsford experiences change and psychological transformation in “The Most Dangerous Game” of being a hunted by the end of the story. He starts his voyage with his colleague Whitney to the Amazon to hunt the jaguars which are highly cunning animals. Therefore, they hope to enjoy this “best sport in the world” (Connell) but his friend thinks otherwise. Rainsford shows his true colors saying “You’re a big-game hunter, not a philosopher?” (Connell). These are his exact words and he feels pride at his being a lucky person that they are “the hunters” (Connell). This shows his pride in being lucky that they are among the hunters, but soon he found himself in the other role. He falls down from the yacht when looking out into the forest and reaches the forest where he finds a “palatial chateau” (Connell). As an experienced hunter, he instantly recognizes that there is something sinister in the air and that the forest is “An evil place”(Connell). He realizes that he has gone through these things earlier in his life for “it was not the first time” (Connell), he has been at such a place. But this is something different. He is finding it a mirage “but it was not a mirage” (4). Soon he was with the Cossack general with his dumb and deaf sidekick, enjoying a delicious meal and champagne. However, one thing about him was making him uncomfortable that was “he found the general studying him” (Connell). It ended when he told him that “I hunt more dangerous game” (5). This is the point where he found himself preparing psychologically but this transformation in “The Most Dangerous Game” does not come to fruition as yet. He further added that he had experienced all types of hunting and this no more interests him. Therefore, he may go to pieces if he leaves it like (Connell), he tells Rainsford. This slow narration of the general slowly continued working on him psychologically and it reached its culmination when he told him that he wanted an “ideal animal” (Connell) at which he looked in disbelief at first. However, he wanted to confirm and demurred to which General Zaroff said that “Life is for the strong to be lived by the strong, to be lived, if needs be, taken by the strong “(Connell). He clearly understood what he meant and this was the point he protested to get rid of this but found no arguments working on the general. There were two choices to run and escape but to go to pieces by his sidekick Ivan. However, he chose the second one due to his psychological transformation in “The Most Dangerous Game” that he felt every minute of his life during this chase as an animal being hunted down. He was going through the same fear of pain and fear (1) and even tried several methods an animal would have tried such as cats and foxes. It is where this transformation made him feel “how an animal feels at bay” (Connell) and there he acted but like a reasoning human being and jumped into the sea to reach his chateau before him by swimming. When the general came to sleep in his bed he found the changed Rainsford there smiling saying “I am still a beast at bay” (Connell) which means that he has no reason now not to kill him. This shows how his mind transformed from a hunter to huntee and then “a beast at bay” (Connell).

Type of Transformation in “The Most Dangerous Game”

The other argument that he does not change outwardly and there are no physical signs is also correct. No physical change is ever observed from his signs and polemics which take place in his mind that he has changed. First, he is seen arguing his case with his friend Whitney to tell him that animals do not feel as if they are “no understanding” (Connell) but he alerts him that they, though, understand “fear” (Connell). Then they talk about the place and there is no change whatsoever. Even when he falls down into the sea and makes his way to the sea, he is the same and there is no physical transformation. Then he reaches the “palatial chateau” (5) and faces the general at his dinner table. Again there is no transformation. Even when he is told that he is going to be a huntee, he does not experience any change and tries to deal with it through his reason. However, when he sees that there is no end, he goes through physical exertion by running for two full days in the forest. Still, he holds his mind saying “I will not lose my nerve.” (Connell). This shows that he has not changed physically though at the end he says that “I am still a beast at bay” (Connell) which is a sign of his psychological transformation in “The Most Dangerous Game”. He is the same lucky hunter who hunts down his pursuer.

Conclusion

Summing up the argument, it can be said that Rainsford witnesses a great psychological transformation in “The Most Dangerous Game” from the start of the story up to the end. He becomes a beast at heart and kills his hunter, though at the beginning he claims that he is lucky that he is not a huntee, but at the end, he is a hunter. However, physically he stays the same hunter who merely kills his pursuer. His psychological transformation is the same as an animal has to go through fear and pain of death when being hunted down by the hunters like him. However, he retains his nerves and does not lose his senses. Had he lost all this, he would have been an easy prey for General Zaroff, though he is his huntee, but it is his partly beast and partly human nature that makes him win the game by the end of the day. It means he is a round character though outwardly he is the same, Rainsford. But it is this inner transformation in “The Most Dangerous Game” that matters.

Works Cited

1. Connell, Richard. “The Most Dangerous Game.” 1994. Fiction Eserver. <http://fiction.eserver.org/short/the_most_dangerous_game.html>. Accessed 20 Nov. 2022.

Relevant Questions about Transformation in “The Most Dangerous Game” by Richard Connell

1. How does the transformation of man in “The Most Dangerous Game” reflect the idea that power and privilege can lead to a disregard for human life, as seen through General Zaroff’s evolution from a seasoned hunter to a ruthless predator?
2. What role does the transformation of man in “The Most Dangerous Game” play in conveying the story’s central theme of the thin line between civilization and savagery, particularly as Rainsford experiences a shift in his perspective on life and death?
3. How does the transformation of man in “The Most Dangerous Game” underscore the eerie and unsettling nature of Ship-Trap Island, emphasizing how the isolated and dangerous environment can influence individuals, like the way it shapes the characters’ behaviors and decisions?

Introduction to Poverty in “High Times in Jamaica”

The culture of every place, when seen by outsiders, exposes its beauty and ills in detail like poverty in “High Times in Jamaica”. The natives and locals, generally, ignore routine issues but outsiders even when they are travelers and enjoying life in foreign lands have a critical look. And it gets even more critical when they have an artistic eye and they record their days and nights spent in the lands they visit. They see and comment on everything that comes their way, whether it is the culture, the people, the way of their living and the enjoyments they have, and above all the way they earn their livelihood. “High Times in Jamaica” by Richard Jacobs comprises a stay of one and half weeks of the author and his friend in Jamaica when in March Jamaica won freedom. They went through the capital city of Jamaica and lived a bohemian type of life, staying with the lady and with their girlfriends. The author recorded his reflections and experiences in this short story regarding poverty in in “High Times in Jamaica”, occasionally commenting on what comes his way, on the people and how they are leading their lives. The story not only highlights poverty but also points out the curses accompanying the city of Jamaica.

Observation about Poverty in “High Times in Jamaica”

When the author and his friend Scotty meet their hostess, Aggie, they go to her home with her and take a careful view of her house. It comprises four rooms of a saloon that has been turned into a house with a kitchen and bedrooms for the lady and “her little boy” (Jacobs). When he sees it he is sure that it is “not the best damn place” (Jacobs) they are going to live. This is the poverty reflected in the house of their hostess. Even she serves them poorly and brings “cold beer” (Jacobs) for them. Then they see the girls and start laughing and talking with them to pass their time. The comments and laughs of the girls show that they need something as they live in extreme poverty. “Dark-skinned” (Jacobs) girls are the ones who are out of work and are going to “have a great them staying” (Jacobs) with these travelers to earn their livelihood. This is the situation of poverty. Even when they go out, they see the railway station where “boys [are] making a living by begging” (Jacobs) to earn something. The poverty is acute. There is nothing to earn and it is enough that they get something. The situation of labor and job market is so bad that “You can hardly move without someone asking for a shilling or something to eat” (Jacobs) and when they do not get something they also threaten (Jacobs). This is how they get what they ask at every cost. This poverty in “High Times in Jamaica” is exactly like the “depression of the 1930s” (Jacobs) in the United States. It is running rampant in every nook and corner of the town.

Curses of Poverty in “High Times in Jamaica”

The curses that accompany poverty in “High Times in Jamaica” are also taking their toll on the people as well as the tourists coming to Jamaica. First, it has given birth to the gangs of beggars as the writer suggests in the very beginning of the story. The boys are so poor that they are eight begging or selling petty things or working as guides for the tourists, and every carrying their luggage for something. The second is that girls from different nations are engaged in sex. The author and his friend Scotty are welcomed by Aggie who is running a brothel as he tells commenting about her house that it is “a wh*re house” for it is full of girls (Jacobs). They have also chosen two to stay with them to enjoy their stay in Jamaica. His girl Marjorie is always with him and even another native catches him when they book a theater for a show. She and her friend Scotty’s girl, Blossom, are always with them. When he is taken away by the teenage girl, they stay together and he sees that “She is all sex” (Jacobs) which tells how much sex is there. Again when he sees her standing, she has the “most provocative pose since Cleopatra” (Jacobs). Then they spend their nights together. Poverty has also given birth to crime, robberies, and thefts. Even the author is caught napping in a street, but he takes courage and makes the chasers leave without getting a cigarette but they have said “All want is cigarette” (4). They are so much in want of money that they have nothing else to purchase even a cigarette. Had he not taken courage, he might have been a victim of robbery and gotten a thrashing at their hands, for they would have harmed him had he not given them his possessions. In fact, poverty in “High Times in Jamaica” has brought all these crimes, sex, and beer to this small island.

Conclusion

Although the author Richard Jacobs makes the most of his short trip to the Prince Street of Jamaica, he has presented a short picture of the entire culture. Poverty in “High Times in Jamaica” has destroyed the very social fabric of society and has given birth to several diseases, crimes, and other curses that are ailing that society further. Both he and his friend enjoyed much during their short stay over there. They make the most of their time with their girlfriends Marjorie and Blossom. However, the city is not lacking girls from other origins such as Syria. Even when he and Scotty went to the theater, they see the same accompanying curses of poverty taking their toll on every strata of life. They observe everything that comes their way. The story not only exposes the poverty, but also the crimes and other social illnesses that are making life worse than it was during the Great Depression in America. Although he leaves with his friend after this short trip, his emotional farewell suggests that he was very much moved and wanted to highlight their plight that he did in this short story.

Work Cited

1. Jacobs, Richard. “High Times in Jamaica.” n.d. 03 December 2013. <http://www.eastoftheweb.com/short-stories Accessed  14. Jun. 2020.

Relevant Questions about Poverty in “High Times in Jamaica”

1. How is poverty in “High Times in Jamaica” depicted and explored, and what impact does it have on the lives of the characters?
2. In “High Times in Jamaica,” how does the author address the theme of poverty, and what social and economic factors contribute to the characters’ struggles?
3. Can you provide examples from “High Times in Jamaica” that illustrate the different dimensions of poverty within the story, and how does it shape the storyline and character development?

Introduction to Patriarchy in “The Yellow Wallpaper”

During the period when Charlotte Perkins Gilman started writing, social norms divided gender spheres, making men responsible for earning and women for doing household chores, the reason behind the depiction of patriarchy in “The Yellow Wallpaper”. Men were responsible for making critical decisions. They were supposed to be practical and women imaginative. If some individuals from the opposite faction tried to avoid those norms, they were considered unconventional, rebellious, or mentally unstable. “The Yellow Wallpaper” depicts this realization of a female character of those inherent gender norms which not only limit her movement but also muffles her imaginative power. This anonymous wife of Dr. John, who is seemingly suffering from some psychological ailment, thinks on the same conventional pattern. Pitting the practicality of men against the fruitless imaginative ability of women, Gilman shows how gender norms transform women’s psyche, making them think men are always right, become obedient, and are willing to sacrifice their comforts and talents against so-called patriarchy in “The Yellow Wallpaper” showing rationality despite, ultimately harboring a mental conflict.

Patriarchy in “The Yellow Wallpaper”

One of the major gender norms of those days was that patriarchal thinking or opinion was always superior to that of women. It is still the same in some societies as it is about patriarchy in “The Yellow Wallpaper”. At that time, it was, however, more pervasive. The anonymous wife, though, knows full well the cause of her ailment and its cure, yet she does not speak out to John about why she is being treated in that way. She cannot say it in the face of John, who himself is a physician. And top it all, her brother, too, is a renowned physician, who agrees with John. This is really going to put her at odds if she contradicts their opinions about her situation. Her husband John “does not believe that I am sick,” she says adding, “I disagree with their ideas” (648). She knows the treatment that “congenial work, with excitement and change”, would cure her, but she cannot face both the male doctors. Even she is not allowed to pen down her thoughts. This is a gender norm that a woman should not contradict a rational and practical man and should keep her mum in every case if there are two male members. This clearly means that she is to be an obedient creature, showing the domination of patriarchy in “The Yellow Wallpaper”.

Obedience to Patriarchy in “The Yellow Wallpaper”

          Obedience to men was also considered a virtue and an accepted gender norm. It means a woman is to be at the beck and call of a man. He can treat her with love or reproach her over nothing. John treats his anonymous wife in the same way. Sometimes he fondles her with love but at other times reproaches her for her suggestions of changing the room or over her thinking about her ailment. This obedience borders submissiveness despite insulting laughs “John laughs at me, of course, but one expects that in marriage,” she says clearly referring to it as an inherent gender norm (Gilman). She has been taught to expect such sarcasm and tolerate it. Even if she is reasonable in her talk, John flatly refuses to accept her opinion. She knows that he is right, as it has already been set as another gender norm. Her obedience creates a sort of conflict in her mind. Despite her obedience, she stays on the opposite pole, thinking that she has busied herself with her imaginative creativity of fancying the shapes of the yellow wallpaper. The writer has used the extended metaphor of making yellow wallpaper a tool of her creativity to highlight her mental conflict about patriarchy in “The Yellow Wallpaper”.

Stifling Creativity Due to Patriarchy in “The Yellow Wallpaper”.

Although this creativity does not let her sleep or take a rest and makes her become excited, she has to keep it muffled due to the gender norm of sacrificing everything for men. Despite suffering from such an acute mental illness which could be cured by busying her mind or leaving her alone, she thinks in terms of the gender norm of providing traditional feminine comfort to John. She says, “I meant to be such a help to John, such a real rest and comfort” and thinks herself a burden on him (Gilman). Despite the fact that she has suggested him change the room and also mentioned the reasons, John does not accept. She then agrees with him in the same conventional way. Although there are conflicts in her mind about these contradictions, she carries on living with these inherent gender norms of not rejecting patriarchal suggestions. The problem of her mental state of mind gets worse so much so that even John faints by the end of the story when he sees her plight of crawling on the floor, a typical weakness of patriarchy in “The Yellow Wallpaper”. The conflict has taken its toll on her in worsening her ailment and from John by making him faint to see her plight.

Conclusion

This clearly shows that the patriarchal setup was so much ingrained in women’s psyche that despite knowing themselves as being oppressed not only in keeping their voices muffled but also in restricting their movements and keeping them mental patients, they never tried to break these shackles. The anonymous wife clearly knows the ailment, knows how to cure it, and also knows her creative power, but she does not demure in the face of the so-called suggestions of the two practical male doctors. She harbors a mental conflict, making her mental ailment worse than before, bordering delirium by the end of the story. Gilman, through this allegorical tale, seems to suggest that women, too, can think rationally, and if their suggestions and opinions are treated at par with that of men, they can find solutions to several of their own problems. That is why it is clear that this anonymous wife knows the cure for her ailment – freedom from patriarchy in “The Yellow Wallpaper”.

Works Cited

1. Gilman, Charlotte Perkins. “The Yellow Wallpaper.” Literature. n. d. Web. 07 Jul. 2017.

Relevant Questions about Patriarchy in “Yellow Wallpaper”

1. How does the theme of patriarchy in “Yellow Wallpaper” influence the protagonist’s mental state and her perception of reality throughout the story?
2. In what ways does the patriarchal society depicted in “Yellow Wallpaper” restrict the protagonist’s agency and autonomy, and how does this impact her eventual descent into madness?
3. Can you identify specific symbols or metaphors in “Yellow Wallpaper” that serve to critique or expose the oppressive nature of patriarchy in the context of the story?

Introduction to “Dead Man’s Path” as an Indictment

About the phrase that “Dead Man’s Path” is an indictment” it is fair to read Achebe more. For example, in his article “Modern Africa as the Crossroads of Culture” from his book Hopes and Impediments, dilating upon his experience, Achebe states that he was Christian but his whole family was heathen. Despite this, he states, “Those idols and that food had a strange pull on me in spite of my being such a thorough little Christian” (Achebe). He is of the view that sometimes he had to succumb to them. This shows the power of living in a culture and the power of cultist rituals and traditions. His story “Dead Man’s Path” is an Indictment, as it presents the character of a headmaster, Michael Obi, who wins unexpected promotion and feels it his duty to share the “white man’s burden” in spreading the light of education to make the people “just modern and delightful” in his wife’s words (464). However, he little knew what hornet’s nest he is going to move by tinkling with the long-held traditions. He could not sense from other teacher’s view that “there was a big row” over blocking the path (465). Although the story “Dead Man’s Path” is an Indictment is an indictment of such long-held African traditions as much as of the responsibility of the white man, it is also an indictment of the attitude of an enlightened man toward ignorant fellows.

African Culture and “Dead Man’s Path” as an Indictment

It is true that the story derides long-held traditions such as the visit of the dead people and going on the beaten path. Achebe achieves this end through the character of Michael and Nancy who are full of zeal and modern ideas to run Ndume Central School of the Mission authorities. He wants to make an end to these long-held irrational traditions. However, when they join the school, and Michael blocked the village path passing through the school, he faces the wrath of the public through the village priest, Ani, who vandalized the school. In fact, Michael’s depiction in the story is an indictment of Achebe against the irrational traditions because the spread of Christianity has made the “most aspects of traditional life … branded pagan and devilish” as Michael makes fun of the village priest, Ani (Ochiagha 132). However, this does not mean Achebe has left the white man as only the authority with no responsibilities. Hence, “Dead Man’s Path” is an Indictment of white man’s responsibilities as well.

“Dead Man’s Path” is an Indictment of White Invaders

Achebe has rather put the responsibility on the shoulders of the Mission authorities at the end of the story. It is because Achebe has clearly written at the end that when the “white Supervisor came to inspect the school and wrote a nasty report” in which he stated that the headmaster was misguided (466). However, overall it is clear that the headmaster was not misguided. He was very much clear. He was taught to do so, as he was working under the Mission. Therefore, it was his duty to spread the enlightenment. However, here the white man has failed. The indictment of the white man is in this sense as Johathan Peters writes in his article “English-Language Fiction from West Africa” that the major aim of Achebe is to teach fellow Africans the truth about colonialism (18). This is the message that he has given in this story. However, the story also shows that a person should not be arrogant and haughty toward ignorant fellows the reason that “Dead Man’s Path” is an Indictment of all people having authority and responsibility.

“Dead Man’s Path” is an Indictment of Arrogance

In fact, this arrogance is a part of the colonial legacy that comes with the knowledge of the English language. Achebe, in fact, does not like this on the part of locals. In her book, Interrogative Privilege: Reflections of a Second Language Educator, Stephanie Vandrik states her experience of teaching Achebe in an ESL classroom in which she has explained everything but then got the question that “So, missionary means arrogant?” which means that the headmaster has become too arrogant and ironic to be tolerated by the locals (32). That means that his zeal was not misguided, it was his own attitude that needs improvement. In other words, the word “Mission” mentioned earlier shows it clearly that Achebe wants to show the arrogance that the colonial masters exerted themselves or their modern idea-filled teachers like Michael. Therefore, “Dead Man’s Path” is an indictment of this arrogance.

Conclusion

In short, the “Dead Man’s Path” is an indictment of the wrong type of traditions as well as of the attitude of civilized people and the way they handle ignorant fellows by making fun of them. The long-held traditions that are irrational need uprooted. There is no doubt about it. However, people must be first taught to understand irrationality and the importance of education. Deriding them before that happens is as dangerous and harmful as the traditions themselves. In fact, Achebe has highlighted this attitude of the agents of colonialism along with the derision of colonialism in the story.

Works Cited

1. Achebe, Chinua. “Modern Africa as the Crossroads of Culture.” Chinua Achebe. Hopes and Impediments. The University of Michigan. 1990.
2. Achebe, Chinua. “Dead Man’s Path.” Literature: An Introduction to Fiction, Poetry, Drama, and Writing. Ed. Kennedy, X. J. and Dana Gioia. Pearson Longman. New York. Ed10^th. 2009. Print. 465-470.
3. Ochiagha, Terri. Achebe and Friends at Umuahia: The Making of a Literary Elite. Boydell & Brewer Ltd. 2015. Print. 132-135.
4. Peters, A. Johathan. “English Language Fiction from West Africa.” A History of 20^th Centuries African Literature. Ed. Oyekan Owomoyela. University of Nebraska Press. 1983. Print. 12-18.
5. Vandrick, Stephanie. Interrogating Privilege: Reflections of a Second Language Educator. University of Michigan Press. 2009. 31-35.

Relevant Questions about “Dead Man’s Path” is an Indictment

1. How does the story “Dead Man’s Path” by Chinua Achebe emphasize that “Dead Man’s Path” is an indictment through the character of Michael Obi and his actions?
2. In what ways does Chinua Achebe make it clear that “Dead Man’s Path” is an indictment, using the character of the village priest as a focal point in illustrating the clash of cultures and beliefs?
3. How does “Dead Man’s Path” by Chinua Achebe serve as an indictment not only of Michael Obi but also of the entire village, highlighting the consequences of their inflexibility and their inability to bridge the gap between tradition and modernity?

Introduction to Music in “Sonny’s Blues”

Music in “Sonny’s Blues” is related to blue music, immensely popular among African Americans during the decade of the 50s. The story and characters demonstrate that Blues and Jazz are more than just types of music Baldwin presents. The story revolves around two brothers, the elder family-oriented person, and teacher, and the younger, a musician, singer, and drug addict. The elder man marries a girl, Isabella from a good family. The younger brother loves music but plays truant from school which leads to his expulsion from home, too. When the narrator discovers that his younger brother, Sonny is enthusiastic about music and nothing else, and he gets furious. Like a typical middle-class man, he thinks that after education, a young man can lay his hands upon a decent job to marry a girl like Isabela, have kids, and home. Although the narrator does not seem entirely against music, he seems to think that he should “go to finish school” and pursue some future which Sonny says lies in music (11). Music in “Sonny’s Blues” is associated with an artistic expression devoid of material gain which arouses hostility of the narrator but becomes a passion of life for Sonny and helps readers understand that it assists in communication where language fails.

Artistic Expression of Music in “Sonny’s Blues”

As far as music in “Sonny’s Blues” is associated with artistic expression, some of the narrator’s words clearly show that he does not think that music will give his brother some monetary benefit to live with. When he brings his brother home, they have a conversation about what Sonny is going to do to live, and he says “I can make a living at it” which the narrator does not believe (11). There is a reason behind it because Harlem was the ghetto of New York where African Americans never dreamed of coming out except through education. Sonny’s sudden passionate love for music alerts the narrator that he is going to ruin his career, but little does he know that his brother has already made music his career. When they both talk about music again and the narrator takes some interest in Sonny’s choice, he notices that it does not give him monetary gains, but it does give him a sense of completeness, “In order to keep from shaking to pieces” (16). For Sonny, music in “Sonny’s Blues” is an artistic expression of his sufferings, his pains, and his personal griefs.

Passion of Music in “Sonny’s Blues”

On the other hand, this passion of Sonny arouses a sort of hostility in the narrator for music. This hostility shapes their relationship. Little does enter his mind that music is an artistic expression and that if his brother has decided to pursue it as his career in life, he must support him. He thinks that music is just a pastime, and that Sonny should do something tangible which could bring bread and butter for his family. A typical middle-class person, the narrator, rather thinks about “free will” and beautiful life. It, though, is very interesting to note that despite his antipathy toward music and his resolve that he would not fail his brother, all his pragmatic conversation seems to him “empty words and lies” (17). The narrator, about music in “Sonny’s Blues” feels the hollowness of his anti-music policy toward his brother through his failure to achieve the intended objective. However, as far as Sonny is concerned, he has made it a passion of life, a matter of “life or death for him” (11). It is because the harsh realities of the world have forced Sonny to find refuge in Jazz and Blue. His Harlem context does not let him succeed in the outside world which is “as hungry as a tiger” (21). His view is that if they, the narrator and his family, listen to his music, they would feel free of the suffering, pains, and grief they have gone through in their lives. It is a healing touch that he suggests them will heal their wounds.

Function of Music in “Sonny’s Blues”

Another especially important function of music in “Sonny’s Blues”is that it communicates meanings where language fails to do so. Whenever the narrator tries to become articulate about the career and future of Sonny’s life, both brothers fail to make each other understand what Sonny says and what the narrator wants. Whereas the narrator is concerned, his concern about his brother and his career seems quite genuine. On the other hand, Sonny thinks that his brother does not understand his career choice which has provided him not only refuge but also a healing touch. This conflict reaches its climax when Sonny asks the narrator to see him performing live. It is there in the nightclub that the narrator says, “I understood, at last, that he could help us to be free if we listen, that he would never be free until we did” (21). Both brothers understand each other during this performance and the narrator, finally, feels proud of his brother’s performance. Language could not bridge this gap of communication that music in “Sonny’s Blues” has filled at last.

Conclusion

Baldwin thus leaves this lesson that sometimes arts and artistic skills fill the communication gaps though they hardly become liabilities. Music in “Sonny’s Blues” provides an incredibly good reference that though the music does not provide money, it provides refuge, relief, and communication media to understand each other. By inviting his brother to the nightclub, Sonny finally succeeds to convince his brother that he has chosen music as his career and that it will provide freedom if they listen to him. It does provide freedom to him by the end of the story. That is how music is a great motif of “Sonny’s Blue.”

Works Cited

Baldwin, James. “Sonny’s Blues.” WMV. n. d. Web. 30 Jun. 20.17.

Relevant Questions about Music in “Sonny’s Blues”

1. How does the theme of music in “Sonny’s Blues” contribute to the emotional depth and character development of Sonny and his brother, and what does it symbolize in their lives?
2. In “Sonny’s Blues,” how does the character of Sonny use music as a means of expressing his inner turmoil and finding solace, and what impact does it have on his relationship with his brother?
3. What role does the jazz club in “Sonny’s Blues” play in shaping the narrative, and how does the music performed there serve as a catalyst for personal and emotional revelations for the characters?