Introduction: “Fences” and “Sweetheart of the Song Tra Bong”
“Fences” and “Sweetheart of the Song Tra Bong” both explore struggles; the first of Troy Maxson as he grapples with his past, the second of Mary Anne Bell as she becomes enmeshed in the harrowing realities of the Vietnam War. In her groundbreaking work, “Gender Trouble: Feminism and the Subversion of Identity,” Judith Butler argues that, “Although social scientists refer to gender as a ‘factor’ or a ‘dimension’ of an analysis, it is also applied to embodied persons as ‘a mark’ of biological, linguistic, and/or cultural difference” (09). By this, she suggests that the depiction of female characters in literature differs significantly from their male counterparts not only in a biological sense but also within cultural contexts. Here, culture refers to the ways in which women navigate their lives within specific domestic, familial, or social settings. In both “Fences” and “Sweetheart of the Song Tra Bong,” female characters like Mary Anne Bell and Rose Maxon attempt to challenge the boundaries imposed on them by gender-segregated perceptions and conventional expectations of the “softer sex” individuals. Despite belonging to diverse communities and races with significant ethnic heritage considerations, Rose and Mary Anne Bell conform to entrenched notions of feminine fragility under patriarchal domination. While Mary Anne Bell, a young white girl, defies societal expectations by visiting Mark Fossie in Vietnam, breaking gender norms, Rose Maxon challenges traditional feminine roles by adopting the daughter of Troy from his second wife, Alberta, thus responsibly confronting the expectations placed upon her. This action makes Troy Maxon feel ashamed of his role as the head of the family. Both female characters not only exemplify strong-willed and unconventional feminine traits but also reveal their softer sides, emphasizing their importance as binding members within their respective social groups.
Gender in “Fences” and “Sweetheart of the Song Tra Bong”
Regarding Mary Anne Bell’s role as a strong young girl, there is undeniable evidence of her courage, exemplified by her extensive journey from “Cleveland to Los Angeles, LA to Bangkok, Bangkok to Saigon,” ultimately reaching her man Fossie via C-130 and helicopter, as detailed by O’Brien (04). This journey underscores her bravery in venturing into the combat zone, disregarding military officials’ recommendations against allowing women in such areas. Patrick A. Smith (1967) further explores this transformation of Mary Anne Bell, suggesting in his critique of Tim O’Brien’s works that her metamorphosis is more accurately described as an enchantment with the wilderness, noting that it doesn’t intimidate Mary Anne as it does other American soldiers (109). This suggests her innate courage and love for enchantment, placing her on par with the Green Berets stationed in the same challenging environment.
Similarly, Rose Maxon exhibits immense courage in navigating life with her strong-willed and sometimes volatile African American husband, Troy Maxon. Despite Troy’s forceful personality, Rose asserts her authority not only in domestic matters but also in decisions concerning her son, particularly his passion for baseball. She explicitly supports her son by stating, “They got a lot of colored baseball players now. Jackie Robinson was the first,” and swiftly adds that Troy should not object to Lyons joining the baseball team in college (Wilson 06). While Lyons may hesitate to defy his father, it is Rose who instills courage in her son, emphasizing her pivotal role in shaping the family dynamics. Furthermore, Rose makes it clear that she is the one to decide the future of the household if the male members fail to shoulder their responsibilities, showcasing an unconventional feminine leadership akin to leading a small batch of Green Berets from the front. However, beneath this assertive exterior, there is always a softer side to her feminine qualities that distinguishes her in various roles within the family dynamic.
Femininity in “Fences” and “Sweetheart of the Song Tra Bong”
The feminine side of these female characters revolves around their ability to capture the hearts of the men in their lives. Despite Troy’s extramarital affairs, he finds solace and a sense of homecoming with Rose, considering her a stabilizing force. Analyzing this aspect of Rose’s character, Harry J. Elam contends that although she consistently supports Troy through various challenges, the implicit notion of “a woman needing a man” underlies the actions in the play. Elam further argues that Rose takes control because Troy willingly “relinquishes this element of economic authority,” and she assumes it as her own responsibility (168). This distinctive aspect of Rose’s character sets her apart, showcasing her successful roles as a wife and a mother. Additionally, Rose exhibits love and care by taking responsibility for Alberta’s daughter, stating, “From right now…this child got a mother. But you a womanless man” (19). This reveals the softer side of her feminine role as she acknowledges that baby Raynell is not accountable for the actions of her father or mother. However, despite her caring nature, Rose becomes assertive and firm in taking control of the household, demonstrating a balance of strength and compassion. Similar complexities can be observed in the character of Mary Anne Bell.
Events of “Fences” and “Sweetheart of the Song Tra Bong”
Mary Anne Bell emerges as a central figure and a morale booster for the soldiers at the checkpoint, offering a refreshing presence after months without female companionship. Described as a “novelty” and a source of morale, Mary Anne exudes a coy and flirtatious energy that is not lost on the soldiers. However, her openness and flirtatious nature do not provoke any jealousy or suspicion from her beloved, Fossie, who understands and respects her right to enjoy life. Mary Anne’s softer side becomes evident when she actively engages in wrestling with soldiers and expresses a genuine curiosity about local villages, wanting to experience their smells and customs. Yet, she remains vigilant, realizing the potential danger her outgoing nature could pose to herself and the soldiers, as it might attract ambushes. Despite Fossie’s initial suspicions about her involvement with other soldiers, these prove unfounded upon investigation.
Described as a unique character by Stefania Ciocia, Mary Anne Bell stands out in Tim O’Brien’s narrative. Ciocia notes that, apart from Mary Anne Bell, the main female figures in “Things They Carried” are entangled in male characters’ attempts to cope with the trauma of their lives. In essence, Ciocia suggests that while Mary Anne Bell provides courage and boldness needed for combat duty at the post, she also embodies a stereotypical character serving as a rallying point for all the soldiers present. Mary Anne’s softer side complements her unconventional nature, making her a multifaceted and intriguing character in the story.
Both Mary Anne Bell and Rose Maxon exhibit unconventional aspects of their personalities that defy traditional expectations for female characters. During the time the story was written, the concept of women being combat-ready for the forces was considered awkward and even grotesque, challenging societal norms. The presence of Mary Anne Bell with the Green Berets is particularly jarring, and Fossie’s initial reaction of being “a little dazed” and eventually whimpering reflects the disbelief and discomfort associated with the breaking of traditional gender roles (10). Patrick A. Smith argues that Mary Anne Bell, as the softer sex, undergoes traumatization in the jungle, being enchanted by a beau and quickly succumbing to the spell of the environment. Smith suggests that she becomes a victim of the “depth of depravity that the war engenders,” evolving to a point where her brutal side aligns with that of the Green Berets (109).
Similarly, Rose Maxon transcends her traditional roles as a mother and wife. Not only does she support her son’s choice of playing baseball, but she also insists that her husband, Troy Maxon, build a fence in front of the house. This effort is to keep intruders out, but it fails to prevent Troy from straying outside the boundaries of their marriage, leading to a confrontation about his affair with Alberta. Rose’s taunt, “Where was ‘we’ at when you was down there rolling around with some godforsaken woman?” points to Alberta, emphasizing that Troy has crossed a figurative fence (16). Rose is not attempting to keep her husband tied to the home, but she is fulfilling her duty by addressing the issue and expressing her disapproval. In this context, Rose embodies both traditional and unconventional roles, navigating the complexities of societal expectations and asserting herself in both spheres.
Binding Capability of Characters in “Fences” and “Sweetheart of the Song Tra Bong”
Concerning their roles as binding members, Mary Anne Bell effectively integrates into the platoon of Fossie, earning the respect, love, and affection of almost all the members. Patrick A. Smith refers to this process as her “indoctrination,” where she learns the art of war from Fossie and his friends, becoming a central figure. She becomes so ingrained in the dynamics that even Fossie suspects Diamond of being involved with her, and Sanders notes that she, in a sense, is connected to all of them without it being a sexual connection (09). Mary Anne’s ability to form bonds is not through flirtation but rather through becoming a unifying force, tying everyone, including Sanders, Rat, Fossie, and Diamond, to her in various ways.
Similarly, Rose Maxon plays a crucial role in binding her family together. By attempting to have a fence constructed in front of her home, she aims to prevent inmates from leaving and outsiders from entering. She becomes a binding force by keeping Raynell when Troy asks her to take her, shielding her son from Troy’s violent behavior, and instilling in him respect for his father. Despite her household facing challenges, Rose manages to maintain its safety and unity. Her straightforward statement to her son at the end of the play reflects her efforts to keep her family intact: “I know you and your daddy ain’t seen eye to eye, but I ain’t got to listen to that kind of talk this morning” (23). Both consciously and unconsciously, both women strive to keep the members of their respective groups together, showcasing their roles as binding forces within their contexts.
Conclusion: “Fences” and “Sweetheart of the Song Tra Bong”
In both works, the depiction of gender goes beyond traditional feminist notions, aligning with Judith Butler’s views but also transcending them. Mary Anne Bell displays courage by breaking away from traditional femininity, leaving the United States to join the Green Berets as a formidable soldier. This unconventional step challenges traditional feminist perspectives. Rose Maxon, on the other hand, doesn’t cross boundaries as Mary Anne does, but she exhibits strong determination in dealing with her violent husband. Rose takes on the responsibility of caring for the family, supporting her son’s desire to play baseball, and looking after Troy’s daughter from his second wife. Both characters demonstrate a blend of conventional and unconventional traits, navigating between crossing boundaries and reverting to traditional roles. They also serve as binding forces within their respective groups, keeping all members together.
Mary Anne Bell keeps the soldiers intrigued, presenting herself as both soft and loving yet not entirely committed. She ultimately leaves the group after learning the art of war, becoming as hardy as the Green Berets. In summary, both Mary Anne Bell and Rose Maxon showcase their gender identity in various ways, successfully performing traditional and unconventional roles. They effectively bind their respective groups together. While Mary Anne crosses certain boundaries, her experience also reveals the potential psychological toll of war on women. In different ways, both female figures illustrate the complexities of women’s roles during challenging times.
Works Cited: “Fences” and “Sweetheart of the Song Tra Bong”
- Ciocia, Stefania. Vietnam and Beyond: Tim O’ Brien and The Power of Storytelling. Liverpool, UK: Liverpool University Press. 2012.
- Elam, J. Harry. “August Wilson’s Women.” May All Your Fences Have Gates: Essays on the Drama of August Wilson Ed. Alan Nadel. Iowa City, US: University of Iowa Press, 1994. Print. 165-183.
- O’ Brien, Tim. “Sweetheart of Song Tra Bon.” MCCC. n. d. www.mccc.edu/…/O’Brien%20-%20Sweetheart%20of%20the%20Song%20Tra%20Bo…Accessed on 23 Apr. 2023.
- Smith, A. Patrick. Tim O’Brien: A Critical Companion. Westpoint, Connecticut: US, Greenwood Press. 1967. Print.
- Wilson, August. “Fences.” MIT. n. d. http://web.mit.edu/wpick/output.pdf. Accessed on 23 Apr. 2023.
Relevant Questions about “Fences” and “Sweetheart of the Song Tra Bong”
- In “Fences,” how do Troy Maxson’s past experiences and racial tensions shape his relationships with his family and friends, and what broader societal issues do these dynamics reflect in 1950s Pittsburgh?
- In “Sweetheart of the Song Tra Bong,” how does Mary Anne Bell’s transformation in the Vietnam War serve as a metaphor for the dehumanizing effects of conflict, and what does her story reveal about the impact of war on individuals, particularly women?
- Both “Fences” and “Sweetheart of the Song Tra Bong” explore the consequences of societal expectations and norms. How do the characters in each work navigate and challenge these expectations, and what broader commentary do these narratives offer on societal norms during their respective time periods?
