The Question of Culture in Chinua Achebe's Work

by Marshall Keeney

Chinua Achebe was born and raised in Nigeria by a couple of devote Christians. Shortly after his education he published many works of all types including short stories, novels, and even children books. For Achebe it was not the gratifying feeling of completing a novel or the praise he got for his work, but rather the attempt to accurately portray African and Nigerian culture. He noticed, in his youth, that the first books written about the African culture were by the British and to him were very “inaccurate and insulting” (Chinua Achebe Biography). This sparked Achebe to write about true African culture and portray it as accurately as possible. With this dream in mind Achebe graduated from University College at Ibadan in Nigeria. Shortly after his graduation (1954) Achebe published his first groundbreaking novel in 1959, Things Fall Apart, about a proud man apart of a small village (Chinua Achebe). Throughout the story Achebe comments on numerous struggles the protagonist comes by daily in a Nigerian village. He touches a bit on every aspect of society including religion, social status, and “the white man.” This was unlike the British stories that talked only about Christianity and anything to make the nation of Britain look better, where we can only imagine the heavy biased included.

It is interesting that Chinua Achebe was raised a devote Christian and both of his parents were likewise strict Christian as he writes about real Nigerian culture (Ayandele 1967). This is somewhat ironic but by reading one of his stories we would never guess it how he was raised. Achebe does a good job in keeping any Christian bias out of his work because he knows that it is not true African culture (Ayandele 1967). However we do see many instances where he talks about “the white man” and his attempt to convert Nigeria. Mostly Achebe writes about everyday life in Nigeria and the struggles that people often have. In “Civil Peace” he tells of a man coming home from war trying to rebuild his life with his family. They work diligently to earn money any way he can. This is typical of a Nigerian family; according to UNICEF nearly 64 percent of the population was under the international poverty line from 2000 to 2009 (At a Glance: Nigeria). This is a strong indicator because if this statistic is high in recent years past than we can assume in the 70s the problem was only worse. So it is not hard to picture Achebe’s story being very close to reality, a feat that many authors stride towards.

“Civil Peace” ended with the man earning a little bit of money and beginning to get his life back. It was at that moment late into the night that, a group of robbers came to his house and demanded money. Although he did not have much, he was forced to give everything he had. Since Nigeria had just gotten out of a civil war many people had to return home with nothing. Unfortunately not everyone was as honest as the protagonist in “Civil Peace” and crime is always an issue. So it makes sense that Achebe added in this part for many reasons. First, it was a part of everyday life in Nigeria and accuracy was the main goal of the writing. Also it is the perfect ironic struggle to encounter after working so hard to earn the money and makes for good story telling. Finally, he uses this opportunity to throw in a bit of religion into the story. Achebe says “Nothing puzzles God”. It is interesting to see how Achebe can integrate so many aspects of society into a short story. In “Civil Peace” Achebe manages to touch on post war economic status, family struggles, crime, and even religion.

Is it appropriate for an author to throw out the culture in which he was raised, in order to more accuratly portray the culture of his writings?

Works Cited

Ayandele, E. A. "Christianity in Nigeria." The Journal of African History 8.2 (1967): 362-64. Print

“At a Glance: Nigeria." UNICEF. Web. 25 Apr. 2012.

            <http://www.unicef.org/infobycountry/nigeria_statistics.html>.

"Chinua Achebe." Africana Studies. Web. 25 Apr. 2012. <http://brown.edu/Departments/Africana_Studies/people/achebe_chinua.html>.

"Chinua Achebe Biography." Encyclopedia of World Biographies. Advameg, Inc., 2012. Web. 25 Apr. 2012.                                                                                                          <http://www.notablebiographies.com/A-An/Achebe-Chinua.html>.

Vietnam: The War No One Wanted To Be a Part Of

by Jake Perry

           The Vietnam War was fought during the Cold War.  But, in reality fighting in Vietnam had been going on before American troops landed.  Northern Vietnam led by Ho Chi Minh wanted to unify Vietnam and become an independent country.  During this time Vietnam was a colony of France.  In 1954 after years of fighting and an embarrassing defeat the French decided to leave Vietnam.  After their departure Vietnam tried a democracy but was unsuccessful in South Vietnam and the government was eventually over thrown by a coup.  As a result of this coup came the group called Viet Cong.  The Viet Cong were communist and raising war with the southern Vietnamese.  Since it was during the Cold War and America was practicing the platform of Containment they started to intervene by sending military aid to help the south.  Containment was the idea to stop the spread of communism.  Unlike most wars that America had been a part of before the Vietnam War, it was very unpopular.

            The unpopularity that this war caused was due to the attempt by the government to covertly fight the war and then to try and hide how they were fighting the war and finally to expunge the war completely out of history by covering it up with false images (Franklin).  Let’s also not forget the installment of the draft.  No one was thrilled about that.  One of the biggest events that changed the support for the war was the My Lai Massacre.  “Eyewitnesses described bayonetings, clubbings, and close-range shootings, all without a single shot being fired at the Americans. Many of the dead were women, children, and the elderly. Some were killed while kneeling in prayer” (Carter).  With such horrific actions one can only imagine the protest that came from this tragedy.  Furthermore, the covering up of the war also caused the protest against the war not to mention the novels, short stories and articles about it.  Many of the best articles and stories written about the war came from Tim O’Brien.  The goal for O’Brien was to pull back those fake images of the war page by page in his novels.  He did this by writing about his own experience in the war as well as the experience of other veterans.  He truly showed how America was fighting this war and how damaging it was.  He brought up the use of Agent Orange and Napalm bombs that were used in the jungle.  These two weapons were very devastating to the jungle as well as soldiers.  Once the American population found out about the use of these two weapons is when the protest against the war was at its highest.

            Just like many Americans, O’Brien opposed the war and actively demonstrated against it while he was in college.  Bruce Franklin mentioned that O’Brien even went door to door passing out flyers and expressing the “evil” of the war.  One thing that seems clear when reading about O’Brien is that he regrets being a part of this war.  In all honesty what could he do, flee to the Canadian border?  Or could he of changed religions like Muhammad Ali to escape the draft.  The answer is yes he could of but he did not.  In his books, articles and interviews O’Brien makes it simple on why he couldn’t.  In one interview with the New York Times O’Brien was quoted on saying “I was a coward” on the reason for him not deserting the draft.  It’s not just in interviews with O’Brien it is also in his writing sometimes right to the point and other times hidden.  For instance in “The Things They Carried” it is hidden, no one truly comes out and says they are cowards but they all think it.  None of them wanted to let down their families or their fellow brother in arms.

            History is the main thing that O’Brien writes about.  He writes about the Vietnam War still to this day.  It has had an everlasting effect on him and has also made him very successful.  In his writings about the war the main theme is denial.  Denial of self as well as our countries denial.  Self denial is incorporated in “The Things They Carried.  The soldiers deny the reality of the war through their fantasies as well as the thought of lovers.  The reason for O’Brien to write about the denials is because he to this day has to personally deal with the hardships of the war.  In the words of O’Brien himself what is truly true about his writing?

Works Cited

Carter, Stephen L. "My Lai Revisited."  Newsweek 14th ser. 159.13 (2012). Print.

Charters, Ann. The Story and Its Writer: An Introduction to Short Fiction. Boston, MA: Bedford/St. Martins, 2006. Print.

Franklin, Bruce H. "Tim O'Brien, My Lai, and America." Tim O'Brien, My Lai, and America. Web. 08 May 2012.

Westwell, Guy. "Accidental Napalm Attack and Hegemonic Visions of America's War in Vietnam." Critical Studies in Media Communication (2011). Print.

Margaret Atwood and Feminism in Her Writing

by Cody Felisky

             Feminism can be seen in many of Margaret Atwood’s most famous novels. In The Handmaid’s Tale, Atwood gives light on the struggles of women during the feminist movement, and how equality is essential for a successful world. In The Robber Bride, Atwood shows the different roles women play in both the second-wave feminist time period and the post feminism time period. Both of these stories may lead the reader to believe that Margaret Atwood is in fact a feminist; however, Shirley Neuman explains how Atwood did not consider herself one, and what she thought about feminism.

            The Handmaid’s Tale takes place in a world called Gilead, where new women have been brought in and subjected to “breeding” in order for the population to continue growing since the original women have become sterile. The rights of women are stripped away, forcing them to a life of housework, having babies, and taking care of their families while the men go out and work. It is engraved in them that this is what women are supposed to do and how they are supposed to live. Atwood directly relates this to the real world by keeping records of events throughout the feminist time period on women’s and human rights. She makes it a point to the reader to realize that this world of Gilead is not made up, but rather an extension of the real world and its problems. She explores how fragile the newly found rights of women in 1984 are, and that they can be taken away so quickly. The thoughts of the men in The Handmaid’s Tale directly correlate with how men thought of women and the women’s rights movements during the 1980s. Many influential people said were quoted saying things like “feminists encourage women to leave their husbands, kill their children, practice witchcraft, destroy capitalism, and become lesbian” (Neuman 860).  Atwood not only showed the world this depiction within her writing but was also able to show the different roles women played throughout the feminist time periods.

            The Robber Bride shows the lives of three women who embody different roles of those who lived in the second-wave feminist time period. A strong and powerful business woman, a spiritual and ecofeminist, and an academic are all portrayed in these women. They show what Atwood believed to be the key ideologies during the time, which were unity, sisterhood, and loyalty amongst women. However, her other character, Zenia, plays the role of a women during the post feminism time period. She represents individualism, sexuality, and diversity. All the traits that Zenia has, the women in the second-wave time period want to acquire. Atwood shows the transition between time periods and how difficult it was for women to change their mindsets. Fiona Tolan, author of “Sucking the Blood Out of Second Wave Feminism,” says, “Post feminist women are strong, independent, and with no need of, or attraction to, organized feminism” (Tolan 46). Atwood shows this thinking through her use of Zenia in The Robber Bride, and how women before her find it difficult to comprehend. To the reader, Atwood may seem like a feminist, however she hardly thinks of herself as one. Shirley Neuman discusses in her article, “Just a Backlash: Margaret Atwood, Feminism, and The Handmaid’s Tale,” how Margaret Atwood really thought of herself and feminism.

            Atwood did not consider herself a feminist and dislike being called one. She resented when critics labeled her as one and feared that they would only look at her most recent work, and not the earlier work. By 1976, she started to come to terms with the idea of feminism declaring that she was “probably a feminist” (Neuman 858). Neuman writes of an interview that Atwood had with feminist theorist Elizabeth Meese. She discusses Atwood’s definition of feminism and what it means to her. Around the time of The Handmaid’s Tale’s release, Atwood said, “my definition of feminism is a belief in the rights of women as equal human beings” (Neuman 858). She made the point in saying that if in fact the world was taken over by the radical anti-male feminist, she would most likely resist. The point being, Atwood’s take on feminism and the feminism shown in her stories differs greatly, something that the reader would not expect.

Do you believe Atwood’s writing reflects a more radical style of feminism or the ideology that she holds, a simple belief in equality amongst all human beings?

Works Cited

Neuman, Shirley. "'Just a Backlash': Margaret Atwood, Feminism, and "The Handmaid's Tale."." University of Toronto Quarterly. 75.3 (2006): 857-868. Print.

Tolan, Fiona. "Sucking the Blood Out of Second Wave Feminism: Postfeminist Vampirism in Margaret Atwood's The Robber Bride." Gothic Studies. 9.2 (2007): 45-57. Print.

Murakami's Use of Japanese History in His Writings

by Joseph Bahen 

         Haruki Murakami was born in 1949 in Kobe, Japan.  Since childhood, Murakami has been heavily influenced by Western culture, particularly Western music and literature despite the fact he grew up in Japan.  Even though his favorite style of writing was westernized he could not help but line his works with hints of his time in Japan.  Japan up until about 1960 was a closed off country from the rest of the world.  This closed off environment consumed much of Murakami’s life until he was about 11.  This is when Japan joined the United Nations and opened up free trade with the rest of the world.  New things from all over the world began flooding into Japan and Murakami was fascinated by the things he read from western cultures.  He began to write in a westernized way but his writings still represented much of that closed off old way of life in Japan.  Baik Jiwoon, in his publication Murakami Haruki and the historical memory of East Asia, proposes the question “Can Haruki’s placeless and timeless novels and stories be explained by their feeling culturally lost and their repressed historical memories?” (Jiwoon 65). This is exactly what Murakami does in his short story “The Ice Man.”

            In “The Ice Man” Murakami has introduced us to a character, that I believe, is figuratively made of Ice.  His icy personality makes him a character that is a figure trapped in its past and is fully concerned with preserving the past.  The Ice man is not only dwelling on the past but is constantly reliving it in his mind.   The other character we are introduced to in this story is a young woman who is filled with warmth and love. She strives for a future, a future that consists of Ice Man and for them to live together happily ever after.  However, despite her love for the Ice Man she realizes how different they are and how she still has that warmth for the future in her.  In the story she is quoted as saying “I am perfectly happy. We get along fine. It’s just that I’m bored.  I’d like to go someplace far away see things I’ve never seen before, experience something new” (Murakami 969).  The woman for the rest of the story struggles with this debate of being with the Ice Man but also yearning for something new.  The story ends on the fact that these two travel to the South Pole together.  Ice Man gave her what she wanted in travel but could not go to someplace warm.  He had to stay with the ice.  The young girl becomes consumed by the low temperatures and is soon trapped in the ice, figuratively trapped in the past with the Ice Man.

            The connections to “The Ice Man” and Murakami’s past are undeniably prevalent.  As a reader I see Murakami himself represented as the young woman in this story and the Ice Man as pre-1960s Japan.  Murakami’s passion for western literature shows us his wanting to leave Japan and see the rest of the world but due to Japan’s closed off nature at the time this would have been difficult.  Japan is the Ice Man because for a country to be as closed off as it was before the ‘60s is an ancient principle for a country to hold.  Japan was simply stuck in the past and did not yearn to move on into a future dealing with all other nations.  Because of all this Murakami must have felt as if he was trapped and slowly being suffocated by Japan’s policies.  As we see the young woman consumed in the ice, we must infer Murakami felt the same way when he yearned to see what lied beyond the horizon.

Work Cited

Jiwoon, BAIK. "Murakami Haruki and the Historical Memory of East Asia." Inter-Asia Cultural Studies Volume 11 (2010):             64-70. Print.

MAROTTI, William. "Political Aesthetics: Activism, Everyday Life, and Art’s Object in 1960s’ Japan." Inter-Asia Cultural             Studies Volume 7 (2006): 606-14. Print.

Murakami, Haruki. ""The Ice Man" by." The Story and Its Writers. 8th ed. Vol. 1. Bedford/St. Martin's, 2009. 966-73. Print.

Edgar Allen Poe's "Cask of the Amontillado": Interpretive Disagreements

by Chris Haviland

           Scholars and critics of Edgar Allen Poe’s “The Cask of Amontillado” have differing opinions on how to analyze the short story. One critic, Graham Scott, believes that the story holds religious context and creates connections between each part of the story and religion. Another critic, Patrick White, analyzes the short story by highlighting the fact that families are political units. These two analyses by two different scholars of the “The Cask of Amontillado” are very different.

            Scott draws connections between each part of the story and religion. He first analyzes the names of the two main characters. Montresor can be translated to “my treasure” and Fortunato can be translated to “fortune”. Scott then argues that Montresor is God-like in his ability to manipulate his servents, his indifference to suffering, and vengeance. After establishing this information he claims that Montresor can be seen as God’s agent and therefore God’s treasure. He believes that Montresor is only executing God’s will and wrath on Fortunato. Graham Scott believes that “The Cask of Amontillado” is a religious parable showing the conflict between fortune and religion.

            The second scholar, Patrick White, attempts to make a defense for Montresor’s actions in “The Cask of Amontillado”. He claims that a family unit in the time and place of this story was a very strong political unit. This is indicated by the pride in house crests and mottos. White likens loyalty to the family unit to loyalty of one’s nation in our time. Therefore, he concludes, that Montresor’s act of retaliation on a family enemy can be seen as a patriotic act – similar to killing for one’s country now. In further defense of Montresor White examines the family motto, “no one attacks me with impunity.” It is pointed out that this is the same motto used by a Royal house in Scottland. Montresor’s coat of arms is also a foot crushing a serpent which is strikingly similar to the American Revolution crest. Both of these real world connections lend validity and dignity to the actions of Montresor on Fortunato. He claims that Montresor is the snake and Fortunato is the foot crushing him. The snake, Montresor, is biting back and inflicting as much damage onto the foot as possible. Another analysis by White shows that Montresor’s actions are for “God and Family” dictating that his actions are a divine commandment.

            Despite the different analysis from each critic, they both have small similarities between them. Both scholars offer a defense for Montresor and try to justify his actions for trapping Fortunato and leaving him to die. The two critics also attempt to reference real world examples to give validity to Montresor’s actions. Scott makes religious references while White draws social and political references to lend dignity to the murder.

            Regardless of the defenses presented by the two scholars, I believe that Montresor’s actions should be condemned even if the evidence is accepted. Is there any way that Montresor’s murder of Fortunato could be acceptable? Do you agree that Montresor should be sympathized with after hearing a defense for his actions?

Works Cited

White, P. (1989). “The Cask of Amontillado”: A Case for the Defense. Studies In Short Fiction,             26(4), 550-555.

St. John Scott, Graham. (2004). Poe’s “The Cask of Amontillado. Explicator, 62(2), 85-88

Margaret Atwood: Physics Complementing Feminism in Literature

by Steven Sibol

Margaret Atwood is a Canadian writer who is known by many to hold a very firm feministic approach to writing.  Concrete evidence of this is found in her writing titled, “Not Just a Pretty Face,” published in The Women’s Review of Books, in which she begins a section saying, “Long, long ago- In 1972, to be exact, I was teaching a Women’s Fiction course at York University” (6).  In this work she continues to pinpoint the idea that female writers, and females in general, are under the microscope, more so than men, when it comes to criticism as she says, “Both men and women have traditionally judged women more harshly than men, in writing as in many other areas of life,” (6).  This judgment is seen in her story, “Happy Endings,” in selection B, when speaking of Mary and John’s relationship, the narrator says, “People at work notice.  Her friends tell her John is a rat, a pig, a dog, he isn’t good enough for her, but she can’t believe it” (54).  As her co-workers take notice of her mistreatment, and her friends bring the matter to surface, they seem to be judging John, but when this instance is thought of in the light of reality these people are actually judging Mary because of her acceptance of John.  It is very common that Atwood, being a connoisseur of feminism, would set up a scenario like this as she it portraying the disadvantage of being a female in this situation.  Despite John’s poor intentions of a strictly physical relationship, Mary has to deal with not only loving, and not being loved in return, but being judged more than the victimizer in the relationship.

            While this approach to feminism seems to be the largest factor to Atwood’s writing, an underlying approach to the relation of physics seems to be another interesting idea.  In June Deery’s, “Science for Feminists: Margaret Atwood’s Body of Knowledge,” she says, “Almost every major theme in Atwood’s writing- the formation of feminine identity, the construction of personal past and cultural history, body image, colonization- all are at some point described in basic forms of physics,” (470).  Deery then goes on to identify that quantum mechanics and relativity theory share commonalities with Atwood’s approach to Literature as she says, “They look at interrelationships and participation, Atwood has been able to use these bodies of knowledge to describe metaphorically women's constraints and their adaptive strategies,” (471).  Pertaining to physics, it is noticed that scientists are forced to deal with harsh scrutiny when presenting their ideas, because of the recognition that these ideas are restricted by uncertainty.  This harsh scrutiny can be directly related to the same scrutiny of Atwood’s writings because of her gender.  In more simplistic terms, despite various forms of disproval, so as to generalize the relationship of physics and Atwood’s, “Happy Endings,” many people can recall middle school information of physics by the common saying, “What goes up must come down.”  This saying directly relates to the story of Atwood’s, “Happy Endings,” as she closes her story with the idea to not focus on the inevitable, such as, “must come down,” saying, “You’ll have to face it, the endings are the same however you slice it,” and, “So much for endings.  Beginnings are always more fun,” (56).

            With these two ideas, and approaches, in mind, how might Atwood’s approach to physics guide her approach to feminism rather than vice versa?  Also, in what ways do other approaches to, and ideas of, physics relate to her story, “Happy Endings?”

Works Cited

Atwood, Margaret. "Not Just a Pretty Face." JSTOR. Salisbury University, Jan. 1994. Web. 01 May 2012. <http://www.jstor.org/stable/4021722>.

Charters, Ann. The Story and Its Writer: An Introduction to Short Fiction. New York: St. Martin's, 1983. Print.

Deery, June. "Science for Feminists: Margaret Atwood's Body of Knowledge." JSTOR. Salisbury University, Winter 1997. Web. 01 May 2012. <http://www.jstor.org/stable/441746>.

Storytelling: A Whole New Way

by Lauren Keffer

“The Things They Carried,” written by Vietnam War veteran himself, Tim O’Brien, puts an entirely new perspective on the telling of war stories.  This fascinating story has the ability to blur together fiction and reality in order for readers to experience, in full effect, what exactly makes up a true war story.  O’Brien was drafted into the army during Vietnam, where he eventually attained the rank of sergeant and received the Purple Heart recognition.  Historically, one may not think to incorporate the effects of storytelling in remembering a war; however in most cases, stories are all that’s left in respect to war.  O’Brien and his writing talents give us the opportunity to piece together the uncertainty of a true war story through the eyes of fiction and first hand experiences. 

 Culturally, we are not going to be exposed to the “full truth” when it comes to any historic event in the past.  What’s true in one part of the world may not necessarily be true in another part of the world.  It basically leaves this all up to our own interpretations.  Therefore, what we choose and choose not to believe is in our own hands.  Critique Steven Kaplan furthers our understanding by stating, “O’ Brien tells us that we are reading “the full and exact truth” and yet, as we make our way through this book and gradually find the same stories being retold with new facts and from a new perspective, we come to realize that there is no such thing as the full and exact truth” (Kaplan 5).  In other words, O’Brien is attempting to further our knowledge about this war through obvious imaginary devices.  Whether you choose to believe them or not, it is only impacting your perceptive on the war.  Kaplan again adds that, “representing events in fiction is an attempt to understand them by detaching them from the “real world” and placing them in a world that is being staged” (Kaplan 5).  Staging can be interpreted as having false intentions, yet in this case it is serving to enhance the experience for the reader. 

It may be that it’s impossible to know exactly, moment by moment, what happened during a war.  No matter how many stores are being shared around the world, no direct quotation can be dictated as the only truth.  Uncertainty will always be present no matter what.  In a personal interview, O’Brien was asked why he wanted to blur the line between fiction and nonfiction; his response included, “I wanted to explore multiple planes of “reality” and multiple planes of “truth”.  Yes, there is a real war going on, with real casualties and real horror, but at the same time those realities are being processed in a mix of memory and imagination. Which is how we shape experience” (Smith 5).  As individuals, we are unable to respond to such situation with clear understanding, nevertheless, a veteran can.  We must push the statistics aside for a moment and realize that the death of an enemy is ultimately reality of war.  Whether you explain this reality through fiction or nonfiction, as readers we are still expected to piece together the information in regards to grasping the true narrative. 

In the article “The Underlying Uncertainty of the Narrator in Tim O’Brien’s The Things They Carried” Steven Kaplan makes a point that, “almost all of literature on the war, both fictional and nonfictional, makes clear that the only certain thing during the Vietnam War was that nothing was certain” (Kaplan 1).  This story has the ability to impact us in a number of ways, whether you chose to believe it or not, an impact is bound to be made.  We are raised in a world full of stories, with that in mind; we should not be forced to believe all stories being told are true.  Contrary to this, we care now exposed to the world of storytelling, through O’Brien’s work, and the ability to combine fiction and nonfiction.  Truth is only depicted by the individual, the word “lie” should not be measured at all.  This inclination in our world, as it may be taken, can change the view of many individuals.  O’Brien made it one hundred percent clear that uncertainty can be solved through mixing fiction and real life experiences in order to perpetually impact the reader. 

Does knowing that this story is a mixture between fiction and reality change your outlook on the story? Do you now have the tendency to not believe parts, if not, the entire story?

Works Cited:

Smith, Jack. "The Things He Carries: For Tim O'brien, The Vietnam War Has Remained A Crucible In His Fiction, But The Power Of Imagination And Memory, And 'Our Elusive Interior Worlds,' Loom Large, Too." Writer 123.7 (2010): 16-47. Academic Search Complete. Web. 7 May 2012.

Kaplan, Steven. "The Undying Uncertainty Of The Narrator In Tim O'brien's The Things They Carried." Critique 35.1 (1993): 43. Academic Search Complete. Web. 7 May 2012.

What is Real?

by Julia Cocchiaro

          O’Brien’s “The Things They Carried” has brought about much debate over whether the stories are real or not, what he attempts to teach readers, as well as his motives behind writing the collection and doing so in the way he did. 

Most critics agree that although O’Brien insists the stories are completely made up, there is some truth behind them in regards to himself.  In her article, critic Catherine Calloway states that there are many similarities between the narrator and the author.  For starters they share the same name and a history of serving in the Vietnam War.  We also see that in the beginning of the collection, O’Brien dedicates the book to some specific individuals he served with him and these names we later see in the stories as characters.  Not only does his choice in characters cause us to question whether the accounts are real or not but also the author’s own statements about his work.  Another critic, Lynn Wharton, states that in an interview with O’Brien he stated that “this is a true story” and “everything is made up” (1).  If even the author admits that although everything is made up, yet it is all true then how is the reader supposed to decipher what facts are real and which are not? 

Many critics believe that forcing us to ask such questions was not O’Brien’s only goal or motive for writing this collection.  Calloway argues that his main purpose was to inform readers what a war story is not, however, in the process of doing so, he wrote one.  According to her, he attempts to show us that any “truths” in war stories are not actually true.  What we are lead to believe about war, the violence, is not all true.  It is mostly about memorializing the people who were killed, the memories and the struggles with grief.  O’Brien states that this is a true war story and the only way to tell it properly is to keep telling stories over and over.  Calloway suggests that this is why he wrote the collection and why he made it seem like a true account; to show us a true war story without using these “truths” that are actually not as true as we believe. 

Wharton’s understanding of the story is very different from Calloway’s.  According to her the purpose of O’Brien’s writing was to show readers his own vision of himself as well as America’s collective struggle with the moral and ethical aspects of war.  Wharton suggests that his purpose behind giving the narrator the same name as himself was so that he could portray to us what he actually thinks about himself.  The bigger argument she has however is about the American society.  She argues that although the stories do show O’Brien’s person struggles in war, they mostly show readers the challenge many American had of determining whether the act of war, particularly the Vietnam War, is ethical.  She believes he is arguing whether it is ethical and moral for Americans to fight simply because their country tells them they are required to, even if they know it is wrong.  She declares O’Brien shows us this because many of the characters simply do what they are told but are constantly questioning to themselves if they really should be doing them.  For example, she says we see this when one of the soldiers is given a thumb of a killed enemy and he does not know if it is right to accept it.  Also, when Lieutenant Jimmy Cross struggles with whether he should forget Martha, his love at home, and if his love for her is the reason one of his men got killed.  She suggests that these two examples show us how in situations of war, soldiers did not even know what was truly right and wrong. 

These arguments force us to ask many questions.  What is true in these stories? What was the author’s goal? However, I believe the bigger question is whether he simply wanted to tell a story that could be true for anyone; himself, Americans, or soldiers in the war? Or, if he is attempting to teach us something about the American ethics or his own?  As shown in the two critic’s arguments, we can only determine this based on O’Briens characters, and the way in which he creates his stories.

Works Cited

Calloway, Catherine. “How To Tell a War Story: Metafiction in The Things They Carried.”  Critique 36.4. 1995. EBSCOhost. Web. 5 May 2012.

Wharton, Lynn. “Tim O’Brien and American National Identity: A Vietnam Veteran’s Imagined Self In The Things They Carried.”  49^th Parellel: An Interdisciplinary Journal of North American Studies. (1999): Web. 5 May 1012.

Rediscovery of Human Worth and Masculinity in Raymond Carver's Writing

by Wendy Usher

Raymond Carver grew up in Oregon in the 1940s and 1950s. He married his high school girlfriend and took classes at a local college, which lea him to his passion for writing. Then, he began writing, as well as working odd jobs in order to support his family.  In 1968, he published his first poetry collect and other successes followed short after. All while, he was dealing with alcoholism. This alcoholism led him to become non-productive and eventually the hospital. After that, he stopped drinking and divorced his wife. He started writing again, these short stories, though similar in writing style from the previous collection, had a more positive feel and ending to them. His post alcoholism writings include “Cathedral.”

In the short story “The Cathedral” the narrator begins with a very pessimistic attitude with the knowledge that a blind man is coming to visit his wife. Throughout the story, it becomes clear that the narrator feels threatened by the blind man. Though he may not want to admit it, the blind man, Robert, has a much better relationship with the narrator’s wife than the narrator seems to have. Because of Robert’s past with his wife along with the fact that Robert was blind, the narrator did not feel comfortable having him in his house. However, that all changed when the narrator and Robert began smoking pot and watching a television show about cathedrals together. Then, so that Robert could have a better understanding of what a cathedral looks like, they draw a cathedral together.

Mark Facknitz wrote an article entitled, “The Calm,” “A Small, Good Thing,” and “Cathedral”: Raymond Carver and the Rediscovery of Human Worth.” In this article, Facknitz states that through drawing the cathedral with Robert,

      the narrator’s sense of enclosure- of being confined by his house and circumstances-                   vanishes as if by an act of grace, or a very spiritual reward for a virtually insignificant                  gesture. Following the metaphor of the story, the narrator learns to see with eyes other                than that insufficient set that keeps a friendless drunk and a meager husband. (295)

Through drawing with Robert, the narrator becomes more open minded and experiences new things. In the end, the narrator seems to be changed for the better, realizing things that he is doing wrong in his life, which could be considered a rediscovery of human worth. This all happened through one small act.

            Aside from the idea of rediscovery of human worth in Carver’s later writings, another thing that has become a signature of Carver’s is the masculinity that he conveyed through his writings. Vanessa Hall states, “Carver’s stories both participate in and critique narratives of wounded white masculinity” (176). The narrator in “Cathedral” is no exception. The narrator seemed to feel threatened by Robert, especially in the beginning of the story, although from the outside there seemed to be no reason why. Robert was handicapped and the narrator was not, so why would the narrator feel so uncomfortable and almost, threatened, by Robert? The reason lies within the narrator is an insecure, white male. The narrator feels, though he will not admit it, jealous of Robert. Robert has a better relationship with the narrator’s wife than the narrator ever had. Along with that, Robert seems happy and at peace unlike the narrator. Until, the narrator and Robert draw the cathedral together, which is when Carver’s masculinity in his writing and discovering of human worth seem to collide.

When reading the story did you notice the rediscovery of human worth as Facknitz talks about or the masculinity Hall discusses or not?

 

Works Cited

Hall, Vanessa. “It All Fell in on Him”: Masculinities in Raymond Carver’s Short Stories and             American Culture during the 1970s and 1980s.” The Journal of Men’s Studies. 17.2             (2009): 173-188. Print.

Facknitz, Mark A. R. “The Calm,” “A Small, Good Thing,” and “Cathedral”: Raymond Carver             and the Rediscovery of Human Worth.” Studies in Short Fiction. 23.3 (1986): 287-296.             Print.

Inequality and Injustice

by Kayla Agonoy

           From research on the actual event of the Air India Flight 182 bombing in 1985, further insight was gained on the short story “The Management of Grief” by Bharati Mukherjee. Racism and cultural barriers are evident throughout the story and it is no different in real life. Those who had family that were killed in the incident felt as though the Canadian government was not doing everything possible to bring justice to their loved ones. This shows the lack of national urgency that Canada had. Racism is suspected to have played a role in the delay of investigations. The Indo-Canadian citizens did not feel as if they were not treated as real citizens. The plane crash was the biggest terrorist attack on Canada in history. But because most of the victims were Indian, the disaster was not seen as a national catastrophe.

However the tragedy continued beyond what the story entails. “Sorrow and Suspicions” is an account of the state of the investigation of the bombing ten years after. At the time when this article was written the investigation had still not made much progress and the surviving relatives continue to be frustrated. The people that were interviewed, like Perviz Madon and Lata Pada, are very similar to the characters in the story. They have lost loved ones becoming widows and childless. These real people are like the fictional characters in that they have come from similar background; this relays the genuineness of the emotions that the characters were experiencing. Also how they have managed their grief is similar. Some have gotten remarried and pursued new careers. Yet a difference that was not mentioned in the story was how these people formed together as a community to pressure the government for a public inquiry. They felt it was unfair that the government has paid more attention to smaller incidents and represented unequal treatment.

             “Remembering the Air India Disaster” is a report of the aftermath of the bombing a little over twenty years later. And still the Indo-Canadian people are frustrated and angry. The Canadian authorities have done little to honor their loved ones that have passed. It took twenty one years for a public inquiry to be held. All the community wanted was to be heard and the opportunity to express what they have been through. Most of their anger was due to the fact that they felt there was racism at play and therefore they were ignored by the government. However “the purpose of the inquiry [was never] stated to be to redress grief caused by this tragedy or the government’s apathetic response to the victims’ families in the aftermath” (Failler 157). It was stated that the testimonies were to be factual, deeming the testimonies of the people to be meaningless to the Commission. There was a “lack of recognition by Canadian authorities…in terms of public acknowledgement of their loss as a Canadian loss” (Failler 158). This shows that the government did not accept the Indian community as their own and sees them as separate group of people.

And a year after the public inquiry was commenced, public memorials were unveiled. In the summer of 2007 a ceremony was held in Toronto. These efforts to compensate for the tragedy were meager attempts and extremely overdue. The Indo-Canadians felt as though the lives of their loved ones were not taken seriously. Most of the passengers were of Indian descent but they were still Canadian citizens. This tragedy did not have a national effect and this lead the Indo-Canadians to express their anger and their feelings of not being a part of or accepted by Canada as their own people. A real life explanation of how the tragedy was handled and the aftermath compared to the short story demonstrates how the Indian community was subjected to unequal treatment and misunderstanding.

In what ways would the story be different if the Air India bombing had received the national recognition it deserved? Would the process of managing grief be easier for Shaila Bhave and the other surviving relatives?

Works Cited

Bergman, Brian, and Tom Fennell. "Sorrow And Suspicions." Maclean's 108.27 (1995): 48. Academic Search Complete. Web. 07 May 2012.

Failler, Angela. "Remembering The Air India Disaster: Memorial And Counter-Memorial." Review Of Education, Pedagogy & Cultural Studies 31.2/3 (2009): 150-176. Academic Search Complete. Web. 07 May 2012.

Charlotte Perkins Gilman's Influence on the Women's Movement

by Julia Hanlon

One of the most influential female writers during the Women’s Movement was Charlotte Perkins Gilman. She was extremely concerned with the injustices that women faced and produced many feminist works to inspire other women to strive for equal rights. She was born in Hartford Connecticut in 1860. During this time period women were seen as inferior and received less rights then man. While men were at work, women were expected to cook, clean, take care of the children, and remain in the house. Women were also discouraged from writing or doing anything intellectual. Gilman wrote many pieces that depicted the hardships women faced in order to promote equality

 Gilman’s notorious story, “The Yellow Wallpaper”, was written to show how injustices to woman are mentally harmful. The story was influenced by Gilman’s personal experiences of dealing with depression due to restrictions faced on women during this time period. While suffering from a nervous breakdown, Gilman was forced to restrain from physical activity. The story was explained to be “an imaginative account of her suffering and treatment by the physician S. Weir Mitchell who forbade her any activity, especially writing, the thing she wanted to do most”(Charters 461). Gilman explained that she “considered The yellow Wallpaper to be not literature but merely a story that had a purpose as all her other writings did”(Dock 56). Although “The Yellow Wallpaper” was a powerful story, Gilman produced other works that influenced the Women’s movement.

Another of Gilman’s most power works “Women and Economics”, was “considered one the most important works of early years of the women’s movement in the United States” (Charters 461). In this writing, Gilman examines the sexual and economic relationship in marriage based on Lester F Ward’s theory of human development. Gilman explains, “in no other animal species is the female economically dependent on the male. In no other species is the seal relation for sale” (Chang 323). This quote explains the human injustices of making women dependent on the support of men. It is interesting how Gilman makes a biological argument instead of an emotional appeal about the discrimination women faced. This is a extremely logical argument considering that female animals do not relay on males for shelter and food so why should sex be such a huge role in human development?  Secondly, Gilman makes an argument based on economics explaining the women should not have to depend on men finically. This insinuates that women should be given the right to work outside the home be able to have to support themselves.  Gilman claims that, “an economic democracy must rest on free womanhood, human progress can only be possible when women are liberated from the four walls of the andocentric home, redirecting their motherly serviceability to human community”(Chang 323). In other words, Gilman believes that humans will never progress as a species if women are forced to remain in the house as well as being economically dependent on men.

 Charlotte Perkins Gilman produced powerful writings such as The Yellow Wall Paper and Women and Economics along with many other pieces during the Women’s Movement. Her work is still recognized today and “found a secure place in contemporary literary studies” ( Dock 52). Gilman helped influence equal rights for women by writing about the inequalities women faced.  Although Gilman produced many popular writings, do you think she would have produced the same quality of writing if she was not influenced by the Women’s Movement?

Works Cited

"But One Expects That": Charlotte Perkins Gilman's "The Yellow Wallpaper" and the Shifting Light of Scholarship

Julie Bates Dock, Daphne Ryan Allen, Jennifer Palais and Kristen Tracy

PMLA , Vol. 111, No. 1, Special Topic: The Status of Evidence (Jan., 1996), pp. 52-65

Charters, Ann. "Charlotte Perkins Gilman." The Story and Its Writer: An Introduction to Short             Fiction. New York: St. Martin's, 1983. 461. Print.

CHANG, LI-WEN. "Economics, Evolution, And Feminism In Charlotte  Perkins Gilman's Utopian Fiction." Women's Studies 39.4 (2010): 319-348. Academic Search Complete. Web. 17 Apr. 2012.

Toni Cade Bambara's Lesson to the Reader about Herself!

by Jessica Babyak

Toni Cade Bambara’s “The Lesson” was written in 1972. The seventies had a different energy and a different agenda than the previous decade, the sixties. The sixties were characterized as a decade of group movements and cultural movements. The sixties encompassed feats and action through numbers. In an interview with Bambara about her work, she claims, “the seventies is characterized by refocusing on the self (13). By telling her story “The Lesson” through only the point of view of the main character Sylvia, Bambara is stressing and employing the concept of refocusing on the self that she believed defined the 70s. Sylvia is a young African American girl from Harlem who is about 13 or 12 when the story takes place. Significantly, Toni Bambara also grew up in Harlem as a young girl in a community much like the one in the story.

Sylvia has a strong feminist attitude and notably, Toni Cade Bambara also has a strong feminist attitude. Bambara claims that because of the political struggle for independent black political parties during the 70s, she is “about the empowerment and development of our sisters and of our community” (15). This explains why the character Miss Moore is a successful black woman who gives back to the children in her community. As we can see so far, Bambara likes to put a lot of herself, her views, and opinions in her stories. Bambara writes about an oppressed black community because she is aware of the “racist, hardheaded, heedless society” that minorities like herself faced in the 70s (14). She writes about broken black communities, such as the one in “The Lesson,” to expose the struggles they faced and the help they needed. Bambara states, “One’s got to see what the welfare children see in order to tell the truth and not get trapped. Got to see more and dare more” (Bambara 14).  In other words, Bambara writes from the point of view of the oppressed in the 70s in order to expose the truth about it to others. Much like Miss Moore exposed the unfairness of social class to the children, Bambara wants to expose the unfairness of social class to her readers.

Bambara also wants to expose the culture of a working-class African American in the 70s by having the story written in African American Vernacular English (AAVE). Janet Ruth Heller explains, “This dialect emphasizes the children's distance from mainstream white bourgeois culture and economic power and also reflects Bambara's pride in her ethnic heritage” (279). Heller then reveals “AAVE is also a dialect that Bambara herself would have learned growing up during the 1940s and 1950s in New York City's Harlem” (282). In other words, this dialect adds to the concept that Bambara wanted to expose the truth and reality of young natives of Harlem in the 70s and how they interacted with one another.

Putting all the elements together, one can now see that the main character Sylvia is a strong depiction of Bambara herself and what she believed in.  Growing up in Harlem? Check. Feminist attitude? Check. Born into the working class? Check. Ethnic pride? Check. Would you have ever thought that Bambara put so much of herself into the character Sylvia? And would you have ever thought that the 70s had such an impact on the point of view in which the story was told and the topics of events that took place in the community? 

Works Cited

Bambara, Toni Cade. “Toni Cade Bambara.” Black Women Writers at Work.

Claudia Tate. New York: The Continuum Publishing Corporation, 1983. (12-38). Print

Heller, Janet Ruth. "Toni Cade Bambara's Use Of African American

Vernacular English In "The Lesson." Style 37.3 (2003): 279-293. Academic Search Complete. Web. 27 Apr. 2012.

The Historical and Cultural Context of Charlotte Perkins Gilman

by Amanda Bryan

The short story “The Yellow Wallpaper” that we read was written around 1890. At this time in history, men were the most dominant gender. Men were the head of household and provided for their family. Women did not even have the right to vote yet. Charlotte Perkins Gilman had a great impact on the women’s right to vote. Gilman also had a great impact on feminism.

            Some cultural aspects during this time were that women had a lot of hardships and needed to be more independent. I believe this is why Gilman has such an impact on women’s rights and their lives. I believe that she wrote this story and several other stories to show her readers how women were treated differently and pushed to insanity. Gilman grew up in a family that did not go along with all of the traditional views. She wanted to create a more independent life for women in her society. In her lifetime, she became a radical feminist. According to Lane, “Gilman believed that women’s subordination started with the expropriation by men of the agricultural surplus women produced, limiting women’s full expression and autonomy and therefore dehumanizing them” (Lane 8). What this means is that men made the women rely on everything that they did for them. The women were not allowed to do things on their own. If I was living during this society, I would also be upset that I did not have the proper freedoms that I should have. Yes, most women want to take care of their house and children but, would also like a job and freedom from these duties. Gilman wrote that, “Of women especially have been required the convenient virtues of a subject class: obedience, patience, endurance, contentment, humility, resignation, temperance, prudence, industry, kindness, cheerfulness, modesty, gratitude, thrift, and unselfishness. Women must demand equality and freedom” (Hill 5). This statement was a great example Gilman stated to aim for equality for women and become a feminist.

            Not being able to vote, have property rights, or have reproductive rights are just a few examples of what women could not do or have. The Nineteenth Amendment finally gave women the right to vote in 1919. Once a man and a woman married, the woman did not have any property rights. All of these rights went to the men. An act by the name of, Married Women’s Property Acts was passed in the nineteenth century. This act gave women the right to keep their property separate from their husbands. Another right discusses the reproductive rights of women. These reproductive rights consist of the right to receive birth control, abortions, and education about female health. This act was passed in the 1960’s. As a woman, having these acts and rights pass are an extraordinary break through. This is where I believe Gilman worked hard as well and also wanted these rights to be passed.

            The way that “The Yellow Wallpaper” was written portrays insanity in the heroine. The story is based on Gilman’s life but has a lot of added exaggerations. Gilman then also had to prove to her society that she really was not this insane. The doctor that was stated in her story, Dr. S. Weir Mitchell, was a neurologist who was very adamant to diagnose his women patients with rest cures. Hill states in his book that, “Mitchell’s rest cure, then was designed to help such women. In an atmosphere of rest and quiet, they could learn to be more passive and warm, and thus more “feminine” and healthy” (Hill 149). A rest cure could be used for a few days. After that, anyone would become insane, having to sit in a bed with nothing to do. This explanation can show how men and doctors in this society could possibly push women into insanity. If they really want to help, they should be more open to female equality.

            These historical and cultural events surrounding Charlotte Perkins Gilman gave way to becoming a feminist. After exploring some more information, I also believe that in that time frame, women could have been pushed to insanity because they did not have the same equal rights as men.

Works Cited

Hill, Mary A. Charlotte Perkins Gilman The Making of a Radical Feminist, 1860-1896. Philadelphia: Temple University, 1980. Print.

Lane, Ann J. The Charlotte Perkins Gilman Reader. New York: Pantheon Books, 1980. Print.