Category: Drama

Bad parenting occurs when the guardian of a child does not act out their duties and responsibilities when raising that child. There are many reasons why a parent is considered bad. Bad parents abstain from affection from their child, lack support in their child, take up excessive or extreme discipline, or are unwilling to provide any necessary resources for their child. On the contrary, a good parent will help their child understand who they are and will provide any necessary resources for their children. Journalist and author, Jeanette Walls, wrote a memoir focusing on her childhood and the many traumatic experiences called The Glass Castle. Specifically, in The Glass Castle, Jeanette highlights a lot of her memories with her father, Rex Walls. Quite a rambunctious character, Rex Walls has made many mistakes and questionable decisions while raising her and would be considered by many as a “bad parent”, but would Jeanette consider him a bad parent? Rex Walls is constantly forgiven and recognized by Jeanette as a memorably important father figure despite his abusive childhood, countless failures as a father and destructive characteristics because of the special moments and high-values he experiences with her throughout her life.

Rex Walls is an important person in the life of Jeanette because he taught her many positive life morals and educated her throughout her childhood, creating a special bond between them. Despite his hard character, he is evidently a very intelligent person in the memoir, an “expert in math and physics and electricity.” He even took it upon himself to “read books on calculus and logarithmic algebra and loved what he called the poetry and symmetry of math”. Rex’s enriched understanding of math and science allowed him to share much knowledge with Jeanette, even from a young age. She has learned much from him and that has helped her later in life because of him. She consistently is mentally a higher level than her peers in school when she can be and has always been fascinated by the science behind her father’s research and inventions. In educating his children, Rex also managed to teach them important morals. When Rex brought Jeanette to a hot spring to teach her how to swim, he says while continually throwing her in, “If you don’t want to sink, you better figure out how to swim”. Though this seems very cruel to do with a young kid at such a young age, this lesson has stuck with Jeanette throughout her life and has been vital to her experiences as an adult when she continues to move past her own hardships. In another particular moment, on Christmas, Rex gifted Jeanette a star by telling her that she could claim any star she wanted. He taught her “no one else owns [the stars]. You just have to claim it before anyone else does . . . claiming a star as your own has every bit as much logic to it” . Though this could be claimed to be a cheap way to avoid buying Christmas presents, that fact is insignificant because it is still a special moment between Jeanette and her father. Teaching moments create bonds between children and their parents, as well as preparing them for the future.

Despite Rex’s exceptional education, he is still a man with many self-destructive flaws and parenting mistakes but they are often justified and forgiven by Jeanette. Rex experiences severe alcoholism and clues in his personality, such as his tendency to destroy things around him and obvious mood-shifts point towards the feasibility that he suffers from being bipolar. Why would Rex Walls be forgiven as a good father figure when on numerous occasions he has destroyed important things, stolen from his own children, and failed at being a good fatherly figure? He is likely forgiven and accepted because his behavior can be linked and explained to childhood trauma that Rex experiences. It has been suggested that Rex has suffered from an abusive mother during his childhood due to her involvement in an encounter with Jeannette’s brother, Brian. Rex Walls was not just abused sexually, it is also suggested that he was unloved and neglected when Rosemary Walls says, while scolding Jeanette for mocking the house of one of her childhood neighbors, “Unloved children grow up to become serial murderers or alcoholics.” Then she promptly “looked pointedly at Dad and then back at [Jeanette],” imposing the thought that because Rex Walls’ alcoholism is directly correlated to being unloved as a child. Rex’s negative actions further have a reason to be forgiven because he always wants to be a good father and his goal is to make his family happy. This is the reason for blueprinting the Glass Castle and why Jeanette has not given up hope on him when everyone else does give up on him. He made everything seem like an adventure to her. As explained by Deepthi C P, “it seems that he still tries to bestow knowledge to his children through his psychotic, illogical, perverse and inverted ways. Rex’s intent is to benefit his children, even when the wrong outcome is produced. Even when Jeanette is older and has long since been a little more distant from her father living in New York City, he proves his worth when she falls short of paying for college and he miraculously earns enough money just for her to finish her education. As statedly perfectly by Deepthi C P, “Rex was the pedestal through which she achieved the life she dreamt off”. She will always have gratitude for that.

The most significant proof to Jeanette Wall’s acceptance of her father as a decent father figure is simply the dedication of The Glass Castle to him. In general, this memoir is centered mainly around Jeanette’s experiences with Rex, what she learned from it, and how she turned out after the legacy of Rex Walls. The name itself, “The Glass Castle”, refers to the plans that Jeanette’s father created. It represents his represents his hope for a “magical fantastic life which he will provide for his family and thereby please his children”. These plans were more significant to Jeanette than they were to anyone else, especially after they had given up on him. This title had been created in memory and honor of her father. Near the end of the story, Rex Walls becomes suddenly ill and shortly after passes away. This is traumatic for Jeanette, she describes how she

Shortly after her father’s death, Jeanette explained that “I found myself always wanting to be somewhere other than where I was. If I was at work, I’d wish I were at home. If I was in the apartment, I couldn’t wait to get out of it. I felt best when I was on the move, going someplace rather than being there. I needed to reconsider everything”. Jeanette then left her first husband.

The book shortly ends after a concluding scene of Jeanette with her family centered around a Thanksgiving feast. They are reminiscing about the legacy left behind by Rex Walls.

“Hard work is better than talent when talent doesn’t work hard”: it is a saying that is applicable to many situations, but Jeanette’s story confirms the truth behind this statement. The Glass Castle by Jeanette Walls is a memoir about her family, and how being impoverished as a child can lead someone to grow into a more complete person; Jeanette becomes successful by taking control of her life and making it into something she can be proud of. The conflict puts Jeanette through very difficult experiences, but as a result, society and her family makes Jean realize that she needs to become independent and start her journey to prosperity. Throughout her life, Jeanette encounters many characters which shape her into the person she is. Thus, these characters create experiences for Jeanette that she can learn from; she develops from a person that takes care of others to one that focuses on her own priorities. At last, the setting that Jeanette must live in makes her realize that there is no future for her unless she changes her goals and makes them a reality. In The Glass Castle by Jeanette Walls, the author uses literary elements to emphasize that hard work, determination, and perseverance are the key factors that lead in success no matter the situation, which is seen throughout the story of Jeanette.

The conflict present in Jeanette’s life puts her through extremely hard moments when she is beaten down, but as a result, she learns and grows into a person that focuses on herself and her own success. For instance, Jeanette lives in Welch where her mother renews her teaching degree and Jean’s father is lost in his alcoholism, so they cannot provide for their children. Her dad constantly confronts Jeanette because he desires money for beer and cigarettes, but even though she has a tight budget for food, she “has a soft spot for him the way no one else in the family does” (Walls 209). Although most of the time Jeanette gives money to her father, she learns a lesson and finds her priorities and values; if not, she would starve herself and her siblings. This situation makes her discover her moral beliefs and ideals, and eventually she starts planning her way out, rather than staying with her family in Welch. In Welch, there is a racial separation between African Americans and Caucasian people. When Jeanette enrolls into school, she meets an African American girl named Dinitia, who leads a group of girls that constantly bullies her for being Caucasian and destitute. She fights back the bullies, but “as she fought, they called her poor and ugly and dirty, and it was hard to argue the point”. As a child, Jeanette believes that everybody was born equal, but that did not stop the group of African American girls to assault Jeanette everyday for weeks. Jeanette evaluates the situation and realizes that when living in a divided area ruled by violence it is best to find a way to avoid it. By acting in kindness, she transforms her enemy into a friend. It is significant, because the conflict makes her think about herself and how she can escape and find success and safety. In conclusion, the conflicts that surrounds Jeanette’s childhood transforms her from someone that did everything to help her family, to someone who can focus on her own goals.

Furthermore, the characters present throughout Jeanette’s life have an impact on her perspective on the world. The people in her life teach Jeanette that hard work will pay off and when effort is spilling from the heart, the journey to success begins. One of the first life-changing experience happens when Jeanette is in high school, and two film makers from New York City come to visit Lori and Jean. The film makers tell the Walls’ sisters that: “New York City was a place of energy and creativity and intellectual stimulation” . These two men are the entire reason that Jeanette and Lori went to New York in the first place, which is a very significant place in their life. The girls decide they would rather move to New York trusting the two men’s word then stay in Welch where violence, poverty, and drug abuse surrounds the neighborhoods. One of the reasons why Jeanette went to New York to start her independent life was her dad. While sober, he was the perfect father, but while drunk, he caused the family poverty and starvation, and there was no way they could be happy. At one point, his drinking causes him to disappear from the Walls, so Jean thinks he “would never be coming back to the family”. Jeanette is everything to her father, she is his favourite child, but he can not overcome his addiction which results in Jean having no choice but to leave the family. This is significant, because although Jeanette loves her father, she wants nothing more than to leave the family and to put this part of her life behind. To conclude, Jeanette’s experiences with the people in her life form her character and are a deciding factor in her determination to go to New York and focus on her own success.

To finish, Jeanette life takes her to many places, each of them giving her a new perspective of the world and the learning experiences she needs to be able to make the decisions that propels her to success. New York was a very attractive place for Jeanette, but the greatest benefit for her “was that the opportunities would come so easily”. She lands a job at a burger joint on her very first day of coming to New York, and later she becomes a full-time reporter in a matter of weeks. Everything in New York gives Jeanette an oportunity to grow and become successful; the setting is a perfect for Jeanette to collect herself and to take control of her life. She always has a positive outlook and works hard, so that one day she can wake up to a morning without the troubles of her past. A big part of Jeanette’s childhood is the time when she attends Welch High school; there, she realizes that she needs a purpose, so she takes up The Maroon Wave, the school newspaper. Jeanette wrote “so many of the articles that … [her] name appears four times on the front page”. Welch is a place of poverty and despair for the Walls’s family; however, Jeanette fills that hole with her work on The Maroon Wave. Jeanette discovers her passion which leads her to becoming a successful reporter and author. Therefore, the settings in Jeanette’s life gives her the experience and wisdom to make the proper decisions to push her life forward.

Through the usage of literary elements, The Glass Castle by Jeanette Walls presents the case that hard work, determination and perseverance leads to success. ever-present conflicts in Jeanette’s life: she goes through the constant battles with society and her family, but these experiences help her make the decision to change her life into someone she is proud of. The second literary element is character, the people in Jeanette’s life each have an impact; she takes these experiences and learns that in order to be successful, she needs to focus on herself. To finish, the setting brings Jeanette a new way to look at the world, and every new place gives her the knowledge and wisdom to set personal goals, which propels Jeanette into the right path. We know now that the settings, characters and conflicts in Jeanette’s life have a major contribution on her success, but could she have done it without her tale

Often people struggle most of their lives, get nowhere, Jeannette Walls showed otherwise by becoming a successful woman in the city of New York. Jeannette Walls grew up just about everywhere, from one end of the country to the other. She constantly lived in a car with her parents as a child even if they stayed in a certain place for a while. The Glass Castle is a memoir by Jeannette Walls where she talks about her life growing up with her three siblings and her parents, Rex and Rose Mary Walls. She goes through the struggles as a child and how certain things made her feel. She also goes on to tell us about her life when she moves on to a life she feels is better for her. I believe that Jeannette’s family impacted her in many ways, some of the ways that stood out the most included helping her become a caring person and she was also very intelligent.

Jeannette was a lot of things during The Glass Castle and one of the main things was caring. For instance, she didn’t really interact with her parents all that often she did talk to her brother, Brian a lot and sometimes she talked to her older sister, Lori. When it came to any of her siblings she was always trying to make sure they survived over time it became Brian who she always ended up seeming to help the most. During the time when they first moved to Welch, they struggled to keep food on the table. “Brian and I became expert foragers.” This quote shows that since they didn’t have food at home they had to find food somehow. I know that they rarely had food so they had to get it somehow and this quote shows how. Anytime Jeannette did find food she tried to save it for him, if she couldn’t she found some other way to get him some food and she never went without thinking about her brother. “The first time I found extra food– A bologna- and-cheese sandwich– I stuffed it into my purse to take home for Brian.” This quote shows that even in the biggest predicaments, like not having lunch at school, Jeannette thought of her brother.

During the story, Jeannette was called many things one of those things was smart. Jeannette was very smart at a young age she could do things some adults can’t even do right now. “By the time I was four, I was pretty good with Dad’s pistol… and could hit five out of six beer bottles at thirty paces.” Therefore this shows that Jeannette not only was a fast learner but it also shows how mature she is. She is able to quickly grasp new concepts and put them to use. Later in the story, Jeannette goes and again shows how smart she is by having to sew up her dad’s arm. “ I pushed the needle and felt a slight tug when it pierced the skin… I pushed a little harder and felt the resistance of Dad’s flesh.” Additionally, this quote showed not only her smarts but her bravery. She had done a lot of things for her dad but his one was one of the scariest because she wasn’t sure she could do it. With the persuasion of her dad, she was able to do it and do it well.

In conclusion, I have come up with the fact that while people see that the Walls family did nothing but cause other family members havoc, that’s not true. On one hand, they did do things that only hurt others but on the other, they worked together to help make sure each child was successful as an adult. For example, if they hadn’t had done all that moving, they wouldn’t have met the men who inspired Jeannette to be a journalist. My paper shows the good things the family did but it also doesn’t leave out the bad that also happened during that time. People believe that just because a family has had so many struggles in life that the family will turn out bad, the Walls family showed just the opposite. To show this you can look at how the three oldest got amazing jobs, a journalist, an artist, and a police officer. Again, people see the Walls as a bad family but overall they weren’t.

Neglect (and not just of the parents/family towards the kids)

Jeannette’s father, Rex, is an addict whose alcoholism makes it impossible for him to hold a job or take care of his family. He has taken part in physical and verbal violence while drinking. Rex drinks while driving. One time, he caused an accident in which Jeannette obviously fell out of a moving car (p. 30) and again when he got into a fight with his pregnant wife and tried to run over her with a car carrying his other children. The waitress offered the children a beer. Rex smoked, and there were repeated instances of his smoking and discussion of him smelling like smoke. Other people smoke too.

Rocks

Rocks are one of the most prominent metaphorical concepts present in The Glass Castle because Jeannette shows a love for rocks her whole life. Rocks, just like her, are heavily influenced and shaped by their environment, or for her, her experiences. The obsession Jeannette shows for these smooth, but sometimes rough creations of nature, also shows her love for her life and the passion she has for all of these so-called ‘adventures’ and constant ‘skedaddling.’ This passion is so evident in her style of writing because no matter how bad the circumstances may be, she writes with an intense sense of pride in herself, her family, and where she came from.

Fire

Fire reappears in Walls’ life several times, every time ‘burning’ her more and more, for example, when she was very young, she caught on fire, almost dying. The appearance of fire in The Glass Castle symbolizes destruction, such as her father’s destructive habit of drinking and the effect it has on the family. You can also see this concept of destruction in her writing, especially when she is in Welch, there are several moments when she uses destructive rhetoric to describe tragic experiences.

The Glass Castle

The Glass Castle stands for the constant unfulfilled promises and him giving them hope for nothing. Like how he said that he was going to make the house in Welch the glass castle by making a hole. Rex says, “No point in building a good house unless you put down the right foundation.” It took them a month to dig the hole and they were proud and about to start to make it but the dad lets yet another minor problem get in the way of him helping the family by throwing garbage in there because he spends too much money on booze and doesn’t leave enough for the garbage collection bill. Jeanette says, “But that’s for the Glass Castle,” and Rex said, “It’s a temporary measure”. Rex acts like it was inevitable but he could’ve easily fixed it if he didn’t drink.

There are 4 main characters at the beginning of the book. Their names are Tom Wingfield, Amanda Wingfield, Jim O’Connor, and Laura Wingfield. They are all blood-related and play a big part in the Glass Menagerie. Tom is the only person in the family that gets money. Tom gets frustrated from working a job he hates to support the family. He likes adventure and likes to escape his life by drinking, smoking, writing poetry, and going to the movies. He wants to leave home and live by himself. His mom always is overprotective and doesn’t want to let go of him. He knows that if he stays he will not be able to live life. But he doesn’t want to leave his sister. Later he gets to leave by joining the Marines.

Amanda Wingfield is the mom of Tom Wingfield. In the book, she goes through a lot of struggles. She is known to try and make sure that they have money all the time and can be annoying sometimes or unreal but always has hope. The author of the play says that she is heroic. She can sometimes be selfish and she thinks it is good for her kids. In the story, it says that she was well known before and was called the ‘Southern belle,’ and did not care what people thought about her. She is sort of old school because she does stuff that was done back in her days and looked funny. She tries to teach her kids who are now adults stuff and can’t do a good job.

Laura Wingfield is 23 years old and is a beautiful person. Laura got sick when she was little and it left her with a slight limp, a leg brace, no confidence, and little sense of social interaction. Her mom and brother were overprotective and it made her miss out on a lot of Laura’s life. She amuses herself by making her world of glass animals and lots of other stuff to entertain her. When she was a little girl her dad abandoned her too.

Tom said that Jim O’Connor is the only person who is more than likely to succeed in life. Tom is just a clerk in the shoe warehouse. On the other hand, Jim has an opportunity to work in the field of television and is taking many classes to prepare for being broadcast on TV. which seems clear to him. Jim can talk and start conversations he can be very expressive and was popular in high school. During that time aura had a big crush on him and was drawn to his melodious singing voice, his genuine good nature, and his nickname for her: Blue Roses.

The Glass Menagerie is a play. All the events are drawn from the memories of the play’s narrator. Tom Wingfield is also a character in the play. Most of the play is located in a lower-class tenement building in St. Louis. The apartment is entered by a fire escape. Tom is by the fire escape entrance a lot. The play takes place in St. Louis in the nineteen-thirties. Tom works in a warehouse to support his mother Amanda and his sister, Laura. A gentleman caller is supposed to show up to the little apartment but no one shows up.

Tom and Laura’s father abandoned the family many years ago. The only thing that the dad left behind was except for a single postcard reading “Hello––Goodbye!” and then he has not been heard from since. Lauren does get to dance with someone and get a kiss but that is about it because nothing else happens Tom enters the apartment. And the action of the play begins. Throughout the play, thematic music underscores many of the key moments. The Wingfields are seated at dinner.

Amanda is always telling Tom about his habits, especially smoking. Their mom always tries to entertain her family by talking about how she was popular and got a lot of gentlemen callers. There are a lot of stories and other stuff in the play. Amanda repeats herself several times. And later on, Lauren is convinced about her fate. And knows that she will not be receiving any fancy good-looking gentlemen callers.    

Throughout the novel “The Handmaid’s Tale” readers can learn the increasing limitations the patriarchy places on the female identity through the experiences of the protagonist and the first-person narration Offred delivers along with her flashbacks to the society that preceded, conveying both the initial lack of opposition in the past and providing context to, the increasing support of the patriarchy due to fear, and reinforcement of the limitations on female identity imposed by Gilead in the present by females themselves. Much like Offred initially the factors affecting the female identity can go unnoticed by readers as we fail to question the impact of the measures taken to dominate the body, sexuality, and language of women within the theocratic and typically dystopic government of Gilead.

However, Offred, in providing flashbacks to the society that precedes Gilead, we can identify brief moments and efforts of resistance to the regime in the present and can appreciate the extent to which the female identity has been affected in both the public and private sphere. In addition to this, the flashbacks provide us with an explanation for the emergence of Gilead itself.

As detailed above, the foremost aim of this essay is to explain how and assess the extent to which, the female identity is affected by the patriarchal society of Gilead. Secondly, I aim to identify moments of resistance from characters within Atwood’s novel toward their imposed identity and assess their success in contrast to the absolute control maintained by the patriarchy itself and agents employed by the patriarchy to further the success of its doctrines and instill fear in its subjects. Something that is achieved through constant surveillance of its subjects, destructive gender relations, distrust of others, and severe punishment so that any opposition or resistance, although extremely rare and weak within the novel, will not hinder the growth of, or undermine the control of the totalitarian state and thus will be rendered insignificant.

The body is used by Atwood to characterize the dystopian female identity in the patriarchal society of Gilead and show how it can become a site of resistance with varying success. Offred is a handmaid and hence her worth to society is equated to her reproductive ability. However, on occasions within the novel we can observe Offred’s character resists this purely reproductive perspective of female identity enforced within Gileadean society, and instead recognizes that her body can reinforce her female identity and sexuality. This is made evident in her encounter with two ‘Guardians’:

As we walk away I know they’re watching, these two men who aren’t yet permitted to touch women. They touch with their eyes instead and I move my hips a little, feeling the full red skirt sway around me. (Atwood, The Handmaid’s Tale, 2010, p. 32)

Offred states ‘I know they’re watching’ although she cannot physically see whether the ‘Guardians’ are hence, it is valid to say that her resistance is internal and therefore her actions that follow cannot necessarily be trusted; this is reinforced by the overt certainty of her actions conveyed within the confident ‘I know’. The verb ‘watching’ is significant in conveying how Offred is crippled by her fears but also how due to her rare ability to breed, Offred is constantly under the watch of ‘The Eyes’ of Gilead reflecting its way of enforcing patriarchal regulation. This is reflected in Michael Foucault’s book – “Discipline and Punish: the birth of the Prison” as Gileadean control via “The Eyes” is an extreme form of what Foucault calls a “carceral texture of society [with its] capture of the body and its perpetual observation” (Foucault, p. 304) Hence, we can understand how whilst on the surface it may seem like Offred successfully resists the identity imposed on her by the agents of the patriarchal society of Gilead, in reality, she only reinforces the disintegration of her identity as her feelings of power at this moment undermines her resistance. This is revealed through Atwood’s use of the adverb ‘yet’ as it proves how Offred’s feeling of power is transient much like the action of flirting itself.

We can understand that eventually the ‘Guardians’ will have more control over the female body than the handmaids themselves as only they can impregnate and thus give the female body a purpose and meaning within the patriarchal Gilead; as in becoming handmaids, the women have lost control of their bodies and as a result their identities. We see that the consequence of maintaining an identity both on an individual and on a female basis is to become an “unwoman”. Atwood’s use of irony here is therefore key in aiding the disintegration of the female identity but also in getting readers to question the ideals imposed by the patriarchy depicted in the novel thus far. Further still, Offred’s use of poetic language when describing this encounter adds to the sense that her actions are idealized as ‘feeling the full red skirt sway around me’ reinforces the view held by Peter G. Stillman in his critical essay ‘Identity, Complicity and Resistance in Margaret Atwood’s The Handmaid’s Tale’ that, ’ No amount of verbal … reconstruction seems able to help Offred understand, communicate, or resist.’ (Stillman, 1994)

Another key detail about this particular interaction is that the ‘Guardian’ is ‘the one that turns away’ hence we can observe that the resistance Offred feels is permitted by men and thus even her resistance to her patriarchal identity, is monitored by the patriarchy and, as can be seen later, permitted by the patriarchy also. However, Olivia Rook suggests in her critical essay, ‘Surveillance, Regulation and Selfhood in George Orwell’s 1984 (1949) and Margaret Atwood’s The Handmaid’s Tale (1985)’ that ‘[Offred] uses [the Guardian’s] gaze to empower herself’ hence, with this view in mind, Offred’s body successfully becomes a site of resistance to the patriarchy as the control she clearly feels in instigating the prohibited interaction can almost be seen as a catalyst for further resistance. This point is reinforced further by Rook as she states, ‘[Atwood’s] simile reveals the vulnerability of the young soldier, his ‘‘exposed face’’, ‘‘like the skin under a scab’’, [demonstrates] how Offred’s look … physically [penetrates] this protective exterior’. (Rook, 2016, p. 22) Here we see the idea that through Offred’s actions, her female identity is restored momentarily both at the sight of the ‘Guardian’s’ weakness and also the vulnerability of the patriarchy when faced with the female sexual identity which allows Offred to resist the purely reproductive identity she normally accepts. Hence, although what we see is a reclamation of female identity for Offred, once again this resistance is undermined by the fact that it would be permitted once again by the patriarchy; had the guard turned around, yet we cannot say whether he did or not.

We can observe that Aunt Lydia acts on behalf of the patriarchy and takes her role in aiding the continuation of Gilead, within the capacity of an Aunt in the Red-centre, very seriously. We observe the sadistic pleasure she obtains in stripping the handmaids of female identity through the language she uses and the punishments she enacts. She believes that ‘to be seen- to be seen- is to be …. penetrated’ (Atwood, The Handmaid’s Tale, 2010, p. 39)reflecting the lack of authority the handmaids have over their bodies. Their body is almost viewed as a commodity by the patriarchy and something that can be traded from officer to officer, as in many ways handmaids are viewed by Gilead as the currency on which it must survive. Yet this phrase also reflects the price women like Serena Joy have to pay to have a child. In addition to this the quote conveys how life as a handmaid is devoid of love, through the verb ‘penetrated’ in particular, Atwood suggests the female body is almost a possession of the patriarchy itself.

However, the verb could also be indicative of Aunt Lydia’s teachings that ‘penetrate’ the minds of the handmaids replacing their resistance towards their newfound identity with fear and ultimate submission. Hence this quote reveals her true role in facilitating the ideals of the patriarchy, by the patriarchy’s proposed use of the handmaids’ bodies. The almost masculine language used by Aunt Lydia throughout the novel allows her this level of control over the actions of the handmaids. However, it undermines her also, as to feel the power she craves and thrives on, she has to succumb to the language of the patriarchy itself; therefore, undermining her power further. Lastly, Atwood’s use of repetition here can reveal the intense nature of the re-education process for the handmaids. It reflects the constant reinforcement of such ideas wearing away at handmaids’ sense of self as ‘to be seen’ or acknowledged by the patriarchy is to be submissive. It could also indicate that resistance is a means of being seen. The former reading applies even to women in Aunt Lydia’s position, as it is made quite clear within the novel that her power is limited to controlling women, not men, and her limits of control seemingly do not expand further than the Red Centre. After all, she is obliged to wear a uniform like the handmaids, just a different color.

It is only through the character of Moira that readers can appreciate the effort and consequences of resistance, revealing the power of the patriarchy through Moira’s need for meticulous planning just to escape the red-center, only to be found once again by the agents of Gilead shortly afterward. Here, Atwood allows readers to appreciate the consequences of resistance, as in Gilead, the only way to gain autonomy over the body is to remove the only purpose it serves in the eyes of the patriarchy. Conversely, we see that Moira obtains freedom from the sterilization she receives as punishment for fleeing the ‘Red-centre’ and the clutches of Aunt Lydia. Therefore, she embodies the ultimate figure of resistance in the eyes of Offred however, what Offred fails to recognize is that Moira is now condemned to working as a prostitute in ‘Jezebel’s’. Because she is no longer a handmaid it would seem she has more bodily autonomy, as she has successfully rejected her purely reproductive identity, however, what we see is further disintegration of the female identity.

Now Moira is seen purely for her sexual identity as she is now forced to be submissive to several men as opposed to one. What’s more, her body can never again be regarded as having a purpose in the eyes of the patriarchal Gilead as her punishment has rendered her infertile. The fact that Moira is a lesbian and is condemned to serve the commanders as a prostitute highlights how unsuccessful she was in her resistance, and reveals once again the extent of power Gilead has over the female identity although Moira is now instead recognized for her recreational worth rather than her pro-creational worth, something viewed by Offred as a triumph of resistance, on a deeper level both purposes for the female identity exist in Gilead as both serve the patriarchy but with different outcomes. Hence Offred, through her continued optimism and gullible belief that Moira had been successful in her escape, makes it clear to see both her own and Moira’s continued subordination to the theocratic regime. This also highlights the utilization of the female body by the patriarchal society of Gilead within this dystopic novel to represent “the desires of the individual bodies with the needs of the body politic” (Jacobs, 2007, p. 3)

This control extends to Offred’s view of her body even in privacy as in certain circumstances we see how the naked body provokes a feeling of autonomy for Offred as in shedding the restrictive clothing and therefore the oppressed version of her own female identity imposed by Gilead, Offred can obtain a momentary sense of freedom.

However, the autonomy her naked frame allows her is undermined once again by the patriarchy as, as succinctly put by Margaret J. Daniels and Heather E. Bowen, “they [the handmaids] have no choice regarding the treatment of their bodies” (Bowen, 2003, p. 428) and hence, how their bodies are viewed by society. Although the clothes are restrictive her failure to conceive is something her uniform conceals. Hence in some ways the shedding of her uniform, although marked as a moment of resistance by Offred, can be viewed as Offred shedding her resistance and therefore becoming vulnerable to the intentions and restrictions of the regime. In shedding her uniform Offred is forced to accept the reality that she is not pregnant and is therefore one step closer to becoming an ‘unwoman’ in the colonies.

We see Offred experience the shame associated with this actuality reinforcing how the teachings of Aunt Lydia have completely consumed her as she states that “we are containers, it’s only the insides of our bodies that are important” (Atwood, The Handmaid’s Tale, 2010, p. 107). Hence Offred proves her recognition that her female identity has been oppressed for her body to fulfil its purpose to the regime. This conveys how she is forced to become nothing more than a “vessel” that forms the basis on which the very regime that oppresses her will continue to be built, therefore it can be said that Offred herself is an agent of Gilead as she works toward the continuation of the regime.

This is something that Offred understands but does not seem to resist as for her, being a handmaid is better than wasting away in the colonies like her mother. Her understanding is proven when Offred observes that identity within Gilead is “a made thing, not something born” (Atwood, The Handmaid’s Tale, 2010, p. 76). This is reflected by her name itself within the novel as it is based on that of the commander she serves, automatically making him dominant in the proxy relationship and her “Of […] Fred”. Furthermore, Offred’s comment that identity is “not something born” is likely a contextual allusion from Atwood to the time before when women could establish an identity for themselves allowing readers to question why Offred is not allowed the same opportunity to do so now. However, this question is answered later on in the novel by Aunt Lydia as Gilead has seemingly replaced “freedom to[with] freedom from” (Atwood, The Handmaid’s Tale, 2010, p. 34).

Offred’s comment on identity reflects how in conforming to the expectations of the collective body of the Gileadean regime, unlike her mother and Moira, Offred has severed the human ties of birth from herself as proven when she sees her mother in a video of the colonies as she’d “been thinking of her as dead” (Atwood, The Handmaid’s Tale, 2010, p. 264). Even though we get the impression that Offred has only been subject to the regime for under a decade she is eager to disown her human identity to show her allegiance, therefore Offred is unable to resist Gilead as she is under a compulsion to preserve herself, believing she is preserving her female identity of the time before, but is failing to recognize she is only preserving the identity Gilead allows her to.

Therefore, Offred can be seen as a metaphor for her continual servitude and allegiance to the Gileadean regime. This is made evident in her reaction to Moira’s choice to work as a prostitute rather than go to the colonies as the only reason Offred can think of why she wouldn’t like to go there is the fact that after “Everything considered, [she] like[d] this outfit better” (Atwood, The Handmaid’s Tale, 2010, p. 261). This reflects how the ideologies of the regime have completely consumed her and the fact that Atwood makes this reason appear very childish to readers indicates the re-education of the women and how they accept these new teachings without question. What’s more, this quote is quite ironic from Offred as it makes her seem in control of her identity due to her adhering to the teachings of the Aunts, however, we recognize as readers that this is all an illusion. Thus, this quote proves the effects of the patriarchal society on the female identity in contrast to the time before Gilead whereby the insurgence of second-wave feminism was taken for granted by those like Offred as she was, according to Jennifer A. Wagner-Lawlor, “politically complacent before the takeover” (Wagner-Lawlor, 2003, p. 83). Now those who fought for the rights of female autonomy like Offred’s mother and Moira, are being condemned for their actions whilst those like Offred contemplate why the regime has succeeded and how they can reclaim their female identity without opposing the state.

The sexual power struggle that remains prevalent throughout the novel is intrinsic to the female character’s sense of identity in The Handmaid’s Tale. This is something that is convincingly portrayed by Atwood through biblical allusions as “handmaids” in Hebrew can also be translated as “slave girl” conveying how the handmaids are slaves to the continuation of the regime, the commanders in the sexual sense and the wives of the commanders, as their bodies are used as birth surrogates. Hence, it can be said that the handmaids fully embody the role of the biblical “slave girl” and are symbols of ownership as a result. (N/A, p. 37) This is represented within the biblical scripture of Genesis, handmaids are the property of the mistresses who engineered the exploitation of their fertility for their gain, a situation that was not only allowed but celebrated and deemed a holy sacrament within the Bible, as can be seen when the women of Shiloh were raped for the sake of building a nation and rescuing the Benjaminites from extinction, one cannot help but draw parallels. (N/A).

Introduction

“All the King’s Men” is a classic American novel written by Robert Penn Warren. First published in 1946, the novel explores themes of power, corruption, and the complexities of human nature. Set in the 1930s, the story follows Jack Burden, a journalist, as he becomes entangled in the political career of Willie Stark, a charismatic and controversial politician. This literary criticism essay will delve into the key elements of “All the King’s Men,” including its narrative structure, character development, and thematic exploration, to examine the novel’s enduring significance and its critical portrayal of power and morality.

Narrative Structure and Multiple Perspectives

Warren employs a complex narrative structure in “All the King’s Men” that adds depth and richness to the storytelling. The novel is narrated from Jack Burden’s perspective, allowing readers to witness the events through his lens. However, Jack’s narrative is interspersed with historical documents, letters, and flashbacks, offering different perspectives on the story. This multi-layered narrative structure enhances the reader’s understanding of the characters’ motivations, actions, and the consequences of their choices.

Character Development and Moral Ambiguity

The novel features a diverse cast of characters who undergo significant development throughout the story. Jack Burden, the central character, serves as a complex and morally ambiguous protagonist. Through Jack’s journey, readers witness his transformation from a detached observer to a deeply introspective individual grappling with the consequences of his own actions. The characters in “All the King’s Men” are portrayed with depth and nuance, exploring the complexities of human nature and the blurred lines between right and wrong.

Political Power and Corruption

At its core, “All the King’s Men” examines the corrupting influence of power and the consequences it has on individuals and society as a whole. Through the character of Willie Stark, Warren presents a compelling portrayal of a charismatic and ruthless politician who starts with idealistic intentions but becomes corrupted by the very system he seeks to change. The novel explores the allure and seduction of power, the compromises made, and the ethical dilemmas faced by those in positions of authority.

Symbolism and Imagery

Warren employs powerful symbolism and vivid imagery throughout the novel to deepen its themes and evoke emotional responses from readers. For example, the recurring symbol of the “Great Twitch” represents the unseen forces that shape human actions and the inevitability of fate. Additionally, the use of natural imagery, such as storms and landscapes, reflects the turbulent and unpredictable nature of the characters’ lives and the moral dilemmas they face.

Exploration of Southern Identity and History

“All the King’s Men” is deeply rooted in its Southern setting, and the novel explores the complexities of Southern identity and history. Warren delves into the legacy of slavery, the scars of the Civil War, and the social and racial tensions that persist in the South. Through his vivid descriptions and nuanced characterizations, Warren examines the region’s collective memory and challenges conventional notions of Southern identity.

Themes of Redemption and Personal Responsibility

Amidst the political intrigue and moral ambiguity, “All the King’s Men” also explores themes of redemption and personal responsibility. Characters such as Jack Burden and Willie Stark are confronted with the consequences of their actions, leading to introspection and the search for personal redemption. The novel suggests that individuals have the power to take responsibility for their choices and strive for personal growth and moral clarity.

Conclusion

“All the King’s Men” stands as a literary masterpiece that explores the complexities of power, corruption, and the human condition. Through its intricate narrative structure, well-developed characters, and thought-provoking themes, Robert Penn Warren provides a critical examination of politics, morality, and the pursuit of power. The novel’s enduring significance lies in its exploration of universal themes that continue to resonate with readers today, reminding us of the enduring relevance of literature in understanding and grappling with the complexities of the human experience.

Worlds of Upheaval demonstrate not only the conflict between two ideas but that of social and political strife and allow readers into a world of multiple perspectives. Worlds of Upheaval offer many diverse perspectives on renewal while simultaneously challenging literary conventions this is demonstrated through texts such as the play Waiting for Godot by Samuel Beckett, the film Metropolis by Fritz Lang and the novel The Road by John Hillcoat.

Waiting for Godot illustrates the conflict between spiritual and philosophical ideas that both demonstrate renewal and diverse perspectives to the viewers. Waiting for Godot was part of the theater of the absurd a movement that appeared after the second world war. This movement looked at artist struggling to find meaning through devastation. The absurdist deconstructed plots and characters to try and find meaning to then share the uncertainty on stage. The play offers a simple question to the audience “What should the characters do?” Waiting for Godot is a tragicomedy with the central focus of the play being nothingness. The play follows the two characters, Estragon and Vladimir, who essentially sit around doing nothing and talk about nothing. However, the play also creates conflict between living by religious and spiritual beliefs or living by philosophies such as nihilism or existentialism.

“Vladimir: Let’s wait and see what he says.

Estragon: Who?

Vladimir: Godot

Estragon: Good ideas.

Vladimir: Let’s wait till we know exactly how we stand.

Estagon: On the other hand it might be better to strike the iron before it freezes.” This is an example of the two conflicts while Vladimir depends on Godot to inform him of the importance of his own existence versus Estragon who argues they do not have the time to wait and should take action themselves. The metaphor, ‘strike the iron before it freezes.” proposes that humanity doesn’t have time to wait for spiritual considerations that may offer enlightenment.

Waiting for Godot was published in 1952 and seem to have a unique phenomenon during times of social and political crisis. The play brought a modernist existential reflection, “They give birth astride a grave,” says Pozzo. “The light gleams an instant, then it’s night once more.” This demonstrates a bleak outlook but it also shows the funny and poetic of the play. This, in turn, revals humanity’s talents for fortitude, amity and keeping going.

Waiting for Godot has a renewal each time the sun sets and then rises again. Time moves in cycles with the same day occurring over and over again. At the end of each day the same boy will come and inform the two main characters that they will have to come again the next day to see Godot. The interruption occurs when night falls the disappointment of Godot not arriving and the day starting once again the same way and still waiting, this is where the plays circular structure occurs. This essential allows for the repetition of conflict between philosophies and spiritual ideas as we see the continuing argument between Vladmir, who wants to wait, and Estragon, who wants to leave,

“Estragon: Let’s go.

Vladmir: We can’t.

Estragon: Why not?

Vladmir: We’re waiting for Godot.”

Beckett deliberately uses an unconventional structure to challenge literary conventions to demonstrate the meaningless of life and the repetitiveness of waiting. Waiting for Godot’s structure moves in a circular motion,

“Vladimir: Well? Shall we go?

Estragon: Yes, let’s go.

Stage directions: They do not move.”

This challenges literary conventions as there is no character development or plot movement but rather moving around in circles which in turn demonstrates the nihilistic theme throughout the play. Beckett demonstrates a nihilistic vision with the avoidance of metaphysical archetypes and connecting structure such as redemption of hope after despir. Throughout the play Beckett displays multiple perspectives surrounding renewal he does this with the use of multiple beliefs and ideologies that are in constant conflict with one another he further pushes these ideas with the use of circular structure and empty spaces.

Metropolis demonstrates a dystopian future in which two worlds, the occult and modern technology, create conflict within the society. The film explores both the self-indulgence and delights of modern cities as well as the inequity and social problems that exist. The creation of the futuristic city can be seen as a symbolism for exploitation, power, corruption and greed. Throughout the film Lang demonstrates a starke separation of upper and lower class. The opening scene in Metropolis the audience is present with a stationary and centered camera shot on a factory this creates a symmetrical image between the workers marching in lines and the building itself. This creates an image illustrating the perfect condition of the factory along with demonstrating the mechanical way the workers move and are presented as if they are part of the machine itself. This is demonstrated by the next shot in which the viewer is presented with different machines performing repetitive motions which is then cut back to the workers moving in similar motion. This may have been used to demonstrate machines controlling men. This juxtaposes with the lavish life of upper class. Just before Marie enters Freder’s house the viewers are met with gardens, women in luxury outfits and men dressed up. This creates a contrast between the upper class who move and act as humans and the lower class who move and act as if they are machinery.

The renewal occurs when the workers revolt which in turn creates a break within society. The scene in which the revolt meets breaking point is when the machine is destroyed. In the scene where the workers are seen as crazed they storm the control room of the machine and overload the machine causing it to blow up and destroy the lower city. Society stops and the revolt rages on towards Freder’s house. The end of the film is concluded when the hands and the heart shake hands and essentially allow society to continue.

Metropolis was published in 1984 having been seen as a contemporary comment on the political situation regarding Germany. The film was made during Germany’s Weimar Republic War at the time of publishing the film Metropolis dealt with the anxieties of the time. Lang claimed he was “looking at Germany in the future” when making the film. Through the futuristic aspect of the film Lang alludes to the conflict between the state of contemporary Germany and the future modernisation.

Lang challenged literary conventions of his time by creating a realist film that dealt directly with the political issues going on through Germany. Through his film Lang demonstrated power struggles, poverty and conflict along with the fears of the future and technological advancements. He was able to achieve this through the symbolism and metaphors that were spread across the film. His film continued to challenge literature conventions as the film demonstrated occult themes that linked in with futuristic technology.

The Road demonstrates diverse perspective in renewal be making readers question not only spiritual beliefs but the existence of god. Throughout The Road there is a conflict of spiritual belief that is demonstrated by the main characters own uncertainty. McCarthy’s novel could be seen as an agnostic novel with multiple characters believing in god and others completely rejecting the idea of god, “There is no God and we are his prophets”. The main character of the book, the man, continues to switch between doubting and believing, “He raised his face to the paling day. Are you there? he whispered. Will I see you at last? Have you a neck by which to throttle you? Have you a heart? Damn you eternally have you a soul? Oh God, he whispered. Oh God.” The tone McCarthys uses throughout the novel continues the many occurrences of faith and doubt. However, the central feature of the tone is that of religious belief, “The child was his warrant… If he is not the word of God God never spoke.” Which shows the faith the father that his son is the future of the world and has followed god plan to survive thus far. However, the father also can’t see how there is a god in the apocalyptic world, “God was the savior of our sins, but now the world is a sin along with everyone inside it.” In which the character questions if there is a god and why he would allow the world to fall. The events of the novel itself switches between the two extremes much like the man with the atmosphere and wording being bleak and horrifying as if trying to convince the reader that there is no god. However, a lyrical, hopeful passage will suggest that god may exist. Although the novel remains agnostic, McCarthy may have suggested throughout the novel that the sacred is that of other people.

McCarthy’s novel The road challenges literature conventions as it doesn’t follow most post-apocalyptic literature of its time. McCarthy displays an unfeasibly brutal world that feels real. With use of high imagery McCarthy creates a world where there is no more manufacturing or framing with most of the natural world being destroyed, “Perhaps in the world’s destruction it would be possible at last to see how it was made. Oceans, mountains. The ponderous counterspectacle of things ceasing to be. The sweeping waste, hydroptic and coldly secular. The silence.” with only the remains of capitalism left. The Road further diverges from the usual post-apocalyptic worlds by using desolate and colourless surroundings, “Charred and limbless trunks of trees… sagging hand of blind wire strung got blackened light poles. McCarthy further diverges by creating a real life world by giving the reader the trivial tasks of daily life as the father and son travel.

McCarthy further challenges literature conventions by creating a dislocation between the reader and the son. While The Road is modeled after Earth, there are parts throughout the novel which create both a familiar feeling in the reader and dislocation. “He sat and ran his hand around in the works of the gutted machines and in the second one it closed over a cold metal cylinder. He withdrew his hand slowly and sat looking at a Coca Cola.

What is it, Papa?

It’s a treat. For you.” This further pushes the dislocation as the 10 year old has never had Coke a beverage that is common for most children to have tried along with the Coke representing the fall of capitalism. The Road demonstrates the conflict in spiritual beliefs creating diverse perspectives on renewal McCarthy does this by challenging literature conventions and creating a realistic bleak and grim world.

Worlds of upheaval continue to represent political and social conflict throughout history. Through texts such as Waiting for Godot, The Road and Metropolis responders are able to see how the author creates multiple perspectives to demonstrate renewal and how many ideas can conflict and create either hope or despair.

Absurd drama is a play that takes the shape of man’s response to a world clearly without meaning or man as a puppet. It tells the response of people without goal and direction. A form of drama that emphasizes the absurdity of human presence by employing disconnected, monotonous, and meaningless dialogue, purposeless and befuddling circumstances, and plots that need reasonable or logical development.

Waiting for Godot is an absurd drama. In reality, the absurd drama presents human life and human circumstance as absurd. This sort of show is free from the conventional plot, story, or division into acts and scenes. Here we get few characters. They have symbolic centrality. Dialogues are very brief and fresh. Nothing noteworthy happens on the organize. It prefers existential topics. Things are not clarified but they are just indicated. One can find all these highlights in Waiting for Godot.

A deficiency of activity is one of the major characteristics of an absurd play. There’s nothing significant within the play. So is the case with Waiting for Godot. In this play nothing noteworthy happens but waiting and waiting. The waiting moreover gets to be insignificant because no Godot arrives. As soon as the play opens, we find Estragon, a tramp. He is attempting to remove his shoes. The first comment of this character is, ‘Nothing doing.’ This comment echoes all through the play. In this way within the world of Godot indeed negligible activity is impossible.

The setting of the play reminds us of the post-war condition of the world which brought around instabilities, lost hope, and modern challenges to all of mankind. A critical viewpoint bound with perversion and substantial violence, as a rich profit of the consequence of wars. It is as if the impact and calamities of the wars found sharp reflections in Beckett’s Waiting for Godot.

Next comes the plot. Within the conventional sense, a plot ought to concentrate on a single motivated activity and is additionally expected to have a starting, a center, and a neatly tied-up finishing. But it’s almost incomprehensible to provide a routine plot outline of Waiting for Godot, which has frequently been portrayed as a play in which nothing happens. It is amorphous and not developed on any basic principles. It has no Aristotolean beginning,middle, and end.It begins at an arbitrary point and appears to end just as arbitrarily. Beckett, like other producers working in this mode, isn’t attempting to ‘tell a story.’ He’s not offering any effortlessly identifiable arrangements to carefully watched issues; there’s small by way of moralizing and no self-evident ‘message.’ The pattern of the play might best be portrayed as circular.The circularity of Waiting for Godot is profoundly unconventional.

As per as the depiction of characters is concerned the play moreover fits into the absurd convention. A well-made play is anticipated to present characters that are well-observed and convincingly persuaded. But within the play we five characters who are not exceptionally recognizable human beings and don’t engage themselves in motivating action. Two tramps, Vladimir (Didi) and Estragon (Gogo), are waiting by a tree on a nation street for Godot, whom they have never met and who may not even exist. They contend, make up, contemplate suicide, examine entries from the Bible, and experience Pozzo and Lucky, a master and slave. Near the conclusion of the primary act, a young boy comes with a message from Mr. Godot that he will not come today but will come tomorrow. Within the second act, the activity of the first act is rehashed, with a couple of changes: the tree presently has cleared out, Pozzo is blind, and has Lucky on a shorter leash. Once once more the boy comes and tells them Mr. Godot will not come nowadays; he insists he has never met them before.

‘Waiting for Godot’ fulfills every prerequisite of an absurd play. It has no story, no characterization, no starting nor any conclusion, unexplained subjects, impersonation of dreams and bad dreams and overall it contains useless dialogues.:

‘Waiting for Godot’ does not tell any story nor does it has a plot. The play starts with waiting and closes with it. Characters don’t go anyplace. They stand still before an audience and do nothing but pass the ball. The conversation and pass the time. The play needs activity. The activities of the characters are not related to the plot but to themselves. Vladimir and Estragon wait for Godot and the audience see that perhaps the real story of the play will begin after Godot’s arrival but Godot does not appear on stage nor is he presented to the gathering of people. Eventually, the play closes with waiting. In this ways, ‘Waiting for Godot’ fulfills to begin with the prerequisite of an absurd play.

We don’t know the past of the characters. They are not presented to the audience. We know only their names and their miserable circumstance. Their themes are unclear. Although it is expressed that they are Waiting for Godot however it isn’t told to the audience what reason Godot will serve if he comes. Subsequently, the need for characterization proves that ‘Waiting of Godot’ is a play of absurd theater.

It has no start nor any conclusion. It begins with a circumstance and closes with it. Both acts begin and conclude in the same way. For occurrence, when characters come on stage they uncover their purpose. They say they are Waiting but Godot does not come and the act ends with waiting. The second act is also a duplicate of the first act with minor differences. The play goes on and eventually ends with the wait. Subsequently, there’s no proper start of the play nor does it has a proper conclusion. It is a journey from nothingness to nothingness as watched by famous critics.

Most of the dialogues of this play serve no reason. Incomprehensible chattering is also an important ingredient of the theater of the absurd as specified by Esslin. The whole play is based on the conveyance of dialogues but most of them have no clear implications. Every dialogue is full of images. Every word alludes to something in a hidden meaning but it needs the intrigued of the audience because it needs activity.

Dialogues make activity in every play. Activity loses its significance without worthy dialogues. In the case of ‘Waiting for Godot’, no activity has been displayed, in this manner, exchanges are boring and they are composed fairly to pass the ball. Thus, they are meant to pass the time. The word ‘nothing’ has been repeated numerously within the play. It shows nothingness in it. Thus, exchanges of the play are nothing but incomprehensible chattering. ‘Waiting for Godot’ can be called an absurd play due to this characteristic of absurd theater.

Unclear subjects also make ‘Waiting for Godot’ a play of absurd theater. The audience doesn’t watch any obvious theme within the play. The predominance of a play is continuously subordinate to its themes. ‘Waiting for Godot’ has no self-evident theme. If there’s any, it is hidden. Additionally, it presents the individualistic vision of the author. There’s an impact of alienation within the play about themes.

Thus from the focuses of view of the structure, subject, theme, characters, setting, and language, Waiting for Godot is an absurd drama. It derides the worthlessness of man’s life and its inaneness. Life, as well as passing, is treated as a joke. God is made a non-entity. There’s nothing to do in man’s life.

The Color Purple by Alice Walker follows the hard plight of Celie. The story takes place in Georgia in the 1930s, during a time where intersectionality affected women of color. Celie was sexually assaulted by her step-father, forced to stop her schooling, and marry. After marriage, Celie continues to suffer and live an unfulfilling life in silence until she meets Shug Avery. Upon meeting Shug, Celie discovers the power of friendship through Nettie’s letters, Shug’s love, and Sofia’s courage. In The Color Purple, Walker portrays the importance of female friendship through her depiction of acceptance and emotional support, confidence, and independence.

Walker shows the power of acceptance through Shug’s friendship with Celie. Shug says “She can talk in sign language for all I care”. Here, Walker demonstrates how Shug does not fear judgment and feels no shame. Instead, she accepts Celie. Shug loves Celie despite their differences regarding education, beauty, sexual experiences, and personality. Celie can be her most authentic self with Shug. Shug’s unconditional love and friendship helps Celie deal with her traumatizing sexual assault and the lack of love she received in her childhood home. Shug becomes Celie’s true friend as she accepts her with her flaws. Shug also provides emotional support to Celie when Celie talks about her sexual assault. Shug says, “Don’t cry. She start kissing the water as it come down side my face”. Shug supports Celie through her hard times by vowing to not leave until Mister stops beating Celie. However, in a more familial way, Nettie is the only family who also accepts Celie. Celie says, “He try to give her a compliment, she pass it on to me. After while I git to feeling pretty cute”. Despite their differences, Nettie continues to love and care for Celie miles away. Nettie puts friendship to the true test, as she continues to show concern and stay in touch from Africa. In her childhood home, Nettie provides Celie with emotional support. Later, when Celie marries Mister, Shug becomes the support she needs to fight his male dominance. Friendship saves Celie from falling apart throughout the novel.

Walker conveys another important aspect of friendship, the ability to confide in one another. When Celie confides in Shug, it becomes therapeutic counseling that helps Celie to stop living in the past. Instead of always being influenced by male dominance in her life, Celie begins to take control. Celie says “He beat me when you not here, I say”. Similar to Celie confiding in Shug, Sofia confides in Celie with her problems. Celie and Sofia’s common problems with male dominance brings them closer as friends and allows them to confide in each other. Sofia says, “Last night for supper he ate a whole pan of biscuits by himself”. Celie’s friendship with Sofia allows for her to discover that her husband overate to protect his sense of masculinity and to remain dominant. As Celie makes Harpo realize that not all women can be dominated, he begins to change his sexist thinking. Celie and Sofia’s friendship proves to help Sofia find happiness in her marriage for a little while. Lastly, Nettie’s and Celie’s letters consist of conversations full of confessions and secrets. These letters become Celie’s motivation to keep going in life. When Celie begins to write, she tells Nettie about her successes in life from meeting Shug to opening up her own business selling pants. Celie addresses Nettie in her letter and says, “I am so happy, I got love, I got work, I got money, friends and time”. The numerous letters allows for Nettie and Celie’s friendship to persist, showing the power of friendship that exists from two separate continents. Their friendship becomes the longest in the novel. They are dedicated to their friendship with their frequent letters. Even Mister could not keep the letters hidden, showing how true friendship prevails.

The power of friendship helps bring about independence. As Olivia grows up among the Olinka people, she begins to support Tashi in a different way than the typical Olinka women. Nettie’s letter says, “At the end of the day, when Tashi can get away from all the chores her mother assigns her, she and Olivia secret themselves in my hut and everything Olivia has learned she shares with Tashi”. As Olivia educates Tashi, she supports her desire to learn more. She wants the best for Tashi and wants her to receive an education, so she can receive independence. Olivia is happy for Tashi and her successes, like a true friend. She gives Tashi the courage to achieve her independence. Similarly, Shug helps Squeak with her singing. Shug says, “Plus, you dress Mary Agnes up the right way and you’ll make piss pots of money”. Shug supports Squeak’s desire to sing. From being quiet and shy, Squeak creates a new identity with her name, Mary Agnes. Shug helps Squeak discover the true version of herself. Additionally, Celie stops turning to God and instead turns to friendship for support. As Celie and Shug’s friendship deepens, Celie begins to achieve the courage to fight against injustices. Celie feels anger when Mister hid Nettie’s letter and with the help of Shug, Celie begins to talk back to her husband. Celie says, “It’s time to leave you and enter into the creation. And your dead body is just the welcome mat I need”. Because Shug moves to Memphis, Celie finds the courage to go and creates a business for herself. Shug and Nettie’s friendship makes Shug finally realize that she does not need Mister, and she can finally stand up to him.”

In The Color Purple, Walker conveys friendship through acceptance and emotional support, confidence, and independence in the character’s actions. Walker portrays how friendship helps boost the characters’ confidence, allows for women to deal with trauma or problems, and allows them to find happiness. The important theme of friendship in the novel allows the reader to understand how women finally conquer hardships and discover their unique independence through female friendship. Furthermore, the novel provides the reader with the important message that friendship provides the strength to accomplish the impossible.