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Essay — «Good Advice is Rarer Than Rubies; An Analysis» — [PDF]

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<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> An Analysis </font></a> - Photo: <a alt="Good Advice is Rarer Than Rubies; An Analysis" href="http://www.benjaminmadeira.com/search/label/essays" style="text-decoration: none;" target="_blank" title="Good Advice is Rarer Than Rubies; An Analysis"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [https://goo.gl/YB8GIp] In a five paragraph essay analyze how the author creates suspense and enables the reader to understand the characters' feelings. Consider (POV) point of view, setting and the use of language._______________________(Prompt).</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Essay https://goo.gl/XI805s Good Advice is Rarer Than Rubies; An Analysis | #English #Essay #Literature #LiteraryAnalysis </div> <br /><br />

<div class="JBMCode"> His narrative moves quickly with a colloquial idiom. From Miss Rehana eating her chili pakoras and Mohammed Ali peddling his advice for would-be visa seekers to the ever-suspicious British consulate sahibs, Salman Rushdie sketches an evocative cameo in quick, broad, calligraphic strokes. </div> <br />

<div class="citajbm"> Salman Rushdie, who often regards himself as a "bastard child of history", displays in this collection a kaleidoscopic view of the world embracing both fable-like parables (mostly set in India or Pakistan, in the “East” section of the book) and sophisticated parodies of contemporary global society (in the last section). This carnivalesque mongrelization also erases the limits between the sacred and the profane, the cult and the popular, the tragic and the trivial; and it is only from this prism that one can understand the ironic conflation of widow-burning or arranged marriages with Star Trek fantasies or Elvis Presley’s songs. </div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Good Advice is Rarer Than Rubies; An Analysis; A 5 Paragraph Essay, Benjamin Madeira, <a name="pdf">PDF</a> :: </span></div></H2> 
<CENTER> <a alt="Good Advice is Rarer Than Rubies; An Analysis; A 5 Paragraph Essay, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12TzJQalMyVHhkN0k/view?usp=sharing?origin=http://www.benjaminmadeira.com/2017/01/essay-salman-rushdie.html" target="_blank" title="Good Advice is Rarer Than Rubies; An Analysis; A 5 Paragraph Essay, PDF"><img alt="Good Advice is Rarer Than Rubies; An Analysis; A 5 Paragraph Essay, PDF - Official Website - BenjaminMadeira" border="0" height="96px" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGJAXCWZuTFPkbZytdRiYouVEQzU1gwKkrC_4MnzGEW2JhI0XZsdRWOWnORv_-CPnUHe0q2VDR06xiz2YavlTEnIGRDWsFy8OD-eF8FldqNaRtNt6nPerZyP-P-hbklKAih7tyjhuCx8RW/s1600/pdf-BenjaminMadeira-com.png" title="Good Advice is Rarer Than Rubies; An Analysis; A 5 Paragraph Essay, PDF - Official Website - BenjaminMadeira" width="100%" /> </a> </CENTER> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My Hook / Attention Getter :: </span></div></H2> 
<div class="citajbm"> What a dreary task it turns out to be, when one can almost always tell the next twist in a piece of literary work. Usually, a writer’s main objective is telling their narrative to an audience. An alluring story, however, should be able to capture the audience’s attention from the beginning until the close of it.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My transitional sentence :: </span></div></H2> 
<div class="citajbm"> Salman Rushdie has composed an enthralling story by injecting suspense into his short story <i>Good Advice is Rarer than Rubies</i>.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My Thesis Statement :: </span></div></H2> 
<div class="citajbm"> The British Indian novelist and essayist uses a point of view that enables the reader to <strong><span style="font-size:20px; color: #000000; background-color: #FFFF00;">1) </span></strong> understand the characters and their lives deeply, <strong><span style="font-size:20px; color: #000000; background-color: #FFFF00;">2) </span></strong> examining where and when it happens while <strong><span style="font-size:20px; color: #000000; background-color: #FFFF00;">3) </span></strong> infusing it with figurative language. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My first body paragraph :: </span></div></H2> 
<div class="citajbm"> What would a story be without characters? It would not be a story. Characters are the centerpieces through which the reader visualizes the story as it unfolds. The writer of this short story uses the third person limited point of view to tell the story of Muhammad Ali and Miss Rehana. It is limited because the writer only has access to Muhammad’s experiences, whose thoughts he reads frequently and deeply. When Muhammad Ali sees Miss Rehana, he feels himself “[...] becoming young again [...] [o]ld fool [...] the oldest fools are bewitched by the youngest girls” (Rushdie 5, 11). From Muhammad’s point of view, we realize that he is indeed an old man now, but his attraction for Miss Rehana makes him wish for his youth, “[...] and those eyes did bad things to his digestive tract.” (Rushdie 6). The suspense in the story holds me still as a reader, and I crave to know what exactly Muhammad will do about his feelings and how Miss Rehana would respond if at all he expressed himself. From Muhammad’s point of view, the reader is placed into the story. We get to know that Muhammad’s aim is to swindle the naïve people by lying to them that he has connections that will enable them to get the papers they need to migrate to England. However, he is hesitant to do the same to Miss Rehana. The suspense that this creates enables a reader to sympathize with the character, a literary device the writer uses.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My second body paragraph :: </span></div></H2> 
<div class="citajbm"> When Miss Rehana arrives at the gates of the British consulate, yet there is a “dusty compound between the bus stop and the consulate” (Rushdie 6) that is filled with people, we are drawn to the fact that the story is not on British soil, and Miss Rehana needs some assistance to be there. Or maybe it is just the people waiting. Well, we cannot ascertain that, unless we read some more. Suspense. “She was standing in at a hot snack stall in the little shanty town by the edge of the compound” (Rushdie 6). A shanty town? Near a consulate? “He led her to the low wooden desk in his special corner of the shanty town” (Rushdie 7). Now, why is there a market of sorts at the edge of a British consulate? This plagues a reader with curiosity to understand more about the characters’ culture. We get to know, from this setting, that these people love chilli-pakoras. Miss Rehana buys Muhammad a pakora to thank him for his ‘advice’ (Rushdie 13). The setting in this story is a day, and to find Muhammad still waiting outside the gates despite doing nothing, affirms that he was attracted to Miss Rehana. Miss Rehana’s plight is also revealed in our waiting for her. We get to know what her story is. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My third body paragraph :: </span></div></H2> 
<div class="citajbm"> Writers are thought-provoking people, to the reader’s advantage. Their use of language while telling a story, always weaves an intricate web that does the trick in creating suspense. Miss Rehana tells Muhammad that she is a “[...] a poor potato” (Rushdie 7). A metaphor that gives a peak on what her life is like compared to the other women, but how else would a reader know if they do not read on? Suspense. “Good advice should find good money” (Rushdie 7), which is an analogy that lets us understand that this character is indeed poor, yet she does not wallow in self-pity. “She was a sparrow [...] they were men with hooded eyes like hawks” (Rushdie 9). A metaphor and a simile, used by the character Muhammad to explain the reality of things. She is the prey and the people at the consulate are predators and so she should be wary of them. It is indeed ironic of Muhammad to say so because he is also a hawk preying on the Tuesday women. The writer utilizes hyperboles as a literary device, “[...] love stories and green medicine, both of which cured happiness” (Rushdie 13, 14) which is an exaggeration that explains that the characters are usually sad when they leave the consulate. It also suggests that the consulate crushes the Tuesday people’s dreams every Tuesday.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My Conclusion :: </span></div></H2> 
<div class="citajbm"> Salman Rushdie’s "Good Advice is Rarer than Rubies" is indeed a spellbinding story from the fore to the last word. He employs <strong><span style="font-size:20px; color: #000000; background-color: #FFFF00;">1) </span></strong> the character’s point of view, <strong><span style="font-size:20px; color: #000000; background-color: #FFFF00;">2) </span></strong> the setting, and <strong><span style="font-size:20px; color: #000000; background-color: #FFFF00;">2) </span></strong> expert use of language that intrigues one into the need to read the next word each time. He dwells on the plight of the people of this particular place, which is a constant need to escape the life that they are living. In the premise, he sets up that most want to leave. The writer, hence, makes the reader appreciate the characters, and with the use of suspense, helps to understand them deeply. </div> <br />

<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Kumar, Amitava (Ed.) <i>Away: The Indian Writer as an Expatriate</i>. New York: Routledge, 2004.  <br /><br />

• [2] Rushdie, Salman. "Good Advice is Rarer Than Rubies". Revere Books ABAA & IOBA. 1994. Print.  <br /><br />

---. <a href="http://www.gbv.de/dms/goettingen/368990613.pdf" title="">East, West</a>. New York: Pantheon Books, 1994. <br /> 
---. East, West. London: Vintage, 1995.

</div> <br /> <br />

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Essay — «Good Advice is Rarer Than Rubies; An Analysis» — [PDF]

An Analysis - Photo: illustration — [https://goo.gl/YB8GIp] In a five paragraph essay analyze how the author creates sus...

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Literature — «A Story of The Stone Age: Herbert George Wells» - [MP3/PDF]

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html"> <img alt="A Story of The Stone Age: Herbert George Wells - Official Website - BenjaminMadeira" border="0" height="336px" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhla3Es65rzVnh5MNErV-fCkEwboIOhxhhS2jFW8qe-BCuEDc6LkcDQyFlsMaa3fOBN56nD11wKpD406Z6MTsfeneKTsb9P_ILmpaN8jZf5nqEmz3hbiw1Djlob0v2rMUs2mmxrHUG8yVnt/s600/hombre-edad-de-piedra-BenjaminMadeira-com.jpe" title="A Story of The Stone Age: Herbert George Wells - Official Website - BenjaminMadeira" width="336px" /> </a><br />
<span> <a href="#youtube" style="text-decoration: none;"><font color="#301ce2"> H.G.Wells </font></a> - Photo: <a href="https://www.google.com/#q=A+Story+of+The+Stone+Age:+Herbert+George+Wells+site:benjaminmadeira.com" style="text-decoration: none;" target="_blank" title="A Story of The Stone Age: Herbert George Wells"><font color="#FF4000"> © Creative Commons</font></a> / <a alt="A Story of The Stone Age: Herbert George Wells" href="http://www.benjaminmadeira.com/search/label/history" style="text-decoration: none;" target="_blank" title="A Story of The Stone Age: Herbert George Wells"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/jpNuOY] This story is of a time beyond the memory of man, before the beginning of history, a time when one might have walked dryshod from France (as we call it now) to England,_______________________and when a broad and sluggish Thames flowed through its marshes to meet its father Rhine, flowing through a wide and level country that is under water in these latter days, and which we know by the name of the North Sea.</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: ‪Stone Age ▶ http://goo.gl/SQPdGb ◀ In that remote age the valley which runs along the foot of the Downs did not exist, and the south of Surrey was a range of hills, fir-clad on the middle slopes, and snow-capped for the better part of the year. The cores of its summits still remain as Leith Hill, and Pitch Hill, and Hindhead. On the lower slopes of the range, below the grassy spaces where the wild horses grazed, were forests of yew and sweet-chestnut and elm, and the thickets and dark places hid the grizzly bear and the hyæna, and the grey apes clambered through the branches. And still lower amidst the woodland and marsh and open grass along the Wey did this little drama play itself out to the end that I have to tell. Fifty thousand years ago it was, fifty thousand years--if the reckoning of geologists is correct. #History #StoneAge #Story </div> <br /><br />

<div class="JBMCode"> And in those days the spring-time was as joyful as it is now, and sent the blood coursing in just the same fashion. The afternoon sky was blue with piled white clouds sailing through it, and the southwest wind came like a soft caress. The new-come swallows drove to and fro. The reaches of the river were spangled with white ranunculus, the marshy places were starred with lady's-smock and lit with marsh-mallow wherever the regiments of the sedges lowered their swords, and the northward-moving hippopotami, shiny black monsters, sporting clumsily, came floundering and blundering through it all, rejoicing dimly and possessed with one clear idea, to splash the river muddy.  <br /> <br />

Up the river and well in sight of the hippopotami, a number of little buff-coloured animals dabbled in the water. There was no fear, no rivalry, and no enmity between them and the hippopotami. As the great bulks came crashing through the reeds and smashed the mirror of the water into silvery splashes, these little creatures shouted and gesticulated with glee. </div> <br /> <br />

<center><b><font face="Verdana" size="3"><a href="http://facebook.com/sharer.php?u=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" oncontextmenu="alert('Education - BenjaminMadeira.com - Official Website');return false" oncopy="alert('Education - BenjaminMadeira.com - Official Website');return false" style="text-decoration: none;" target="_blank" title="Compartir - Share via FACEBOOK"><font color="#CC0000">SHARE: FACEBOOK</a></font></font></b> | <b><font face="Verdana" size="3"><a href="http://twitter.com/home?status= — A Story of the Stone Age is a short story written in 1897 by H. G. Wells http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html [via @BenjaminMadeira]" oncontextmenu="alert('Education - BenjaminMadeira.com - Official Website');return false" oncopy="alert('Education - BenjaminMadeira.com - Official Website');return false" style="text-decoration: none;" target="_blank" title="Compartir - Share via TWITTER"><font color="#CC0000">TWITTER</a></font></font></b></CENTER> <br />
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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> "A STORY OF THE STONE AGE: UGH-LOMI AND UYA, THE CAVE BEAR, THE FIRST HORSEMAN," from Tales of Space and Time by the father of science fiction, nominated for the Nobel Prize in Literature in four different years (1921, 1932, 1935, 1946,), Herbert George Wells, <a name="pdf">PDF</a> :: </span></div></H2> 
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<div style="text-align: center"> <span style="color: darkgreen"> <span style="font-size: 17pt; line-height:10pt"> [ <a class="explicacion"> <b>H. G. Wells, intended for nonprofit, home use / domestic, educational, discussion purposes only.</b> <span> PDF, Herbert George Wells, for educational, discussion purposes only </span></a> ] </span> </span> </div> <br />

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<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_04_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 04. A Story of the Stone Age - Part 2 - The Cave Bear: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 31min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_05_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 05. A Story of the Stone Age - Part 3 - The First Horsemaan: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 27min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_06_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 06. A Story of the Stone Age - Part 4 - Uya the Lion: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 26min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_07_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 07. A Story of the Stone Age - Part 5 - The Fight in the Lion's Thicket: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 27min</a> </li>

<li><a alt="A Story of The Stone Age: Herbert George Wells" data-src="http://www.archive.org/download/talesofspaceandtime_1401_librivox/talesofspaceandtime_08_wells_128kb.mp3?source=http://www.benjaminmadeira.com/2016/04/herbert-george-wells.html" href="#" title="A Story of The Stone Age: Herbert George Wells"> 08. A Story of the Days to Come - Part 1 - The Cure for Love: Tales of Space and Time: Herbert George Wells, MP3 - Read by Richard Kilmer, 44min</a> </li>

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Tales of Space and Time: Herbert George Wells (1866-1946) Five short Science Fiction stories. Summary by Richard Kilmer
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Essay — «The Solace of Open Spaces: Travel Writing» — Analysis [PDF/Video]

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<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> "The Solace of Open Spaces" </font></a> - Photo: <a alt="The Solace of Open Spaces — Creative Nonfiction: Travel writing" href="http://www.benjaminmadeira.com/search/label/essays" style="text-decoration: none;" target="_blank" title="The Solace of Open Spaces — Creative Nonfiction: Travel writing"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/l2C8cn] It involves writing about personal experience, real people, or events.  _______________________Travel writing.</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Creative Nonfiction: Travel Writing http://goo.gl/l2C8cn The Solace of Open Spaces | #Essay #GretelEhrlich #TravelWriting #LiteraryJournalism #CreativeNonfiction #Wyoming #CowboyLife #USAliterature #Literature #StudyNotes #UniversityStudies #SocialStudies #CulturalStudies #Society </div> <br /><br />

<div class="JBMCode"> With delicate, yet piercing, words she weaves an inspiring and memorable relationship between the individual and nature. </div> <br />

<div class="citajbm"> The <i>Solace of Open Spaces</i> bears some of the characteristics of travel writing; it makes use of background information that builds up to the events in Ehrlich’s texts, “[s]eventy-five years ago, when travel was by buckboard or horseback [...]” (7). She travels to the past and tells Wyoming's history and people's stories because in Wyoming "private histories are largely public knowledge" (9). It is the simple pleasures she experiences that have made the protagonist stay in Wyoming so long after her first visit: "Despite the desolate look, there's a coziness to living in the state. There are so few people [...] that ranchers who buy and sell cattle know one another statewide; [...] despite the physical separation, people stay in touch, often driving two or three hours to another ranch for dinner" (Ehrlich 7). </div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Creative Nonfiction: Travel writing :: </span></div></H2> 
<div class="citajbm"> The <i>Solace of Open Spaces</i> (1985) by author Gretel Ehrlich is all about an exploration of what Wyoming brings out in Ehrlich the narrator/protagonist and the reader. What stands out is how Ehrlich the narrator/protagonist expresses her long stay in the west. The Solace of Open Spaces gives a profound description of the vast State of Wyoming and the solace that can be experienced in its open planes. Gretel Ehrlich "has done her best to portray the truth as she knows it and to the best of her ability" (Robbins-Sponaas, lesson 9). Ehrlich's text is ultimately memoir, but it inevitably crosses borders with other forms of creative prose, such as a relationship between the individual and nature, and literary journalism. Furthermore, throughout the story, Ehrlich gives her account of a personal observation and aspects that make Wyoming attractive. Ehrlich shares Wyoming’s solace with the reader; she shares the sheltering look of the vastness (Ehrlich 2; Robbins-Sponaas, lesson 9). One can argue, thereby, that <i>The Solace of Open Spaces</i> has characteristics of travel writing. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Nonfiction writing :: </span></div></H2> 
<div class="citajbm"> Travel writing is a form of nonfiction writing whose sole purpose is to document the events people, sights and feelings of the author. The writer might be visiting new places for the sake of new experiences and pleasure of travel. Many travel books reach out to the readers advising them on the sights to see or even where to find the national cuisine of a foreign land. They focus on presentation of information (Robbins-Sponaas, lesson 9). Travel writing can explore the field of adventure, entertainment, and even diary. Travel writing has continually gained a wide range of audiences who seek to get more information about certain places. In this type of travel writing “the place is the most important focus of the text” (lesson 9). Ehrlich’s writing, however, is not an informational text but a true story about a period in her life; it resembles a novel more than it resembles a guidebook. It is a cultural artefact containing her experiences, “a sense of humanity in general” (Thompson 13-14; Robbins-Sponaas, lesson 10). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The "eye," and the “I” :: </span></div></H2> 
<div class="citajbm"> As a memoir, <i>The Solace of Open Spaces</i> transcends the boundaries of Ehrlich’s experience. All the events that Ehrlich sees through the "eye," affects Ehrlich's feelings, emotions and thoughts; it affects her “I” and also the self of her readers (Nguyen and Shreve 2; Robbins-Sponaas, lesson 9). Throughout <i>The Solace of Open Spaces</i> there is intense observation, description and immersion into Wyoming’s landscape. It is therefore not merely information; it is not fiction. In other words, it is literature of fact. As a memoir, <i>The Solace of Open Spaces</i> is “a window into a life” (Zinsser 136). Ehrlich draws on “experiences emerging from personal experiences” (Nguyen and Shreve 2). <i>The Solace of Open Spaces</i> is about how she interprets Wyoming and that interpretation is determined by her own experience of the State (Robbins-Sponaas, lesson 9). Nguyen and Shreve point out that "[a] prominent form of personal creative nonfiction is the memoir because it mines the material of personal history" (2). <i>The Solace of Open Spaces</i> by author Gretel Ehrlich is a reflection on the people and events that take place in Wyoming which influence the life of Ehrlich. It is explicitly a characteristic of literary work to adequately describe a people’s way of life (Ehrlich 10-11).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Weather is capricious and mean :: </span></div></H2> 
<div class="citajbm"> Ehrlich's text begins in medias res, somewhere in the middle of the story. The purpose of this type of beginning is to grab the readers’ attention and compel them to reader further. In <i>The Solace of Open Spaces</i>, Ehrlich employs remarkably descriptive imagery including personification, metaphors and similes, “[t]he morning sky looks like cheese” (24), “Spring weather is capricious and mean” (12), “[c]anyons curve down like galaxies” (3) and "[d]ays unfold, bathed in their own music. Nights become hallucinatory; dreams, prescient" (12). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Winds howl all night and day :: </span></div></H2> 
<div class="citajbm"> There is a recurring image of water and wind throughout Ehrlich's text. The protagonist has "just awakened from a nap [...] sheltered from wind" (2) in Wyoming's openness which "is all about wind". (4) The protagonist mediates that in that State "[w]inds howl all night and day" (14) and "[t]ough it was water that initially shaped the state, wind is the meticulous gardener" (13). The protagonist is in love "with this wind-swept state" (13). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The doing of a mad architect :: </span></div></H2> 
<div class="citajbm"> This imagery about “wind” links the landscape that “seems to be the doing of a mad architect--tumbled and twisted” with those images and creates a vivid experience between the narrator and the reader. In this open country “good-naturedness is concomitant with severity” (Ehrlich 8). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> A few verbs :: </span></div></H2> 
<div class="citajbm"> In this context, one finds solace in simple places, similar to the particular language that Wyomingites use, “a few phrases imply a complex of meanings” (Ehrlich 10). The sentences people employ consists of a few verbs as if to shorten conversations. Cowboys would ask, for instance: “Which one needs rode” (10-11). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> A sensory experience :: </span></div></H2> 
<div class="citajbm"> Ehrlich “[places] greatest weight describing the place and giving the reader a sensory experience” (Robbins-Sponaas, lesson 9). The readers do not only see shepherd, horse, dog, and sheep in the planes but they also see them with all their detail, "[e]agles look like small people" and "[a]ntelope [move] in small, graceful bands [...], their mouths open as if drinking in the space” (Ehrlich 9). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Mixed reflections on the experience :: </span></div></H2> 
<div class="citajbm"> Another characteristic of travel writing is its ability to use mixed reflections on the experience. This helps the reader see the importance of the experience and appreciate the writer’s perspective. Ehrlich recalls her memories utilizing a very visual, detailed, descriptive language:  <br /> <br />

“A few weeks ago, I helped them deliver a calf who was stuck halfway out of his mother's body. By the time he was freed, we could see a heartbeat, but he was straining against a swollen tongue for air. Mary and I held him upside down by his back feet, while Stan, on his hands and knees in the blood, gave the calf mouth-to-mouth resuscitation. I have a vague memory of being pneumonia-choked as a child, my mother, giving me her air [...]” (Ehrlich 12-13). 
 </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Fruition is also death :: </span></div></H2> 
<div class="citajbm"> The story brings out her feelings, and she explicitly admits that she is in a romantic relationship with Wyoming, she is in “romance with this wind-swept state” (Ehrlich 13). Just when the readers are thinking of love, Ehrlich returns them to another reality of life by reflecting that “Autumn teaches us that fruition is also death; that ripeness is a form of decay. The willows, having stood for so long near water, begin to rust. Leaves are verbs that conjugate the seasons” (27). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The exploration of the open country :: </span></div></H2> 
<div class="citajbm"> <i>The Solace of Open Spaces</i> portrays that Ehrlich is not a stranger to every aspect of Wyoming. It “[makes] the reader experience the location vicariously through [Gretel Ehrlich]” (Robbins-Sponaas, lesson 9). Ehrlich interacts with the people knowing their culture and terming them as very friendly (8-9). The fact that she can recognize the change in the use of language by the Wyoming residents makes it clear that she is fully immersed in the society (10). Her interaction with local people and working together with her neighbors form a big part of what she feels about the place (11-12, 22). Ehrlich makes this piece of work a travel writing by describing in detail the exploration of the open country and its planes where “the vistas look like music” (5) as well as the friendliness of its people.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> Thus, travel writing is a form of creative nonfiction literary work whose nature demands that the writer expresses her personal experiences. It “not necessarily detail a journey” (Robbins-Sponaas, lesson 9). In the writing of this type of literature, it is not about “[bringing] the reader to the destination” but rather about what the destination brings out of both the narrator and the reader (lesson 9). Ehrlich attempts to share Wyoming with the reader, that destination where she “lost herself.” Author Gretel Ehrlich makes the solace of Wyoming real and enjoyable to her readers (lesson 9). Undoubtedly, <i>The Solace of Open Spaces</i> is memoir within nonfiction writing but it also meets the set characteristics of travel writing. </div> <br />

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<CENTER> <strong><span style="font-size:14px; color: #000000; background-color: #FFFF00;"> This conversation with author Gretel Ehrlich took place at the Sun Valley Writers' Conference in 2014 :: </span></strong>  </CENTER> <br />
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<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Ehrlich, Gretel. The Solace of Open Spaces. New York: Penguin Group, 1985. <br /><br />

• [2] Nguyen, B. Minh, and Porter Shreve. Contemporary Creative Nonfiction: I & Eye. New York: Pearson Education, Inc., 2005. Print. <br /><br />

• [3] Robbins-Sponaas, Rhonna. "Lesson 9: An introduction to Creative Nonfiction." ENG6012 Course Website, Spring 2015. Take Credit, Trondheim: NTNU. Web. Retrieved on May 2015 from https://goo.gl/5ItFpF <br /><br />

______.  "Lesson 10: Ehrlich." ENG6012 Course Website, Spring 2015. Take Credit, Trondheim: NTNU. Web. Retrieved on May 2015 from https://goo.gl/WyTwch <br /><br />

• [4] Thompson, Carl. Travel writing. New York: Routledge, 2011. Print. ISBN: 978-0-415-44464-4 <br /> <br />

• [5] Zinsser, William. On Writing Well: The Classic Guide to Writing Nonfiction. New York:  Harper-Collins Publishers, Inc., 2001 (6th. Ed). Print. <br />  </div>

Essay — «The Solace of Open Spaces: Travel Writing» — Analysis [PDF/Video]

"The Solace of Open Spaces" - Photo: illustration — [http://goo.gl/l2C8cn] It involves writing about personal e...

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Essay — «Souls Belated and All the King’s Men» — Analysis [PDF/Videos]

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2015/06/souls-belated-all-kings-men.html"><img itemprop="photo" oncontextmenu="alert('BenjaminMadeira - Official Website');return false" oncopy="alert('BenjaminMadeira - Official Website');return false" /></a> <br />
<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> "Souls Belated" and <i>All the Kings Men</i> </font></a> - Photo: <a alt="Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men—" href="http://www.benjaminmadeira.com/search/label/essays" style="text-decoration: none;" target="_blank" title="Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men—"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/TRgsD1] Anne Stanton was "simply a name for a peculiarly complicated piece of mechanism".  _______________________(Warren 311, kindle location 5963).</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Anne Stanton, http://goo.gl/TRgsD1 the upper-class thin girl, "brown-toned, golden-lighted and quiet-face, big-eyed, goes on to start an affair with Willie Stark, the local governor and womenizer, to keep her societal status (Warren 39, 103, kindle locations 783, 2008); Interdisciplinary Course with Cultural Studies | #Essay #StudyNotes #UniversityStudies #SocialStudies #CulturalStudies #Society </div> <br /><br />

<div class="JBMCode"> In both texts, women's roles are very different, yet there are identical characteristics between Warren's female characters and Wharton's women. Undeniably, beneath their façade of defending moral values lies a deep hypocrisy. </div> <br />

<div class="citajbm"> Jack struggles both against the morality of his ancestors and the present-day morality in a world of moral ambiguity. All this morality struggling becomes Jack's burden. <br /><br />

Lydia, on the other hand, struggles against the document of divorce and the theme of marriage that hung over their head as a sword restrained only by a delicate thread. She struggles against “fossilized sandwiches” (Wharton 83) in a little microcosm full of a ‘certain tone’ (102), a ‘belated society’, gossip old ladies still dragging their feet; she struggles against the limitations of such rigid American society, those "old cats in caps" (Wharton 99-100).<br /><br />

Jack's mother had had at least five men. She was a woman, "who loved merely power over men and the momentary satisfaction to 
vanity or flesh which they could give her" (Warren 433, kindle location 8257)</div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men— ; Interdisciplinary Course with Cultural Studies, Benjamin Madeira, <a name="pdf">PDF</a> :: </span></div></H2> 
<CENTER> <a alt="Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men—, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12RldNR3ptOEo3c1E/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/06/souls-belated-all-kings-men.html" target="_blank" title="Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men—, PDF"><img alt="Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men—, PDF - Official Website - BenjaminMadeira" border="0" height="325px" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgutlf6feBFedZORQpdwcy8JP-VYSsbvwbipt7-zGGe2Ogy2IdWPl5LBPvtARCCDUXgxz8tY-ipdjoFxm0YXPBM83RmCrkXXFEAShpdLR9gVXEH3Weo147jhiRJ966cwfnqnWYxWoLZ-Z6c/s1600/pdf-BenjaminMadeira-com.gif" title="Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men—, PDF - Official Website - BenjaminMadeira" width="325px" /> </a> </CENTER> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Female characterization in the short story “Souls Belated” and the novel <i>All the King’s Men</i> :: </span></div></H2> 
<div class="citajbm"> The short story "Souls Belated" (1899) and the novel <i>All the King's Men</i> (1946) present very distinct female characters in very different environments. “Souls Belated” depicts women during the turn-of-the-century New York and <i>All the King's Men</i> does the same in post-Great Depression American society. Furthermore, while women's roles are very different, Warren's female characters and Wharton's women share certain characteristics. As will be seen, in both, “Souls Belated” and <i>All the King's Men</i>, female characters are depicted in patriarchal environments. Against a background of puritan, wealthy New Yorkers, social hypocrisy, on one hand, and urban and rural settings, on the other, some female characters seek to preserve their social standards while others oppose the repressive societal norms. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Archetypes in patriarchal history :: </span></div></H2> 
<div class="citajbm"> Both literary works depict women that represent archetypes in patriarchal history. There is an important difference between Edith Wharton’s depiction and Warren’s adaptation of women. Warren's female characters sprang from the mind of a male and are fictional women (Brent vii). Moreover, Wharton's short story centers on authentically human women characters who seek their happiness through socially privileged marriages, and Lydia who considers marriage to be society’s restrictions imposed on women. While Warren searches inside himself to draw a picture of his women, Edith Wharton addresses a social critique on all the benefits that were dampened by the lack of freedom that characterized married women during the Gilded Age.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Point of view :: </span></div></H2> 
<div class="citajbm"> In “Souls Belated,” the narrator-focalizer Edith Wharton utilizes a third-person omniscient which can relate events that secondary characters experience directly while giving access to their thoughts and motivations. While <i>All the King’s Men</i> utilizes first-person narration, the reader has to rely on the protagonist, journalist and researcher, Jack Burden. Jack Burden is the story-telling persona of most of the story in <i>All the King’s Men</i>. A third-person limited is embedded in chapter four and the end of chapter ten, in which Jack is closely followed throughout. The first-person point of view can present certain opportunities, but can also entail particular challenges and limitations. One limitation of first-person narration is giving the readers access to secondary characters’ thoughts and motivations. Another is relating events that the narrator does not experience directly and it can be challenging to show clear primary character development and a self-aware perspective.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> In medias res :: </span></div></H2> 
<div class="citajbm"> While Wharton starts her short story as the readers follow Lydia and Ralph Garnett on a train trip which symbolizes their journey in life, Warren's story begins <i>in medias res</i>, somewhere in the middle of the story, and it entails subsequent use of flashback —"a type of ping-pong effect in the novel"— (Robbins-Sponaas, lesson 6) and nonlinear narrative —out of chronological order —. The narration starts full of long sentences of description that become Highway 58 and the readers will start travelling along as active observers (Warren 1, kindle location 28). Social realist Edith Wharton employs remarkably descriptive imagery including metaphors and similes. Lydia and Gannett’s journey through Europe on the train is, in itself, a metaphor of their evolving journey in their life. The female narrator-focalizer observes that “[t]he direction of the road had changed” [...] “[t]heir railway-carriage [which] had been full” becomes empty as it advances (Wharton 83). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> American riches and English aristocrats :: </span></div></H2> 
<div class="citajbm"> In “Souls Belated,” one of the most prevalent themes is turn-of-century New York society’s preoccupation with procuring socially advantageous marriages. Nina Baym in Woman's Fiction observes that “the ethos of money and exploitation [...] is perceived to prevail in American society” (27). In New York aristocratic society, the female characters struggle because of the inadequacy of their respective marriages. Lydia's staying at the Anglo-hotel represents an internal struggle in her opposition to the forces that quell women’s emancipation. Lydia had internalized the repressive societal norms towards women who refuse “the normal conditions of life” (Wharton 125). She behaves as a married woman among American riches and English aristocrats (102-107, 117-118). At the hotel, Lydia has to cope with complications due to her attitude to the ‘institution of marriage’; “marriage” understood by its political nature, rather than a self-chosen relationship (Holmes 113). Lydia went on to start an extra-marital affair with Ralph Gannett who saw her as his equal. Against a background of wealth and social hypocrisy, both lovers flee the stiff regulations and the tedious regularity of New York and enjoy their passionate relationship. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> In accordance with traditional values :: </span></div></H2> 
<div class="citajbm"> An evolving journey is what Lucy Stark, Governor Willie's wife, has not chosen. She lives in accordance with traditional values. Unlike Lydia, Lucy has a special devotion to her marriage and her family; she is depicted as “a dutiful wife and mother” (Robbins-Sponaas, lesson 6). Although, different than Lydia, Lucy Stark abandons her conjugal relationship, leaving Willie to his political and sexual intrigues. In “Souls Belated,” Lydia assumed the responsibility of charting her own path of personal autonomy. Similarly to Lucy Stark, at some point in her trip together with her lover, Lydia felt that marriage still meant something for her, she gained respectability within aristocratic society (Wharton 120). Yet, unlike Lydia, Lucy Stark did not divorce Willie as a divorced woman’s behavior did not conform to social norms. Her last name is the antithesis of her apparent strength of character. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Mrs. Murrell :: </span></div></H2> 
<div class="citajbm"> Considering that all events, situations, interpretations of other characters' dialogue are filtered through the narrator-focalizer, the readers do not see much of Mrs. Murrell’s character since Jack pays far more attention to her appearance. Jack's mother was that "big-eyed thin-faced woman who [had a new] man she got herself" (Warren 40, kindle location 807). Jack's mother, Mrs. Murrell, "a real looker," had had an affair with Judge Irwin, the friend of Jack's family, and there were also "those men who had married [his] mother" (Warren 40-41, kindle location 807, 809). Unlike Mrs. Murrell, Lydia soon realized that she had to be honest with herself. It had become a matter of moral principle, and she was determined to disclose the nature of her affair to others (Wharton 95). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> A highly desirable woman :: </span></div></H2> 
<div class="citajbm"> Anne Stanton is Jack's life-long love, who he still regards as a highly desirable woman until he learns she has become Willie's mistress (Warren 266-269, kindle location 5086-5145). Anne Stanton, however, was waiting for him to find a career in order to secure a stable future. Jack, however, had no ambitions. Thus, in contrast to Anne's highly respected father, former Governor Stanton, and her brother, surgeon Adam, Jack was a poor marriage prospect. Contrary to Anne Stanton, Lydia is determined to condemn that women are conditioned to ‘lead a dependent and abject life,’ which undermines their self-confidence and her self-respect. For Lydia, self-reliance was suppressed by marriage (Holmes 112). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Anne Stanton went on to pursue an affair :: </span></div></H2> 
<div class="citajbm"> On deciding to oppose the repressive societal norms, Lydia chooses to abandon her marriage to Tillotson, a rich member of upper-class society, although it offered a series of social privileges. While preoccupied with preserving her respected, comfortable life, in <i>All the King’s Men</i>, well-educated, conformist, Anne Stanton went on to pursue an affair with Governor Willie Stark, who had provided her brother with the opportunity to preserve his social status as a surgeon. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Keep her societal status :: </span></div></H2> 
<div class="citajbm"> Considering her marriage with Tillotson, Lydia held the view that her relationship lacked the intimacy that she would wish to have with a man who saw her role as equally valuable. Anne's expectations in a marriage to a high-society man reveals that she was relying on the social privileges marriage offered. Anne relies upon the traditions of her aristocratic upbringing to give her support. The well-educated Anne Stanton overlooks the corruption in Willie Stark and sees only an advantage to keep her societal status. Anne Stanton honors a patriarchal figure in Willie Stark, while Lydia is fleeing the burden of patriarchal relationships. It took a strong conviction from Lydia to demonstrate her dissatisfaction with the conventional social norm, regardless of the benefits that marriage offered. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> Although in different environments, both Wharton and Warren depict women as willing to preserve their social status despite their freedom. Is evident that, for Warren, marriage represented the final domestication of his heroine, Anne Stanton, who ended up married to Jack. Wharton, however, does not define a self-made woman in terms of marriage but in not providing the readers with an explicit ending, she promotes public debate on women’s self-determination. Wharton had the courage to keep her heroine unmarried under the risk that her short-story was read as a mere story of the frustration of female nature (Baym, 1981, 135). She does not define Lydia by her remarriage with Ralph Gannett but defines her, instead, by her relationship with him, without labeling it as marital relationship. </div> <br />

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<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Baym, Nina. “Melodramas of Beset Manhood: How Theories of American Fiction Exclude Women Authors.” American Quarterly 33 (1981): 123-139. Web. Retrieved on June 2015 from: http://www.jstor.org/stable/2712312  <br /><br />

______.  Woman's Fiction: A Guide to Novels by and about Women in America, 1820-70. Rev. ed. Urbana: University of Illinois Press, 1993; originally published: Ithica: Cornell University Press, 1978. ISBN-13: 978-0252062858. Print. <br /><br />

• [2] Brent, Martha Schaefer. "Female Characterization in the Novels of Robert Penn Warren: Variations on a Cinderella Theme." A Thesis Presented to the Faculty of the Department of English. Bowling Green, Kentucky: Western Kentucky University, 1995. Web. Retrieved on May 2015 from http://goo.gl/UtHSGZ  <br /><br />

• [3] Holmes, Mary. "Second-wave feminism and the politics of relationships." Women's Studies International Forum 23.2 (2000): 235–246. 2. <br /><br />

• [4] Robbins-Sponaas, Rhonna. "Lesson 10: Warren." ENG6012 Course Website, spring 2015. Take Credit, Trondheim: NTNU. Web. Retrieved on May 2015 from https://goo.gl/p2o1Ow <br /><br />

• [5] Warren, Robert Penn. All the King's Men. 1946. Reprint edition, 1996. Houghton Mifflin Harcourt. Kindle Edition. ISBN-13: 978-0-15-101163-6 <br /> <br />

• [6] Wharton, Edith (1899). <b><a alt="Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12TkNKZ1M1Qm12MWc/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">"Souls Belated."</font></a> </b> Wharton, Edith. The Greater Inclination. New York: Charles Scribner’s Sons, 1899. 83-130. Print. ISBN: 3 2106 00215 4307 </div><br /> <br />

<CENTER> <strong><span style="font-size:14px; color: #000000; background-color: #FFFF00;"> 2006 - All The King's Men Soundtrack - Based on the Robert Penn Warren novel. The life of populist Southerner Willie Stark, a political creature loosely based on Governor Huey Long of Louisiana :: </span></strong>  </CENTER> <br />
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Essay — «Souls Belated and All the King’s Men» — Analysis [PDF/Videos]

"Souls Belated" and All the Kings Men - Photo: illustration — [http://goo.gl/TRgsD1] Anne Stanton was "sim...

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Essay — «Crevecoeur and Monica Ali’s Brick Lane» — Cultures [PDF/Videos]

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2015/05/crevecoeur-and-brick-lane.html"><img itemprop="photo" oncontextmenu="alert('BenjaminMadeira - Official Website');return false" oncopy="alert('BenjaminMadeira - Official Website');return false" /></a> <br />
<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> Crevecoeur vs Monica Ali </font></a> - Photo: <a alt="Crevecoeur —Letter III, What is an American— and Monica Ali Brick Lane" href="http://www.benjaminmadeira.com/search/label/essays" style="text-decoration: none;" target="_blank" title="Crevecoeur —Letter III, What is an American— and Monica Ali Brick Lane"><font color="#FF4000"> Deliss/Godong/Corbis/illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/qlYsOI] Crevecoeur —Letter III, What is an American— and Monica Ali’s Brick Lane.  _______________________Immigration</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Writing http://goo.gl/qlYsOI an essay on Crevecoeur —Letter III, What is an American— and Monica Ali's Brick Lane; Interdisciplinary Course with Cultural Studies | #Essay #Immigration #Bangladesh #Muslims #British #Americans #StudyNotes #UniversityStudies #SocialStudies #CulturalStudies #Society #Culture What is an American? What is a Bangladeshi in Brick Lane? </div> <br /><br />

<div class="JBMCode"> Exam in Interdisciplinary course (combines both literature and cultural studies: UK/American Literature and UK/American Culture) <br /><br />

The earliest articulation of the melting pot concept came in 1782, from J. Hector St. John Crevecoeur, a French officer turned New York settler, who envisioned assimilated Europeans as ingredients in a vast melting pot of cultures. The concept of the melting pot later expanded to include people from different races and backgrounds, as it became one of the cornerstones of assimilation theory. While many academics dispute the relevance of the term, the model of the melting pot offers an idealistic vision of U.S. society and identity, combining people from diverse ethnic, religious, political, and economic backgrounds together into a single people. <br /><br />

In The Journals and Miscellaneous Notebooks of Ralph Waldo Emerson, ed. by William H. Gilmanetal. (Cambridge, Mass.: The Belknap Press of Harvard University Press, 1960-1982), vol. IX, 1843-1847, ed. by Ralph H. Orthand Alfred R. Ferguson (1971), pp. 299f., the following entry for 1845 can be found:  <br /><br />

Well, as in the old burning of the Temple at Corinth, by the melting & intermixture of silver & gold & other metals, a new compound more precious than any, called the Corinthian Brass, was formed so in this Continent, -asylum of all nations, the energy of Irish, Germans, Swedes, Poles, & Cossacks, & all the European tribes, - of the Africans, & of the Polynesians, will construct a new race, a new religion, a new State, a new literature, which will be as vigorous as the new Europe which came out of the smelting pot of the Dark Ages [...] </div> <br />

<div class="citajbm"> "Cultural identification" :: how a culture or ethnic group is identified in the literary text.<br /><br />

In "Brick Lane" and "Letter III, What is an American?" we have several cultural groups identified in the text, white Europeans, Muslims, Bangladeshi, British, and so on. We know that's what they are because they're identified as such.<br /><br />

However, we know that every author chooses the images and vocabulary, metaphors, and so on--all the narrative techniques we can employ in crafting a story--with an eye toward achieving that particular effect or story. So, for instance, how is Muslims presented here, by what means, and to what effect?<br /><br />

That's what we mean by "cultural identification" and analyzing that culture.<br /><br />

How are those elements presented in these two texts, "Brick Lane" and "Letter III, What is an American?". By choosing one culture in each text (for example, Muslims and Americans), one can handle them in their respective texts. For instance, what does Crévecoeur do in defining American culture, and what does Ali do in defining British (or Bangladeshi) culture? Are they the same? Different? To what effect or what purpose?<br /><br />

One just needs to support one's argument with examples from the texts and understanding of the cultural context.   <br /> <br />

*The term America is used in this essay to mean the United States of America.</div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Five-paragraph essay on Crevecoeur —Letter III, What is an American— and Monica Ali's Brick Lane; Interdisciplinary Course with Cultural Studies, Benjamin Madeira, <a name="pdf">PDF</a> :: </span></div></H2> 
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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> What is an American? What is a Bangladeshi in Brick Lane? :: </span></div></H2> 
<div class="citajbm"> In <i>Letter III</i> (1782) and <i>Brick Lane</i> (2004), both French-born American Crevecoeur and Bangladeshi-born British Monica Ali address the issue of belonging by portraying a definition of individuals’ identity on different environments. In both cases, their choice of setting serves to underline their ideological concerns. When attempting to find out what the authors’ stance is on national or individual identity, one can ask them out loud: should immigrants be one hundred percent Americans, British, without clinging to some of their native culture? In his arguments, James, the farmer, purports that immigrants lost their cultural roots and hence became Americans (Crevecoeur 54). Monica Ali, on the other hand, champions policies that have been adopted with the perspective of convergence to an endogenous, social cohesion, meaning “pluralist integration model,” which leads to uniformity. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The « melting pot » metaphor :: </span></div></H2> 
<div class="citajbm"> By changing his name Michel-Guilluame-Jean de Crèvecœur to the Americanized James Hector St. John, French Crèvecoeur provides himself as an example in how the new race of men should act upon their arrival to the British colonies in America. Crevecoeur’s letter writer, a farmer named James Hector St. John, addresses a fictional English recipient in Letter III where he attempts to portray various perspectives of being an American; what the national identity this emerging American society should have. Crevecoeur was the first proponent of the American prototype encapsulated in the « melting pot » metaphor. This type of society would be a relatively heterogeneous entity that becomes increasingly homogenous as the varying elements met together to one harmonious whole that has a common or shared culture (Modood 3). In this American community “individuals of all nations are melted into a new race of men" (Crevecoeur 55, emphasis added). Crevecoeur’s purpose in Letter III is to delineate a monolithic integration model, which is equated with cultural assimilation and acculturation rather than a multithreaded tapestry of immigrants in modern United States society (Crevecoeur 56).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Either a European, or the descendant of a European :: </span></div></H2> 
<div class="citajbm"> According to James, most Americans were made up of a mixture of immigrants from some European ethnic groups, “a mixture of English, Scotch, Irish, French, Dutch, Germans, and Swedes” (Crevecoeur 51) who, if they were "honest, sober and industrious" (Crevecoeur 91), would prosper in a welcoming land of opportunity (Crevecoeur 55). "[‘Where there is bread, there is my country’] is the motto of all emigrants," postulated James (Crevecoeur 54). The fictional narrator of the text, James, the American farmer, captures that the American, “this new man […] is either a European, or the descendant of a European, hence that strange mixture of blood, which you will find in no other country” (Crevecoeur 54). According to the monolithic integration model advocated by Crevecoeur, those immigrants who left their homes, should ignore any ethnic heritage; they should strive to love their new country more than their country of origin, thus “[t]he American ought […] to love this country much better than that wherein either he or his forefathers were born” (Crevecoeur 43, 55).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Immigrants did not have their own home culture :: </span></div></H2> 
<div class="citajbm"> Hence, according to the monolithic integration model, the immigrants did not have their own home culture and were to embrace the dominant cultural aspects of this new white race in America (Martin 8). Immigrants are thus forced to share and use cultural aspects of the larger group so as to become culturally homogenous. As James, the farmer, advances, “[t]he American is a new man, who acts upon new principles. He must therefore entertain new ideas and form new opinions” (Crevecoeur 56). What defines Americans and British today would not be complete without mentioning the increasing pluralistic integration model where different cultures have adopted social cohesion while at the same time maintaining their cultures. The multiculturalists believe that homogeneity is to be achieved when each cultural group is recognized and treated on equal measure (Martin 8).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Monica Ali's  Brick Lane :: </span></div></H2> 
<div class="citajbm"> Brick Lane scrutinizes modern integration with a view to ethnic heritage. Readers will follow the story of Nazneen, a young Bangladeshi girl. She is a literary character that has depth, layers and can surprise the readers and convince them. She has ‘the incalculability of life’ about her (Forster 55); she is thus, a round character. Nazneen, at the age of eighteen is married off to Chanu, a forty year old Bengali man living in London, specifically on Tower Hamlets, a hidden place largely populated by immigrants from Bangladesh (Lane, n/p). Monica Ali utilizes diverse literary techniques when crafting her story on Bangladeshi-immigrant protagonist Nazneen. The author explores diverse themes; however, in order to elaborate shortly on this paper, the focus will be individual identity. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The Bengali community: an entity that depends on fate :: </span></div></H2> 
<div class="citajbm"> Monica Ali begins portraying the Bengali community as an entity that depends on fate, destiny or predestination and as a consequence of this, they are passive when facing decisions in life. As the third person narrator advances: “‘[o]f course, Fate will decide everything in the end, whatever route you follow’” or “[…] you are destined to die of hunger […]” (Ali 14). Furthermore, by portraying Nazneen's mother as a saint and all her lineage, it is being implied that Nazneen is destined to be an obedient wife (Ali 80); if she suffers then she should be patient and silent within her own ethnic community and within multicultural Brick Lane. Therefore, she should know, integration cannot take place. The author depicts the Bengalis this way so as to plough the field, in Brick Lane, and thus, surprise her readers with Nazneen's changing identity while debating immigration and the pluralist integration model.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Interaction in local communities is a paramount aspect in human sociality :: </span></div></H2> 
<div class="citajbm"> In order for an immigrant to become integrated into a society, interaction in local communities is a paramount aspect in human sociality, the Bangladeshi villager, however, remains ‘in a very sorry state’ in her apartment, refusing to shed all vestiges of her cultural heritage. She embodies what other Bengali immigrants feel while on British soil: “[t]heir bodies are here but their hearts are back there” (Ali 32). “In all her eighteen years, she could scarcely remember a moment she had spent alone. Until she married. And came to London to sit day after day in this large box with the furniture to dust, and the muffled sound of private lives sealed away above, below and around her” (Ali 24; Parekh 197). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Now our children are copying what they see here :: </span></div></H2> 
<div class="citajbm"> Monica Ali attempts to portray the western –British– culture from East’s perspective in doctors Azad’s words: “[...] I saw two of our young men in a very sorry state” (Ali 31), explaining why immigrants should not become integrated in western society. Nazneen’s spouse corroborates it, as the male focalizer exemplifies that: "[...] for my part, I don't plan to risk these things happening to my children. We will go back [before [my] children [are] affected by Western habits]" (Ali 32). Doctor Azad regrets, "now our children are copying what they see here, going to the pub, to nightclubs. […] The problem is our community is not properly educated about these things" (Ali 31).  In Brick Lane, Monica Ali concludes that ‘gradual fusion’ or metamorphosis should be every individual’s decision as is the case of Nazneen’s daughters. Newcomers should choose whether they want injection of regular doses of local culture or not (Parekh 197; Øien-Vikaune, Lesson 2, video: 24:09).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Individual identity is non-static :: </span></div></H2> 
<div class="citajbm"> “Identity” is a topic of wide variety, but can be defined for this purpose as ‘their understanding of who she is, what she wants to be recognized as.’ The concept of individual identity is non-static, it changes all the time, and immigrants, such as Nazneen, struggle with an evolving identity within themselves (Bloom 52; Fearon 4-6). Monica Ali gives her readers the feeling of the emptiness and confusion in Nazneen’s live by placing 'dead grass,' 'broken paving stones' (Ali 17), and so on, in the pages of the immigration story. Such figurative language evokes vivid images that reveal characterization and reinforce Ali's themes while contrasting Nazneen's Bangladeshi village. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Nazneen goes on to establish an extra-marital affair :: </span></div></H2> 
<div class="citajbm"> In Brick Lane, Nazneen meets obstacles, but she will demonstrate that she can overcome them by challenging the beliefs imposed on her that dictates that she is not the master of her own life. Since birth, Nazneen’s mother, Rupban, told her that it was pointless to oppose fate (Ali 14). On deciding to oppose her mother’s advice, Nazneen goes on to establish an extra-marital affair with Karim, a young Muslim from the same community, and their attraction between them destroys their moral expectations, and as time goes by, she gives up supporting her husband. Even after being almost half his life on British soil his heart is still in his country of origin; not even the tears of his daughters make the jingle of his own voice stop echoing: “[t]he pull of the land is stronger even than the pull of blood” (Ali 32). Nazneen takes her own decision on whether she will stay home or go back to the rice fields of rural Bangladesh. Unlike Chanu, Nazneen has finally being released from fate that kept her subjugated and silent for years. Nazneen can finally formulate questions and by acting this way she is even defying God’s will: “[i]f God wanted us to ask questions, he would have made us men" (Ali 80), Nazneen had been advised. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> Societies change—for better or worse—and the United States also does; Great Britain is not the exception to the rule. While Crevecoeur argues for the idea of a monolithic integration, Monica Ali defends the idea that immigration is good for Britain but not the blending of many cultures, languages and religions to form a single national identity as articulated by Crevecoeur. As immigrants flourish in new societies, their identity changes from their country of origin to being progressively adjusted. As Monica Ali points out, immigrants change, perhaps it is a slowly process but it happens nevertheless (Ali, 2014, video 07:12-26). Immigrants will eventually become integrated in the host society as Nazneen’s daughters and eventually Nazneen herself did. Parekh concludes that “[...] minorities have a right to maintain and transmit their ways of life, and denying it to them is both indefensible and likely to provoke resistance” (197). </div> <br />

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<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> What is an American? Hector St. John Crevecoeur :: </strong> </span></span></div> 
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<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> Immigration Is Good For Britain | Monica Ali : </strong> </span></span></div> 
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<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Ali, Monica. Brick Lane, excerpt (chapters 1, 2 and 3). London: Black Swan, 2004.  11-80. Print.  <br /><br />

• [2] Bloom, William. Personal Identity, National Identity, and International Relations. Cambridge: Cambridge University Press. 1990. Print. <br /><br />

• [3] <a alt="Letters from an American farmer, 1904, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12TDdlNVA3THUtcEk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/04/crevecoeur-american.html" style="text-decoration: none;" target="_blank" title="Letters from an American farmer, 1904, PDF"><font color="#FF4000">Crevecoeur J. Hector St. John de. Letters from an American Farmer</font></a>. New York: Fox, Duffield and Company. (1904 [1782]). Print. Pp. 48-91.  <br /><br />

• [4] Fearon, James D. What is identity? Stanford University. 1999. Print. <br /><br />

• [5] Forster, E. M. Aspects of the Novel. New York: RosettaBooks. 1927. Print. ISBN 0-7953-0952-X <br /><br />

• [6] Lane, Harriet. Ali's in wonderland. TheGuardian, 2003. Web. Retrieved on May 2015 from http://goo.gl/OYf4lI <br /><br />

• [7] Martin, Philip. Immigration and Integration: The US Experience and Lessons for Europe. Commission for Migration and Integration Research, Vol 16, 2007. 1-14.  <br /><br />

• [8] Modood, Tariq. Remaking multiculturalism after 7/7. Open Democracy, 29(7). 2005. Web. Retrieved on May 2015 from https://goo.gl/5xT42r <br /><br />

• [9] Parekh, Bhikhu C. <a alt="Rethinking Multiculturalism" href="https://drive.google.com/file/d/0B4kGy0lOHL12VjdyVXkweFZ5Nkk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/integration.html" style="text-decoration: none;" target="_blank" title="Rethinking Multiculturalism"><font color="#FF4000">“Rethinking Multiculturalism : cultural diversity and political theory” in: Chapter 7: The Political Structure of Multicultural Society</font></a>. 2000. Cambridge, Mass. : Harvard University Press. Print. ISBN: 0674004361 <br />
<div class="JBMCode"> By an academic, for academics, using academic argument forms, and with an academics meanness of spirit. </div> <br /><br />

• [10] Øien-Vikaune, Ane. Cultural Studies Unit 2: Race, and integration theory. Take Credit, NTNU: Lesson 2, 2015. Web. Retrieved on Feb 2015 from (Video) https://goo.gl/B8dZOM and (PDF) https://goo.gl/j0kSZN <br /><br />

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Essay — «Crevecoeur and Monica Ali’s Brick Lane» — Cultures [PDF/Videos]

Crevecoeur vs Monica Ali - Photo: Deliss/Godong/Corbis/illustration — [http://goo.gl/qlYsOI] Crevecoeur —Letter III, What...

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Essay — «Souls Belated» — "An adulterous affair - female emancipation" — Wharton (PDF)

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<span> <a href="#mp3" style="text-decoration: none;"><font color="#301ce2"> Edith Wharton, “Souls Belated”, protest against sacrificing her freedom to marriage </font></a> - Photo: <a alt="Souls Belated, succumbing to adulterous affairs is equated with female emancipation" href="http://www.benjaminmadeira.com/search/label/study-notes" style="text-decoration: none;" target="_blank" title="Souls Belated, succumbing to adulterous affairs is equated with female emancipation"><font color="#FF4000"> Margaret Atwood/illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/Gpfvek] Detailed ("<a alt="Souls Belated by Edith Wharton, MP3" href="http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html?m=0" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton, MP3"><font color="#FF4000">Souls Belated </font></a>") Project Specifications: 1500-word essay on the short story <a alt="Souls Belated by Edith Wharton, Google Book, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12djFYcU81aEJsQ28/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated</font></a> by <a alt="Souls Belated by Edith Wharton, Google Book, PDF" href="https://ia601409.us.archive.org/30/items/greaterinclinati00wharrich/greaterinclinati00wharrich.pdf?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">Edith Wharton</font></a>: standard five-paragraph essay format, cite your sources in correct MLA format, you may not have more than 10-15% quoted or paraphrased or summarized material; annotated bibliography with five (5) secondary sources: the publication information 
and a 5-10 sentence summary of that particular secondary source. The esssay has to have bibliography list or works cited + 5 secondary sources w/annotated bibliography. The works cited + annotated bibliography are not included in the "1500-word essay." – </span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Succumbing to adulterous affairs is equated with female emancipation | "<a alt="Souls Belated by Edith Wharton" href="http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html?m=1" style="text-decoration: none;" title="Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated</font></a>", The fight for self-determination, Lydia's emancipation | #SoulsBelated <a alt="Souls Belated by Edith Wharton, Google Book, PDF" href="https://archive.org/download/greaterinclinati00whar/greaterinclinati00whar.pdf?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">#EdithWharton</font></a> #feminism #marriage #wedlock #StudyNotes #Literature #UniversityStudies </div> <br /><br />

<div class="comillas"> Although there may be critics who interpret the ending as a mutual surrender to marriage, they share the male's view, and the possible fallacy of Gannett's expectation. Nevertheless, the ending is at least fully open from Lydia's perspective. </div> <br /><br />

<div class="JBMCode"> Had Tillotson or Ralph Gannett been the focal point of the story “<a alt="The Greater Inclination, Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12T2dyT3k4WW9jU1k/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The Greater Inclination, Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated</font></a>”, published in <a alt="The Greater Inclination by Edith Wharton, MP3" href="https://archive.org/download/greater_inclination_etk_librivox/greater_inclination_etk_librivox_64kb_mp3.zip?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The Greater Inclination by Edith Wharton"><font color="#FF4000">The Greater Inclination</font></a>, society would not have cared if they divorced nor had a mistress on the side. Society would have felt that this was acceptable.</div> <br />

<br />
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<br />

<div class="citajbm"> In her short story, “Souls Belated” (1899), social realist Edith Wharton raises the issue of freedom that women lacked in marriage in American society. Undeniably, Lydia’s marriage to high-society Tillotson offered a series of social privileges. However, all these benefits were dampened by the lack of freedom that characterized married women during the Gilded Age. The dream for freedom, selfhood and independence was the sacred integrity of men, rather than women in the nineteenth- and early twentieth-century. On deciding to oppose marriage, which she considered to be a prison—society’s restrictions imposed on women—, Lydia went on to establish an extra-marital affair with Ralph Gannett who saw her as his equal. Gannett also knew, as the female focalizer exemplifies, that “no ceremony [was] needed to consecrate [their] love for each other” (Wharton 95). <b>The feminist movement criticizes the inequalities within marriage, the latter understood as the confines of a well-defined patriarchal social structure. Lydia’s inevitable choice of abandoning her marriage to Tillotson, a rich member of the upper-class society, is a clear protest against sacrificing her freedom to marriage</b>. </div> <br /><br />

<div class="citajbm"> Feminism, understood in a broader sense, is based on challenging the ‘public sphere’, this is, the political decisions that quell women’s emancipation; politics dictate how men and women will behave in the ‘private sphere,’ the domestic life, including female-male relations. Thus, the male-female union, or the ‘institution of marriage’ is of a political nature, rather than a self-chosen relationship. The feminist struggles in favor of women are encapsulated in the iconic expression that reads: ‘the personal is political’ (Holmes 113). Those serious encroachments on women's freedom is what disturbed Lydia. Both Lydia and Gannett intellectually questioned and rejected the validity of the sexually repressive norms of society (Wharton 96-98), expressed by Lydia in the following terms: "what object can we have in marrying, except [...] to work our way back gradually [...] into the esteem of the people whose conventional morality we have always ridiculed and hated?" (Wharton 96), and yet they re-affirm those repressive norms from which they seem to suffer, because they have inescapably internalized them; Gannett trying to convince Lydia that the easiest way to escape societal judgment was by getting married (Wharton 93-94, 122), and Lydia pretending that she was married by accepting that they were registered at the hotel as Mr. and Mrs. Gannett (Wharton 99), and behaving herself as a married woman among American riches and English aristocrats socially dominated by Lady Susan with whom Lydia and Gannett became quite friendly (Wharton 102-107, 117-118).  </div> <br /><br />

<div class="citajbm"> Although, different than Tillotson in many ways, Gannett had internalized the societal repressive norms towards women, as the male focalizer narrates that he both felt “[a]n immense pity for Lydia [...]” and understood her (Wharton 125, 127). Gannett shared males’ arrogance when judging Lydia’s intellectual thinking as a mere “lucidity in her intuitions that made them appear to be the result of reasoning” (Wharton 125). The sexually repressive norms of society internalized in Gannett made him feel guilty for having detached Lydia “from the normal conditions of life” (Wharton 125), meaning ‘marriage.’ The repressive societal norms made Gannett think that Lydia was a poor soul who needed protection, and therefore she “must turn back to him […] returned to [her] cell” (Wharton 125). </div> <br /><br />

<div class="citajbm"> In "Souls Belated," Wharton employs remarkably descriptive imagery; her imaginative illustration includes metaphors and similes. Their journey through Europe on the train is in itself a metaphor of their evolving journey in their life, “[t]he direction of the road had changed" […] “[t]heir railway-carriage [which] had been full” (Wharton 83), becomes empty as it advances (Wharton 83). The scenery is bleak and dusky, foreshadowing the limitations of such rigid American society, those "old cats in caps" at the Anglo-hotel, where Lydia “must take her place on the hotel register as Mrs. Gannett” (Wharton 99-100). Meanwhile, as the train brings them to the journey’s end at night-fall (Wharton 98), the female focalizer observes: "[...] she was free; and not so much (she had begun to be aware) that freedom had released her from Tillotson as that it had given her to Gannett. This discovery had not been agreeable to her self-esteem" (Wharton 86). As both lovers are fleeing the stiff regulations and the tedious regularity of the social life of New York and enjoying their passionate relationship free from all conventions "like the flight of the outlaws: through Sicily, Dalmatia, Transylvania and Southern Italy" (Wharton 98), Edith Wharton gives readers the feeling of the emptiness and confusion in Lydia and Gannett’s lives by placing in the beginning of the short story fossilized pieces of bread, garlic in a bag, smoke, empty dusty seats, slamming of doors, annoying sellers, silence, and at the end of the tale “the lamp flickered and sank” (Wharton 124). Such figurative language evokes vivid images that reveal characterization and reinforce Wharton's themes; Gannett "feared to speak as much as [Lydia] did" (Wharton 84). They feared to discuss a problem that had become a taboo between them: the word ‘divorce’ “as an impassable barrier” (Wharton 86). Both the document of divorce and the theme of marriage hung over their head as a sword restrained only by a delicate thread. The image of “fossilized sandwiches” (Wharton 83) is appropriate to that little microcosm full of a ‘certain tone’ (Wharton 102), a ‘belated society’, gossip old ladies still dragging their feet, which Lydia and Gannett experienced in the Anglo-hotel after their arrival. Still on the train, readers observe Lydia and her lover, lost in thoughts, against a background of wealth and social hypocrisy in turn of the century New York.  </div> <br /><br />

<div class="citajbm"> The feminist movement condemns that women are conditioned to ‘lead a dependent and abject life’ which undermines their self-confidence and her self-respect. Self-reliance was suppressed by marriage; selfhood was exclusive of men. Feminism promotes that women are treated on equal terms with men. In the feminist dispensation, women are free to choose the roles in which they are to take part. “[...] the state, for all its occasional rhetoric about the sanctity of the family as a haven from public and political life, has had a long history of intervening in how people organize their intimate lives [...] to suit its purposes” (Holmes 112). Feminism is convinced that the basis of oppression that women experience in their relationships is deeply rooted in their sexuality, and by better understanding that oppression, they will achieve the liberation of their sexuality, and thus their total beings (Benkert 1197). In adopting feminism, Lydia adopts the central tenets of anarchism of individual liberty and rejects the established gender hierarchy. This emerges as an opportunity for women who feel that the conventional gender roles restrict them. Their analysis of power and hierarchy is responsible for them being drawn to anarchism as an essential ideology they embrace is the primacy of personal autonomy. Women, as Lydia ultimately remind their male counterparts of their responsibility not to interfere with the liberty of women and reject the patriarchal authority. This is in the view that the female subordination is based on an obsolete system of familial and sexual relationships. Thus, the attacks on marriage and insistence on personal autonomy were critical components of sexual equality (Thomas 3; Wharton 100-101, 118-124). </div> <br /><br />

<div class="citajbm"> An aspect that comes out from Lydia’s experiences is the feminists’ recognition of the difficulties that they faced in their relations with the males that they viewed as aggressors. In feminism, the focus of women is in setting their own agenda, which is to be easily achieved independently of men (Holmes 236). In the short story “Souls Belated,” Lydia assumed the responsibility of charting her own path of sexuality rather than follow the societal norms. Being dishonest with her principles, Lydia disguised her adulterous relationship with Gannett because the newly gained respectability within the hotel society still meant something for her (Wharton 120). However, enlightened by Mrs. Linton, alias Mrs. Cope, "like a lamp through a fog" (Wharton 112), Lydia soon realized that she had to be honest with herself; it had become a matter of moral principle for her, and she was determined to take off that self-imposed façade and disclose the nature of her affair to others. The narrator relates to the reader that Lydia: “[s]till keeping her face toward the darkness, she said, "I want you to go and tell Lady Susan—and the others" (Wharton 95).  </div> <br /><br />

<div class="citajbm"> Considering her marriage with Tillotson, Lydia held the view that her marital relationship lacked the intimacy that she would wish to have with a man who saw her role as equally valuable. As the internal focalizer mediates Lydia’s point of view, “[s]he had preferred to think that Tillotson had himself embodied all her reasons for leaving him” (Wharton 86). Unsatisfied with the marriage, Lydia was increasingly at risk of infidelity, which prompted her to rethink the notions of being in a conjugal relationship that lacked libertine existence. This prompted the development of the desire of engaging in an extramarital affair as a response to the unresolved issues that she experienced in Tillotson’s territory and which she felt she could bear no more (Wharton 96-97). She adopted a feminist stance in cuckolding her husband as she found these “outlaws” (Wharton 97) to offer an escape to the boring experiences in her marriage as Wharton advances that, “[b]efore she met Gannett her life had seemed merely dull; his coming made it appear like one of those dismal Cruikshank prints” (Wharton 69). Her cuckolding became a major issue considering the tendency of female infidelity being judged more harshly, according to a 'Victorian' morality, in comparison to male infidelity. Likewise, divorce was deemed shameful in general, although a divorced man was an anecdote, perhaps, but a divorced woman was a pariah, a woman whose behavior does not conform to norms. However, it took a strong conviction from Lydia to demonstrate her dissatisfaction with the conventional social norm, regardless of the benefits that the marriage offered. She remained eager to having an affair with Gannett as she considered it a platform through which she could find happiness and, more importantly, the equality she desired. Aware of the inequalities existing in marriages, her feminist views become apparent as she acknowledged the social norms but was convinced to break them. She argued, “[…] the world should be ruled by conventions but if we believed in them, why did we break through them? And if we don’t believe in them, is it honest to take advantage of the protection they afford?” (Wharton 76). She relied on her feminist stance to defend her resistance to the societal norms on “the indissolubility of marriage” (Wharton 96). </div> <br /><br />

<div class="citajbm"> Although the closure of the female adultery story does not overtly advocate the emancipation of female main character, one can conclude that Lydia’s decision to cuckold her husband demonstrates her feminist stance in seeking freedom. In not providing the reader with an explicit ending, Wharton promotes public debate on women’s self-determination and protests against inequality provided by marriage. In the course of the short story one has followed Lydia’s deliberations: the adulteress and divorcee protagonist remains adamant in her stance against contemporary social attitudes and she is determined to hold on to the adulterous relationship with Gannett, while not intending it to turn into marriage because "marriage won't help it" (Wharton 123, 96-97). Regretting her initial efforts to hide the nature of her ‘transgressive’ relationship with Gannett, Lydia demonstrates her satisfaction with the extra-marital relationship, which represents her displeasure with pressures to be a passive, servile, self-abnegating female in “the abstract 'sacredness' of marriage” (Wharton 95). Lydia had left her husband’s territory as she did not exist to reverentially circumambulate non-empathetic behavior. With Lydia intellectually convincing Gannett to allow her to make decisions, Wharton’s short story, expressing dissenting views on the role of women in contemporary society, demonstrates Lydia as an active, self-possessed woman who does not give in “her claims upon life” (87), imprisoned by the dictates of society. Lydia’s transgressive love is strongly connected with her freedom and intellectual independence.  <br /><br />

— <font color="#301CE2"><strong> <a href="https://plus.google.com/+BenjaminMadeira/about" rel="publisher" target="_blank"> Benjamin Madeira — </a></strong></font> </div> <br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong>  —  Works Cited - References: </strong> </span> <br /><br />

<strong> Primary sources: </strong> <br /><br />

• [1] Wharton, Edith (1899). <b><a alt="Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12dlNkQ3dGMVo1dVk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated.</font></a> </b> The Greater Inclination. New York: Charles Scribner’s Sons, 1899. 83-130. Book. ISBN: 3 2106 00215 4307 <br /> <br />

<strong> Secondary sources: </strong> <br /><br />

Benkert, Holly. <b><a alt="Liberating insight from a cross-cultural sexuality study about women" href="https://drive.google.com/file/d/0B4kGy0lOHL12aGp2NUFLaXMzZXc/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Liberating insight from a cross-cultural sexuality study about women"><font color="#FF4000">"Liberating insight from a cross-cultural sexuality study about women."</font></a> </b> The American Behavioral Scientist 45.8 (2002): 1197-1207. <br /><br />

Holmes, Mary. <b><a alt="Second-wave feminism and the politics of relationships" href="https://drive.google.com/file/d/0B4kGy0lOHL12OHJKMFJ3bkFkWFU/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Second-wave feminism and the politics of relationships"><font color="#FF4000">"Second-wave feminism and the politics of relationships."</font></a> </b> Women's Studies International Forum 23.2 (2000): 235–246. 2. <br /><br />

Thomas, Matthew. <b><a alt="Anarcho-Feminism in late Victorian and Edwardian Britain" href="https://drive.google.com/file/d/0B4kGy0lOHL12R0I3V2xXdlF5NVU/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Anarcho-Feminism in late Victorian and Edwardian Britain"><font color="#FF4000">"Anarcho-Feminism in late Victorian and Edwardian Britain, 1880±1914."</font></a> </b> Internationaal Instituut voor Sociale Geschiedenis (2002): 1-31. <br /><br />

Zahra, Tara. <b><a alt="The feminism gap" href="https://drive.google.com/file/d/0B4kGy0lOHL12Yzd3U0JpQ3dqbGs/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The feminism gap"><font color="#FF4000">"The feminism gap."</font></a> </b> The American Prospect 42 (1999): 20-22.

</div> <br /><br />

<div class="citajbm"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong>  —  Annotated Bibliography: </strong> </span> <br /><br />

<b>Wharton, Edith</b>. <a alt="Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12Tkl3ME80RkdVRHM/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">"Souls Belated." Wharton, Edith. The Greater Inclination</font></a>. Charles Scribneits Sons, 1899. 83-130. Book. <br /> <br />
This is the short story under review expressing the experiences of Lydia going through a divorce while being involved in an extramarital affair with another man named Ralph Gannett. In the short story, Lydia is seen to defy the societal norms regarding woman roles in marriages. This is evident from her approach towards her marriage and the resultant relationship she gets into with Gannett. In a journey that they share, Lydia is about to abandon her new partner but suddenly she stops. There is, however, no evidence that another marriage would ensue from the relationship.  Nevertheless, we do not need to share her deliberations, for in the course of the story she has already put into words her belief: “no ceremony is needed to consecrate our love for each other” (Wharton 95). </div> <br /><br />

<div class="citajbm"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong> <b>Benkert, Holly</b>. "Liberating insight from a cross-cultural sexuality study about women." The American Behavioral Scientist 45.8 (2002): 1197-1207. </strong> </span> <br /><br />

In the journal article, Benkert aims at reflecting on challenges experienced when undertaking cross-cultural qualitative research with attention to the definition of sexual liberation among feminist women. Focus is given to the influence of norms on women’s sexuality and understanding the oppression of women’s sexuality. The study was conducted across numerous differences to be able to establish issues arising because of the differences. The article was able to establish varied feeling and understanding regarding sexuality. In an effort to reinforce the understanding of sexual development, the study examines the traditional cultural practices and experiences and their linkage to sexual liberation. This article is relevant to the study considering the close link between feminism movement and sexual liberation.  </div> <br /><br />

<div class="citajbm"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong> <b>Hamilton, Susan</b>. Frances Power Cobbe and Victorian feminism, New York: Palgrave MacMillan. 2006. Print. </strong> </span> <br /><br />

This book is relevant to the study considering that it addresses the issue of feminism and how writing and literature works can be used to push the feminism agenda. The author makes it clear that increased involvement of women in literature and mainstream press rather than just feminist press will aid to achieve feminist goals. The author specifically points to Frances Power Cobbe’s main accomplishment of articulating and promoting feminist views in the male-dominated mainstream press as opposed to feminist press. In Edith Wharton’s short story, “Souls Belated,” Lydia identifies marriage and divorce, with all their conventions and rules largely made by a male-dominated society, as tools to control and oppress women. She thus objects the idea of marrying Garnett as a way of expressing her feminist freedom at a time she is being released from the shackles of another marriage. Marrying Garnet would definitely defeat the idea of freedom. Wharton’s ideas thus combine with Hamilton’s to show that female freedom or feminist writing should not be controlled by men by being categorized into a special category, but rather accepted wholly in the mainstream society where women have an equal opportunity to exercise their writing and freedom, not at the whim of men but at their own accord. </div> <br /><br />

<div class="citajbm"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong> <b>Holmes, Mary</b>. "Second-wave feminism and the politics of relationships." Women's Studies International Forum 23.2 (2000): 235–246. 2. (PII S0277-5395(00)00072-8) </strong> </span> <br /><br />

This article examines the feminists challenging the common stereotypes regarding feminism. In particular, Holmes gives weight to examining sexuality in relation to male-female partnerships. The article further concentrates on the distribution of power between the men and women. Politics, relationships and sexuality are examined to facilitate the recognition of representation of feminists and their interests. This proves critical in an effort to understand the source and development of women’s liberation. This article is relevant to the study considering the insight it offers on women seeking sexual liberation in their relationships.  </div> <br /><br />

<div class="citajbm"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong> <b>Thomas, Matthew</b>. "Anarcho-Feminism in late Victorian and Edwardian Britain, 1880-1914." Internationaal Instituut voor Sociale Geschiedenis (2002): 1-31. (DOI: 10.1017/S0020859002000463) </strong> </span> <br /><br />

The journal article examines the developments linking anarchism with feminism in the late 19th and early 20th-century British women. Thomas seeks to exhibit the contributions that anarchism made towards the development of feminism. For this to be achieved, the author analyses why female oppression takes place in marriages. The article provides an insight of the roles that genders play to be able to address the concerns of feminism. This article is relevant to this study considering the insight that it gives regarding the feminist movement. </div> <br /><br />

<div class="citajbm"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong> <b>Zahra, Tara</b>. "The feminism gap." The American Prospect 42 (1999): 20-22. </strong> </span> <br /><br />

In this article, Zahra is concerned with the differences in the conceptions held by different feminists. The author focuses on instances when feminists have been seen to move away from the prescribed principles. Aware of the challenge that feminism faces from conservatives, the article aims to portray the position held by feminism. Focusing on notable cases, which have posed questions on whether feminists are victims of own rhetoric, the article is keen on women disagreeing in their interpretation of feminist symbols. This article fits in the current study considering the insight provides into the barriers hindering women in achieving equality.  </div> <br /><br />

<div class="JBMCode">
<strong> Further Reading: </strong> <br /><br />

• [1] APA (2012). “<a alt="The American Psychological Association" href="http://www2.eit.ac.nz/library/OnlineGuides/2012%20APA%20Referencing%206th%20Edition.pdf?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The American Psychological Association"><font color="#FF4000">The American Psychological Association</font></a>.” 6th ed. (<a alt="The American Psychological Association" href="http://www2.indwes.edu/ocls/apa/apa6eguide.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" style="text-decoration: none;" target="_blank" title="The American Psychological Association"><font color="#FF4000">Publishing and Editing</font></a>)<br /><br />

• [2] Booth, Wayne C., <a alt="The Craft of Research, 2nd. Edition" href="http://is.cuni.cz/studium/predmety/index.php?do=download&did=53831&kod=JMM003?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The Craft of Research, 2nd. Edition"><font color="#FF4000">The Craft of Research</font></a>, 2nd. Edition, 1995, 2003. The University of Chicago.<br />

_____ Booth, Wayne C., <a alt="The Craft of Research, 3rd. Edition" href="http://www.siteations.com/courses/designresearch2014/readings/reference/Booth_CraftofResearch3rd.pdf?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The Craft of Research, 3rd. Edition"><font color="#FF4000">The Craft of Research</font></a>, 3rd. Edition, 1995, 2003, 2008. The University of Chicago.<br /><br />

The Craft of Research is a book by Wayne C. Booth, Gregory G. Colomb, and Joseph M. Williams. The book aims to provide a basic overview of how to research, from the process of selecting a topic and gathering sources to the process of writing results. The book has gone through three editions, and become a standard text in college composition classes. The book is a winner of the 1995-96 Critics' Choice Award. <br /><br />

• [3] CHICAGO Citation Style (2010). “<a alt="The Chicago Citation Style" href="http://lib.trinity.edu/research/citing/Chicago_Author_Date_16th_ed.pdf?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The Chicago Citation Style"><font color="#FF4000">The Chicago Citation Style</font></a>.” 16th ed. (<a alt="The Chicago Citation Style" href="http://www.okanagan.bc.ca/Assets/Departments+%28Administration%29/Library/PDFs/chicago.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" style="text-decoration: none;" target="_blank" title="The Chicago Citation Style"><font color="#FF4000">Publishing and Editing</font></a>)<br /><br />

• [4] MLA (2009). “<a alt="Handbook for Writers of Research Papers" href="http://usc.ac.ir/IPPWebV1C035/TemplateFileFolder/11-20-2012/OriginalFolder/14920c09-d3d0-401e-a88f-3480925f9aa6_Handbook_for_Writers7th_Edition.pdf?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Handbook for Writers of Research Papers"><font color="#FF4000">Handbook for Writers of Research Papers</font></a>.” 7th ed. (Publishing and Editing) <br />  </div> <br /><br />

<div class="citajbm">
Cite: (APA) Madeira, Benjamin (2015). "Souls Belated by Edith Wharton –an adulterous affair, female emancipation." Retrieved on (place month here) (place date here), (place year here), from http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html <br /><br />

Cite: (MLA) Madeira, Benjamin. "Souls Belated by Edith Wharton –an adulterous affair, female emancipation," 2015. Web. (place month here) (place date here), (place year here) <http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html>. <br /><br />

Cite: (CHICAGO) Madeira, Benjamin, "Souls Belated by Edith Wharton –an adulterous affair, female emancipation," 2015, accessed (place month here) (place date here), (place year here), http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html
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     abouttext: 'Official Website - Benjamin Madeira',
     aboutlink: 'http://www.BenjaminMadeira.com',
     stretching: 'exactfit',

/*MADEIRINHA finaliza la configuracion de Jwplayer 6 PRO para Navegadores modernos Chrome Firefox IE Opera Safari iPhone iPad y Android con Flash o JavaScript habilitado o HTML5 */

controlbar: 'bottom'     
  });
</script>

<div style="text-align: center"><span style="color: darkgreen"><span style="font-size: 22pt; line-height:20pt"> <a alt="BenjaminMadeira - Videos, mp4, literatura, filosofia, idiomas, pedagogia, musica, mp3, Online" href="http://www.benjaminmadeira.com/feeds/posts/default/-/study-notes?max-results=100" style="text-decoration: none;" target="_blank"><font color="#00FFFF"> <strong>When your books and teachers don't make sense </strong> </font></a> </span></span></div>