White Noise

3. Do a researched blog on the meaning of "postmodernism". Why is this a postmodern novel? What components of the novel make it post modern? Use quotes from the text to support your answer.

As its name suggests, postmodernism emerged out of the modernist movement. The postmodern genre shares many ideals with modernism, but it has its own unique edge. It takes the foundation of modernism and propels it one step further into the creative evolution. White Noise by Don DeLillo screams postmodern from the top of its paper lungs, exemplified by its mundane absurdity, jolted fragmentation, and extreme cynicism.

Postmodernism is marked by its celebration of fragmentation. The storyline jumps from subject to subject, often without transition. The text is inundated with comprehensive lists, such as the one that comprises the majority of the first page. This list elicits an ironic tone, commenting on the ridiculousness of human existence. As DeLillo writes, "The roofs of the station wagons were loaded down with carefully secured suitcases full of light and heavy clothing; with boxes of blankets, boots and shoes, stationery and books, sheets, pillows, quilts; with rolled up rugs and sleeping bags; with bicycles, skis, rucksacks, English and Western saddles, inflated rafts." (1). The list continues to describe other items, useless and out of place at college. It is obvious that Jack finds hilarity in this procession. Even their family is a collection of fragments. Both Jack and Babette have multiple children from previous marriages that they combine to create their disjointed mix of a family. Their lives reflect the unrelated pieces that form life and society.

Also, postmodernism is said to be correlated with worldwide capitalist consumerism, and the technological age (Klages). We see this fascination with over abundance and convenience in White Noise, particularly in the sections about the super market. Murray is obsessed with the super market. As he exclaims, " Supermarkets this large and clean and modern are a revelation to me." (38). Murray is fascinated by the rituals we perform at the super market. Technology is emphasized as a crutch for daily life in postmodernism. There is evidence of this dependence when we see Jack stress over the bank statement he receives at the ATM. Plus, the television serves as a central cornucopia of information, especially during the chemical disaster.

White Noise highlights the meaninglessness of life. Life is not grand; it is a collection of small, ordinary happenings that amount to nothing. Nothing remains after it has passed. The postmodern tradition celebrates this philosophy. Everything means nothing, or something. There are no distinctions between good or bad, there are only thoughts that shape our perception. Sometimes, our thoughts overpower the truth. The argument between Heinrich and his father about rain is a good example. Heinrich says it well when he proclaims, "What good is my truth? My truth means nothing...Is there such a thing as now? Now comes and goes as soon as you say it. How can I say it's raining now if your so called now becomes then as soon as i say it? (23). Nothing is final; there are no complete truths. That is the essence of White Noise. As a society, we have migrated away from concrete truths, and now live in a world we manipulated to fit inot our idea of what living should be. Murray personifies this idea when he describes the barn. We only see our idea of the barn because we have commodified it to fit into our schema of the world.

Works Cited

Klages, Mary. "Postmodernism." Literary Theory: A Guide for the Perplexed. University of Colorado, 21 Apr. 2003. Web. 18 Nov. 2009. .

Love Medicine

1. Do a post-colonial critique of the novel. In what ways does Erdrich implicate the policies of the American government in the plight of native Americans? Use the article provided on Bb to assist you with this question. Use examples from the text to explain your answers.

The history of the Native American is a tale both heart wrenching and hidden from view. The wretched treatment of Native Americans was widely concealed from the United States public and quickly forgotten in our modern times. The majority of Native American literature can be read through a post-colonial lens. The United States government swiftly extinguished Native American society by forcing Native Americans out of their homes, off of their land, and through the Trail of Tears. Their policy of assimilation and prevalent discrimination caused dramatic effects throughout Indian culture. We can see criticisms of this painful past within Louise Erdrich's novel, Love Medicine.

Living on reservations, the rich culture of the Native Americans was compartmentalized and reduced to fit into "white" America. For many decades Native Americans were viewed as a sub-culture to Caucasians. As we are informed, "Although official policy was to assimilate Indians into the dominant society, the government did not grant Indians citizenship until 1924" (Ruoff, 183). It was this policy of assimilation that was equally detrimental as removal and exclusion. Indian children were sent to boarding schools in different states in an attempt to "assimiliate". Community and heritage are two vital components of Native American tradition, and with their children shipped off to white schools, the family unti crumbled. History shows us, "...they were separated for years from their families and forbidden to speak their native languages or practice their tribal customs and religions. The isolation of Indian children eroded strong family bonds and ancient tribal religions." (Ruoff, 183). A century after Native Americans first experienced the manifest destiny of white men, Erdrich still reverberates in the echoes of these practices. As she writes in "The Tomahawk Factory", "They[the United States government] took your kids away and stuffed the English language in their mouth." (326).

Another important issue between the United States government and Native Americans was land ownership. The Native American perspective of land ownership-communal, shared, cooperative-is antithetical to the governments view of independence, individuality, and competition. We can see from their culture that "American Indians' desire for harmony is also reflected in their deep reverence for the land" (Ruoff 187). The Native Americans respect the land as an equal entity; they do not attempt to control or own the land. White men could not grasp this concept. The repossessed Indian land and sold it back to the Native Americans via the General Allotment Act of 1887. Almost all of the characters in Love Medicine live on allotted land. This land is of terrible quality and represents only a fraction of the true Native American landscape. Albertine states, "The policy of allotment was a joke. As I was driving toward the land, looking around, I saw as usual how much of the reservation was sold to whites and lost forever." (12). It is commonplace for these people to live on insubstantial pieces of land, neglected by the government. As Lyman tells us, "By the time i was done with the car it looked worse than any tpical Indian car that has been driven all its life in reservation roads, which they always say are like government promises-full of holes." (188).

It is obvious that the United States governement is a bitter and resentful topic for the Native Americans. Clearly, the plight of the Native American is a result of greedy government poilicies and purposeful disregard for their unique and valuable culture. Louise Erdrich is not exempt from these feelings of bitterness, and, consequently, these feelings have permeated throughout her work.

Works Cited
Ruoff, A. Lavonne Brown. "Introduction to American Indian Literatures." 180-98. Print.

Breath, Eyes, Memory

2. Do some research on the Caribbean and Haiti, particularly. How do we get a view from this text for some of the problems that have plague the Caribbean or Haiti specifically? Use examples and quotes from the text.

Dazzling white sand, blinding sunshine, crystal clear aquamarine waters. Swaying palm trees and gentle waves lapping the shore. Every "Corona" commercial you have ever seen. This is our image of the Caribbean here in the United States. Unfortunately, the true Caribbean is not a cruise line postcard. It is a collection of impoverished native cultures that are struggling to survive. "Breath, Eyes, Memory" is a novel that follows the young life of a Haitian girl, Sophie, where the dismal state of Haiti's livelihood is instilled in her character. We can see Haiti's influence on Sophie's family, as well as on Sophie's behavior.

The true Haiti, the one we do not see from our Carnival cruise ship, suffers from a multitude of problems that have plagued the country for many years. Haiti has a population of about 8.7 million people, but only 53% can read. Over 4 million Haitians are illiterate. Unfortunately, only about 20% of students reach the sixth grade. This lack of education contributes to the poor economy in Haiti. It is estimated that 80% of the population lives in poverty. Also, Haiti is consistently ranked as the least developed country in the Americas. The section of the population that have jobs work in agriculture, but it contributes very little to national revenue. Plus, the majority of agriculture in Haiti is subsistence farming.

Gender issues are also highly prevalent in Haiti. The idea of female purity is extremely important. We can see the obstacles Sophie faces in the novel because she is a girl. She has no future in Haiti, where she would most likely grow up to marry an illiterate man, aid in his small subsistence farm, and have children-some that may not survive. When she moves to the United States, her mother constantly encourages her to obtain the most education she can possibly get. Martine is sure to tell her daughter this piece of wisdom almost immediately after meeting her, "Your schooling is the only thing that will make people respect you" (43). As a mother, she wants to give her child the opportunity she never had. Martine says, "You have a chance to become the kind of woman Atie and I have always wanted to be." (44).

It is interesting that, in Martine's eyes, as well as many other Haitians, Sophie's academic success goes hand in hand with her female purity. Martine goes out of her way to discourage Sophie from seeing boys, for fear that it might distract her from her studies, and thus ruin her future. Martine is comforted by the fact that Sophie has never interacted with boys before. She believes Sophie will have a better chance of getting her degree without men in her life. Like her mother, Ife, Martine "tests" Sophie's virginal purity when she suspects that Sophie is becoming involved with a boy. This is traditional Haitian practice that Martine learned from her mother, who learned from her mother, and so on. It is a sad cycle where Haitian society expects so much from the women, and yet allows them to do so little, in terms of education and profession.

Works Cited
"Haiti." Encyclopædia Britannica. 2009. Encyclopædia Britannica Online. 11 Nov. 2009 <http://www.britannica.com/EBchecked/topic/251961/Haiti>.

The Poisonwood Bible

2. Write about about one character from the story. Choose the character either because you like/dislike him/her or because you can relate to them. Describe what you like or dislike and tell why. Use specific passages from the text to support your answer.

Nathan Price is a character that just digs under my skin. As a literary device, he has sparked multiple class discussion. To others, he might seem unbelievably rigid and two-dimensional, but to me, he is a real life personality embodied by Barbara Kingsolver’s text. Personally, I have had many experiences with people that encompass certain aspects of his character. Everything Nathan Price represents is completely antithetical to his mission as a preacher and hypocritical as a follower of Jesus Christ, and that is why I dislike him.

We are introduced to Nathan early in the novel. He is a zealous Baptist missionary going to work in the Congo. He intends to spread the word of Jesus Christ to the “savage” Congolese people. Armed with the teachings of the Lord, the Congo population will, idealistically, become civilized, God-fearing, capitalist Christians. There are so many details that are so inherently wrong with Nathan’s scheme that it is difficult to find a starting point. Primarily, this religious intervention in the African jungle relies on the basic belief that the Congolese civilization is riddled with chaos, heathens, and idiots. Nathan assumes that because they are not Christian, their lives are not fulfilling. As the industrialized white man, Nathan clearly knows best. It does not take long for the Congo to crush his “white” practices. They do not stand a chance against the ruthless elements of the Congo. The vegetable garden scenario highlights his hypocrisy. He brings a bounty of seeds from Georgia and ignores Mama Tataba’s advice while planting them. Needles to say, the garden is almost immediately destroyed by the pounding Congo rain. When he finally concedes to the more effective Congolese farming techniques, he is ungrateful and avoids admitting his failure and condescension. His daughter Adah observes her father’s stubborn pride when she remarks, “No one can say he does not learn his lesson, though it might take a deluge, and though he might never admit in this lifetime that it was not his own idea in the first place. Nevertheless, Our Father had been influenced by Africa.” (63).

Nathan’s religious fanaticism is the most aggravating aspect of his character, in my opinion. Nathan’s actions and attitudes revolve around ignorance, discrimination, judgment, and inflexibility. His values are antithetical to the Christian doctrine. Nathan emits an essence of corruption and mistrust when he preaches about love and universal redemption when he clearly dismisses the validity of the Congolese way of life. His attitude is exemplified by the fact that he pronounces the Congolese word for “Jesus” incorrectly so that it presumes the meaning of “poisonwood”. It is ironic to the point of hilarity that Nathan claims to love all brothers and sisters in Christ when he was too careless to learn his brother’s language.

Raised in a strictly Catholic home, led by a hard-headed father, I can understand the oppression the Price women suffer within their family. This is possible why Nathan infuriates me so much. I can relate to him so much as a father figure (in regard to his overbearing faith) that his character evokes such an acute response in my memory. It angers me because Nathan represents a faction of so-called Christians that are the epitome of the evils they preach about. Paired with his prejudices and misogynistic tendencies, these factors combine to create Nathan’s close-minded arrogance.

The Color Purple

1. Discuss the links that you see between Hurston and Alice Walker through their novels. What do you see in Alice Walker’s work that is reminiscent of Janie? Use examples and quotes from the text.

“There is no book more important to me than this one” says Alice Walker of Zora Neale Hurston’s novel Their Eyes Were Watching God. It is apparent that Hurston’s writing deeply affected Alice Walker’s persona as an author, as well assisted in shaping her “womanist” view towards female kind. Therefore, it is not surprising that Hurston’s Their Eyes Were Watching God and Walker’s The Color Purple touch upon the same issue of female African American self-actualization. Both authors accompany us on a journey of adversity, including racism and sexism, leading to self-worth and true complacency for their protagonist.

Like Janie, Celie is first introduced to us, the readers, as a young girl who is forced into a marriage arranged by her parent. It is not romance, but a business transaction, with offers, negotiations, and an exchange of goods- Celie. Unfortunately, Celie enters into contractual wedlock with several emotional burdens weighing heavy on her heart. Her father raped her, resulting in two pregnancies. Both babies were stolen from Celie by her father and mysteriously disposed of. Celie’s new husband, indiscriminately named Mr. _______, beats Celie for lack of anything else to relieve his boredom. “Harpo ast his daddy why he beat me. Mr. _______ say, cause she my wife. Plus, she stubborn. All women good for- he don’t finish.” (Walker, 22). Lastly, she must take care of Mr. _______’s children, who neither like nor obey her.

While Janie does not have a physically or sexually abusive relationship with her father or first husband, Logan Killicks, she does harbor the same longing for something better in her heart. Going through the motions of the daily household routine, both Janie and Celie feel the tug of grander things move their hearts. However, Celie internalizes these feelings and tries to numb herself to the monotony, while Janie uses these feelings to motivate her to escape. Janie’s second marriage to Jodie Starks more closely parallels Celie’s life with Mr. _______. These women are treated like children by their own husbands. Jodie and Mr. _______ firmly believe that women need to be trained and disciplined. To escape this mentality, both women search for a real relationship, based on true, respectful love. Celie finds this love in Shug Avery, Janie, of course, unites with Tea Cake. Society does not approve of either of these pairings, but the fact that they do not heed to societal pressures reflects their achievement of self-empowerment. They will not let anyone or anything extinguish their happiness. Celie finally learns, “If she come, I be happy. If she don’t, I be content. And then I figure this the lesson I was suppose to learn.” (Walker, 240). Janie comes to a similar conclusion after Tea Cake’s death, and finds peace within her soul.

Also, both novels use an extensive amount of nature imagery and religious references to highlight the emotional journey of the plot. As Shug says to Celie, “I think it makes God angry if you walk by the color purple in a field somewhere and don't notice it” (Walker, 210). Zora Neale Hurston employs nature imagery to educate Janie’s heart about love. “She[Janie] saw a dust-bearing bee sink into the sanctum of a bloom; the thousand sister-calyxes arch to meet the love embrace and the ecstatic shiver of the tree from root to tiniest branch creaming in every blossom and frothing with delight. So this was a marriage!” (Hurston, 11). The title of Hurston’s novel alludes to religion quite directly; both stories provide a sense of confusion and wonder with God from the African American perspective. Honestly, I believe that both novels could be titled Their Eyes Were Watching God because throughout these stories of oppression, struggle, and self-acceptance that span over multiple decades, we feel that these people are staring at the sky, wondering how to work through the aversive life God has injected them into. It is with that same grace of God that they succeed.

Works Cited

Hurston, Zora Neale. Their Eyes Were Watching God. New York: HarperCollins, 2000. Print.

Their Eyes Were Watching God

2. How does this book serve as a revision of the Slave Narrative? What components were in the slave narrative that you see here? What components are missing or “revised?”

Their Eyes Were Watching God is an intriguing revision of the slave narrative. Zora Neale Hurston parallels Janie’s female imprisonment as an unhappy wife searching for self-actualization with the traditional slave narrative. There are elements of captivation, oppression, and escape within Hurston’s novel.

Janie’s grandmother in the story actually was a slave. She was impregnated by her master, giving birth to Janie’s mulatto mother. She managed to escape and find emancipation, becoming economically independent, owning her own house and raising her granddaughter. As a product of slavery, Janie’s grandmother values stability and safety above all else. She marries Janie off to the mundane farmer Logan Killicks to ensure Janie’s economic security. It has nothing to do with the man’s personality; her grandmother tells her quite plainly, “’Tain’t Logan Killicks Ah want you to have, baby, it’s protection. Ah ain’t gittin’ ole, honey. Ah’m done ole” (15). In this nouveau slave narrative, Janie’s first marriage essentially represents Janie being “sold” into slavery (wedlock) by her master (grandmother). Janie has no control over her servitude to Logan. She is miserable and unbearably bored in this life.

When Janie spots Joe Starks walking down the road, she sees her chance to escape. She runs off with Jodie, accompanying him on his quest to establish a thriving colored community. Janie harbors an eternal hunger for excitement, passion, and independence, but Jodie does not offer these to his new bride. The possibility of freedom seems synonymous with Joe Starks, but Janie quickly realizes that he is only interested in having a respectable politician’s wife on his arm. He only loves Janie as an extension of himself- as a possession that is meant to be seen, not heard. Her opinions and aspirations are stifled under Jodie’s ego. Once again, Janie finds herself a slave to Jodie’s dominance. Her sexuality and her ardor for life is oppressed. Joe barks orders to his wife in front of the townspeople, and ridicules her because of his own insecurities. This time, Janie does not look for an escape route; instead, Jodie is the one that sets Janie free with his rapidly deteriorating health and resulting death. Janie finds solace in Jodie’s passing, and finally feels a sense of freedom. She takes off her head scarf and lets her hair down, an act of defiance that Jodie prohibited. Relieved and emancipated, Janie is content with her life.

At this point, Tea Cake enters and sparks a fire in Janie’s heart. Together, they build a life centered around true love and equality. They love each other for who they are, and do not attempt to impose changes on one another. They start their new existence together as a team, working alongside each other in the Everglades and living their lives to the fullest, with parties and friends that share in their happiness. We, the readers, are finally introduced to a Janie that exudes pure joy. We might conclude that this is the end of her symbolic slavery, but that assumption is wrong. Although Tea Cake embodies real love for Janie, she is still bound to his happiness. Tea Cake gives Janie’s life meaning, and provides her with a source of love and desire. We celebrate in Janie’s joyous union, but it is still a union- not independence. Mentally, Janie is still searching for someone else to complete her, when her true completion should come from within. This self-discovery is finally achieved by the end of the novel, after Tea Cake’s death. Janie concludes that her soul is at peace because she is a slave to no one, for good or bad. The only person that can supply her with freedom is herself.

Works Cited
"slave narrative." Encyclopædia Britannica. 2009. Encyclopædia Britannica Online. 12 Nov. 2009 <http://www.britannica.com/EBchecked/topic/548224/slave-narrative>.

Tender Buttons

1. Read Tender Buttons and see if you can pick out a pattern for the piece. Think of these questions: What do these objects have in common? Why might Stein be experimenting with these particular words? As always, use quotes from the text in your answer.

Tender Buttons is a very fragmented piece of work. Gertrude Stein experiments with syntax, connotation, sentence structure, and imagery. Her writings reflect the ideals of the modern art movement: broken pieces of a whole, a singular experience in time, a rebellion against convention. After reading through Tender Buttons, one feels uncomfortable and disjointed. However, there is a common thread throughout the poems. All of the objects she discusses are those that would be prevalent in a woman’s world.

Gertrude Stein has been called an early feminist by many. By composing poems about female possessions, she is exalting the female position. Male writers write about male subjects, because until that time, male society was the only important thing in life. Stein gives depth and significance to the female life in her work. She shows us that a woman’s world is important, worthy to be the subject of art. Stein does not dwell on quaint notions of love and giddiness, and she does not center on the role of motherhood or childbearing. Everyday, common objects are the main characters of her work- a dress, a hat, a piano, a shawl, etc. These are things that a woman would come in contact with every single day, going through the motions of her mundane routine. Clothing, food, household items. They are overlooked because they are not the instruments of man. They are not intellectual, they are not forceful, and they are not grandiose. But they are not any less worthy of documentation, and Stein recognizes this fact. To the ignorant male, these are not worth observing, but to Gertrude Stein, they are symbolic and pivotal in delving beneath the surface of the female psyche. These silly little objects are the fundamental components of a woman’s existence. Through these ordinary things, her perspective is distorted and translated. By fragmenting the individual parts of each item, Stein reveals the inner core. We can see how a red dress is more than a dress, how it affects your life, how it affects your mentality, and how it plays a role in the larger framework of the universe.

Essentially, Gertrude Stein not only commands our attention to the importance of the female existence, but arguably declares its precedence over the male existence. I believe that her feminist pattern for Tender Buttons highlights her stance on female complexity. If a woman can express internal significance through milk or a hat, what would she be capable of doing with the resources of mankind at her disposal? I am convinced that Stein utilizes Tender Buttons to showcase feminine depth and power. Her style of writing reflects the modernist movement in art and literature, but her choice of subject matter and consistent theme of female life carries her feminist opinions through the work. Her experimentation with grammar and diction are a catalyst for our brains, to stir our emotions to the point of analysis. She wants us to get the raw, undiluted essence of a woman. She wants her writing to dig under our skin, causing an undeniable itch that does not allow us to be distracted from her message; there is more to a woman than what a man might define her as.

The Sun Also Rises

1. Do a gender analysis of Hemingway’s two main protagonists in the novel. What seems unique about these portrayals? Use quotes from the text to define your arguments.

In The Sun Also Rises, Jake and Brett are the two main protagonists. Their interaction frames the novel. Although Jake is the man and Brett is the woman, their gender roles appear to be inverted. Ernest Hemingway belonged to a promiscuous, frivolous literary and social movement termed the “Lost Generation”. Hemingway, accompanied by many other young writers and authors, left the country to live in Paris, where they drank and partied in excess. The world was changing; the Great War had tainted and mutated almost every facet of life as they had once known it. Women were evolving into a new kind of species; they wore their hair short like the modern style, as well as their hemlines. They were assertive, raunchy, and free spirited. These emerging qualities are embodied in Lady Brett Ashley.

Lady Brett Ashley is the pinnacle of a “roaring 20’s” gal. She chopped all of her hair off for a more risqué style. Even her name is scandalous- “Brett” a name commonly associated with men. Brett is open and demanding with her sexuality. She basically refuses to settle down with Jake, her supposed true love, because she will not deny her carnal desires. She controls the conflict in the story by hypnotizing the men in Jake’s circle, as well as those outside of it. They are entranced by her spontaneous nature and abundant sex drive. They fight over her constantly, both physically and verbally. Jake is not excluded from this. He persists in cleaning up her messes, rescuing her, and enabling her partying even though it is clearly an unhealthy relationship for him, as well as for Brett.

Jake fulfills his role as the subservient woman to Brett, the sexual, domineering male, so to speak. Jake sacrifices his life and his convenience to run around after Brett. Also, more literally, Jake has become impotent due to an injury he suffered during the war. This contrast between his lack of sexual capabilities and Brett’s obvious overflow of sexual energy further defines Jake as the female player to Brett’s male. Jake is the one in the relationship who confesses his love and tells Brett of his emotions, while Brett tries to avoid emotional situations. Following her desertion of Pedro Romero, Brett contacts Jake to retrieve her. When he arrives, she proclaims, “Oh, hell…let’s not talk about it. Let’s never talk about it.” (245). She repeats this four more times over the course of their conversation. As we can see, she tries with all of her might to fight confronting her emotions.

Unfortunately, this does not translate well between male and female. The woman in the role of the man results in a bitchy, whore-ish exterior. Jake, on the other hand, concludes the novel with a much less severe stigma. He is not the female role in the sense of an overly emotional, hyper-sensitive, flighty, or delicate character. Instead, he is the female in the way that a more prominent, outgoing, sexual person initiates the action that occurs between them, and he allows them to steer the direction of their relationship. He sacrifices for Brett, while she is more characteristically selfish and shallow. By the close of the story, Jake has resigned himself to Brett’s spell. He realizes that he will always be the one who comes running when she starts to cry, but by becoming self-aware of her enchantments, he has unbound the emotional chains around him and is free to commandeer his own life. He understands that he will always fall into this pattern with her, but his heart will not be in it anymore. In turn, he has regained his manly control, leaving Brett to decay into a more traditional, indecisive, irrational, weepy woman.

The Scarlet Letter

1. Choose one critical article in the back of the Norton Critical Edition and summarize the article, closing your blog with a paragraph or two on whether you agree or disagree with the author’s contentions and why or why not.

After completing Hawthorne’s The Scarlet Letter, I perused the collection of critical articles in the back of my book. There, my curiosity was aroused by an article written by Evert A. Duyckinck in 1850 for Literary World. Duyckinck claims that there are two Hawthornes in existence- the romantic Hawthorne that emanates throughout the Mosses from an Old Manse, and the Hawthorne “of a sterner Puritan aspect” who composed The scarlet Letter (Duyckinck 237). Readers are familiar with happy, loving images conjured by Hawthorne’s writing, and therefore, may seem surprised when they begin to read The Scarlet Letter, a proclaimed romance novel. Duyckinck explains that The Scarlet Letter is a “psychological romance” (Duyckinck 237). The story teaches us a lesson about regret, judgment, and wrong doing. Hawthorne skillfully dissects the human heart and analyzes the emotions and fears that course through all of our veins alike. Duyckinck describes the power that Hawthorne injects into his poetic style of writing, and praises his acutely precise character developments and poignant imagery. The demonic progression of Chillingworth is crafted perfectly, and we, as readers, feel his grotesque metamorphosis within the novel. The creation of the impish child is clever and unique, and strays from the common notion of innate grace and innocence.

The climax of the story may be labeled as Dimmesdale’s confession of adultery and resulting death, but Duyckinck insists that the true action of the novel takes place within our own minds and the fictional minds of the characters. It is a story of destructive thoughts and torturous secrets. Thoughts themselves are likened to actions. Hawthorne does not include any element that does not play a vital role in the text. Every detail adds to the mounting psychological strain. Each scene in the book is “simply arranged, but with artistic power” (Duyckinck 238). Hawthorne knows how to make his writing quintessentially effective. He does not waste any creative energy on anything that does not contribute to his complex goal.

The entire story has a supernatural aura that soaks into our reading, combined with the rigid Puritan ethics that drive the plot forward. According to Duyckinck, the Hester Prynne’s punishment, and the resounding moral, are harsh, and yet wholesome. It represents the Puritan society more accurately than other attempts. Hawthorne’s Puritan ancestry is evident in his writing.

There are parts of Duyckinck’s reaction that I agree with, and others that I do not. I also think that Hawthorne’s insight into the complicated vortex of good and evil in our minds is keen. With razor sharp detail, he penetrates the very core of human nature. Further more, I agree that the novel is mainly psychological. Dimmesdale’s suffering is completely internalized, as well as Hester’s original defiance. Even Chillingworth swallows his vile, vengeful feelings until it rots his insides to the point of satanic influence. However, I do not agree with Duyckinck’s opinion of the moral. I do not even believe that there is a moral to this story. To me, it is more like a literary X-ray of the internal decay of the Puritan society and all of its members. No character is faultless, and therefore, I can not truly sympathize with any one of them. I can not agree with Hester’s punishment and her rapid decline into solitude and depression because I barely believe she is guilty of her accused crime.

Works Cited

Duyckinck, Evert A. "Review of The Scarlet Letter." The Scarlet Letter and Other Writings (2005): 237-39. Print.