Blinded by Desire

In A Streetcar Named Desire , passengers ride a little streetcar named Desire. In traveling down a rickety old road, they receive a glimpse of their most desired destination; Elysian Fields. An allusion to heaven, so close in the distance, and almost within their grasps. Blinded by their notions of happiness, they heed no caution, and continue traveling down this narrow little road. But, wait, as their journey is quickly forestalled; Desire doesn't lead to Elysian Fields, desire doesn't lead to happiness. Well what does? Another streetcar named Cemeteries. As in death? No, as in life's harsh reality.

At some point in their lives, Stella and Blanche both travel down to New Orleans where they ultimately end up in Elysian Fields. Similarly, although under different circumstances, both sisters end up leaving their initial home at Belle Reve on the very notions of their own desires. In leaving and attempting to obtain happiness, these sisters readily take up their desires, only to be temporarily blinded and then forcibly shunned with reality.

Stella's relationship with Stanley is founded on her physical desire for sex. Although Stella cares for Stanley, she is constantly mistreated by him both physically and emotionally. Whenever she attempts to leave her relationship, her desire draws her back. After Stanley beats her, Stella leaves to Eunice's flat, only to go back to Stanley that very night. Her physical desires blind her again and again. She is unable to face reality, that Stanley is a horrible husband. Not only is he aggressive and abusive, but he is also unfaithful. After Blanche tells Stella that Stanley raped her, Stella chooses not to believe her. Instead she stays married to Stanley and moreover starts a family with him, which can be seen as her attempt to ignore the reality of her situation. Similarly, Blanche's own desires in multiple ways are physical. For instance, Blanche, just like Stella, is drawn into having physical relationships with men. She desires men unconditionally as demonstrated by her notorious reputation at the Flamingo hotel. Even more so, she constantly desires attention from men, as seen through her overly flirtatious behavior. Although Blanche doesn't necessarily enjoy her relationship with Mitch, she continues to see him because like Stella,she is blinded by her desire for attention, whether emotional or physical. Furthermore, Blanche desires marriage, even if this means resorting to marrying Mitch. Her desire for marriage so thoroughly overtakes takes her, that she chooses to lie to Mitch about her age and her past affairs. She is so blinded by her desire for attention that she continues to ignore the reality of her situation; Mitch does not want to marry her anymore. Instead she makes up stories about how he comes begging at her door in apology. She too, cannot come to terms with reality.

Blanche: Which way do we go now, Stella-this way?
Stella: No, this way. [She leads Blanche away.]
Blanche: [Laughing.] The blind are leading the blind!
(1555, Scene 3)

Both sisters are ultimately blinded by their similar desires.

Blanche?

Within a Streetcar Named Desire, William Tennessee most accurately brings to life a set of dramatic characters who thoroughly express the typical masculine and feminine stereotypes of the past. In doing so he portrays his characters as people who put on artificial fronts while they secretly struggle to conceal their real emotions, feelings, and true selves. In effect, he achieves the ability to allow us to make our own "understandings and readings of these characters". As a result, our own insights allow us to discover that these characters are much more complex then they initially appear. By providing us with such spaces where we can interpretate the characters for ourselves, Tennessee is asking us to recognize and see people for who they are beyond the stereotypes.

Blanche is expressed as a woman full of imagination, one who is constantly lost within her fantasies, and unable to face reality. Her character is almost childlike with the exception that she in reality is a full grown woman. Throughout the entire play, Blanche is constantly mingling with the concept of her age and its effects on her femininity. She desperately tries to conceal her age; hiding behind soft lights, not going out during the day,bathing and powdering on a regular basis(in attempt to keep herself looking 'fresh'). Moreover, she is constantly lying to her potential lover Mitch, claiming that she's Stella's younger sister, when in reality she is five years her senior, or acting as if she doesn't know what alcohol is when in fact she secretly drinks on a regular basis, or further yet,making Mitch believe that "she [has] never been more than kissed by a fellow" (1581), when in reality Blanche has had numerous affairs, to the extent where she has been fired from her job as a schoolteacher. By attempting to feed into the stereotype of a fragile, young, and innocent female, Blanche might not be "more than a delusional, aging debutante". Yet, there are small instances that exist, where Blanche's actions and words, ask us to reconsider our thoughts. These instances, give us true insight to her personality, beyond that of a desperate aging woman.

Although we assume that Blanche is artificial when it comes to her relationships, several instances suggest otherwise. For example, while it seems as though Blanche is taking advantage of Stella, she in fact cares for her. When Stella is hit by Stanley, Blanche screams and runs to her defense. She hurriedly takes Stella away to safety telling her, "Dear, dear little sister, don't be afraid!" Her actions and words are quite sincere, she seems to be truly concerned for her sister's well being.

While it appears that Blanche is merely using Mitch for marriage, this is untrue. Blanche is quoted thanking Mitch for his kindness,telling him that he has "a great capacity for devotion" (1578). These words imply the potential feelings she has for Mitch. She insists on earning his respect, while she has to lie for it. Her intentions are not insincere, but truthful. Furthermore, when she is with Mitch she is quite relieved and grateful, so much so that "she makes a sobbing effort to speak but [her] words don't come." (1579)When Mitch tells her that he will not marry her, Blanche "staggers back from the window and falls to her knees"(1592). She does so after he leaves, while she is alone. If she were truly uncaring and insensitive why would she do so? Why would she feel the need to express her emotions to nobody, but herself?

Lastly, as seen through her sensitivity in regards to her first husband, "I didn't know anything except that I loved him unendurably but without being able to help him or help myself" (1579), we realize that she deeply regrets her actions,and still grieves his death to this day.

By putting up an artificial front and concerning herself with such materialistic things, Blanche is able to imagine that the world holds potential. This is her alternative to the violence, alcohol, and prostitution that is associated with cruel reality.

Home

Within Joyce's "Eveline", the female protagonist is shown reflecting on her memories and past experiences in a place she has learned to call home. She sits against a window trying to determine her future fate. She has two choices, one to stay home and go on with her daily life or the second, to move away to Buenos Aires with her lover Frank, and live a new life. As she considers her situation, she undergoes a paralysis that ultimately leads her to an epiphany.

From the very beginning of the story, she recognizes that a part of her is unhappy with her life. The life she lives is a hard one; she is constantly working at either keeping the house together, working at the store, or taking care of two children by taking them to school and providing them with meals. Moreover, she is quite lonely. Her mother and brother have passed away, her other brother is always traveling, and all of her childhood friends have either died or moved away. Furthermore, while she lives at home with her father, she fears him as "he had begun to threaten her" while "she had nobody to protect her". Yet, in further pondering her situation, she seems reluctant to leave. As she is writing out her goodbye letters to her father and brother she realizes that they would miss her as much as she would miss them, "She liked Harry...her father...he would miss her. Sometimes he could be very nice." She even goes on to remember how she had promised her mother "to keep the home together as long as she could."

The same night, as she is about to leave to Buenos Aires with Frank, she experiences a sudden paralysis. She is literally unable to move as she clings onto an iron railing petrified by her surroundings, the ship and the sea:

"All the seas of the world tumbled about her heart. He was drawing her into them: he would drown her. She gripped with both hands at the iron railing."

Only then does she come to terms with her epiphany that she can not leave her home in attempts to build a new one, "No! No! No! It was impossible."

She had previously convinced herself that she could escape her life by moving away with Frank. In doing so she could build a new one full of love and happiness. But at the end, she comes to terms with her true feelings towards her home, family, and Frank. She realizes she really doesn't love him as she had originally assumed, "her eyes gave him no sign of love or farewell or recognition" and that giving up her current situation wouldn't necessarily guarantee her a better one.

In the novel Disgrace, Lucy experiences a very similar situation. After her attack, for a long time she experiences a paralysis, not physically but mentally. Although she tries to move on with her life as though nothing has happened she is unable to do so as demonstrated by the drastic change in her personality. Furthermore, she constantly stays locked up in her room. When David asks her to sell her land and leave her home in the hopes of providing her a better life, she comes to an epiphany that no matter what she can not leave her home. That leaving home, won't guarantee her a better life. Even when she accepts Petrus' proposal for marriage in exchange for her land, she accepts with the condition that she still keeps her house, her home.

A mistake

Melanie's experience with David...

No. Not again. I can't believe this is happening to me. It's all my fault. I mean, I hadn't known that I couldn't have trusted him, but when he asked me to join him for a drink, I said okay. I said okay even though I felt uncomfortable. Maybe if I said no thank you, this wouldn't have happened. I was just so confused, and then he asked me out for lunch... I didn't have to say yes, but I assumed lunch was casual, so it was probably no big deal. How could I think that? I should have known to ignore him after he asked me to sleep with him the night before. But I didn't know what to do or who to tell. I should have told him flat out no, why didn't I stop him? I didn't like what he was doing to me, but I didn't make him stop. Why? So that it could be done and over with, maybe then he would leave me alone, but no. Here I am again. I should have slammed the door on his face, when he tried to force his way in. Telling him no wasn't enough, it didn't stop him. And now it's happened all over again. Oh god! Just make him go away! "Please you must go."

As the door slams shut, the gurgling of a sob threatens to let loose. Aching, I quickly rush to shower, to cleanse myself clean. As the hot water hits my face, my tears rush out as a mass, blurring my vision. I have just been raped.

Analysis

Throughout the entire novel, Melanie is given such a small voice. Although we suspect that she dislikes David, and is forced to have sex with David multiple times, we can't be sure. For instance, there are several times within the novel where David makes us think otherwise. When Melanie comes over in a need for a place to stay, David makes it seem as though she wants to be with him, "she is quick and greedy for the experience...one moment stands out in recollection, when she hooks a leg behind his buttocks to draw him in closer...feels a surge of joy and pleasure" (29). By reading this, it seems as though Melanie is enjoying herself as much as David is. By coming over to David's house willingly, we might assume that this relationship means something to Melanie. Although, David's perception makes us think this, we also have to realize that this is the only instance that asserts such a possibility. If we actually analyze Melanie's entire experience with David we can claim otherwise. For example, throughout the times Melanie sleeps with David she is quite passive,"all she does is avert herself: avert her lips, avert her eyes...and turns her back on him" (25) This demonstrates the fact that she does not appreciate David's sexual advances. Instead she feels helpless and uncomfortable. She is tangled in a web of emotions. At times she may think that what is happening to her is her fault. This may explain why she isn't so resistant towards David,and goes back to him in desperation. As a character, Melanie's actions are conflicting and confusing. Without any insight in regards to her emotions, we as readers can't be sure how she actually feels. This narrative shows the complexity involved with Melanie's situation that we may not appreciate or realize from David's narrative alone.

Imperfect change

From the very beginning of the novel, David Lurie is presented most disgustingly as a man who lacks respect for women and goes on to quickly exploit them. Within the first several pages, we discover that David has been divorced twice, sleeps with prostitutes, has affairs with married women and coworkers, and furthermore pursuits to sexually harass his own students. His status as a white male professor, of modest income, grants him with a variety of privileges, that he uses to his advantage. His relationship with Soraya, a prostitute, is purely a physical one. Soraya is illustrated as a married mother of two, who most likely resorts to prostitution as a needed source of income. David, as a man of modest income, takes advantage of this, "For a ninety minute session he pays her R400, of which half goes to Discreet Escorts". (2) After his relationship ends with Soraya, he has a fling with another prostitute named Soraya. Unsatisfied, he pursuits another relationship with a new secretary within his department named Dawn. This ends badly, "It is a failure...he drives her back to campus". (9) As if he hasn't had enough sex, he notices one of his students named Melanie, "It is no great matter: barely a term passes when he does not fall for one or other of his charges. Cape Town: a city prodigal of beauty, of beauties" (12). Although David knows better, he stalks her and eventually has sex with her several times without her approval, "Not rape, not quite that, but undesired nevertheless, undesired to the core" (25).

Earlier within the novel, David merely objectifies women, "a woman's beauty does not belong to her alone. It is part of the bounty she brings into the world. She has a duty to share it" (16). In objectifying woman, he is disregarding their thoughts, emotions, and intellect. He thinks nothing of women, except of the pleasure they give to men. However, throughout the novel, David's perspective gradually experiences change. When David visits his daughter Lucy, he is shown as a caring, sensitive, and overprotective father. He is proud of what his daughter has accomplished as an independant strong willed woman . Even more so, he acknowledges that his daughter Lucy is a lesbian and claims that it is unnecessary for a woman to seek out the company of a man, "in each he recognizes a statement of independence, considered, purposeful. The turn away from men too. Making her own life. Coming out of his shadow. Good! He approves!" David's attitude towards woman has gone through a drastic change. He is shown respecting Lucy, not only as his daughter, but as a woman.

After the incident of the three men breaking into Lucy's home, robbing most of their belongings including David's car, and beating him up, let alone putting him on fire, David's only concern is Lucy. He is completely outraged at these men for what they have done to Lucy, " I want those men to be caught and brought before the law and punished" and "a flurry of anger runs through him...violation...yes it was a violation...yes, it was an outrage" (119). Earlier within the novel, David took advantage of woman, he exploited them on the basis of his own desires. When he was convicted he did not plead guilty, but instead expressed his need to fulfill and justify his own desires as he became a servant of Eros. As the tables turned, his own daughter had been taken advantage of and made the victim, the exploited. Similarly, these men justified their actions on the notion of desire. They too, were "enriched by the experience"(56) as David was.

Upset, David realizes the irony within the situation, but instead of showing regret for his actions, he thinks "How they put her in her place, how they showed her what a woman was for" (115). This line demonstrates that although David has changed, he has not changed completely. While acknowledging the wrong implied by men in unjustly taking advantage of women, David still believes that women are objects. He does not insist how these men tried to put her in her place and show her what she was for, considering all that Lucy did: moving on with her life, overcoming this obstacle. Instead he emphasizes the fact that she is a woman and how this has made her vulnerable that perhaps living alone on a farm is no longer a good idea, "What are our plans?...to go back to the farm...and then?...then to go on as before...be sensible Lucy. Things have changed.We cant just pick up where we left...why not?...because it's not safe" (105).

Throughout the novel David changes in a variety of ways to a range of degrees. His different attitude towards women echos one of these changes. Slowly throughout the novel, we as readers can gradually start to understand David and even more so, slightly begin to appreciate him for his struggles. In coming to terms with himself, his identity and his life, we realize that he is merely human. Like us he is imperfect.

We Real Yummy

The cold plums.
A few in the Icebox.

We real yummy. We
In your tummy. We

Your breakfast. We
Your past. We

Delicious. We
Nutritious. We

Good Food. We
Conclude.

Better Late than Never

Langston Hughes’ poem “Harlem” is broken down into four main stanzas. The first stanza consists of a single question. This isolated question introduces the subject at hand, a delayed dream, with significant emphasis. By serving as the heart of this poem, the singular question demands the reader’s attention and understanding of the situation at hand. This question is what carries the reader throughout the entire poem; it is the basis of comparison for every other question. The organization of this first line promotes clarity, and the lack of confusion; Hughes message is apparent.

Meanwhile, the next stanza holds of a cluster of questions. These questions serve as ambiguous answers in regards to the first question that is asked. There is uncertainty here. Each question serves as an example of what happens to something if it is, like the dream, neglected for so long. Furthermore, there is a sense of progression and relationship between the questions asked. They all seem to relate towards one another, especially with the question that was asked before it.

For example, a raisin becomes so dry, that it is inedible. By loosing all of it nutritional value, it becomes worthless. Similarly, a sore that is unattended, becomes infected, so that it takes longer to heal. The relation between the two occurs somewhat ironically. The raisin was dried out for too long, while the sore needed to be dried out in order to heal. Considering this, the next example is that of rotten meat. Meat that is left out for too long (like the raisin) becomes infected (like the sore). The relationship between the questions seems to grow; they all correspond with one another. The last example is that of honey or syrup crusting over. Unlike the meat and the raisin it is not completely inedible if it is neglected for so long. As long as the surface crust is removed, the honey or syrup can still be consumed. Similarly if the sore is taken care of, it will heal. Like the honey or syrup, it still holds potential usage.

Now, with this in mind, it becomes apparent that the questions feed off one another and have not been placed at random. The questions are somewhat back and forth progressions between the potential outcomes that may still exist within this dream. From the lack of possible outcome/ gain (raisin, meat) to the possibility of potential (sore, syrup).

Finally, the last two stanzas are also structured the same way the first line is. They are both isolated, although one is a statement and the other is another question. These two stanzas also fall into the pattern of the poem. From certain to uncertain to certain to uncertain again. The organization and the structure of this poem are at times clear and at other times unclear, somewhat like the initial question. As a result, this poem is very effective in capturing the attention of the reader in relation to the main issue at hand. Although this dream has already been neglected for so long, does it still hold possibilty? Look around, better late than never.

Uh oh.... forgot the thesis

The single occurring line break which separates the two stanzas within Sylvia Plath's poem "Mirror", signifies both a new beginning and the reinforcement of distinction between two different speakers.

A words worth

If a picture is worth a thousand words, how many pictures is a word's worth?

In a Station of the Metro, Ezra Pound’s entire poem consists of his emphasis on a particular moment. So rare and precious was his reaction towards this moment that he had to capture it. In doing so, Pound did not elaborate, and use flowery language, but instead he wrote a short and concise poem. By enhancing this moment into what it was, a brief instant, Pound comes across as very effective. Pound further enhances his feelings and thoughts in relation towards this instance by his use of a single metaphor; the comparison of an unusual sight in the midst of normality. The photo of the wet branch demonstrates this normality; it is a natural sight that we take for given. Just as the use of the metro is a given, there is nothing special about it. Meanwhile, the second photo of a crowded branch of blossoms, demonstrates the beauty that lies within this given normality. Just as these faces lie within a massive crowd. This beauty exists; we just have to look for it.

Pound has created this imagery of contrast, the unusual against the normal, light versus dark, faces within a crowd, and petals to a branch. All of these comparisons can be seen through the use of these photos in some extent or another. Yet, his basic representation of the contrast of angelic faces within a dark dense and massive crowd is more abstract in relation towards his realistic comparison of small, light, and airy petals against a thick, wet, and dark branch. At first glance these images provided enhance the visual representation of the poem physically, and after much thought symbolically. Yet they lack a complete justification of Pound’s thoughts and emotions. While, Pound clearly communicates his ideas, his feelings are more abstract. The uses of these photos to enhance the text are limited because each image generates a variety of different responses from every person. A particular image may not be as meaningful to one person as to the next. There are an array of possibilities. And these possibilities complicate the essential idea that Pound may be trying to get across. For instance, maybe the branches represent seasons, growth, life, or nature. But Pound may be only implying the contrast of a beautiful sight and nothing more. There is no guarantee, that the responses we give in seeing a photograph actually help clarify the poet’s ideas.

Death an Inevitable Fate

Though William Shakespeare’s Sonnet 73 and Dylan Thomas’ Do Not Go Gentle Into that Good Night are both poems that discuss the concept of death, the two poets differ in their approaches towards the idea of death.

In sonnet 73 death is seen as a progression. Time slowly compresses itself, from the expansion of season, to day, to moment. The life of this person, the time that they have left in this world is gradually diminishing and Shakespeare acknowledges this by claiming, ‘as the deathbed whereupon it must expire’. There is no question or doubt in regards to the possibility of death; it is stated as an expected end through the use of must expire, not will expire. Furthermore, Shakespeare recognizes that this person is refusing to accept death that they are trying to grasp whatever they have left. This person loves more and more what they must leave and cannot have for much longer; life. Meanwhile in Do Not Go Gentle Into that Good Night, death is not easily confirmed as an inevitable end. There is a lack of acceptance on Thomas’ part as he pleads with his father again and again not to acknowledge death. He is asking for his father’s emotion in fighting off the possibility of death, as seen through the repetition of the paraphrase, ‘Do not go gentle into that good night’. While Thomas refuses to accept death, he clearly tells us that death exists, for "wise men know death is right", and wild men grieve the coming of death. Furthermore, the immense reality of death is the sole cause of his rage against the ‘dying of the light’. While Shakespeare both acknowledges and accepts death, Thomas finds difficulty in recognizing this fact. Meanwhile whosoever is dying within each poem seems to perceive death differently from the poets themselves. Each poet’s approach towards death is the opposite of the other.

Shakespeare furthermore, by using metaphors compares death with realistic examples that we as readers can identify. For instance, the concept of growth as seen through the trees’ leaves changing colors in fall. Shakespeare supports his argument of the inevitable, death. Thomas on the other hand, approaches death in another way. By using the conventions of repetition, he demands attention to his emotions, a bias towards death. The metaphors that he uses are ideas that not every reader can easily relate too.