The girl-poets wonder, to themselves of course, why the Marilyn Monroe would be browsing through used books, when she could be walking through the Waldorf-Astoria (80). By showing that even a dressed-down Marilyn Monroe seems out of place, Oates gives more of a feeling to the homeliness of the Strand. There is almost a tension between Marilyn Monroe and the Strand, because they are essentially portrayed as polar opposites. Oates does this to dramatize the girl-poets relationship, because their true relationship is reveled to the reader at the end of the story. This building tension between the setting and Marilyn Monroe sets the reader up for the surprise ending.
So metaphorically, she is hiding from reality but on a physical level, Blanche avoids light to prevent others from seeing the reality of her beauty that is now being “put out” like light. From the start, Blanche is portrayed as a “moth” [pg. 5] , a creature of darkness, often mistaken for a butterfly, a creature of light, thus building up on the theme of illusion. As a moth cocoons itself to avoid bright light, the colored paper lantern Blanche bought represents her creating a beautiful dream to gloss over the ugly reality (light bulb) that she cannot confront. She is able to manipulate facts and reality, hide the truth and be in control of whom she is.
Elisa wants to know what her husband means by "Nice." But Henry says he means "Strong." Elisa uncharacteristically forces the issue and insists on knowing what he means by strong. Henry predictably interprets his wife's verbal assault as "Some kind of a game" rather than confrontational and responds in kind: "You look strong enough to break a calf over your knee, happy enough to eat it like a watermelon." Elisa loses "Her rigidity" momentarily and scolds him: "Henry!
"The sow staggered her way ahead of them, bleeding and mad, and the hunters followed, wedding to her in lust, excited by the long chase and the dropped blood" (Golding, 125). Finally, they caught up to the pig, and "Roger ran round the heap, prodding with his spear whenever pig flesh appeared. Jack was on top of the sow stabbing downward with his knife...Then Jack found the throat and the hot blood spouted over his hands...He giggled and flicked them while the boys laughed at his reeking palms" (Golding, 125). Jack then started to "lug out the hot bags of colored guts" (Golding, 126). This is an example of how savage the boys had truly become.
Moreover, the girl has criticized Miss Brill´s fashion; she thinks the fur looks like a dead fish. Put aside her race, Miss Brill has been awfully discriminated by the youngsters; they make fun of her age and laugh at her odd fashion style. Not quite like Miss Brill´s discrimination case, Phoenix Jackson is more pity. She is not only being discriminated for being old but is also a victim of racism. On the journey of getting medicine for her grandson, Old Phoenix has encountered numerous
Et al. New York: Random House, 1967 Guignebert, Charles. "A Short History of the French People" in The Absolutism of Louis XIV: the End of Anarchy or the Beginning of Tyranny? Bryan Tierney, ed. Et al.
“the two older sisters were very vein and cruel…[they made the girl do all the house work and charred her face] pg.” The story really shocked me. I thought that the girl would become beautiful like in the other Cinderella stories but, I was wrong. I really liked this version better than the one I grew up with because of the magnificent theme that it had. The theme is that beauty is on the inside rather than just on the outside. Even though, the girl’s face was burnt the invisible man looked past that and saw her for her.
She, “did not like him as much as a bride should like her bridegroom,” (Jacob and Wilhelm Grimm). This alone breaks the rules of the fairy tales we all know because there is a mention of whether the girl likes her suitor or not. In most fairy tales marriage is a prize, not something that has to do with actually liking someone. The girl then goes to her fiancé’s house and hears a bird screeching that she should turn back because she is in a murderer’s house. After exploring the dark home, the girl discovers and old woman.
The significance of the restaurant being called “Frank’s Chophouse” could be to show the aggression and the violence that is harboured in Willy’s life. Another interpretation of this important location could be to show how unimportant Willy is, almost as if he is “chopped liver”, as his sons leave him, for two girls, on the off chance that they will “have some fun”. In terms of “Frank’s Chophouse”, this scene is significant to the play as a whole; as it shows the audience a more broadened opinion of women and what Happy and Biff think of them. An example of this is at the beginning when Happy is talking to Stanley. Happy says – “Strudel’s comin’” – which suggests that Happy’s view of women is derogatory, almost as if they are a piece of sweet apple that can be eaten and enjoyed, and then spat out when that goodness has gone.
At her funeral she had a “putty” nose the perfect one most would say and pink and white “nightie” to heighten her sex appeal. “Consummation at last”. Her diction shows negative peer pressure at its best. The negative peer pressure consumed the girl. Every where around her was pressure to either be “coy” or just simply fit in with the boys.