Maggie’s mother was also older and better suited to be a mother because she was older and more experienced however, Maggie’s father also left the family. Maggie turned out to be shy and refrained from social life since she did not leave the house after being burned. “She stoops down quickly and lines up picture after picture of me sitting in front of the house with Maggie cowering behind me” (Walker 746). Too much attention leads to Maggie clinging to her mother and not enough attention drives Emily to not seek out a close relationship with her mother. Both mothers are concerned with the status of their daughters.
American families would view single parenting as a threat to a family structure. Doing everything by themselves with no one else to blame but themselves is one of the most difficult things a single mother can struggle with. As time progresses a single mother discovers she is capable of doing so much not just for their well being but for her children. They quickly learn how to adapt and over come. While many single mothers worry too much or regret decisions during their children childhood they are satisfied with the result and the out come of there children by the actions their children make after they grown out of their childhood In “I stand here ironing” a mother depicts her first child to have a bad early childhood by making the wrong decision not by choice but simply what got handed to them in a urban world.
In a sorrowful woman is says “once upon a time there was a wife and mother one too many times” (Godwin 33). This shows how the woman feels towards her husband and child, and shows that the story will not be happy. Next Bartleby’s epigraph states “A story of Wall Street” (Melville 91). Which as the reader sees throughout the story is symbolic of the setting of the office. Both Bartleby and woman suffer from mental conditions that deteriorate over time, both mentally and physically.
Ma joad even being a women was the back bone of the family. She supported the family through hard and troubled times. In the 1930s gender was a big thing, women were looked upon as weaker than the man. An example how Ma Joad was strong for the family was when Grandma Joad died, she died and no one knew but Ma. She held Grandma all night just to get through the boarder inspection.
How is Curley’s wife presented and developed? The character we’ll be analysing in this essay derives from a book written by Steinbeck called ‘Of Mice and Men’. This book was written during the Great Depression in the 1930s and Steinbeck relates the life of the characters featured in the book to the life during that time of struggle. In this particular analysis, we’ll be focusing on Curley’s wife. When we first meet Curley’s wife, Steinbeck makes her appear very flirtatious and dangerously beautiful.
I'll post more at the end of the month and after I finish reading 'The Only Problem' for extra credit. But here are some preliminary thoughts: I love this description at the beginning of Chapter 3: The days passed and the wind blew from the Forth. It is not to be supposed that Miss Brodie was unique at this point of her prime; or that (since such things are relative) she was in any way off her head. She was alone, merely, in that she taught in a school like Marcia Blaine's. There were legions of her kind during the nineteen-thirties, women from the age of thirty and upward, who crowded their war-bereaved spinsterhood with voyages of discovery into new ideas and energetic practices in art of social welfare, education or religion.
In “Passing Likeness: Dorothea Lange’s ‘Migrant Mother’ and the Paradox of Iconicity,” Sally Stein sifts through the legacy of a familiar image with a history of misrecognition. Migrant Mother, which Stein asserts is the “most widely reproduced photograph in the entire history of photographic image-making” is a portrait of Florence Thompson that Lange took at a labor camp in Nipomo, California in 1936 [1]. Since its conception, the photograph has been criticized from various points of view, and Stein spends the beginning of her essay recording these reactions, from the outrage of Lange’s boss at the Farm Security Administration (FSA), Roy Stryker, when he learned that Lange had retouched the “documentary” image, to cultural historian Wendy Kozol’s critique of the image as “a quintessential example of the FSA traffic in conservative stereotypes” [2]. Stein’s real interest lay in how Thompson gained iconic status as a white “New Deal Madonna” despite her Cherokee heritage and unmarried status, information that began to circulate as part of the photograph’s history only half a century after it was taken. The paradox of iconicity thus seems to be that Thompson was not the iconic white matriarch that she was initially taken to be; she is instead an icon of the Euro-American tendency to misrecognize Native Americans as both heirs and foils to their own racial identity.
Dorothea Lange's "Migrant Mother" Photographs in the Farm Security Administration Collection: An Overview The photograph that has become known as "Migrant Mother" is one of a series of photographs that Dorothea Lange made of Florence Owens Thompson and her children in February or March of 1936 in Nipomo, California. Lange was concluding a month's trip photographing migratory farm labor around the state for what was then the Resettlement Administration. In 1960, Lange gave this account of the experience: I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction.
Celie feels hopeless and does not want to cause her mother any more grief, pain or suffering, so she says nothing and decides to write to God. Celie sees God as the only one that she can confide in, without having to fear the repercussions of an angry mother, and an even angrier Pa. Bettye J. Parker-Smith states, “The opening statement form Pa introduces a long list of pain-stricken letters to God. […] What Celie needs is to share her burdens, be taken off the cross, and find a way to save herself” (Parker-Smith). Celie’s pain is so great that it is compared to
She finds a deep down strength and courage in herself that leads her to want to find out what type of person she really is, and what she wants out of her life. Nora Helmer is a delicate character that had been pampered all of her life, by her father and by her husband. In every sense she is typical housewife. She is financially dependent on her father earlier and on her husband later. She never leaves her house, mostly because her husband is afraid of the way people talk.