Category Archives: American Literary Traditions

American Literary Reflection

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In the following essay I observe and analyze classic American literary practices both classically and presently. By providing historical and literary context for authors Charlotte Perkins Gillman and Victor Sejour, I explain where certain American, gothic conventions originate. I then explain the influences of such conventions by analyzing a contemporary piece of entertainment,  Shutter Island, and the ways in which the film’s trailer employs some of these gothic tools. 

The American gothic genre is a brash tool that has been boldly used to express mental, political, and emotional opinions. It also served as an intellectual stepping stone from authors who left a huge mark on the American literature legacy. What I’ve come to believe over the course of the semester was that the most effective and common tool used by these influential writers was the reflection on oppression and its societal, as well as mental, effects. Between mental illness, slavery, and the general oppression of women, Charlotte Perkins Gillman, Victor Sejour, and more recently Martin Scorsese all make subtle commentaries about the suppression of identity and purpose through their use of general gothic conventions. By not only reading the works of these American authors but also learning who and what kind of people they are, I discovered what kind of motive an author needs to confront such a dark topic like oppression in such eloquent ways. After analyzing the gothic conventions they used and comparing them to the more modern example of my Shutter Island trailer analysis, I found common threads between the older and the newer works.

Charlotte Perkins Gilman was an author who lived between 1860 and 1935. She committed suicide after receiving a diagnosis of inoperable breast cancer, but not before she published plenty of both fiction and non-fiction works. In each of her pieces, she aimed to incite support for feminism and social reform. While researching her for my author presentation I discovered that she had suffered through a case of serious depression, at which point she was given the “rest cure,” which inspired her fictional short story, “The Yellow Wallpaper.” I pieced together the frustration she must have felt and its direct correlation to the frustration and insanity the protagonist develops in the story. Both oppressors in the story are male and speak to the protagonist like she is a child, or insane, and it is clear that Gilman developed a strong resentment for this behavior and used it to generalize the social attitude towards women at the time, as well as towards the mentally ill. In my first artifact, my presentation, “Charlotte Perkins Gilman,” I explained that the story “depicts the escape of women from the pressures of a seemingly unwanted marriage.” I also commented on what motivated her as a writer, saying she was a “feminist/social reformist, writer, she denied traditional female roles, and she was a women’s rights activist.” I better understood Gilman’s distaste for female oppression after reading “The Yellow Wallpaper,” and I better understood the story after taking her character into consideration.

Victor Sejour remarks on oppression in a similar way with his work, only he focuses on a different group of people being oppressed. In my second artifact, “Confronting the Horrors of Slavery,” I wrote about Sejour’s short story, “The Mulatto.” In the story, Sejour makes insinuations on the ultimate effects of oppression. Oppression in this instance is slavery, and the effects are virtually insanity, or losing one’s self. In my second artifact, I comment on the process of being enslaved and slowly going mad. “Through this process, we lose our humanity. By enslaving someone, you’ve taken away that humanity.” Sejour understands that being oppressed in this sense is being held down and enslaved by pure evil. Again in my second artifact, I also claim that “Georges is human and susceptible to the effects of evil in this world.” Georges is a slave who “belongs” to a torturous, evil man, who he does not know is his father. From practically using Georges as a human shield, to raping his wife, to having her executed, the man takes everything from Georges, even after Georges dedicated and risked his life for him. Georges eventually goes insane and loses his humanity out of hatred, vengeance, and spite, exactly like the protagonist in “The Yellow Wallpaper.” And similarly to “The Yellow Wallpaper,” I analyzed “The Mulatto” and promptly confirmed the dark effects of oppression. Although I cannot ever possibly empathize with this feeling of losing yourself, I can at least begin to remotely understand what may happen if I were to experience it, especially under such cruel experiences of loss and tragedy. Again, through analyzing the author and the story, I discovered one of the evils that motivates American, gothic literature.

Although it is not literature, Martin Scorsese directed the film Shutter Island, a movie which employs gothic themes and conventions. In the movie however, Scorsese does not only suggest the loss of humanity as an effect of oppression, but he takes it a step further and focuses on the oppression of mental illness itself, and how a mentally ill person is not considered a person at all, but an expendable life; a life that is not even human. Scorsese uses the trailer to interest the audience by ultimately leaving it scared, confused, and with a sense of desire to understand what the movie will try to convey. In my third artifact, “Shutter Island Trailer Analysis,” I comment on the setting of the film. “The story takes place in a mental institution for the criminally insane, on an island which is far enough away from other land that it gives the illusion of being completely alone and helpless.” From watching and analyzing the film trailer, I observed the behaviors and commentary on the mentally ill patients and noticed the severe mistreatment and belittlement they undergo, or at least underwent. Even being unaware of Scorsese’s prior opinion on the matter, it is evident that he wants to address and draw attention to the inhumane treatment of mentally ill patients in the past, and possibly the present and future. I was able to use my analysis skills from earlier literary works in the course to analyze the facets which Scorsese uses to convey a sense of dread and distaste. By the end of the actual film itself, one has a sense of pity and sympathy for the residents of the hospital; similar to the pity and sympathy felt for the woman in “The Yellow Wallpaper,” and the man in “The Mulatto.”

Throughout the semester, I not only learned about the evils and darkness of the human psyche, but discovered a sense of empathy inside my own heart for those who succumb to it, especially those who have no control in the matter. As I previously claimed, I cannot relate to the feeling of oppression because I have not been oppressed to the sharp degree in which the individuals in the literary works we covered in class have; but I am no longer oblivious to what motivates authors to write what they do, and why they feel the need to share it.

 

 

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Sarah Elizabeth Lemon

 

Shutter Island Trailer Analysis

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American Gothic conventions are naturally fear-inducing in multiple senses. Older gothic literary works employ methods of giving the audience a sense of dark uncertainty. The Shutter Island movie trailer uses the unknown, lighting, uncertain glimpses, and dialogue that clearly has meaning but cannot be understood as scare tactics in order to capture the audience’s attention and desire to understand the story further. In this reflection I will analyze each of these methods at various points in the video as well as compare them to other gothic works.

Like these other gothic works, the trailer is very dark and foreboding, creating an ominous and even dangerous setting. The story takes place in a mental institution for the criminally insane, on an island which is far enough away from other land that it gives the illusion of being completely alone and helpless. The weather throughout the entire trailer is overcast and gloomy, and the water around the island is always unsettled. The site adds to a feeling of the unknown or in this case, the unseen; it has been said, we are not afraid of the dark. We are afraid of what we cannot see.

What we cannot see, moreover, cannot be understood. At both the beginning and end of the video, the video consists of a sequence of scenes that are only quick glimpses of different parts. Some might relate to the others, and they all may follow the same theme, but they do not formulate a logical string of thoughts that the viewer can take any conclusions from. The images, however, are unsettling even if illogical. Quick glimpses of rain, lightning, fire, ashes, blood, and character faces with pain, terrified, or even evil expressions appear on the screen. Each of these images evokes emotion; some sympathy, anger, confusion, helplessness, and overall fear. A leading character refers to an inmate who has escaped her cell and describes the incident, “it’s as if she evaporated straight through the walls.” The only explanation he has is an irrational, illogical one that provides the audience no closure, instigating it to search further for an explanation.

Finally, the ultimate scare tactic is this same uncertainty, but it is paired with immediate action, something the audience isn’t prepared for. The closing scene of the trailer is not a resolute ending like an average story. It is the most open ended part of the video. Someone or something lurches from a dark space and attacks the protagonist, but it cuts out immediately upon their contact. Directly prior to this abrupt movement, a narration plays over the video; “Wouldn’t you agree, when you see a monster, you must stop it?” The combination of the two pieces implies several things. First, there is something, or someone, trying to harm the protagonist whom we have no concept of. Second, the use of the word monster implies that there is an unhuman force, or a person who has lost his humanity, who is attempting something that “must be stopped.” And lastly, the vague image of the attacker and protagonist, the dim lighting of the scene, and the ambiguous assertion the final sentence makes the audience realize that they don’t know who this “monster” is, and that it may be someone or something completely different than their initial expectation.

The Shutter Island trailer is unsettling for countless reasons, but like most gothic literature and most horror films, it is scariest because of the universal sense of unknowing that it causes its audience. “We fear what we do not know” because we do not know what “it” is capable of, similar to Ambrose Bierce’s “The Damned Thing.” The continuous suggestions of immeasurable, evil capabilities from various directions in the trailer set the stage for a terrified, but highly intrigued audience.

Questions and Answers

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Louis Dupré claims, “What is uniquely romantic is that the person has become a question to himself;” but I believe Dupré is overlooking that the character ultimately answers this question by determining his nature as well as his sanity. By comparing and contrasting “The Yellow Wallpaper” and “The Damned Thing,” I will analyze how the protagonists of these stories become questions to themselves, as well as determine who they are, whether the conclusion is rational or not. I will walk through both characters’ journeys to determine where they begin with their beliefs, how they come to question themselves, and what answers they ultimately find.

In Charlotte Perkins Gilman’s fictional piece, “The Yellow Wallpaper,” a female protagonist experiences the process of becoming a question to herself, as well as answering it. During her lifetime, Gilman was an avid feminist and strongly rejected traditional female roles due to her beliefs that women were bound by societal stigmas that stunted female success. This short story is a reflection of her own “descent into madness.” (From Woman to Human: The Life and Work of Charlotte Perkins Gilman, Radcliffe Institute for Advance Study) The story revolves around the protagonist’s captivity which wears away at her sanity, which Gilman related to while she underwent a period of mental illness and was told to stay inside and rest continually. Similar to the traditional female roles of Gilman’s time period, the character is nearly brainwashed into believing her own feelings are invalid and she cannot speak or appropriately think for herself. She begins the narrative accepting what she’s been told, despite its confusing nature to her. “I am glad my case is not serious! But these nervous troubles are dreadfully depressing.” She is fully aware that something is not right and she is not being listened to, but still accepts her husband’s word, belittling her condition. So initially, the character must believe what she is told before she can begin to question herself.

Ambrose Bierce’s “The Damned Thing” also demonstrates an initial expectation of mindset and behavior, although not as direct and pronounced. I believe that it is safe to assume that three pages of Hugh Morgan’s diary are ripped out because he was dissatisfied with them in one way or another. The most logical notion would be their apparent “insanity” or nonsense, if the other entries are any indication of what must have been on those missing pages. Perhaps Morgan reread what he had written and determined it to be so implausible that he could not allow it to stay on paper. The coroner does not show Morgan’s diary to the other men because he “thought it not worth while to confuse the jury.” Even though this specific incident does not apply direct pressure on the protagonist, it is a broad but very real expectation for people to be sane. Morgan’s treatment of his diary proves his discontent with himself and his mental state, initially believing that he is insane rather than just that he could be noticing something that others have not. People fear what they do not understand, and Bierce aims to maintain a level of mystery throughout the entire story to demonstrate this fear. Gary Pullman writes in his article, “The nature of the Damned Thing must, in the final analysis, remain essentially mysterious.” (Bierce’s Exercise in Existential Absurdity, Gary L. Pullman) In the same way the female protagonist in “The Yellow Wallpaper” is bound by voices telling her she’s fine, Hugh Morgan is bound by the general belief that if you are alone in your observations of something and it cannot be explained, the fault is with your own mind.

Becoming questions to themselves is probably the smallest part of the characters’ journey, albeit the most important. In “The Yellow Wallpaper,” she records, “I’m getting really fond of the room in spite of the wallpaper. Perhaps because of the wallpaper. It dwells in my mind so!” Her mentality shifts and she easily reflects on her continuous thoughts on the matter. Because she is turning from her former ways of thinking and allowing the matter to fill her thoughts, she is unwittingly questioning her beliefs and her sanity. Hugh Morgan questions himself as well, only he accepts that his mind could be the problem, and if he is not already insane, he is on his way. In his diary he writes, “If these amazing experiences are real I shall go mad; if they are fanciful I am mad already.” He accepts the inevitability of it.

Further in “The Yellow Wallpaper,” the character speaks to her husband about her condition before he swiftly shuts her down. He insists that she is getting healthier and she records her response as well as his subsequent reaction. “‘Better in body perhaps—’ I began, and stopped short, for he sat up straight and looked at me with such a stern, reproachful look that I could not say another word.” She questions herself aloud for only a moment before her thinking is repressed immediately. While this exemplifies the manner in which women’s beliefs and rationalities are belittled, more so it notes the importance as well as brevity of this “questioning.” The question’s immediate disparagement does not prevent Gilman from achieving her desired effect, which is to enlighten the reader and the narrator to the possibility just long enough for it to remain a thought in the back of their minds. It is not absurd, however, to step back and look more abstractly at the piece and consider that the narrator perhaps knows what she’s doing more than the reader most likely gives her credit for. This is not to say that she is not senseless by the end, but she does actively resist what she is told. She does succumb to certain suppressions from her husband, but she also quietly fights him on some matters. In his article “The Unrestful Cure: Charlotte Perkins Gilman and “The Yellow Wallpaper,”” Jeffrey Berman claims that “Her creeping is a form of resistance and revenge.” It is almost as if, in both cases, sanity was a choice; and they chose differently.

Finally, in that choice, the characters must find an answer to their questions, which they do. The problem is the difference between the answers they come up with and the answers that most people would like to receive. The female character writes, “‘I’ve got out at last,’ said I, ‘in spite of you and Jane? And I’ve pulled off most of the paper, so you can’t put me back!’” She determines she is not insane, but it is evident that she is. Morgan also determines that he is not insane; however it is much likelier that he is correct in that conclusion. In his diary he claims, “I am not mad; there are colours that we cannot see. And, God help me! the Damned Thing is of such a colour!” The difference here is that there is scientific evidence that backs of most of his reasoning, along with the fact that he actively states he is not “mad,” and that he will stand his ground against this potent, negative force. The woman in Gilman’s story succumbed to her surroundings, Morgan did the opposite.

The biggest difference in the existential journeys both of these characters face is the external circumstances and influences. With people surrounding her, telling her what to believe while being kept in a small, barred room with mentally jarring patterns and colors, Gilman’s protagonist goes mad quickly, without much resistance. Hugh Morgan spends most of his time alone, free to determine his own beliefs and his own external limits. His questions come with answers which he is resolute in and seems to have always been, despite a short wavering of certainty. The characters must question themselves in order to ultimately determine who they are and what they represent. Dupré is correct in saying that the person becomes a question to himself, but somehow he disregards the significantly more profound conclusions the person draws.

 

 

 

Works Cited

Berman, Jeffrey. “”The Unrestful Cure: Charlotte Perkins Gilman and ‘The Yellow Wallpaper'”” New York: New York University Press (1985): 33-59. Wright.edu. New York University Press. Web. 5 Apr. 2015.

“From Woman to Human: The Life and Work of Charlotte Perkins Gilman.” Radcliffe Institute for Advance Study Harvard University. President and Fellows of Harvard College, 17 Feb. 2011. Web. 04 Apr. 2015.

Pullman, Gary L. “”The Damned Thing”: Bierce’s Exercise in Existential Absurdity.” : “The Damned Thing”: Bierce’s Exercise in Existential Absurdity. N.p., 19 Dec. 2010. Web. 04 Apr. 2015.

 

 

 

 

Help received: works cited

X_Sarah E. Lemon

Charlotte Perkins Presentation

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Charlotte Perkins Gilman

Our Presentation retrospectively looked at the life, works, and effect of the author Charlotte Perkins Gilman. By assessing Gilman’s motivations, personal life, and passions, we discovered her activism for women’s rights and roles, her motivations through this as well as her disease in her writing, and the effect she hoped to have on society which changed the general view of the position women should maintain in society. While actively presenting our work, we could have prepared a smoother understanding and transitional knowledge of the different aspects of Gilman’s life, as well as expounded on some of her theories.

Confronting the Horrors of Slavery

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The most classic American, gothic theme that we encounter is the analysis of our dark side, or the piece of us that loses touch with our conscience and thrives on “evil.” Through this process, we lose our humanity. By enslaving someone, you’ve taken away that humanity. Victor Sejour’s “The Mulatto” confronts the horrors of slavery by employing this theme in the story of a slave who loses himself. I will bring his transitions from goodness to vileness to light and account for the effects of slavery on the farmer, or slave. As incessant evils are committed against the main character, Georges, he loses his mind and becomes the ultimate evil of the story, proving the mind and soul-altering results of slavery.
Georges, the protagonist, was the offspring of Alfred, one of the richest planters in the country and the eighteen year old slave he bid on and impregnated. She had no choice in the matter, so Georges was born not by will, but against it. Alfred denied any relation to the child and so he was raised believing that Alfred was only his owner. Sejour makes it clear that Georges had the makings to be a good man, but his obstinate nature could easily lead him down the wrong path, foreshadowing on his ambiguous anger for his father; “ His mother raised him with affection, love, and strong morals. Georges leads the beginning of his life this way, strong-willed and dedicated to his “master.” Upon discovering that Alfred is being plotted against, he attempts to warn him, as well as protect him. “Don’t worry, master, they’ll have to walk over my body before they get to you.” He is brave and noble, even to a man who has treated him far less than humanely. And even after Alfred accuses him of treachery, he still fights for him, getting seriously injured in the process. Georges proves himself to be a decent, noble man at his core.
However Georges is human and susceptible to the effects of evil in this world. While he is still recovering, Alfred rapes his wife. His condition prohibiting him from doing anything to save her, he can only fall down, “his eyes haggard, his hands clenched, his mouth gasping for air.” Georges begs at the feet of Alfred not to kill his wife, for he knows that it is an unjust murder. “Have mercy,” he repeats, yet Alfred never heeds his words and remains stoic against the heartfelt pleas. When he realizes that Alfred has no mercy, he stands and refuses to leave before Alfred knows he is a “lying coward.” In one moment he develops from pleading for pity to threatening; “I will kill you. I will drink your blood.” This transition is instantaneous, and as he watches Zelia being hanged on Alfred’s orders a piece of his humanity dies as well. And in its place is born a hunger for vengeance against Alfred. His position of inadequacy to his master, and helplessness to his fate, rendered “the gentles of men dangerous and bloodthirsty.”
While Alfred’s fear of Georges’ revenge subsided after three years, he became a husband and father.

George’s darkened heart waited for such a circumstance so he could physically and emotionally wound Alfred as severely as possible, and take from Alfred exactly what Alfred had taken from him. As he plots and approaches Alfred in his bedroom to kill him, he tell him to “commend his soul to God.” This is cruel and ironic, because when Alfred cries “In God’s name” a minute later, Georges responds, “I don’t believe in that any longer.” Alfred begs for mercy in the same manner Georges did years before, but Georges has no empathy and shows no pity. His connection to that part of his soul has been severed, and he no longer has any compassion. Paralleling his own torments, he kills Alfred’s wife in front of him, having the ability to save her in the palm of his hand. He has water that will save the woman’s life, yet he throws it away; like Alfred could easily have saved Zelia’s life, but he chose not to. Once he kills Alfred’s wife, he turns to kill Alfred himself. Upon committing this act, he learns that Alfred is his father, declares himself to be cursed, and kills himself as well.
Georges died faithless and hopeless, free from his bonds of slavery, but bound by his own darkness. The ultimate effects of slavery do not die. He killed his master, being his father or otherwise, so he was free in a literal sense. But the situation had rendered him with an empty and dark heart, which he could never be freed from. His enslavement determined the makings and developments of his soul. This transition and acceptance of the evil inside his soul determined his fate, to die by his own hand. He became free of Alfred, but could never be free of himself.
The theme of the evil inside us and being led to embrace it recurs in most gothic tales. The idea of what wickedness we are capable of, and what it takes to push us to doing such things is what creates a gothic tone. Georges fully submits to his darkness and renounces any goodness he once had as he chooses vengeance over redemption, proving the effects of slavery to be irrevocable and irreversible.

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The Ambiguity of Young Goodman Brown

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“I Could Have Sworn It Was Real”

A commentary on the Ambiguity of Young Goodman Brown

Sarah Lemon

            It’s a universal experience and we all recognize it. We’ve all felt that collective sense of dread and doubt; the entrapment of a darker power, at one time or another. The story of “Young Goodman Brown” is a gothic tale that reflects on personal, inner evil and the evil within those around us. Hawthorne allows the characters as well as the reader to draw their own conclusions, leaving room for generalizations in his story, and to let the ideas fester. Hawthorne’s use of ambiguity in dialogue and description serves to keep the protagonist and the reader open and unsure, forcing them to think outside their comfort zone to draw their own foreboding conclusions. By examining Hawthorne’s diction, we will analyze how Goodman Brown, the supporting characters, and the reader feel in response to the uncertain and haunting situations they find themselves in. Some of the ambiguity comes from the thoughts of Brown himself, which the author uses to bewilder the reader, as well as the supporting characters, on the Devil’s presence, or the validity of the evil around him. Some of it comes from his surroundings, mainly to confuse and terrify Goodman Brown, but also to add a sense of terror for the reader by taking advantage of fear-induced empathy.

            Hawthorne begins the narration of the plotline instantly, with no definite introduction or background information. This forces the reader to immediately attempt to fully understand the situation at hand, perhaps subconsciously overcompensating for their initial and abrupt confusion. To begin the piece, Goodman Brown leaves his wife for a trip or errand of some sort. The ambiguity presents itself in the dialogue with his wife as she asks him not to leave. “Of all nights in the year, this one night must I tarry away from thee. My journey, as thou callest it, forth and back again, must needs be done ‘twixt now and sunrise.’” (pg. 111) As Brown leaves, he gives no indication to what he is actually leaving to accomplish. When he refers to his “journey, as thou callest it,” he chooses his words very carefully, placing the emphasis on his young, innocent wife’s perception of the trip for one or more of three reasons. He could be implying that she is too naïve to comprehend what is really happening, he is trying to confuse her with his subtle condescension, or that he has no idea about what he is actually doing and depends on his wife’s judgment beside his own. By adding this vague description to the conversation, Brown might be opening up an opportunity for Faith to make sense of something neither of them understands, in hopes that she’ll say something that puts his mind at ease. In any case, this allows room for Brown’s uncertainty of his journey, and for his wife to be left questioning more than she was, prior to his departure. The dialogue immediately hooks the reader to learn what this journey entails, and feels a sense of anxiety for what he/she is about to learn of it. Not only do we not know what to think, but a main character lacks this same certainty. This anxiety comes from the vague implication that Faith could ultimately be left without her husband, as well as the fear inside us of “the unknown.”

            Later in the story, Goodman Brown grows increasingly unsure of his surroundings, mental stability, and willpower. The ambiguity in this case comes from the dialogue with those around him. While he is attempting to put all the pieces together, so is the reader. Brown is sitting in the woods, hiding from a woman whom he learns to be a witch, and the devil. He reflects upon his childhood, remembering her as the woman who taught him all his virtues as she speaks to the Devil as if he were royalty. He hears her say to him, “I made my mind to foot it; for they tell me there is a nice young man to be taken into communion to-night.” (pg. 115) The woman speaks this vaguely twice, first, when she says, “they tell me.” This compels Brown and the reader to ask, who are they? It implies there are at least several others with the same ideas and intentions as this deceiving woman who keeps company with the devil. While we ask who, we are also inclined to ask what their motive as a unit is. Moreover, she refers to a “nice young man,” being brought forth for communion. Hawthorne’s diction here is clever, relating her description to Goodman Brown’s name; “nice young man,” to “good young man,” and finally “young good man.” The common, descriptive phrase she uses is undeniably reflective of Brown’s name. He does not seem to notice it however, which conveys his scrambling and busy mind, too preoccupied to make any rationality of the situation. Hawthorne blatantly uses the word “communion” in order to confuse Brown and the reader on all accounts. This is primarily because in this setting, communion is most often used to describe the eating of the blood and flesh of Christ in a Puritan Church. The combination of something that is so holy and the evil practices which seem to ensue implies a turn of events that Goodman Brown is ill-prepared for.

            The ending, above all, is the most ambiguous piece of the aspect of the entire narration. He concludes with Goodman Brown’s death, declaring that “his dying hour was gloom.” He lives and dies overcome with dread, and neither he nor the reader receives any closure. Hawthorne gives neither confirmation nor denial of the presence of the devil within the hearts of Brown or his company. Goodman Brown dies not knowing the truth, and perhaps a piece of the reader’s hope dies along with him.

            In the end, everyone is virtually clueless due to Hawthorne’s indefinite diction to keep the sense of uncertainty alive. By being so vague in his descriptions, specifically in dialogue, he forces Brown and the reader to think more deeply and search for a meaning themselves. For Brown, this results in severe paranoia for the remainder of his life. As for the reader, it results in a placement of oneself into the story, and vicariously experiencing Brown’s skepticism. Hawthorne’s ambiguous style keeps the mind of the reader and Young Goodman Brown open to and responsible of claiming the story and conclusions for themselves, as well as contemplate on the darkness that lives inside them.

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