Gender Roles & Literary Influence in Beat Generation: 'On the Road' & 'Minor Characters' -, Apuntes de Literatura Contemporánea

¡Descarga Gender Roles & Literary Influence in Beat Generation: 'On the Road' & 'Minor Characters' - y más Apuntes en PDF de Literatura Contemporánea solo en Docsity! CONTEMPORARY FICTION IN EEUU UNIT 1. A PANORAMA OF U.S. HISTORY FROM WWII. The rejection of respectability and social norms, materialism, and consumerism. The self – exploration of the individuality. Also in terms of social structure people were known because of “free” lifestyle, chaos, and originality. “Beatniks” it was a kind of aesthetic in which were obsessed with, they were members of a social movement occurred in the 1950 and early 1960, who subscribed to an anti – materialistic lifestyle. They usually don’t do nothing spending their time smoking or going to bars. “Cut – ups” The cut-up technique involves cutting up existing written or printed material and rearranging it to create new and often unexpected combinations of words and phrases. Gysin and Burroughs believed that this method could tap into the subconscious, break down conventional thought patterns, and reveal new meanings. The cut-up technique has been influential in various artistic fields, including literature, poetry, music, and visual arts. It challenges traditional notions of authorship and invites a more collaborative and experimental approach to creativity. “On The Road”. Jack Kerouac "On the Road" by Jack Kerouac is a novel that is often considered a defining work of the Beat Generation, a literary movement of the 1950s and 1960s that explored and influenced American culture in the post-World War II era. The novel is largely autobiographical and is based on Kerouac's own experiences traveling across North America. Spontaneity and Freedom: The novel is characterized by a sense of spontaneity and a quest for freedom. The protagonist, Sal Paradise (based on Kerouac himself), and his friend Dean Moriarty embark on road trips, seeking experiences and freedom from societal norms. The novel celebrates the idea of living in the moment and rejecting traditional expectations. Search for Identity: Sal's journey is also a quest for self-discovery. The characters in the novel grapple with questions of identity, purpose, and meaning in a post-war society. The road becomes a metaphor for the search for one's true self. Jazz and Rhythm: Kerouac's writing style is often compared to jazz music. The novel has a spontaneous, improvisational quality, much like a jazz performance. The prose captures the rhythm of the road and the jazz music that permeates the characters' lives. The writing is often fast-paced and stream-of-consciousness. Character Relationships: The relationships between the characters, especially the friendship between Sal and Dean, are central to the novel. Dean Moriarty, based on Kerouac's real-life friend Neal Cassady, is a charismatic and erratic figure who symbolizes the desire for freedom and the rejection of societal norms. The relationships are intense and complex, reflecting the turbulence of the characters' lives. Critique of Society: "On the Road" critiques the conformity and materialism of mainstream American society in the 1950s. The characters reject the traditional American Dream and instead seek a more authentic and experiential way of life. Spiritual Quest: The novel explores spiritual themes as the characters search for meaning and transcendence. The road becomes a spiritual journey, and the characters often engage in discussions about life's purpose and the nature of existence. Impact on American Culture: "On the Road" had a significant impact on American culture and literature. It inspired a generation of readers to question societal norms and seek alternative lifestyles. The novel is often seen as a reflection of the countercultural movements of the 1960s. Overall, "On the Road" is a seminal work that captures the spirit of a generation and remains an important piece of American literature. Its themes are characterized by the use of freedom, self-discovery, and rebellion. “Minor Characters”. JOYCE JOHNSON "Minor Characters" is a memoir by Joyce Johnson, an American author and memoirist. The book primarily revolves around her experiences as a young woman in New York City during the 1950s and her relationship with the writer Jack Kerouac. While the focus is primarily on Johnson herself and her relationship with Kerouac, there are several minor characters who play important roles in shaping her experiences and perceptions. Elise Cowen was a poet and a close friend of Joyce Johnson during her time in New York City. She represents the bohemian and artistic circle that Johnson was a part of during the Beat Generation era. Cowen's presence highlights the struggles and aspirations of women writers in a male-dominated literary scene. "Elise was one of the most intense and passionate people I'd ever met. She was very beautiful, with long dark hair and big dark eyes that held a look of almost desperate intensity." Allen Ginsberg, a prominent figure of the Beat Generation, appears in the memoir as a friend and associate of Jack Kerouac. He offers insights into the literary and social dynamics of the time, and his interactions with Johnson provide glimpses into the broader cultural milieu. "Allen had taken a strong interest in me after we met at a party. He seemed to see something in me that I didn't yet see in myself, and he encouraged me to pursue my writing with passion and dedication." Helen Weaver is another friend of Joyce Johnson who represents the struggles of women in the Beat Generation. Her experiences highlight the challenges of maintaining personal and artistic integrity in the midst of societal expectations and pressures. "Helen was fiercely independent and unapologetically herself. She refused to conform to society's expectations of what a woman should be, and her courage in pursuing her own path was both inspiring and intimidating." John Clellon Holmes was a writer and a central figure in the Beat Generation. His presence in the memoir offers perspectives on the literary and cultural movements of the time, as well as insights into the personal dynamics among the writers of that era. "John was a brilliant and enigmatic figure, with a keen intellect and a sharp wit. He was deeply immersed in the literary scene of New York City, and his observations and critiques of the Beat Generation were both insightful and provocative." These minor characters serve to enrich the narrative of "Minor Characters" by providing context, depth, and diversity to Johnson's experiences during the Beat Generation. They offer glimpses into the broader social and cultural milieu of the time and contribute to a more nuanced understanding of the period and its significance. IMPORTANT QUESTIONS 1. Why were misogynistic attitudes so pervasive in America in the 1950s? How much have attitudes toward women changed since then? Or are we seeing a resurgence of 1950s thinking? “The Lottery”. SHIRLEY JACKSON Shirley Jackson started writing from a young age, she was interested in the supernova, lived in North Bennington and she was interested in what´s wrong with American Society. At the beginning of the story, rural villages are famous for their own traditions, they keep doing that. There are a rural sense among that community. The society in the story are patriarchal, women are seen as houses wives, labouring at home, and their change their family to their men´s family. Women are forced to have a lot of children so the probability of leaving them are less. People who work the land, they used to contract their own children, so they were cheaper for the landowner, in that way they are living in a patriarchal society. And these are the main traditions of that era. If they leave those traditions, they are going to go back to the past and there are no future ahead. In the violent topic, Jackson explores the theme of violence both explicitly and implicitly. The seemingly innocent ritual of the lottery culminates in a brutal stoning of one of the townspeople. The sudden shift from normalcy to violence highlights the potential for cruelty within seemingly ordinary individuals, challenging readers to consider the capacity for violence within themselves and society at large. "Although the villagers had forgotten the ritual and lost the original black box, they still remembered to use stones." This passage underscores the ingrained nature of violence within the community. Despite forgetting the origins and purpose of the lottery, the townspeople continue the tradition of using stones for the stoning, illustrating the normalization and perpetuation of violence through ritualistic practices. The lottery is introduced as a festivity, but it is really not a festivity day, it brings all the community together, Various elements in the story carry symbolic significance. The lottery itself symbolizes the arbitrary and senseless nature of violence and oppression. The black box represents tradition and the unquestioning acceptance of societal norms. The stones used in the stoning symbolize the collective complicity of the townspeople in the act of violence. Related to the black box, it is a colour which is associated with something is bad. The deteriorating condition of the black box symbolizes the decay and erosion of the tradition it represents. Despite its dilapidated state, the townspeople continue to revere and uphold the ritual associated with it, reflecting the blind adherence to tradition even in the face of its absurdity or cruelty. "It isn't fair, it isn't right," Mrs. Hutchinson screamed, and then they were upon her." Mrs. Hutchinson's protest against the lottery highlights the injustice and arbitrariness of the ritual, but her objections are quickly silenced by the collective violence of the townspeople. This moment serves as a stark commentary on the dangers of conformity and the suppression of dissent within society. “Where Are Going, Where Have You Been?”. JOYCE CAROL OATS "Where Are You Going, Where Have You Been?" is a haunting short story by Joyce Carol Oates, first published in 1966. It delves into the themes of adolescence, innocence, and the confrontation with evil. The protagonist, Connie, is a typical teenage girl who is depicted as rebellious and somewhat vain, often preoccupied with her appearance and image. Arnold Friend, the antagonist, is a mysterious and menacing figure who disrupts Connie's world. He represents the embodiment of evil and serves as a metaphor for the dangers lurking in the world. As in the following statement says, "she was fifteen and she had a quick, nervous, giggling habit of craning her neck to glance into mirrors or checking other people's faces to make sure her own was all right." The story is laden with symbols, such as the music that Connie listens to representing her desires and fantasies of freedom and escape. Arnold Friend's car, with its cryptic messages and sinister appearance, symbolizes danger and temptation. It represents in this excerpt, "it was a gold-coloured car that passed slowly, pulled to the side of the road and stopped. The driver was a young man in a jalopy painted gold." Does Conie consider herself as an adult in a proper way? Her behaviourism does not match with what an adult would do, because she demonstrates the typical teenager behaviour, she wants to be independent, not only that but she at the end she is insecure, she still trapped in lost. Her mother who take care of her, embodies the traditional values and expectations of femininity. She represents the conventional, the domestic role of woman during the time the story is set. Indeed, Connie's mother appears to have a limited understanding of her daughter's inner life and struggles. She fails to grasp Connie's psychological complexities and desires, leading to a strained relationship between them. Connie with the usage of her clothes is representing the real world she lives. Connie´s mother feels like jealous because in some cases her daughter is more beautiful than her, that why she argue with her all the time. In relation of the themes we find that Connie's encounter with Arnold Friend forces her to confront the harsh realities of adulthood and the loss of innocence. Power and vulnerability as Arnold Friend exerts power over Connie through manipulation and intimidation, highlighting her vulnerability as a young girl. "She had a high, breathless, amused voice that made everything she said sound a little forced, whether it was sincere or not." In the narrative perspective the short story tells that Oates employs a minimalist narrative style, leaving much of the story's meaning implied rather than explicitly stated. This ambiguity contributes to the story's eerie atmosphere and sense of unease. The ending is particularly enigmatic, leaving readers to speculate on Connie's fate. “She watched herself push the door slowly open as if she were back safe somewhere in the other doorway, watching this body and this head of long hair moving out into the sunlight where Arnold Friend waited." Into psychological Depth, the story explores the psychological complexities of adolescence, particularly Connie's yearning for independence and her susceptibility to manipulation. Arnold Friend's predatory behaviour reflects the dangers of naivety and the vulnerability of youth. "The place where her face came into focus was located just below the jut of her cheekbone, where her face was not a face but a shadow that smoldered out of the trees and the sky and the open, dazzling field of air." In conclusion, "Where Are You Going, Where Have You Been?" is a chilling exploration of the transition from innocence to experience, adeptly blending realism with elements of horror and psychological suspense. Joyce Carol Oates crafts a narrative that lingers in the reader's mind, provoking questions about the nature of evil and the fragility of youth. “A Good Man Is Hard To Find” FLANNERY O ´CONNER "A Good Man is Hard to Find" is a short story by Flannery O'Connor, first published in 1953. It is often considered one of O'Connor's finest works and a prime example of Southern Gothic literature. "A Good Man is Hard to Find" reflects the social and cultural landscape of the American South in the mid-20th century. O'Connor's portrayal of Southern characters and settings provides insight into the region's complex history and traditions. The good man at the end is not good at all. In the characterization part we find that the grandmother is the central character whose manipulation and self-interest drive much of the plot. Despite her outward religiosity, she exhibits selfishness and hypocrisy. The Misfit, an escaped convict who represents moral ambiguity and existential despair. He challenges the grandmother's beliefs and forces her to confront the consequences of her actions. "The grandmother didn't want to go to Florida. She wanted to visit some of her connections in east Tennessee and she was seizing at every chance to change Bailey's mind." In relation to the themes, The illusion of goodness where the story explores the discrepancy between outward appearances and inner reality. Characters like the grandmother present themselves as morally upright but reveal flaws and weaknesses when tested. Moral redemption and grace which despite the grim events of the story, there are moments of grace and redemption, particularly in the grandmother's final moments when she recognizes the humanity of the Misfit. "She would have been a good woman... if it had been somebody there to shoot her every minute of her life." Related to Symbolism the story covers the Misfit's name which symbolizes the ambiguity of morality and the fluidity of identity. He questions conventional notions of good and evil, challenging the grandmother's worldview. The roadside accident symbolizes the characters' journey towards a confrontation with mortality and the consequences of their actions. “The car turned over once and landed right-side-up in a gulch off the side of the road." The narrative Technique deeps in when O'Connor employs a third-person limited omniscient point of view, allowing readers access to the grandmother's thoughts and perceptions. This technique adds depth to the characterization and underscores the story's themes of moral ambiguity and redemption. Indeed, the story's structure is cyclical, with references to the grandmother's past and foreshadowing of the tragic events to come. "She recalled exactly which one he was because she was wearing a navy blue straw sailor hat with a bunch of white violets on the brim." In conclusion, "A Good Man is Hard to Find" is a masterful exploration of morality, redemption, and the human condition. Through its vivid characters, rich symbolism, and haunting narrative, Flannery O'Connor crafts a timeless work that continues to resonate with readers. UNIT 3. NONCONFORMITY AND LITERATURE IN THE 50s: THE BEAT WRITERS AS AN EXEMPLARY CASE “No Name Woman” Maxine Hong Kingston "No Name Woman" is a chapter from Maxine Hong Kingston's memoir "The Woman Warrior: Memoirs of a Girlhood Among Ghosts." In this chapter, Kingston delves into the story of her unnamed aunt, who was shunned and forgotten by her family and village after becoming pregnant out of wedlock. In the cultural and Social Context, aspect Kingston explores the cultural and social expectations placed on women in traditional Chinese society, particularly regarding sexuality and honour. The aunt's pregnancy out of wedlock brings shame upon her family, leading to her erasure from their collective memory. The silence and voice as the aunt's story is one of silence and absence. She is not given a name, and her existence is erased from official family records. Kingston's retelling of her aunt's story becomes an act of giving voice to the silenced and forgotten. The chapter highlights the rigid gender roles and expectations imposed on Sandra Cisneros divided "The House on Mango Street" into short, interconnected vignettes for several reasons: To be more accessible for people as these structures makes the book accessible to a wide range of readers, including those who might not typically engage with longer, more traditional narratives. Each vignette can be read as a standalone piece, allowing readers to easily digest the story in smaller increments. The fragmented narrative style mirrors the fragmented nature of Esperanza's experiences and memories. Rather than presenting a linear narrative, Cisneros offers snapshots of Esperanza's life on Mango Street, capturing the fleeting moments and impressions that shape her identity and worldview. The vignette structure allows Cisneros to explore a diverse range of themes and topics within a relatively compact format. From issues of identity and belonging to family dynamics, poverty, gender roles, and cultural heritage, each vignette offers a different perspective or facet of the overarching narrative. Also, by presenting Esperanza's story through brief, emotionally resonant vignettes, Cisneros creates a powerful cumulative effect. Readers are invited to immerse themselves in Esperanza's world and empathize with her struggles, joys, and aspirations on a deeply personal level. The episodic structure of "The House on Mango Street" reflects Cisneros' background as a poet. Each vignette is crafted with attention to language, imagery, and rhythm, creating a lyrical and evocative reading experience that lingers in the reader's mind. Overall, the division of chapters into vignettes serves to enhance the thematic depth, emotional resonance, and artistic quality of "The House on Mango Street," contributing to its enduring impact as a work of literature. UNIT 4. MINORITIES AND WOMEN WRITE BACK. THE 70s AND 80s “How to Tell a True War Story” TIM O´BRIEN O'Brien's story captures the chaotic and disorienting nature of combat in Vietnam, reflecting the disillusionment and moral ambiguity faced by soldiers. The story mirrors the broader cultural and political debates surrounding the Vietnam War by challenging assumptions about truth and fiction in war storytelling. O'Brien delves into the emotional toll of war, resonating with Vietnam War veterans who struggled with psychological scars long after the conflict ended. O'Brien critiques traditional war mythology, deconstructing romanticized notions of heroism and sacrifice, which reflects the broader cultural reckoning post-Vietnam War. "How to Tell a True War Story" is a short story written by Tim O'Brien, included in his collection of stories titled "The Things They Carried." It blurs the lines between fact and fiction, truth, and imagination, as it explores the complexities of storytelling and the nature of truth in the context of war experiences. O'Brien challenges the notion of objective truth by presenting various versions of events and questioning the reliability of memory. He suggests that the truth of war experiences cannot always be captured by factual accounts alone. "A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behaviour, nor restrain men from doing the things men have always done. If a story seems moral, do not believe it. If at the end of a war story you feel uplifted, or if you feel that some small bit of rectitude has been salvaged from the larger waste, then you have been made the victim of a very old and terrible lie." The story highlights the importance of storytelling as a means of processing and making sense of traumatic experiences. O'Brien suggests that storytelling can serve as a form of catharsis and connection, allowing individuals to share their experiences and find understanding and empathy. "In any war story, but especially a true one, it's difficult to separate what happened from what seemed to happen. What seems to happen becomes its own happening and has to be told that way." O'Brien adopts an unreliable narrator who acknowledges the limitations of memory and the subjective nature of storytelling. This adds layers of complexity to the narrative and invites readers to question the reliability of the narrator's account. Through vivid and visceral descriptions, O'Brien captures the emotional and psychological toll of war on soldiers. He explores themes of trauma, loss, and survivor's guilt, highlighting the lasting effects of war experiences on individuals. O'Brien suggests that imagination plays a crucial role in shaping one's understanding of reality. He fades the boundaries between imagination and reality, suggesting that imaginative truths can be just as valid and meaningful as factual truths. O'Brien incorporates metafictional elements into the story, such as discussing the process of storytelling within the narrative itself. This draws attention to the constructed nature of the story and invites readers to reflect on the act of storytelling and its impact on truth and meaning. “Falling Man” DON DELILLO "Falling Man" by Don DeLillo is a novel that explores the aftermath of the September 11, 2001, terrorist attacks on the World Trade Centre in New York City. The novel follows several characters, including Keith Neudecker, a survivor of the attacks who was in one of the towers when it collapsed, and his estranged wife Lianne, as they navigate the psychological and emotional effects of the tragedy. The novel opens with Keith emerging from the dust and debris of the collapsing tower, disoriented, and injured. He eventually reunites with his wife Lianne and their son Justin but struggles to reintegrate into normal life after the trauma of the attacks. As Keith grapples with survivor's guilt and post-traumatic stress disorder, Lianne becomes involved with a support group for survivors and begins to explore her own feelings of loss and grief. The novel also explores the broader cultural and societal impact of the attacks, including the media's role in shaping public perception and the rise of Islamophobia in the United States. "It was not a street anymore but a world, a time and space of falling ash and near night." This excerpt captures the chaos and disorientation of the immediate aftermath of the attacks. DeLillo's use of vivid imagery and metaphor conveys the overwhelming sense of destruction and loss experienced by the characters and the city as a whole. "He looked at the painting again. It had the stillness of debris settling after an explosion." This excerpt reflects the theme of art as a means of processing and interpreting trauma. The painting serves as a metaphor for the aftermath of the attacks, with its depiction of stillness and chaos mirroring Keith's internal struggle to make sense of his experiences. In conclusion, "Falling Man" is a powerful and haunting exploration of the psychological and emotional impact of the September 11 attacks. Through its nuanced characterization and evocative prose, the novel offers a deeply human perspective on the tragedy and its aftermath, while also probing larger questions about memory, identity, and the nature of trauma.