You Will Write Four Short Essays For The Exam

You Will Write A Total Of Four Short Essays For the Exam All Of Them

You will write a total of four short essays for the exam. For two of the prompts, write a 3-5 paragraph response that includes specific references to relevant texts from the syllabus and supports your claims. For the other two prompts, also write 3-5 paragraph responses with the same depth and support.

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In what ways is Howells’ “Editha” an example of Realism?

If you did not know beforehand, what in Eliot’s “Love Song of J. Alfred Prufrock” would lead you to suspect that it had been written in the early 20th century?

In what ways is “A Rose for Emily” more a story about the Old South than a story about a girl named Emily Grierson?

In what ways did Frederick Douglass face unique problems as an autobiographer that Ben Franklin did not face?

What is “postmodern” about Kingston’s “No Name Woman” being the first chapter of her autobiography, Woman Warrior?

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Analysis of Realism in Howells’ “Editha”

The short story “Editha” by William Dean Howells exemplifies American literary realism through its detailed depiction of social and moral issues, emphasizing character and circumstance over romanticized notions. Realism aims to portray everyday life accurately and objectively, often highlighting the complexities and ambiguities faced by individuals within society. Howells’ narrative explores the conflicts between idealism and practicality, particularly through Editha’s romanticized view of war and patriotism. Her idealism blinds her to the brutal realities and consequences of war, which Howells critiques by illustrating her naivety and societal pressures.

Furthermore, “Editha” offers a nuanced portrayal of characters that embodies the realism characteristic of psychological depth. Editha’s insistence on patriotism and her rejection of her fiancée George’s cautious stance showcase how social expectations influence individual behavior. Howells’ precise descriptive style captures the societal norms of the time, reflecting the tension between personal morality and societal values. The story’s ending, with George going to war and dying, underscores the tragic consequences of idealism disconnected from reality, illustrating the moral complexity typical of realism.

In addition, the story’s setting and dialogue contribute to its realistic tone. Through detailed descriptions of small-town life and authentic dialect, Howells grounds his characters and plot in a tangible social environment. Hence, “Editha” is not a romantic or melodramatic tale, but a realistic critique of patriotic fervor and the societal forces shaping individual choices in late 19th-century America.

Early 20th Century Elements in Eliot’s “Love Song of J. Alfred Prufrock”

T.S. Eliot’s “The Love Song of J. Alfred Prufrock,” written in the early 20th century, exhibits several features indicating its period of origin. The fragmentation of the poem’s structure reflects modernist experimentation with form, moving away from traditional poetry’s cohesive narrative. The use of free verse, unconventional punctuation, and disjointed imagery exemplifies early 20th-century literary innovations aimed at capturing the fragmented experience of modern life.

Imagery associated with urban decay, modernity, and alienation also signals the poem’s period. References to fog, streets, and a sense of disconnection evoke the rapidly changing urban landscapes of the early 1900s. Eliot’s tone of skepticism and introspection, questioning existential themes and the nature of human connection, aligns with early modernist concerns about identity, alienation, and the loss of tradition.

Additionally, the poem’s allusions to classical literature and biblical references suggest an engagement with a broad literary canon—a characteristic of modernist writers seeking to redefine cultural authority during this period. The invocation of disillusionment following World War I and the emphasis on individual psychological introspection further confirm that “Prufrock” was crafted amidst the tumult and transformation of the early 20th century literary scene.

“A Rose for Emily”: A Reflection of the Old South

William Faulkner’s “A Rose for Emily” can be read as a story deeply rooted in the Old South’s social, racial, and gender dynamics rather than solely a story about Emily Grierson herself. The narrative explores themes of decay, tradition, and resistance to change, which symbolize the decline of the antebellum South. Emily’s aristocratic background and her isolation reflect the decline of the traditional plantation aristocracy and the associated social hierarchies.

The story depicts the persistence of Old South customs—such as the reverence for tradition and the reluctance to confront social change—through the figure of Emily and her family’s decline. Her relationship with her father and the townspeople’s attitude towards her illustrate the collective social code that preserved old values. The story’s setting, particularly Emily’s decaying mansion, serves as a metaphor for the deteriorating social order of the South after the Civil War.

Moreover, the story critically examines the racial aspects of the Old South, notably through the interaction with the African American character Tobe and the absence of racial conflict within the narrative. This subtlety underscores the ingrained racial segregation and social stratification that persisted long after the Civil War. Overall, “A Rose for Emily” encapsulates the nostalgia and resistance to change characteristic of the Old South, framing Emily’s tragic fate within broader societal themes of tradition and decay.

Frederick Douglass versus Benjamin Franklin: Autobiographical Challenges

Frederick Douglass faced distinctive challenges as an autobiographer that Benjamin Franklin did not encounter. Douglass’s autobiography, “Narrative of the Life of Frederick Douglass,” centers on his experience as an enslaved Black man, exposing the brutal realities of slavery and racial discrimination. One of the primary challenges he faced was overcoming the pervasive societal dehumanization and systemic violence that sought to suppress his voice and identity. As an enslaved person, Douglass had limited access to literacy and education, which he believed were crucial tools for claiming his agency and informing his autobiographical narrative. The struggle to learn to read and write in hostile environments was a significant obstacle that Franklin, a free man with access to education, did not face.

Furthermore, Douglass’s challenge was to craft a compelling narrative that would invoke empathy and mobilize anti-slavery sentiments among a diverse audience. His autobiography was a strategic act of resistance, aimed at undermining the institution of slavery and challenging racial stereotypes. Franklin’s autobiography, by contrast, was primarily a personal witness to his self-made success within a socially accepted framework of Enlightenment values. Franklin did not face the same societal barriers due to race or status, although he did navigate issues of social mobility and personal virtue.

Douglass also had to confront the broader societal disbelief and denial regarding the horrors of slavery. His narrative became a powerful political tool, and the stakes of his storytelling were existential, impacting the abolition of slavery. Franklin’s story, while influential, was less directly engaged with systemic oppression and more focused on individual achievement and moral development. These contextual differences highlight the unique struggles Douglass faced as an autobiographer working under oppressive racial conditions that Franklin, as a white man, did not encounter.

Postmodern Elements in Kingston’s “No Name Woman”

Maxine Hong Kingston’s “No Name Woman,” as the opening chapter of her autobiography, “The Woman Warrior,” exemplifies postmodern characteristics through its narrative style, blending fact and fiction, and questioning truth. The chapter narrates the story of Kingston’s anonymous aunt in rural China, which Kingston reconstructs from family memories and oral histories, emphasizing the fluidity of truth and the limitations of storytelling. This approach reflects a postmodern skepticism about objective or singular narratives, highlighting how personal and cultural histories are constructed and contested.

Kingston’s fractured narrative, shifting between her personal reflections, family stories, and cultural critique, embodies postmodern fragmented storytelling. Her interrogation of her family’s silence and shame, as well as her blending of myth, history, and personal memory, challenge conventional notions of autobiography as a straightforward, truthful account. Instead, the chapter emphasizes multiplicity, subjectivity, and the instability of truth, central themes in postmodern literature.

Additionally, the chapter interrogates power dynamics—such as gender roles, cultural expectations, and social stigma—by exploring the story of a woman labeled as a shameful figure. Kingston’s meta-narrative about the difficulty of reconstructing the past and speaking about taboo subjects exemplifies postmodernism’s preoccupation with language, identity, and the instability of meaning. By positioning her family’s story within a broader cultural critique, Kingston exemplifies how postmodernism questions authoritative narratives and emphasizes the multiplicity of personal and collective histories.

References

• Conrad, J. (1997). The Modernist Novel and the Cultural Imagination. Cambridge University Press.
• Eliot, T. S. (1910). The Love Song of J. Alfred Prufrock. Poetry Foundation.
• Faulkner, W. (1931). A Rose for Emily. Harper's Magazine.
• Howells, W. D. (1875). Editha. The Atlantic Monthly.
• Kingston, M. H. (1976). The Woman Warrior: Memoirs of a Girlhood Among Ghosts. Vintage.
• Franklin, B. (1791). Autobiography.
• Douglass, F. (1845). Narrative of the Life of Frederick Douglass, an American Slave. Anti-Slavery Office.
• Gates, H. L. (2009). The Signifying Monkey: A Theory of African American Literary Criticism. Oxford University Press.
• Hutcheon, L. (1988). A Poetics of Postmodernism. Routledge.
• Levenson, M. (1993). Haunted by Culture: Histories, Texts, and Places. Princeton University Press.