Tuesday, July 14, 2009

A Streetcar Named Desire

Throughout A Streetcar Named Desire, Tennessee Williams toys with many different themes: appearance vs. reality, evolving gender roles, and, most importantly, misunderstanding. Although I have visited A Streetcar Named Desire many times, I came away from this reading with a sense that the conflict centered largely around misunderstanding. Blanche and Stanley come from two entirely different worlds, and they have conflicting expectations of societal norms. Blanche appears to be a demure southern belle; however, her personality is needy and abrasive. She expects to be treated like a lady, but her contrary behavior excites rage in Stanley. Conversely, Stanley is immodest, obnoxious, and domineering. As a second-generation polish immigrant, Stanley knows the value of hard work; a comfortable privileged life is extremely alien to him. Therefore, Blanche and Stanley clash from the beginning of the play.

However, Blanche possesses one of the most disturbed personalities in Southern Gothic literature. As previously mentioned, her appearance is very deceiving. Blanche is both self-centered and neurotic, and she manages to continually critique Stella’s life. However, whenever Blanche is questioned about anything, she not only becomes hysterical, but she is quick to point out that she stayed at Belle Reeve, stomaching the utter heart break of watching her fellow relatives die. The cost of death eventually cost her the estate leaving her alone. It’s at this point that Blanche turns to desire to fill the void of her past life that is forever gone. Blanche comes to be known for her sexual promiscuity with men, especially a certain young boy in her English class, which gets her fired. However, throughout the play, there are sexual undercurrents in her scenes with Stanley, Mitch, and the young delivery boy. Additionally important is her bizarre behavior: she continually contradicts herself, asks Stella to go get her a coke, and always manages to take an inordinate number of baths.

Violence is also quite pronounced throughout the play. Both Tennessee Williams—in the stage directions—and Blanche equate Stanley to a primitive beast. Indeed, Stanley has a tendency to act upon his animalistic reflexives, which is evident when he strikes Stella and later “rapes” Blanche. Stanley also seems most content when he is with the guys playing cards or bowling; he is naturally rough and is at home with those whom he can handle his tough persona. Stanley, to a certain extent, does not how know to behave in the company of women.

Blanche and Stella represent two women who are living in a nation where gender roles are evolving, yet they are still very uncertain of their power and responsibilities. Blanche desires the best of both worlds: she wants all men to act like true southern gentlemen with her; however, she also wants sexual freedom. When men realize that she is sexually permissive, they view her as “used”. Therefore, they feel as if see is simply a sexual object; she is not someone who you would enter into a relationship with. This point is illustrated when Mitch attempts to rape Blanche after he learns of her past. On the other hand, although Stella has made the evolution from privileged southern belle to devoted housewife, she still finds herself trapped in a world controlled by men. Stanley mistreats her, and, apart from sex, does not know how to relate to her. It is true that they have legitimate sexual feelings for one another, but does their relationship have much substance apart from that? Blanche claims that Stella and Stanley’s relationship is based solely on desire, and she argues that it is not a safe foundation for love. For once, I feel that Blanche is speaking the truth; however, it’s necessary to note that Stella realizes that, although flawed, Stanley is a provider and hard-working man, and that is what she needs in the world: a man who can take care of her.

Another important scene in the play is when Blanche describes her only true love. Blanche goes into a lengthy monologue where she recalls finding her young love in bed with another man. As a result of Blanche discovering his homosexuality, the young man commits suicide. The suicide of homosexuals unable to come to terms with their sexuality in an unsympathetic culture is a reoccurring theme in Tennessee Williams plays. Their collective suicides illustrate the suffocating and ostracizing world in which they live.

Monday, July 13, 2009

Cat on a Hot Tin Roof

Mendacity, Mendacity, Mendacity. It appears that audacious lies pervade Cat on a Hot Tin Roof from Maggie and Brick's first scene until the final drop of the curtain. The host of characters feel that withholding the truth, at least for a while, is better then blatant, resounding honesty. Yet, they sentence themselves to torment by essentially legitimizing their fabrications, which is committing the biggest transgression of all: lying to yourself.

Cat on a Hot Tin Roof is also quite Gothic in a a number of ways. First of all, the manner in which the characters argue over the inheritance of the estate is extremely morbid and superficial, especially considering the fact that Big Daddy is suffering from terminal stomach cancer. Indeed, the family argues over land and represses Big Daddy's anxiety concerning his death by telling him that he is fine, although they really know that he does not have long to live. Gooper and Mae also have a very cut-throat relationship with Brick and Maggie. Brick's perpetual ambivalence towards everything leaves Maggie to defend their marriage against the psychological abuse accrued at the hands of Gooper and Mae. Also worth noting: the large antebellum plantation house provides the setting for the dark drama that ensues.

Cat on a Hot Tin Roof also provides a stunning example of homosexual repression in the south through the character of Brick. While its certain that Brick and Skipper’s relationship was homoerotic, it is harder to argue that their relationship was sexual. Brick’s love of Skipper could have been merely platonic, or he could have had sexual desires for Skipper that he never acted on because of his internalized homophobia. Regardless of his resistance to talk about his orientation, there is much evidence to suggest that he is homosexual: his inability to impregnate Maggie, Maggie’s revelation that on a double-date it was as if Brick and Skipper were actually on a date with one another, and Brick’s abuse of alcohol after Skipper’s suicide. What is also interesting is that most of the characters in the play know of Brick’s behavior, yet they are willing to look past it. Despite Maggie and Big Daddy voicing their acceptance, Brick still remains stoic and unwilling to talk about his relationship with Skipper; however, there are many reasons for this. He not only lives in the 1950’s, but also in the deep South. During this time, homosexuals had to live their lives behind closed doors; their lifestyle was taboo, and people certainly didn’t live “out” lives. Also, Brick is living in an overtly religious region of the country where homosexuality is viewed as an outlandish sin. Finally, Brick is afraid that society will see him as a degenerate. If he admitted that he had homosexual feelings, he would be marginalized as corrupt and amoral.

Absalom, Absalom!

"The past is not dead. In fact, it's not even past." Although this quote is pulled from one of Faulkner's other novels, it certainly proves true in Absalom, Absalom!. Throughout Absalom, Absalom!,  Faulkner examines memory and perspective by allowing various characters to recall their experiences with the Supten clan. Consequently, distortion, gossip, and speculation ensue making it difficult to parse out the facts, much less the truth. Each different perspective portrays the Sutpens in a new manner, and divulges details about their life, which allows the reader to delve deeper into their back story. Yet, the haunting legacy of the Sutpens still fascinates both the characters that are hearing of them for the first time, and those who have been personally effected.

In Absalom, Absalom!, Thomas Sutpen's allure is derived from not only his odd behavior, but also his mysterious background. He arrives as a foreigner; however, through time, he becomes one of the largest landowners in Mississippi. How? Well, this seems a hard question to answer because a large cloud of uncertainty surrounds him throughout the novel. If his initial appearance with a troupe of wild slaves does not provoke question, then the estate that pops up in two years surely does. Although it appears that Thomas Sutpen is up to some pretty shady business, that, too, is hard to prove. It is clear that Thomas Sutpen is motivated by his childhood; he was born to poor white laborers and saw, first hand, the type of life that awaited him. Where and when he got the plan for his dynasty is nebulous, but, throughout the work, Thomas Sutpen sees his grand design as proof of his own self-worth. He has no emotional concern for his family or human beings; instead, the duties as the architect of his dynasty are always the most important. In this way, it can be argued that Thomas Sutpen is a metaphor for the antebellum south.

In Absalom, Absalom!, there are also a myriad of Gothic elements woven into the story. Quentin becomes obsessed with Thomas Sutpen's past, and the accounts that he hears are akin to ghost stories, which is illustrated in the manner that he relates the tales to Shreve. However the novel is a ghost story without any actual ghosts; the description of the Sutpen's dark past is haunting enough. Additionally, the Sutpen estate goes through a transformation from a remarkable antebellum manor to a mansion that goes into disrepair, eventually becoming engulfed with flames. Gratuitous violence also factors heavily into the plot: slave fighting, the Civil War, Charles's murder, and Sutpen's murder. Also, the theme of madness is also explored through Mr. Coldfield starving himself, and Clytie burning the estate down upon seeing the ambulance on its way to Sutpen's Hundred. 

However, I find the attitudes toward women and African Americans especially interesting throughout the novel. In the case of Thomas Sutpen, he sees women as an accoutrement. He needs a wife in order to both uphold traditional societal standards and polish his image as a southern landowner. A wife and children are essential to his idyllic abstract design; therefore, when he rides into town to seek out Ellen Coldfield its as though he were coming into town just to pick up a part necessary to build his house. He does not take love into consideration at all; instead, their relationship is based on his need for a wife and children, especially a male heir. Thomas Sutpen's limited use for women is also illustrated in his interactions with Rosa Coldfield and Milly Jones. Although Rosa scoffs at Sutpen's sexual advances in order to try for a son, Milly becomes pregnant only to give birth to a girl, which infuriates Sutpen and leads to his own demise. However, in the character of Ellen Coldfield, Faulkner examines both the vulnerable and gullible nature of antebellum women. Although Ellen is terrified of marrying Thomas Sutpen, she slowly becomes enamored with her isolated life, and transforms into the quintessential wife that Thomas Sutpen originally envisioned. She blindly comes to love the life that her husband planned, not one that she originally wanted. 

Faulkner also emphasizes the distinct antebellum race boundaries through the character of Charles Bon. Although Henry Supten manages to look past incest, the revelation that Charles is part black warrants killing him. Charles's ancestry does not factor into the grand plan of Thomas, and Henry can not come to terms with having a brother that is also black. Charles case is interesting because he is only part black: light-skinned enough to "pass". However, as illustrated in the actions of Thomas and Henry Sutpen, the "one drop" rule applies to Charles; he has black blood, and, despite the ratio, he is viewed as an African American in their eyes. Their behavior illustrates that the white majority saw blacks are subordinate, unworthy, and even disposable.   

Wednesday, July 8, 2009

Sanctuary

Despite Faulkner's remark that Sanctuary was a pot-boiler, I believe that a fascinatingly bizarre crew of characters reside within the pages of the novel. The structure of the novel does not quite strike me as quintessentially Faulknerian; however, the juxtaposition of the privileged and the poor, the idealists with the sadists, and the upstanding with the foul makes for a work that explores two worlds: southern high-society and the prohibition-era criminal underworld. 

Although many of the characters in Sanctuary are grotesque in their appearance, the same also applies to their behavior. The lot of bootleggers at the Old Frenchmen place is comprised of a half-wit, a deaf-mute, a terror-driven cynic , and a congenital syphilis-ridden enigma. Indeed, Popeye emerges as the opposing "black" force throughout the novel; he is, after all, described by Tommy as "the skeeriest durn white man I ever see." However, Popeye is a hard character to understand, and, for that matter, characterize. He is an impotent rapist, a bootlegger who does not drink, and a criminal who still manages to visit mom. This draws attention to his role as the victimizer in Sanctuary. Throughout the novel, it seems that Popeye is not psychologically aware in regards to the magnitude of his actions. He knows that what he has committed warrants fleeing to another town for refuge; however, he does not understand, nor care, about the ripple of repercussions that follow his acts. Although Temple Drake is quickly led down a road of moral degradation, she has her own faults as well. Temple's affinity for excitement stems from her desire to break free of the over-protection that she has experienced her whole life. However, she has drastically misjudged her ability to reside in the company of men who live outside the bounds of polite society. 

The meaning of Sanctuary's title is also pertinent because it begs the question: do the characters within the novel ever truly find sanctuary? From the minute that Temple enters the Old Frenchmen place until the end of the novel, Temple is searching for sanctuary. Although she is portrayed in a French park during the last scene of the novel, the sanctuary is imposed. This is evident in her need to leave the South because--although she is viewed as the victim--her legacy is one of a broken woman, which does not coincide with her status that she previously held. However, there is the question of whether she was, to a certain extent, sexually permissive before she ever came in contact with Popeye. Although the writing in the boys bathroom alludes to this, Temple relishes in appearing experienced; she is "fast" only in her courtship, not her sexual desires. Popeye's entrance into her life marks the end of her feminine virginal sanctuary. Popeye's initial rape of Temple by corncob, her kidnapping, and the vicarious high that he receives by hiring Red to come and have sex with Temple all contribute to an intense evolution in her character.

Violence and terror are two themes that also resonate throughout the work. Sanctuary not only presents the murder of Tommy and the rape of Temple, but it also portrays the brutal lynch-mob death of Lee Goodwin, and the murder of Red. All of the characters within the novel come to fear Popeye and his capabilities, especially Goodwin and Temple. Temple tries to escape from Popeye, but she soon become cognizant that his ties and influence are deep and wide. This leads to her false testimony against Goodwin because she is intensely terrified of even the thought of accusing Popeye of the murder. Goodwin, also, possesses an overwhelming fear that Popeye will find a way to kill him--even in jail--if he brings his name into consideration. His trepidation hinders his defense, yet he maintains that his innocence will be proved without calling Popeye's name into question.

Sanctuary also presents a vivid example of the oppression of women throughout the novel, especially in the characters of Temple Drake and Ruby Lamar. The comparison of the two characters is interesting because they both hail from two entirely different worlds. As the daughter of a judge, Temple comes from a world of privilege. She is wealthy and educated; however, Temple grows tired of the world of decorum, chaperons, and tradition.  She is a character that is envious of male freedom. Temple loves the excitement of pushing the limit and the ability of choice, which leads her to associate with a variety of men her age for short periods of time. However, it seems that she desires men who are cut from the same cloth as her. The company of poor whites is foreign to her, and she succumbs to their rude behavior and indecent acts. Indeed, in this case, she ventures into something that is more than she can handle. Popeye views his relationship with Temple as strictly sexual, which is clearly illustrated in the way that he keeps her locked in a room until he experiences a sexual urge. He views her as a piece of property; she is an item that can provide gratification to him, nothing more. The only non-sexual interaction that Popeye has with women in the novel is with Miss Reba and his mother, who are two older matronly figures. Ruby Lamar suffers oppression in a distinctly different way compared to Temple. Ruby is the victim of her status not only as a woman, but also as a poor white. She has accrued the status of a harlot by many in town; however, with Temple's experience as a testament, the judgmental church women in town--like Narcissa--cannot easily fault Ruby for the life that has, in a sense, chosen her. Ruby is a marked women, and their are no options available to her outside of prostitution; therefore, she makes the most of her life by staying with her common-law husband, Goodwin. In both cases, the women lack the agency to change their situations due to their gender. Men see them for their sexual advantages, which, inevitably, leaves the women with a tarnished name and limited ambitions.