Native American Literature: Changes and Transformations

Native American Literature: Changes and Transformations

            Just as the existence of Native Americans has transformed over time so has the literature by Native American authors. With its beginnings in oral tradition, Native American literature moved toward the autobiography, then the “Native American Renaissance” , and finally modern Native American Literature of today.

            With no written language, Native American traditions in literature sprang from oral tradition. In this course, we first examined and explored, The Iroquois Creation Story (The Norton Anthology of American Literature 17). Similar to the Book of Genesis from the bible, the creations story provides a “history” of creation for the tribal people (The Norton Anthology of American Literature 17). The story which explains good versus evil sheds light on the Iroquois tradition as well as a “general cultural outlook” (The Norton Anthology of American Literature 17). Like the Christian bible, the creation story tells “what life is and how to understand it” (The Norton Anthology of American Literature 17). In the mid-19^th century European Americans began to translate and transcribe Native American creation stories. Additionally, Native Americans began recording the legends of their people. It wouldn’t be long before removal would force their literature to change.

            As America transitioned further into the 19^th century, westward expansion heavily impacted Native literature. Rather than showcase the culture and traditions of the tribes, Native American literature of the century became “increasingly text based” and written not in the Native tongue but in English, the language of the dominant culture (Janet Gabler-Hover). Native American literature began to rest on the “struggle of Indian authors to find a voice within American culture” (Janet Gabler-Hover). Predominantly, this struggle was conveyed by way of the autobiography. However, it is important to note that some autobiographies were both translated and written by European Americans. These circumstances have resulted in discussion and debate regarding the authenticity of some of the autobiographies.

            Samson Occom’s narrative was one text not translated and transcribed by Euro-Americans. Occom’s autobiography documents his testimony of conversion to Christianity (The Norton Anthology of American Literature 206). Through Occom’s brief narrative and despite his education and conversion, he illustrates a sense of prejudice both in referring to himself as a “poor Indian” as well as in how he was treated by members of the Christian community.  In contrast, Blackhawk’s autobiography displays his “strong sense of himself, his ties to his people and his broad critique of the Americans” (The Norton Anthology of American Literature 571).

            One article on Native American Literature draws parallels with Native American literature and expansion: “The history of literature written in English by American Indians parallels the history of white migration across the continent” (Janet Gabler-Hover). As the century moved forward it became defined by the Indian Removal Act of 1830. With two separate and distinct cultures colliding it became obvious that Native “cultural beliefs” are “essentially incompatible with the white man’s” (Janet Gabler-Hover). The Removal Act was met with some resistance, in particular the Cherokee, the tribe that Blackhawk belonged too (Janet Gabler-Hover). In 1838, forced to leave by federal troops, an estimated four-thousand Native Americans die on the “Trail of Tears”. The federal government continued to implement and enforce policies with the goal of isolating and containing Native Americans on reservations. Some author’s began to write in response to the fact that the “dominant literary tradition sentimentalized and condoned the death of Indians” (Janet Gabler-Hover).

            The turn of the century for the Native Americans meant disposition of land, “nadir of population” (the worst ever), and confinement to a reservation. Writings began to reflect efforts to preserve history and culture “in the face of cultural disintegration” (Mackay). The next generations of Native American writers are considered to have been inspired by Momaday and his story House of Dawn. The story centers on themes involving tribal identity and focusing on a protagonist who is poor, “shiftless”, drinks heavily, is unemployed and sometimes incarcerated (Native American Literature). The main character, Abel, is on a “quest to find himself in the tribal community” (Native American Literature). Welch’s Winter in the Blood and Leslie Marmon Silko’s The Ceremony, share in common with the House of Dawn, an ending where the protagonist has increased self-respect through discovery of their identity and how they “belong to their tribal communities” (Native American Literature).

            Second generation Modern Native American writers turned away from life within the tribe. Often, writers explore the Native American who leaves the tribe or reservation, lives among whites yet his success makes it so he cannot return to the tribe. Having experienced loss of land, loss of culture as well as discrimination and prejudice, the solution of returning to nature made sense.

            Modern Native American literature focuses on the need for survival and the need to return to “tribal life” in some capacity. In Ceremony, Silko deals with the “dark aspects” of modern American Indian life (The Norton Anthology of American Literature 2785). The main character is in “physical and emotional straits” yet survives by “re-establishing contact with his native roots” (The Norton Anthology of American Literature 2785). The story is also an attempt to “search for a ceremony to deal with despair” (The Norton Anthology of American Literature 2785). In the case of reservation Indians today, despair is equivalent to “suicide, the alcoholism, and the violence” that happen in Native American communities (The Norton Anthology of American Literature 2785). Erdrich’s poem Dear John Wayne reflects the mixing of European American and Native American cultures set in a modern drive-in move (The Norton Anthology of American Literature 2829). In addition, the poem reflects the author’s awareness of the “historical” and continuing devastations of Native American life.

            The last author covered in our text that is Native American is Sherman Alexie. Similar to Erdrich, Alexie blends and mixes popular culture or American culture with the culture of reservation Indians. Alexie’s works balance between his portrayal of the reservation community and how it fits into popular culture (or vice versa). In short, Alexie’s writing covers the “contemporary Native American experience” (The Norton Anthology of American Literature 2851).

            Beginning with oral traditions, Native American literature has certainly been transformed. Native authors quickly learned the power of language and the written word to record, and convey the transformations of a culture and to express their human condition. Native American literature has been my favorite genre this term.

Janet Gabler-Hover, Robert S. Helmeyer. "Native American Literature." American History Through Literature. n.d.

Mackay, K.L. Native American Literature. n.d. 18 November 2012 <www.faculty.weber.edu/kmackay/native-american-literature.htm>.

Native American Literature. n.d. 18 November 2012 <www.nativeamericanlit.com>.

The Norton Anthology of American Literature. New York, 2008.

           

            

A Tale of Two "Daddy's"

Comparing and Contrasting
The Song “Daddy” with the poem “Daddy”

In week 7, we experienced the poetic works of Sylvia Path and learned of her short and rather tragic life. The title of the poem, ‘’Daddy” quickly reminded me of a song written and recorded by the artist Jewel with the same name. Both songs deal with the relationship between a daughter and her father. Here are the lyrics to the song Daddy by Jewel:

My bones are tired, Daddy

I don't get enough sleep

I don't eat as good as I could, Daddy

What's that say about me?

Sometimes I sleep past noon, Daddy

Drink lots of black coffee and I smoke like a chimney.

Yes, I left the refrigerator door half open, Daddy.

What's that say about me?

Sometimes I want to rip out your throat, Daddy

For all those things you said that were mean.

Gonna make you just as vulnerable as I was, Daddy

What's that say about me?

Sometimes I want to bash in your teeth, Daddy.

Gonna use your tongue as a stamp

Gonna rip your heart out the way you did mine, Daddy

Go ahead and psycho-analyze that.

'Cause I'm your creation, I'm your love, Daddy.

Grew up to be and do all those sick things you said I'd do

Well last night I saw you sneak out your window

With your white hood, Daddy

What's' that say about you?

I'm sloppy, what's that say about you?

I'm messy, what's that say about you?

My bones are tired, Daddy

One of the strongest similarities between Jewel’s song and Sylvia Plath’s poem are the vulnerability that the speaker’s feel in reference to their fathers. While Jewel’s speaker remembers feeling “vulnerable” (Jewel), Plath’s speaker has always been “scared” of her father (The Norton Anthology of American Literature 2656).  In addition, both speakers respond to their emotions with thoughts of violence. Plath indicates she has “killed” her father in the second stanza of her poem and in stanza 15 she has “killed one man” and then “two” (The Norton Anthology of American Literature 2658). Finally, one last similarity has to do with the indications that the speakers’ fathers were both of the same mindset regarding race. While Plath compares her speaker’s father to a “Nazi” or and “Aryan” (The Norton Anthology of American Literature 2657), Jewel indicates her speaker’s father “sneaks” out at night and wears a “white hood” (Jewel). Here is a link to the song. http://www.youtube.com/watch?v=m-rKgm2sbFQ

Works Cited

Jewel. "Daddy." Pieces of Me. By Jewel. 1995.

The Norton Anthology of American Literature. New York, 2008.

American Literature: American Native to Modernist

American Literature: From Native American Oral Tradition to Modernist

American Literature has changed in many ways since America’s beginnings and the Colonial Period. Each era is marked by unforgettable literature and authors whose writings reflect the eras in which they lived sometimes expressing the very social and cultural contexts in which the author lived. The periods of American Literature begin with the Colonial period and are followed by the writers of the Revolutionary period, The Romantics, the Realists, Naturalists and Modernists.

We first encounter Early American literature with a piece of Native American writing which was transcribed from oral tradition. The Iroquois Creation Story gives a vivid look into Native American Creation Stories and the values and beliefs of Native Americans (The Norton Anthology of American Literature 17). Much like the story of Genesis in the Christian Bible, the story serves as an explanation for creation and the dualism of good versus bad. All too soon, the white man came some would say and notable Englishmen named John Smith comes to mind and his colony of Jamestown.

John Smith’s writings supply some of our earliest American literature and detail Smith’s perspective, and perhaps his fancies of his explorations and encounters. As a result, Smith’s writings become Jamestown’s main record (American Literature-1991). Although once accepted as factual history, it is widely agreed upon that Smith romanticized many of his encounters and explorations in his accounts.

During the Colonial period, much of our American literature was written from the Puritan perspective. These authors focused their writing on a “full awareness of the importance of Worshipping God” and “the dangers” a soul faces on earth (American Literature-1991). The authors of this time include William Bradford, Anne Bradstreet, Cotton Mather and John Winthrop. John Winthrop’s “A Model of Christian Charity” was a sermon given on board a ship to the new world; it gave detailed instruction to the passengers on board in how they should behave themselves as Christian models (The Norton Anthology of American Literature 76).

The eighteenth century brought with it enormous change. America was changing economically, socially and philosophically. With an emphasis on the “intellectual”, people began looking at the world more scientifically as well as exploring psychology (The Norton Anthology of American Literature 151). We get a glimpse into these changing times through writer’s like Sarah Kemble Knight and her journey from Boston to New York detailing provincial America (The Norton Anthology of American Literature 162). In addition, the eighteenth century brought with it the beginning of the destruction of the cultural traditions of Native Americans.  Many become unsuccessfully assimilated or convert to Christianity as in Samson Occom: A Short Narrative of My Life ( The Norton Anthology of American Literature 210). At age seventeen Occom was “enabl’d to put my trust in him alone for Life and Salvation” referring to the Christian God in his autobiography (The Norton Anthology of American Literature 210).

Next American literature moves towards Realism and Mark Twain entertains us with his “regional” flavor. America moved quickly from an agricultural nation to an industrial nation and with the change came new problems and issues. As more work was created, cities grew, immigration began and urban issues such as overcrowding, unsanitary conditions among poor labor conditions influenced American perspective (American Literature-1991). From this era, come the likes of Mark Twain, Jack London and Davis. Davis’ piece “Life in the Iron Mills” shows us the gritty side of industrialization through the eyes of a female author. Davis writes, “The idiosyncrasy of this town is smoke. It rolls sullenly in slow folds from the great chimneys of the iron foundries” bringing us to the very scene in her story (The Norton Anthology of American Literature 1227).

As our literary choices in America grew, new perspectives entered as diverse as the people who wrote them yet most speak of the human condition in some way. Realism and Naturalism flourished as the country grew and more people became “aware of the importance of large economic and social forces” (American Literature-1991).

Modernism is the latest literary wave we have reached this term. For me, no writer exemplifies this wave of Modernism better than Gertrude Stein. A first read through Stein’s “Tender Buttons” left me confused but after applying Stein’s “abstract meanings” and understanding her technique her poems became and interesting and exploratory read (American Literature-1991). Her writing affirmed literature as an art form. So far, American literature has followed along with America as it has grown from Colonial times to Modernization. Through this literature a better understanding of the American culture is gained.

Works Cited

American Literature-1991. 1991. 13 October 2012 <www.let.rug.nl/usa/outlines/literature-1991>.

The Norton Anthology of American Literature. New York, 2008.

Shakespeare's Sonnet 55

William Shakespeare (1563-1616)

William Shakespeare was baptized on April, 26, 1964 in Stratford-upon-Avon, England. Much of his youth remains as mystery but from Church documents and other records some conclusions can be drawn. It is assumed he was the son of a yeoman and an heiress of land and that he worked as an apprentice at some trade when he was young (Bio.com). It is also assumed that he attended school and received free tuition because of his father’s involvement in town positions.

Perhaps surprising to some, Shakespeare married Ann Hathaway, who was eight years his elder at the age of eighteen. The couple had three children together; Susana and a set of twins, Hamnet and Judith. Again, much mystery remains about events leading up to William’s participation in the theater. However, by around 1954 he was a key player in Lord Chamberlain’s Men, which changed to the King’s Men in 1603.

By 1957, Shakespeare had published 15 of his 37 plays and for his family he purchased the second largest house in Stratford for his family. He most likely spent his time in London, four days away from his home. Two years later, he and his partners built their own theater, the Globe on the Thames River. He increased his wealth by investing in real estate. William Shakespeare died on April 23, 1616 and left a legacy of literature that is World-famous and whose themes seem timeless.

Sonnet 55

As I began reading Sonnet 55 I thought of the unstable times in which Shakespeare lived. In his time, the throne was erratic; from King Henry’s Reformation, to “Bloody Mary’s” backslide to Roman-Catholicism, followed by her Protestant Sister Elizabeth’s respected rule (Norton). The sonnet stirs images of the throne in the very first line, or at least an allusion to a King when he wrote “gilded monuments / Of princes” (Shakespeare. 55. 1).  He says not even those things will outlive this poem. I sense confidence on the speaker’s part and wonder if W was feeling a bit big-headed. The speaker says that stones and monuments will get dirty and war will overturn them (Shakespeare.55.5). He says that the battle will take care of old Masonry. I wondered at one point if Shakespeare was alluding to idol-worship. He says not even fire from war will get rid of this sonnet. The speaker seems to be saying, “Don’t worry my friend, you will be remembered in these lines. He says the poem will live on and “Shall you pace forth; your praise shall still find room”. Until of course he sees him on Judgment Day.

http://www.biography.com/people/william-shakespeare-9480323

             

The Norton Anthology of English Literature. New York: Norton, 2006.

A Teeny Bit on Chivalry in Sir Gawain

               Chivalry is a code of conduct and behavior that is often associated with Knighthood. Chivalric code called for the conduct of a Knight to be honorable, brave, courteous, gallant to ladies, a skilled fighter, a good Christian, to respect and honor their Lord, and to fight a fair battle. In the movies chivalry is depicted when the Knight in shining armor arrives on his stead to defend a Lady in distress from a terrifying dragon and in his coy behavior and politeness at her advances. Sir Lancelot, Arthur’s first and greatest Knight is a skillful and able protector in film (He also deals with lust but that is another story!). I often joke that “Chivalry is dead” when I have to do a “mans” job, inferring that my husband should possess a few more of these qualities in jest.

Sir Gawain practices chivalric code when he decides that he will openly admit to his sin, and not lie by wearing the girdle on his arm. He tells King Arthur’s Court on page 165 that “This is my blazon of the blemish that I bear on my neck” (Sir Gawain and the Green Knight). He does not want to be dishonest about what he considers was a failure on his part. One thing that was most surprising was how Gawain treats Lady Bertilak after he knows she was a part of Lord Bertilak’s moral test. He does not spite her, or get angry towards her. He admits his fault and still calls her Lord Bertilak’s “courteous wife” (Sir Gawain and the Green Knight.2411). He acts gallant to her even after she has helped to trick him; by today’s standards it probably wouldn’t have gone so smoothly). He, in fact was practicing the code of honor towards women and did not disrespect her

A Teeny Bit on Beowulf

               The hero of this epic completes his last heroic act when he battles and kills the dragon. The dragon has killed and destroyed in the Geat-land and when the dragon hits too close for comfort, Beowulf is reminded of his own mortality. Beowulf has become an aging king and hero. He knows his days are numbered: “After many trials/ he was destined to face the end of his days, / in this mortal world, as was the dragon.”(Beowulf. 80. 2342-2344).  The Dragon and Beowulf have something in common; both have protected and have come to the end of their time. Yet Beowulf is proud and orders that his men wait at the barrow as he fights the dragon. Beowulf forces the thief who stole the cup to bring them to the dragon’s keep realizing that it was his act that caused the Dragon to destroy. Beowulf, as king of the people is pursuing this fight for “the glory of winning” (Beowulf. 83. 2523-2514). The fact that Beowulf is not as strong is revealed when he says that he won’t fight the dragon unarmed. As Beowulf prepares to battle the dragon, he knows this will be his last battle and he knows that he wants to die a hero not an old man.

               The dragon is very much like Beowulf. While the dragon has guarded the treasure for centuries, Beowulf has protected the Geats for over 50 years. It is until a thief trespasses into the dragon’s cave that he attacks the Geat-land in search of the man. Beowulf, doesn’t react to the dragon until his own home, the throne-room, is destroyed where is own treasures are kept. With respect to this similarity, the dragon represents greed. When we first learn about Beowulf, he is more concerned with heroic acts, not the spoils of his victory. Yet, it is the loss of his throne-room that causes him to react as an aging king. Dying while battling the dragon was exactly what Beowulf was expecting. In the end, Beowulf and the dragon are seen side by side in death. I feel that Beowulf’s act of killing the dragon was more of a selfish act for Beowulf. He wanted to assure that he would die in a glorious way and he took advantage of the situation with the dragon. He could have used his men-at-arms but he knew that he wanted to die.

Corporate Advertisements and the Government

            The First Amendment to the United States Constitution protects our right of freedom of expression. The amendment gives us the freedom to express ourselves without government interfering. In order to uphold this right, the government should not regulate corporate advertisements. However, given the vulnerable state of childhood, the industry should continue to self-regulate advertisements directed at children placing the burden of responsibility with the industry.

            Placing responsibility in the corporations hands benefits the corporation by helping to build ethics that will lead to better relationships with the consumer. By focusing on “enhanced advertising ethics”, corporations instead “build trust in the company and its brands” (Snyder 477). Certain categories or audiences require a higher level of ethics including legal advertising, pharmaceutical advertising, and advertisements directed at children.

            According to material presented in Bob Garfield’s, “The Upside of Legal Advertising”, legal advertising serves a couple of roles. According to Elizabeth Talbert, a regulator for the Florida bar association, legal ads serve the purpose of informing “consumers of their legal rights” (Garfield). The ads are regulated by each state’s bar association. For some attorneys like Boston’s personal injury lawyer, James Sokolove legal advertising allows for “expansion in the marketplace” (Garfield). Sokolove feels that current regulations “restrict” him in the area of advertising (Garfield). Bar associations typically prohibit the use of “storytelling” or “silly” content within legal advertisements (Garfield). These regulations have been relatively successful in protecting the consumer, but these ads are directed towards adults. What about children?

            Today more than ever children are bombarded with advertisements. Points of engagement for advertisers and children range from cell phone ads, to DVDs, to television and the list goes on and on. Many studies currently hold strong correlations “between the amount of advertising content” and the rate of childhood obesity (Ron Warren). One study found that “food products” constitute “as much as half of all child-targeted advertising” (Ron Warren 232). The study also found direct correlations between food advertising and children’s purchase requests (Ron Warren 232). The truth is these ads have dominated children’s programming for years. Children viewing these ads should understand “the persuasive nature of advertising” (Snyder 478).

            In order to combat any issues with corporate advertisements the industry should continue utilizing agencies like CARU, that self-regulate, leaving the government out of the picture. CARU, founded in 1974, promotes responsible children’s advertising (CARU). CARU does not rely on government to regulate the industry; instead, “CARU seeks change through the voluntary cooperation of advertisers.” (CARU). As mentioned above, this approach also strengthens the relationship the consumer has with the corporation. In order to regulate advertisements directed at children, CARU performs “high-level monitoring”, by the “scrutinizing” of ten thousand commercials, radio, print, and online ads (CARU). CARU’s self-regulation should be continued and supported by the industry in order to keep the federal government from interfering.

            Ultimately, the decision to watch corporate advertisements lies with the consumer. However, certain audiences are more sensitive to information conveyed in advertisements. In order to combat any arising issues, the industry should continue self-regulation through its agencies or organizations like CARU. Exhibiting stronger ethics in advertising will only serve to strengthen the relationship between the corporation and the consumer by building trust and loyalty. Legal advertising, pharmaceuticals and ads directed at children would all benefit from the continued self-regulation of the industry.

James Joyce's "Eveline"

            “Eveline”, is but one of James Joyce’s characters who emulate the hardships of the Irish during his time and under England’s rule (Joyce 279). For Joyce, the goal to attain with his characters was “to betray the soul of that hemiplogia or paralysis of its people”, while the people he was writing about were Dubliners (Baldwin 278). “Eveline”, uses the details of a young Irish woman’s life to portray the effects of England’s rule over the people of Ireland.

            Joyce successfully utilizes a variety of themes to include paralysis, poverty, entrapment and escape in the story. In addition, Eveline’s progress is hampered by her attachment to her home and all she has ever known, as well as the expectations of women in her time. The plot of Joyce’s short story, “Eveline” does not follow a chronological path but speaks through Eveline’s , “stream of consciousness” (Baldwin 278).

            Eveline describes with affinity a field in which children used to play in which eventually, “a man from Belfast”, built houses on (Joyce 278). The Belfast builder symbolically destroys a field that children of the community used to play in when he builds, “bright brick houses with shining roofs”, not at all like the other people in town (Joyce 278). The man from Belfast parallels the invasive nature of England’s rule upon the Irish.

            Eveline mentioning the, “broken harmonian”, is symbolic of the broken harmony of the home she grew up in (Joyce 279). As a child, Eveline is threatened by her father when he seeks out his children while they were at play. Her father used his “blackthorn stick”, “to hunt” his children out similar to the paternal nature of England over Ireland. Eveline’s relationship with her father is riddled with violence mostly directed towards her brothers. As Eveline grows into a young woman, “she sometimes felt herself in danger of her father’s violence” and complains of physical symptoms of being abused (Joyce 279).  Ireland also experienced violence at the hands of both England, and the country’s own people similar to how Eveline suffered violence at the hands of her own people.

            As a young Catholic woman, Eveline is held to certain standards and expectations. Eveline wonders to herself if the townspeople will think, “she had run away with a fellow”, because she knows a young woman is held to Catholic Standards (Joyce 279). Yet, Eveline knows that, “Mrs. Gavan would be glad. She always had an edge on her, especially whenever there were people listening.” (Joyce 279). It is likely that Joyce was highlighting the dysfunctional morality of the people of Ireland. Eveline is concerned about the townspeople judging her who are themselves sinning according to their Holy Bible further exemplifying the backwards morals of the people. In addition, Eveline’s brother, “who was in the church decorating business”, earned a living off of the church (Joyce 279). Another parallel comes as Eveline’s father curses the Italian musicians playing in the street and Eveline’s mother bursts out with “foolish insistence” a phrase that resembles nonsensical Gaelic (Joyce 281). The fact that the mother’s outburst is not communicated is symbolic of the meaninglessness of the original Irish language in relation to the mother’s time.

            Like many of the characters in Joyce’s, “Dubliners”, Eveline exemplifies “the paralysis” he viewed as “the moral conformity and blindness of its people” (Baldwin 278). Eveline becomes entrapped by her inability to leave the suffocating life she lives, just as Joyce felt the people of Ireland were.

Works Cited

Dean Baldwin, Patrick Quinn. An Anthology of Colonial and Postcolonial Shortfiction. Belmont: Wadsworth, 2007.

Doris Lessing's "The Old Chief Mshlanga"

 Doris Lessing’s short story, “The Old Chief Mshlanga” not only transitions literally from third to first person but it also depicts the transformation of a little white girl in colonial Africa (Lessing 248). Lessing utilizes the theme of nature to contrast with structures and elements of the Western world and before her transformation, the young girl’s world. In addition, Lessing situates contrasting descriptions of the white girl’s world at the opening and the close of the story. In the beginning of the story, the native land is described as “violent” (Lessing 247).

 The reader learns in the first paragraph of “The Old Chief Mshlanga” that the young girl is “sightless for anything” other than images from her familiar world (Lessing 247). In addition,  the “pale willowed river” and  “a pale gleaming castle” both serve as symbols synonymous with the pale skin of the superior race (Lessing 248). Finally the young girl is singing to Tennyson’s “The Lady of Shallot” another symbol of the Western world that she comes from (Lessing 248).                Progressing through the next paragraph the author pairs nature or the “native land” with aspects of her experience indicating the turmoil she is about to experience. As the girl walks through cornstalks she notices they are “arching like cathedrals” and she come upon witchweed that resembles “a fine lace” (Lessing 248). Conversely, the girl describes the remains of the Chief’s village in an awakening as a “lush warm valley” in the close of the story (Lessing 256).

 Through the eyes of a coming-of-age white girl, Lessing’s story explores racism as well as the girls transforming attitude towards racism, which could broadly represent the entire process from British rule to independence. Set in Southern Rhodesia during British rule, the story effectively demonstrates half of the “two tiered system” consisting of white dominated colonies who “had achieved considerable self-determination” and “white minority colonies”, like the girl’s, which “remained firmly under British control” until 1980 (Dean Baldwin 25). In the closing paragraphs of Lessing’s story, “British control” is clearly demonstrated by a policeman on rounds who upon hearing about the kraal promises to “have a chat to the Native Commissioner next week” (Lessing 256). Not coincidentally, Lessing is sure to allude to Western culture when she includes the piece of information about the officer playing golf (Dean Baldwin 256). Ultimately, the opening and closing of the story represent the girl’s journey from the white dominated world where natives are servants to her own awakening during her face to face interaction with the very human Chief, to her awakening in the end.

In the story, the girl carries a weapon and explores with dogs at her side until she meets the Chief. What changed occurred within the girl that led her to use her gun in a different way than usual?

Works Cited

Dean Baldwin, Patrick Quinn. An Anthology of Colonial and Postcolonial Shortfiction. Belmont: Wadsworth

Not Just a Fly on the Wall

            Attia Hosain alludes to division in the first line of her short fiction story, “The First Party” when she contrasts “the dimness of the veranda” to the “bewildering brightness” inside where the party is taking place (Dean Baldwin 533). The reader soon learns that this party, an event where people come together in happiness, would only prove to one new bride how far she stood apart from the others. Having grown up experiencing a diaspora in her culture, Hosain is qualified in depicting a scenario where a newlywed Eastern wife attends a party with her Westernized husband. The story can serve as a micro sized example of the sort of cultural clashes that occur through a diaspora.

            “The First Party” exemplifies the struggles that have arisen out of the result of diaspora or to be more specific, the issues between a traditional Eastern bride and her Westernized husband (Hosain 1953). This postcolonial story, like others becomes a tool of mediation as Hosain’s literature “comments on” a “particular point of view”, that of the traditional Muslim woman (Dean Baldwin 13). The story depicts just a few of the issues that may arise for a young Muslim bride and her “morally bankrupt” Westernized counterparts and husband (Dean Baldwin 517).

            Silenced by her differences the young bride quickly learns she does not feel comfortable in this alien atmosphere. As party-goers sit and introduce themselves to the bride while her husband mingles, she feels her brief answers “cripple conversation” (Dean Baldwin 534). Not only did the bride have trouble understanding the language of the Western women, she also did not share the same experiences, dress, or apparent affinity for showing of skin as she disapproves of “their preoccupation with limbs and bodies” (Dean Baldwin 534). Sizing the women up again, the Easterner feels “oppressed” by “her bright clothes and heavy jewelry” in contrast to the more simple style of the Western women (Dean Baldwin 534). From the bride’s perspective, since the women did not dress-up for the party, “no one seemed to care” about keeping customs (Dean Baldwin 534). A distinct change in her attitude occurs as “her discomfort changed to uneasy defiance” (Dean Baldwin 534).

            Another culture clash occurs for the bride as she waits alone at the table and her husband mingles returning only to introduce someone. The bride realizes her husband has been drinking instantly sending her from “uneasy” flower-on-the-wall to, to “shock”, to “distress” and finally to “disgust” and anger (Dean Baldwin 535). While the husband, familiar in Western ways continues to have a good time, the Eastern wife “could not forgive him” because it was “wicked” and “sinful” to do so (Dean Baldwin 535).

            Again cultures clash as the already upset wife witnesses a woman near the juke box. Turning her nose up at the music, the Eastern bride preoccupies herself with a girl who is dancing next to the music. She watches as the Western woman’s “bare flesh of her body” exposes itself through her movement and the bride flashes with anger again (Dean Baldwin 535). According to the Eastern bride, the Western women’s clothing “adorning their nakedness not hiding it” prove the Western women to be “disgusting, shameless, hussies, bold and free to men” (Dean Baldwin 535).
            Like others affected by colonial imperialism or a diaspora, the young bride is forced to face the unknown and unfamiliar. She must contend with the frustration of not being able to communicate, not sharing similar experiences, or embracing the same codes of conduct. The Eastern bride seems miffed at the partygoers disregard for customs. Frustration turns to disgust and anger when she realizes her husband has committed the sin of drinking. A stranger in a strange land the woman questions her ability to be righteous of her beliefs” that are “deep-based on generation-old foundations” unlike the Western behavior of her husband (Dean Baldwin 535). Ultimately, the wife must swallow the fact her husband has become a “destroyer” and that for her “above all others” her life must be one with his (Dean Baldwin 535).

In the Interview with Attia Hosain from May of 1991, she states she was “already conditioned” to believe that religion would not divide us. Based on the text, how might Hosain resolve the situation between the Eastern wife and her Western husband? Use text to support your answer.

Works Cited

Dean Baldwin, Patrick Quinn. An Anthology of Colonial and Postcolonial Shortfiction. Belmont: Wadsworth, 2007.