That dynamic was so familiar to the boy that he responded, probably automatically, by adopting the correspondingly appropriate demeanor on his part, as clearly evidenced by the following passage: The woman was sitting on the day-bed. After a while she said, "I were young once and I wanted things I could not get." There was another long pause. The boy's mouth opened. Then he frowned, but not knowing he frowned. The

Likewise, Joyce Carol Oates short story, Where Are You Going, Where Have You Been? also involves a basic story of violence with a more symbolic meaning. To summarize Oates' style is to say her works typically mix the themes of Gothic estrangement and high social observations with violence being a central theme, often to a sensationalist point. Interestingly, she cites William Faulkner as one of her major influences. The story Where

English Literature Space, Confinement, & Women in "The Yellow Wallpaper" I sometimes fancy that in my condition if I had less opposition and more society and stimulus -- but John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad. So I will let it alone and talk about the house. ~The protagonist in "The Yellow Wallpaper" Charlotte Perkins Gilman wrote

Where Connell emphasized myriad consumer items like silk pajamas and finely tailored suits, Lawrence highlights two items: the rocking horse that gives the story its title and money. Before the protagonist, Paul, is even introduced Lawrence attests to the significance of money (in reference to Paul's mother): "There must be more money, there must be more money" (1). Shortly thereafter, the protagonist furiously rides his rocking chair, which endows

Meanwhile, T. was a different kind of leader. He wants his ideas to be followed and he led the gang to a dangerous and cruel mischief. The story also touches on the choice between good and bad as presented by Blackie's decision of whether or not join the destruction of Old Misery's house. Eventually, Blackie chose a purely egoistic choice basing his decision on the need for distinction. Ironies are

When death finally comes it comes as a respite for Aschenbach who is so far pushed by his infatuation with the young boy that he has no control over his conscious or subconscious behavior. He sheds his dignity completely when he decides to recapture his youth with makeup much like the bumbling old fool he had spotted (and secretly laughed at) on the steamship that brought him to the