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Kyra Howell
The Bloom of Passion
Senior Portfolio
Fall 2013
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Table of Contents
 Cover Page……………………………………………………………....1
 Table of Contents……………………………………………………….2
 The Bloom of Passion (Self Reflective Essay)…………………………...3
 We Are Tyler Durden…………………………………………………...8
 The Batmen (Add requirement title here)……………….…………....11
 How Cometh the Werewolf?...................................................................17
 Death’s Visage……………………………………………………..…..23
 The Vanishing Light………………………..………………………….28
 Woman’s Derided Role in Lord Byron’s Life and Work………..…….32
 Timed In-Class Writing………………………………………………..38
 Maxine Hong Kingston’s World………………………………..……..40
 The Legacy that is Pocahontas……………………..………………….49
 Riches to Rags and Back Again…………………………..…………...60
 Stereotypes on Screen………………………………………..………..68
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The Bloom of Passion
People often ask me “Why are you an English major? What made you
choose this path?” For the answer, I look to my childhood.
Some of my earliest, fondest, and most recurring memories are that of my
mother reading. She would curl up on the couch, turn the TV down, and ask “Do
you want to hear a story?” My siblings and I responded with squeals of
excitement. “Alright,” she laughed “go grab a book Kyra.” I rushed to my room
and snatched up a whole armful in hopes that she would read them all (most times
she would). We all gathered around her, hanging onto every word, marveling at
the different voices that seemed to leap from the pages, and painting grand
masterpieces with our minds. My mother read for hours, taking us through
Charlotte and Wilbur’s farm, to Patches’ soccer game, and through the many
haunted houses and towns of Ohio. Despite her hoarse voice, she soldiered on as
long as we asked her to.
So, again I am asked, why on earth did I choose a major that requires
copious papers and endless hours staring at a computer screen? The answer is
simple really. My mom. Within me she instilled an insatiable love of the written
and oral word. She showed me the magic a simple story can have. That magic? It
introduced me to whole new worlds and took me on fantastic and terrifying
adventures. It introduced me to new characters, many of whom I grew to love. It
also left me to examine the world I live in and it has inspired me to take action. I
have always carried the magic with me and it has constantly fueled me to see the
beauty and wonder in my surroundings. Throughout my academic career I have
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tried to incorporate that magic in my essays. Whether or not I chose a more
fanciful topic for my essays, I attempted to take my readers on a journey and
leave them with some of the magic that has influenced me. I admit that I have not
always been successful in this endeavor, but I feel that I was more times than not.
For this portfolio I chose examples that demonstrated both the failure and success
in my venture to share the magic.
Despite my love of literature, I never really thought of myself actually
working with my passion. I am a persuasive speaker and I do well in arguments.
So naturally, I grew up thinking I was going to be a lawyer and that was it. My
love of the written word? I planned to focus on it and my creative side in my
spare time. I entered the University of Rio Grande thinking that I would still be on
the track to law school, but that completely changed. While taking general
education English courses I found myself wishing I could always work with
literature. I loved the feeling I got when I deconstructed a poem and the feeling of
accomplishment that greeted me after spending hours on a paper. I enjoyed being
completely immersed in a story that had been foreign a mere week prior. And in
my professors, I found people who not only shared my interests, but also guides
who showed me that I could take my passion and make it my occupation as well.
They encouraged my tendency to be different and never ceased their support. For
them, I am eternally grateful.
As I look back on my time here at the university, I can see growth. I came
here wide eyed and rough in form. Sure, I had my persuasive and creative writing
skills, but I had not yet encountered these things the professors called the
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“academic” and “critical” paper. In the way of academia, high school had
emphasized nothing more than the structured five-paragraph essay discussing
repetitive topics such as abortion and drug testing in schools. I started out as a
more creative writer. I had more poems and flares in my work. As time
progressed, I transformed into a critical writer. My academic voice slowly
hatched from its cocoon and spread its wings. Despite this personal
accomplishment, I am saddened by my loss of artistic flare in my academic work.
I used to be able to rattle out a poem like it was nobody’s business, but I sort of
lost that along the way. In more recent semesters I have attempted to rekindle that
relationship and merge it with my “big girl voice”. I have arranged my portfolio
chronologically in hopes that you may see the transformation and struggles I have
undergone.
Among the works that I have selected for my portfolio I have included
those that exemplify the persuasive, creative, and critical skills that I have
acquired throughout my life. Amid the many papers that you will leaf through, I
hope that you stop to pay special attention to “The Vanishing Light” and “The
Legacy that is Pocahontas”. Both examples, I feel, are milestones in my academic
career at the University of Rio Grande. “The Vanishing Light” marks my first
attempt, after a couple years, at a creative piece. I was presented with an image of
a field of wheat with an overcast sky in which a murder was flying. I was then
told to create a story based on that said image. Though the piece is rather short, I
spent a lot of time with it; relentlessly rewriting sections and getting what I saw in
my mind, down on paper. It was no easy task. However, when I finally finished
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the story, I was happy with it. I did not have to include outside sources,
summarize someone else’s opinion, or do any special research. It turned out to be
a little dark, and at times, very creepy, but I had a product that was ALL me. It
had been so long since I had created my own piece! I was ecstatic! From that
point on I have strived to incorporate my creative voice in my academic papers.
“The Legacy that is Pocahontas” marks the point in my career when my
academic voice burst forth full force. Up to that point I had more or less been
hitting and missing. My papers were by no means horrible, but they were lacking
fluidity. I also feel that my previous papers, in regards to research or critical
content, did not have enough “me” in them. When I chose the prompt for the
Pocahontas paper, I chose it because the Disney film Pocahontas was my favorite
film as a child and I was shocked that the Disney Corporation had jumbled
Pocahontas’ image so. In addition, I am of Native American decent and I jumped
at the chance to work with something that related to my culture. In this way I
hoped that it would be easier to integrate more of myself into the piece. I feel that
I accomplished that in this paper. I truly enjoyed every second that I worked with
it and I learned a lot. I am extremely proud of the end result and process I went
through to produce it.
It is funny to think that this really all started with my mom. She had no
idea she was planting a seed that would later bloom into my greatest passion.
Thanks to my time here at the University of Rio Grande, I have acquired many
skills that complement and help me express what my mother instilled in me. I no
longer doubt my ability to accomplish a task that I am unfamiliar with. I have
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been shown that is okay not to know everything about everything. As long as I
use the techniques I have been shown, I can make it through just about anything.
So here I am. A senior. As I have been wrapping everything up, my thoughts have
turned to the future. And you know what? It’s scary. Oh sure, I am excited to
leave and get a start on this big adventure we call life. But once I walk across that
stage, it is a whole new ballgame. Uncertainty will be my constant companion and
I most likely make my share of mistakes. One thing, however, is certain. I know I
want to spend the rest of my life working with the love of my life… English. I
believe I would like to make a career out of my creative side. This is why I have
been looking into the Master of Fine Arts degree in Creative Writing, offered by
Full Sail University. I believe this will increase my chances of sharing the magic
that has influenced me so. When you have read through this portfolio I hope you
take a little bit away with you as well. Know that it is not just about completing
assignments. It is about loving what you do and what you work with. It is about
keeping that love alive. I have poured my heart and soul into each paper. Each
paper, that is but a petal of the passion that I have for my field.
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We are Tyler Durden
Composition I Fall 2009
I first met Tyler Durden in coach, on a stuffy airplane. It was as though he
appeared out of nowhere…much like a godsend. Little did I know that that chance
encounter would forever change my life and the way I view it. I never imagined
someone like him would ever speak to a pencil pusher such as myself, much less
become the closest thing I’ve ever had to a friend. I soon found myself constantly
surrounded by Tyler and his enigmatic and evanescent ways.
When Tyler comes into the room all take notice, and mind their step. His
very appearance demands respect, awe, and even fear. He’s the kind of guy that
doesn’t take any shit, and would beat your ass just for looking at him wrong.
Tyler is of average height and weight. He possesses short cut, deranged, and
flaxen “I just rolled out of bed and ran my fingers through it” hair. Two sharp,
calm, sapphire eyes command your attention. Once they have you in their hold, it
is hard to tear yourself from them. A strong, attractive, and cunning face stares
back with vengeance for the world. Tyler’s body is something I’ve only dreamed
of achieving; and girls only dreamed of touching. From head to toe, he is covered
in mountains of well sculpted muscle. Even guys who work out every day would
be green with envy at the very sight of him. I don’t even think that the great
Michelangelo could have created a better specimen. Tyler is what I imagine what
would happen if you took Ken and gave him a foul mouth and a completely
reckless attitude. His voice is surprisingly pleasant and strangely familiar; kind of
like a lullaby your mother used to sing to you, but you have difficulty recalling.
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Tyler is always accompanied by the smell of blood and sweat; a reminiscence of
the night before. He practically throws “whatever” on. Whether it be a blood
stained t-shirt and blue jeans or a good layer of sweat and jeans, Tyler always
looks good. He is much like a dead beat dad or the cool older brother you had
always wished for. Everyone begs for his approval (myself included) and its
complete ecstasy when you receive it. He is my salvation…
Tyler Durden called to me…and I appeared to him on a stuffy plane. The
very sight of him repulsed me, but I knew that I was needed. He reminded me of
those sleepless pencil pushers that lived on coffee. Never in my whole existence,
had I imagined that I would ever talk to, much less befriend Tyler. I would change
his life and he would never look at it the same way ever again. I soon found
myself surrounded by Tyler and his so predictable and society conditioned ways.
Tyler is the kind of guy that you only notice after he was introduced or
after everyone has departed. His very appearance demanded an ass kicking, which
I would have been only too happy to provide. Tyler was about average height, but
terribly skinny. If you took Kiera Knightley’s body and slapped his head on top,
you would have Tyler. Muscles you say? Yeah sure he had some. If you call thin
wiry masses of mole hills, muscles. He possessed a neatly cut, short crop of
brown hair. Two chestnut, tired eyes stared out of his pale, thin, rat-like face.
Those hollow eyes begged to be saved. There was nothing particularly impressive
about him. If he hadn’t of called me, I would have given him a second glance.
You just know that he was the kind of kid that got beat up for his lunch money, in
grade school. The sad little puppy that no one wanted; and he was mine. Tyler’s
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voice was that of a wacked out pre-pubescent boy. He is always accompanied by
the nauseating smell of soap and too much after-shave (pencil pusher). Tyler
always seems to be dressed in some nerd herd office outfit. His clothes own him
and they scream “Nerd!” he never looks good. Tyler was very much like the
pathetic little brother that your mom made you stick up for. Those damned brown
eyes begged for approval, and he would quiver as he received it. I was his only
hope; I am his only salvation…
We are what is left after all is said and done. We are made stronger due to
our struggles, our sacrifices, and our differences. We will make the world clean;
so that all can start anew. We will release everyone from their bondage to labels,
fashion, and brand names. We will open your eyes to the real world, set you free
from the sense of safety; we will change your life. We will bring down those that
hold you in debt, and wipe your slate clean. We will stand by as the towers of
degradation fall. We are Tyler Durden, and we are your salvation…
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The Batmen
Composition I Fall 2009
Batman has long been the hero that our forlorn world cries for. Though
there are many different interpretations of him, his essence always remains the
same. He is the self sacrificing knight that spends his evenings hunting down
villains, and ending their reigns of terror. Through these copious interpretations,
different views of the Caped Crusader emerge. Tim Burton created the Batman of
1989, which closely mirrors the Batman of the comic book series. A morose and
recluse version of the Bat graced the screen in the form of Michael Keeton.
Through the realistic vision of Christopher Nolan, a revamped Batman emerges in
2008’s The Dark Knight. Actor Christian Bale offers up a more complex and
ominous Batman that is better suited to today’s world. One can compare and
contrast the actors’ portrayal of Bruce Wayne, the psychologies, the appearances,
and the actors’ realizations of the Batman. By doing so one will see that Christian
Bale’s Batman is the better portrayal of the Caped Crusader. As the Joker so
charismatically said “Will the real Batman please stand up?”
First and foremost, one should analyze the portrayals of Bruce Wayne.
Underneath the bat suit resides the rich and philanthropic Bruce Wayne. He is the
heart and soul of Batman; you simply cannot have or mention one without the
other. Both depictions of Bruce Wayne in the ’89 and ’08 versions are practically
identical. Bruce is the affluent head of Wayne Enterprise, with all the showy cars,
copious benefits and parties, and the substantial home. Both Michael Keeton and
Christian Bale are dark haired, and fairly tall; therefore the physical image of
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Bruce is extremely similar. However, there are some key differences between the
two portrayals of Bruce. Michael Keeton’s Bruce is soft spoken, scholarly,
somewhat of a recluse, and though handsome, he is not much of a ladies’ man.
His body is more of less one of a scientist; he doesn’t seem to work out very
much. On the other hand, Christian Bale’s Bruce is rather forthright, reckless,
ostentatious, muscular, sexy, and he is definitely a ladies’ man (he is never
without one or several gorgeous women on his arm). Even the clothing of the
Bruces are quite different; ’89 Bruce wears simple, solid colored suits, and one
tuxedo throughout the entire movie. Conversely, ‘08’s Bruce wears flashy, more
styled, expensive looking, and diverse suits.
Secondly, one must compare and contrast the psychologies of the Batmen.
Both bats have the unrelenting need to help the people of Gotham. Witnessing the
death of his parents greatly influenced Bruce Wayne’s decision to become the
Bat. Batman wishes to keep others from being traumatized as he was, and in so
doing sees himself in all those that he saves. Though both Batmen use this tragic
event to inspire them to help Gotham, they seem to deal with it in different ways.
The Batman of 1989 seems to be incessantly consumed with the thoughts of his
parents. He seems to shut himself off from the world, and doesn’t want anyone to
get to close (perhaps he fears losing yet another loved one). As Vicki Vale says
“Why won’t you let me in?” This Batman is more of a scholar than fighter, as
shown by the time spent researching, and his eventual solving of the Joker’s
“smiley” chemical. This bat is rather silent and non-social, with the exception of a
few witty comments and a letter. He also doesn’t seem to have a problem with
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killing the crooks; he blows up a warehouse full of them, and pulls the Joker from
the ladder, which he then falls to his death. The only fear aspect that the ’89
Batman has is silence and a lack of rules.
The Batman of 2008 only uses the death of his parents as the main reason
for crime fighting. They are the fuel to the fire that is Batman. Unlike the Batman
of ’89, he is not consumed with the thought of their death (at least not in The Dark
Knight). This bat is a much more terrifying specimen. He always seems to appear
out of the shadows, and disappears in the same manner. Those who usually cross
his path are usually left badly beaten, terrified, and repentant. He uses his own
fear of bats to strike fear in others (which is absolutely brilliant). This Batman is
much more social than the ’89 version. He meets with Lieutenant Gordon and
Harvey Dent on numerous occasions (where the ’89 bat does none of this). His
desire to good seems to be stronger than that of the other bat. He will stop at
nothing to do the right thing for Gotham and its citizens; including traveling
halfway across the world to bring a mob accountant to justice. Batman of ’08 has
only one rule, he will not kill the crook not matter what crime he committed. This
is probably directly related to two scenes in the previous installment of Batman
Begins (Rachel Dawes tells him that it is not up to him who lives and who dies,
after he shows her the gun he was going to use to kill the man that killed his
parents; and when Rhas al Guhl tells him to take the life of a thief, Bruce says that
the thief needs to be brought to justice).
Thirdly, one must take into account the look of the Batmen. The Batman
of 1989 is a bulky mass of black rubber, a long heavy leather cloak, gauntlet-like
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gloves, thick black boots, a long nose, and long pointy ears. The yellow rimmed
bat symbol blazes on his chest, and does little to strike fear in others. Jet black
makeup encircles both eyes, and his chin is exposed. With a canary yellow belt
and bulky gadgets swinging the Batman of 1989 is rather wimpy and cartoonish.
The mold of his armored chest suggests that he well muscled; but with one look at
Bruce, one can clearly see that this a misleading feature. The ’89 Batman is
walking joke, and is more an illustration of what he wants to be rather than what
he is.
The Dark Knight’s Batman is a much more intimidating figure. The film
starts with the previous version of the bat suit (which still happens to be better
than the ’89 version). Finding difficulties, the suit is improved upon. The black
rubber suit is replaced by segments of black armor and a black mesh-like material,
which results in a slimmer look. A much thinner black cloak cascades over his
shoulders, black gloves and gauntlets encase his arms, and thick black boots
complete the ensemble. The mask is a much smaller, almost helmet-like, version
of its predecessor, with shorter ears, and lenses that slide down, giving the bat
sonar vision. His eyes are still rimmed with jet black paint, his chin is still
exposed, and he has gained the ability to turn his head. The bat symbol is still
located on the chest, but is jet black and blends in with the suit. Unlike the’89
version, the belt is a light gold color; and there are no bulky gadgets swinging
(everything is compact; very modern). A mold of a perfectly sculpted abdomen is
absent in the bat, but one knows that this bat is muscular. This version of the
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Batman is much more kick-ass, advanced, and fear inspiring (it even has its own
electrical security system).
One must finally look at the actors’ realization of the Batman. Michael
Keeton, as stated before, made his bat much more secluded and non-social. He is
consumed with the thought of his dead parents. When one views the film, it gives
the impression that Batman has just recently started fighting crime (“Tell all of
your friends… I’m Batman!).Though, Keeton makes it seem as though the bat is
terribly tired of fighting; and ready and willing to give it all up. He attempts to
make the bat terrifying, but only succeeds in making him look preposterous.
Keeton apparently didn’t find that muscles and martial ability, extremely
important; for there is very little of either in the film. His realization of the bats
intellectual side is spot on, with the ever constant thoughtful look, the occasional
witty comment, and wire-rimmed glasses. His eyes are always observing and
analyzing (a true detective). Personally, Keeton’s Batman seems rather
unfinished; he could have done more to evolve the character.
Christian Bale’s realization of Batman is a superb specimen; this is what
Batman should be like. The deepening of the voice, bad attitude and rage
contribute to the idea that Batman is a demon. He is something to be feared, and
not messed with. Bale’s bat is ever vigilant, constantly watching everyone and
everything around him. He made his bat more muscular (as he should be), and
more knowledgeable of martial arts. Bale’s bat uses a unique, aggressive,
adrenaline-fueled martial art called, the Casey Fighting Method; which only adds
to his demon quality. Though he is not as scholarly-looking as Keeton’s bat, he is
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intelligent; for he picks up on things that others wouldn’t (the shattered bullet,
Maroni’s inside cops etc.). He is completely self-sacrificing, risking his life for
strangers, and those that will eventually turn on him (a true knight!).
One can clearly see that Christian Bale’s demon bat is superior to that of
Michael Keeton’s cartoonish bat. Through the comparing and contrasting of the
portrayals of Bruce Wayne, the psychologies, the physical appearances, and the
actor’s realizations of the Batman, Bale is clearly the winner. His interpretation is
what it would take to be the ‘real’ Batman. He shows that in order to be the bat,
one would have to go the distance, risk absolutely everything in order to save the
innocent (even when they turn on you). Christian Bale’s Batman is a true knight,
and I highly doubt any will ever be able to top his performance. He made the bat
come alive, and inspire thousands to be more. Commissioner Gordon put it best
when he said “He’s the hero Gotham deserves, but not the one it need right now.
So we’ll hunt him, because he can take it. Because he’s not our hero, he’s a silent
guardian, a watchful protector…a dark knight.”
How Cometh the Werewolf?
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Composition II Spring 2010
A deadly fusion of thick, rough, malodorous, fur, razor sharp teeth, bright,
cunning eyes tinted with malice, ravenous hunger, and a howl that would send
shivers down the spin of the bravest … This is the ancient and terrifying beast
known as the werewolf. The werewolf is the unification of a wolf and a human.
For centuries this formidable creature has prowled the dark of the forests and the
dreams of many. In its wake, only horror, death, awe, and stories have remained.
For many, the werewolf is just a myth created to explain the unexplainable, or to
serve as a warning of the dangers within the world. To others, it speaks of a much
darker side of the human psyche. Today, the werewolf is a source of
entertainment and fascination for myriads. Whether it is from fear, allure, or
simply curiosity, one must wonder “How did this werewolf creature come to be?”
Throughout the centuries, copious and diverse explanations regarding the origin
of the werewolf have emerged from all over the world.
The condition of the werewolf has been looked upon as the product or
punishment of sinful behavior/acts. In David Hunt’s article “The Face of the Wolf
is blessed, or is it? Diverging Perceptions of the Wolf” he points out that the
people thought to be werewolves, did not attend church regularly. Church was a
very important part of everyday life, and anyone that avoided it (or simply chose
not to go) was punished for their disobedience. Typically, the unruly were forced
to change (regularly) into a wolf, for the period of one year. After, said period the
afflicted would then go back to their original form. According to Hunt, those who
broke any of the Ten Commandments were also cursed with the transformation of
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the wolf. Anyone that dared defy God and his commandments was punished with
the transformation. He also mentions that anyone that committed a sinful act, such
as murder, rape, theft, etc. was also punished. Hunt’s article emphasizes that those
who did not follow the path of God were thought to be werewolves.
Some believe that a werewolf came to be in said condition by choice. In
Willem de Blecourt’s article “’I would have eaten you too’: Werewolf Legends in
the Flemish, Dutch and German Area”, he discusses how a human could choose
to become a werewolf. According to Blecourt, the most popular way in which the
choice and/or transformation occurs, is by wearing a magical belt. This belt is
usually made of the skin of an unborn calf, foal, or donkey, and possesses the
power to change its wearer into a wolf. The individual that wishes to make the
change, simply puts the belt on, changes, and takes the belt off when they want to
change back (to their human form). Blecourt also states, that a human could ask or
volunteer to become a werewolf. There are copious reasons as to why they would
do this. Some would accept the transformation simply for the power. Others
would volunteer so that they could save a loved one, or take a loved one’s place.
Blecourt mentions that a human could take on the guise of a wolf, by wearing a
wolf’s skin. This was done in order to commit sinful or malicious acts (the human
never actually changed, he/she just wanted to be thought of as a werewolf).
Blecourt’s article indicates that the ability to become a werewolf could be
acquired by choice.
Others think that the people afflicted with the pain of being a werewolf,
came to be in said condition through no fault of their own. Within his article
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“Iberian Seventh-Born Children, Werewolves, and the Dragon Slayer: A Case
Study in the Comparative Interpretation of Symbolic Praxis and Fairytales”
Francisco Vaz de Silva’s claims that werewolves were born into this world. He
mentions that some children were born to werewolf parents. Therefore, the
offspring of two werewolves had no say in what they were to be. He also state
that some cultures believe that a child (of the opposite sex) born after seven
siblings of the same sex, must become a godchild of an older sibling. If this did
not occur, then the child would be doomed to walk the earth in the form of a
werewolf. According to Silva, birth order is also a deciding factor in who became
one of the stricken. Perhaps the most popular and most well known way to
become a werewolf is to have a run in with one. Silva states that one simply has to
be bitten by a werewolf. If the victim should survive the bite, then they too will
change into the dreadful creature. Silva’s article emphasizes that most people
became werewolves, because they were dealt that hand by fate.
Few researchers, such as TengYong-qing and Yin Guo-Liang, believe that
being a werewolf was a gift given to a choice few. In their article “Legend of the
Wolf: Probing into cultural images” they state that only those that lived a truly
virtuous life were allowed to be werewolves. This way of life was thought to be
special, and only those that lived righteously deserved it. Yong-qing and Guoliang claim, that sometimes only those that proved themselves to be valiant
(typically on the battlefield) were given the opportunity to become a werewolf.
Those werewolves usually protected very important people (such as kings, royal
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families, etc.). Yong-qing and Guo-Liang’s article showed that the condition of
being a werewolf was more or less bestowed upon a person.
In my opinion, there are many ways to become a werewolf. I prefer a more
realistic approach to the transformation. Therefore, I am more inclined to believe
that werewolves come into existence by being bitten, or by being born as such. I
find that the transformation induced by a magical belt, rather trivial and
simplistic. I think that it should not be as effortless as putting on a belt; and I do
not like that it can be turned off and on like a switch. Since I have always read
that werewolves are evil creatures, it is not hard to believe that they are a product
of sinful behavior. This is more agreeable with the terrifying, wicked, nature of
the werewolf. I rather like that the form is gifted to the virtuous. This explanation
is more romantic and much more like a fairytale. More or less, I believe that the
werewolf came into being through no fault of its own.
All over the world, people have created their own stories relating to the
creation of the werewolf. Some researchers regard the werewolf as the result of
wicked behavior, or a choice. While others believe it was either a gift given to the
valiant, or the product of fate. Typically people believe that there are only one or
two ways that a werewolf can be created. They need to know that there are more
origin stories. Each new explanation provides a deeper look in the creature that is
the werewolf. Most people also believe that all werewolves are considered to be
evil. Yet there are some cultures that hold the werewolf in high esteem. Without
studying all the possible explanations, one would never know this; and one would
never be inclined to change their opinion of the werewolf. These explanations can
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give insight into different cultures and their beliefs. After one has examined all
the possible origins of the creature of the night, one will have a better appreciation
for it and all its wonder.
Works Cited
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de Blecourt, Willem. “”I would have eaten you too’: Werewolf Legends in the
Flemish, Dutch and German Area.” Folklore 118 (2007): 23-43.
Hunt, David, “The Face of the Wolf is blessed, or is it? Diverging Perceptions of
the Wolf.” Folklore 119 (2008): 319-334.
Vaz da Silva, Francisco, “Iberian Seventh-Born Children, Werewolves, and the
Dragon Slayer: A Case Study in the Comparative Interpretation of
Symbolic Praxis and Fairytales.” Folklore 114 (2003): 335-353.
Yong-qing, Teng, and Yin Guo-Liang. “Legend of the ‘Wolf’: Probing Into Its
Cultural Images.” US-China Foreign Language 1539.8080 (2008): 67-74.
Death’s Visage
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Literary Imagination Spring 2011
In copious works of literature, the subject of death is often visited.
Normally, most authors choose to simply describe the death of a loved one,
describe the act of dying, or elaborate why they may fear or welcome death.
Therefore it is quite rare and gripping when an author chooses to personify death.
In some instances death is portrayed as a ruthless attacker, against which there is
no defense. Other times death is seen as a beautiful savior. The images and
feelings surrounding death vary from one poem to the next. In his sonnet “Death,
Be Not Proud”, John Donne decries death and exposes it as a feeble tormentor.
This poem clearly stands out from the others by mocking death and showing
absolutely no fear of it. Emily Dickinson however portrays death as a benevolent
gentleman in her poem “Because I Could Not Stop for Death”. This poem also
stands apart from the others by taking a much kinder approach to death. Death is
depicted in many diverse ways, and the aforementioned poems are strong
examples of said diversity.
In the poem “Death Be Not Proud”, Donne makes Death nothing more
than a powerless servant and bully. The first quatrain sets the foundation for the
weaker image of Death and shows that the speaker is not afraid of it; and has no
reason to be. “Death, be not proud, though some have called thee mighty and
dreadful, for thou are not so; for those whom thou think’st thou dost overthrow
die not, poor Death, nor yet canst thou kill me” (Donne 1205). The speaker is
telling Death that it should not act as though it is a terrifying figure, because it is
not. He is also saying that Death is powerless because it does not truly slay its
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victims. This upholds an image of a lesser entity; something that need not be
feared. The next quatrain promotes the idea that Death is not punishing or
harming its victims. “From rest and sleep, which but thy pictures be, much
pleasure, then from thee much more must flow, and soonest our best men with
thee do go, rest of their bones, and soul’s delivery” (Donne 1205). Death is
simply seen as a guide that leads people to respite: there is absolutely nothing
scary or malicious about that. In the third quatrain, the speaker furthers the feeble
image of Death. “Thou art slave to fate, chance, kings, and desperate men, and
dost with poison, war, and sickness dwell, and poppy or charms can make us
sleep as well, and better than thy stroke; why swell’st thou then?” (Donne 12051206). This diminishes the regular commanding visage to that of a meager
drudge. It is also noted that common plants and charms have the same, if not more
powerful, effect as Death. Finally, the ending couplet reinforces Death’s
scantiness. “One short sleep past, we wake eternally and death shall be no more;
Death, thou shalt die” (Donne 1206). This shows that Death’s hold is not strong
and will not last. It is also duly noted that since Death does not last forever it in
turn must die; therefore having a mortality of its own. The author cleverly and
mockingly denotes Death as nothing more than a weak, pompous entity that does
not need to be feared.
In the poem, “Because I Could Not Stop for Death-”, Dickinson portrays
Death as a gentleman. The first stanza promotes a benign visage of Death.
“Because I could not stop for death— He kindly stopped for me— The carriage
held but just Ourselves— And immortality” (Dickinson 1293). He is so courteous
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that he takes the time to stop and retrieve the dead; and the fact that death is
driving a carriage exemplifies a genteel sense to its being. In the next stanza the
dead points out the manner in which they travel. “We slowly drove— He knew no
haste, and I had put away my labor and my leisure too, for His Civility—”
(Dickinson 1293). Death shows compassion toward his passenger by ensuring that
she has an easy journey to the afterlife. A gentleman always takes others feeling
into consideration. The following stanza then further promotes the tranquility of
the ride. “We passed the School, where Children strove at recess— In the Ring—
We passed the Fields of Grazing Grain— We passed the Setting Sun—”
(Dickinson 1293). Death takes a route by happy, calm scenes. In this way it
seems as though he is trying to promote good thoughts/feelings within the
passenger; which is very thoughtful of him. The speaker then makes it a point to
describe her surroundings and her attire. “Or rather— He passed Us— the Dew
drew quivering and chill— For only the Gossamer, my Gown— My Tippet —
only Tulle—” (Dickinson 1293). There seems to be no real significance to this
stanza other than to exemplify that it is a chilly morning and the speaker was not
prepared for such a trip. Perhaps the unexpectedness is noted in order to show that
Death had to take it upon himself to appear to the woman; and therefore took her
care upon himself (yet again he is caring). The last two stanzas seem only to show
the destination point and provide no relevance to Death’s personality. However,
the last stanza may infer that death made the trip so pleasant that she soon realized
that she was off to a better place (which also enhances Death’s kind and
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thoughtful demeanor). The author elegantly illustrates that Death is a cultivated
and caring gentleman.
With both poems one is given conversing views of Death’s personalities.
On the one hand Donne provides a meager drudge that can do no harm in his
sonnet, “Death Be Not Proud”. One is shown Death’s copious failing and that it is
not as powerful as most think it to be. Donne’s reason for portraying Death in
such a way may be to inspire people not to fear death. He wants to show that
death is not scary and only fleeting; and a doorway to greater things (the
hereafter). In this way he is saying do not fear death, simply welcome it and show
it no trepidation. The other example comes in the form of a compassionate
gentleman, Dickinson’s “Because I Could Not Stop for Death-”. In this poem one
is provided with the various instances in which Death is courteous to his
companion (the dead woman). He takes many steps to ensure that his passenger
and charge is comfortable and calm; he wants to make her journey to the afterlife
a peaceful one. Dickinson’s purpose for illustrating Death in this way may be the
same as Donne’s; to show people that they need not fear death. She shows him in
such a kindly manner, that it would be difficult for one to find Death terrifying.
Like Donne she wants to show that death is a doorway to eternity, but she wants
people to accept and respect death (as one would a gentleman). The various
portrayals of death make one stop and reexamine of view of death’s visage.
Works Cited
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Dickinson, Emily. “Because I Could Not Stop for Death-” Exploring Literature.
4th ed. Ed.Frank Madden. New York: Pearson Longman, 2009. 1293.
Donne, John. “Death, Be Not Proud.” Exploring Literature. 4th ed. Ed. Frank
Madden. New York: Pearson Longman, 2009. 1205-1206.
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The Vanishing Light
Profession Writing Spring 2012
It was one of the hottest days of summer yet and Susie was on her way
home from town. She laughed to herself, thinking of how she had pleaded with
her mother to run this errand. She would have said or done anything to escape the
confines of that stuffy old house. The walk to and from town was not much better
than the inside of sweet home, but at least a slight breeze would pick up every
now and again and the birds’ songs served as a distraction from the heat.
Walking along the dirt path, Susie looked to the fields that ran alongside.
“Hmm…” Thinking that it was the longer way home, she turned to the left and cut
through the field. As she was walking through the tall golden wheat she happened
upon a large pond. The wind gently whipped the water’s surface and without a
second thought, Susie jumped in. She swam until her arms grew tired and then she
climbed out. Stretching out on the ground below, she dried herself in the warm
sunlight and fell fast asleep.
Awhile later Susie awoke beside the pond. As she sat herself up, she
blinked hard against the hot light and wondered how long she had been there. “It
couldn’t have been more than an hour,” she said to herself, “but I must hurry or
they’ll think I’ve run oft.” Susie stood to shake the dirt and stray pieces of wheat
from her dress when a crow cried out. She looked up to see the single jet black
bird circling in the sky. Not paying it much mind, Susie took off in the direction
of her house, humming as she went. She suddenly stopped mid-tune… She heard
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the crow again and looked up. The menace was no longer in the sky. “Hmm…”
she mumbled and continued on.
The crow’s call rang out again. Susie whipped around to find the bird
standing behind her. The beady eyes glinted in the sunlight as it cocked its
feathery head. “Get outta here… Go on shoo!” she shouted at the bird. The
feathered fiend stood its ground and cawed once more. “Ugh!” Susie growled
nervously. She was not going to put up with this little nuisance; she was just
going to ignore it from this point forward. Making her way through the wheat she
heard the blasted cawing again. When she turned to shoo the crow three met her
gaze. Oddly, it was only then that she realized the sky had turned dark.
Susie watched in horror as the crows took flight and came after her. She
took off, but the trio was on her in the matter of seconds. They flew ahead and
pecked at her face. Susie threw her arms up in hopes of fending off the terrors.
This only further angered the birds, and they tore at her arms in rage. The blood
flowed down her arms and into her face, temporarily blinding her. Unable to see
where she was going, Susie tripped over something and landed face down in the
dirt.
All was silent as she laid there panting. When she was absolutely sure that
the crows were no longer around, she propped herself up. Susie wiped the thick
blood from her eyes and screamed. In the clearing before her sat a man clad in
black, sharpening an ancient looking scythe. His skin had been kissed by the
grave and some bones jutted out of his papery skin. The clothes he wore were
nothing more than rags resembling a hood and pants hugging his emaciated body.
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At the sound of her screams, the man jerked his head in Susie’s direction. His
milky eyes cut her off mid-scream. She froze, her mind was racing and she could
not make herself move. Those horrid eyes held hers, held her to that spot as
though she were like the very wheat that surrounded her.
The man seemed to haunch his shoulders and gather a deep, raggedy
breath. Then… he screamed… The gaping hole that was his mouth was sewn
together by thick rusty wires and the tongue was no longer residing within. And
that sound pouring forth... It was unlike anything Susie had ever heard before and
a deep chill passed over her as the voice rang out. It was the sound of a legion of
tortured souls… It was not human. It was not inviting. It would not let her leave
this field alive. Susie managed to tear her gaze from the ghastly being before her
and jump up. She took off as fast as she could away from the clearing. Her heart
was racing as she pushed past the wheat. As her legs gave out, Susie arrived at the
pond where things had been so peaceful a little while ago. She collapsed at the
water’s edge unable to take another step. She could feel the man’s cold presence
behind her and tears rolled down her cheeks. “I don’t wanna die,” she sobbed, “I
don’t wanna die…”
It was then that a one of the crows flew in and landed right beside her. A
bloodcurdling voice spewed forth from its shiny beak. “It cares not for your wants
child. You will die… It will not be easy. And it will not be quick. You are going
to suffer a great deal before it lets you die.” Susie could not believe any of this
was happening, tears rolled down her face in torrents. She desperately wanted to
move, but she could not. She had not the strength to pick herself up and run. The
Howell 31
bird cocked its head as the being stepped in behind Susie and raised its scythe.
“Give us a good scream darling,” it said, “we want a good show.” The crow flew
off to perch on a nearby tree and waited like an anxious movie-goer. Susie slowly
lifted her face toward the sky and met the man and his scythe with an ear splitting
scream…
THE END
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Woman’s Derided Role in Lord Byron’s Life and Work
British Literature II Spring 2012
The widely popular English writer, Lord Byron (given name George
Gordon), suffused his existence with the presence of women. During his lifetime,
Byron lived promiscuously and he was well known for nonchalance toward such
living. His invention of the “Byronic Hero” launched him toward literary fame
and for a time overshadowed his utter disregard for propriety. Despite the copious
criticisms he received for his sexual behavior, he continued to reign popular in the
literary world. Though the majority of his work focused on his lone heroes, Byron
always managed to incorporate a female; especially in his poetry. As his career
progressed, he slowly fell out of favor with critics and fellow writers alike.The
aforementioned “warned readers against the immorality of Byron’s poetry…”
(Norton 607). By means of his life and opus, Lord Byron demonstrates his low
opinion of women through his numerous relationships, his portrayal of women in
his compositions, and his use of negative diction surrounding said women.
Lord Byron had copious, fleeting, romantic entanglements. It was often
remarked that he was an extremely attractive man. With his gift of the poetic
tongue, women no doubt fawned over him and jumped at the chance to be with
him. One such example is Lady Caroline Lamb. According to author Paul
Douglass,Caroline had been a fan of Byron when the two first met; shortly after, a
love affair followed (¶ 15). This romantic fling lasted until Byron had gained all
that he could from the relationship (Caroline attempted to pursue the relationship
after it had ended). By this time he already had acquired two new mistresses; one
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of which happened to be Caroline’s mother-in-law (¶ 19). Byron was in complete
disregard of his lovers’ feelings; he was in it for himself and no other. Moreover,
he was completely indifferent to the foundations of marriage. As the Norton
Anthology states, Byron’s attitude toward his own marriage and wife not only
exemplifies his lack of moralitybut also his selfishness. “One of these, the
flamboyant and eccentric young Lady Caroline Lamb, caused him so much
distress by her pursuit that Byron turned for relief to marriage with Annabella
Milbanke… after only one year the union ended in a legal separation. The final
blow came when Lady Byron discovered her husband’s incestuous relations with
his half-sister, Augusta Leigh.” (Norton 609-10). His promiscuity knew no
boundaries as shown by his relationship with his half-sister. In addition to his
countless affairs with women, Byron was also intimate with several men. His
womanizing ways clearly illustrate lack of respect and total selfishness.
The way in which Byron portrayed his female characters is highly
suggestive of his opinion toward women. In his poem “When We Two Parted”, he
speaks of a woman that breaks his heart. “A shudder comes o’er me—Why were
thou so dear?” (Lines 19-20). When he thinks back to this woman, Byron is
unsure as to why he ever loved such a creature. He portrays her as a hurtful,
hypocritical liar; and he applied this view to all the women he encountered and
wrote of.In his poem “To Woman” Byron fully exposes the female sex to be
fickle-minded, liars. “Surely experience might have taught thy firmest promises
are naught… Woman that fair and fond deceiver… How quick we credit every
oath, and hear her plight the willing troth! Fondly we hope ‘twill last for aye,
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when, lo! She changes in a day. This record will for ever stand, ‘Woman, thy
vows are traced in sand’” (Lines 3-4, 11, and 17-22). More times than not, he
believed women to be nothing more than deceivers bent on creating pain. In one
more instance, Byron offers up his preferred view of a woman. In her article,
“The Byronic Heroine: Incest and the Creative Process”, Professor Joanna E.
Rape provides Byron’s ideal woman (found within his work entitled “Don Juan”).
“The third type, that combination of the best qualities of the other two extremes,
exists in Haidee… She is one made but to love, to feel that she was his/Who was
her Chosen,’ not to dominate, not to demand, but to belong and to give… she is
neither weak nor foolish…” (Rape 639). Though this image may not seem
entirely negative, Rape points out that this woman is seen as a more yielding and
manly form. That is to say, he did not want a woman that would be independent
both in body and mind. Byron wanted and believed in a woman that catered to a
man’s every whim. His portrayals of women in his literature clearly provide
extensive examples of his pessimistic view.
Byron’s word usage is yet another indicator of his dislike toward women.
Within his poem, “When We Two Parted” he uses the following: colder, sorrow,
sunk, chill, broken, shame, shudder, rue, and deceive. Using this negative diction
to describe the woman and how she left her lover plainly supports Byron’s view
on females. In his poem “To Woman” he isfierce in attacking woman’s image
with moreforward elocution: “But how much cursed by every lover when hope is
fledand passion’s over, woman, that fair and fond deceiver…” (Byron 9-11). Here
he is more brazen about calling women a bunch of liars and deceivers. In Paul
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Douglass’s article, he states that Byron thought a woman’s rational was full of the
hypocritic (which can be demonstrated in the following passage) (¶ 45). “And
even if by chance—who can tell? The Devil so very sly—She should discover
that all within was not so very well— And if still free—that such or such a lover
might please perhaps—a virtuous wife can quell such thoughts, and be the better
when they’re over” (¶ 45). According to Douglass, Byron always attacked a
woman’s mind in his writing. Only his heroines, who were masculine in any case,
seemed to be of higher mind; and this did not always happen. Through and
through, the diction in which Byron would surround his female subjects was
destructive toward the gender and highly demonstrative of his opinion toward
them.
Lord Byron made it quite transparent that he had a low opinion of the
opposite sex and he did so in his literature and sexual practices. He had copious
relationships and lacked the will and desire to make any of them last. I believe it
is important to note that Byron strongly believed that self-love was the
strongest/truest form of love. By this he thought that one should only love one’s
own flesh and blood. This provides and explanation for his affair with his halfsister that was mentioned earlier (this may have been the only relationship he
wished to solidify). The way in which he depicts his female characters and the
word usage accompanying them, also indicate that he had a negative view on
women. In addition to his view, it is imperative that one realizes Byron had a very
contradictive manner and writing style. Though he had a certain view that did not
mean he would always write with that in mind; sometimes he would go in the
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opposite direction. “… byfollowing his own genius with freedom of artistry that
forgets art, Byron cuts with his broadsword through the armor of conventional
pretenses to the living flesh of the human condition…” (Marchand 14).Though his
writing was not always kind to females, his work is something to be admired. As
Paul West commented in his book, Byron, “He never knew, but in groping for
power he transcended art’s convention…” (p. 14).
Works Cited
Howell 37
Byron, George Gordon. The Poetical Works of Lord Byron. New York: Oxford
University Press, 1964.
Douglass, Paul. "erudit." 2006. Romanticism on the Net. 23 May 2012
<http://www.erudit.org/revue/ron/2006/v/n43/013588ar.html>.
Rapf, Joana E. "The Byronic Heroine: Incest And The Creative Process." Studies
In English Literature (Rice) 21.4 (1981): 637. Academic Search
Complete.Web. 25 Apr. 2012.
Marchand, Leslie A. Byron's Poetry: A Critical Introduction. Boston: Houghton
Mifflin Company, 1965.
West, Paul. Byron. Englewood Cliffs, N.J.: Prentice Hall, Inc., 1963.
Timed In-Class Writing
Howell 38
Comparative World Literature Fall 2012
IV. Essay. Answer one of the following questions in an essay at least four
paragraphs long. Be sure to use specific examples from the assigned readings for
the entire semester in you discussion. Your answers should show that you have
read and understood the works you discuss.
4. Discuss how death is treated in at least two of the works from this
semester.
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Maxine Hong Kingston’s World
Genre Studies: Autobiographies Fall 2012
“Sometimes I think about how there was this little girl who decided my
life for me. This little girl said, ‘I’m going to be a writer.’ That determined my
fate” (Guthrie). Maxine Hong Kingston has been writing stories since she was
about nine years old, but she claims to have been telling stories since she was
seven years old. Her mother before her was also quite prone to telling and sharing
stories. It is from her that Kingston believes that the love of storytelling was
passed down; “she wanted us to educate the world” (Guthrie). Kingston took this
approach and attended the University of California Berkley and earned her
bachelor’s degree in English. For the rest of her life, she would teach English and
Creative Writing at various schools and colleges in California, Hawaii, and
Michigan. As a second generation Chinese American and the first of six
American children born to the Hongs, Kingston had to struggle to be accepted in
both the Chinese culture her parents had brought with them and the American
culture in which she was submersed daily. In the attempt to find herself, Kingston
concocted the idea of a grand book. This book would recount the stories told to
her by her parents, the history of her family, the Chinese culture’s views, and her
childhood. She started working on this book when she was ten years old but did
not get it fully underway until she was thirty-five. As work on the book
progressed, Kingston realized that she would have to separate the project into two
books “the women’s lives were coherent; there was a woman’s way of thinking.
My men’s stories seemed to interfere. They were weakening the feminist point of
Howell 41
view. So I took all the men’s stories out...” (Robinawitz 69). This resulted in the
creation of The Woman Warrior and China Men; the former published first.
Within these two books Kingston “blends myth, legend, history, and
autobiography into a genre if her own invention” (Gale). And though the two
books were split up, it is said that on must read both in order to fully understand
Kingston’s message. Through the examination and comparison of The Woman
Warrior and China Men one may gain an insight into the Chinese culture and
witness how the two books differ, as well as how Kingston utilizes myths and
legends to express herself and her family.
The Woman Warrior emphasizes the importance of women and the
struggles they have to endure (which, as demonstrated by Kingston’s books, are
downplayed in the Chinese culture) as well as the desire to break free from the
constraints of the Chinese’s expectations. This book is completely told in the
female perspective and concerns only Kingston and her female relatives; with the
males serving only minor roles. She begins this book with the story of the “No
Name Woman”, which was told to her by her mother. The brief but powerful
story discusses “the aunt as an uncanny figure who violates the natural cycle of
long life expectancy among the narrator’s Chinese family and who ushers the
reader from birth to death…” (Sabine 9). First and foremost, this story is
definitive of the message that is portrayed by The Woman Warrior. By beginning
with a family story that was meant to be forgotten, Kingston is making the point
that she is breaking the silence; she is going to talk about the things her family
wished to keep swept under the rug. And this is what the entire book is about,
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speaking out, gaining one’s voice, and remembering. In addition, this story
provides the reader with the Chinese’s beliefs on a woman’s station, “It was
probably a girl; there is some hope of forgiveness for boys” (Kingston 15); and
how they were restrained (they were looked down upon if they had an active
sexual life and were held to certain standards). The second story retold in
Kingston’s book is “White Tigers” which reviews the legend of Fa Mulan in first
person point of view. This story demonstrates how Kingston would rise above the
restrictions set upon her as a woman (Mulan became a soldier) and become
victorious (Mulan became a wonderful leader and slayer). It also displays
Kingston’s will to save her family, just as Mulan did. She wishes to accomplish
this by writing this book; the words will set her family free, just as the words
carved into Mulan’s back aided in the release of her family and her village.
The third story, “Shaman” is about Kingston’s mother banishing a ghost
from the medical school and arriving in the United States. This sets Kingston’s
mother up as powerful figure, while displaying how “the principal family
members are all victims of posttraumatic stress” (Sabine 8). Brave Orchid,
Kingston’s mother, never shows fear and is never lacking in determination. She
never stops until the ghost is gone from the school and she never stops working
hard so that she may join her husband in the United States. Even though, at the
time, Brave Orchid is still safe at home with the family, she (and the family) still
suffers from the husband’s absence (solitude, having to fend for oneself, not
knowing, etc.). The fourth story, “At the Western Palace”, also demonstrates this
effect when Moon Orchid, Kingston’s aunt, must lose her husband to a younger
Howell 43
woman after being separated for so long. The fifth and final story is “A Song for
the Barbarian Reed Pipe”. Here, Kingston confesses to bullying a young fellow
classmate who refused to speak. This is a duplicate of the incident in which Brave
Orchid Splits Kingston’s tongue so that she may speak better. It is also expressive
of the need or almost desperate desire to speak out, to be heard. This section ends
with the legend of Chinese poetess. Ts’ai Yen. Day after day she listened to the
sad flutes played by the barbarians who captured her. On one of these days Ts’ai
Yen could not take the music anymore and she burst forth with her own song,
which is still sung today. Once again, the theme of speaking out is reinforced.
Before Ts’ai Yen had heard the reed pipes she barely talked, especially not in her
own native language. The need to speak out and talk about her sorrow grew to be
too much so she sang. This is symbolic in that Kingston does the same thing. She
can no longer bear her family’s silence so she speaks out (in the form of her
books). And just like Ts’ai yen, people will remember her words forever.
While The Woman Warrior focuses on speaking and memory, China Men
emphasizes silence and the lack of memory. This book is Kingston’s
interpretation of what happened to the male members of her family since so many
of them remained silent about their past. Her greatest focus in China Men is the
silence and lack of communication from her father. “I’ll tell you what I suppose
from your silences and few words, and you can tell me that I’m mistaken. You’ll
just have to speak up with the real stories if I’ve got you wrong” (Kingston 15The
first story is “The Father from China”. In this story Kingston is assuming how her
father would have arrived in the United States if he had been born and raised in
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China; and whether he arrived legally or illegally. She does not even know when
he was born, “My father was born in a year of the Rabbit, 1891 or 1903 or 1915”
(Kingston 15). This is very demonstrative of the silence the males of the family
held and enforced. Kingston’s father never spoke of his life before he came to the
United States. What she does know for sure comes from her mother or from her
own experience (which is where the story becomes more detailed).The second and
third stories, “The Grandfather of the Sandalwood Mountains” and “The
Grandfather of the Sierra Nevada Mountains”, cover Kingston’s two grandfathers
who worked in the United States. Within the tale of Bak Goong, the grandfather
from the Sandalwood Mountains discovers that he and his fellow workers are to
remain silent while he working on a sugar plantation in Hawaii. “The men who
had come earlier also said that the plantation had a rule that they not talk at
work…” (Kingston 100). To speak would mean a dock in their pay. This
reiterates the theme of silence. Although this condition was only enforced during
the time the Chinese worked on the plantation it seems to have followed them
back to their homes because they still refused to talk about certain things. The
other grandfather’s, Ah Goong, tale discusses the Chinese workers who worked
on the first transcontinental railroad. These workers were also expected to keep
quiet and just do their work. When the worker’s wanted to organize a strike, they
did not break their silence. They simply communicated with food, “Ah Goong
folded ti leaves into a cup and packed it with food. One of the literate men slipped
in a piece of paper with the strike plan, and Ah Goong tied the bundle with a
special pattern of red string” (Kingston 140). This contributes to the theme,
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speaking without saying a word; what silences convey/ what Kingston had to
figure out on her own because her father would not tell her anything.
The next story, “The Making of More Americans”, mainly cover the topic
of death and tradition. Kingston relates several deaths that occurred while she was
younger. One such death was that of “Elder brother’s” mother. After years of
writing and asking her son to remember her and send aid, the mother dies. The
son is then haunted by the starving and weeping ghost of his mother. The
apparition wins out, and Elder Brother boards a plan to China. When he arrives he
offers all the food and clothing he had not given his mother to her grave; respects
her. To Kingston’s knowledge, the son was never visited by the image of his
mother ever again. This story is significant because it reinforces the idea that
women are the keepers of tradition and memory. Without the mother’s constant
nagging and talking, the song would have forgotten about China and the old ways.
This story also demonstrates that silence will accomplish nothing in the end. One
cannot run away from or expect to hide from their past or duties simply by being
silent; salvation is only found through speaking up. Also within this section
Kingston describes how her parents refused to explain their traditions to her and
her siblings. When asking about the funeral services, the only answer the children
receive is “It’s nothing. Don’t talk about it” (Kingston 189). The next story, “The
American Father” offers up the idea that Kingston’s father was actually born in
the United States. The most important element within this section is the short
legend of “The Li Sao: An Eligy”. This legend is about the writer Ch’unYian who
was banished for giving advice to the emperor. Yet again, favoring silence is
Howell 46
favored. The final section of the book is “The Brother in Vietnam”. After
teaching in a high school, Kingston’s youngest brother decides to make a
difference and join the military. He quietly endures the racism in the United States
and while he is in the military. He ventures to China in search of family members,
but when he arrives at their address there is no house or apartment to be found.
This silence conveys that the family has long since disappeared.
Although the The Woman Warrior and China Men are quite different, both
are connected by the suggestion of incest. The “No Name Woman”, Kingston’s
aunt, is believed to have been raped which resulted in the conception of a baby
girl. The village ransacks the family home and the aunt is banished from it.
Shortly after, the baby was born. The aunt and the newborn are later found dead
in the well. According to author and professor, Maureen Sabine, Kingston wrote
these two books in an attempt to provoke more information from her father about
her shamed aunt. “I further suggest that the daughter narrator may wish to
provoke her father ‘to speak up with the real stories if I’ve got you wrong,’ as she
does later at the start of China Men” (Sabine 10). It is as though Kingston is
openly challenging her father. Sabine then devotes a whole chapter to the
evidence of incest within the two books and how she believes Kingston is
devoting the books to her aunt. Sabine states that the books “suggest that
intertexuality can correct the incestuous distortions of intersubjectivity by writing
both the victimized daughter and the abusive father with his own history of
suffering and victimization back into being” (137). Kingston, unlike the rest of
her family, wants to save her aunt. While The Woman Warrior is more or less a
Howell 47
process for her aunt, China Men is more of a challenge to the family who hide the
truth and a defense for the aunt:
To appreciate the message Kingston wishes to convey, one must read both
The Woman Warrior and China Men. Not only do the two books give an
overview of Kingston’s life, but they also stand as a statement to her family. The
family tried to cover up many incidents, serious and trivial, only to have Kingston
expose them. By writing her books she is telling her family that they will talk
about all the issues whether they want to or not. The first book, The Woman
Warrior, is symbolic in that it displays how Kingston got her voice. The book
greatly emphasizes the need to gain one’s voice and speak out as well as
remembering the past. The second book, China Men, focuses on the need to keep
silent and the absence of memory. The journey through these books allows
Kingston to find her voice and challenge not only the restraints placed on her by
the Chinese culture, but also the stereotyping and racism of the American culture.
Kingston finds her voice, sets herself free and becomes the woman warrior.
Howell 48
Works Cited
Guthrie, Julian. “Maxine Hong Kingston Embarks on a New Life Chapter.”
Chronicle.Sfgate.com. Hearst Communications Inc, 23 January 2011.
Web. 31 October 2012.
Kingston, Maxine Hong. China Men. New York: Vintage International, 1977.
Print
Kingston, Maxine Hong. The Woman Warrior: Memoirs of a Girlhood Among
Ghosts. New York: Vintage International, . Print.
Rabinowitz, Paula. “Eccentric Memories: A Conversation with Maxine Hong
Kingston.” Conversations with Maxine Hong Kingston. Eds. Paul Skenazy
and Tera Martin. Jackson: University Press of Mississippi, 1998. 67-76.
Print
Sabine, Maureen. Maxine Hong Kingston’s Broken Book of Life: An Intertextual
Study of The Woman Warrior and China Men.
Howell 49
The Legacy that is Pocahontas
American Literature to the Civil War Fall 2012
Many have argued, and still argue, that the pen is mightier than the sword.
One need only look to the tale of Pocahontas and John Smith in order to see that
this is practically a fact. Within Smith’s account of the Americas,
TheGenerallHistorie of Virginia, New England, and the Summer Isles, he crafted
the story that he was saved by an Indian princess named Pocahontas. Smith states,
“…two great stones were brought before Powhatan: then as many as could layd
hands on him, dragged him to them, and thereon laid his head, and being ready
with their clubs, to beate out his braines, Pocahontas the Kings dearest daughter,
when no intreaty could prevaile, got his head in her armes, and laid her own upon
his to save him from death…” (117).Here one can clearly see that Smith wished
to depict Pocahontas as his wondrous and brave heroine. However, what many
people failed to realize is that this one line is most likely nothing more than pure
fabrication. Pocahontas never saved Smith from Powhatan and the chief was
probably not even a real threat. In fact, the aforementioned situation was probably
nothing more than an initiation into the tribe. This line exploded into a full-blown
romantic myth that has been accepted by people worldwide. Regardless of the
story’s authenticity, the fact that it was first set down by pen placed it the history
books, and thereby ensured its survival. By examining Pocahontas and the myth
surrounding her, one may see how her image forever changed the world and the
people in it, then and now.
Howell 50
When Smith created the heroic tale of Pocahontas, it was perhaps done so
in order to aid the British crown. By sending British citizens to the Americas,
James I was not only ridding himself of religious transgressors, but he was also
expanding his empire. The more people he could send across the sea, the more
land would be settled, and the more land that could be claimed for Britain. The
problem was how to get the people to want to go to the new lands. The most
successful way this was achieved was by having British citizens take an interest in
the Americas and banish their fear the natives. What better way to do this than by
introducing the humble Indian Pocahontas. In the article, “Translating Values:
Mercantilism and the Many ‘Biographies’ of Pocahontas,” author Michael Tratner
expresses his belief thatthe increased attention directed toward the New World
and its people was achieved through the process known as “mercantilism”.
“Mercantilism is based almost entirely on ‘translation’—on a shift in the meaning
or value of an object when it moves from one culture to another” (128). If one
applies Tratner’s definition to Pocahontas and one can see that she was valuable
in her own culture and then Smith and John Rolfe (by marrying Pocahontas) made
her important to the British. Tratner also claims that she was, in fact, used for the
exact purpose of mercantilism. “Pocahontas appears in history at the center of the
Mercantilist era, and the earliest versions of the Pocahontas story were directly
aimed at Mercantilist ends… he (Rolfe) wanted to marry just to convert her and
expand the British nation” (129-130). Here Pocahontas’s use as a tool for the
BritishEmpire is quite evident. Through the tales of each man, the British people
accepted Pocahontas as one of their own (she then became important to another
Howell 51
culture). In fact, the only images the world has of Pocahontas depict her in British
garb; thereby suggesting that the British people accepted her so much so that they
wanted to include her in their cultural practices. The citizens took to her image of
an Indian and were thereby encouraged to move across the sea.
Despite the romantic tale woven around Pocahontas, her image has a
profoundly negative effect on Native Americans today. Pocahontas has been
depicted in a positive light throughout the years and has become a lasting
representation of the Native people in the United States. Thus, she has become a
stereotype for the various Native American tribes. Despite a relatively positive
story and the fact that Pocahontas is warmly accepted by many, her image gives
Native Americans a lower sense of self and a limited role as viewed by others. In
a series of studies conducted by Stephanie A. Fryberg, Hazel Rose Markus,
Daphna Oyserman, and Joseph M. Stone they tested the effects of American
Indian Mascots on Native Americans.Their studies focused on three main mascots
or views: Chief Wahoo (the mascot for the Cleveland Indians baseball team),
Pocahontas, and the Stereotypically Negative Outcomes (alcoholism, teen
pregnancy, suicide, high school dropout rates, and poverty). These particular
figures were tested because they are the ones non-Natives most typically associate
with Native Americans. From the results found in the studies they found that:
Exposure to American Indian mascot images has a
negative impact on American and college students’
feelings of personal and community worth, and
achievement-related possible selves. American
Howell 52
Indian students also reported lower personal and
community worth when they are exposed to other
common characterizations of American Indians (i.e.
Disney’s Pocahontas and negative stereotypes such
as high alcoholism, school dropout, and suicide
rates)… Rather, American Indian mascots have
negative consequences because in the contexts in
which they appear, there are relatively few alternate
characterizations of American Indians… American
Indian mascots thus remind American Indians of the
limited ways in which others see them. Moreover,
because identity construction is not solely an
individual process(i.e., you cannot be yourself by
yourself), the views of American Indians held by
others can also limit the ways in which American
Indians see themselves. (216)
Here it is evident that any exposure from the Native American images creates a
drop or “depressing” in a Native American’s identity. The study even specifically
highlights the fact that Pocahontas’s influence was much greater in that it
depressed Native American high school and college students more than the
Stereotypically Negative Outcomes. The researchers claim that this may be due to
the fact that Pocahontas is more than just words. There is an image that
accompanies her story; and today’s Native Americans are held to said image.
Howell 53
They also claim that when the students were tested, they associated the negative
stereotypes with Native Americans who were worse off than they. People have a
difficulty separating Pocahontas from the Native American people today and
because her image is so fixed, they always to seem to apply it to the American
Indians without seeing or caring to seek out the Native American of today.
Kimberly Roppolo sums up image confusion in her article entitled, “Symbolic
Racism, History, and Reality: The Real Problem with Indian Mascots,” when she
says, “We have to deal with images of ourselves that do not match who we are –
human beings” (195). The image of Pocahontas is kept at an almost ethereal level
and Native American people are constantly compared to her. People look to
Native Americans as entities from a story or news, nothing more. Today, many
Americans believe that Native people are supposed to be clad in headdresses and
buckskins and living in tepees. Since the Native Americans do not exactly
replicate the lives or images of their predecessors (Pocahontas) then they are not
seen as real Native Americans. If they are not seen in such a way then crimes
committed against them (use of mascots which is actually a form of racism) can
go unchanged and unpunished.
Although the Pocahontas tale is mostly a forgery and its affect on the
Natives of today is mostly negative, Americans do not wish to change their beliefs
about it. Americans do not want to see one of their most cherished stories cast into
the fire; they want to believe that Pocahontas valiantly saved John Smith and that
there is some romantic connection between the Native Americans and Europeans.
Disney expressed this want when they created “Pocahontas”, and animated
Howell 54
version of Smith’s tale. Americans want to look to this one myth and possibly
forget the ugly truth that the Native Americans were poorly treated by the whites.
Tratner expresses the need to place blame elsewhere. “While the Indians are
described as falling into love that causes them to give away treasure, the British in
these words are presented as always able to control their own emotions. This
justifies colonial expansion, as the British aren’t then ‘using’ the Indians” (130).
Blame is placed fully on the Native Americans when they are described as giving
away valuable item; it is as though the British are saying,“Well they loved us so
much that they just gave everything to us. We cannot help that now can we?” If
the Native Americans were truly enamored by the British (whites) then the crimes
against them must be blown out of proportion. It is as though the one bright tale
of Pocahontas and John Smith can erase the mass murders, The Trail of Tears,
relocation, disease, and poor living conditions. If Americans are forced to see that
Pocahontas did not actually love and save John Smith then they would perhaps be
forced to see that she was kidnapped by the British twice and that she married
John Rolfe, which was most likely a political move. Americans want the romance;
they do not want to own up to the faults of their ancestors.
In an effort to combat the consequences of the negative imagery, Native
American elders are emphasizing the need for their youth to learn about their
ancestry and cultures from their own people. Writer Gabriel Horn states, “What
would an Indian urban kid know, cut off from his or her past, living in the white
man’s world? Just about the time when my uncles embraced me, so much of my
knowledge of about who I was fell under the influence of how that white man’s
Howell 55
world portrayed Native People” (67).Without that link to their past, young Native
Americans are clueless about who they are. In order to obtain a better education,
many Native Americans move away from their reservations thereby cutting
themselves off from an immediate connection to their cultures. This subjects them
to the preconceived views of non-Natives. Dave Stephenson illustrates the
outcome of being cut off from one’s culture by saying:
As urban Indians became more entrenched and
accustomed to Unfamiliar communities, media
invalidations also became more imaginative and
deep-rooted. But contemporary electronic media and
mass produced publications are simply an outgrowth
of antecedent means of communications, and
contemporary Indian stereotypes simply put a new
countenance on some very old ones: We are tragic yet
noble savages worthy of pity and condescension; we are
vicious reprobates who drink, steal, and stab; or we are
fawning companions to whites, faithful Tontos and
Pocahontases who recognize the error of our ways and
seek only to facilitate the inevitable progression of Anglo
civilization… Many young urban Indians have been
instructed solely by these injurious messages; we grow
up confused and deluged by media messages that
promote negative self-images and foster greed and
Howell 56
self-interest and solipsistic nihilism (95-96).
The Native American youth begin to see themselves through the eyes of nonIndians. Since most of these views are negative, the Native Americans tend to
have a negative self-image. Said image fuels the high suicide rates, the high teen
pregnancy rates, the high dropout rates, and the alcoholism. It is a vicious cycle,
the Native People try to better themselves and in so doing they are thrust into an
ocean of negative criticism, which then embeds itself in the Native only to lead
them straight back to what they were trying to escape. Change must occur in the
self-image, and the elders believe that if they can reach the youth of the Indian
Nations then the chance for change will be significantly increased. The way to
achieve this change, according to Lee Francis is:
To reclaim their identity, American urban youth need
to learn the stories of the People. They need to learn,
remember, and tell the ancient origin and migration
stories, the stories that focus on Native values,
attitudes and beliefs. And they need to tell new stories
about growing up and living urban lives. These new
stories need to incorporate the wisdom of the People
about the land and relatedness to all of creation. To tell
new urban stories requires learning about the People
who first inhabited the land in the urban area where they
now live. Once these stories are learned, it is important
to tell stories about those People. They need to tell
Howell 57
stories of their accomplishments and tragedies. What
they believed an experienced. Link those stories with
those of the People from whom urban Native youth are
descended. In this Internet age there is no excuse for
not knowing. It is in the stories, old and new, where
urban Native youth will be able to reclaim their
Native identity. They will be able to know their
harmonious place in the order of all creation…Urban
American Indian youth need to understand that one’s
identity is not about me, me, me, me. It’s about we,
the People (79 and 83).
It is only by going to the past that youth can gain a greater respect for themselves
and their people. Only then do they stand a fighting chance against the slanderous
views of other Americans.
Pocahontas left a big impression on the world and her name and image
still affect the world today. Despite the highly positive image associated with
Pocahontas, the lasting effects are mostly negative. Pocahontas was more or less
used by the British Empire. Initially, she was not welcomed into the British way
of life as a family accepts a new member. She was accepted because she could
benefit the Crown; that the country would develop a love for her was
unintentional. The one line that Smith uses to describe Pocahontas blew up into
this highly romanticized image that many Americans take to heart. Due to this
falsified depiction, the Native Americans today are held to a certain standard.
Howell 58
They cannot live up to this image or even create their own because Americans
today only view them in this way. Although it is not stated directly, Americans
have it in their minds that such images of Native Americans are the real
Americans, and that today’s Natives are not real Native Americans, only a lesser
form. The use of American Indians as mascots generates this idea well. If
Americans truly respected Native Americans then they would not allow such use
of American Indians because the mascot promotes a false image (which is
typically a wild, screaming, half naked person). Nor would they hold Native
Americans to such images; they would allow them to create their own and
encourage them to do so. Pocahontas herself would probably want her people and
all Native Americans to be seen for what they truly are. She would want the world
to celebrate and respect the traditions and lives of the Native people today; not
gloss over them with one image. As Kimberly Roppolo states “We are simply
asking to be recognized as people, not as television images, not as cartoons”
(198).
Howell 59
Works Cited
Fryberg, Stephanie A. “Of Warrior Chiefs and Indian Princesses: The
Psychological Consequences of America Indian Mascots.” Basic and
Applied Social Psychology, 30. (2008): 208-218. Print.
Francis, Lee. “We, the People: Young American Indians Reclaiming Their
Identity.” Genocide of the Mind.Ed. MariJo Moore. New York: Thunder’s
Mouth Press/Nation Books, 2003. 77-83. Print.
Horn, Gabriel. “The Genocide of a Generation’s Identity.”Genocide of the
Mind.Ed. MariJo Moore. New York: Thunder’s Mouth Press/Nation
Books, 2003. 65-75. Print.
Roppolo, Kimberly. “Symbolic Racism, History, and Reality: the Real Problem
with Indian Mascots.”Genocide of the Mind.Ed.MariJo Moore. New York:
Thunder’s Mouth Press/Nation Books, 2003. 187-198. Print.
Smith, John. “GenerallHistorie of Virginia, New England, and the Summer
Isles.”The Bedford Anthology of American Literature: Volume One,
Beginnings to 1865. Eds. Susan Belasco and Linck Johnson. Boston:
Bedford/St. Martin’s, 2008. 110-119. Print.
Stephenson, Dave. “America’s Urban Youth and the Importance of
Remembering.” Genocide of the Mind.Ed. MariJo Moore. New York:
Thunder’s Mouth Press/Nation Books, 2003. 93-101. Print.
Tratnera, Michael. “Translating Values: Mercantilism and the Many
‘Biographies’ of Pocahontas.”Biography 32.1. (2009):128-136. Print.
Howell 60
Riches to Rags and Back Again
Major Authors Spring 1013
“All women are princesses, it is our right” (“A Little Princess”). From an
early age, girls are indulged with the fantastical idea of being a princess. They are
supplied with copious stories of beautiful and benevolent princesses who succumb
to some disastrous situation and are inevitably rescued by a prince. We girls just
swoon at the thought of being swept off our feet by prince charming, living
happily ever after, and having every whim and desire taken care of. Is that not
how it is supposed to be? Is that not what we are entitled to? Reality punch!
Nope! Sorry Cindy, that glass slipper does not fit. Too often said “princesses” end
up in these horrible situations and never climb out of the hole they have inevitably
fallen into. Their minds are filled with repetitions of empty promises and their
arms are no longer occupied by that “wonderful” prince or the flowers he used to
compare to the likes of their eyes. What resides there instead? You guessed it! A
screaming baby and bills. When this is the reality that most women are faced with
(even if they still have their prince charming) why are we made to believe that life
will be nothing but peaches and cream? Why do we refuse to let that childhood
dream escape? Personally, I think Disney is partly to blame. What with all their
colorful sing-alongs and talking animals, who could resist such an idea?! The
other part of the blame however, lies within ourselves. Humans have this little
thing called hope… And it rarely dies (this seems to especially pertain to
Americans). Frances Hodgson Burnett must have held this undying hope, for she
wrote A Little Princess. The young lady contained within this tale not only
Howell 61
exemplifies hope, but also the expansive childhood imagination. By comparing
the novel A Little Princess and the film adaptations of it, one can witness “the
princess spark” and how culture twist and bend the story to fit their own needs.
A Little Princess originated in the mind of Frances Hodgson Burnett. The
story opens with a well-to-do British soldier, named Mr. Crewe, escorting his
daughter through London. They are on their way to “Miss. Minchin’s Select
Seminary for Young Ladies” (p. 3), where Sara Crewe, being the age of seven, is
ready to be instructed in the ways of a lady. She is to be left at the school till she
is of proper age, while her father goes back home to India (her mother passed
away while giving birth to Sara). The headmistress, Miss Minchin, is immediately
disliked and seen to be a greedy, jealous, strict, and sycophantic woman. Before
Mr. Crew leaves Sara at the boarding school, he buys her many dresses, a doll
named Emily, and many other toys and furnishings. “He explained to Miss
Minchin that his solicitors, Messrs. Barrow & Skipworth, had charge of his affairs
in England and would give her any advice she wanted, and that they would pay
the bills she sent in for Sara’s expenses. He would write to Sara twice a week, and
she was to be given every pleasure she asked for” (p. 7). Despite her instant
dislike and jealousy of Sara, Miss Minchin promotes Sara as the star student in
hopes of raking in more cash. Sara befriends the outcast Ermengarde St. John (a
plump, slow, and timid girl about her age), becomes the adopted mother of the
riotous four year old Lottie, and eventually wins over the majority of her fellow
students through her fanciful stories and never-wavering kindness. However,
there are a great many students who are jealous of her and all the privileges she
Howell 62
has (a particularly nasty student goes by the name of Lavinia). Years pass by in
relative peace for Sara. She remains a good student and rebuffs nearly every snide
comment made by Lavinia or Miss Minchin.
On her eleventh birthday, the school holds a grand party for Sara. There
are many presents and goodies to be eaten… It is a glorious day for all at the
seminary. That is until Mr. Crewe’s solicitor stops by to inform Miss Minchin that
Sara’s father has died and all his wealth has been lost in some diamond mine
scheme. Instead of feeling any pity for poor Sara, Miss Minchin immediately has
Sara evicted from her rooms and made a servant who lives in the attic alongside
the scullery maid, Becky (who Sara had already befriended through her many
displays of kindness). Poor Sara is forced to run many errands in the bleak
weather, to stay up late studying, to wear clothing that she grows out of, to go
without eating, and much more. Though she suffers, Sara still holds onto her
fanciful imagination and kind heart. All who meet/see her remark on how much of
a princess she is, despite her tattered and worn appearance. She even befriends a
rat and the sparrows that live on the roof. About a year or so into her servitude, a
wealthy gentleman moves in across the way. It is discovered that he, Mr.
Carrisford, is a wealthy gentleman from India who is search of his dear friend’s
daughter. He wishes to restore the child to her father’s recovered fortune. The
reader of course knows that the girl he searches for is the one and only Sara. Sara
befriends Mr. Carrisford’s Indian Lascar (servant), Ram Dass, who pities “the girl
who lives on the right side of the attic”. Ram Dass watches Sara everyday and
with the aid of Mr. Carrisford, provides the girl with lavish furnishings and food
Howell 63
just when times are the most difficult at the seminary. Upon returning the pet
monkey to the Indian gentleman, it is discovered that Sara is the girl Mr.
Carrisford has been searching for. He removes both Sara and Becky from the
seminary and provides for them. They live happily ever after while Miss Minchin
wallows in her self-pity and regret.
The first film adaptation came in 1939, with Miss Shirley Temple starring
as the generous Sara Crewe. This is close to the original story in almost every
aspect, but it does differ slightly. Instead of simply dropping Sara off at the
seminary for education purposes, her father is leaving her there because he is
being called to fight in the Boer War. Miss Amanda Minchin (her name is Maria
in the book) runs the boarding school alongside her brother Bertie (instead of a
sister named Amelia). This Sara ends up befriending many members of the
household including Miss Minchin’s brother. Ram Dass is introduced early on as
a servant of Mr. Wickham (instead of Mr. Carrisford) and is befriended as well.
Sara again finds out that her father has died, but in this version he has died in
battle and the enemy has taken possession of all his wealth. Sara is made a servant
and she loses many of the friends she made within the school (one goes off to
war, another is fired, and Bertie simply up and leaves). Sara never believes that
her father is dead and she searches among the wounded at the hospital for her lost
and dearly loved father. She misses him on several occasions, but is finally
reunited with him (with the help of Queen Victoria) before he is to be shipped off
to Edinburgh.
Howell 64
The second film adaptation, arrived in 1990’s and offers up more
differences. In this version, the story takes place in New York. This film is more
illustrative of Sara’s story telling skills as throughout the film, Sara’s story about
an Indian prince and princess is revisited. Amelia in this film (as opposed to the
book) is more comical, jolly, and warm hearted. While her sister, Miss Minchin is
as cold as ice and possibly meaner than her counterpart in the novel. Mr. Crewe
invents the secret lives of dolls in the film whereas Sara is the one to do so in the
book. He is also the first one to so nickname his daughter “little princess”; instead
of her classmates doing so. This version also has the father going off to war,
which he is later proclaimed to have died in. There is an emphasis on a locket that
Sara wears; it belonged to her mother and throughout the movie it is taken from
her and recovered. Her mother is also said to have died giving birth to a sister
(which differs from the original story). Since the setting of the story is in the
United States, the director saw it fitting to make Becky an African American girl
who is even further separated from the other girls due to her ethnicity. Ram Dass
is shown in the beginning, but he is no longer the servant to a Mr. Carrisford or
Mr. Wickham. In this adaptation, he is the servant to a real estate man who’s son
goes off to war and is declared missing. It is this very man who brings Sara’s
amnesia-struck father home with him so that Ram Dass may care for him. This is
done in hopes that Mr. Crewe will regain his memory and tell the real estate man
where his son may be or what happened to him. Sara again, befriends Ram Dass
and he rewards both Becky and Sara with lavish furnishings and a table full of hot
food and goodies. It is shortly after this incident that Miss Minchin discovers that
Howell 65
Sara has recovered her mother’s locket. Miss Minchin calls the police and there is
a harrowing escape by Sara in which she flees to the building across the way
(where Ram Dass, the real estate man, and her father reside). There she runs into
her father begging him to remember her as the police pull her away (Miss
Minchin recognizes Mr. Crewe but refuses to admit that she does). Mr. Crewe’s
memory comes flooding back and he triumphantly screams “Sara!” just as she is
to be taken away in the police wagon. He saves his little princess, adopts Becky,
and they leave the area to live happily ever after.
Throughout her entire ordeal, Sara never stopped believing she was a
princess. It not only helped her react properly (which in turn aggravated Miss
Minchin, Lavinia, and all those who were cruel to her) it helped her get through
the rough times. In the novel Sara claims there is “the Magic that won’t let those
worst things ever quite happen” (p. 142). She firmly believed that she would
always be saved just before things got too bad. So why do we believe in all that
crazy fairy tale mumbo-jumbo? Perhaps it’s because we believe in that magic too.
These princesses laid before us by authors, evil Disney, and films show little girls
that they are just like those princesses. In some way little girls relate to them then
and later on in life. They firmly believe, whether they realize it or not, that Fairy
Godmother will wave her wand making everything alright and that dashing prince
will come barreling down the road on his fiery steed. We want to believe in
magic… We need something other than this glum reality (yes thank you Disney
for showing us just how glum). We need something more… I believe that little
Sara Crewe greatly illustrates our need to believe that we are more than meets the
Howell 66
eye; that there is more to this world than just misery and disappointment. So
adults and films will continue to nurture the I’m-a-princess idea in all little girls,
said little girls will grow into women who wish for that fairy tale ending, and all
will maintain this same attitude “Whatever comes…cannot alter one thing. If I am
a princess in rags and tatters, I can be a princess inside. It would be easy to be a
princess if I were dressed in cloth of gold, but it is a great deal more triumphant to
be one all the time when no one knows it” (p. 125).
Howell 67
Works Cited
Burnett, Frances Hodgson. The Little Princess. Print.
A Little Princess. Dir. Alfonso Cuaron. Warner Bros. Family Entertainment,
1995. Film.
The Little Princess. Dir. William A. Seiter and Walter Lang. Twentieth-Century
Fox, 1939. Film.
Howell 68
Stereotypes on Screen
Literature and Writing Seminar Fall 2013
It is the first day of class. A third grade girl makes her way through the
classroom, searching for the desk with her name on it. She finds her laminated tag
and sits down quietly as the other children shuffle about the room looking for
their desks.
Gazes fall upon the girl as the other students walk past her. She simply bows
her head, clasps her hands, and hopes that their focus will fall on something else.
It does not.
Instead, her fellow classmates crowd around her, staring. She tries to hide
behind her long, dark hair, but it is of no use. “What… Are… You?” pipes a
freckled blonde boy. The girl looks up and stares hard at him, confusion clearly
written all over her face.
Another boy whispers “Can she speak English? I bet she can’t. She must
be here to learn English from us.”
With that the room erupts in whispers and questions: “Where are you
from?”
“Is Pocahontas her mom? She looks like Pocahontas. Hey is your mom
Pocahontas?”
“Indians live in teepees on resamacations. That’s what my dad told me!”
“Maybe she’s Pocahontas!”
“That means she’s a princess!”
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As they shout, stare, and whisper behind cupped hands the little girl bows
her head and digs her nails into her sweat covered palms praying the teacher will
arrive soon.
This is the kind of scene that can play out when young children are filled with
the wrong information. Children can only absorb the information that is placed
within their little worlds. This often consists mostly of cartoons and animated
films. What is contained within these shows and films can be taken as total truth
by those young minds who watch them. When said media depicts historical
inaccuracies and cultural stereotypes, they can become ingrained in the minds of
their viewers. In most cases, children grow up believing in the images that
impacted their lives at an early age. And who can blame them? This is what they
were essentially taught. No one stepped in to clear away the dust of dishonesty.
No one cared to educate the entertained. Either those around the children were not
educated on the matters themselves or they simply did not care enough about the
ramifications. Throughout the years, children have been fed Native American
stereotypes and false representations by the Disney Corporation, thus affecting
how they see Native Americans. To counteract what children see on the screen,
adults need to take it upon themselves to educate their children on the Native
American culture.
On February 5, 1953 Disney released their classic and racist-angled film,
Peter Pan. In this tale, viewers are invited to follow a young boy, Peter Pan, his
fairy sidekick Tinkerbelle, and Wendy, John, and Michael Darling on a journey
through the time-altering Neverland. Here, audiences are introduced to the Lost
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Boys, a band of pirates led by the villainous Captain Hook, a hungry crocodile,
and a village of Indians. The role that the Indians play in the film is that of rivals
against the Lost Boys in a game of capture. This, in itself, can be construed as a
negative depiction of Native Americans. Most viewers will want to take the side
of or sympathize with the good and/or familiar. By pitting the much older and
briefly seen Indians against the white children, Disney sets them up for the role of
“bad guy”. In addition, the Indians are also presented as nothing more than a
group of angry kidnappers. Audiences are almost forced to see the Native
Americans in a negative light.
During their brief screen time, the Indians give a musical number, “What
Made the Red Man Red?” which has been ranked third in most racist implications
put forth by Disney (Cracked). At this point in the film, the Lost Boys and the
Darling children are in the village to celebrate the return of Tiger Lilly and to
make a truce. While the peace pipe, is being passed around, Michael Darling asks
why the Indians say “how”. In response, the Indians, led by their chief, break into
a song of explanation:
“Why does he ask you ‘how’?
Why does he ask you ‘how’?
Once the injun didn’t know all things
that he know now,
But the injun he sure learn a lot, and it’s
all from asking “how?”
Hana Mana Ganda, Hana Mana Ganda
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We translate for you.
Hana means what Mana means and
Ganda means that too.
Squaw no dance, squaw get um
firewood.
When did he first say ‘ugh’?
When did he first say “ugh”?
In the Injun book it say when the first
brave married squaw,
He gave out with a big ‘ugh’ when he saw
his mother-in-law
What made the red man red?
What made the red man red?
Let’s go back a million years to the very
first Injun prince.
He’d kiss a maid and start to blush and
we’ve all been blushin’ since
You got it right from the headman
The real true story of the red man
No matter what’s been written or said
Now you know why the red man’s red”
(Peter Pan).
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Now what part did you find disturbing? Was it perhaps the fact that the Indians
call themselves “injuns”? Or maybe it was the explanation for their skin tone?
No? It was the whole thing right? Through this song, Disney degrades Native
Americans and promotes the savage and uneducated stereotype. The language
alone is offensive, and caters to the old stereotype that Native Americans speak in
such a way. In addition, the song covers the stereotype that the Natives are not
thought to be intelligent. This is further reinforced by Peter’s description of the
tribe as cunning but not intelligent.
Among other wrongs, probably the most startling aspects of the song is
that the Natives use the term “red” to describe themselves and why they believe
their skin looks the way it does. According to this song the Indians believe that
they were once white and they changed to “red” after the first “Injun prince”
kissed a squaw. This is derogatory not only because of the use of the term “red”
for their skin, but it is also due to the implication that white is superior (they
started out as white skinned people). Moreover, during this scene, Tiger Lilly is
shown dancing on a drum. This is somewhat sexually suggestive and adds to the
negative stereotype that Native American women are promiscuous. After this
rather brief appearance, the Indians are no longer spoken of and do not reappear
in the film. In the span of approximately six minutes, Disney completely trashed
and disrespected the Native American culture. By portraying them in such a way
and creating such a song, Disney is telling its young audiences that it is okay to
view the Native Americans in a negative light. It condones and encourages its
young viewers to run around singing a terrible song about another’s skin tone. It
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adds on to their belief that Native Americans really are the bad guys found in old
Western based films and images.
In an attempt to make up for past wrongs, Disney released Pocahontas in
June of 1995. Though Disney claimed it was filled with good intentions, it once
again dropped a boulder on the Native American culture. On this Disney journey,
the audience is taken back to a time when the world was new and exploration was
the game. Viewers encounter a vivacious Native American woman named
Pocahontas. This high-spirited, intelligent, and beautiful woman, at the time she is
revealed to the audience, is trying to find adventure. She wants more than a
married life that awaits her. Her wish is granted in the form of English settlers.
From that point on, a tension builds between the natives and the newcomers. It is
left to the strong willed Pocahontas to sort things out. Though Disney provided its
audience with a strong female lead and attempted to bridge the Native American
culture with that of the English, it still filled its story with stereotypes,
misconceptions, and racism. Pocahontas herself is portrayed in a rather suggestive
manner. While the other women in her tribe are mostly covered, Pocahontas
sports an off-the-shoulder dress that reaches mid thigh and hugs her curves.
Traditionally women would not be clad the way she is portrayed. By depicting her
in a provocative dress, Disney once again caters to the stereotype that Native
American women are promiscuous creatures.
Yet another stereotype, that has been created and applied in this situation,
is that of the Indian princess. As the article Redesigning Pocahontas states “a
three-part model of American Indian characterizations on film, in which men
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compose the first two stereotypes, as either "noble anachronisms" or "savage
reactionaries," and women are presented as "Indian princesses" in the third, if they
are presented on-screen at all” (p. 10). In most cases, the only way a Native
American woman would be on screen, was if she was a princess. This means that
the only female Native American image people are exposed to is that of the
princess. It comes as no shock when Disney too presented its female Native
American lead as princess.
In addition to the aforementioned, the other stereotypes exemplified in
Pocahontas, is that of the savage and the chief. Pocahontas’s father, Powahaten,
has the title of chief. He is depicted as the wise leader of the tribe. Though his role
in the culture may be accurate, the title is not. “Most Indian ‘chiefs’ were never
actually chiefs. It was a common name Whites gave to Indian leaders” (Red
Face). Moreover, not only were his warriors were not thought of as braves (which
is another stereotype perpetrated by whites), but his people too were generally
thought of and promoted as savages. While the English leader, Ratcliffe, calls the
natives “savages” on more than one occasion in the film, the idea is most
horrifically enforced in yet another song:
“What can you expect, from the filthy
little heathens?
Here’s what you get when races are
diverse
Their skins are hellish red,
They’re only good when dead,
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They’re vermin as I said and worse.
They’re savages, savages, barely even
human,
Savages, savages, drive them from our
shores.
They’re not like you and me, which means
they must be evil,
We must sound the drums of war.
They’re savages, savages, dirty stinking
devils,
Now we sound the drums of war”
(Pocahontas).
This song, very much like the one found in Peter Pan, is very racially charged. In
this case however, it is much angrier and much more brutal. The characters make
it seem like the natives are no better than creatures from hell. That all are best
when they are dead. It also describes their skin as being “hellish red” this alone
promotes an image of a devil. In addition, the song attacks diversity, promotes
war with Native Americans, and attempts to justify their destruction.
To accompany Pocahontas, Disney released a sequel on August 4, 1998,
entitled Pocahontas: Journey to a New World. The negative implications toward
Native Americans are just as real in this film as it is in its predecessor. In this tale,
audiences follow Pocahontas to England where she attempts to make the English
see that the natives are not savages. During this, Pocahontas is made to dress like
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the English so that she may see the king. By doing this, she is forced to hide her
cultural identity under layers of makeup and cloth. When she is dressed like the
English and she acts like the English, they find Pocahontas acceptable. It is when
she is in her regular garb and when she is behaving like her naturally free spirited
self that they accuse her of being a savage. They later lock her away for her
misconduct. Viewers of these two films are given negative images of Native
Americans. Disney once again encourages the singing of a song that is highly
derogatory to Native Americans. In addition, audiences come away with the
stereotypes of the Indian princess, Indian chief, and savage in mind.
This summer, in yet another attempt to correct its wrongs, Disney released
The Lone Ranger. This film follows a cowboy, the Lone Ranger, and his Native
American companion, Tonto, on the quest to catch a murderous outlaw. In the
past, Tonto was played by a Caucasian man. Disney and director Gore Verbinski
insisted that the actor be of Native American decent. Johnny Depp, who belongs
to the Comanche tribe, was cast in the role. While this was an honorable attempt,
many people still view Johnny Depp as an entirely Caucasian actor. Though the
character seems to break away from his normal stereotype of the quiet and
peaceful “noble savage”, it could be argued that by portraying Tonto as a comedic
and sarcastic Native American can inspire negative stereotypes. It is also
important to note that Disney decided to keep Tonto’s name. What’s the issue
with that you ask? In Spanish Tonto means “moron” or “fool”. Now this may not
affect the views of non-Spanish speaking children, but think of those who do
speak Spanish. Regardless, it is a negative concept connected with the character.
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Martin Luther King Jr. once said “Nothing is more dangerous than sincere
ignorance and conscientious stupidity” (Fryberg and Stephens 1). After watching
these films, audiences, which are mostly made up of children, are left with
negative images, stereotypes, and falsifications about Native Americans. They are
made to believe that what they see on screen applies to real life. Without an adult
to step in and correct or clear up such images, the children remain ignorant of true
nature of the Native American culture. Children could come to believe that Native
Americans actually speak the way they are portrayed in Peter Pan; that dark
haired girl is an “Indian Princess”; or that all Native Americans are angry savages
who deserve to be killed. Without proper education, children will not only believe
in the stereotypes they encountered, but they may also contribute to them. In fact,
they could potentially go their entire lives believing in what they saw on the silver
screen. Then they too will not step in to correct what their children see in films.
People must realize that it is perfectly okay to watch and enjoy a Disney film, but
it is not okay to let the falsehoods infest their minds or the minds of their children.
It is not only hurting them, but it is also hurting the young Native American
children and their culture.
It is now the second week of school. The dark-haired girl stands outside
her classroom, staring at the door. She takes a deep breath and turns the knob.
As the door swings open, her ears are assaulted with the boisterous voices
of her fellow classmates. Her eyes sweep the room. The boys are running around
the room or crashing their toy cars. Most of the girls are off in the corner giggling
and braiding each other’s hair.
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The teacher had not yet arrived.
As the girl steps into the room, all eyes fall on her once again. She quietly
closes the door and makes her way to her locker, all the while wishing it hadn’t
become so quiet. She opens her locker and the children resume their games and
noise. She places her backpack on the hook, smoothes down her top, and goes to
her desk.
The second bell rings.
“Alright class, let’s settle down!” the teacher shouts over the noise
erupting from her students. “Come on children. In your seats so I can take
attendance!” The students rush to their seats and hush each other into silence.
“Ben Evans?”
“Here!”
“Justine Poare?”
“I’m here! I’m here!”
The girl digs her nails into her palms once more. The morning routine was
not helping her nerves.
“Bobby?”
“Uhm… Uhm here.”
“She didn’t mean you! She meant me!”
She looks to her right and focuses on a bird that is just outside the
window. She begins thinking about the bird and how nice it would be to have
wings. How nice it would be to fly and feel the wind. How nice it would be to see
all the houses and people down below. “Kachina?” the girl was startled out of her
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reverie. “Kachina sweetheart, are you ready?” The girl turned to the face of her
teacher and nodded. The teacher gave a reassuring smile and Kachina stood. She
made her way to the door and opened it. Kachina stepped just outside the class
and looked around.
She felt helpless.
“Here I am” a warm voice called out. Kachina turned and found her
grandmother sitting in a chair down the hallway. Kachina looked a lot like her
grandma Mai. Though Mai was much older, she still had her long dark hair. Two
large golden brown eyes peered from her tan face. She smiled. “Come on Ka,
help me grab some of this stuff.” Kachina walked over and picked up the poster
board she had worked on all weekend. “Why don’t you set it all up Ka? Then I’ll
walk in, okay?” She nodded and walked back into the classroom. She placed the
board on the table in front of the room and placed the many items around it.
Among them she saw a picture of her grandfather, a few of her great-great
grandfather’s eagle feathers, a cotton shirt, grandma Mai’s favorite necklace, and
many more picture. Once everything was in its place, the teacher announced:
“Okay class, today Kachina is going to give a special presentation. I want
you all to be respectful, don’t talk, and pay attention. You may start whenever
you’re ready Kachina.” Kachina made her way to the door once more and
beckoned to her grandmother.
“Alright kiddo, I guess it’s show time,” she smiled down at her
granddaughter. “Oh now. Don’t look so nervous,” she laughed, “You’re doing
great so far and I’ll be right there with you the entire time.” Kachina grabbed her
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grandma’s hand. It was warm and comforting. She looked up at Mai and led the
way.
Once they were in front of the room, Bobby, the freckled boy, shouted
“There’s two of them!” The room filled with their little voices as they debated
what lie before them.
“I told you she’s a princess! That’s Pocahontas and she’s her mom!”
“Class! I said to be quiet and respectful! Hush down or I’ll start taking
recesses.” The children stopped talking and stared at Mai and Kachina.
“Now children,” Mai began, “I am Kachina’s grandmother and I am here
to talk to you about Native Americans and more specifically, the Cherokee
Nation. I believe many of you will benefit from this lesson today. So I want you
to pay attention. This is something you can take with you. Carry with you for the
rest of your life,” she looked around at the stunned faces, “Before I get into the
details of our heritage, I would like to tell you the story of the two wolves. An old
Cherokee was teaching his grandson about life. ‘A fight is…” Kachinas smiled as
she listened to her grandmother begin one of her favorite tales.
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Works Cited
Edgerton, Gary, and Kathy Merlock Jackson. “Redesigning Pocahontas.” Journal
of Popular Film and Television, 24.2. (1996): 90. Print.
Frybeg, Stephanie A., and Nichole M. Stephens. “When the World is Colorblind,
American Indians are Invisible: A Diversity Science Aproach.”
Psychological Inquirey, 21. (2010): 115-119. Print.
Padgett, Ken. “Red Face.” red-face.us Web. 1 October, 2013.
Peter Pan. Dir. Clyde Geronimi, Wilfred Jackson, Hamilton Luske, and Jack
Kenney. Disney, 1953. Film.
Pocahontas. Dir. Eric Goldberg and Mark Gabriel. Disney, 1995. Film.
Pocahontas: Journey to a New World. Dir. Tom Ellery and Bradley Raymond.
Disney, 1998. Film.
The Lone Ranger. Dir. Gore Verbinski. Disney, 2016. Film.