Country lovers nadine gordimer analysis

Introduction to the Short Story

“A story is a way to say something that can’t be said any other way, and it takes every word in the story to say what the meaning is.”

—Flannery O’Connor, American writer

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Learning Objectives

After reading this chapter, you should be able to do the following: • Describe early forms of storytelling and their cultural contexts. • Identify and differentiate features of the short story, and analyze their use in particular

stories. • Analyze the themes and concepts in "Country Lovers." • Successfully complete academic assignments that involve writing about and analyzing

short stories.

How Stories Began Chapter 3

From the time we are very young, we see the world and understand our lives through stories. We learn from them long before we can explain what a story is. Research shows that young children can identify which is the story when presented with an unfamiliar five-minute narrative about a boy with magical powers and a five-minute presentation written humorously to describe how to play a children’s game (McAdams, 1996). The recognizable pattern of a story is as old as human existence; we have always been storytellers.

3.1 How Stories Began Your environment and personal experiences influence your response to stories. Whether you are aware of it or not, the lens through which you envision a story is filtered by insights you have gained from family traditions, religious beliefs, and critical life issues. Thus, interpretations of a story vary based on the reader’s age, breadth of experience, and emotional connection. Likewise, interpretations differ from culture to culture. For example, stories that once grew out of particu- lar political controversies continue to be told long after the original political context has been for- gotten. The familiar nursery rhyme “Rock-a-bye Baby” is a classic example. In late 17th-century England, when there was a struggle for political power between Catholics and Protestants, King James II, who had converted to Catholicism, came to power. The “Rock-a-bye Baby” narrative is thought to reflect the rumor that the son born to him and the queen was not their child—but a boy hidden and secretly exchanged, giving them a Catholic heir to the throne—until, at some point (“when the bough breaks”) the truth would be known. The Oxford Book of Nursery Rhymes provides extensive background information about the stories that became known as nursery rhymes with the publication of John Newbery’s book Mother Goose’s Melody in mid-18th-century England.

The earliest stories in every culture are its myths, anonymous stories through which primitive people sought to explain the world around them, including the mysteries of divinity, creation, truth, and death. Literature often retells myths, using them as literary patterns. Because Greek and Roman myths are the ones most closely related to our culture, their patterns turn up often in other literature.

Prometheus had a prominent role in Greek creation mythology. He was a Titan who enjoyed pleasures that humans lacked. In a bold move, he stole fire from the sun and brought it to earth as a gift to humanity. Zeus, father of the gods, was offended by this defiant action. Because he was quarrelling with Prometheus at the time, Zeus arranged a horrible punishment: Prometheus was chained to a remote rock where an eagle tormented him constantly by tearing at his liver. Zeus set up conditions for ending the torment, but it did not happen for a long, long time. This myth addresses the risk that may accompany efforts to improve human conditions, espe- cially if the action defies the established order of things.

Prometheus has a counterpart in British literature. Matching the pattern of the original myth to a large extent, novelist Mary

◀ After giving fire to humanity, Prometheus was chained to a rock as punishment by Zeus.

Nicolas Sebastien Adam/The Bridgeman Art Library/Getty

Features of the Short Story Chapter 3

Shelley introduces readers to Dr. Victor Frankenstein, an eccentric scientist who manages to create “new” human life. However, the man he creates does not possess the kind of human refinements he hoped to achieve. Instead, his experiment produces a grotesque monster that torments Dr. Frankenstein and eventually kills members of the doctor’s family. In the subti- tle of her novel, Shelley identified Frankenstein as “The Modern Prometheus” (Shelley, 1818). Both Prometheus, the ancient Titan, and Frankenstein, the modern scientist, saw themselves as champions of humanity; both acted boldly and risked reversals, which came; and both suffered lasting pain as a result of their actions.

Other early story forms include the legend, the fable, the parable, and the tale. All are short and, like myths, provide reflections on human experiences. Legends often are traditions as well as stories. They are rooted in history and have fewer supernatural aspects than myths do. Fables are stories that often feature animals as characters, although people and inanimate objects may also play a key role, and always offer a moral or lesson. Parables also illustrate a moral or lesson, but the details of these stories carefully parallel those of the situation surrounding the moral. Tales, told in an uncomplicated manner, are anecdotes about an event.

3.2 Features of the Short Story The short story, as we know it, is a fictional narrative with a formal design. More stylized than a simple anecdote or narrative sketch, the short story form was developed in the 19th century. Two American writers, Nathaniel Hawthorne and Edgar Allan Poe, were highly influential in creating the short story genre. In 1842, Poe was the first to define the genre formally, calling it an artistic composition controlled to produce a single unified effect—something he achieved brilliantly in his stories that explored themes like vengeance and fear of death. Beginning in the 20th century, short stories tended to focus more and more on real-life situations. In the early 20th century, O. Henry popularized the surprise ending as a short story technique. You will find one of his stories in Chapter 4.

Generally, a short story has the following features:

• a plot (a series of actions, events, or developments) • conflict (opposing actions, ideas, and decisions that hold the plot together) • a setting (the place where the action occurs) • a clear time frame (usually a relatively short period of time) • characters (fictional individuals who initiate the action and create the conflict) • a point of view (the particular perspective or slant through which the story is presented) • a theme (the underlying idea that the story illustrates or represents) • particular stylistic features, including tone, irony, and symbolism

Detailed discussion and illustrations of each of these elements are included in the next few chapters.

Stories also reflect culture. The term culture refers to common characteristics of a group or a region. Culture is never static; it is a changing phenomenon, constantly reconfigured by human behavior, language, laws, events, patterns, products, beliefs, and ideals. To put it simply, culture refers to a way of life, an ethos. Writers often reflect a particular culture through the setting of a story or the spirit of the characters’ lives—providing insight, for example, into Southern culture,

Features of the Short Story Chapter 3

post–World War I culture, or global culture. In this way, stories preserve culture: They freeze moments in time and create cultural awareness.

As you read “Country Lovers,” you are faced with interracial issues, which are explored through the character development, actions, and personal dilemmas of a privileged white boy and an ulti- mately powerless black girl. Notice how the author pulls you into an awareness of the culture in which the action happens. Also, look for the characteristics of the short story listed above; each one is important. (A number of common words in the story, such as “labourer” and “honourable,” may appear somewhat unfamiliar because they are spelled using the British and South African conventions rather than American ones.)

Nadine Gordimer (b. 1923)

Nadine Gordimer has lived in South Africa since birth and, except for a year spent in university, has devoted all her adult life to writing—completing 13 novels and 10 short story collections, works that have been published in 40 languages. Her strong opposition to apartheid, the socioeconomic system that oppressed the majority black population in South Africa (1940–1994), is a dominant theme in her writing, with her later works reflecting challenges accompanying the changing attitudes in the country toward racial relation- ships. She was awarded the Nobel Prize for Literature in 1991.

© Kurt Krieger/Corbis Entertainment/Corbis

Country Lovers Nadine Gordimer (1975)

A story about forbidden love on a South African farm.

The farm children play together when they are small, but once the white children go away to school they soon don’t play together any more, even in the holidays. Although most of the black chil- dren get some sort of schooling, they drop every year farther behind the grades passed by the white children; the childish vocabulary, the child’s exploration of the adventurous possibilities of dam, koppies,1 mealie lands,2 and veld3—there comes a time when the white children have surpassed these with the vocabu- lary of boarding-school and the possibilities of inter-school sports matches and the kind of adventures seen at the cinema. This use- fully coincides with the age of twelve or thirteen; so that by the time early adolescence is reached, the black children are making along with the bodily changes common to all, an easy transition to adult forms of address, beginning to call their old playmates mis- sus and baasie little master.4

1 Koppies, a small village in South Africa. 2 Mealie lands, maize fields. 3 Veld, wide-open, rural spaces. 4 Baasie little master, a way of addressing a young white male.

Setting: The first three paragraphs describe the

setting of the story, intro- ducing the reader to a rural environment in South Africa

where white children and black children share some

common childhood experi- ences, but, their customs,

expectations, and roles become distinctly different

as they grow up. For exam- ple, only the white children leave the Kraal, or village,

to attend school in town.

Features of the Short Story Chapter 3

The trouble was Paulus Eysendyck did not seem to realize that Thebedi was now simply one of the crowd of farm children down at the kraal,5 recognizable in his sisters’ old clothes. The first Christmas holidays after he had gone to boarding-school he brought home for Thebedi a painted box he had made in his wood-work class. He had to give it to her secretly because he had nothing for the other children at the kraal. And she gave him, before he went back to school, a bracelet she had made of thin brass wire and the grey-and-white beans of the castor-oil crop his father cultivated. (When they used to play together, she was the one who had taught Paulus how to make clay oxen for their toy spans.6) There was a craze, even in the platteland towns like the one where he was at school, for boys to wear elephant-hair and other bracelets beside their watch-straps; his was admired, friends asked him to get similar ones for them. He said the natives made them on his father’s farm and he would try.

When he was fifteen, six feet tall and tramping round at school dances with the girls from the “sister” school in the same town; when he had learnt how to tease and flirt and fondle quite inti- mately these girls who were the daughters of prosperous farmers like his father; when he had even met one who, at a wedding he had attended with his parents on a nearby farm, had let him do with her in a locked storeroom what people did when they made love—when he was as far from his childhood as all this, he still brought home from a shop in town a red plastic belt and gilt hoop ear-rings for the black girl, Thebedi. She told her father the missus had given these to her as a reward for some work she had done— it was true she sometimes was called to help out in the farmhouse. She told the girls in the kraal that she had a sweetheart nobody knew about, far away, away on another farm, and they giggled, and teased, and admired her. There was a boy in the kraal called Njabulo who said he wished he could have brought her a belt and ear-rings.

When the farmer’s son was home for the holidays she wandered far from the kraal and her companions. He went for walks alone. They had not arranged this; it was an urge each followed indepen- dently. He knew it was she, from a long way off. She knew that his dog would not bark at her. Down at the dried-up river-bed where five or six years ago the children had caught a leguaan one great day—a creature that combined ideally the size and ferocious aspect of the crocodile with the harmlessness of the lizard—they squatted side by side on the earth bank. He told her traveller’s tales: about school, about the punishments at school, particularly, exaggerating both their nature and his indifference to them. He told her about the town of Middleburg, which she had never seen. She had nothing to tell but she prompted with many questions, like any good listener. While he talked he twisted and tugged at the roots of white stinkwood and Cape willow trees that looped out of the eroded earth around them. It had always been a good spot for children’s games, down there hidden by the mesh of old,

5 Kraal, a village of southern African natives. 6 Wagons, typically pulled by a team of oxen.

Characters: Paulus and Thebedi are introduced as

the main characters. What can you conclude about

them based on their actions and the description of their

physical appearances?

Point of View: The charac- ters are introduced by an observer who is not part

of the story’s action (third- person point of view). This

observer appears to under- stand the racial conditions,

presenting the action in the story without advocat- ing openly or stridently for

changes.

Details: The setting and associated customs

described here add depth and background context.

These details allow the reader to understand how

and why Paulus and Thebe- di’s relationship develops.

Features of the Short Story Chapter 3

ant-eaten trees held in place by vigorous ones, wild asparagus bushing up between the trunks, and here and there prickly-pear cactus sunken-skinned and bristly, like an old man’s face, keeping alive sapless until the next rainy season. She punctured the dry hide of a prickly-pear again and again with a sharp stick while she listened. She laughed a lot at what he told her, sometimes drop- ping her face on her knees, sharing amusement with the cool shady earth beneath her bare feet. She put on her pair of shoes— white sandals, thickly Blanco-ed7 against the farm dust— when he was on the farm, but these were taken off and laid aside, at the river-bed.

One summer afternoon when there was water flowing there and it was very hot she waded in as they used to do when they were children, her dress bunched modestly and tucked into the legs of her pants. The schoolgirls he went swimming with at dams or pools on neighbouring farms wore bikinis but the sight of their dazzling bellies and thighs in the sunlight had never made him feel what he felt now when the girl came up the bank and sat beside him, the drops of water beading off her dark legs the only points of light in the earth-smelling, deep shade. They were not afraid of one another, they had known one another always; he did with her what he had done that time in the storeroom at the wedding, and this time it was so lovely, so lovely, he was surprised . . . and she was surprised by it, too—he could see in her dark face that was part of the shade, with her big dark eyes, shiny as soft water, watching him attentively: as she had when they used to huddle over their teams of mud oxen, as she had when he told her about detention weekends at school.

They went to the river-bed often through those summer holidays. They met just before the light went, as it does quite quickly, and each returned home with the dark—she to her mother’s hut, he to the farmhouse—in time for the evening meal. He did not tell her about school or town any more. She did not ask questions any longer. He told her, each time, when they would meet again. Once or twice it was very early in the morning; the lowing of the cows being driven to graze came to them where they lay, dividing them with unspoken recognition of the sound read in their two pairs of eyes, opening so close to each other.

He was a popular boy at school. He was in the second, then the first soccer team. The head girl of the “sister” school was said to have a crush on him; he didn’t particularly like her, but there was a pretty blonde who put up her long hair into a kind of doughnut with a black ribbon round it, whom he took to see films when the schoolboys and girls had a free Saturday afternoon. He had been driving tractors and other farm vehicles since he was ten years old, and as soon as he was eighteen he got a driver’s license and in the holidays, this last year of his school life, he took neighbours’ daughters to dances and to the drive-in cinema that had just opened twenty kilometers from the farm. His sisters were married,

7 Blanco, a compound used to protect leather and maintain color.

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Features of the Short Story Chapter 3

by then; his parents often left him in charge of the farm over the weekend while they visited the young wives and grandchildren.

When Thebedi saw the farmer and his wife drive away on a Saturday afternoon, the boot of their Mercedes filled with fresh- killed poultry and vegetables from the garden that it was part of her father’s work to tend, she knew that she must come not to the river-bed but up to the house. The house was an old one, thick-walled, dark against the heat. The kitchen was its lively thor- oughfare, with servants, food supplies, begging cats and dogs, pots boiling over, washing being damped for ironing, and the big deep-freezer the missus had ordered from town, bearing a cro- cheted mat and a vase of plastic irises. But the dining-room with the bulging-legged heavy table was shut up in its rich, old smell of soup and tomato sauce. The sitting-room curtains were drawn and the T.V. set silent. The door of the parents’ bedroom was locked and the empty rooms where the girls had slept had sheets of plas- tic spread over the beds. It was in one of these that she and the farmer’s son stayed together whole almost: she had to get away before the house servants, who knew her, came in at dawn. There was a risk someone would discover her or traces of her presence if he took her to his own bedroom, although she had looked into it many times when she was helping out in the house and knew well, there, the row of silver cups he had won at school.

When she was eighteen and the farmer’s son nineteen and working with his father on the farm before entering a veterinary college, the young man Njabulo asked her father for her. Njabulo’s parents met with hers and the money he was to pay in place of the cows it is customary to give a prospective bride’s parents was settled upon. He had no cows to offer; he was a labourer on the Eysendyck farm, like her father. A bright youngster; old Eysendyck had taught him brick-laying and was using him for odd jobs in construction, around the place. She did not tell the farmer’s son that her par- ents had arranged for her to marry. She did not tell him, either, before he left for his first term at the veterinary college, that she thought she was going to have a baby. Two months after her mar- riage to Njabulo, she gave birth to a daughter. There was no dis- grace in that; among her people it is customary for a young man to make sure, before marriage, that the chosen girl is not barren, and Njabulo made love to her then. But the infant was very light and did not quickly grow darker as most African babies do. Already at birth there was on its head a quantity of straight, fine floss, like that which carries the seeds of certain weeds in the veld. The unfocused eyes it opened were grey flecked with yellow. Njabulo was the matt, opaque coffee-grounds colour that has always been called black; the colour of Thebedi’s legs on which beaded water looked oyster-shell blue, the same colour as Thebedi’s face, where the black eyes, with their interested gaze and clear whites, were so dominant. Njabulo made no complaint. Out of his farm labourer’s earnings he bought from the Indian store a cellophane- windowed pack containing a pink plastic bath, six napkins, a card of safety pins, a knitted jacket, cap and bootees, a dress, and a tin of Johnson’s Baby Powder, for Thebedi’s baby.

Time frame: Notice how the selected events in these

paragraphs account for the passing of time, here

guiding the reader to focus on Paulus as a young man

(age 19) and Thebedi as an 18-year-old.

Conflict is introduced in two ways: (1) by Thebedi’s

marriage to Njabulo, and (2) by her pregnancy. In

both cases it is internal con- flict—something that The- bedi, at this point, chooses

to deal with alone.

Features of the Short Story Chapter 3

When it was two weeks old Paulus Eysendyck arrived home from the veterinary college for the holidays. He drank a glass of fresh, still-warm milk in the childhood familiarity of his mother’s kitchen and heard her discussing with the old house-servant where they could get a reliable substitute to help out now that the girl Thebedi had had a baby. For the first time since he was a small boy he came right into the kraal. It was eleven o’clock in the morn- ing. The men were at work in the lands. He looked about him, urgently; the women turned away, each not wanting to be the one approached to point out where Thebedi lived. Thebedi appeared, coming slowly from the hut Njabulo had built in white man’s style, with a tin chimney, and a proper window with glass panes set in straight as walls made of unfired bricks would allow. She greeted him with hands brought together and a token movement rep- resenting the respectful bob with which she was accustomed to acknowledge she was in the presence of his father or mother. He lowered his head under the doorway of her home and went in. He said, “I want to see. Show me.”

She had taken the bundle off her back before she came out into the light to face him. She moved between the iron bedstead made up with Njabulo’s checked blankets and the small wooden table where the pink plastic bath stood among food and kitchen pots, and picked up the bundle from the snugly blanketed grocer’s box where it lay. The infant was asleep; she revealed the closed, pale, plump tiny face, with a bubble of spit at the corner of the mouth, the spidery pink hands stirring. She took off the woollen cap and the straight fine hair flew up after it in static electricity, showing gilded strands here and there. He said nothing. She was watching him as she had done when they were little, and the gang of chil- dren had trodden down a crop in their games or transgressed in some other way for which he, as the farmer’s son, the white one among them, must intercede with the farmer. She disturbed the sleeping face by scratching or tickling gently at a cheek with one finger, and slowly the eyes opened, saw nothing, were still asleep, and then, awake, no longer narrowed, looked out at them, grey with yellowish flecks, his own hazel eyes.

He struggled for a moment with a grimace of tears, anger, and self-pity. She could not put out her hand to him. He said, “You haven’t been near the house with it?”

She shook her head.

“Never?”

Again she shook her head.

“Don’t take it out. Stay inside. Can’t you take it away somewhere. You must give it to someone—”

She moved to the door with him.

He said, “I’ll see what I will do. I don’t know.” And then he said: “I feel like killing myself.”

With Paulus’s return, the conflict becomes external.

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Emotional Depth: Deep emotions are often

expressed in short stories. Notice the range of feelings

and emotions that Paulus experiences.

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Features of the Short Story Chapter 3

Her eyes began to glow, to thicken with tears. For a moment there was the feeling between them that used to come when they were alone down at the river-bed.

He walked out.

Two days later, when his mother and father had left the farm for the day, he appeared again. The women were away on the lands, weeding, as they were employed to do as casual labour in the summer; only the very old remained, propped up on the ground outside the huts in the flies and the sun. Thebedi did not ask him in. The child had not been well; it had diarrhoea. He asked where its food was. She said, ‘“The milk comes from me.” He went into Njabulo’s house, where the child lay; she did not follow but stayed outside the door and watched without seeing an old crone who had lost her mind, talking to herself, talking to the fowls who ignored her.

She thought she heard small grunts from the hut, the kind of infant grunt that indicates a full stomach, a deep sleep. After a time, long or short she did not know, he came out and walked away with plodding stride (his father’s gait) out of sight, towards his father’s house.

The baby was not fed during the night and although she kept tell- ing Njabulo it was sleeping, he saw for himself in the morning that it was dead. He comforted her with words and caresses. She did not cry but simply sat, staring at the door. Her hands were cold as dead chickens’ feet to his touch.

Njabulo buried the little baby where farm workers were buried, in the place in the veld the farmer had given them. Some of the mounds had been left to weather away unmarked, others were covered with stones and a few had fallen wooden crosses. He was going to make a cross but before it was finished the police came and dug up the grave and took away the dead baby: someone— one of the other labourers? their women?—had reported that the baby was almost white, that, strong and healthy, it had died suddenly after a visit by the farmer’s son. Pathological tests on the infant corpse showed intestinal damage not always consistent with death by natural causes.

Thebedi went for the first time to the country town where Paulus had been to school, to give evidence at the preparatory examina- tion into the charge of murder brought against him. She cried hysterically in the witness box, saying yes, yes (the gilt hoop ear- rings swung in her ears), she saw the accused pouring liquid into the baby’s mouth. She said he had threatened to shoot her if she told anyone.

More than a year went by before, in that same town, the case was brought to trial. She came to Court with a new-born baby on her back. She wore gilt hoop ear-rings; she was calm; she said she had not seen what the white man did in the house.

Paulus Eysendyck said he had visited the hut but had not poisoned the child.

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Theme: From this point on, the main theme of the

story is developed and emphasized—as circum-

stances present at least the possibility that Thebedi will

be able to take a credible stand against Paulus’s crim- inal action and confront the

racially biased conditions that oppose her. Ultimately,

though, her strength and intentions are no match

for the impenetrable social traditions.

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Features of the Short Story Chapter 3

The Defence did not contest that there had been a love relation- ship between the accused and the girl, or that intercourse had taken place, but submitted there was no proof that the child was the accused’s.

The judge told the accused there was strong suspicion against him but not enough proof that he had committed the crime. The Court could not accept the girl’s evidence because it was clear she had committed perjury either at this trial or at the preparatory exami- nation. There was the suggestion in the mind of the Court that she might be an accomplice in the crime; but again, insufficient proof.

The judge commended the honourable behavior of the husband (sitting in the court in a brown-and-yellow quartered golf cap, bought for Sundays) who had not rejected his wife and had “even provided clothes for the unfortunate infant out of his slender means.”

The verdict on the accused was “not guilty.”

The young white man refused to accept the congratulations of press and public and left the Court with his mother’s raincoat shielding his face from photographers. His father said to the press, “I will try and carry on as best I can to hold up my head in the district.”

Interviewed by the Sunday papers, who spelled her name in a variety of ways, the black girl, speaking in her own language, was quoted beneath her photograph: “It was a thing of our childhood, we don’t see each other any more.”

“Country Lovers,” from “Town and Country Lovers” in Life Times: Stories 1952–2007 by Nadine Gordimer, p. 267, Bloomsbury Publishing PLC. Reprinted by permission of

Russell & Volkening as agents for the author. Copyright © 1980 by Nadine Gordimer.

R E S P O N S E A N D R E F L E C T I O N Q U E S T I O N S

Connecting

Right from the opening sentence it is clear that this will be a story about interracial relationships. What tone does the author immediately establish in exploring this theme? How does Thebedi’s innocence affect you? Do you identify with her, or are you skeptical about her because her child- hood innocence keeps her from understanding her social position?

Considering

Identify and analyze the cultural factors that contribute to Thebedi’s hopes and disappointments. Notice how the story’s time frame (covering several years in Thebedi’s life) serves to slowly reveal issues that will dampen her hopes and increase her disappointments.

Concluding

Is Paulus alone responsible for his daughter’s death? Is Thebedi totally powerless in preventing her baby’s death? What, in the end, does the story suggest about the power vs. powerless dilemma that is all too prevalent in our world?

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Writing About Short Stories Chapter 3

3.3 Writing About Short Stories Writing is a learning process that requires you to engage in reshaping, or transforming, knowl- edge. Your topic may be a concept, an assumption, a fact, or a conclusion you have reached. Because thinking precedes writing, you first have to think about your subject, analyze it, and select and arrange words to express the particular things you want to communicate about it.

Or, to put it another way, when you sit down to write, your thoughts don’t come to you neatly in sequential order. You have to discuss, debate, and sort out in your mind what you want to put on the screen or paper in front of you. As you do this, you will discover new ideas, insights, or conclusions. Approaching writing in this manner will surely increase your understanding of the topic—you will gain knowledge. Even if a writing experience only reinforces an understanding you already have of a particular subject, it is still valuable because it solidifies learning. Writing in this way becomes a tool for learning and increasing your knowledge.

Writing assignments related to a short story will not simply require you to retell the plot or pro- vide memorized information. Instead, written responses to a short story require critical thinking. That means you must reflect on what you have read, then analyze it, synthesize it, and evaluate it in light of your own experience. Each of these is a separate activity:

• When you analyze a story, you focus on examining the nature of its individual elements. • When you synthesize, you focus on discovering the relationships of these elements and

their combined effect in the story. • When you evaluate, you focus on making a judgment about the value of the story. Your

statement is personal, but it needs to express more than likes/dislikes. For instance, it might identify and document a story’s quality, its creativity, its moral or ethical view, or its significance in relation to particular contemporary issues.

This writing process becomes an intellectual quest in which you seek to capture knowledge, draw it into the realm of your experience and understanding, and use words to define it. This challeng- ing quest is called learning, and the writing process used to communicate it to others becomes, unavoidably, a learning process.

Keep in mind that the short story is a distinct genre within the spectrum of imaginative litera- ture. In writing about the short story, it is important to emphasize its essential elements. These elements will be discussed in detail in the next few chapters. In the meantime, you can use these general guidelines in preparing an analysis of a short story:

• Be aware of the central conflict and how it is resolved—because conflict is the central ele- ment in a short story.

• Identify the idea that underlies the story and notice how it is made clear by the outcome of the conflict.

• Look carefully at the characters and setting to determine what each contributes to the story’s theme.

Journaling as an Analytical Resource

Keeping a journal on the reading selections in this course can be a useful resource for you. A journal is simply a record of your thoughts, observations, and feelings. Journals are, perhaps, best structured when you record “thoughts and observations” on one side of the journal and “feelings” on the other. In general, you needn’t pay particular attention to form or style—just get

Writing About Short Stories Chapter 3

your thoughts down. As a learning tool, a journal is useful in helping you clarify, reflect on, and explore new ideas generated by your recorded impressions. Each of these activities stimulates critical thinking and increases self-awareness. Each is an engaging and self-informing learning experience.

You can also use journaling as a tool for literary analysis. Specifically, journaling is an excellent first step in the process of writing an analytical essay. By reviewing your brief journal observa- tions (sometimes only a word or two) made after reading a short story, you will often see con- nections that suddenly spark a new insight. For example, you might see the theme of the story differently now because you’ve had time to reflect on it. Without a doubt, journaling will provide you with valuable resources for analyzing and writing about literature. See Table 3.1 for a journal- ing template you can use in this course. Make a habit of writing in your journal as you read each literary selection. Later, you can refer back to your entries and be reminded of your thoughts on each piece in preparation for an assignment or paper.

Table 3.1: Journal template

MY JOURNAL

Thoughts/observations Feelings/responses/applications Links

Writing an Analytical Essay in Response to a Short Story

In preparing to write an analytical essay, you should use the basic steps outlined in Chapter 2 for developing a short-answer essay. That is, you should read the story carefully, mark parts that appear important, reflect on what you’ve read in order to develop your response, reread particular sections if necessary, and then—to support your view—locate content details and literary tech- niques that you can include in your essay. If you are journaling as you read, you probably have much of this information already.

The analytical essay requires a more extensive interpretation of what you have read, but your approach to preparing it does not need to change. For example, in preparing to write a short- answer essay about Paulus Eysendyck’s character in “Country Lovers,” you might think about how he treats Thebedi when they are young children unconcerned about the social structure that separated them, how he responds to her when he comes home from school in the summer, and how he treats their infant daughter. After these reflections, you would describe the predominant aspect of his character and identify supporting details from the story. Your short-answer response could be stated in one or two paragraphs. An analytical essay, on the other hand, requires more depth. So, in preparing it, you would need to consider additional aspects of the story that make you take notice of Paulus’s character—including descriptions of him, contrasts between him and Njabulo, the way his actions reflect his social position, and more.

Writing About Short Stories Chapter 3

Table 3.2 illustrates how an analytical essay resembles a short essay but has more depth and more breadth.

These steps are necessary in developing the structure of an analytical essay related to a piece of literature. They assume that you have been given a specific topic. If you are asked to choose a topic, begin by thinking about your topic in broad terms, then narrow its scope.

Table 3.2: Structure of an analytical essay

Writing goals Essential elements in an essay’s structure

Supporting evidence

1. Establish your focus Establish the focus of your essay in the opening paragraph by clearly presenting your position on the topic. You do this by stating your argument and how that claim can be supported. This statement becomes the thesis sentence—the central focus of the essay.

Make general reference to the evidence you will use to support your claim.

2. Develop your argument

Use a separate paragraph to develop each aspect of your argument.

• Arrange paragraphs beginning with a presentation of the major point in your argument—or with a minor point, whichever approach seems stronger.

• If applicable, add one or more paragraphs to show your awareness of other points of view and how your position relates to them.

• Create clear transitions from paragraph to paragraph.

Mark sections of the story that can be used to illustrate each aspect of your argument.

Find insights that critics have offered on your topic; incorpo- arate them into your essay and include your response to them. Use your course’s approved formatting style in your source citations.

3. Summarize Create a closing paragraph that essentially restates the argument/thesis you stated in your opening paragraph, and succinctly summarize the claims that support it.

4. Review your first draft Consider what you have written to be a first draft, not a finished essay. Check it for mechan- ical errors. Read it aloud several times; change wording or sentence structures until there is a smooth, coherent flow of thought throughout your essay.

5. Submit your revised Draft

Writing About Short Stories Chapter 3

R E S P O N D I N G T O R E A D I N G

Sample Outline for an Analytical Essay

The following student response carefully analyzes Thebedi’s character, using details from the story to support the argument that she does, indeed, change. The outline is included to show how to plan and develop the structure of an essay.

Question: Through her central role in “Country Lovers,” Thebedi reveals a lot about herself. Other people and events reveal impressions of her, too. Do you believe her character remains the same or changes over the course of the story? Choose a position and make an argument for it in an analytical essay of about 500 words.

Outline

Paragraph 1

Introduction (built around a thesis statement)

Thesis Statement (its two components)

• Thebedi is presented as an innocent child; she has hopeful dreams. • Thebedi’s social status and her love relationship with Paulus cause her hopeful

nature to be replaced with submissiveness.

Paragraph 2

Focus of first observation: Thebedi’s early relationship with Paulus

• Her innocence allows her to be generous; she gives him gifts. • She is attentive to his stories.

Paragraph 3

Focus of next observation: Their love relationship

• Thebedi demonstrates her dreams, her risk-taking nature. • But she lacks genuine courage (doesn’t tell him she’s pregnant). • She accepts the arranged marriage with Njabulo.

Paragraph 4

Focus of next observation: Thebedi’s later meetings with Paulus

• She wants to rekindle her love for him, but she retreats to her racial role. Her anger makes her testify against him, but it does not change anything.

• In the end, feeling powerless, she submits to what society demands.

Paragraph 5

Focus of next observation: Thebedi’s behavior in court

• A year has passed; she does not testify against Paulus. • She is seen as powerless and submissive to her life conditions.

Paragraph 6

Conclusion (summary and restatement of thesis)

• Thebedi’s experience shows how difficult it is to change social traditions and discrimination.

• Despite her innocence and hopes, she realizes that she cannot change her situa- tion; submissiveness becomes her dominant character trait.

Read the student’s essay developed from the outline above. The annotations point out both the strengths of the analytical essay’s design and aspects that are common in the structure of most short stories.

Illustrate with details from the

story.

Illustrate with details from the

story.

Illustrate with details from the

story.

Illustrate with details from the

story.

Writing About Short Stories Chapter 3

Character of Thebedi—A Victim of Racial Turmoil

In Nadine Gordimer’s story “Country Lovers,” we meet Thebedi, an innocent black girl, playing with other children, some of whom are white, and we learn—as the story unfolds—how her social status and her love relationship with Paulus cause her hopeful nature to be replaced with submissiveness. Despite her hopeful per- spective (and even her expression of anger), she realizes her powerlessness and settles into acceptance of her life situation.

Thebedi’s generosity is an indication of her youthful innocence. When Paulus goes away to school, she gives him “a bracelet she has made of thin brass wire and the grey-and-white beans of the castor oil crop his father cultivated” (Clugston, 2010, section 3.1, para. 2). She also expresses this generous spirit when, “like any good listener,” she is attentive to Paulus’s stories and asks questions.

She carries her childhood openness into her teenage years and is attracted to Paulus, a white boy, who has been one of her childhood playmates. They explore love, which leads to the birth of a daughter, creating a crisis that has no simple resolution in South Africa’s racially tense society. In her love relationship with Paulus, she shows that she is a risk taker and idealistic by finding ways to continue her love relationship with him secretly. But her risk taking never develops into full- blown courage. She doesn’t tell Paulus that she is pregnant; she doesn’t tell him that her parents have arranged for her to marry Njabulo. In marrying Njabulo, she reveals her submissive character; rather than refusing and protesting against the racial customs, she accepts them.

When Paulus comes to see their baby, Thebedi has an opportunity to express her hope for new life—an opportunity to plead for help. Her generosity and love for Paulus swell within her (“her eyes began to glow, to thicken with tears”) (Clugston, 2010, section 3.1, para. 19), but she remains silent. Later, at the preliminary investigation, with anger motivating her to be strong, she tes- tifies against Paulus, backing up her statements by crying “hysterically,” and even enhancing her story by saying that Paulus had threatened to shoot her if she told anyone. This action shows her struggle against submissiveness; she wants change.

However, a year later, when the trial is held, her courage is gone; she does not tes- tify against Paulus. Instead, she says “she had not seen what the white man did in the house” (Clugston, 2010, section 3.1, para. 25). By this time, she has given birth to Njabulo’s child. She has accepted her place in the social structure; she speaks to the newspaper reporter in her “own language.” She knows she has no power to do otherwise; she has to let go of whatever idealistic hopes her relationship with Paulus might have brought. She puts her hopes behind her, telling the newspaper reporter, “It was a thing of our childhood, we don’t see each other any more” (Clugston, 2010, section 3.1, para. 32).

“Country Lovers” is a story that shows how difficult it is to change social tradi- tions and discriminatory behavior. Despite Thebedi’s hopeful perspective, she cannot change her situation, and her submissiveness becomes her dominant character trait.

Work Cited Clugston, R. Wayne. Journey Into Literature. San Diego: Bridgepoint Education, Inc., 2010. EPUB file.

Writer’s first obser- vation about The-

bedi’s character

APA citation for a direct quotation

from the story

Notice how refer- ences to specific

events and actions in the story are

used (without direct quotations) to

show the change in Thebedi’s character

from openness and courage to submissiveness.

This quotation from the story is placed in parentheses—apart

from the sentence structure. The later

quotation is fit into the sentence

structure.

This transitional word sets the tone

for the whole para- graph—which gives

evidence of the permanence of The-

bedi’s submissive character.

Concise summary and reiteration of thesis statement.

Key Terms and Concepts Chapter 3

Summary Chapter 3 explains how stories began and briefly describes ways that stories have defined and enriched human experience. Myths, the earliest stories in every culture, seek to explain the world, including the mysteries of divinity, creation, truth, and death. On the other hand, legends, tales, fables, and parables emphasize and clarify particular human experiences. This chapter also considers the short story form as it has developed during the last two centuries, illustrating its distinctive narrative features and providing guidelines for analyzing and writing about short sto- ries. Additionally, this chapter presents Nadine Gordimer’s “Country Lovers” to illustrate essen- tial characteristics of the short story.

Key Terms and Concepts culture Common characteristics of a group or a region. Writers often reflect a particular culture through the setting of a story or the spirit of the characters’ lives—providing insight, for example, into Southern culture, post–World War I culture, or global culture.

fable A story that often features animals as characters—although people and inanimate objects often play a key role. In all cases, the fable presents a moral or lesson.

legends Often traditions as well as stories, legends are rooted in history and have fewer super- natural aspects than myths.

myths Anonymous, primitive stories that seek to explain the world, including the mysteries surrounding divinity, creation, truth, and death.

parable A brief story that illustrates a moral situation or lesson, with details of the story care- fully paralleling those of the particular situation surrounding the moral.

tale An anecdote about an event that is told in an uncomplicated manner.