Teenage wasteland anne tyler character analysis

Literary Analysis Essay

LITERARY ESSAY ASSIGNMENT DIRECTIONS Writing an Analytical Essay for Short (Story, Drama, or Poetry: A Guide)

You are to write a focused paper in which you analyze and interpret the theme and its connection to one literary element in a selected short story or play we have read and discussed.

Interpret means to explain in your own words a work’s meanings. Analyze means to examine or to look at one part at a time in order to reach a conclusion or make a decision.

STEPS TO FOLLOW IN WRITING THE PAPER:

1. Select a story we have read and discussed. 2. Reread the story for a clear understanding of theme and literary elements that

relate to the theme. 3. Select a clearly defined theme and one literary element such as character,

setting, symbol(s), point of view, irony, imagery, tone, or style. This element must clearly be a vehicle that the writer uses to project and develop the theme.

4. Draft a thesis statement which includes title and author, statement of the theme, specific literary element to be analyzed, and assertion.

5. Write a rough draft, incorporating your interpretations and analysis with quotes, paraphrases, summary from the story (a plot summary will result in a failing grade). Here are some further suggestions:

A. Use literary present tense to write the paper. B. Use action verbs (a partial list is provided). C. Make people, places, or things the subjects of sentences rather than the

events of the story the focus of the sentence. D. Use quotes (short or long) in each paragraph. E. Use your own ideas and words.

2

Writing an Analytical Essay for Short Story, Drama, or Poetry: A Guide

Reading the Story

A. Read the story closely.

1. Notice the details. 2. Answer basic questions

a. Point of View? Narrator? b. Setting?

c. Major characters? d. Plot: conflicts, complication, and resolution

B. Read the story analytically. II.

Choosing the Topic of the Essay

A. Avoid irrelevant topics 1. Personal experiences 2. Author’s biography 3. Judgements of the author’s style or contributions to literature

B. Choose an appropriate topic

1. Consider the emphasis of the story 2. Consider restrictions of time and space 3. Consider the adequacy of supporting details

III. Taking Notes for the Essay

Take down information from the story that applies to your topic A. Types of information include:

1. Descriptions 2. Bits of dialogue 3. Actions 4. Expository information

I V. Formulate a Thesis for the Essay

A. The thesis should provide the following information: 1. Author and title of work

2. Topic of analysis 3. Idea concerning topic

B. The thesis should be phrased precisely and unambiguously

Organize Your Notes

3 A. Write your rough draft; give attention primairly to content and organization B. Fit the supporting details into a logical framework under the major headings. VI. Write Your Essay A. Write your rough draft; give attention primarily to content and organization.

C. Revise your rough draft. In the finished copy, polish the style, coherence, mechanics/grammar of first draft(s).

Exercise: Evaluate the following thesis statements taken from earlier English 102 essays.

1. After reading “A Rose for Emily,” I can understand why Faulkner won the Nobel Prize for Literature.

2. Edith Wharton uses irony in her portrayal of Mrs. Ansley and Mrs. Slade, the major characters in “Roman Fever.”

3. The character Sammy is developed through his attitude towards his boss, the customers, and Queenie and her friends.

4. The key to understanding Sammy, the protagonist of Updike’s ‘‘A & P,’’ is his immature attitude. This attitude is developed through his descriptions of co—workers, regular customers, and the girls in bikinis.

5. Through two very important symbols, the dream of the doe and the sea, the writer

paints a picture of the inevitable future where the main character realizes she will not be able to avoid her precarious growth into womanhood.

6. I think gender prejudice is very evil and this is brought out in ‘‘Doe Season.’’ 7. Why are people so cruel? This is the question asked by Jackson’s story “The Lottery.” 8. In Shirley Jackson’s ‘‘The Lottery,’’ the townspeople do not question the importance

of the lottery, yet many of its details have been altered throughout the years.

4 LITERARY ANALYSIS An analysis for literary elements explores or evaluates a technical aspect of a literary work. Probably the most common approach to writing literature, the analysis of a literary element thoroughly examines some literary device that helps weld together the mosaic of the entire work. Common elements include: characterization tone/mood setting imagery plot figures of speech theme rhyme point of view rhythm symbol

For Character

an analysis of what the character says, thinks, and does, pointing out any discrepancies, an analysis of what others say about the character, an analysis of any differences between what the reader observes of the character and what others say about him/her, an evaluation of any direct description by the author about the character.

For Setting

an evaluation of the relationship of setting to the work’s mood, an evaluation of the setting as it reflects the work’s theme an evaluation of the setting’s impact on the characters, an analysis of the impact the setting has on the conflict, an explanation of change in setting as it affects change in mood, characters or conflict.

For Plot

an analysis of the exposition or beginning, of the story or drama, an evaluation of the rising action,

an analysis of the climax, or high point, an analysis of the falling action, examination of special techniques of plot, like foreshadowing and flashback.

For Point of View a description of the point of view: first, second, or third person (if third person, specify which type), an analysis of the impact of the point of view on the theme, plot, conflict, or characterization.

For Symbolism

5 a careful explanation of the development of the symbol, a symbolic interpretation of the work, including—citations of specific instances throughout the work

an explanation of the overall impact of the symbol or, the work’s theme or underlying message.

For Tone a description of tone as it appears throughout the work or within a specified section of the work, an analysis of how the author achieved this tone an explanation of the impact of the tone on the work’s theme.

For Mood a description of mood as it appears throughout the work or within a specified section of the work an analysis of how the author achieved this mood, an explanation of the impact of the mood on the work’s theme.

For Imagery an indication of the specific image or images being an explanation of the development of the image or images throughout the work, an analysis of the importance of the image or images to the meaning or enjoyment of the work an evaluation of the interrelationship between the image or images and other literary elements.

For Figures of Speech an indication of the specific figure(s) of speech being analyzed, an explanation of the use of the figure(s) of speech throughout the work, an analysis of the importance of the figure(s) of speech to the meaning or enjoyment of the work, an evaluation of the interrelationship between the figure(s) of speech and other literary elements.

For Rhyme a description of the pattern, including internal rhyme if any,an analysis of the impact of any departure from the pattern an evaluation of rhyme as one of the many sound devices available to a poet, including its interaction with the other devices to create an overall impact

For Rhythm a description of the rhythm’s pattern

6 an analysis of the impact of any departure from the pattern, an evaluation of the impact of rhythm on word or thought groups an evaluation of rhythm as one of the many sound devices available to a poet, including its interaction with the other devices to create an overall impact.

With any literary analysis, careful reading precedes any other activity. Once you decide which of the many elements you in a given work, whether as a result of an assignment or personal preference, reread the work searching for examples. Study the element’s relationship to other parts of the work and its impact on the work.

As you reread, make notes. If you are using your own copy of the book, you may wish to pencil in notations of important words, phrases, or passages. If you are using a copy not your own, take notes on note cards, on separate sheets of paper. You might also make a photocopy of the work on which you can make notes.

ANALYTICAL LANGUAGE AND TONE

Another hint that can help your paper sound and read like an analytical paper is careful word selection. Too many students rely on “be” verbs (is, are, am) when they write. There is nothing technically wrong with these verb choices when used effectively and selectively, but the most powerful and effective writing uses action verbs. When writing and proofreading your drafts, try using some words from the lists below. Especially use them in the thesis. means examine symbolize(s) encounter explore portray illustrates offer (s) seems describes display express (es) alludes to suggest(s) conveys can be seen uses implies chooses to parallels chooses to realize discover refers to develops Also, use nouns that readily express the purpose of this paper—analysis. This is not a mystery paper; use literary terminology. Here are a few literary terms: theme character setting symbol point of view simile symbolism metaphor description struggle irony allusion conflict action plot simile comparison style These techniques are only hints and suggestions; they should not be taken to extremes.

7 LITERARY PRESENT TENSE

In writing about essays, stories, poems, drama, the writer uses the literary present tense.

Generally speaking, the work of art (even though created in the past) EXISTS IN THE

PRESENT TENSE AS ONE EXPERIENCES IT. When one analyzes the work, s/he describes it

as if s/he were presentlv perceiving its ideas, actions, characters, and so forth.

For example, if a writer is discussing Swift’s “Modest Proposal,” s/he should say, “When

Swift’s persona describes the plight of the Irish poor, he makes heavy use of numbers and statistics, and compares humans to livestock.”

The writer should NOT say, “When Swift’s persona described the plight of the Irish poor, he made heavy use of number and statistics, and compared humans to livestock.”

Similarly, the writer refers to his/her reaction to the work in the present tense. For

example, one might say. ‘‘Swift forces his reader to reject the ideas of the monstrous persona; the reader agrees with humanitarian suggestions that Swift himself proposes.” In this example we see that the writer also refers to Swift’s creation of the work in the present tense.

To summarize, the writer writes about a work as though the work were going on in the present, as though the author were writing it in the present, and as though s/he were perceiving it in the present.

SAMPLE THESIS STATEMENTS

SHORT STORY ANALYSIS In Doris Lessing’s “A Woman on a Roof,’’ the character Stanley illustrates the theme of male dominance through his reactions to the sunbather. Characteristics that surface are his temper, his ego, and his defensiveness. The settings of the car, the parking lot, and the lake in T. Coraghessan Boyle’s “Greasy Lake” symbolize the stages of the narrator’s induction to badness. In the short story “Teenage Wasteland,” Anne Tyler expresses the theme ineffectuality through Daisy Coles insecurities. Her self-doubt lies in her appearance, her ignorance as a parent, and her inability to stand for her beliefs. In “Greasy Lake,” T. Coraghessan Boyle illustrates the theme of badness by using the different male characters to symbolize its three levels: superficial, active, and complete. In Doris Lessing’ s ‘‘A Woman on the Roof,’’ the character Tom represents the theme of adolescent responses to women through his fantasies, his protectiveness, and his inexperience.

8 Through the use of music imagery, Joyce Carol Oates in “Where Are You Going? Where Have You Been?” develops the theme of popular of popular culture’s on a teenage girl. The music imagery surfaces in its underlying message, its varying intensity, and its constant presence.

Works Cited

Boyle, T. Coraghessan. ‘‘Greasy Lake.’’ Literature: Reading, Reacting, Writing. Third Edition.

Laurie G. Kirszner and Stephen R. Mandell, eds. Fort Worth: Harcourt, 1997. 397-405.

SAMPLE ANALYSIS PARAGRAPHS

Stanley’s reactions with his temper also reveal his sense of dominance over the woman on the

roof. After a second attempt to get the woman’s attention, Stanley becomes irate because she

does not respond. His need to dominate the situation is complicated by her ignoring him; he

responds by cursing: “Bitch” (526). Stanley also loses his temper easily as he works on the job.

He swears, yells, curses, when something goes wrong (529-30). This cursing and temper

tantrums may suggest a wounded pride. The woman’s ignoring of him hurts; therefore, he

believes he should inflict pain on her. But, the woman continues to show “indifference” to

Stanley no matter what he does (526). This lack of control throws Stanley into fits of anger:

“His sun-heated face was screwed into a rage as he whistled again and again trying to make her

look up (526). Stanley is obviously not very knowledgeable in dealing with women who ignore

him, thus explaining his angry reactions. Once again Stanley maintains his image of dominance

through the display of his temper.

The lake represents the narrator’s induction to the evil side of badness. This place is the only

escape from the “cops and bloodhounds” (402) who are pursuing him for his “Ur-crimes” (401).

Instead of escape or purification, though, he finds cold-blooded “frogs, snakes, and red-eyed

turtles” (401). These, along with-the cold dead man he stumbles upon (402), represent a

repulsive, evil world of “primal badness” (401). Loneliness and death lurk in the lake; “in these

ooze sucking waters,” (402) he confronts the murk of his own physical and emotional evil. As

the narrator lies in the lake, his jacket becomes waterlogged and “heavy as a bear”(403), and his

9 shoes get “sucked into the muck!”(402). Both of these represent the great weight of

conscience that pulls at his body and soul as he is further introduced to “the primordial ooze” of

true badness (403). By the time he returns to the lake’s shore as the dawn breaks (404), the

narrator has a revelation that this third stage of badness is not for him.

Every aspect of Daisy’s appearance, from her body language to her clothing reveals how

insecure she is. Even though she wants to convey a sense of self-assuredness, Daisy sits in the

principal’s office pathetically “ clutching her purse” (569). Instead of acting like an adult in

command, she seems more like a child being reprimanded. A second visit to the principal has

Daisy and her husband Matt seated “like two bad children” (570). Neither of Donny’s parents is

strong enough to hold their heads high and take control of the situation. It is not that Daisy

wants to be responsible; it is that she wants other to believe she is --: she wished she had worn

nylons instead of socks” (570). Daisy’s attempts to seem like a capable parent are in vain

because she has no self-worth and pictures herself as an “overweight housewife” (570). Since

she does not respect herself, neither do her children, and she is an ineffective parent because of

it.

The physical descriptions of Miss Emily begin the development of her character. When she

first appears, Miss Emily is an older woman, probably in her sixties. She is described as a “fat

woman in black” whose yes “looked like tow small pieces of coal pressed into a lump of dough”

(6). This first description gives the impression that Miss Emily is not only unconcerned with her

appearance but also unconcerned about the impression she makes on other people which is

supported by her actions towards the aldermen. In the second description of Miss Emily, she is a

young woman in her twenties: “a slender figure in white in the background” (25). An innocent

girl who is “tragic and serene” (29), Emily is concerned with both her physical and social

appearances. In the final detailed description, Emily is a thin woman in her thirties who has

“cold” eyes and taught skin (34). Emily has changed in ten years from a semi-attractive girl to a

cold woman who distances herself from others. Although the third description seems to be

distantly removed from the grotesque woman she becomes, the “cold” eyes (34) lead to the body

that “has grown fat” (48) and later to her “bloated” (6) body at age sixty. These physical

descriptions chronicle the outward changes in Emily’s appearance while they mirror the changes

10 in her attitude, from a young innocent to an old recluse. These powerful descriptions help to

develop the character of Miss Emily.