O Reilly: A Story Of O Reilly

Losing a parent is presumably an unthinkable concept for those lucky to have them alive, but sometimes the title of “parent” dies long before a body is placed in the ground. Toi Derricotte author of “Beginning Dialogues” unfortunately had to experience both the death of her mother’s title of “parent”, as well as her literal death. Derricotte’s parents had divorced when she was eighteen, and her father did not seem to play much of a role in her life; she was left to be raised by her mentally abusive mother. Her mother also had a tough road to walk growing up, having to face and deal with brutal issues like racism and bulling. Persevering through those tough times may be the underlining reason behind Derricotte’s mother’s negativity and abuse towards her daughter. Perhaps she just grew a thick skin at a very young age and had never learned how to feel, accept, or administer love. Derricotte’s had said: “She told me all my life she loved me, as if she completely forgot the hundred slights, humiliations, threats, and insinuations. Of course she loved me;

Discuss how the authors, Craig Silvey and Tim Winton, reveal the central character’s process and understanding of trauma and grief.

swept off by her father and her life will continue on effortlessly. She has had to tolerate the

Abandoned. The man’s father was not known by his family as he left before they could come to know him. Leaving his wife, son, and daughter alone in The Great Depression they had to develop their own strengths. The family developed flaws along with their strengths. For the son, he came to be like his father with desires to abandon his family, but the mother and daughter didn’t follow the same path and grew to support themselves differently. The truth of life those is that one is always better than the other. Some believe it is the daughter, Laura, who is stronger, but the mother, Amanda, is truly the stronger of the two. She’s constructive, sturdy natured, and observant.

I also felt sorry for “the man”, one, because he has to tell his child where his mother is “For the love of God woman. What am I to tell him?” (McCarthy 58), and two, because his love and best friend was in such despair and there was nothing he could do to impel her to stay. As a mother, in some ways, I also felt sorry for the mother in this book, because most women dream of the day she will have a child of her own to love, care for, and teach, but this mother had to give birth to her son after the great catastrophe, and instead of bringing her tears of happiness, it brought tears of sorrow. She now knows that she has to raise her son in this dark and barley habitable world and that it will be a constant struggle to survive. “My heart was ripped out of me the night he was born…” (McCarthy 57). On the other hand though, I am also disgusted with the mother for the one reason that she gave up, and now her family, especially her child, has to suffer the consequences due to her actions, but again, given that I put myself in her situation, would I do the same thing? While reading I also felt deep sadness in many parts, for one instance, when “the man” dies, at this point in the book I had tears streaming down my face. “He slept close to his father that night and held him but when he woke in the morning his father was cold and stiff.” “He sat there a long time weeping...”(McCarthy 281). “He knelt beside his father held his cold hand and said his name over and over

In Sharon Olds’ poem, “The Victims”, she is able to vividly shows readers an inside look on a family’s divorce. Olds illustrates a theme of an abusive life by her tone throughout the poem. The poem draws readers in through its imagistic language, metaphor, and alliteration. The speaker is illustrated by two points of view, first as a child, and the next through a mature adult trying to make sense of past events. Just as the speakers points of view change, so do the poetic devices.

When a child experiences trauma, it stays with them for the rest of their life. When a child experiences abuse, one of the highest forms of trauma, they can do little to stop it from affecting everything they do. Tobias Wolff’s memoir, This Boy’s Life, Illustrates this. While it can be said that Rosemary, the mother of Jack, was in many ways responsible for his life, she herself can not solely be blamed. The trauma and abuse she experienced as a child contributed greatly to her choices, and her son’s life. This shows that adversity in Rosemary’s life lead to her not being able to act normally, and this caused the life of her son.

The central character in which the story takes off upon is Mitchell Stephens. He is drawn into this case by his own anger. He has his own sense of suffering and confusion toward his own daughter. Stephens is torn by his urge to save her and his fear that he can't possibly do so. He recalls the flashback of his little girl as a toddler at a near death experience and him as her father while singing to her, held her life in his own hands prepared to perform an emergency tracheotomy. And in that way, Stephens' own experience bonds together with the nightmare of those pain stricken parents: the ultimate unbearable burden of caring for children where strength will be tested beyond its limits. Stephen's own daughter in whom he loves dearly has been taken away from him although she is not dead; she is practically gone out of his life. He is pissed off, "enough rage and helplessness, your love turns to steamy piss." (101). Stephen is set to find the cause, something or someone to blame for their misfortunes and to rage against whatever forces took their child, "I don't know if it was the Vietnam war…I don't know

Life is filled with tragedies, whether they be subtle or monumental. In society we are constantly surrounded by hardships and situations that test our own individual character, forcing us to react in order to move forward. The main characters in “The Story of an Hour” by Kate Chopin, “A Good Man is Hard to Find” by Flannery O’Connor, and “Where Are You Going, Where Have You Been?” by Joyce Carol Oates each react differently to the various tragedies they encounter, revealing their true identities that lie behind the (facade?)/version of themselves they present to the world. These tragedies that factor into all three works are both presented and interpreted differently in each story: In “The Story of an Hour” by Kate Chopin, Mrs. Mallard rejoices

    “A Good Man Is Hard to Find,” one of O’Connor’s best works, describes a family on a trip to Florida and their encounter with an escaped prisoner, The Misfit. Although “A Good Man Is Hard to Find” is an early work in O’Connor’s career, it contains many of the elements which are used in the majority of her short stories. The grandmother, a selfish and deceitful woman, is a recipient of a moment of grace, despite her many flaws and sins. A moment of grace is a revelation of truth. When the grandmother calls The Misfit her child and reaches out to touch him, the grandmother has a moment of grace that enabled her to see The Misfit as a suffering human being who she is obligated to love. The grandmother realizes that nothing will stop The Misfit from killing her but she reaches out to him despite this. The Misfit rejects her love and kills her anyway. This moment of grace is very important

The tone of this story is one of fear, regret, and guilt. The story first leaves the reader with impression that it may be a recount of the life of a daughter who was lost due to neglect. Soon it is evident

Women are taught from a young age that marriage is the end all be all in happiness, in the short story “The Story of An Hour” by Kate Chopin and the drama “Poof!” by Lynn Nottage, we learn that it is not always the case. Mrs. Mallard from “The Story of an Hour” and Loureen from “Poof!” are different characteristically, story-wise, and time-wise, but share a similar plight. Two women tied down to men whom they no longer love and a life they no longer feel is theirs. Unlike widows in happy marriages Loureen and Mrs., Mallard discover newfound freedom in their respective husband’s deaths. Both stories explore stereotypical housewives who serve their husbands with un-stereotypical reactions to their husband’s deaths.

When her husband is killed in a train accident Mrs. Mallard cries, but for different reasons than would be expected. She is sad for her husband’s death, but, moreover, she is overcome with joy. For now she is free. No one recognizes her true emotions because women fall apart when their spouse dies; it’s required. Marriage is portrayed as a life sentence. "She said it over and over again under her breath: ‘free, free, free!' Her pulse beat fast, and the coursing blood warmed and relaxed every inch of her body"(1). Mrs. Mallard was relieved that her husband died for she thought her sentence was over. When she realized that he was still alive, and therefore she was still committed to the marriage, she died from the shock and horror of being trapped.

In “The Story of an Hour” the main character Louise Mallard has just found out that her husband, Brently Mallard, died in a train accident. She did not hear the story as many women have heard the same, (527) which means that she didn’t immediately think that her life was over and she could not go on without her husband, she thought of the rest of her life with open arms and excitement. She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. (527) she was looking forward to a whole new life, a life of her own. Of course she was sad and knew that she would mourn her husband, be sad when she saw him lying in the casket at his funeral. And yet she had loved him—sometimes. Often she had not. (528) She is saying she did love him but not most of the time. While she was alone in her room staring out the window a feeling came over her that she was unsure of at first, but when she let herself go she realized it was freedom, triumph, and victory. She kept whispering to herself “free, body and soul free!”(528) She and her sister walked down the stairs together to find her husband, Brently, walking through the front door, she died of a heart attack as soon as she saw him.

By being given no chance to have their emotional wounds exposed for healing, both women have no choice but to try to pick up their shattered lives and move on. As they do so, grief from their loss of mothering experiences begins to manifest itself in their lives. For Somer, everything around her is a cruel reminder of whom she lost, attending baby showers and seeing children beside their mothers, makes her realize what she has lost. “ ‘ Do you have kids?’ Somer swallows deeply. It feels like someone has opened the freezer door in her face on a hot