Privacy In Dianne Harris's Little White Houses

Last but not least, Mama and Ruth have the aspiration of living in a new home. The apartment in which they currently reside is small, dark, and handled with care: "the furnishings of this room were actually selected with care and love and hope [. . .]" (988). It is evident that the home is a very important to the Younger family and it is a critical

One of the houses was Deep South looking; run down and bare of any organized growth, i.e. landscaping. It was just a large rectangle— greatly in need of paint and repair. And, this house just happened to be near the heart of The Town of Smithtown, right in the cross roads of the historic area of the celebrated main street. But, in hindsight, perhaps this dwelling was a part of that history—a reminder of the history that had its good and bad; the well to do and the have nots, with some of the have nots, not having because the haves didn’t want them to.

The house in the story was passed through the family for generations, “We liked the house because apart from being old and spacious, it kept the memories of our great grandparents, our paternal grandfather, our parents, and the whole of childhood,” (Cortazar 37), this shows how truly appreciated this house is to Irene and the Narrator, this then comes too soon show representation of the future scares throughout the story, “How to not remember the layout of that house. The dining room,

Writer, Jeannette Walls, in her memoir, The Glass Castle, provides an insight into the fanciful and shocking life of growing up poor and nomadic with faux-grandiose parents in America. With her memoir, Wall's purpose was to acknowledge and overcome the difficulties that came with her unusual upbringing. Her nostalgic but bitter tone leaves the reader with an odd taste in their mouth. In some memories, the author invites her audience to look back on with fondness; others are viewed through bulletproof glass and outrage.

Another aspect that contributes to the stories’ setting is the descriptions of the homes of the Snopes and the Griersons. Miss Emily’s home is described as being decorated and clean with many details in the woodwork, and the Snopes’ home is told to be a paintless, two bedroom house like the many others they had lived in. Both homes in the stories have become the symbol for the class of people which they house, but as Miss Emily had shrunk from her aristocratic mindset, so did her house. The location of the action of both stories cannot be more different, but their locations contribute greatly to the mood created in the stories.

In this picture, Victorian style house stands alone in the field. A railroad track cuts through the foreground. There is a bare sky behind the house with no secondary objects in the immediate surroundings of the building. this enables us to keenly focus on the articulation of the building and its relationship with its environment.

Alfred Hitchcock’s 1954 movie Rear Window captivates the audience by presenting a thrilling murder mystery, where Jeff Jefferies, the masculine hero, is confined to a wheel chair in his apartment, which leads to the spying on his neighbors. In the movie, Hitchcock beautifully captures the turn of events from Jeff’s wrongful surveillance of his neighbors, to catching the killer. His examination of the idea of surveillance and privacy, plays into the current American debate of the rise of the surveillance debate. Hitchcock’s movie also falls into a traditional pattern where men are the active dominant roles and women are the submissive, background roles. Consequently, I believe that women are not a part of the rise of surveillance state conversation,

Daisy is a Buchanan, a family with enormous hereditary wealth, where Myrtle lives in the Valley of Ashes with an auto mechanic as a husband. Their differences become striking when we compare the first bits of information about them: where they reside. Whilst Daisy's home is described as a 'cheerful red-and-white Georgian colonial mansion'. This house not only connotes to wealth but also hereditary wealth through the premodifier 'Georgian'. The Buchanans couch is compared to an 'anchored balloon', that could be suggesting that wealth 'anchors' security in the society of 1922. Contrastingly, Myrtle's home in the valley of ashes is overlooked b the eyes of T.J Eckleberg. This could be an indication of how capitalism is hampering them as a less than wealthy couple. This idea of the wealthy hampering the poor is reinforced by Carraway ignorance to the way poor people live, implied when he assumes that the 'shadow of a garage must be a blind, and that sumptuous and romantic apartments were concealed overhead'. As he struggles to believe that people live in such conditions. This difference is all more evident when we consider how when Carraway is describing the Buchanans' home he uses colours like 'red', 'white', 'rose' and 'wine'; all of which connote to luxury. Whereas in describing the Wilsons' home, colours like 'whitewashed', 'blond' and 'light blue'. Colours that a very pale and

A review of the house itself suggests that an architectural hierarchy of privacy increases level by level. At first, the house seems to foster romantic sensibilities; intrigued by its architectural connotations, the narrator embarks upon its description immediately--it is the house that she wants to "talk about" (Gilman 11). Together with its landscape, the house is a "most beautiful place" that stands "quite alone . . . well back from the road, quite three miles from the village" (Gilman 11). The estate's grounds, moreover, consist of "hedges and walls and gates that lock" (Gilman 11). As such, the house and its grounds are markedly depicted as mechanisms of confinement--ancestral places situated within a legacy of control and

The house is different from other houses in the sense that, it didn’t allude to a real house. The house is an image of many ideas

and burning gardens"(23) of the front lawn give a subtle hint of the empty home the Buchanans share. The brick walks

I was born in a very big house with 5 bedrooms, 2 living rooms, 2 kitchens, big lawns in front and back, servant quarters and couple of servants serving my family. This wasn’t like this because we were filthy rich or millionaires. It simply portrays a middle class home in my country.

Writer, Jeannette Walls, in her memoir, The Glass Castle, provides an insight into the fanciful and shocking life of growing up poor and nomadic with faux-grandiose parents in America. With her memoir, Wall's purpose was to acknowledge and overcome the difficulties that came with her unusual upbringing. Her nostalgic but bitter tone leaves the reader with an odd taste in their mouth. In some memories, the author invites her audience to look back on with fondness; others are viewed through bulletproof glass and outrage.

At the story’s unconventional beginning, a seemingly picture-perfect family is living in what seems to be a beautiful house in a rich suburb

An examination of the scene where Mr. Weston purchases Randalls in Emma suggests that ownership of a home is not limited to simply being a place where one lives permanently. This might be surprising because we tend to view our home as typically a place of residence where we feel warmth and comfort. You can see the different influences that owning a house, property or land can have on people in Emma and Monstress. Owning a home and land is indicative of one’s wealth, creates a divide between classes and causes marriage to be more about ownership than actual love and companionship.