Literary Criticism

EXISTENTIALISM

5:26 AM |

NOVEL:

Fight Club

Chuck Palahniuk

SYNOPSIS

Fight Club centers on an anonymous Narrator, who works as a product recall specialist for an unnamed car company. Because of the stress of his job and the jet lag brought upon by frequent business trips, he begins to suffer from recurring insomnia. When he seeks treatment, the Narrator's doctor advises him to visit a support group for testicular cancer victims to "see what real suffering is like". The Narrator finds that sharing the problems of others—despite not actually having testicular cancer himself—alleviates his insomnia.

The narrator's unique treatment works until he meets Marla Singer, another "tourist" who visits the support group under false pretenses. The possibly disturbed Marla reminds the Narrator that he is a faker who does not belong there. He begins to hate Marla for keeping him from crying, and, therefore, from sleeping. After a confrontation, the two agree to attend separate support group meetings to avoid each other. The truce is uneasy, however, and the Narrator's insomnia returns.

Whilst on a nude beach, the Narrator meets Tyler Durden, a charismatic extremist of mysterious means. After an explosion destroys the narrator's condominium, he asks to stay at Tyler's house. Tyler agrees, but asks for something in return: "I want you to hit me as hard as you can."[10] Both men find that they enjoy the ensuing fistfight. They subsequently move in together and establish a "fight club", drawing countless men with similar temperaments into bare-knuckle fighting matches, set to the following rules:

· You don't talk about fight club.

· You don't talk about fight club.[note 2]

· When someone says stop, or goes limp, the fight is over.[note 3]

· Only two guys to a fight.

· One fight at a time.

· They fight without shirts or shoes.

· The fights go on as long as they have to.

· If this is your first night at fight club, you have to fight.

— Fight Club, pages 48–50[11]

Later in the book, a mechanic tells the Narrator about two new rules of the fight club: that nobody is the center of the fight club except for the two men fighting, and that the fight club will always be free.

Marla, noticing that the Narrator hasn't recently attended his support groups, calls him to claim that she has overdosed on Xanax in a half-hearted suicide attempt. Tyler returns from work, picks up the phone to Marla's drug-induced rambling, and rescues her. Tyler and Marla embark on an uneasy affair that confounds the Narrator and confuses Marla. Throughout this affair, Marla is unaware both of fight club's existence and the interaction between Tyler and the Narrator. Because Tyler and Marla are never seen at the same time, the Narrator wonders if Tyler and Marla are the same person.

As fight club attains a nationwide presence, Tyler uses it to spread his anti-consumerist ideas, recruiting fight club's members to participate in increasingly elaborate pranks on corporate America. He eventually gathers the most devoted fight club members and forms "Project Mayhem," a cult-like organization that trains itself as an army to bring down modern civilization. This organization, like fight club, is controlled by a set of rules:

You don't ask questions.

No excuses.

No lies.

You have to trust Tyler.

— Fight Club, pages 119, 122, 125[12]

While initially a loyal participant in Project Mayhem, the Narrator becomes uncomfortable with the increasing destructiveness of its activities. He resolves to stop Tyler and his followers when Bob, a friend of his from the testicular cancer support group, is killed during one of Project Mayhem's sabotage operations. However, the Narrator learns that he himself is Tyler;[note 4] Tyler is not a separate person, but a separate personality.

As the Narrator's mental state deteriorated, his mind formed a new personality that was able to escape from the problems of his life. Marla inadvertently reveals to the Narrator that he and Tyler are the same person. Tyler's affair with Marla—whom the Narrator professes to dislike—was actually his own affair with Marla. The Narrator's bouts of insomnia had actually been Tyler's personality surfacing. Tyler would be active whenever the Narrator was "sleeping." The Tyler personality not only created fight club, but also blew up the Narrator's condo.

Tyler plans to blow up a skyscraper using homemade bombs created by Project Mayhem; the actual target of the explosion, however, is the nearby national museum. Tyler plans to die as a martyr during this event, taking the Narrator's life as well. Realizing this, the Narrator sets out to stop Tyler, although Tyler is always thinking ahead of him. The Narrator makes his way to the roof of the building, where he is held at gunpoint by Tyler. However, when Marla comes to the roof with one of the support groups, Tyler vanishes, as he "was his hallucination, not hers."[13]

With Tyler gone, the Narrator waits for the bomb to explode and kill him. However, the bomb malfunctions because Tyler mixed paraffin into the explosives. Still alive and holding Tyler's gun, the narrator makes the first decision that is truly his own: he puts the gun in his mouth and shoots himself. Some time later, he awakens in a mental hospital, believing that he is in Heaven and imagines an argument with God over human nature. The book ends with the Narrator being approached by hospital employees who reveal themselves to be Project members. They tell him that their plans still continue, and that they are expecting Tyler to come back

CRITICISM:

The movie and book both focus on existentialism- which is the philosophy that an individual must make meaning from a chaotic and empty universe- and this individual is often the object of suffering. Throughout the movie, there are scenes where there is clear cut evidence of this. For instance, Tyler claims, "Only after disaster can we be resurrected" [1]. Another piece of evidence of existentialism comes when Tyler states, "It's only after we've lost everything that we are free to do anything." At one point, Tyler inflicts a chemical burn onto Jack, which is a lesson that tries to explain the sole fact that you will never get anywhere in life until hitting rock bottom. Existentialism defines the need for one to make decisions to better one's life- and that a person is who they are determined to be. Clearly, the movie focuses on this philosophy throughout the entire movie- as several main themes and subtexts are based from it.

Also, there is the matter of gender identity confusion to take into effect. Although Jack shouldn't be considered feminine, there is a definite difference between Jack and Tyler in regards to masculinity. For instance, Jack collects furniture for a hobby. This is far from masculine, and far from the gender identity of Tyler. It would seem that the gender identity confusion adds to the correct balance of id and superego and ultimately helps Jack achieve things he otherwise could not. For instance, Jack gets into his first fight, albeit with himself. He defies his boss, in an act of rebellion against conformity. He also finds an attractive woman to date off and on, depending on the state of his identity. This lack of masculinity could be attributed to Jack's lack of a father figure in early childhood- but either way, it ends up causing catastrophic consequences in his personality.

Finally, it is important to relate psychosis and sleep deprivation to the film. Jack suffers from a bad case of insomnia- which can have detrimental effects. These effects can lead to forms of psychosis- which makes schizophrenia a very viable effect as a result. When Jack is denied medication, he instead finds release in another form. Because of this he experiences schizophrenia less than he was before, although he might not have known it. It would seem that everything follows a massive chain reaction- which eventually leads to schizophrenia and an eventual internal conflict.Fight Club is incredibly accurate in terms of validity. This comes to no surprise, as the author is both very qualified and very knowledgeable. Everything that could be explained in medical terms can likewise be explained through several theories or ideas. The effects of these health afflictions are very real- such as the insomnia or schizophrenia. Interesting psychological terms such as self-actualization and gender identity come into play- and with amazing accuracy.

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POST COLONIALISM

5:12 AM |

NOVEL

Jane Eyre

Charlotte Bronte

SYNOPSIS:

The novel begins with a ten-year-old orphan named Jane Eyre, who is living with her maternal uncle's family, the Reeds, as her uncle's dying wish. Jane's parents died of typhus. Jane’s aunt Sarah Reed does not like her and treats her worse than a servant and discourages and at times forbids her children from associating with her. She claims that Jane is not worthy of notice. She and her three children are abusive to Jane, physically and emotionally. She is unacceptably excluded from the family celebrations and had a doll to find solace in. One day Jane is locked in the red room, where her uncle died, and panics after seeing visions of him. She is finally rescued when she is allowed to attend Lowood School for Girls. Before she leaves, she stands up to Mrs. Reed and declares that she'll never call her "aunt" again, that she'd tell everyone at Lowood how cruel Mrs. Reed was to her, and says that Mrs. Reed and her daughters, Georgiana, and Eliza are deceitful. John Reed, her son, is very rude and disrespectful, even to his own mother, who he sometimes had called "old girl", and his sisters. He treats Jane worse than the others do, and she hates him above all the others. Mr. Reed had been the only one in the Reed family to be kind to Jane. The servant Abbot is also always rude to Jane. The servant Bessie is sometimes scolding and sometimes nice. Jane likes Bessie the best.

Jane arrives at Lowood Institution, a charity school, the head of which (Brocklehurst) has been told that she is deceitful. During an inspection, Jane accidentally breaks her slate, and Mr. Brocklehurst, the self-righteous clergyman who runs the school, brands her a liar and shames her before the entire assembly. Jane is comforted by her friend, Helen Burns. Miss Temple, a caring teacher, facilitates Jane's self-defense and writes to Mr. Lloyd,[clarification needed] whose reply agrees with Jane's. Ultimately, Jane is publicly cleared of Mr. Brocklehurst's accusations.

The eighty pupils at Lowood are subjected to cold rooms, poor meals, and thin clothing. Many students fall ill when a typhus epidemic strikes. Jane's friend Helen dies of consumption in her arms. When Mr. Brocklehurst's neglect and dishonesty are discovered, several benefactors erect a new building and conditions at the school improve dramatically.

After six years as a student and two as a teacher, Jane decides to leave Lowood, like her friend and confidante Miss Temple. She advertises her services as a governess, and receives one reply. It is from Alice Fairfax, the housekeeper at Thornfield Hall. She takes the position, teaching Adele Varens, a young French girl. While Jane is walking one night to a nearby town, a horseman passes her. The horse slips on ice and throws the rider. She helps him to the horse. Later, back at the mansion she learns that this man is Edward Rochester, master of the house. He teases her, asking whether she bewitched his horse to make him fall. Adele is his ward, left in Mr. Rochester's care when her mother died. Mr. Rochester and Jane enjoy each other's company and spend many hours together.

Odd things start to happen at the house, such as a strange laugh, a mysterious fire in Mr. Rochester's room, on which Jane throws water, and an attack on Rochester's house guest, Mr. Mason. Jane receives word that her aunt was calling for her, after being in much grief because her son has died. She returns to Gateshead and remains there for a month caring for her dying aunt. Mrs. Reed gives Jane a letter from Jane's paternal uncle, Mr John Eyre, asking for her to live with him. Mrs. Reed admits to telling her uncle that Jane had died of fever at Lowood. Soon after, Jane's aunt dies, and she returns to Thornfield. Jane begins to communicate to her uncle John Eyre.

St. John Rivers admits Jane to Moor House.

After returning to Thornfield, Jane broods over Mr. Rochester's impending marriage to Blanche Ingram. But on a midsummer evening, he proclaims his love for Jane and proposes. As she prepares for her wedding, Jane's forebodings arise when a strange, savage-looking woman sneaks into her room one night and rips her wedding veil in two. As with the previous mysterious events, Mr. Rochester attributes the incident to drunkenness on the part of Grace Poole, one of his servants. During the wedding ceremony, Mr. Mason and a lawyer declare that Mr. Rochester cannot marry because he is still married to Mr. Mason’s sister Bertha. Mr. Rochester admits this is true, but explains that his father tricked him into the marriage for her money. Once they were united, he discovered that she was rapidly descending into madness and eventually locked her away in Thornfield, hiring Grace Poole as a nurse to look after her. When Grace gets drunk, his wife escapes, and causes the strange happenings at Thornfield. Jane learns that her own letter to her uncle John Eyre, which happened to be seen by Mr. Mason, who knew John Eyre and was there, was how Mr. Mason found out about the bigamous marriage. Mr. Rochester asks Jane to go with him to the south of France, and live as husband and wife, even though they cannot be married. Refusing to go against her principles, and despite her love for him, Jane leaves Thornfield in the middle of the night.

Jane travels through England using the little money she had saved. She accidentally leaves her bundle of possessions on a coach and has to sleep on the moor, trying to trade her scarf and gloves for food. Exhausted, she makes her way to the home of Diana and Mary Rivers, but is turned away by the housekeeper. She faints on the doorstep, preparing for her death. St. John Rivers, Diana and Mary's brother and a clergyman, saves her. After she regains her health, St. John finds her a teaching position at a nearby charity school. Jane becomes good friends with the sisters, but St. John remains reserved.

The sisters leave for governess jobs and St. John becomes closer with Jane. St. John discovers Jane's true identity, and astounds her by showing her a letter stating that her uncle John Eyre has died and left her his entire fortune of 20,000 pounds (equivalent to over £1.3 million in 2011, calculated using the RPI[4]). When Jane questions him further, St. John reveals that John is also his and his sisters' uncle. They had once hoped for a share of the inheritance, but have since resigned themselves to nothing. Jane, overjoyed by finding her family, insists on sharing the money equally with her cousins, and Diana and Mary come to Moor House to stay.

Thinking she will make a suitable missionary's wife, St. John asks Jane to marry him and to go with him to India, not out of love, but out of duty. Jane initially accepts going to India, but rejects the marriage proposal, suggesting they travel as brother and sister. As soon as Jane's resolve against marriage to St. John begins to weaken, she mysteriously hears Mr. Rochester's voice calling her name. Jane then returns to Thornfield to find only blackened ruins. She learns that Mr. Rochester's wife set the house on fire and committed suicide by jumping from the roof. In his rescue attempts, Mr. Rochester lost a hand and his eyesight. Jane reunites with him, but he fears that she will be repulsed by his condition. When Jane assures him of her love and tells him that she will never leave him, Mr. Rochester again proposes and they are married. He eventually recovers enough sight to see their first-born son

CRITICISM:

As a theoretical approach, postcolonialism asks readers to consider the way colonialist and anti-colonialist messages are presented in literary textsA postcolonial approach to Jane Eyre might begin by considering the following questions: What does the novel reveal about the way cultural difference was represented in Victorian culture? How did Britain justify its colonialist project by imaging the East as "savage" or uncivilized? What idea does the text create of "proper" British behavior? Tentative answers to these questions can be discovered by examining the novel's representation of foreign women, especially Bertha Mason, and the colonialist doctrines of Jane and of St. John Rivers.

One of the colonialist goals of this novel is to create a prototype of the proper English woman, someone like Jane who is frank, sincere, and lacking in personal vanity. This ideal is created by Jane's attempt to contrast herself with the foreign women in the text. For example, both Céline Varens and her daughter are constantly criticized in the novel for their supposed superficiality and materialism.

But Jane's position is more conflicted than Rochester's: As a woman she is also a member of a colonized group, but as a specifically British woman, she is a colonizer. When she claims Rochester gives her a smile such as a sultan would "bestow on a slave his gold and gems had enriched," she emphasizes the colonized status of all women. Insisting that he prefers his "one little English girl" to the "Grand Turk's whole seraglio," Rochester points to Jane's powerlessness, her reduction to sex slave. Rather than becoming slave, Jane insists she will become a missionary, preaching liberty to women enslaved in harems. Her comments show the dual position of European women: both colonized and colonizers. While Rochester reduces her to a colonized "doll" or "performing ape," her comments show her Eurocentric understanding of Eastern culture: She implies that she'll be the enlightened Englishwoman coming to the rescue of poor, abused Turkish women. All women are enslaved by male despotism, but the British woman claims a moral and spiritual superiority over her Eastern sisters.

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ROMANTICISM

4:50 AM |

Wuthering Heights

Emily Bronte

In the late winter months of 1801, a man named Lockwood rents a manor house called Thrushcross Grange in the isolated moor country of England. Here, he meets his dour landlord, Heathcliff, a wealthy man who lives in the ancient manor of Wuthering Heights, four miles away from the Grange. In this wild, stormy countryside, Lockwood asks his housekeeper, Nelly Dean, to tell him the story of Heathcliff and the strange denizens of Wuthering Heights. Nelly consents, and Lockwood writes down his recollections of her tale in his diary; these written recollections form the main part of Wuthering Heights.

Nelly remembers her childhood. As a young girl, she works as a servant at Wuthering Heights for the owner of the manor, Mr. Earnshaw, and his family. One day, Mr. Earnshaw goes to Liverpool and returns home with an orphan boy whom he will raise with his own children. At first, the Earnshaw children—a boy named Hindley and his younger sister Catherine—detest the dark-skinned Heathcliff. But Catherine quickly comes to love him, and the two soon grow inseparable, spending their days playing on the moors. After his wife’s death, Mr. Earnshaw grows to prefer Heathcliff to his own son, and when Hindley continues his cruelty to Heathcliff, Mr. Earnshaw sends Hindley away to college, keeping Heathcliff nearby.

Three years later, Mr. Earnshaw dies, and Hindley inherits Wuthering Heights. He returns with a wife, Frances, and immediately seeks revenge on Heathcliff. Once an orphan, later a pampered and favored son, Heathcliff now finds himself treated as a common laborer, forced to work in the fields. Heathcliff continues his close relationship with Catherine, however. One night they wander to Thrushcross Grange, hoping to tease Edgar and Isabella Linton, the cowardly, snobbish children who live there. Catherine is bitten by a dog and is forced to stay at the Grange to recuperate for five weeks, during which time Mrs. Linton works to make her a proper young lady. By the time Catherine returns, she has become infatuated with Edgar, and her relationship with Heathcliff grows more complicated.

When Frances dies after giving birth to a baby boy named Hareton, Hindley descends into the depths of alcoholism, and behaves even more cruelly and abusively toward Heathcliff. Eventually, Catherine’s desire for social advancement prompts her to become engaged to Edgar Linton, despite her overpowering love for Heathcliff. Heathcliff runs away from Wuthering Heights, staying away for three years, and returning shortly after Catherine and Edgar’s marriage.

When Heathcliff returns, he immediately sets about seeking revenge on all who have wronged him. Having come into a vast and mysterious wealth, he deviously lends money to the drunken Hindley, knowing that Hindley will increase his debts and fall into deeper despondency. When Hindley dies, Heathcliff inherits the manor. He also places himself in line to inherit Thrushcross Grange by marrying Isabella Linton, whom he treats very cruelly. Catherine becomes ill, gives birth to a daughter, and dies. Heathcliff begs her spirit to remain on Earth—she may take whatever form she will, she may haunt him, drive him mad—just as long as she does not leave him alone. Shortly thereafter, Isabella flees to London and gives birth to Heathcliff’s son, named Linton after her family. She keeps the boy with her there.

Thirteen years pass, during which Nelly Dean serves as Catherine’s daughter’s nursemaid at Thrushcross Grange. Young Catherine is beautiful and headstrong like her mother, but her temperament is modified by her father’s gentler influence. Young Catherine grows up at the Grange with no knowledge of Wuthering Heights; one day, however, wandering through the moors, she discovers the manor, meets Hareton, and plays together with him. Soon afterwards, Isabella dies, and Linton comes to live with Heathcliff. Heathcliff treats his sickly, whining son even more cruelly than he treated the boy’s mother.

Three years later, Catherine meets Heathcliff on the moors, and makes a visit to Wuthering Heights to meet Linton. She and Linton begin a secret romance conducted entirely through letters. When Nelly destroys Catherine’s collection of letters, the girl begins sneaking out at night to spend time with her frail young lover, who asks her to come back and nurse him back to health. However, it quickly becomes apparent that Linton is pursuing Catherine only because Heathcliff is forcing him to; Heathcliff hopes that if Catherine marries Linton, his legal claim upon Thrushcross Grange—and his revenge upon Edgar Linton—will be complete. One day, as Edgar Linton grows ill and nears death, Heathcliff lures Nelly and Catherine back to Wuthering Heights, and holds them prisoner until Catherine marries Linton. Soon after the marriage, Edgar dies, and his death is quickly followed by the death of the sickly Linton. Heathcliff now controls both Wuthering Heights and Thrushcross Grange. He forces Catherine to live at Wuthering Heights and act as a common servant, while he rents Thrushcross Grange to Lockwood.

Nelly’s story ends as she reaches the present. Lockwood, appalled, ends his tenancy at Thrushcross Grange and returns to London. However, six months later, he pays a visit to Nelly, and learns of further developments in the story. Although Catherine originally mocked Hareton’s ignorance and illiteracy (in an act of retribution, Heathcliff ended Hareton’s education after Hindley died), Catherine grows to love Hareton as they live together at Wuthering Heights. Heathcliff becomes more and more obsessed with the memory of the elder Catherine, to the extent that he begins speaking to her ghost. Everything he sees reminds him of her. Shortly after a night spent walking on the moors, Heathcliff dies. Hareton and young Catherine inherit Wuthering Heights and Thrushcross Grange, and they plan to be married on the next New Year’s Day. After hearing the end of the story, Lockwood goes to visit the graves of Catherine and Heathcliff.

CRITICISM

This is a book that speaks to the death of romantic notions; even the relatively happy ending doesn't seem to come from a grand love or fiery romance, but from quiet acceptance. The only (presumably) successful relationship doesn't start in secret and it is never dramatic; it is a quiet acclimatization of two people towards one another, a co-evolution. To me, in many ways, Wuthering Heights was an anti-romance, exactly the opposite of what I had been expecting.Even as I was wrapped up in the story, I struggled with how unsympathetic all of the characters were. They were foolish, naive, vindictive, whiny, and self-absorbed. They were, I suppose, very human, though in some cases it was hard to see anything redeemable about them at all. Take Catherine, the beloved whose rejection of Heathcliff spurs the book's events. She had a singularly high sense of self-worth.

In Wuthering Heights, Brontë constantly plays nature and culture against each other. Nature is represented by the Earnshaw family, and by Catherine and Heathcliff in particular. These characters are governed by their passions, not by reflection or ideals of civility. Correspondingly, the house where they live—Wuthering Heights—comes to symbolize a similar wildness. On the other hand, Thrushcross Grange and the Linton family represent culture, refinement, convention, and cultivation.

Finally, a word or two about madness: It is interesting the way the book conflates madness and illness while at the same time casting a moral judgment on the sufferers of both. Sickliness is a shorthand character trait in this book and madness a character flaw. Again, this attitude is likely a product of the book's era, but it's one that I found intriguing because of the inherent contradictions I see in the way it was handled.

It is a novel about what happens when the guy doesn't get the girl and how the universe can be set right again. In between, there is melodrama, tragedy, madness and, possibly, ghosts. It's a quick read, a fun one, and the kind of book that gives you a little bit of insight into the stew of popular culture. Plus, it'll make you feel good about yourself, since you're almost certainly wiser, more humble, and less shallow than any of Bronte's classic characters.

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HUMANISM

4:34 AM |

The World is Too Much With Us

by William Wordsworth

The world is too much with us; late and soon,

Getting and spending, we lay waste our powers;

Little we see in Nature that is ours;

We have given our hearts away, a sordid boon!

This Sea that bares her bosom to the moon;

The winds that will be howling at all hours,

And are up-gathered now like sleeping flowers,

For this, for everything, we are out of tune;

It moves us not.--Great God! I'd rather be

A pagan suckled in a creed outworn;

So might I, standing on this pleasant lea,

Have glimpses that would make me less forlorn;

Have sight of Proteus rising from the sea;

Or hear old Triton blow his wreathèd horn.

CRITICISM

"The world is too much with us" is a sonnet with an abbaabbacdcdcd rhyme scheme. This relatively simple poem angrily states that human beings are too preoccupied with the material (“The world...getting and spending”) and have lost touch with the spiritual and with nature. In the sestet, the speaker dramatically proposes an impossible personal solution to his problem—he wishes he could have been raised as a pagan, so he could still see ancient gods in the actions of nature and thereby gain spiritual solace. His thunderous “Great God!” indicates the extremity of his wish.

The poem is written from a place of angst and frustration. All around, people are obsessed with money and with manmade objects. These people are losing their powers of divinity, and can no longer identify with the natural world. This idea is encapsulated in the famous lines: "Getting and spending, we lay waste our powers; / Little we see in Nature that is ours." Wordsworth believes that we have given our hearts away in exchange for money and material wealth. He is disgusted at this especially because nature is so readily available; it almost calls to humanity. In the end, Wordsworth decides that he would rather be a pagan in a complete state of disillusionment than be out of touch with nature.

The final image of the poem is of Wordsworth standing on a lea (or a tract of open land) overlooking the ocean where he sees Proteus and Triton. He is happy, but this happiness is not what the reader is meant to feel. In actuality, the reader should feel saddened by the scene, because Wordsworth has given up on humanity, choosing instead to slip out of reality.

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