"She stood up in a sudden impulse of terror. Escape! She must escape! Frank would save her. He would give her life, perhaps love, too. But she wanted to live. Why should she be unhappy? She had a right to happiness. Frank would taker her in his arms, fold her in his arms. He would save her." -pg 221
Eveline does a lot of self examination in this story. She examines first her life at home and her family. It is hard, but it is all she has even known, and leaving it would cause her sadness. But, in the passage quoted above, further examination leads her to change. This change is what makes her a dynamic character. When weighing her options between Frank and the life he offers her and the life she already has, she realizes she must get out. Her mother was once trapped in this life, and the memories of her mother help her realize how she needs to change her situation. She physically changes from a sitting position to a standing position. Her physical actions relate how the new realizations she has made are changing her mind.
However, we know that Eveline could not go through with her decision made in this passage. She was paralyzed with fear. This fear was not of Frank, or even of him possibly disappointing her. It was a fear of the unknown. Her new found decisiveness and bravery were no match for this fear, and her decision was gone. Nevertheless, I truly believe that she underwent a change. Maybe she didn't go with Frank on the voyage, but she knows now that her life doesn't have to be as hard as it is. This change, although not complete and slightly disappointing, makes Eveline a dynamic character.
Tuesday, November 29, 2011
Paralyzed (Dynamic Character)
"She stood up in a sudden impulse of terror. Escape! She must escape! Frank would save her. He would give her life, perhaps love, too. But she wanted to live. Why should she be unhappy? She had a right to happiness. Frank would taker her in his arms, fold her in his arms. He would save her." -pg 221
Eveline does a lot of self examination in this story. She examines first her life at home and her family. It is hard, but it is all she has even known, and leaving it would cause her sadness. But, in the passage quoted above, further examination leads her to change. This change is what makes her a dynamic character. When weighing her options between Frank and the life he offers her and the life she already has, she realizes she must get out. Her mother was once trapped in this life, and the memories of her mother help her realize how she needs to change her situation. She physically changes from a sitting position to a standing position. Her physical actions relate how the new realizations she has made are changing her mind.
However, we know that Eveline could not go through with her decision made in this passage. She was paralyzed with fear. This fear was not of Frank, or even of him possibly disappointing her. It was a fear of the unknown. Her new found decisiveness and bravery were no match for this fear, and her decision was gone. Nevertheless, I truly believe that she underwent a change. Maybe she didn't go with Frank on the voyage, but she knows now that her life doesn't have to be as hard as it is. This change, although not complete and slightly disappointing, makes Eveline a dynamic character.
Eveline does a lot of self examination in this story. She examines first her life at home and her family. It is hard, but it is all she has even known, and leaving it would cause her sadness. But, in the passage quoted above, further examination leads her to change. This change is what makes her a dynamic character. When weighing her options between Frank and the life he offers her and the life she already has, she realizes she must get out. Her mother was once trapped in this life, and the memories of her mother help her realize how she needs to change her situation. She physically changes from a sitting position to a standing position. Her physical actions relate how the new realizations she has made are changing her mind.
However, we know that Eveline could not go through with her decision made in this passage. She was paralyzed with fear. This fear was not of Frank, or even of him possibly disappointing her. It was a fear of the unknown. Her new found decisiveness and bravery were no match for this fear, and her decision was gone. Nevertheless, I truly believe that she underwent a change. Maybe she didn't go with Frank on the voyage, but she knows now that her life doesn't have to be as hard as it is. This change, although not complete and slightly disappointing, makes Eveline a dynamic character.
People Watcher Extraordinaire (Indirect Characterization)
"She had become really quite expert, she thought, at listening as though she didn't listen, at sitting in other people's lives just for a minute while they talked around her." -pg 183
Miss Brill is perhaps the most talkative person that I have ever met (read about) that actually doesn't do that much talking. The stream of her consciousness is hard to follow, elaborate, and constantly observant. She is the queen bee of all people watchers and her thoughts reflect that. Interestingly enough, none of her thoughts are directed on herself. Certainly, they involve her ermine toque, her fellow "actors", and even her role "on stage", but never anything specific about who she is, what her life is like, or what her circumstances are. The author drops a few hints about her occupation, but that is it. The readers are left to decide who she is based on her opinions of others.
What I determined from the most indirect characterization I have ever read was that Miss Brill is perhaps the most eccentric and peculiar character of all (even Bartelby). Her thoughts are based on reality, but imaginative and full of imagery and figurative language which compares her comrades of Sunday with many things and ultimately a play acted onstage. What I gather about Miss Brill herself is that she is a single, middle aged to old, lonely woman who desires nothing more than companionship. She lives vicariously throught the thrills she witnesses and makes up in her head. Toward the end of the story, she is confronted with a harsh dose of reality that makes her see the other Sunday people as they really are: flawed, rude, normal people. The loss of her most joyful muse causes even her ermine toque to weep.
Things That Go Bump In the Night
"A creaking of the kind made by the weight carried by one foot after another along a wooden floor. I listened. I felt the apertures of my ears distend with concentration. Again: the creaking. I was waiting for it; waiting to hear if it indicated that feet were moving from room to room, coming up the passage - to my door." -pg 231
We've all had that fear of the sounds at night that we can't quite identify. Imagination becomes our enemy in the night. It produces people and things that don't exist, and definitely don't belong in our houses. The author here is experiencing one of these moments. I found it interesting that the author was a character in the story, which even included a short discussion of her life as author. Nevertheless, as in most cases, sleep evades her. In order to fall asleep, and console her fears, she tells herself a bedtime story that is unsettling to most, but in her perspective is comforting.
The story about the parents who accidentally killed their son while trying their hardest to protect him is at first quite disturbing. When considered under the author's excerpt at the beginning; however, it relates a comforting message. The story shows us how there is no reason to go overboard on protecting ourselves with extreme measures and precautions. These measures and precautions can even lead to our downfall. So don't bother setting bars over your window, the burglars will just get in anyway!! This still seems depressing. But in reality, it frees the worrier from worry. What happens will happen and you can't control it or direct it or change it. So don't spend all your money on keeping out what goes bump in the night when its just a mouse.
We've all had that fear of the sounds at night that we can't quite identify. Imagination becomes our enemy in the night. It produces people and things that don't exist, and definitely don't belong in our houses. The author here is experiencing one of these moments. I found it interesting that the author was a character in the story, which even included a short discussion of her life as author. Nevertheless, as in most cases, sleep evades her. In order to fall asleep, and console her fears, she tells herself a bedtime story that is unsettling to most, but in her perspective is comforting.
The story about the parents who accidentally killed their son while trying their hardest to protect him is at first quite disturbing. When considered under the author's excerpt at the beginning; however, it relates a comforting message. The story shows us how there is no reason to go overboard on protecting ourselves with extreme measures and precautions. These measures and precautions can even lead to our downfall. So don't bother setting bars over your window, the burglars will just get in anyway!! This still seems depressing. But in reality, it frees the worrier from worry. What happens will happen and you can't control it or direct it or change it. So don't spend all your money on keeping out what goes bump in the night when its just a mouse.
Too Much of a Good Thing (Irony)
"YOU HAVE BEEN WARNED" - pg 233
The parents that are featured in the short story "Once upon a time" are constantly taking precautions based on warnings, examples, and the advice of others. All their intentions are good. All the advice, warnings, and precautions they hear are true. All they want is to make sure their lifestyle and their child is protected. They have been warned against so manner dangers, but the sign on their fence ironically suggests that it is the would-be hooligans and burglars who should be afraid.
The theme of this story is a classically ironic one: too much of a good thing is a bad thing. The parents in the story guarded their house from dangers in every way possible. The used walls, alarms, bars on their windows, automated gates, and barbed wire. Each of these installations increased their protection from the society they could not control until the last one. The barbed wire atop their wall was the last straw. They had gone too far. With their excessive "good things", they brought the very thing they wished to keep out, in. The last sentence is this: "the bleeding mass of the little boy was hacked out of the security coil with saws, wire-cutters, choppers, and they carried it- the man, the wife, the hysterical trusted housemaid and the weeping gardener- into the house." All the evil they wanted out had come in, due to an ironic twist on an old adage.
The parents that are featured in the short story "Once upon a time" are constantly taking precautions based on warnings, examples, and the advice of others. All their intentions are good. All the advice, warnings, and precautions they hear are true. All they want is to make sure their lifestyle and their child is protected. They have been warned against so manner dangers, but the sign on their fence ironically suggests that it is the would-be hooligans and burglars who should be afraid.
The theme of this story is a classically ironic one: too much of a good thing is a bad thing. The parents in the story guarded their house from dangers in every way possible. The used walls, alarms, bars on their windows, automated gates, and barbed wire. Each of these installations increased their protection from the society they could not control until the last one. The barbed wire atop their wall was the last straw. They had gone too far. With their excessive "good things", they brought the very thing they wished to keep out, in. The last sentence is this: "the bleeding mass of the little boy was hacked out of the security coil with saws, wire-cutters, choppers, and they carried it- the man, the wife, the hysterical trusted housemaid and the weeping gardener- into the house." All the evil they wanted out had come in, due to an ironic twist on an old adage.
Wednesday, November 16, 2011
Understanding (Irony)
" 'What don't I understand?' I wanted to know. 'Your heritage,' she said. And then she turned to Maggie, kissed her, and said, 'You ought to try to make something of yourself, too, Maggie. It's really a new day for us. But from the way you and Mama still live you'd never know it' " -pg 181
Dee/Wangero comes back to the family that gave her the education that let her get away in the first place, and tells them what they ought to do and what they ought to be. She accuses them of not understanding the heritage and the significance of their old, hand made quilts. Dee/Wangero wants to hang these quilts in some sort of art exhibit. Her family wants to use them for their intended purpose by the people who made them. The irony of what Wangero is saying strikes the reader, who doesn't really understand the significance of Wangero's new attitude and look.
The author's irony delivers a message about respecting the roots which people come from. Dee doesn't respect the heritage of her name, let alone know what it is. However, she decides to make a judgment and changer it to Wangero anyway. She tells Maggie she should make something of herself, but it is a miracle that Maggie even survived the fire that scarred her. The author clearly wants the readers to understand how Dee went wrong, and he does this by using irony.
Dee/Wangero comes back to the family that gave her the education that let her get away in the first place, and tells them what they ought to do and what they ought to be. She accuses them of not understanding the heritage and the significance of their old, hand made quilts. Dee/Wangero wants to hang these quilts in some sort of art exhibit. Her family wants to use them for their intended purpose by the people who made them. The irony of what Wangero is saying strikes the reader, who doesn't really understand the significance of Wangero's new attitude and look.
The author's irony delivers a message about respecting the roots which people come from. Dee doesn't respect the heritage of her name, let alone know what it is. However, she decides to make a judgment and changer it to Wangero anyway. She tells Maggie she should make something of herself, but it is a miracle that Maggie even survived the fire that scarred her. The author clearly wants the readers to understand how Dee went wrong, and he does this by using irony.
Three Idiots
" 'You fat moron,' Frank said. 'You aren't good for diddly.' " -pg 195
Frank, Tub, and Kenny are possible three of the most unlikable characters I have ever read about. They are annoying, stupid, and frankly (haha) quite mean to each other. It's hard to believe most of the time that they are actually friends. Towards the end of the short story (the part where Kenny basically dies), I realized they weren't friends.
Frank was obviously the leader. When he bossed them around, they listened. When Frank got mad, things were serious. However, he did not respect them or lead them in the right direction in return. Rather, he abused his power by either insulting them, leaving one of them to die in the back of a truck, or making one of them think he liked him by feeding him pancakes. There was no genuine friendship. There was only manipulation and bossiness. Kenny and Tub were dumb enough to do follow him. It is hard to tell what is the greater crime: shooting a man, or leading two impressionable people into a situation where something like that would happen.
Frank, Tub, and Kenny are possible three of the most unlikable characters I have ever read about. They are annoying, stupid, and frankly (haha) quite mean to each other. It's hard to believe most of the time that they are actually friends. Towards the end of the short story (the part where Kenny basically dies), I realized they weren't friends.
Frank was obviously the leader. When he bossed them around, they listened. When Frank got mad, things were serious. However, he did not respect them or lead them in the right direction in return. Rather, he abused his power by either insulting them, leaving one of them to die in the back of a truck, or making one of them think he liked him by feeding him pancakes. There was no genuine friendship. There was only manipulation and bossiness. Kenny and Tub were dumb enough to do follow him. It is hard to tell what is the greater crime: shooting a man, or leading two impressionable people into a situation where something like that would happen.
Monday, November 14, 2011
Character By Character (Charcterization)
"At the period just preceding the advent of Bartelby, I had two persons as copyists in my employment and a promising lad as an office boy. First, Turkey; second, Nippers; third, Ginger Nut. These may seem names the like of which are not usually found in the Directory. In truth they wer nicknames mutually conferred upon each other by my three clerks, and were deemed expressive of theire respective persons or characters." -pg 644
Melville builds the basis for his story about one scrivener by first building the foundation for the setting character by character. He starts with the lawyer, describing his manner, personal philosophy, and employment. In the passage above, he moves on to describe the office copyists and the office lad. The characterization of all of these characters is extremely detailed and meticulous. The entirety of Melville's descriptions about these fairly minor characters lasts a little over five pages. After finishing the short story, I considered this exposition somewhat unnecessary, but after examing the events of the novel, I found that the painstakingly detailed charcterization did in fact have a purpose.
Firstly, the characterization of the other characters that come in contact with Bartelby set a foundation for what the current dynamic and regular pattern of the lawyer's office is. Bartelby's actions would seem peculiar on their own, but when compared to the actions of the regular employees, they are bizarre. In addition, the reactions of the characters in response to Bartelby show how Bartelby's inactions have a more profound effect than the readers would initially anticipate. Nipper's is infuriated with Bartelby. Turkey just wants to offer him a drink to help him loosen up a little. Ginger Nut faithfully brings him a snack of ginger nuts everyday. At one point, Turkey and Nipper, and even the lawyer himself, begin to be so affected by Bartelby that they accidentally mimic his faithful word choice "prefer". I noted that Ginger Nut was the one least described by the author and, correspondingly, he is the one who has the least to say about Barelby. The reactions of the more minor characters are understandable because of the meticulous characterizations given at the beginning of the story. These reactions to an inactive person prove how Bartelby truly was the protagonist. In addition, they give purpose to the lengthy characterization of the lawyer, Turkey, Nippers, and Ginger Nut.
Melville builds the basis for his story about one scrivener by first building the foundation for the setting character by character. He starts with the lawyer, describing his manner, personal philosophy, and employment. In the passage above, he moves on to describe the office copyists and the office lad. The characterization of all of these characters is extremely detailed and meticulous. The entirety of Melville's descriptions about these fairly minor characters lasts a little over five pages. After finishing the short story, I considered this exposition somewhat unnecessary, but after examing the events of the novel, I found that the painstakingly detailed charcterization did in fact have a purpose.
Firstly, the characterization of the other characters that come in contact with Bartelby set a foundation for what the current dynamic and regular pattern of the lawyer's office is. Bartelby's actions would seem peculiar on their own, but when compared to the actions of the regular employees, they are bizarre. In addition, the reactions of the characters in response to Bartelby show how Bartelby's inactions have a more profound effect than the readers would initially anticipate. Nipper's is infuriated with Bartelby. Turkey just wants to offer him a drink to help him loosen up a little. Ginger Nut faithfully brings him a snack of ginger nuts everyday. At one point, Turkey and Nipper, and even the lawyer himself, begin to be so affected by Bartelby that they accidentally mimic his faithful word choice "prefer". I noted that Ginger Nut was the one least described by the author and, correspondingly, he is the one who has the least to say about Barelby. The reactions of the more minor characters are understandable because of the meticulous characterizations given at the beginning of the story. These reactions to an inactive person prove how Bartelby truly was the protagonist. In addition, they give purpose to the lengthy characterization of the lawyer, Turkey, Nippers, and Ginger Nut.
Active Inaction (Protagonist)
" 'No: at present I would prefer not to make any change at all." " -pg 671
Bartleby is the most inactive character in the short story "Bartelby the Scrivener". He remains as stationary as possible. He does as little as possible. In fact, as the story progresses, he performs less and less action. At the beginning of the story he at least copies for his employer. After a while, he stops doing his work and merely stands in his hermitage, staring out the window for long stretches at a time. As the lawyer tries to fire him, and even goes as far as to move his office chambers, Bartelby does absolutely nothing beyond his usual response "I would prefer not to."
What is odd about Bartelby's inaction, besides its bizzare immobility, is that it actual ends up driving the story. Somehow, without every actually doing anything, Bartelby drives all the action of the story. All of his employer's actions, thoughts, and conversations all depend on what Bartelby is doing, or rather not doing. The plot all circulates around what Bartelby does not do. Bartelby's role as both protagonist and non-negotiable rock portray hims as an ironic, and even oddly humorous character.
Bartleby is the most inactive character in the short story "Bartelby the Scrivener". He remains as stationary as possible. He does as little as possible. In fact, as the story progresses, he performs less and less action. At the beginning of the story he at least copies for his employer. After a while, he stops doing his work and merely stands in his hermitage, staring out the window for long stretches at a time. As the lawyer tries to fire him, and even goes as far as to move his office chambers, Bartelby does absolutely nothing beyond his usual response "I would prefer not to."
What is odd about Bartelby's inaction, besides its bizzare immobility, is that it actual ends up driving the story. Somehow, without every actually doing anything, Bartelby drives all the action of the story. All of his employer's actions, thoughts, and conversations all depend on what Bartelby is doing, or rather not doing. The plot all circulates around what Bartelby does not do. Bartelby's role as both protagonist and non-negotiable rock portray hims as an ironic, and even oddly humorous character.
Sunday, November 6, 2011
Time by Dress Size
"When we next saw Miss Emily, she had grown fat and her hair was turning gray. During the next few years it grew grayer and grayer until it attained an even pepper and salt iron gray, when it ceased turning. Up to the day of her death at seventy-four it was still that vigorous iron gray like the hair of an active man" -pg 288
First off, A Rose for Emily is a weird, twisted, and creeptastic short story. Miss Emily is a woman who suffers great loses in life with the death of her father, then the almost-desertion of her love. Being a recluse and a lunatic, Emily did the only thing that made sense: she killed her lover and kept him in her bedroom so she could lie down next to him and pretend that she had him in life as well as death. Since the story is fairly straightforward, one might think that this ending is not spooky because it is so predictable. However, the climax of the plot where the contents of Miss Emily's house is revealed is not expected the story is not organized like most stories. Emily's life is revealed not in dates, but in by years relative to events. Everything is described as "five years since her father's death" or "twenty years since she had left the house" or "six years before the smell". And since the story isn't in exactly chronological order, this can get quite confusing. What helps the reader not only mark the passage and specific points of time, but also how Miss Emily is doing at that particular time, is the physical description of Emily herself.
When we first meet her, she is skinny and attractive. As the story moves on, she is either varying degrees of fat or skinny, depending on how old she is. Since the author almost always not the size of Miss Emily during specific events in the plot, her dress size can be a more helpful way to mark the passage of time, than time itself. The older, fatter, and more senile Emily gets, the closer the gruesome climax is.
First off, A Rose for Emily is a weird, twisted, and creeptastic short story. Miss Emily is a woman who suffers great loses in life with the death of her father, then the almost-desertion of her love. Being a recluse and a lunatic, Emily did the only thing that made sense: she killed her lover and kept him in her bedroom so she could lie down next to him and pretend that she had him in life as well as death. Since the story is fairly straightforward, one might think that this ending is not spooky because it is so predictable. However, the climax of the plot where the contents of Miss Emily's house is revealed is not expected the story is not organized like most stories. Emily's life is revealed not in dates, but in by years relative to events. Everything is described as "five years since her father's death" or "twenty years since she had left the house" or "six years before the smell". And since the story isn't in exactly chronological order, this can get quite confusing. What helps the reader not only mark the passage and specific points of time, but also how Miss Emily is doing at that particular time, is the physical description of Emily herself.
When we first meet her, she is skinny and attractive. As the story moves on, she is either varying degrees of fat or skinny, depending on how old she is. Since the author almost always not the size of Miss Emily during specific events in the plot, her dress size can be a more helpful way to mark the passage of time, than time itself. The older, fatter, and more senile Emily gets, the closer the gruesome climax is.
Husband My Met I How (deductive)
"He always tells the children the story of how I went after him by sitting by the mailbox every day, and naturally I laugh and let him, because I like for people to think what pleases them and makes them happy." -pg 146
This is the very end of the short story "How I Met My Husband". As clearly seen by connecting the title and the excerpt above, the story of how the protagonist actually met her husband was revealed only at the very end. Most of the story is a long, unnecessary, and not very relevant to the actual husband that the main character ended up marrying. So why go through the laborious tale revolving around the random pilot who had very little to do with the end of the story? It's deductive reasoning. The point of the plot is revealed at the end rather than the beginning. Not only does this route of progression take the reader on the long way to the point, but it provides the actual story part of the story. The story really doesn't end up being about how she met her husband, but a time in her life right before she met her husband. So the story should be more accurately titled: "How I Met The Guy I Dated Before My Husband". Sort of reminds of me of this one tv show.... oh never mind, I can't think of the name.
This is the very end of the short story "How I Met My Husband". As clearly seen by connecting the title and the excerpt above, the story of how the protagonist actually met her husband was revealed only at the very end. Most of the story is a long, unnecessary, and not very relevant to the actual husband that the main character ended up marrying. So why go through the laborious tale revolving around the random pilot who had very little to do with the end of the story? It's deductive reasoning. The point of the plot is revealed at the end rather than the beginning. Not only does this route of progression take the reader on the long way to the point, but it provides the actual story part of the story. The story really doesn't end up being about how she met her husband, but a time in her life right before she met her husband. So the story should be more accurately titled: "How I Met The Guy I Dated Before My Husband". Sort of reminds of me of this one tv show.... oh never mind, I can't think of the name.
Indirect Characterization
"He observed her. She wore a red-and-white-checkered skirt that stopped above her knees, slip-on shoes with a square wooden heel, and a close-fitting blouse styled like a man's undershirt. The blouse was decorate at chest-level with a calico applique in the shape of a strawberry. She was a short woman, with small hands like paws, her frosty pink fingernails painted to match her lips, and was lightly plump in her figure. Her hair, shorn only a little longer than her husband's, was parted far to one side. She was wearing large dark brown sunglasses with a pink-ish tint to them, and carried a big straw bag, almost as big as her torso, shaped like a bowl, with a water bottle poking out of it. She walked slowly, carrying some puffed rice tossed with peanuts and chili peppers in a large packet made from newspapers."
This is the part of the short story where the reader learns about the subject of the story. She is never literally described as rude, snobby, inconsiderate, or negligent to her children. However, somehow, she is given the characterization of the worst connotation the word American can give. Nothing about the descriptions above says anything negative about Mrs. Das, but the reader can tell she has the appearance of a stereotypically ignorant tourist. This persona is only defied when she takes an interest in the life and work of Mr. Kapasi. However, when she confesses that she hates her husband and children, the reader finds out that she had a selfish motive all along to getting to know Mr. Kapasi so well. She expects him to fix her problems, and give her helpful advice.The one characteristic that seemed out of place -her curiosity in Mr. Kapasi's life- turned out to be another part of her flawed personality. Although none of these transitions are ever clearly explained by the author, but it is clearly demonstrated by the indirect characterization of Mrs. Das.
This is the part of the short story where the reader learns about the subject of the story. She is never literally described as rude, snobby, inconsiderate, or negligent to her children. However, somehow, she is given the characterization of the worst connotation the word American can give. Nothing about the descriptions above says anything negative about Mrs. Das, but the reader can tell she has the appearance of a stereotypically ignorant tourist. This persona is only defied when she takes an interest in the life and work of Mr. Kapasi. However, when she confesses that she hates her husband and children, the reader finds out that she had a selfish motive all along to getting to know Mr. Kapasi so well. She expects him to fix her problems, and give her helpful advice.The one characteristic that seemed out of place -her curiosity in Mr. Kapasi's life- turned out to be another part of her flawed personality. Although none of these transitions are ever clearly explained by the author, but it is clearly demonstrated by the indirect characterization of Mrs. Das.
Double Meaning
" 'I have terrible urges, Mr. Kapasi, to throw things away. One day I had the urge to throw everything I own out the window, the television, the children, everything. Don't you think it's unhealthy?' He was silent. 'Mr. Kapasi, don't you have anything to say? I thought that was your job." -pg 163
It is obvious that Mr. Kapasi does not actually love Mrs. Das. He may not even like her. However, he has a particular experience, that makes her interesting and oddly attractive to him. His own wife doesn't love him. So when Mrs. Das wanders into his life and seems to be the American counterpart to his Indian wife. Mrs. Das takes an interest in Mr. Kapasi; perhaps because she doesn't seem to have an interest in anything else. She isn't nice, or even particularly beautiful, but she has what she considers a curable malady, so she presents it to Mr. Kapasi in order to get his attention, which works. She knows he isn't a doctor, and she knows that her problem with her husband isn't actually an injury. But she tells it to him anyway. Here, the title of the short story comes into clearer focus. "Interpreter of Maladies" can be a man who works in a doctor's office, translating medical issues from one language to another. Or, he can be a man who listens to ails of an American's marital life, and offers an insight that is not welcomed. Whether she accepts it as a cure or not is up to her.
It is obvious that Mr. Kapasi does not actually love Mrs. Das. He may not even like her. However, he has a particular experience, that makes her interesting and oddly attractive to him. His own wife doesn't love him. So when Mrs. Das wanders into his life and seems to be the American counterpart to his Indian wife. Mrs. Das takes an interest in Mr. Kapasi; perhaps because she doesn't seem to have an interest in anything else. She isn't nice, or even particularly beautiful, but she has what she considers a curable malady, so she presents it to Mr. Kapasi in order to get his attention, which works. She knows he isn't a doctor, and she knows that her problem with her husband isn't actually an injury. But she tells it to him anyway. Here, the title of the short story comes into clearer focus. "Interpreter of Maladies" can be a man who works in a doctor's office, translating medical issues from one language to another. Or, he can be a man who listens to ails of an American's marital life, and offers an insight that is not welcomed. Whether she accepts it as a cure or not is up to her.
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