Historical Adverse Effects of Literature

At the short story's end, the hills which have a bun in the oven like white elephants and the train which the couple awaits have symbolically underscored the distance which grows between them. Only a literary progeny could indicate that the isolation which the spot geographically suggests has expanded to embarrass their psychic and now torn relationship. As a large(p) modern writer one of Hemingway's gifts is to show things coming a crack, unravelling at the seams, rather than magically coming together again. Hemingway's realism unceasingly seems to ride upon a crest of surging cynicism.

Self-knowledge is also a key ingredient in Ibsen's drama, The Doll House. Ibsen uses the dramatic version to show his audience how Nora must stop playing the part of Torvald's little girl. She must stop stealing sweets and own up to the more serious aspects of life (Perrine 948). Ibsen presents Nora as a womanhood who is no longer giveing to function as her husband's doll. When the access slams at the play's end the audience is reminded that each of us has a responsibility to choose our own destiny. Tennessee William's portrayal of Amanda Wingfield's children turkey cock and Laura in The Glass Menagerie are prime examples of how one must choose one's own destiny. Tom soon tires of supporting his manipulative mother and fragile sister Amanda. He cannot stand work any long in the factory. Eventually he is fire for writing a poem on the lid of a shoe-box (Perrine 1001). Like

his father Tom is pushed by from his mother. He ends the play ironically saying that he in like elbow room has fallen in love with long distance. Yet Williams indicates that although Tom has been fit to thresh the hum-drum life of the factory and family, he is obsessed by the fragile beauty of his sister Laura. Crippled, she is shown as physically unable to escape. It is through collecting little glass animals that she is able to transcend the limitations of this life. Laura is both freed and restricted by her escape into the speculative world of her glass menagerie. Stumbling upon bits of "colored glass" reminds Tom of his sister and her "shattered rainbow" (Perrine 1001). The play ends with Tom wishing that Laura entrust macerate out her candles.

Williams uses the symbolism of literature to indicate that all likewise often each of us chooses darkness over light, escape over fulfillment. Literature allows the ambiguity of our daily lives to shine forwards with brilliance.

What he desires is escape (Perrine 399). Cheever subtly indicates that when Neddy begins to plot how he will navigate between the yards, he is fulfilling that long repressed collect of the adventurer. Cheever seems to be indicating that if life is always humdrum boredom, people will eventually break out in a manner nearly as bizarre as Neddy's. He decides, from indoors the perspective of the cartographer that this route which he will swim, this suburban "stream" of swimming pools, he will name "Lucinda" in honor of his wife (Perrine 399).

When the story ends and Ned happens upon his empty home, the reader is obligate to see that this is man who has literally been down on his luck. He yells for the maid or the cook to let him in until he remembers that the family has been unable to afford these luxuries for quite some time (Perrine 407). The military group of Cheever's narrative is that he forces the reader to feel the utter monomania which the swimmer has experienced. By the time the short story is completed, the
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