Category: American Literature

The content will give a notes on American pieces of English literature starting from the early movements to the contemporary eras.

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Mark Twain Science Vs Luck Summary

The story describes a legal case in Kentucky where boys were caught playing “seven-up” for money, which was considered a game of chance.

Jim Sturgis, the defense attorney, cleverly argued that “old sledge” was a game of science, not chance, to defend his clients.

Despite initial skepticism, Sturgis presented overwhelming evidence to support his claim, leading to a unique solution proposed by the judge.

A jury of six “chance” and six “science” individuals was impaneled to determine the nature of the game. After a night of playing, the jury unanimously declared that “old sledge” was a game of science, not chance, based on their observations.

This verdict led to the game being classified as a game of science in Kentucky law, showcasing the clever legal maneuvering by Sturgis to secure a favorable outcome for his clients.

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Critical Analysis of Susan Glaspell A Jury of Her Peers

Susan Glaspell’s “A Jury of Her Peers” is a thought-provoking and compelling short story that delves into the themes of gender, justice, and the complexities of human nature. Through her masterful storytelling and intricate character development, Glaspell offers a critical analysis of society’s attitudes towards women and the concept of justice, shedding light on the often overlooked perspectives of women in a patriarchal world.

One of the most prominent themes in “A Jury of Her Peers” is the issue of gender inequality and the marginalization of women in society. The story centers around the investigation of a murder in a rural farmhouse, where the men pay little attention to the women’s observations and insights. The men dismiss the women’s domestic knowledge and household chores, telling them to stay downstairs and tend to their own business. However, it is precisely in these domestic spaces and “trifles” that the women find crucial evidence that the men overlook. For example, the women notice the broken birdcage and the strangled bird, which ultimately reveals the motive for the murder. Glaspell illustrates the way women are often marginalized and undervalued in society, even when they possess valuable insights and knowledge.

Furthermore, “A Jury of Her Peers” also addresses the theme of justice and the limitations of the legal system. The men in the story, notably the sheriff and the county attorney, are quick to jump to conclusions and overlook important details in their investigation. They are more concerned with the physical evidence and are dismissive of the women’s observations and interpretations. They fail to understand the emotional and psychological complexities that led to the murder. On the other hand, the women, Mrs. Hale and Mrs. Peters, possess a deeper understanding of the circumstances that led to the crime. They empathize with the hardships faced by the accused, and they recognize the oppression and isolation she experienced in her marriage. Glaspell critiques the limitations of the legal system and highlights the importance of empathy and understanding in the pursuit of justice.

Moreover, Glaspell’s character development plays a crucial role in highlighting the complexities of human nature, particularly in the context of gender dynamics. The two women, Mrs. Hale and Mrs. Peters, are initially portrayed as typical housewives, preoccupied with domestic matters. However, as the story progresses, they reveal their intelligence, empathy, and inner strength. Mrs. Hale, in particular, emerges as a compelling and formidable character, challenging the male perception of women and their capabilities. Through their interactions and revelations, Glaspell defies traditional gender stereotypes and showcases the resilience and resourcefulness of women.

The story also delves deep into the concept of female solidarity and empowerment in the face of oppression. The story uses various symbols and imagery to illustrate the power and strength of women in a society that often disregards and oppresses them.

One of the most prominent symbols in the story is the bird, specifically the dead canary found in the farmhouse. The canary represents Minnie Wright, the woman accused of murdering her husband. The bird is small, fragile, and beautiful, much like Minnie herself. The fact that the bird’s neck was wrung by someone’s hands symbolizes the oppression and abuse that Minnie has endured at the hands of her husband. The women in the story – Mrs. Hale and Mrs. Peters – both understand the significance of the dead bird and its implications for Minnie. It acts as a catalyst for their realization of the oppressive conditions that Minnie lived in, which ultimately leads to their decision to protect her.

The farmhouse itself is a symbol of Minnie’s imprisonment and oppression. It is described as cold, unwelcoming, and neglected. It represents the isolation and despair that Minnie has experienced in her married life. The disarray and brokenness of the farmhouse mirrors Minnie’s own broken spirit and the toll that her oppressive marriage has taken on her. It is only through the women’s understanding and sympathy for Minnie’s situation that the true significance of the farmhouse is fully realized.

In addition to the symbols, “A Jury of Her Peers” also portrays the theme of female solidarity and empowerment. Upon arriving at the farmhouse to gather belongings for Minnie, the women begin to empathize with her and piece together the series of events that led to the murder of her husband. Mrs. Hale and Mrs. Peters find common ground in their shared understanding of the challenges and struggles faced by women in their society.

As the story unfolds, the women begin to realize the depth of Minnie’s suffering and the extent of her oppression. They empathize with her and see her as a victim of her circumstances, just as they have been victims of their own. The women’s solidarity and understanding of one another’s experiences gives them the strength to stand up for Minnie and protect her from the male authorities who seek to prosecute her.

The women’s decision to hide evidence and protect Minnie from conviction is a powerful display of female empowerment. Despite living in a society that does not value or prioritize women’s voices, the women in “A Jury of Her Peers” take matters into their own hands and refuse to yield to the oppressive forces at play. Their actions speak to the resilience and strength of women in the face of injustice and adversity.

In conclusion, Susan Glaspell’s “A Jury of Her Peers” offers a critical analysis of gender, justice, and the complexities of human nature, exposing the systemic marginalization of women in a patriarchal society. By interweaving the themes of gender inequality, justice, and character development, Glaspell challenges the reader to reflect on their own attitudes and assumptions. The story serves as a poignant reminder of the importance of empathy, understanding, and the recognition of women’s perspectives in the pursuit of justice. “A Jury of Her Peers” remains a timeless and relevant piece of literature that continues to resonate with audiences, prompting critical reflection and dialogue on gender and justice in society.

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Charles Olson Maximus, to Himself Summary

Lines

I have had to learn the simplest things
last. Which made for difficulties.
Even at sea I was slow, to get the hand out, or to cross
a wet deck.
The sea was not, finally, my trade.
But even my trade, at it, I stood estranged
from that which was most familiar. Was delayed,
and not content with the man’s argument
that such postponement
is now the nature of
obedience,

These lines beautifully capture the struggles and introspection of the speaker navigating the challenges of learning and adapting to new environments. The speaker reflects on his difficulties in mastering even the simplest tasks, like handling tasks at sea or moving across a wet deck. This portrayal of being slow to learn and feeling out of place in familiar settings speaks to the universal experience of grappling with change and feeling like an outsider in one’s own domain.

The mention of the sea not being the speaker’s ultimate trade highlights a sense of displacement and uncertainty about one’s place in the world. Despite engaging in his profession, the speaker still feels disconnected and delayed, unable to fully embrace or excel in his chosen path. The theme of estrangement from the familiar underscores a deeper existential questioning of identity and purpose, as the speaker grapples with the nature of obedience and the acceptance of delays as part of the human experience.

These lines delve into the complexities of personal growth, adaptation, and the struggle to find one’s place in a world that may not always align with our expectations. The speaker’s introspective journey invites contemplation on the challenges of self-discovery, the acceptance of delays, and the quest for understanding in the face of uncertainty and change.

Lines

that we are all late
in a slow time,
that we grow up many
And the single
is not easily
known

It could be, though the sharpness (the achiote)
I note in others,
makes more sense
than my own distances. The agilities

they show daily who do the world’s businesses And who do nature’s as I have no sense I have done either

These lines beautifully express a profound reflection on the concept of time, growth, and the complexities of individual identity. The idea that an individual is all late in a slow time speaks to the shared experience of feeling behind or out of sync with the pace of life, highlighting the universal struggle to navigate the passage of time and one’s own personal development.

The notion of growing up many and the challenge of understanding the single emphasizes the multifaceted nature of human existence and the difficulty in grasping the essence of one’s individual selves. The comparison between the sharpness observed in others and the speaker’s own perceived distances suggests a sense of inadequacy or self-doubt in recognizing one’s own strengths and capabilities amidst the perceived achievements of those around them.

The contrast between the agility displayed by those engaged in worldly pursuits and the speaker’s own sense of disconnect from both business and nature activities underscores a feeling of disorientation and a lack of purpose or direction. The speaker’s admission of not fully comprehending either realm reflects a deep introspection on his own place in the world and his struggle to find meaning and fulfillment in his actions.

Overall, these lines invite contemplation on the complexities of self-awareness, comparison with others, and the quest for understanding one’s own path in a world where different pursuits and identities intersect. The speaker’s introspective journey resonates with themes of self-discovery, personal growth, and the search for authenticity in a world that often seems to move at a different pace.

Lines

I have made dialogues,
have discussed ancient texts,
have thrown what light I could, offered
what pleasures
doceat allows

But the known?

This, I have had to be given,
a life, love, and from one man
the world.

These lines highlight the speaker’s journey of engaging in dialogues, delving into ancient texts, and sharing knowledge and insights with others. The act of throwing light and offering pleasures through discussion reflects a desire to illuminate ideas and bring joy through intellectual exchange, showcasing a commitment to learning and sharing wisdom with those around them.

The speaker’s acknowledgment of being given the known aspects of life, love, and the world from one man underscores the importance of mentorship, guidance, and the impact of relationships on shaping one’s understanding of the world. This recognition of receiving knowledge, love, and a broader perspective from a significant individual highlights the profound influence of personal connections and the value of learning from others in shaping one’s experiences and worldview.

Overall, these lines emphasize the significance of intellectual exploration, the joy of sharing knowledge, and the transformative power of relationships in shaping our understanding of life, love, and the world. The speaker’s reflection on the impact of dialogue, ancient texts, and personal connections underscores the interconnected nature of learning, growth, and the exchange of ideas in shaping our identities and relationships.

Lines

Tokens.
But sitting here
I look out as a wind
and water man, testing
And missing
some proof

I know the quarters
of the weather, where it comes from,
where it goes. But the stem of me,
this I took from their welcome,
or their rejection, of me

And my arrogance was neither diminished nor increased, by the communication

These lines capture the essence of introspection and self-awareness as the speaker reflects on his connection to the elements of wind and water, symbolizing a deep understanding of nature and the constant testing of oneself against its forces. The speaker’s contemplation of missing some proof suggests a quest for validation or confirmation in his experiences, highlighting a desire for clarity and certainty in his journey of self-discovery.

The speaker’s knowledge of the quarters of the weather and the origins of natural phenomena contrasts with his introspective exploration of his own identity and sense of belonging. The acknowledgment of deriving aspects of himself from the reactions of others, whether through welcome or rejection, underscores the influence of external perceptions on shaping one’s self-perception and personal growth.

Furthermore, the speaker’s reflection on his arrogance remaining unaffected by communication speaks to a sense of self-assurance and inner strength that is neither swayed nor bolstered by external interactions. This introspective observation suggests a deep-rooted sense of self-awareness and confidence that remains steadfast amidst the complexities of human relationships and the challenges of self-discovery.

Overall, these lines emphasize the interplay between external influences and internal identity, the quest for self-validation, and the resilience of one’s sense of self in the face of interpersonal dynamics. The speaker’s contemplation of nature, personal interactions, and self-perception weaves a narrative of introspection, self-discovery, and the complexities of human connection.

Lines

It is undone business
I speak of, this morning,
with the sea
stretching out
from my feet

These lines convey a sense of unresolved matters that weigh on the speaker’s mind as he engages in a conversation with the sea, symbolizing a vast and contemplative space. The imagery of the sea stretching out from the speaker’s feet evokes a feeling of connection to the expansive nature of the ocean, serving as a backdrop for introspection and reflection on unfinished business.

The speaker’s reference to speaking of undone business in the morning suggests a fresh start or a new beginning, where thoughts and concerns are brought to light in the presence of the sea. The act of engaging with the sea in this moment signifies a desire for clarity, resolution, or perhaps a sense of release from lingering matters that require attention or closure.

Overall, these lines capture a moment of introspection and contemplation, where the speaker seeks solace, clarity, or perhaps a sense of closure by sharing his thoughts with the vast expanse of the sea. The imagery of the sea as a backdrop for discussing unfinished business conveys a sense of seeking understanding, resolution, or peace in the midst of nature’s grandeur and tranquility.

In Short Summary

The speaker admits to having difficulties in learning simple things, which even affected his ability to perform tasks at sea. The sea was not his chosen profession, but even in his chosen trade, he felt estranged and delayed.

The speaker reflects on the nature of obedience and how everyone is late in a slow time. He observes that others seem more capable and agile in their daily activities, both in business and in nature, while he feels a lack of sense in his own actions.

The speaker has engaged in dialogues, discussed ancient texts, and offered what pleasures he could, but he feels that true knowledge has been given to him rather than acquired. He has received tokens of life, love, and the world from one man, but he still feel a sense of longing and a need for proof.

The speaker has knowledge of weather patterns but feels that his own identity and sense of self were shaped by how others welcomed or rejected him. His arrogance remains unchanged by communication, and he considers it unfinished business. The speaker contemplates his current situation by the sea, feeling a sense of longing and uncertainty.

The poem explores the speaker’s struggles in learning and feeling estranged in his chosen trade. He reflects on the nature of obedience, observe others’ capabilities, and express a longing for true knowledge and proof. His identity is shaped by how others perceive him, and he contemplates his current state with a sense of longing and uncertainty.

Critical Analysis of Susan Glaspell A Jury of Her Peers

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Gary Snyder The Bath Summary

The poem describes a scene in a sauna where a child named Kai is being washed. The kerosene lantern outside the window illuminates the area, and the steam and sound of waterdrops create a soothing atmosphere. Kai’s fear of soap in his eyes is mentioned, and the speaker describes washing his body, including his thighs, stomach, crotch, scrotum, anus, and penis. Both the narrator and Kai are naked, and they laugh and play together.

Masa, presumably the child’s mother, enters the sauna and washes Kai’s hair while he protests. The speaker describes the intimate connection between the narrator and Masa, referring to her body as “the body of my lady” and describing their physical interaction. The poem also mentions the gates of awe and the hidden place of seed, alluding to the reproductive process and the joy it brings.

The scene transitions to the speaker and Kai lying on redwood benches, their hearts beating quietly. They engage in conversation and wonder about another child named Gen who is napping. The poem emphasizes the love between the boys and their mother, who passes them on to other women. The natural surroundings, such as the sky, pines, and meadow, are also mentioned.

The poem concludes with the speaker and Kai pouring cold water on themselves, going inside the house, and standing by the fire. Gen shouts excitedly, and the scene ends with the narrator and the babies laughing and enjoying themselves. The poem emphasizes the connection between the individuals and their shared experiences, referring to it as “our body.”

Analysis

The poem describes a scene of a family bathing together in a sauna, highlighting the intimate and playful interactions between the parents and their children. The setting is vividly depicted with details of the kerosene lantern, iron stove, and washtub. The act of washing each other is portrayed as a bonding experience, with moments of laughter and tenderness shared among the family members.

The speaker delves into the physicality of the bodies involved, emphasizing the interconnectedness and shared experiences within the family unit. The mother’s nurturing gestures towards her children, particularly in the act of washing their bodies, symbolize a sense of care and closeness. The poem also touches upon themes of motherhood, fatherhood, and the cycle of life, as seen through the lens of familial relationships.

The imagery of the sauna, steam, and hot stones creates a sensory experience for the reader, evoking a feeling of warmth and comfort. The family’s interactions are portrayed as natural and unguarded, reflecting a sense of unity and love. The poem concludes with a sense of contentment and joy, as the family members come together in a moment of shared laughter and connection.

Overall, the poem conveys a message of familial love, intimacy, and the beauty of shared experiences. It celebrates the human body, the bonds between family members, and the simple pleasures of everyday life.

Charles Olson Maximus, to Himself Summary

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Amiri Baraka Wise I Summary

Lines

WHYS (Nobody Knows
The Trouble I Seen)
Traditional

These lines appears short but it a powerful landscape and an expression towards the silent oppression one endures in his or her life. The word “WHYS” appears to be written in capitals that adds attention to the readers to seek out the reason and a cause of the oppression. The parenthesis in the poem also adds a layer of attention to the speaker’s internal journey of silent suffering within which is clearly invisible to the external world. The word “WHYS” and “Traditional” appears to be vague but it could suggest the speaker’s attention towards the idea that these silent oppressions have become “Traditional” for him.

Lines

If you ever find
yourself, some where
lost and surrounded
by enemies
who won’t let you
speak in your own language
who destroy your statues
& instruments, who ban
your omm bomm ba boom
then you are in trouble
deep trouble
they ban your
own boom ba boom
you in deep deep
trouble

These stanza , written in free verse and a language of absurd reflects the speaker’s complexity of emotional turbulence. The speaker is addressing to the readers that if they find themselves lost in the middle surrounded by “enemies” who denies their cultural identity and control their language of their desires are in “deep trouble”.

The speaker also suggest that those enemies who comes at others to sabotage their status and self image in the society as well as “omm bomm ba boom” are in “deep trouble”. The phrase “omm bomm ba boom” is an absurd language that makes no sense but it is the generalisation of all aspects of human life. Here, the speaker repeats it to mention that there are some who tries to wreck the centre of others life and they are in “deep trouble”. The continuous repetition clearly indicates the psychological impact it can have on the victim and the kind of emotional trauma and damage the victim undergoes in the society. It gives insight into the kind of a cage and a prison of psychological torture of never ending “deep trouble” and a pain that is associated with people who tries to sabotage each and every aspect of their lives.

Lines

humph! 

probably take you several hundred years 
to get 
out!

These few lines suggest a powerful implications towards psychological trauma a person undergoes after their entire life is destroyed. The speaker states that when someone enters and destroys their entire life, it takes “several hundred years” to recover from the psychological trauma. The technique used is a hyperbole because the speaker’s trauma is exaggerated to a length that is beyond the human life cycle. It shows that the healing of a trauma requires over a century meaning that it takes the entire lifespan of a person to recover from such traumatic experiences.

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Gary Snyder Axe Handles Summary

Lines

One afternoon the last week in April
Showing Kai how to throw a hatchet
One-half turn and it sticks in a stump.
He recalls the hatchet-head
Without a handle, in the shop
And go gets it, and wants it for his own.

These lines paint a vivid picture of passing down skills and tools through generations. The speaker teaches Kai how to throw a “hatchet” one afternoon last week in the month of April. The “hatchet” sticks “in a stump” in “One half turn”. He remembers the hatchet without a handle in a shop and he decides to use it for his own personal craftsmanship.It is a beautiful dance of knowledge and craftsmanship, where the elder imparts wisdom to the younger one. The scene captures a moment of connection and tradition, where the significance of a simple hatchet becomes a symbol of learning and growth. It’s a poetic reflection on the bond between the past and the future, echoing the essence of heritage and mentorship. Critically, the hatchet and the its handle are metaphor for poet’s creativity and a creation of a poem.

Lines

A broken-off axe handle behind the door
Is long enough for a hatchet,
We cut it to length and take it
With the hatchet head
And working hatchet, to the wood block.
There I begin to shape the old handle
With the hatchet, and the phrase
First learned from Ezra Pound
Rings in my ears!
“When making an axe handle
the pattern is not far off.”

The lines paint a picture of resourcefulness and creativity. The speaker finds the axe handle broken off from its head behind the door appropriate to be a handle for the hatchet. He then cuts the handle in a conjectural length to fit as handle for the hatchet. It shows a journey of transformation turning something old and broken into something new and useful. The process of crafting the handle for the hatchet symbolizes resilience and ingenuity, making the most out of what’s available. The mention of the phrase from Ezra Pound adds a layer of inspiration, reminding the speaker and Kai that sometimes the path to creation is closer than one thinks. It is a clear metaphor towards the poetic creativity and the allusion to Ezra Pound clearly justifies it. It’s a beautiful reflection on the art of making do with what one have and finding beauty in simplicity.

Lines

And I say this to Kai
“Look: We’ll shape the handle
By checking the handle
Of the axe we cut with—”
And he sees. And I hear it again:
It’s in Lu Ji’s Wên Fu, fourth century
A.D. “Essay on Literature”-—in the
Preface: “In making the handle
Of an axe
By cutting wood with an axe
The model is indeed near at hand.”

These lines carry the essence of passing down wisdom and knowledge, like a ripple through time. The speaker tells Kai that they will shape the handle together meaning the act of producing an art together.The act of shaping the handle by referencing the axe’s handle they cut with is a beautiful lesson in craftsmanship and tradition. It’s a poetic connection to ancient wisdom, echoing the idea that the best guide for creation is often right in front of one. It also reflects the idea of poetic creativity where a poem is like a block made up from different other poems. Similarly, the handle of the axe is sharpened and fit into the hatchet’s head, the poem also alludes to other poems connecting the ancient wisdom of thoughts into the present. It also reflect Eliot’s modernist spirit. The reference to Lu Ji’s work adds a touch of history and depth to the moment, emphasizing the cyclical nature of learning and creation. It’s a profound reminder that inspiration and guidance can be found in the simplest of actions and objects. The various allusions shows what Eliot propagated about the past guiding the present and the present altering the past to give birth to an individual talent or a new work of art. Similarly, the allusion to Ezra Pound and Lu Ji have guided the present poet to create and produce a new work of art whereby the present poet alters the past to create a something new out of it.

Lines

My teacher Shih-hsiang Chen
Translated that and taught it years ago
And I see: Pound was an axe,
Chen was an axe, I am an axe
And my son a handle, soon
To be shaping again, model
And tool, craft of culture,
How we go on.

These lines capture the essence of continuity and legacy. It’s like a poetic dance of generations, each one playing a crucial role in the cycle of creation and learning. The speaker’s teacher is Shih- hsiang Chen and he sees Pound and Chen to be an axe meaning a metaphor for a teacher who sharpens others. His son Kai is a handle who is being sharpened by various poets from the past and the speaker himself. It shows the legacy and the poetic tradition that has been passing down throughout. It reflects the modernist spirit of “tradition” and Eliot’s idea of a poet’s relationship with tradition. The metaphor of being an axe, with his teacher and the son Kai as parts of the process, reflects the idea of passing down knowledge and skills through time. It’s a profound reflection on the interconnectedness of past, present, and future, highlighting the importance of tradition and growth. The imagery of shaping and crafting symbolizes the ongoing journey of culture and heritage, showing how each generation plays a vital role in shaping the world around them.

In Short Summary

The speaker is teaching Kai how to throw a hatchet. He finds a hatchet-head without a handle in a shop and decide to use it. He finds a broken-off axe handle behind the door and cut it to the appropriate length for the hatchet.

The speaker starts shaping the old handle with the hatchet, remembering a phrase he learned from Ezra Pound. The phrase is about how when making an axe handle, the pattern is not far off. The speaker explains to Kai that he will shape the handle by checking the handle of the axe he cuts with.

The narrator recalls that the same concept is mentioned in Lu Ji’s “Essay on Literature” from the fourth century A.D. The narrator’s teacher, Shih-hsiang Chen, had translated and taught this concept to them years ago.

The speaker realizes that Pound, Chen, and himself are all like axes, while his son Kai is the handle. The poem ends with the narrator reflecting on the continuous cycle of shaping and passing on knowledge and culture.

Amiri Bakara Wise I Summary

O.Henry The Lady Higher Up Summary

Gary Snyder The Bath Summary

Ashapurna Devi The Distant Window Summary

Charles Olson Maximus, to Himself Summary

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Alice Munro Miles City, Montana Summary

The narrator’s father carries the body of a drowned boy named Steve Gauley. The men and dogs involved in the search are exhausted and ashamed. Steve Gauley’s family is described as dysfunctional, with his father being a hired man and his mother absent. They live in a poor house and their relationship seems accidental.

The narrator had a complicated relationship with Steve Gauley, sometimes liking him and sometimes not. They played together as children but didn’t speak at school. Twenty years later, the narrator and her husband are driving to Ontario in their new car. They are in high spirits and enjoying the trip.

The narrator reflects on her desire to hide and be alone in her own house, but feels free and hopeful on trips. She enjoys being a watcher and not a keeper. The family is driving through various states, and the narrator’s daughter Cynthia is excitedly following the route on a map. The narrator reflects on the different personalities of her children. The narrator and her husband have created characters for their children, with Cynthia being diligent and sensitive, and Meg being stubborn and independent.

The narrator expresses her dissatisfaction with traditional parenting approaches and prefers a more ironic and humorous approach. The narrator and her companions discuss hitting a deer and the importance of lettuce in sandwiches. The narrator reflects on her contradictory feelings towards Andrew, and their relationship.

The narrator reminisces about her childhood on a turkey farm and the differences between her upbringing and Andrew’s. The narrator describes a time when she helped her father rescue turkeys from a flooded field. The narrator reflects on her attachment to her raw, rural upbringing and the contrasting urban life of Andrew’s mother.

Caroline and Roger live in a stone house on the east side of the park. Roger is a tall man with a bald head and a large stomach. He speaks in a rough whisper due to a throat operation but commands attention. During dinner, Roger calls the narrator Mrs. Gromyko, implying her sympathies are subversive. Andrew, Roger’s nephew, dismisses Roger as an opinionated old man.

Roger is intrigued by the idea of the narrator buying a small car, which he sees as a declaration of her tendencies. The family travels through Missoula, Spokane, Coeur d’Alene, Kellogg, and Montana. They play a game called “Who Am I?” in the car. They visit Helena, Bozeman, and Billings, finding the latter two to be energetic towns. The narrator reflects on the contrasting lifestyles of her family and Roger and Caroline. They stop at a pool in Miles City, which is closed, but the narrator convinces the lifeguard to let her two children swim for a short time.

The narrator and Cynthia are at a pool with Meg, who is wearing a pink bathing suit. The narrator finds Cynthia’s bathing suit and Cynthia goes to the changing room. The narrator loves helping Meg dress and undress because she still has the innocence of a baby. The narrator goes to look for a concession stand and notices small details in the park.

The narrator realizes Meg is missing and calls out to Cynthia. Cynthia gestures that Meg has disappeared and the lifeguard points to something in the pool. Andrew quickly jumps over the fence and pulls Meg out of the water. Meg had slipped into the deep end of the pool while reaching for a comb. The lifeguard and Cynthia were not paying attention, and the boyfriend remained on the bench.

Meg is safe and didn’t swallow any water. The group has lunch and discusses the lucky chain of events that saved Meg. The narrator contemplates the opposite outcome and the grief it would bring. The pool opens as usual, and life goes on, but the narrator reflects on the sudden vacancy left by a child’s death. The narrator reflects on the guilt and shame associated with imagining tragic scenarios.

The narrator realizes that parents are implicated in their children’s deaths by the mere act of creating them. The narrator blames parents for the deaths of children and sees them as giving consent to their deaths. The narrator recalls Steve Gauley’s drowning and how neglect played a role. The narrator sees Steve’s father as the only one not implicated in his death. The narrator criticizes religious hypocrisy in the face of tragedy.

The narrator and Andrew had a choice between taking the interstate or a different route towards Williston. They initially planned to take the interstate for a faster journey, but decided to cut back to Highway 2. The narrator expresses a desire to see certain places they missed, such as Kalispell, Havre, and Wolf Point. Andrew’s statement about seeing those places on the way back brings relief to the narrator.

Andrew is amazed at how the narrator got a signal, suggesting that mothers have some kind of extra sense. The narrator partly wants to believe in this extra sense but also warns against relying on it. The narrator and Andrew continue their journey with the children in the back seat, trusting that they will be forgiven for their mistakes in time.

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Critical Analysis of Robert Frost Nothing Gold Can Stay

The poem “Nothing Gold Can Stay” explores the transient aspect of youth, beauty, and life in general. Nothing “gold”—that is, nothing pure, precious, or lovely—can endure eternally, the poem claims.

The first part of the poem focuses on how the natural world is changing. Gold, the most valuable metal in nature, is linked to the “first green” leaves of spring, instantly making gold stand for everything that is new, lovely, and youthful. However, nature—personified in the poem as a feminine figure—finds it most difficult to “hold” this “hue.” Like a mother who desires her children will stay young forever, nature is attempting to preserve the freshness of early spring.

The speaker then emphasizes this point by accelerating the natural cycle, stating that the first spring blossom lasts “only… an hour.” Of course, this is exaggerated, but it highlights how short this wonderful, new phase of life is. The poem expresses the idea that youth is fleeting and full of beautiful beauty and innocence.

The speaker then expands the poem’s theme to include Eden, the biblical paradise described in the Book of Genesis as the place from which humans were banished. The speaker claims that, just as the promise of the fresh morning (referred to as “dawn”) must give way to the reality of the day, Eden was a place free from sin and suffering that infamously and eventually ended. Each of these instances shows how something pure and lovely, untarnished by the outside world, turns out to be transient and undurable.

The speaker also starts to use words that refer to sinking or declining in the second half of the poem to represent the route of everything that is once youthful and beautiful. This implies that life itself is a corrupting force that pulls such beauty down, which is why anything “gold” can’t remain. As a result, Eden “sank to grief” rather than just ending. 

The poem has a strange notion that dawn is “down to day,” which flips the conventional view of the sun rising into the day. Dawn can be understood metaphorically as the start of a new day, a fresh start in life. Its “down to day” aspect draws attention to the passing of time and the eventual aging process, as well as the loss or tainting of that possibility. In fact, the poem’s downward gaze gently alludes to burial and the idea that all life eventually ends up underground.

The poem elaborates on the temporal state of life. It begins with the idea of precious things such as “gold” which are the fresh buds of the trees from the early spring diminishes quickly from nature. The speaker also states that even the fresh flowers on the trees also diminish at a rapid state. It clearly indicates the transience and the temporality of life which ends quickly.

Additionally, the images of nature is used to expound the the temporal state of human life as well. Human beings also experience short life on earth and it is translated metaphorically using the movement of the world. For instance, the leaves of the tree fall down to the ground is similar to the mankind who falls down from paradise and then to the grave. The allusion to Eden garden signifies the temporary heavenly pleasure for Adam and Eve. It is in similitude the poet is talking about human experiences where happiness and pleasure of life is also for the short period of time and they fall down to the ground just like the leaves eventually fall down to the ground.

Furthermore, the idea of impermanence is also exhorted in the poem. The impermanence of life has been metaphorically expressed in the poem where the movement of day towards night signifies the cycle of human life on earth. The poet means to suggest that life on earth is also temporal and death is inevitable for every living things. He uses the image of the “dawn” that “goes down to day” and the richness associated with life can never “stay” forever.

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William E Barrett Senior Payroll Summary

At a gas plant, Larry and the narrator worked as junior engineers. They served as office clerks, took care of all office paperwork, and acted as a liaison between the office and the Mexican laborers employed at the facility.

Mexican laborers were excellent laborers, and Mexican aristocrats were used as stokers. They threw coal at the little entrance after working an 8-hour shift in the intense heat. They used large shovels to scoop the coal.

The company paid them on the fifth and fifteenth of each month. For a Mexican, accumulating money for more than three or four days was ludicrous because it was seen as miserly behavior. So every three to four days, they would request payment in advance.

One day, the business sent out a notification stating that too many advances were being made against wage privilege. Employees would not receive advances unless there was an emergency.

After the advertisement was put up on the bulletin board, Juan Gracia arrived and requested advance. The notice was shown to him. Pete Mendoza and Franciso Gonzales, two more stokers, arrived for an autograph, and Larry gave them an explanation of the new notice and business policy.

Early the following day, stokers made a request for an advance on the basis of a medical emergency. The following day, Peter Mendonza’s mother would hardly survive the day, and Juan Gracias’s wife was on the verge of death. As a result, they received advances for these urgent needs. Due to the inability to refuse these requests, senior payroll employees were completing the paperwork in advance. Employees had made up emergency scenarios in order to receive promotions.

A new notice appeared after a week. It stated that the only employees who will receive a promotion in the meantime are those who quit and leave their positions.

The workers learned about it. The greatest scorers, Mendoza, Obregon, Ayala, and Ortez, quit the company the following morning along with Juan and other employees. The stokers were crucial to the job and the best guys for it. There was a queue of quitting workers and a line of workers eager to be employed every day for Larry and the narrator.

The stokers returned to the job after quitting to be employed again. The stokers were rehired since the company required them. The office’s paperwork got incredibly difficult. Due to the pandemonium in the downtown office, another warning was sent out. The office issued the following order. This implied that no departing employee may be taken on again within the following thirty days.

The explanation was given to Juan Gracia, Gonzalez, Mendoza, Ayala, and Ortez by the younger engineers (senior payroll). But they were all forced to resign. The workers left, collected their money, and then reappeared under a new name, ready to start a new job. They were employed because they disclosed a new name. The company’s payroll within a week read like a Latin American history. All well-known faces with unknown names.

Ayala became Smith, Juan changed his name to Manual Hernandez, and Gonzalez became Carrera. The resignations began three days later. Once more, confusion reigned as numerous longtime supporters rebranded themselves. After growing tired, Larry and the narrator told their supervisor. The management recognizes and accommodates the circumstances of the employees. The following day, the orders were called back, and well-known stokers were directed to the board with the words, “No rules any more.”

The conclusion is quite thrilling because the business acknowledges its loss and acknowledges that it was unable to use its regulations to control the Mexican employees. The Mexican laborers shown their capacity for flexibility in managing all the challenging circumstances.

These workers are admirable for their perseverance and determination. In order to operate the gas plant profitably, the firm had to adapt to its failure and accept the workers. Thus, the organization and its employees adjusted to the new situation. Thus, the narrative teaches us that having the ability to adapt is essential for success in life.

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To a God Unknown Chapter 22-26 Summary

Chapter 22- The chapter describes a period of drought and hardship on a ranch, where the lack of rain leads to dwindling resources and failing crops. The cattle are starving, and the land is barren. Joseph and Thomas, the main characters, are faced with the difficult decision of whether to sell their stock or drive them over a hundred miles to find pasture. Romas, a teamster, advises them on the dire situation and the need to act quickly. The narrative highlights the harsh reality of the drought and its impact on the land, livestock, and people. Joseph grapples with guilt and a sense of failure as he contemplates the future of the ranch. The story ends with a sense of urgency as Joseph and Thomas prepare to move the cattle in search of greener pastures.

Joseph and Thomas embark on a journey to explore a new area, encountering a mysterious old man along the way. The old man claims to be the last person to see the sunset each day, living on a cliff overlooking the sea. He shows them his house and reveals that he buries washed-up sailors on the cliff, marking their graves with crosses. The old man prepares to sacrifice a pig as the sun sets, explaining that he performs this ritual every night with a different animal. Joseph is intrigued by the old man’s unique lifestyle and rituals, while Thomas remains skeptical and distant. The old man preparing to sacrifice the pig as the sun sets, leaving a sense of mystery and intrigue.

The old man performs a ritual sacrifice of a pig as the sun sets, believing it brings him joy and a sense of connection to the sun. Joseph, the observer, is intrigued by the old man’s actions and believes he has discovered a secret that brings him happiness. The old man admits that he doesn’t have a clear reason for his actions, but he does it because it makes him glad and he feels a connection to the sun. Joseph acknowledges that the old man is considered crazy by others and warns him about the potential consequences of expressing his true self. The old man cleans up after the sacrifice and talks about the country and the mountains, sharing his beliefs about them. Thomas, Joseph’s brother, arrives and expresses his discomfort with the old man’s presence. Joseph questions the old man about why he chose to live alone, but the old man doesn’t remember and doesn’t want to delve into his past. Joseph decides to stay on the ranch instead of accompanying Thomas on a trip, feeling a deep connection to the land and believing that it will recover from the drought.

Chapter 23- The characters wake up to a foggy world and prepare to leave the old man’s hut. The old man helps them find their horses and bids them farewell. They ride through the fog and eventually reach a pass where they can see their dry, dead valley. Thomas expresses a desire to leave the area due to lack of feed for the cattle. Joseph reflects on the old man’s knowledge and his own failure to care for the land. They encounter a hillside covered in picked bones, which disturbs Thomas. They continue preparations to leave the ranch, loading wagons with supplies. Joseph decides to stay behind to care for the land, while Rama takes the baby. Joseph explains his reasons for staying and sacrificing the child to help the land. Rama is afraid of Joseph and decides to leave in the morning. The wagons set out early, and Joseph bids farewell to Thomas and Rama. Martha, one of the children, believes they are leaving for a better place because the current one will burn up soon.

Joseph observed the departure of the cattle with a heavy heart, reminiscing about the calves and cows that were now gone. He felt a deep sense of loss as he wandered through the deserted ranch, tending to the remaining horse and securing the empty buildings. Despite the desolation, he found solace in a hidden stream in a pine grove, where he worked tirelessly to revive the dying moss and protect the land’s heart. Joseph reflected on the harshness of the land and the need to safeguard the precious water source. As night fell, he realized that the glade had become his new home, and he made the decision to leave the abandoned farmhouses behind, returning to the safety of the secluded grove with provisions for the journey ahead. He settled down to rest beside the rock, finding peace in the quiet of the night and the promise of a new beginning.

Chapter 24- The chapter describes the prolonged summer heat that transitions into autumn without a noticeable change in seasons. Joseph, living in a pine circle, maintains a mossy rock by watering it daily. He receives a letter from Thomas detailing the loss of cattle due to drought. Romas recounts the arduous journey over the mountains, where cattle died due to lack of feed and water. Joseph, disturbed by the news, returns to his barricade, where he notices the effects of the drought on the land. As winter approaches, Joseph faces a water crisis as the stream feeding his rock diminishes rapidly. He realizes the severity of the drought and fears for the survival of the land. Juanito, arriving unexpectedly, expresses concern for Joseph’s health and urges him to seek medical help. Joseph, despite his appearance, insists he is well. Juanito’s arrival brings a sense of relief to Joseph, who is comforted by his presence in the midst of the looming crisis.

Juanito shared his experiences with Joseph, revealing his journey to Nuestra Señora with Willie, who tragically took his own life after seeing a place from his dreams in reality. Joseph expressed his belief that only he and the land remained, with the stream dwindling. Juanito suggested seeking help from Father Angelo, a wise priest who could pray for Joseph. Joseph, intrigued, decided to visit the priest. As they observed the stream rising, Joseph fell into a deep sleep, comforted by the hope of a better future.

Juanito faithfully empties water on a rock while Joseph rests. Juanito reflects on Indian stories and memories of the church. Juanito sees disappointment and weariness in Joseph’s face. Juanito suggests going to see Father Angelo for help. Joseph is hesitant to go, believing the stream will continue to grow. Juanito insists on going to see the priest. Joseph eventually agrees to go. They ride through a dusty and desolate landscape to Nuestra Señora. Many people have left the town due to the drought. Juanito goes to the church to burn a candle while Joseph speaks with Father Angelo. Joseph asks the priest to pray for rain. Joseph becomes angry when the priest focuses on his soul instead of the dying land. Joseph decides to return to the rock and wait. Father Angelo prays for Joseph’s soul and for rain to save the land.

Chapter 25- Joseph tightened his cinch, mounted his horse, and headed towards the ranch as night fell. Juanito joined him, offering food and drink, but Joseph declined. They stopped at a saloon where the bartender lamented the lack of business due to the drought. Joseph expressed concern about the future if the rain didn’t come. After a drink, Joseph left for Alice’s house, where she served him dinner. They discussed Elizabeth, and Joseph met Alice’s child, named after him. He blessed the child and left, despite protests, as Juanito saw him off under the moonlit sky. The saying “In a dry year all signs fail” lingered in the air as Joseph rode off into the night.

Joseph rode away from the town into the west, feeling a sense of change in the air. The night was filled with memories of his past, and he encountered a starving calf and dead cow on his journey. He fed the calf to the waiting coyotes, feeling a sense of finality in the world around him. As he reached the ranch, the wind howled fiercely, and he sought shelter in a pine grove. There, he found the stream dried up, signaling the end of something significant. Joseph made a decision to end his own life, feeling a connection to the land and the rain. He climbed a rock and opened his wrist, watching the blood flow and feeling a sense of peace as he became one with the elements. In his final moments, he realized his connection to the land and the cycle of life.

Chapter 26- The chapter describes a priest, Father Angelo, who prayed for rain and was glad when it finally came. However, he became angry when he realized that the rain had caused the villagers to engage in pagan rituals involving dancing, chanting, and wearing animal skins. Despite his initial intention to stop them, Father Angelo hesitated and ultimately decided not to interfere, feeling compassion for the villagers who were desperate for rain. He planned to preach against their actions on Sunday and give them penance. The priest also reflected on Joseph Wayne, a man suffering due to the lack of rain, and hoped that he was now happy with the rainfall.

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