¶ … Life of a Slave Girl and the Devil in Silver. The paper will point to internal and external fears the protagonists experience in the two novels, and also will report how the protagonists are haunted and how they deal with it. Flint, because he reminder her "at every turn…that I belonged to him, and swearing by heaven and earth that he would compel me to submit to him" (28). Every step she took was in fear of him, and at the age of 15 he began "to whisper foul words in my ear," which Linda knew perfectly well was evil, and her mind was "peopled" with "unclean images, such as only a vile monster could think of" (27). She learned to "tremble" when hearing her master approaching; and she feared for her own life so she did not tell her grandmother that Dr. Flint had taken carnal advantage of her because he feared the grandmother and moreover "…he did not wish his villainy made public" (29).
The Devil in Silver -- Quick Summary
The book by Victor LaValle blends social satire with horror fiction, and in the process he points (fictionally, with brilliant descriptive narratives) to the unfair and inhumane way in which people who are troubled mentally are treated in institutions. The protagonist is Pepper, a 6-3, 270 pound, who is placed in a mental institution even though he is not crazy. The devil in this story is a monster with the head of a bison that hides behind a silver door; he kills the patients with the good graces of the hospital staff. Pepper makes friends with several patients and they plan to attack the devil. It's a wildly entertaining / bizarre and surprising story.
Incidents in the Life of a Slave Girl -- Quick Summary
The book by Harriet Jacobs is radically different than LaValle's book. Jacobs' book follows the life of "Linda Brent" -- a slave and later in the book a fugitive slave -- from the time she was born into slavery to her eventual escape and to freedom in New York City. Things go fairly well for Linda because she has a mistress who is helpful and benevolent (and she has a loving maternal grandmother) but when that mistress dies Linda becomes the property of Dr. Flint, who makes unwelcome sexual advances. Linda joins a concubine and has two ...
She was more than fearful when she was hiding from Dr. Flint in an obscure attic at Betty's house -- she was terrified. Hearing Dr. Flint's voice brought back a rush of fear and loathing, but she remained out of sight. The snake bite she was able to overcome because "…fear game me strength" (100).
How the Slave Girl overcomes her fears
On page 128 Linda, who has been hiding in what she calls "my dungeon" for years, overcomes some of the fears that she experienced by matching her "cunning against his cunning." She writes a letter to Dr. Flint and arranges for the letter to be sent from New York City so he will believe that is where she is hiding. So she is basically deflecting her fears by dreaming up a way to send her pursuer off on a wild goose chase. She used psychological warfare to throw him off track. Her cunning is strong, because she never forgets the misery he put her through, and she never stops thinking about her children and how she would love to have them enjoy freedom for their who lives, unlike what she was put through. She is fighting back against the imprisonment she faces while in hiding.
She overcomes fear in particular by knowing that her conspiratorial strategy of having a letter sent to Dr. Flint from New York or Boston. She tricked him, and her narrative shows that she gained some psychological strength from that ruse -- so she obviously knew that he had prepared a substitute letter to her grandmother. After he read her letter, he said to grandmother, "You see the foolish girl has…
Flint, because he reminder her "at every turn…that I belonged to him, and swearing by heaven and earth that he would compel me to submit to him" (28). Every step she took was in fear of him, and at the age of 15 he began "to whisper foul words in my ear," which Linda knew perfectly well was evil, and her mind was "peopled" with "unclean images, such as only a vile monster could think of" (27). She learned to "tremble" when hearing her master approaching; and she feared for her own life so she did not tell her grandmother that Dr. Flint had taken carnal advantage of her because he feared the grandmother and moreover "…he did not wish his villainy made public" (29).
" James a.S. McPeek further blames Jonson for this corruption: "No one can read this dainty song to Celia without feeling that Jonson is indecorous in putting it in the mouth of such a thoroughgoing scoundrel as Volpone." Shelburne asserts that the usual view of Jonson's use of the Catullan poem is distorted by an insufficient understanding of Catullus' carmina, which comes from critics' willingness to adhere to a conventional -- yet incorrect
" (Honestly, what more needs to be said?) Now that it has been established that both Call of the Wild and "A New England Nun" have elements of both realism and local order, it's time to present them in terms of their most powerful literary attribute, categorically speaking (of the three aforementioned literary categories): naturalism. As mentioned, naturalism in literature is the notion that social conditions, heredity, and environment unalterably impact
In this regard, Meyers concludes that, "As for Flory, environment has been too much for him, for he is not really alcoholic or crapulous by nature, and he regrets it when a girl from England arrives to stay at Kyauktada; she is a poverty-stricken little snob on the look-out for a husband, but he has not seen a spinster for a decade, and he succumbs on the spot whereupon