Located in a “lonesome area,” the town did not have much to see. All of the local buildings were falling apart; with their chipping paint and “dirty windows” and “irrelevant signs.” The citizens of the dreary town were nice people, everyone knew everyone, and they spoke to each other in an accent "barbed with prairie twang.” The description of this town makes it sound very dull and boring, doesn’t it? Yes.
Audrey Petty uses “Late Night Chitlins with Momma” to express her own close bond with her mother and how it shaped her identity; this is expressed through the narrative style, the diction and syntax, the use of food as a metaphor, and the short story’s structure. Narratively this piece does an incredible job of making the reader feel personally invested in the story. The way Audrey Petty does this is through a multitude of techniques. The point of view is a first person omnipotent, allowing for a closer read to the narrator themselves; the narrative flow is akin to being told the story verbally instead of the traditional 3rd person omnipotence.
Meals in literature often represent something bigger, bringing communities together in a form of communion. However, this is not the case; in The Poisonwood Bible by Barbara Kingsolver, the meals are ironic they help to show discord and strife among the characters of the book. She uses meals to foreshadow future events, reveal the flaws of the characters, and as the book progresses, allows for the reader to see character development. In novel, Kingsolver twists the normal connotation of a meal and makes it ironic in order to demonstrate the discord and strife that is commonplace throughout the book that shows the lack of community between the Prices and those they interact with for most of the book.
Dinner would be served, a range of authentic Southern cuisine, presented by a staff in period servant’s attire. By placing the audience thus, they become immersed in not only the setting, becoming part of the play, but can experience a moment of genuine Southern
The kids are hungry all the time. We got no clothes, torn an' ragged. If all the neighbors weren't the same, we'd be ashamed to go to meeting.” (Pg 33). Farmers are trying to reason with the landowners, their whole community is out of money and are struggling to make a living.
The speaker talks about harvesting and cooking which are usually positive activities, but it creates an unhappy environment. All the speaker talks about are his father and his death, which the reader can conclude with evidence from the text. The speaker also uses a nostalgic tone to show the absence of his father in his life. The speaker cherished his memories with his father and regrets not doing more.
Me and Lennie were real happy there, cos we could go over to the town on Sunday and sit on the street and watch life go by. Ye, we had a hellu’ve good life up in Weed.” George paused and before he continued. “So we was sittin’ in the gutter one day in a quiet place of the town and Lennie sees a girl come by, really purty girl with a pink beautiful dress, ya know the color of dem real fancy cakes the baker makes for those rich folks. And there’s two things Lennie jus’ loves - bright colors and soft things, so when
In Zora Neale Hurston’s Their Eyes Were Watching God, there are many meal scenes that could correlate to Foster’s idea of communion whilst dining. This novel is loaded with metaphorical meal scenes, all of which contribute significantly to the story. There are a few important meal scenes though that develop and contribute to the plot more than others. The first of these occurs when Jody decides to open the store and give away free food. The second is when the people of the glades go to Janie’s house for mirth and company.
In the "Night Waitress by Lynda Hull, the narrator has a lot of concern about her life that she expresses by describing her night at work and the people she encounters while she is there at work. She explores feelings about her appearance, her desires, and her loneliness. The speaker daydreams her way through another monotonous working shift, which reflects on her lower-caste and a disgrace to her employment. Hull analyzes the waitress' performance as disheartening which leads to her desire in a relationship and a materialistic world in which she gets delighted.
The narrator continues with the metaphors, explaining that their partner “fell in love” with being with them, and how the narrator does not particularly like
The short and brief sentences give no description and only state the food she is prepared. The passage would be descriptive if the occurrence is more appalling. Passage two is much shorter in length than passage 1 due to the lack of explanation. The sentence structure of passage two reveals the underlying attitude of resentment, gratefulness, and
The dialogue in Hemingway’s “Hills Like White Elephants” reveals a man’s and a woman’s incongruent conflict on abortion, and the author’s fundamentally feminist position is visible in the portrayal of the woman’s independent choice of whether or not to keep the baby she is carrying. The plot is very simple in the story which is less than 1500 words long. A woman and a man spend less than an hour on a hot summers day at a Spanish train station in the valley of Ebro as they are waiting for a train heading for Madrid. Their dialogue takes up most of the space and only few major actions take place.
I. Introduction A. Lisa Parker is snapping beans with her grandmother on the porch, but she is in the process of being changed by her college experience. B. The poem is “Snapping Beans” by Lisa Parker C. Lisa is a Southern girl, who is home from college in the North; she is going through struggles that are bringing about questioning and changing. D. Lisa is letting go of her safe past so that she can move forward into her own life. II.
New recipes for hibachi, fondue, quiche, crepes and the most recent addition salsas, were added to her mother’s recipe box. These foods indicate how far she has come from the traditions of her southern hometown. Additionally, she describes how cooking isn’t solely controlled by women but to men as well in the 21st century. The chapter provides a stark between the conventional housewife and the new aged husband who shares the responsibility of cooking. The starts the comparison by describing the image of her mother waiting for her father to come home from work every day.
When the argument shifts its setting by moving from the bedroom to the kitchen, Carver’s use of symbolism adds intensity to the story. Too busy with their selfishness, “In the scuffle they knocked down a flowerpot that hung behind the stove” (329). Neither parent stopped to see the broken pot, nor did any of them break focus on their fight with the child. The kitchen is usually a place where a family comes together, but here they were breaking apart at the seams.
