"Miss Brill"
Katherine Mansfield
In this story, Mansfield (more successfully than Melville) evokes great pity for the elderly English teacher, Miss Brill. Primarily, the use of the fur as a symbol for Miss Brill's acceptance and participation in society conveys the level of and her reaction to her alienation.
First of all, like the fur, Miss Brill's acceptance in society is dead- at least at the beginning of the story. However, this does not deter Miss Brill from going to the Jardins Publiques in the slightest. She simply needs to spruce up her sociability a little: "But the nose, which was of some black composition, wasn't at all firm. It must have had a knock, somehow. Never mind- a little dab of black sealing-wax when the time came- when it was absolutely necessary... Little rogue!" (Mansfield, 182).
This sense of pride in her place in society continues into the story. When she attends the weekly concerts at the gardens, she takes time to know all of the frequent comers. Furthermore, she comes to the realization that she is a key character in the performances; everyone is. All of life is a stage, and her part was to attend concerts every Sunday: a part she plays excellently.
Regardless, two little punks decide to remind Miss Brill of the popular opinion. Just like her fur, her ostensible participation in the weekly concert is laughable and annoying. Defeated, Miss Brill returns to her home to forget about her dreams of finding her place. Nevertheless, as she puts away her fur, she cannot escape the fact that she is throwing away her pride.
Wednesday, October 31, 2012
Alienation Unit: Bartleby the Scrivener
"Bartleby the Scrivener"
Herman Melville
Melville "delights" the reader with this monstrosity of a view into the mostly undocumented life of a scrivener. First, one may note, considering this is the alienation unit, the fact that few ever take the time to understand those who dedicate their lives to simply transferring words from one document to another will be discussed, if not judged. Sure enough, through the utilization of varying tone, Melville creates a work of didactic literature which warns the reader to take the time to look into others' stories before acting harshly.
In the first part of the story, the speaker characterizes his (sometimes) irksome assistants. Turkey is an old man who works diligently during the morning but acts hastily in the afternoon; Nippers is substantially younger, but mornings involve severe indigestion that does not abate until the afternoon; and Ginger Nut is a determined boy who supplies the office's snacks. Although Turkey and Nippers appear to be insufferable, the speaker analyzes their natural constraints and combined values. As a result, the speaker speaks in a restrained tone constantly balanced by reason.
However, when Bartleby arrives, the speaker takes a different route in characterization. Immediately, the speaker seems to judge Bartleby simply based on his almost ascetic work ethic balanced with his lack of enthusiasm. Later, when Bartleby refuses to come into the speaker's office, the negatives start to outweigh the positives. For the majority of the rest of the story, the speaker portrays his struggle with Bartleby as an inescapable and hopeless fight against stubbornness. Eventually, the speaker's desperate attitude drives him to relocate, leaving Bartleby residing in the old office. Bartleby soon after is sent to prison and passes away most likely from starvation.
Upon learning more about Bartleby postmortem, the speaker learns of extenuating circumstances that effected Bartleby's unusual stubbornness. Bartleby used to destroy letters destined to the deceased. Surely, this depressing atmosphere is to blame for the "I'd prefer not to"s. In evaluating Bartleby, the speaker now assumes a regretful tone: "Dead letters! does it not sound like dead men? Conceive a man by nature and misfortune prone to a pallid hopelessness, can any business seem more fitted to heighten it than that of continually handling these dead letters and assorting them for the flames?" (Melville, 675).
The speaker's lamentable experience of turbulent alterations in mood and tone offers the reader a simple lesson: one should learn the stories of everyone in order to avoid unfair or damaging actions and attitudes.
Herman Melville
Melville "delights" the reader with this monstrosity of a view into the mostly undocumented life of a scrivener. First, one may note, considering this is the alienation unit, the fact that few ever take the time to understand those who dedicate their lives to simply transferring words from one document to another will be discussed, if not judged. Sure enough, through the utilization of varying tone, Melville creates a work of didactic literature which warns the reader to take the time to look into others' stories before acting harshly.
In the first part of the story, the speaker characterizes his (sometimes) irksome assistants. Turkey is an old man who works diligently during the morning but acts hastily in the afternoon; Nippers is substantially younger, but mornings involve severe indigestion that does not abate until the afternoon; and Ginger Nut is a determined boy who supplies the office's snacks. Although Turkey and Nippers appear to be insufferable, the speaker analyzes their natural constraints and combined values. As a result, the speaker speaks in a restrained tone constantly balanced by reason.
However, when Bartleby arrives, the speaker takes a different route in characterization. Immediately, the speaker seems to judge Bartleby simply based on his almost ascetic work ethic balanced with his lack of enthusiasm. Later, when Bartleby refuses to come into the speaker's office, the negatives start to outweigh the positives. For the majority of the rest of the story, the speaker portrays his struggle with Bartleby as an inescapable and hopeless fight against stubbornness. Eventually, the speaker's desperate attitude drives him to relocate, leaving Bartleby residing in the old office. Bartleby soon after is sent to prison and passes away most likely from starvation.
Upon learning more about Bartleby postmortem, the speaker learns of extenuating circumstances that effected Bartleby's unusual stubbornness. Bartleby used to destroy letters destined to the deceased. Surely, this depressing atmosphere is to blame for the "I'd prefer not to"s. In evaluating Bartleby, the speaker now assumes a regretful tone: "Dead letters! does it not sound like dead men? Conceive a man by nature and misfortune prone to a pallid hopelessness, can any business seem more fitted to heighten it than that of continually handling these dead letters and assorting them for the flames?" (Melville, 675).
The speaker's lamentable experience of turbulent alterations in mood and tone offers the reader a simple lesson: one should learn the stories of everyone in order to avoid unfair or damaging actions and attitudes.
Wednesday, October 24, 2012
Death Unit: Death, be not proud
"Death, be not proud"
John Donne
In this poem, Donne seems to lash out against death who had previously enjoyed supremacy from its reputation. Although he provides arguments for accepting death without fights, the hasty tone suggests an inevitable fear of death.
"Thou art slave to fate, chance, kings, and desperate men, And dost with poison, war, and sickness dwell;" (Donne, 971). The reputation of death as an omnipotent overlord is called into question. Typically, since literally no one can escape it, people envision death as a sort of murderous warlord. However, when one examines death, one finds that it often strikes from the shadows. Death claims the elderly, sickly, and injured rather than the potent. The reader (and poet) can find comfort in this observation. Perhaps death is not so fearsome after all.
However, in the end, death is just as powerful as before the attack. The manner of death matters little when there is no escape in the end. Donne seems to be grasping at a nonexistent convenient truth. Even his last sentence confirms that death is so powerful death itself cannot escape.
John Donne
In this poem, Donne seems to lash out against death who had previously enjoyed supremacy from its reputation. Although he provides arguments for accepting death without fights, the hasty tone suggests an inevitable fear of death.
"Thou art slave to fate, chance, kings, and desperate men, And dost with poison, war, and sickness dwell;" (Donne, 971). The reputation of death as an omnipotent overlord is called into question. Typically, since literally no one can escape it, people envision death as a sort of murderous warlord. However, when one examines death, one finds that it often strikes from the shadows. Death claims the elderly, sickly, and injured rather than the potent. The reader (and poet) can find comfort in this observation. Perhaps death is not so fearsome after all.
However, in the end, death is just as powerful as before the attack. The manner of death matters little when there is no escape in the end. Donne seems to be grasping at a nonexistent convenient truth. Even his last sentence confirms that death is so powerful death itself cannot escape.
Death Unit: Do Not Go Gentle into That Good Night
"Do Not Go Gentle into That Good Night"
Dylan Thomas
As his father dies, Thomas uses paradoxes to reject the common acceptance of death. However, he eventually accepts the universality of death.
"Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night" (Thomas, 968). Ultimately, wise men must one day accept that their wisdom is limited to life. However, they inevitably rebel against the natural order. Likewise, the deeds of good men seem inconsequential, wild men desire more time, and grave men rescind all acceptances of death in favor of blissful ignorance.
Overall, the actions of dying men seem to defy logic. Nevertheless, this paradoxical behavior seems to unite all types of people. To Thomas, this phenomenon seems like the only reasonable course of action for someone whose entire life is coming to an end. He wants this show of humanity from his father.
Dylan Thomas
As his father dies, Thomas uses paradoxes to reject the common acceptance of death. However, he eventually accepts the universality of death.
"Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night" (Thomas, 968). Ultimately, wise men must one day accept that their wisdom is limited to life. However, they inevitably rebel against the natural order. Likewise, the deeds of good men seem inconsequential, wild men desire more time, and grave men rescind all acceptances of death in favor of blissful ignorance.
Overall, the actions of dying men seem to defy logic. Nevertheless, this paradoxical behavior seems to unite all types of people. To Thomas, this phenomenon seems like the only reasonable course of action for someone whose entire life is coming to an end. He wants this show of humanity from his father.
Death Unit: That time of year
"That time of year"
William Shakespeare
In this rather personal poem, Shakespeare relies heavily on the use of imagery. Specifically, the images of autumn, and a dying fire highlight Shakespeare's declining age.
First, bare trees in fall characterize Shakespeare's approaching death. Additionally, the absence of singing birds reflect his own decreased activity: "Upon those boughs which shake against the cold, Bare ruined choirs where late the sweet birds sang" (Shakespeare, 966). As once in his life he was bustling and proficient in poetry, toward the end of his life, his work slowed.
The imagery takes a slightly more violent and destructive dimension. Shakespeare's decline comes from within. The brighter he shined in life, the faster his life dwindled because of the ensuing ash (memories of days of grandeur). Eventually those memories will suffocate him on his deathbed.
Most significantly, Shakespeare claims all of this to his wife who he believes is already aware. This claim comforts him because, even though she sees these declines, she remains dedicated to him.
William Shakespeare
In this rather personal poem, Shakespeare relies heavily on the use of imagery. Specifically, the images of autumn, and a dying fire highlight Shakespeare's declining age.
First, bare trees in fall characterize Shakespeare's approaching death. Additionally, the absence of singing birds reflect his own decreased activity: "Upon those boughs which shake against the cold, Bare ruined choirs where late the sweet birds sang" (Shakespeare, 966). As once in his life he was bustling and proficient in poetry, toward the end of his life, his work slowed.
The imagery takes a slightly more violent and destructive dimension. Shakespeare's decline comes from within. The brighter he shined in life, the faster his life dwindled because of the ensuing ash (memories of days of grandeur). Eventually those memories will suffocate him on his deathbed.
Most significantly, Shakespeare claims all of this to his wife who he believes is already aware. This claim comforts him because, even though she sees these declines, she remains dedicated to him.
Monday, October 22, 2012
Death Unit: A Rose for Emily
"A Rose for Emily"
William Faulkner
In this somehow more disturbing story than "The Lottery", a special emphasis on the setting draws the reader's attention to Emily Grierson as a symbol for her society.
Throughout the story, the differences between the generations plays a prominent role in the external conflicts. From the Civil War generation of Rose's parents, to the arising young generation entering leadership positions, everyone differs on how to treat Rose. Her father took a suffocating role toward Rose in terms of prospective husbands. After Homer Barron disappeared, the speaker mentions the permanent impacts of this behavior: "... as if that quality of her father which had thwarted her woman's life so many times had been too virulent and too furious to die" (Faulkner, 287). Since Rose represents her society as a whole (the post-Civil War south), her father and his contemporaries represent the Civil War generation. As her father chased Rose's suitors away, the author suggests that the Civil War generation as a whole isolated its children by holding onto values and false senses of superiority.
Rose's own generation treats her in a cautiously deferential way. The mayor halted all taxes in the guise of a repaid loan. Additionally, parents only sent their children to take china-painting lessons to keep her in a job. As a whole, Rose's contemporaries view Rose and their generation sympathetically but unrealistically. Although they claim that the whole nation owes these Southern aristocrats their gratitude, most efforts simply go to fuel senses of superiority.
However, the young generation will be having none of this aristocratic nonsense. The newcomers to the local government support renewing taxes and forcing her to remove the smell from her house (from her DEAD ALMOST FIANCEE). Finally, people are starting to hold Rose's generation responsible for contributing to society regardless of delusions of grandeur. Likewise young people are starting to tear down the superficialities of Southern aristocracy.
Only after the post-Civil War generation passed on did people finally look into the disturbing remnants of its delusions.
William Faulkner
In this somehow more disturbing story than "The Lottery", a special emphasis on the setting draws the reader's attention to Emily Grierson as a symbol for her society.
Throughout the story, the differences between the generations plays a prominent role in the external conflicts. From the Civil War generation of Rose's parents, to the arising young generation entering leadership positions, everyone differs on how to treat Rose. Her father took a suffocating role toward Rose in terms of prospective husbands. After Homer Barron disappeared, the speaker mentions the permanent impacts of this behavior: "... as if that quality of her father which had thwarted her woman's life so many times had been too virulent and too furious to die" (Faulkner, 287). Since Rose represents her society as a whole (the post-Civil War south), her father and his contemporaries represent the Civil War generation. As her father chased Rose's suitors away, the author suggests that the Civil War generation as a whole isolated its children by holding onto values and false senses of superiority.
Rose's own generation treats her in a cautiously deferential way. The mayor halted all taxes in the guise of a repaid loan. Additionally, parents only sent their children to take china-painting lessons to keep her in a job. As a whole, Rose's contemporaries view Rose and their generation sympathetically but unrealistically. Although they claim that the whole nation owes these Southern aristocrats their gratitude, most efforts simply go to fuel senses of superiority.
However, the young generation will be having none of this aristocratic nonsense. The newcomers to the local government support renewing taxes and forcing her to remove the smell from her house (from her DEAD ALMOST FIANCEE). Finally, people are starting to hold Rose's generation responsible for contributing to society regardless of delusions of grandeur. Likewise young people are starting to tear down the superficialities of Southern aristocracy.
Only after the post-Civil War generation passed on did people finally look into the disturbing remnants of its delusions.
Sunday, October 21, 2012
Death Unit: The Lottery
"The Lottery"
Shirley Jackson
In this obvious screenplay for a Twilight Zone episode, the futility and savagery of blindly clinging to tradition are presented in a rather objective tone. However, this objective tone contributes to the verbal and situational ironies that provide the shock value which swings opinion against the traditions mentioned in the story.
Although not set in stone, the word "lottery" frequently refers to potential payoffs in the millions of dollars. From the very beginning of the story, the reader would likely anticipate a payoff of crops or perhaps money due to the rural setting and excited atmosphere. That reader would be dead wrong.
It turns out that the author decided to manipulate the common expectation of fortune from chance to point out the more common outcome of tragedy by chance often aided by human action. Although a lottery like this purely relies on impartial probability, human nature created the lottery in the first place: "'Used to be a saying about 'Lottery in June, corn be heavy soon.' First thing you know, we'd all be eating stewed chickweed and acorns.'" (Jackson, 268).
The most significant situational irony featured in the story is that nearly every aspect of the lottery was eliminated except the sacrifice. Even though the villagers appeared to be so concerned with maintaining tradition, things like chants, containers, and protocol have been forgotten. This irony reveals the human nature central to the theme of the story: humans will select scapegoats (Mrs. Hutchinson in this case) for everything from economic hardship to rain patterns.
Shirley Jackson
In this obvious screenplay for a Twilight Zone episode, the futility and savagery of blindly clinging to tradition are presented in a rather objective tone. However, this objective tone contributes to the verbal and situational ironies that provide the shock value which swings opinion against the traditions mentioned in the story.
Although not set in stone, the word "lottery" frequently refers to potential payoffs in the millions of dollars. From the very beginning of the story, the reader would likely anticipate a payoff of crops or perhaps money due to the rural setting and excited atmosphere. That reader would be dead wrong.
It turns out that the author decided to manipulate the common expectation of fortune from chance to point out the more common outcome of tragedy by chance often aided by human action. Although a lottery like this purely relies on impartial probability, human nature created the lottery in the first place: "'Used to be a saying about 'Lottery in June, corn be heavy soon.' First thing you know, we'd all be eating stewed chickweed and acorns.'" (Jackson, 268).
The most significant situational irony featured in the story is that nearly every aspect of the lottery was eliminated except the sacrifice. Even though the villagers appeared to be so concerned with maintaining tradition, things like chants, containers, and protocol have been forgotten. This irony reveals the human nature central to the theme of the story: humans will select scapegoats (Mrs. Hutchinson in this case) for everything from economic hardship to rain patterns.
Wednesday, October 3, 2012
The Glass Menagerie: Scene vii
The Glass Menagerie
Tennessee Williams
In an earlier scene, Tom implicitly compared his father to a magician who can escape a coffin without removing a nail. In this scene, Tom's abandonment and neglected bill payments reinforce his analogy between his family and a coffin. However, the idea that abandoning his family could be done without removing any nails was disproved.
Even though Tom's father seemingly escaped without regret, doing so left the family falling apart. First of all, abandoning Amanda made her paranoid, vengeful, and controlling. Almost every scene of the play includes Amanda's recollection of her Blue Mountain days in which she met her future husband. Here, Amanda's desire to find success in her daughter's love life led to extreme heartbreak and disappointment. Most significantly, the escape act emboldened Tom and inspired him to seek the same thing. The only nails holding family together seemed to have been ripped out by the father.
Additionally, Tom found that his escape would not be without complications for him. Tom believed that, once he escaped his situation, like a magician, he could simply take a bow and go on to adventure. However, he never truly escaped his family: "Oh, Laura, Laura, I tried to leave you behind me, but I am more faithful than I intended to be!" (Williams, 1289). Unfortunately for Tom, like when he remorsefully helped Laura pick up the pieces of glass he broke, ultimately desired to protect his sister.
The Glass Menagerie: Scene vi
The Glass Menagerie
Tennessee Williams
"You know our blood gets so thick during th' winter-it takes a while fo' us to adjust ou'selves!-when the season changes..." (Williams, 1269).
When Jim finally comes over for dinner, the audience gets a glimpse of Amanda the Southern Gentlewoman: the woman who attracted dozens of male callers at Blue Mountain. There is just one problem; Amanda's sudden "charm ex vernacular" from her Blue Mountain days has come up on Laura's big day. This would suggest that Amanda has dubious motives in her plans for her children.
Upon reading this section, I discovered the perfect person for the role of Amanda:
Rue McClanahan.
If you don't already know (but you should), McClanahan became famous for her role as Blanche Devereaux on The Golden Girls. Like Amanda, Blanche could never let go of her glory days in which men lined up to "court" her. To prove her beauty, Blanche would pull out the heavy Southern accent to appear sophisticated and sexy. I doubt that Amanda is trying to win Jim's heart, but I do suspect that she is seeking to set up Jim and Laura as a way to bring back memories of and triumphs of her youth. Every "fo'" and "th'" she throws at Jim may help win him over, but, ultimately, success would embolden Amanda rather than fragile Laura. Despite her motherly intentions, Amanda is attempting to live vicariously through Laura instead of letting Laura become her own woman.
When Jim finally comes over for dinner, the audience gets a glimpse of Amanda the Southern Gentlewoman: the woman who attracted dozens of male callers at Blue Mountain. There is just one problem; Amanda's sudden "charm ex vernacular" from her Blue Mountain days has come up on Laura's big day. This would suggest that Amanda has dubious motives in her plans for her children.
Upon reading this section, I discovered the perfect person for the role of Amanda:
Rue McClanahan.
If you don't already know (but you should), McClanahan became famous for her role as Blanche Devereaux on The Golden Girls. Like Amanda, Blanche could never let go of her glory days in which men lined up to "court" her. To prove her beauty, Blanche would pull out the heavy Southern accent to appear sophisticated and sexy. I doubt that Amanda is trying to win Jim's heart, but I do suspect that she is seeking to set up Jim and Laura as a way to bring back memories of and triumphs of her youth. Every "fo'" and "th'" she throws at Jim may help win him over, but, ultimately, success would embolden Amanda rather than fragile Laura. Despite her motherly intentions, Amanda is attempting to live vicariously through Laura instead of letting Laura become her own woman.
Tuesday, October 2, 2012
The Glass Menagerie: Scene v
The Glass Menagerie
Tennessee Williams
In this scene, Tom and Amanda make plans for Laura's future (read: marriage). However, Tom expresses concerns for Laura's chances by characterizing her through the use of an analogy between Laura and her menagerie.
After Tom announced that he secured a male caller, Amanda seems to be elated. Nevertheless, she pays little attention to Laura's chances and qualities in the present. Instead, she thinks back to the Blue Mountain days: her past triumphs and ultimate lapse in judgment. It seems that, in place of ensuring Laura's happiness, Amanda is attempting to erase her mistake of marrying her husband.
Tom reminds her of Laura's individualism in an unfavorable manner. First, Tom reminds Amanda that Laura might not be attractive to the male caller; she is in a brace that corrects a disfigurement of her legs. However, more importantly, Laura's personality might prevent her from involving herself in a relationship: "TOM. She lives in a world of her own-a world of-little glass ornaments, Mother..." (Williams, 1261). On one hand, Laura seems to be isolating herself with her menagerie in a way that almost makes her one of the pieces shut off on a shelf. More significantly, she is extremely fragile. The tiniest tremor could send her crashing down. Anyone who would want to marry her would have to spend every waking second polishing her and keeping her from falling apart.
Tennessee Williams
In this scene, Tom and Amanda make plans for Laura's future (read: marriage). However, Tom expresses concerns for Laura's chances by characterizing her through the use of an analogy between Laura and her menagerie.
After Tom announced that he secured a male caller, Amanda seems to be elated. Nevertheless, she pays little attention to Laura's chances and qualities in the present. Instead, she thinks back to the Blue Mountain days: her past triumphs and ultimate lapse in judgment. It seems that, in place of ensuring Laura's happiness, Amanda is attempting to erase her mistake of marrying her husband.
Tom reminds her of Laura's individualism in an unfavorable manner. First, Tom reminds Amanda that Laura might not be attractive to the male caller; she is in a brace that corrects a disfigurement of her legs. However, more importantly, Laura's personality might prevent her from involving herself in a relationship: "TOM. She lives in a world of her own-a world of-little glass ornaments, Mother..." (Williams, 1261). On one hand, Laura seems to be isolating herself with her menagerie in a way that almost makes her one of the pieces shut off on a shelf. More significantly, she is extremely fragile. The tiniest tremor could send her crashing down. Anyone who would want to marry her would have to spend every waking second polishing her and keeping her from falling apart.
Monday, October 1, 2012
The Glass Menagerie: Scenes iii & iv
The Glass Menagerie
Tennessee Williams
In this section of the play, the audience gets the first glimpse of a major psychological license (a term I shall coin to refer to inaccurate memories). When Tom sits down with his Amanda, the two engage in a loving reconciliation uncharacteristic of the mother and son. The audience can determine that Tom has used situational and verbal irony to provide an insight into how he wished the scene to occur.
From the beginning of the conversation, Amanda and Tom apologized for their arguments about Tom's nighttime activities. Following these tender moments, Amanda praised Tom for his toils at the warehouse. Whereas before Amanda inquired about Tom's "movies" with nothing but suspicion, now she discusses the matter in regards to Laura's fears. Instead of disapproval, Amanda expresses concern for Tom's future: more importantly, that his future does not coincide with his father's.
However, the audience notices that this interaction seemed unexpected because the words probably were never spoken. In the stage directions, a significant and abrupt change in tone is noted: "(As the familiar inquisition resumes he becomes hard and impatient again. AMANDA slips back to her querulous attitude toward him)" (Williams, 1252). Even though this scene is probably inaccurate, it reveals much about Tom's character. For starters, he most likely regrets how that conversation really happened or that the conversation never actually transpired. His decision to portray this loving scene as truth also portrays his side of the debate without negation. He has been looking for ways to escape the apartment because he feels that he cannot deal with the cramped job at the warehouse and the fact that he is the only one who believes that he makes sacrifices by laboring in the warehouse.
Tennessee Williams
In this section of the play, the audience gets the first glimpse of a major psychological license (a term I shall coin to refer to inaccurate memories). When Tom sits down with his Amanda, the two engage in a loving reconciliation uncharacteristic of the mother and son. The audience can determine that Tom has used situational and verbal irony to provide an insight into how he wished the scene to occur.
From the beginning of the conversation, Amanda and Tom apologized for their arguments about Tom's nighttime activities. Following these tender moments, Amanda praised Tom for his toils at the warehouse. Whereas before Amanda inquired about Tom's "movies" with nothing but suspicion, now she discusses the matter in regards to Laura's fears. Instead of disapproval, Amanda expresses concern for Tom's future: more importantly, that his future does not coincide with his father's.
However, the audience notices that this interaction seemed unexpected because the words probably were never spoken. In the stage directions, a significant and abrupt change in tone is noted: "(As the familiar inquisition resumes he becomes hard and impatient again. AMANDA slips back to her querulous attitude toward him)" (Williams, 1252). Even though this scene is probably inaccurate, it reveals much about Tom's character. For starters, he most likely regrets how that conversation really happened or that the conversation never actually transpired. His decision to portray this loving scene as truth also portrays his side of the debate without negation. He has been looking for ways to escape the apartment because he feels that he cannot deal with the cramped job at the warehouse and the fact that he is the only one who believes that he makes sacrifices by laboring in the warehouse.
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