Analyzing Stories

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10 Analyzing Stories Stories have a special place in most cultures. Sharing stories strengthens the bonds of family and community: Elders relate family and cultural history through stories; children learn lessons through fables and parables; people of all ages use stories to express feelings, work out conflicts, and entertain themselves and others. Reading stories stimulates our feelings and imagination, allowing us to escape our everyday routine and become aware of the wider world around us. Stories can lead us to look at others with sensitivity and, for a brief time, to see the world through another person’s eyes. They can also lead us to see ourselves differently, to gain insight into our innermost feelings and thoughts. The short stories presented in this chapter may in some respects remind you of the essays about remembered events you read and wrote in Chapter 2. As you may recall, essays about remembered events convey significance primarily through vivid descriptive detail showing people in particular places engaged in some kind of dramatic action. Fictional stories work the same way, except that the people in them are called characters, places are called setting, the dramatic action is called plot, and the significance is called theme or meaning. Good stories tend to be enigmatic in that they usually do not reveal themselves fully on first reading. That is why it can be so enjoyable and enlightening to analyze stories and discuss them with other readers. Even very short stories can elicit fascinating analyses. For example, Ernest Hemingway wrote this six-word story, which he reportedly claimed was his best work: For sale: baby shoes, never worn. Upon first reading, you might think you have gotten everything there is to get from the story. But consider the following questions: It looks like an ad, but who would try to sell baby shoes, and why? What is the relationship between the person trying to sell the shoes and the baby for whom the shoes were originally bought? If the person is a parent, what does selling the shoes suggest? If the person is someone unrelated to the baby, how did that person get the shoes, and why is he or she selling them? Could the person selling the shoes be someone who wanted a baby but lost or never had one? Or is he or she more likely to be someone who simply bought the wrong size shoes and didn’t return them? Who would be a potential buyer for the shoes? 457 458 CHAPTER 10 Analyzing Stories If the story is about the death of a child, how old was the child, and what were the circumstances of his or her death? If there is no death involved, what are the circumstances: Is the baby unable to walk or wear shoes? Was he or she taken away from the person who placed the ad? Or were the shoes simply a bad purchase? Where and when was the ad written? (In a country where there are land mines? In a time of severe economic depression?) Why is the story so short? Could the brevity say something about emotion? Could the fact that the story is written in the form of an advertisement suggest something about commercialism? As these questions imply, even the shortest story can be analyzed and discussed in ways that enhance its possible meanings and enrich your reading experience. In this chapter, we ask you to write an analysis of a story. Analyzing the selections in the Guide to Reading that follows will help you learn the basic features and strategies writers typically use when writing about stories. The readings, as well as the questions and discussion surrounding them, will help you consider strategies you might want to try out when writing your own analysis. PRACTICING THE GENRE Analyzing a Story Collaboratively Although writing about stories is an important academic kind of discourse, many people who are not in school enjoy discussing stories and writing about how a story resonates in their lives. That is why book clubs, reading groups, and online discussion forums are so popular. Talking and writing about stories we have read and seen can help us understand why a particular story may be moving or thought-provoking. Sharing the experience with others exposes us to different ways of interpreting and responding to stories — expanding our openness to new perspectives, deepening our insight, and enhancing our pleasure. To benefit from this kind of discussion with others, work together on an analysis of one story with two or three other students. Here are some guidelines to follow: Part 1. Get together with students who have read the same story from An Anthology of Short Stories that begins on p. 495. Begin by discussing one question from the Analyze & Write section following the story your group read. (During the discussion, you may go on to answer other questions as well.) Part 2. After you have discussed the story for half of the time allotted for this activity, reflect on the process of analyzing the story in your group: Before you began, what were your expectations of how the group would work together? For example, did you think your group should or would agree on one “right answer” to the questions, or did you expect significant disagreement? What actually happened once you began to discuss the story? How did the discussion affect your attitude about the story or about the process of analyzing stories? What, if anything, did you learn? Your instructor may ask you to write about what you learned and to present your conclusions to the rest of the class. GUIDE TO READING Analyzing Essays That Analyze Stories In the Readings section of this chapter, you will see how different authors analyze the same short story: “The Use of Force” by William Carlos Williams (pp. 501–3). Examining how these writers present an arguable thesis about the story, support this thesis, and guide readers through their argument will help you write an insightful literary analysis of your own. Determine the writer’s purpose and audience. When reading the short story analysis essays that appear in this chapter, ask yourself the following questions: What seems to be the writer’s main purpose — for example, to illuminate the story; to change or expand the way readers understand the story; or to impress readers with the writer’s insight and close reading? What does the writer assume about the audience? The short story analyses from this chapter were written by students in a college course in which the entire class had read the same story. These writers assumed that their primary reader, the instructor, not only had read the story but also knew a fair amount about its con text and the conversation surrounding it — enough, at least, to be able to judge whether the essayist had read the story with sufficient care and thought. In cases TVDIBTUIFTF QMPUTVNNBSJFTBOESFDJUBMTPG XFMMLOPXOGBDUTBCPVUUIFTIPSU story and its author are not necessary. Assess the genre’s basic features. As you read the essays that analyze stories in this chapter, you will see how different writers incorporate the basic features of the genre. The following discussions of these features include examples from the essays as well as sentence strategies you can experiment with later, as you write your own analysis of a story. Basic Features A Clear, Arguable Thesis "8FMM4VQQPSUFE "SHVNFOU "$MFBS -PHJDBM 0SHBOJ[BUJPO A CLEAR, ARGUABLE THESIS Read fi rst to fi nd thethesis statement, which is often one or two sentences long but that may run to several paragraphs. A good thesis statement in an essay analyzing a story asserts the main idea or claim; is arguable, not a simple statement of fact (for example, “ ‘The Use of Force’ tells the story of a doctor’s visit to a sick little girl”) or an obvious conclusion (for example, “The doctor grows frustrated by the little girl’s behavior”); is appropriately qualified, not overgeneralized or exaggerated (for example, “The behavior of the doctor at the center of ‘The Use of Force’ shows that no medical professional can be trusted”); is clearly stated, not vague or ambiguous. 459 460 CHAPTER 10 Analyzing Stories Often, the thesis is part of an introduction that is at least a paragraph in length. In most cases, this introduction identifies the story being analyzed by giving the title and author, and it may also provide some historical, biographical, or cultural context. In effective writing, the thesis and other sentences in the opening paragraph (or paragraphs) introduce key terms for ideas that are echoed and further developed later in the essay. In this way, the introductory sentences and thesis forecast how the argument will be developed. Inexperienced writers are sometimes afraid to ruin the surprise by forecasting their argument at the beginning of their essays. But explicit forecasting is a convention of literary analysis, similar in purpose to the abstract that precedes many articles in academic journals. Take a look at Iris Lee’s lead-up to the thesis in her essay on “The Use of Force.” In it, she introduces key terms that are repeated (exactly, closely, or through synonyms) and underscored in her thesis: Key terms Thesis The Hippocratic Oath binds doctors to practice ethically and, above all, to “do no harm. ” The doctor narrating William Carlos Williams’s short story “The Use of Force” comes dangerously close to breaking that oath, yet ironically is able to justify his actions by invoking his professional image and the pretense of preserving his patient’s well-being. As an account of a professional doing harm under the pretense of healing, the story uncovers how a doctor can take advantage of the intimate nature of his work and his professional status to overstep common forms of conduct, to the extent that his actions actually hurt rather than help a patient. In this way, the doctor-narrator actually performs a valuable service by warning readers, indirectly through his story, that blindly trusting members of his profession can have negative consequences. (par. 1) Sometimes, the thesis of a literary analysis contradicts or complicates a surface reading of a work. Look for sentence strategies like this one: A [common/superficial] reading of [title by author] is that [insert your own interpretation]. reading], but in fact [surface In Isabella Wright’s essay on “The Use of Force,” the surface reading actually appears in the sentences leading up to the thesis. A transitional sentence and a transitional word introduce the contradiction/complication that constitutes the thesis: Surface reading Transitional sentence Transitional word Contradiction/ complication 460 By any reasonable standards, the story of a doctor prying a little girl’s mouth open as she screams in pain and fear should leave readers feeling nothing but horror and disgust at the doctor’s actions. William Carlos Williams’s story “The Use of Force” is surprising in that it does not completely condemn the doctor for doing just that. Instead, through his actions and words (uttered or thought), readers are able to see the freeing, transformative power of breaking with social conventions. (par. 1) Analyzing Essays That Analyze Stories GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY A WELL-SUPPORTED ARGUMENT Consider how the writer provides support for the argument. Because essays analyzing stories usually present new ideas that are not obvious and that readers may disagree with, writers need to make an argument that includes reasons — the supporting ideas or points that develop the essay’s thesis or main claim; evidence or examples from the story; explanations or analyses showing how the examples support the argument. In addition, writers may provide other kinds of support — for example, quotations from experts or historical, biographical, or cultural evidence. But textual evidence from the work of literature is the primary support readers expect in literary analysis essays. Evidence from the text often takes the form of quotation of words, phrases, sentences, and, occasionally, even paragraphs. Quoting is the most important method of providing support for essays that analyze short stories, but effective writers do not expect a quotation to do the work by itself. Instead, they analyze the language of the story to show how particular words’ connotations, their figurative use in images and metaphors, or their symbolism enrich the story’s meanings. When reading a literary analysis, look for sentence strategies like this one: [type of evidence from the text], such as “ [quotations] [illustrates/demonstrates/shows] ” and “ [analysis]. ” Now look at the extended example from paragraph 4 of Iris Lee’s essay. In this excerpt, Lee supports an assertion about the author’s use of “militaristic diction” by quoting from several parts of the story: Examples of militaristic diction include calling his struggle with the girl a “battle” (502), the tongue depressor a “wooden blade” (503), his bodily effort an “assault” (503). She too is a party in this war, moving from fighting “on the defensive” to surging forward in an attack (503). Such metaphors of fighting and warfare, especially those associated with the doctor and his actions, figuratively convey that his character crosses a crucial boundary. They present the argument that, despite his honorable pretentions, his actions — at least during the height of his conflict with the girl — align more with violence than with healing. The doctor’s thoughts even turn more obviously (and more consciously) violent at times, such as when, in a bout of frustration, he wants “to kill” the girl’s father, (502) or when he says, “I could have torn the child apart in my own fury and enjoyed it” (503). Although these statements are arguably exaggerated, they, like the metaphors of war, imply a tendency to do harm that goes directly against the narrator’s duty as a doctor. While the story’s opening introduces him as a person whose occupation is reason to overcome the parents’ distrust, by the end of the story he leaves his readers thoroughly horrified by his forceful handling of the little girl. By investigating the calculated artifice and military metaphors, we might conclude that the narrator is conscious both of his deceptive rhetoric and of the harm it allows him to inflict upon his patient. Supporting quotations Description of evidence Analysis Writer’s conclusions 461 462 CHAPTER 10 Analyzing Stories In addition to quoting, evidence can also take the form of summary or paraphrase. Writers can use this type of evidence to set up an extended close textual analysis like that shown on the preceding page. Or they might use summary or paraphrase in brief snippets of analysis, as in sentence strategies like the following: When [summarize what happens or paraphrase what is said in the story], readers can . readily see For more on quotation, summary, and paraphrase, see Chapter 26, pp. 701–8. Key terms Summary For example, to support her thesis, Isabella Wright summarizes the doctor’s conflict with the girl instead of describing it in detail. The summary is introduced by repeating key terms from the thesis statement: The doctor also breaks with social conventions by willingly engaging in a physical struggle with the little girl. (par. 5) A CLEAR, LOGICAL ORGANIZATION To make the argument in a literary analysis easy to follow, writers usually include some or all of the following: Topic sentences introducing paragraphs or groups of paragraphs (often using key terms from the thesis statement) Key terms — words or phrases — introduced in the thesis or other introductory text as a way of forecasting the development of the argument (see the previous section); these key terms are repeated strategically throughout the essay Clear transitional words and phrases (such as “although,” “in addition,” and “at the story’s beginning”) Writers tend to place topic sentences at or near the beginning of a paragraph because these sentences help readers make sense of the details, examples, and explanations that follow. Often, topic sentences repeat key terms from the thesis or other introductory text. Look, for example, at the first topic sentence of Iris Lee’s essay, which repeats key terms from the introduction in paragraph 1. Key terms In the way the story and its characters introduce us to the narrator, we see how people automatically grant a doctor status and privilege based on his profession alone, creating an odd sort of intimacy that is uncommon in ordinary social relations. (par. 2) The paragraph then gives examples of the extreme politeness the young patient’s parents show to the doctor, and in describing and analyzing the scene, Lee repeats the words “privilege” and “intimacy.” Topic sentences can also serve as transitions from one paragraph to the next. In reading literary analyses, look for sentence strategies like the following: [In comparison with/in contrast to/in addition to/because of] [subject [subject B (discussed in this A (discussed in the previous paragraph)], paragraph)]. Lee Performing a Doctor’s Duty GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY 463 In her analysis of “The Use of Force,” Isabella Wright uses this strategy: EXAMPLE In contrast to the little girl’s parents, the doctor breaks social conventions in his interactions with the family and in doing so highlights the absurdity of these rules. (par. 3) 4VCKFDU" 4VCKFDU# Notice that Wright repeats the phrase “social conventions,” which she introduces in her thesis. Readings The following essays by students Iris Lee and Isabella Wright analyze the short story “The Use of Force,” by William Carlos Williams (pp. 501–3). As you will see, both Lee and Wright attempt to answer questions that many readers have asked of this story: What is the purpose — aside from vividly describing his anger and frustration — of portraying a doctor’s use of force on an uncooperative patient? What larger points are being made? Lee and Wright arrive at different answers to these questions. By reading their essays, you will learn a great deal about how writers argue for their own analysis of a story. Iris Lee Performing a Doctor’s Duty WRITTEN FOR A FIRST:EAR COMPOSITION COURSE, this essay by Iris Lee em phasizes the “doctor’s duty.” As you read, consider the following: 2˜ ^!š:˜Oph˜FFŒ’˜zF’zF3ša¥F:˜a’˜š^F˜=p3špŒ’˜=£š¨:˜!’˜am=a3!šF=˜am˜š^F˜šašdF ˜ 2˜ ^!š˜F¥a=Fm3F˜Oph˜š^F˜’šp¨˜=pF’˜FF˜£’F˜šp˜’£zzpš˜^F˜h!am˜a=F! Also consider the questions in the margin. :our instructor may ask you to post your answers to a class blog or discussion board or to bring them to class. Basic Features 1 The Hippocratic Oath binds doctors to practice ethically and, above all, to “do no A Clear, Arguable Thesis harm. ” The doctor narrating William Carlos Williams’s short story “The Use of Force” "8FMM4VQQPSUFE "SHVNFOU comes dangerously close to breaking that oath, yet ironically is able to justify his "$MFBS -PHJDBM 0SHBOJ[BUJPO actions by invoking his professional image and the pretense of preserving his patient’s XFMMCFJOH As an account of a professional doing harm under the pretense of healing, the story uncovers how a doctor can take advantage of the intimate nature of his work and his professional status to overstep common forms of conduct, to the extent that 464 CHAPTER 10 Analyzing Stories his actions actually hurt rather than help a patient. *OUIJTXBZ UIFEPDUPSOBSSBUPS actually performs a valuable service by warning readers, indirectly through his story, )PXEPUIFIJHIMJHIUFE USBOTJUJPOTIFMQUIF SFBEFS *TUIJTNFSFMZQMPU TVNNBSZPSEPFTJUTFSWF BOBOBMZUJDBMQVSQPTF that blindly trusting members of his profession can have negative consequences. 2 In the way the story and its characters introduce us to the narrator, we see how people automatically grant a doctor status and privilege based on his profession alone, creating an odd sort of intimacy that is uncommon in ordinary social relations. At the story’s beginning, the narrator identifies the family he visits as “new patients” (501), and he establishes that they are virtual strangers to him—“all [he] had was the name, Olson” (501). After the mother confirms that he is the doctor, however, she immediately invites him into the most intimate part of her home, the kitchen, where her husband and sick daughter are waiting (501). Later, the mother reassures the child that the doctor is a “nice man” and “won’t hurt you,” though she can base those assertions only on what little she knows of him: his occupation (502). At the same time, the narrator senses that the family is “very nervous, eyeing me up and down distrustfully” (501). The parents’ eagerness in offering their home and hospitality, coupled with the betrayal of their nervousness, hints at the dubious nature of the intimacy between a doctor and his patient. Although the doc tor’s profession gives him privilege to overstep certain boundaries, the basis of real trust is lacking, thusDBTUJOHUIFEPDUPSQBUJFOUSFMBUJPOTIJQBTTPNFUIJOHTUSBOHFBOEBSUJGJDJBM )JHIMJHIUUIFUPQJDTFO UFODFTPGQBSBHSBQITm )PXXFMMEPUIFZXPSL 3 The narrator communicates to readers that he perceives both sides of the interaction and also admits to intentionally using the weight of his professional status against the fam ily’s natural distrust of outsiders. The young girl, who is not yet “adult” enough to follow social conventions (503), might be read as representing the family’s instinct for TFMGQSPUFDUJPO*OUIFGBDFPGUIFDIJMETSFTJTUBODF UIFOBSSBUPS“smiled in [his] best professional manner” (502), trying to invoke the special form of trust that doctors typically assume. The phrase “professional manner” shows that the narrator acknowledges he is using the power of his occupation, while also admitting that his reassuring smile is only part of his professional performance. As the doctor’s struggle to examine the little girl’s throat becomes more heated, he repeatedly brings up his expert concern to justify his rough actions. He tells readers, “I had to do it . . . for her own protection” (502). Later, he reminds readers (and himself) that “I have seen at least two children lying dead in bed of neglect in such cases, and [feel] that I must get a diagnosis now or never” (503). He also notes that “others must be protected” against the sick child before him (503). The narrator repeatedly Lee Performing a Doctor’s Duty GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY 465 brings up his duty as a doctor and the privilege that comes with it to defend his use of force. Yet at other points, he admits to having “grown furious” (503), to being unable to “hold [himself] down” (503), and to have “got beyond reason” (503). In acknowledging the MPTTPGIJTDBQBDJUZGPSSFBTPOBOETFMGDPOUSPM IFFTTFOUJBMMZBENJUTUIBUIJTiQSPGFTTJPOBM manner” and attempts to be gentle in getting the girl to follow his commands are empty )PXDMFBSJT-FFTBOBMZTJT IFSF )PXEPFTTIFTVQ QPSUJU  artifice (502). When these attempts fail, emotion alone drives his actions. In effect, he uses the medical art as a pretense to justify otherwise unacceptable interventions. 4 Beyond admitting his personal motivations in his treatment of the girl, the narrator sketches a more disturbing and potentially incriminating image of himself in his use of militaristic diction, for it aligns his character more with harming than healing — the perfect contradiction of a doctor. Examples of militaristic diction include calling his struggle with the girl a “battle” (502), the tongue depressor a “wooden blade” (503), his bodily effort an “assault” (503). She too is a party in this war, moving from fighting “on the defensive” to surging forward in an attack (503). Such metaphors )PXXFMMEPUIFRVPUFE XPSETJMMVTUSBUF-FFT BOBMZTJT of fighting and warfare, especially those associated with the doctor and his actions, figuratively convey that his character crosses a crucial boundary. They present the argument that, despite his honorable pretentions, his actions — at least during the height of his conflict with the girl — align more with violence than with healing. The doctor’s thoughts even turn more obviously (and more consciously) violent at times, such as when, in a bout of frustration, he wants “to kill” the girl’s father (502), or when he says, “I could have torn the child apart in my own fury and enjoyed it” (503). Although these statements are arguably exaggerated or hyperbolic, they, like the meta phors of war, imply a tendency to do harm that goes directly against the narrator’s duty as a doctor. While the story’s opening introduces him as a person whose occupation is enough to overcome the parents’ distrust, by the end of the story he leaves his readers thoroughly horrified by his forceful handling of the little girl. By investigating the calcul ated artifice and military metaphors, we might conclude that the narrater is conscious both of his deceptive rhetoric and of the harm it allows him to inflict upon his patient. 5 Curiously, the narrator readily pleads guilty on both counts, which leads one to wonder why any person would willingly paint such a damning picture of himself — one that would surely destroy his livelihood. I would argue that the doctor of this story does not take ownership of his despicable actions but uses them to blame the parents 8IZEPZPVUIJOL-FF QPTFTBOJNQMJFERVFT UJPO iXPOEFSXIZu )PX EPIFSBOTXFST i*XPVME BSHVFu NBLFIFSBOBMZTJT EFFQFS 466 CHAPTER 10 Analyzing Stories and more generally to warn against blindly trusting those in positions of authority. Looking back to the story’s opening, we note that the narrator presents himself generically. He does not name or describe himself or provide any information beyond the fact that he is a doctor. The lack of specification renders him the “every doctor” and expands the possible reference points for the pronoun “I” as it is used in this story. That is to say, although the story is told in the first person, attaching the actions and events to the singular narrator, that narrator turns himself into a placeholder for every doctor by leaving out all identifying features. I would argue, furthermore, that speaking in the first person, as he must to make his story credible, the narrator offers a cautionary tale about a 8IZEPZPVUIJOL-FF QSPWJEFTTPNBOZ USBOTJUJPOT IJHIMJHIUFEJO QVSQMF IFSF doctor who exploits the privileges of his profession. The warning implied in the story of a doctor’s exploitation of professional privilege is for patients to protect themselves. Thus, UISPVHIIJTDBVUJPOBSZUBMF UIFEPDUPSBTOBSSBUPSEPFTUIFPQQPTJUFPGUIFEPDUPSBT actor in the story: he performs a doctor’s duty to his readers of preventing harm. 6 'PSSFBEFSTXIPEJTUJOHVJTICFUXFFOUIFEJGGFSFOUMBZFSTPG8JMMJBNTTGJSTUQFSTPO narrator, the story is ultimately both a damning and a flattering depiction of the doc 8IBUBSFUIFTUSFOHUITPG UIJTFOEJOH )PXDPVMEJU CFJNQSPWFE UPSGJHVSF5IFEPDUPSBTBDUPSJOUIFTUPSZCFDPNFTBEFTQJDBCMFTQFDJNFOPGQSPGFT sionalism corrupted, someone capable of brutality and rhetorical manipulation. Above him stands another — UIFEPDUPSBTOBSSBUPS — who counteracts these crimes through his art. The way he tells the story conveys a powerful story and serious message. Work Cited Williams, William Carlos. “The Use of Force.” The St. Martin’s Guide to Writing. Ed. Rise B. Axelrod and Charles R. Cooper. 10th ed. Boston: Bedford/St. Martin’s, 2013. 501–03. Print. Isabella Wright 5PMFBSOBCPVUIPX*TBCFMMB 8SJHIUVTFEUIFBDUJWJUJFT JOUIF"OBMZ[FUIF4UPSZ TFDUJPO QQm UVSO UP"8SJUFSBU8PSLPO QQm “For Heaven’s Sake!” USING THE WA:S IN ACTIVITIES in the Guide to Writing section Analyze the Story (pp. 475–78), Isabella Wright explored and wrote about how the doctor’s thoughts and actions in “The Use of Force” might be justified. We have not annotated or highlighted this essay, but you may want to do so as you read and as you respond to the Analyze & Write questions in the sections that follow. As you read, notice how Wright’s analysis dif fers from Lee’s. Consider which essay you find more convincing and why. Wright 1 “For Heaven’s Sake!” By any reasonable standards, the story of a doctor prying a little girl’s mouth open as she screams in pain and fear should leave readers feeling nothing but horror and dis gust at the doctor’s actions. William Carlos Williams’s story “The Use of Force” is surprising in that it does not completely condemn the doctor for doing just that. Instead, through his actions and words (utterred or thought), readers are able to see the freeing, transformative power of breaking with social conventions. Thus, they are also encouraged to rethink what is acceptable and unacceptable in polite society. 2 Social conventions and proper conduct are prominent themes in Williams’s story, in which the mother and father of the sick little girl are fixated on acting and speaking within the boundaries of politeness. The parents demonstrate this tendency most obvi ously in how they go out of their way to be respectful to the doctor. Upon his arrival at their home, the mother preemptively says that “[he] must excuse [them]” for bringing him into the kitchen, where they are keeping the child warm (501). There, the father makes an effort to “get up” to greet the doctor (501). The parents’ efforts continue and take on even greater urgency when the child is uncooperative with the doctor as he tries to examine her throat. When she succeeds in knocking his glasses to the floor, her parents “almost [turn] themselves inside out in embarrassment and apology” (502). At certain moments, keeping up appearances seems to become disproportionately important, PWFSTIBEPXJOHUIFJSDPODFSOGPSUIFJSEBVHIUFSTXFMMCFJOH5IFNPUIFSTVMUJNBUFBSHV ment, meant to be stronger even than her threat to take the girl to the hospital, is to shame her daughter over her discourteous behavior. “Aren’t you ashamed to act like that in front of the doctor?” she asks (503). The ending of her statement is key because it raises the question, would the daughter’s misbehavior be shameful if no one outside of the family witnessed it? In other words, to what extent should concerns over appearances determine rightful and wrongful conduct? 3 In contrast to the little girl’s parents, the doctor breaks social conventions in his interactions with the family and in doing so highlights the absurdity of these rules. From the beginning we see him as someone who pushes aside polite but pointless practices; for example, he “motion[s] for [the father] not to bother” standing for a greeting when it would have disturbed the child on his lap (501). The doctor’s disregard for social conventions applies most to his tendency to give voice to thoughts rather than to keep them to himself for fear of sounding rude or causing discomfort. When the mother scolds her daughter for GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY 467 468 CHAPTER 10 Analyzing Stories knocking the glasses off the “nice man” (502), the doctor’s reaction borders on outright rudeness: “For heaven’s sake, I broke in. Don’t call me a nice man to her. I’m here to look at her throat on the chance that she might have diphtheria and possibly die of it” (502). 4 But is the doctor really giving voice to such reactions? The absence of quotation marks in the story leaves it uncertain which lines are and are not spoken aloud, creating BUIPVHIUQSPWPLJOHBNCJHVJUZ'PSFYBNQMF EPFTUIFEPDUPSBDUVBMMZSFTQPOEXJUIi0I yeah?” to the mother’s threat to take the girl to the hospital, or does he care enough to keep such an irreverent reaction to himself (502)? In any case, readers are presented with the possibility of imagining that all the doctor’s thoughts — no matter how offensive, belittling, or inappropriate — are expressed aloud. In fact, the very existence of the text and our reading of it give these thoughts expression, turning a stylistic choice into the ultimate statement on how social considerations limit our actions and expressions. 5 The doctor also breaks with social conventions by willingly engaging in a physical struggle with the little girl. This conflict might be interpreted as a process of reverse socialization or reverse civilization, a transformation that, surprisingly, the story presents as a potentially positive change. While the doctor stoops to the primitive tactics of the little girl, he does not view her in a negative light. To the contrary, from the beginning, he— and, through him, readers—sees the little girl as “unusually attractive” and “strong,” with “magnificent blonde hair.” This description of her seems almost angelic (501). Through the doctor’s conflict with her, his admiration grows. He comes to respect, even “love,” the girl for her raw spirit that allows her to “[rise] to magnificent heights” in her struggle against him (502). Such worshipful language—note the repetition of the word “magnificent,” for example—leads readers to understand the girl and her strength as something closer to glory and divinity than to savagery. The doctor’s entering a similar state might thus be read as his reeducation into a finer, truer self. Indeed, it is at these points in the story when he uses the most sophisticated language and the most involved metaphors. Thus, the story demon strates, through the doctor’s transformation, that the casting off of social conventions might lead not to a reduced state of humanity but to a purer, more admirable state of being. 6 In a story where politeness is made to seem absurd, the doctor’s tactless words and his inappropriate use of force actually have the potential to be improvements on his character. By tossing aside social conventions, he brings himself closer to the glorious heights of the little girl, who, from the story’s beginning, is magnificent and strong in her stubbornness. In the characters of the mother and father, readers come to understand also that politeness can stand in the way of accomplishing a task or communicating a clear Wright “For Heaven’s Sake!” GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY 469 meaning, and thus the doctor’s actions are in the service of honesty and efficiency. Thus framed, the story leads readers to a point where they cannot fully condemn the doctor’s outwardly abhorrent actions and instead must reconsider their own metric of what is and is not socially appropriate. Work Cited Williams, William Carlos. “The Use of Force.” The St. Martin’s Guide to Writing. Ed. Rise B. Axelrod and Charles R. Cooper. 10th ed. Boston: Bedford/St. Martin’s, 2013. 501–03. Print. Use the basic features. A CLEAR, ARGUABLE THESIS: GETTING BENEATH THE SURFACE Earlier, we discussed how the thesis of a literary analysis can contradict or complicate a surface reading of a work. After asserting her thesis about how “The Use of Force” helps readers see the “freeing, transformative power of breaking with social conven tions,” Wright supports her thesis with examples from the text and with her own analy sis. Often, she returns to a key term from her thesis: “social conventions.” ANALYZE & WRITE 8SJUFBQBSBHSBQIPSUXPBCPVUIPXXFMM8SJHIUHFUTCFMPXUIFTVSGBDFJOIFSSFBEJOHPG i5IF6TFPG'PSDFu 1 3FSFBEUIFUIFTJTTUBUFNFOU BOEIJHIMJHIUUIFUFSNiTPDJBMDPOWFOUJPOTuXIFOFWFSJU BQQFBSTMBUFSJOUIFFTTBZ QBZJOHBUUFOUJPOUPXIBU8SJHIUTBZTBCPVUJUJOFBDIJOTUBODF 2 %PZPVUIJOL8SJHIUTUIFTJTBDDVSBUFMZGPSFDBTUTUIFBSHVNFOUTIFEFWFMPQTJOUIF SFTUPGIFSFTTBZ *GOPU XIBUDIBOHFTUPUIFUIFTJTNJHIUZPVTVHHFTU 3 *OIFSEJTDVTTJPOPGIPXUIFEPDUPSCSFBLTXJUITPDJBMDPOWFOUJPOT EPZPVUIJOL 8SJHIUNBLFTBOBEFRVBUFDBTFGPSUIFiGSFFJOH USBOTGPSNBUJWFQPXFSuPGIJTUIPVHIUT BOEBDUJPOT 8IZPSXIZOPU A8&--4611035&%ARGUMENT: PAIRING TEXTUAL E7*%&/$&WITH ANALYSIS As we have noted, an essay about a short story relies primarily on textual evidence — gleaned from a close reading of the story — to support the argument. We have also dis cussed how simply quoting, summarizing, or paraphrasing passages from the text is not 'PSBOBEEJUJPOBM TUVEFOUSFBEJOH  HPUPbedfordstmartins .com/theguide/epages ANALYZE 470 CHAPTER 10 Analyzing Stories enough; instead, effective writing about a literary work must use such evidence in support of an analysis: the writer’s original, thoughtful examination of the text. Earlier, we looked at Lee’s analysis of militaristic diction in “The Use of Force,” an analysis that drew on quotations from the story. Now let’s turn to Wright’s essay. ANALYZE & WRITE Write a paragraph or two about how well Wright uses textual evidence and analysis: 1 Focus on quotations, highlighting the one in the title as well as those in paragraphs 2–5. Consider how — and how well — these quotations support Wright’s argument. 2 What improvements might you suggest to the choice of quotations? For example, in paragraph 5, Wright refers to the “most involved metaphors” of the story but does not quote any of them. Which metaphors, if any, might she have quoted? Or is summarizing these parts of the story sufficient to support her analysis? 3 What improvements might you suggest to Wright’s analysis of textual evidence? For example, in paragraph 2, Wright discusses how the parents of the sick child go out of their way to be polite and respectful to the doctor. However, read paragraph 3 of the story (p. 501), and consider in what ways this part of the story might complicate Wright’s analysis of the parents’ behavior. A CLEAR, LOGICAL ORGANIZATION: COORDINATING KEY WORDS AND TOPIC SENTENCES As we have seen, writers try to help readers follow their argument by making their plan or organization clear to readers. For example, topic sentences that repeat key terms from the thesis statement help readers connect individual paragraphs to the larger argument the writer is making. ANALYZE & WRITE Write a paragraph or two about Wright’s use of key words in topic sentences: 1 Underline the topic sentences of paragraphs 2, 3, and 5, and circle any key terms that are repeated in these sentences. 2 Pay special attention to the key terms, noting the way they are used in each topic sentence and built upon in the paragraph. Assess how well each topic sentence helps you follow the argument as it is developed in these paragraphs. PLAYING WITH GENRE While the traditional essay that analyzes short stories has very specifi c features, responses to short stories and other forms of literature can take many forms, including adaptations, sequels, and parodies. Responses to literature in other media, such as theater, dance, fi lm, and music, are common: The musicalWest Side Story, for example, is an adaptation of Shakespeare’s Romeo and Juliet; the 2007 opera Grapes of Wrath is based on John Steinbeck’s novel of the same name; and F. Scott Fitzgerald’s The Great Gatsby has inspired numerous fi lm versions, JODMVEJOHB%WFSTJPOEJSFDUFECZ#B[-VISNBOO Students sometimes interpret stories they have studied by presenting them in different media. The screen shot below is from a video developed by three students — Natalie George, Lacey Patzer, and Sam Williams — for their digital storytelling course. It retells “The Story of an Hour” from Mrs. Mallard’s point of view. This screen shot captures a moment not included in Chopin’s story (pp. 495–97) — the whispering of Mrs. Mallard’s sister and her husband’s friend, as they discuss the news of Brently Mallard’s death and how to break it to his “widow.” Adaptations, Sequels, and Parodies 'PSBOJOUFSBDUJWF WFSTJPOPGUIJTGFBUVSF  HPUPbedfordstmartins .com/theguide/epages As you work on your own project, you might want to consult some of these alternative forms of response for inspiration. If the format in which you are working allows for it — if, for example, you are creating a poster, Web page, or video — you could take advantage of the strategies available to those working in multimedia, for example, by embedding images or artifacts relevant to the story you are interpreting. (Always remember to document properly any material you might use that was created by someone else.) 471 472 CHAPTER 10 Analyzing Stories GUIDE TO WRITING 5IF8SJUJOH "TTJHONFOU 472 The Writing Assignment 8SJUJOHB%SBGU *OWFOUJPO 3FTFBSDI 1MBOOJOH BOE $PNQPTJOH 473 Write an essay analyzing one or more aspects of a story. Aim to convince readers that your analysis is interesting and contributes to the conversation about the story. Back up your ideas with supporting quotations and examples from the story. &WBMVBUJOHUIF %SBGU(FUUJOHB $SJUJDBM3FBEJOH 484 *NQSPWJOHUIF %SBGU3FWJTJOH  'PSNBUUJOH &EJUJOH BOE 1SPPGSFBEJOH 486 This Guide to Writing is designed to help you write your own analysis of a story and apply what you have learned from reading other students’ essays. This Starting Points chart will help you fi nd answers to questions you might have about analyzing astory. Use the chart to fi nd the guidance you need, when you need it. S5"35*/(10*/5S: A/"-:;*/(4503*&S )PXDBO*GJOEBHPPE TUPSZUPXSJUFBCPVU A Clear, Arguable Thesis )PXEP*EFDJEFPOBNBJO JEFBBOEEFWFMPQBUIFTJT )PXEP*TVQQPSUNZJEFBT A8FMM4VQQPSUFE Argument 472 r 'JOEBTUPSZUPXSJUFBCPVU QQm r "OBMZ[FUIFTUPSZ QQm r %FUFSNJOFUIFXSJUFSTQVSQPTFBOEBVEJFODF Q r "TTFTTUIFHFOSFTCBTJDGFBUVSFT"DMFBS BSHVBCMF UIFTJT QQm r "$MFBS "SHVBCMF5IFTJT(FUUJOH#FOFBUIUIF4VSGBDF QQm r "OBMZ[FUIFTUPSZ QQm r 'PSNVMBUFBXPSLJOHUIFTJT QQm r "5SPVCMFTIPPUJOH(VJEF"$MFBS "SHVBCMF5IFTJT Q r "TTFTTUIFHFOSFTCBTJDGFBUVSFT"XFMMTVQQPSUFE BSHVNFOU QQm r "8FMM4VQQPSUFE"SHVNFOU1BJSJOH5FYUVBM&WJEFODFXJUI "OBMZTJT Q r "OBMZ[FUIFTUPSZ QQm r 'PSNVMBUFBXPSLJOHUIFTJT QQm r 1SPWJEFTVQQPSUGPSZPVSBSHVNFOU QQm r 5PCVJMEPOZPVSTVQQPSU DPOTJEFSEPJOHPVUTJEFSFTFBSDI QQm Writing a Draft )PXTIPVME*PSHBOJ[FNZ BSHVNFOUTPUIBUNZBVEJ FODFDBOGPMMPXJUFBTJMZ  A Clear, Logical 0rganization 473 r "TTFTTUIFHFOSFTCBTJDGFBUVSFT"DMFBS MPHJDBMPSHBOJ[B UJPO QQm r "$MFBS -PHJDBM0SHBOJ[BUJPO$PPSEJOBUJOH,FZ8PSETBOE 5PQJD4FOUFODFT Q r $SFBUFBOPVUMJOFUIBUXJMMPSHBOJ[FZPVSBSHVNFOUFGGFDUJWFMZ Q r %SBGUZPVSBOBMZTJT Q Writing a Draft: Invention, Research, Planning, and Composing The activities in this section will help you fi nd a story to write about, analyze it thoughtfully, and develop and organize an essay that argues for the position you are UBLJOHPOUIFTUPSZ%PUIFBDUJWJUJFTJOBOZPSEFSUIBUNBLFTTFOTFUPZPV BOEZPVS instructor), and return to them as needed as you revise. :our writing in response to many of these activities can be used in a rough draft that you will be able to improve after receiving feedback from your classmates and instructor. Find a story to write about. :our instructor may have given you a list of stories to choose from or assigned a particular story for the class to write about. If so, go on to the next section, Analyze the Story (pp. 475–79). If you need to fi nd a story on your own, look for one that meets your instructor’s approval and does one or more of the following: %FBMTXJUIBDVMUVSBMMZ QPMJUJDBMMZ PSIJTUPSJDBMMZTJHOJGJDBOUUIFNF Surprises or puzzles you with apparent contradictions Leads you to wonder what is left out of the story — the backstory or context Raises questions about characters’ motivations, relationships, or development Uses conventional story motifs, setting, or other features in unconventional ways Resonates emotionally, perhaps giving you insight into human frailty or moral ambiguity To fi nd a story on your own, browse any literature anthology or short story collection in a library or bookstore, or try one of the following online sites: American Literature short story library (americanliterature.com) Classic Short Stories (classicshorts.com) Classic Reader: Short Stories (classicreader.com/browse/6) Short Story Archive (shortstoryarchive.com) GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY 474 CHAPTER 10 Analyzing Stories You might also consider stories in the following subject areas: Stories Related to Identity and Community “The Story of an Hour” (pp. 495–97), “Araby” (pp. 497–500), or “Girl” (pp. 504–5), would make good choices if you are interested in issues of identity and community. If you would like to look further, here are a few other widely anthologized stories you might consider writing about: “The Monkey Garden,” by Sandra Cisneros “The Open Boat,” by Stephen Crane “Fleur,” by Louise Erdrich “A Rose for Emily,” by William Faulkner “My Kinsman, Major Molineux,” by Nathaniel Hawthorne “A Clean, Well-Lighted Place,” by Ernest Hemingway “The Lottery,” by Shirley Jackson “The Metamorphosis,” by Franz Kafka “The Ones Who Walk Away from Omelas,” by Ursula Le Guin “My Father’s Chinese Wives,” by Sandra Tsing Loh “A Pair of Tickets,” by Amy Tan “Everyday Use,” by Alice Walker Stories Related to Work and Career “The Use of Force” (pp. 501–3) would be one good choice if you are interested in writing about the topic of work and career. Here are some additional stories you might consider for exploring this topic: “Sonny’s Blues,” by James Baldwin “The Yellow Wallpaper,” by Charlotte Perkins Gilman “The Birthmark,” by Nathaniel Hawthorne “Reena,” by Paule Marshall “Shiloh,” by Bobbie Ann Mason “Bartleby the Scrivener,” by Herman Melville “Picasso,” by Gertrude Stein “The Catbird Seat,” by James Thurber “A&P,” by John Updike “Why I Live at the P.O.,” by Eudora Welty Writing a Draft GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY 475 Analyze the story. Use the following suggestions as a way into the story. Try out more than one to discover how different aspects of the story work together and to generate ideas for a thoughtful analysis. To read the story closely and critically, annotate it as you work through the suggestions, highlighting key passages and noting your ideas and questions. WHAT ELEMENTS COULD I ANALYZE, AND WHY? Character WHAT APPROACH MIGHT I TAKE? Psychological You want to know why a character acts in a particular way; For more on annotating, see Chapter 12, pp. 522–28. WHAT SHOULD I ASK MYSELF? WAYS IN Does the character change/learn anything in the course of the story? How does the character relate to other characters? For instance, how does he or she deal with intimacy, commitment, and responsibility? how gender or ethnicity affects relationships; Does the character seem depressed, manic, abusive, fearful, egotistical, or paranoid? whether a character changes or grows; whether we should approve of a character’s actions or accept his or her justifications. Does any other character seem to represent the character’s double or opposite? Ethical or moral What are the character’s virtues and/or vices? What influences your judgment of the character? Something in the story (such as what the narrator or another character says)? Something you bring to the story (your views of right and wrong, based on your family upbringing or religious teachings)? Something else? Do any of the other characters have different moral values that could be compared or contrasted to the character’s values? Social or cultural How does the character fit into and appear to be defined by society, in terms of race, ethnicity, socioeconomic class, sexual orientation, age, or gender? (continued) 476 CHAPTER 10 Analyzing Stories Who in the story exercises power over whom? What causes the difference in power? What are the effects of this difference? Does the balance of power change during the story? Setting You want to know how much time and place matter; In relation to the mood, characters, or actions Are there any cause-effect connections between the setting and what characters are doing, thinking, or feeling? what the description of the setting symbolizes; how the setting affects characters. How does the setting affect the mood? For example, does it create feelings of suspense or foreboding? Historical or cultural How does the historical period or cultural context in which the story is set affect what happens and does not happen? How might the story’s meaning be different if the historical time or cultural situation were changed? Metaphoric or symbolic Assuming that the setting is a projection of the thoughts and feelings of the narrator, what does the setting tell you about the narrator’s state of mind? Assuming that the setting symbolizes the social relations among characters in the story, what does the setting tell you about these relationships? Assuming that the setting stands for something outside the characters’ control (such as nature, God, or some aspect of society), what does the setting tell you about the pressures and rules under which the characters function? Plot Structure You want to know what the ending means; whether there is a turning point in the story; As realistic (resembling real-life experience) After marking where each new stage of the story begins, how can the sequence of scenes or events be understood? In what ways do subplots mirror, undercut, or comment on the main plot? Writing a Draft how a subplot relates to the main plot. GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY As surrealistic (having symbolic rather than literal meaning) Thinking of the story as a series of images (more like a collage or a dream than a realistic portrayal of actual events), what meanings do you find in the arrangement of these images? In terms of what the narrator actually sees whether the narrator can be believed; Is the narrator a character in the story or an all-knowing, disembodied voice who knows what every character thinks, feels, and does? whose values and interests are represented; What important insights or ideas does the narrator have? how readers’ sympathies are manipulated. How do factors such as the narrator’s gender, age, and ethnicity influence what he or she notices as important? Point of View You want to know Are there things that the narrator is not able to see or that he or she distorts — for example, certain truths about himself or herself, about other characters, or about what happens in the story? In terms of how the narrator represents what he or she sees How would you characterize the narrator’s tone at various points in the story? For example, is the tone satirical, celebratory, angry, bitter, or optimistic? What about the narrator (or about the situation) might account for each tone you identify? What special agenda or motive might have led the narrator to this particular way of describing characters and scenes or telling the story? Literary Motif or Theme You want to know whether the story is about a break with social conventions, the In terms of a traditional story motif (or an ironic reversal of the tradition) Could you analyze the text as . . . an initiation (or coming-ofage or rite-of-passage) story? . . . a quest (for love, truth, fame, fortune, or salvation of oneself or the community)? (continued) 477 478 CHAPTER 10 Analyzing Stories initiation into adulthood, or some other common literary motif; . . . a story about a character’s disillusionment or fall from innocence? . . . a story about family or surrogate families? . . . a story about storytelling (or some other art) or becoming a writer or an artist? what the story says about war, poverty, love, alienation, or some other general theme; how the story illuminates a historical or current issue. In terms of a common literary theme Might you focus on the theme of . . . the American dream? . . . the social construction of femininity or masculinity? . . . race relations in America? . . . alienation? . . . the urban or suburban experience? In addition to generating ideas by taking one of the approaches listed above, you can consider the details and use those to generate an approach. Or you can list ideas you had while reading the story and use those to locate supporting details. The Ways In box that follows can help you generate ideas using these two approaches. WAYS IN HOW CAN I GENERATE IDEAS BY MOVING FROM SPECIFIC DETAILS TO GENERAL IDEAS? HOW CAN I GENERATE IDEAS BY MOVING FROM GENERAL IDEAS TO SPECIFIC DETAILS? 1. Select two or three quotations, and write several sentences answering this question: What idea or ideas does each quotation suggest, and what in the quotation makes you think so? 1. List ideas you thought of as you analyzed the story, without worrying about how these ideas relate to one another or whether they are contradictory. For example, here are two of Isabella Wright’s ideas about the doctor in “The Use of Force” (see A Writer at Work, pp. 491–93). 2. Write a paragraph analyzing one or more patterns you found in the story. Here are a few patterns to help you get started: 2˜ h!VF¨˜|Op˜F§!hzdF:˜š^F˜hadaš!a’ša3˜ images in “The Use of Force” that Lee analyzes) He has no time for the social conventions upheld by the parents. His break with social conventions feels freeing—maybe even transformative. Writing a Draft 2˜ ^!!3šF’˜!’˜3pmš!’š’˜|Op˜F§!hzdF:˜ differences between the parents and the doctor in “The Use of Force” that Wright discusses) 2˜ ¥Fmš’˜š^!š˜F3^p˜p˜F¥F’F˜pmF˜!mpš^F˜ (for example, the doctor’s fury echoes the young girl’s) GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY 2. Review the story to find quotations or other details you could use to illustrate your ideas. 3. Write for a few minutes about your most interesting ideas and how they connect to one another. For example, in exploring her ideas about “The Use of Force,” Wright connected her ideas about breaking social conventions to develop her main claim about the transformative power of disobeying the rules of social behavior. TEST YOUR CHOICE Get together with two or three other students who have read your story, and offer responses to one another’s ideas. Presenters. Take turns telling one another your two or three most promising ideas, giving an example from the story to support each idea. Listeners. Briefly respond to each presenter’s ideas, identifying what you find interesting in them, what you agree or disagree with, and how the ideas could be extended or complicated productively. Formulate a working thesis. Remember that an arguable thesis is not a simple statement of fact or an obvious conclusion. To get a sense of how you might formulate an arguable thesis, take a look at the thesis statements from the student essays you’ve studied in this chapter. As an account of a professional doing harm under the pretense of healing, the story uncovers how a doctor can take advantage of the intimate nature of his work and his professional status to overstep common forms of conduct, to the extent that his actions actually hurt rather than help a patient. In this way, the doctor-narrator actually performs a valuable service by warning readers, indirectly through his story, that blindly trusting members of his profession can have negative consequences. (Lee, par. 1) Through [the doctor’s] actions and words (uttered or thought), readers are able to see the freeing, transformative power of breaking with social conventions. Thus, they are also encouraged to rethink what is acceptable and unacceptable in polite society. (Wright, par. 1) 479 480 CHAPTER 10 Analyzing Stories You may have already decided on the main claim you want to make in your short story analysis; if so, try drafting a working thesis statement now. The Ways In activities that follow may help. (Alternatively, if you prefer to develop your analysis before trying to formulate a thesis, skip this activity and return to it when you’re ready.) HOW CAN I FORMULATE AN ARGUABLE THESIS? WAYS IN Write for ten minutes about your most promising ideas. After writing, read what you have written and see if you can find one main idea or claim that can serve as the thesis for your essay. Focus your exploratory writing on questions like these: How can readers understand a character’s internal conflict or apparent change? How is the story’s theme reflected in the way the story is told, the way the setting is described, how characters relate to one another, or some other aspect of the story? How does the language used to describe the setting or the characters’ actions illuminate such things as the main character’s internal conflict, the relationship between characters, or the theme? (For example, the doctor-patient struggle described in “The Use of Force” forms the basis of Iris Lee’s argument that the story warns readers against blindly trusting doctors.) What does the trajectory of the story (the plot structure) say about the characters or the culture? (For example, Isabella Wright’s analysis of the increasing tension between repression and expression, social conventions and human willfulness, underlies her argument about the value of breaking with these conventions.) Reread the story with one of the following questions (or a question of your own) in mind, underlining passages or taking notes as you read: How do my ideas about the story form links in a chain leading to some general conclusion? For example, Wright links two ideas: (1) pressure to adhere to social conventions and (2) reasons for breaking with these conventions. She is not simply retelling the story; she is stating her ideas about what happens in the story. How can I present my ideas as a response to a question — either a question my instructor asked or one I composed myself ? For example, in their essays, Lee and Wright responded to the first question we posed in the Analyze & Write section for “The Use of Force” (p. 503). What, if anything, does the story say about what may be universally true about people and society versus what may result from specific historical, economic, or cultural conditions? About what is usually considered normal versus what is considered abnormal? About how some groups exert power while others may be oppressed or subversive? Now reread your notes. Do they suggest one main idea or claim that can serve as the thesis for your essay? Writing a Draft GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY 481 Use the sentence strategies that follow as a jumping-off point; put your thesis into your own words when you revise, or use your own words and sentence patterns now: Many readers of point to [state feature(s) of the story], but an . important aspect of the story that is often overlooked is A common (or superficial) reading of [common conclusion], but in fact [name story or character] is that [your own conclusion]. Through the actions of [name character], [he/she/we] [is/are] led to this [surprising/ . alarming/disturbing] conclusion: Through the events unfolded in , [the main character/we] [is/are] led to this . [surprising/alarming/disturbing] conclusion: Provide support for your argument. Look back on the ideas that you have generated so far, and ask yourself these questions: How can I present my ideas as reasons supporting my central claim, the essay’s thesis? For example, Isabella Wright shaped the ideas she generated moving from general ideas to specific details (pp. 492–93) into reasons supporting her thesis about the value of breaking with social conventions. Have I remembered to include my own analysis in the support instead of just retelling the story through quotation, paraphrase, or summary? (If you are unsure, work through the activities in the Ways In box that follows.) HOW CAN I INTEGRATE EVIDENCE FROM THE STORY? WAYS IN As noted earlier, to provide support for a short story analysis, writers may quote, paraphrase, or summarize parts of the story. However, this evidence should be offered in the service of a thoughtful examination of the story and go beyond a simple repetition of description, dialogue, and so on. To effectively integrate material from a story, try these strategies: Use short quotations frequently to support your analysis. Brief quotations are not in themselves superior to sentence-length and longer quotations, but they allow you to stay focused on your own argument and analysis while bringing in key information or vivid details from the story. Look at these examples from the student essays in this chapter: To the contrary, from the beginning, he — and, through him, readers — sees the little girl as “unusually attractive” and “strong,” with “magnificent blonde hair.” This description of her seems almost angelic (par. 4). (Wright, par. 5) (continued) 482 CHAPTER 10 Analyzing Stories Later, the mother reassures the child that the doctor is a “nice man” and “won’t hurt you,” though she can base those assertions only on what little she knows of him: his occupation (par. 15). (Lee, par. 2) Comment directly on what you have quoted, paraphrased, or summarized so that readers will understand the relevance of this material to your analysis. These comments should connect the quotation, paraphrase, or summary to the idea you are trying to support. One good strategy is to refer to quotations or paraphrases with this, these, or they statements, which are italicized in the following examples: After quoting the doctor’s violent thoughts about the girl, Lee comments, “Although these statements are arguably exaggerated or hyperbolic, they, like the metaphors of war, imply a tendency to do harm that goes directly against the narrator’s duty as a doctor” (Lee, par. 4). After summarizing the doctor’s struggle with the girl, Wright notes, “This conflict might be interpreted as a process of reverse socialization or reverse civilization, a transformation that, surprisingly, the story presents as a potentially positive change” (Wright, par. 5). Another good strategy is to repeat key nouns from quotations, paraphrases, or summaries in your analysis. These nouns are italicized in the following examples: After quoting part of the story that refers to the doctor smiling in his “best professional manner,” Lee explains that, in using the “phrase ‘professional manner,’” the narrator admits his actions are not sincere but a calculated “professional performance.” (Lee, par. 3). After quoting and paraphrasing information about the parents’ politeness to the doctor, Wright observes, “In a story where politeness is made to seem absurd, the doctor’s tactless words and his inappropriate use of force actually have the potential to be improvements on his character” (Wright, par. 6). To build on your support, consider doing outside research. Many analyses of short stories rely on a close reading of the text alone; the writer’s analysis is the only tool brought to bear on the work. Some approaches to analysis, however, also consider biographical information on the author, his or her other works, or various critical responses to the short story in question. If your instructor has asked you to include such information, or if you are curious about some aspect of the text that you do not understand—or that you suspect your readers will not understand—you might want to conduct some research and include your findings in your essay. Here are a few suggestions for getting started: Do a Google search, using keywords relevant to your analysis. For example, if you want more information about the context of “The Use of Force,” you could try keywords such as diphtheria epidemic. Writing a Draft GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY 483 To see what others have said about an author’s work, conduct a search using a specialized periodical database, such as the MLA International Bibliography, which specializes in academic writing about languages and literature. You should have access to periodical databases through your school’s library. If you are not sure how to use them, see Chapter 24, pages 674–75, 678–79. Ask a reference librarian for help if you encounter problems. As you work, bookmark or keep a record of promising sites. If you download or copy information you could use in your essay, remember to record source information. Create an outline that will organize your argument effectively. Whether you have rough notes or a complete draft, making an outline of what you have written can help you organize the essay effectively for your audience. One way to outline a literary analysis is to lay out your argument as a series of because sentences. For example, here’s how Iris Lee might have outlined her argument: I. The story performs a valuable service because, through the doctor’s actions, readers see that it’s unwise to blindly trust members of his profession. II. Readers who see the doctor purely as a bad person are wrong because the author presents two sides of him. A. Although he displays his “best professional manner,” the doctor does so only because he knows it will encourage the family’s deference to him despite his rude and rough behavior. A. The doctor-as-actor deserves our scorn because he is capable of brutality under the guise of professionalism. B. The doctor shows his untrustworthiness because he seems more interested in harming the girl than healing her. B. The doctor-as-narrator deserves our thanks because he depicts the crimes of the doctoras-actor, warning readers about the dangers of placing too much trust in medical professionals. Once you have a working outline, you should not hesitate to change it as necessary while drafting and revising. For instance, you might find you left out an important idea that is needed to make the chain of reasoning complete. Remember that the purpose of an outline is to help you organize your ideas logically, not to lock you into a particular structure. Write the opening sentences. The Ways In feature on pp. 480–81 suggests several ways to present an arguable thesis. In writing your introduction, avoid creating a “funnel paragraph,” which begins with a broad generalization and then becomes more and more focused and narrow, culminating in what is usually the essay’s thesis. The problem with this kind of 484 CHAPTER 10 Analyzing Stories paragraph structure is that broad generalizations are not very interesting and add nothing to the essay. Look, for example, at the italicized sentences in this modified version of Isabella Wright’s opening paragraph: As all of us know, being the subject of a medical examination, especially if you are a child, is rarely fun. Patients can be nervous and uncooperative, and in the worst cases, doctors can act like real jerks. William Carlos Williams’s story “The Use of Force” is surprising in that it does not completely condemn the doctor for doing just that. It is best to get rid of sentences like these and simply begin by presenting your ideas about the story. Draft your analysis. By this point, you have done a lot of writing to come up with ideas for your short story analysis; draft an arguable thesis; provide support for your argument; organize your ideas to present them logically to readers. Now stitch that material together to create a draft. As you write, ask yourself questions like the following: Early in my essay, should I name the story and also identify the author? How much do I need to tell my readers about what happens in the story? Should I assume, as both Iris Lee and Isabella Wright do, that my readers have read the story? Should I consider placing this particular story in the context of the author’s other writing or in its historical context? How can I revise my topic sentences to use the key terms introduced in my thesis? What synonyms could I use to avoid repeating my key terms too often? How can I use logical transitions to help readers see how one point connects to the next? For example, could I use transitions that announce contrasts, such as but, although, and yet? Should I consider ending with a new idea that grows out of my argument? Could I, for example, expand on the cultural or historical implications of my reading of the story? Evaluating the Draft: Getting a Critical Reading Your instructor may arrange a peer review session in class or online, where you can exchange drafts with your classmates and give each other a thoughtful critical reading, pointing out what works well and suggesting ways to improve the draft. A good critical reading of a literary analysis does three things: Evaluating the Draft GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY 485 1. It lets the writer know how well the point of his or her analysis comes across to readers. 2. It praises what works best. 3. It indicates where the draft could be improved and makes suggestions on how to improve it. One strategy for evaluating a draft is to use the basic features of a literary analysis as a guide. "$3*5*$"-3&"%*/((6*%& )PXXFMMEPFTUIFXSJUFSQSFTFOUUIFUIFTJT Summarize:5FMMUIFXSJUFSXIBUZPVVOEFSTUBOEUIFFTTBZTUIFTJTUPCFBOEXIBUJUT LFZUFSNTBSF A Clear, Arguable Thesis Praise:5FMMUIFXSJUFSXIBUTFFNTNPTUJOUFSFTUJOHUPZPVBCPVUIJTPSIFSNBJODMBJN BCPVUUIFTUPSZ XIFUIFSZPVBHSFFXJUIJUPSOPU Critique:*GZPVDBOOPUGJOEUIFUIFTJTTUBUFNFOUPSDBOOPUJEFOUJGZUIFLFZUFSNT MFUUIF XSJUFSLOPX&WBMVBUFUIFUIFTJTTUBUFNFOUPOUIFCBTJTPGXIFUIFS r JUNBLFTBOJOUFSFTUJOHBOEBSHVBCMFBTTFSUJPO SBUIFSUIBONBLJOHBTUBUFNFOUPGGBDU PSBOPCWJPVTQPJOU  r JUJTDMFBSBOEQSFDJTF OFJUIFSBNCJHVPVTOPSWBHVF  r JUJTBQQSPQSJBUFMZRVBMJGJFE OFJUIFSPWFSHFOFSBMJ[FEOPSFYBHHFSBUFE  )PXXFMMEPFTUIFXSJUFSEFWFMPQBOETVQQPSUUIFBSHVNFOU Summarize:6OEFSMJOFUIFUIFTJTTUBUFNFOUBOEUIFNBKPSTVQQPSUGPSJU 0GUFO UIFNBKPS TVQQPSUBQQFBSTJOUIFUPQJDTFOUFODFTPGQBSBHSBQIT A8FMM4VQQPSUFE Argument Praise:(JWFBOFYBNQMFJOUIFFTTBZXIFSFTVQQPSUGPSBSFBTPOJTQSFTFOUFEFTQFDJBMMZ FGGFDUJWFMZ — GPSJOTUBODF OPUFXIFSFCSJFGRVPUBUJPOT XPSETBOETIPSUQISBTFT BMPOHFS RVPUBUJPO PSTVNNBSJFTPGQBSUJDVMBSFWFOUTBSFJOUSPEVDFEBOEFYQMBJOFEJOBXBZUIBU DMFBSMZJMMVTUSBUFTBQBSUJDVMBSQPJOUUIBUJTCFJOHBSHVFE Critique:5FMMUIFXSJUFSXIFSFUIFDPOOFDUJPOCFUXFFOBSFBTPOBOEJUTTVQQPSUTFFNT WBHVF XIFSFUPPNVDIQMPUJTCFJOHSFMBZFEXJUIOPBQQBSFOUQPJOU PSXIFSFBRVPUB UJPOJTMFGUUPTQFBLGPSJUTFMGXJUIPVUFYQMBOBUJPO-FUUIFXSJUFSLOPXJGBOZQBSUPGUIF BSHVNFOUTFFNTUPCFVOEFWFMPQFEPSEPFTOPUTVQQPSUUIFUIFTJT (continued) 486 CHAPTER 10 Analyzing Stories )BTUIFXSJUFSDMFBSMZBOEMPHJDBMMZPSHBOJ[FEUIFBSHVNFOU Summarize:6OEFSMJOFUIFTFOUFODF T JOXIJDIUIFXSJUFSGPSFDBTUTTVQQPSUJOHSFBTPOT  BOEDJSDMFUSBOTJUJPOTPSSFQFBUFELFZXPSETBOEQISBTFT A Clear, Logical 0rganization Praise:(JWFBOFYBNQMFPGTPNFUIJOHUIBUNBLFTUIFFTTBZFTQFDJBMMZFBTZUPSFBE — XIFSF GPSFYBNQMF UIFLFZUFSNTJOUSPEVDFEJOUIFUIFTJTSFDVSUISPVHIPVUUIFFTTBZJO UPQJDTFOUFODFTBOEFMTFXIFSF PSXIFSFUSBOTJUJPOTBSFVTFEMPHJDBMMZ Critique:5FMMUIFXSJUFSXIFSFSFBEBCJMJUZDPVMECFJNQSPWFE'PSFYBNQMF QPJOUUP QMBDFTXIFSFLFZUFSNTDPVMECFBEEFEPSXIFSFBUPQJDTFOUFODFDPVMECFNBEFNPSF DMFBSMZUPJOEJDBUFXIFSFUIFVTFPGUSBOTJUJPOTNJHIUCFJNQSPWFE PSOPUFXIFSFUSBOTJ UJPOTBSFMBDLJOHBOEDPVMECFBEEFE 'PSBQSJOUBCMFWFSTJPOPG UIJT$SJUJDBM3FBEJOH(VJEF  HPUPbedfordstmartins .com/theguide Before concluding your peer review, be sure to address any of the writer’s concerns that have not been discussed already. Most word processing software offers features that allow you to insert comments directly into the text of someone else’s document. Many readers prefer to make their comments this way because it tends to be faster than writing on hard copy and space is virtually unlimited; it also eliminates the process of deciphering handwritten comments. Where such features are not available, simply typing comments directly into a document in a contrasting color can provide the same advantages. Making Comments Electronically Improving the Draft: Revising, Formatting, Editing, and Proofreading Start improving your draft by refl ecting on what you have written thus far: Review critical reading comments from your classmates, instructor, or writing center tutor: What are your readers getting at? Consider your invention writing: What else should you consider? Review your draft: What can you do to present your argument more compel lingly? Revise your draft. If your readers are having diffi culty with your draft, or if you think there is room for improvement, try some of the strategies listed in the Troubleshooting Guide that fol MPXT*UDBOIFMQZPVmOFUVOFZPVSQSFTFOUBUJPOPG UIFHFOSFTCBTJDGFBUVSFT Improving the Draft GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY 487 A T306#-&S)005*/(G6*%& .ZUIFTJTJTVODMFBSPSPWFSHFOFSBMJ[FE r"EENPSFFYQMBOBUJPO r 3FGFSUPUIFTUPSZTQFDJGJDBMMZ r "EERVBMJGZJOHXPSETMJLFsomePSusually A Clear, Arguable Thesis .ZUIFTJTJTOPUBSHVBCMFPSJOUFSFTUJOH r 3FTQPOEUPBRVFTUJPOPSDMBTTEJTDVTTJPO r 4VNNBSJ[FBOBMUFSOBUJWFBSHVNFOU r 5SZBEEJUJPOBMTVHHFTUJPOTGPSBOBMZTJTGSPNUIF8BZT*OCPYPOQQm .ZBSHVNFOUTFFNTTVQFSGJDJBMPSUIJO A8FMM4VQQPSUFE Argument r %FWFMPQZPVSJEFBTCZDPOOFDUJOHUIFN r -JOLZPVSJEFBTUPNBLFBDIBJOPGSFBTPOJOH r $POOFDUUPBMJUFSBSZNPUJGPSUIFNF r "EEUFYUVBMFWJEFODFCZRVPUJOH QBSBQISBTJOH PSTVNNBSJ[JOHJNQPSUBOUQBTTBHFT r 'PDVTPOUIFXSJUFSTDIPJDFPGXPSET FYQMBJOJOHIPXQBSUJDVMBSXPSEDIPJDFTTVQQPSU ZPVSJEFBT r $POTJEFSVTJOHPUIFSLJOETPGTVQQPSU TVDIBTJOGPSNBUJPOBCPVUUIFTUPSZTIJTUPSJDBM PSDVMUVSBMDPOUFYU 5IFDPOOFDUJPOCFUXFFOBSFBTPOBOEJUTTVQQPSUTFFNTWBHVF r &YQMBJOXIZUIFTVQQPSUJMMVTUSBUFTUIFQPJOUZPVBSFNBLJOH r &YQMBJOXIBUUIFRVPUFEXPSETJNQMZ‡UIFJSDPOOPUBUJWFBTXFMMBTUIFJSEFOPUBUJWF NFBOJOHT r *OUSPEVDFRVPUBUJPOT BOEGPMMPXUIFNXJUITPNFBOBMZTJTPSFYQMBOBUJPO r &YQMBJONPSFGVMMZBOEDMFBSMZIPXZPVSSFBTPOTSFMBUFMPHJDBMMZUPPOFBOPUIFSBTXFMMBT UPZPVSUIFTJT r 'JMMJOUIFHBQT r 6TFDPOUSBEJDUJPOTPSHBQTUPFYUFOEPSDPNQMJDBUFZPVSBSHVNFOU (continued) 488 CHAPTER 10 Analyzing Stories .ZFTTBZJTIBSEUPGPMMPX A Clear, Logical 0rganization 'PSBOFMFDUSPOJDWFSTJPOPG UIJT5SPVCMFTIPPUJOH(VJEF  HPUPbedfordstmartins .com/theguide r 3FQFBULFZUFSNTGSPNUIFUIFTJTBOEPUIFSJOUSPEVDUPSZUFYU r 1SPWJEFFYQMJDJUUPQJDTFOUFODFT r "EEMPHJDBMUSBOTJUJPOT Think about design. Some literary analyses can be enhanced by visuals — for example, drawings, photo graphs, tables, or graphs — that provide a historical or social context or some other supporting information. Suppose in writing about “The Use of Force,” for example, you are interested in the history of diphtheria epidemics. In doing re search, you might fi nd or construct a timeline showing how many children died over the years from the disease, and include this infor mation in a simple table. If you were writing an analysis of the story “Araby” and taking a biographical approach, you might include this QIPUPHSBQIPG /PSUI3JDINPOE4USFFUJO%VCMJO *SFMBOE XIFSF +PZDFMJWFEEVSJOHQBSUPG IJTZPVUI%FTDSJQUJPOTPG UIJTIPNFBSF featured in “Araby” as well as in Joyce’s books Portrait of the Artist as a Young Man, Ulysses, and Finnegan’s Wake. As always, consider reviewing other analyses of the short story you are studying or analyses of other stories to see how they use visuals to support and strengthen their arguments. Use the format ting instructions for the style manual your instructor requires to de termine matters such as the width of margins, the use of headers and page numbers, and the formatting of your works cited list. (For writing projects in English composition and literature, instructors frequently ask students to follow MLA style.) Edit and proofread your draft. 'PSNPSFPOEPDVNFOU EFTJHO TFF$IBQUFS 'PSHVJEFMJOFTPOGPSNBU UJOHBXSJUJOHQSPKFDUBOE BDLOPXMFEHJOHUIFTPVSDFT PGWJTVBMTJO.-"TUZMF TFF $IBQUFS Our research has identifi ed several errors that occur often in essays that analyze short stories, including problems with parallelism and the use of ellipsis marks. The following guidelines will help you check your essay for these common errors. Using Parallel Structure The Problem When you present items as a pair or in a series (for example, I gave him x and y; or I gave him x, y, and z), you must present the items in the series in the same grammatical form — all nouns, all prepositional phrases, all adverb clauses, and so on. Improving the Draft Mixing and matching leads to lack of clarity and lessens the impact of your prose. Take as an example one of Iris Lee’s first-draft sentences: The doctor’s actions actually hurt rather than providing any benefit to a patient. “Hurt” is a one-word verb; “providing any benefit to,” which should be a parallel item, combines an -ing verb, an adjective, an object, and a preposition. The resulting sentence is unnecessarily complicated and clumsy. The Correction Lee eventually edited the sentence as follows: help The doctor’s actions actually hurt rather than providing any benefit to a patient. ^ The parallelism of hurt and help puts the verbs in the same form and emphasizes the contrast between these two actions in a way that the first-draft wording did not. For more examples, see the following sentences: what he’s read This image comes more from his reading than from anything he’s observed. isolation ^ To Kafka, loneliness, being isolated, and regrets are the price of freedom. ^ GUIDE TO READING GUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY 489 A Note on Grammar and Spelling Checkers These tools can be helpful, but do not rely on them exclusively to catch errors in your text: Spelling checkers cannot catch misspellings that are themselves words, such as to for too. Grammar checkers miss some problems, sometimes give faulty advice for fixing problems, and can flag correct items as wrong. Use these tools as a second line of defense after your own (and, ideally, another reader’s) proofreading and editing efforts. values Sarah really cares about her brother and to maintain their relationship. She lets ^ us know that she was injured by her mother’s abuse but avoids saying what she what felt after the incident, how others reacted to the incident, and that physical pain ^ she endured. Using Ellipsis Marks Correctly You will often quote sources when you analyze a story, and you must be careful to use ellipsis marks (or ellipses) — three spaced periods — to indicate places where you delete material from a quotation. Look, for example, at how Iris Lee, in an early draft of her essay, used ellipsis marks in quoting from “The Use of Force.” Passage from Story When finally I got the wooden spatula behind the last teeth and just the point of it into the mouth cavity, she opened up for an instant but before I could see anything she came down again and gripping the wooden blade between her molars she reduced it to splinters before I could get it out again. . . . (Williams, par. 29) Quotation with Ellipsis Marks In describing his attempts to get the wooden spatula into the girl’s mouth, the narrator says “she opened up for an instant but . . . came down again and gripping the wooden blade between her molars reduced it to splinters.” For practice, go to bedfordstmartins.com /theguide/exercisecentral and click on Parallelism. 490 CHAPTER 10 Analyzing Stories Failing to use ellipsis marks to indicate the omission of material misrepresents the quote, which is a serious breach of convention. Using ellipsis marks incorrectly makes your readers doubt your knowledge of conventions. The Problem The Correction If you are using MLA style, follow these rules about using ellipsis marks: When you delete words from the middle of a quoted sentence, add ellipsis marks, and leave a single space before and after each ellipsis point. When you delete words from the end of a quoted sentence and a grammatically complete sentence remains, add a period after the last word and then three ellipsis marks. Leave a single space after the period and each of the first two ellipsis marks. Do not leave a space between the last mark and the closing quotation mark. When you delete material from the middle of a passage of two or more sentences, use ellipsis marks where the text is omitted and a period after the preceding text if it is a grammatically complete sentence. When you delete words from the beginning of a quoted sentence, use ellipsis marks only if the remainder of the sentence begins with a capitalized word and is a grammatically complete sentence. Single words and brief phrases can be quoted without ellipsis marks. Examples of sentences edited to show correct usage follow: For more on using ellipsis marks to indicate a deletion from a quotation, see Chapter 26, p. 702. The narrator describes his patient as “She did not move and seemed, inwardly, quiet; an unusually attractive little thing, and as strong as a heifer in appearance. But her face was flushed, she was breathing rapidly, and I realized that she had a ... high fever. She had magnificent blonde hair, in profusion.” ^ For practice, go to bedfordstmartins.com /theguide/exercisecentral and click on Ellipsis Marks. According to the narrator, the little girl’s mother was “a big startled-looking ... woman,/ very clean and apologetic, who merely said, Is this the doctor? and let me in.” ^
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Reflection Essay: Analyzing Stories
Analyzing stories is a topic that yields valuable insight the techniques of
understanding stories. The main lesson that I have learned is that obtaining the meaning of a
story might be a more laborious task than is commonly believed. Multiple audiences tend to
have different versions of their analysis, based on their understanding. However, accurate
interpretation demands an in-depth look into all the main features of a story, including the
characters and the plot. One of the majorly forgotten techniques of analyzing a story ...


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