“She stood there until something fell off the shelf inside her. Then she went inside there to see what it was. It was her image of Jody tumbled down and shattered. But looking at it she saw that it never was the flesh and blood figure of her dreams. Just something she had grabbed up to drape her dreams over” (72).

Image shattered…absence of image, Jody demoted to an “it;” literally “objectifies;” turns him into object rather than herself.

Hurston, Zora Neale. Their Eyes Were Watching God: A Novel. New York: Perennial Library, 1990. Print.

 

As I Lay Dying-Darl’s Stream

“It turns off at right angles, the wheel-marks of last Sunday healed away now: a smooth red scoriation curving away into the pines; a white signboard with faded lettering…It wheels up like a motionless hand lifted lifted above the ocean; beyond it the red road lies like a spoke of which Addie Bundren is the rim” (108).

Still exploring why Darl, specifically, is the character Faulkner designated as the one with linguistic superiority: vocabulary, similes, and syntactical complexity via colons and semi-colons. I’m still not convinced (why is he so disproportionately articulate relative to everyone else? That is, he comes from the same impoverished environment/background; his descriptive language seems improbable.)

Faulkner, William. As I Lay Dying: The Corrected Text. New York: Vintage, 1990. Print.

Mrs. Dalloway

“Mrs. Dalloway said she would buy the flowers herself.”

Virginia Woolf, Mrs. Dalloway (New York: Harcourt, Inc., 2005), 5.

The first sentence of the book uses language that leaves the reader asking many questions: Why is she buying the flowers? Why does she have to buy them herself? Is this the way the character thinks? This first sentence relays that she is independent and can handle things on her own. We learn that she needs these flowers for a reason and that she will do it on her own.

James Joyce: A Portrait of the Artist as a Young Man 2

“His own head was unbent for his thoughts wandered abroad and whether he looked around the little class of students or out the window across the desolate gardens of the green an odour assailed him of cheerless cellardamp and decay.”

Joyce, James. A Portrait of the Artist as a Young Man. New York: Oxford UP, 2000. Print. 149.

The verbs and adjectives suggest that Stephen would rather look at the bigger picture than details that he would be taking in during class but still feels that regardless of where he is, it makes no difference.

A Portrait of the Artist as a Young Man

“It was very big to think about everything and everywhere. Only God could do that. He could think only of God. God was God’s name just as his name was Stephen. Dieu was the French for God and that was God’s name too; and when anyone prayed to God and said Dieu then God knew at once that it was a French person that was praying. But though there were different names for God in all the different languages in the world and God understood what all the people who prayed said in their different languages still God remained always the same God and God’s real name was God” (Joyce 10).

Joyce, James. A Portrait of the Artist as a Young Man. Bantam Books, 1992. Print.

What is the nature of this linguistic breakdown of the word “God”? Does it take away from God’s power? This is an early indication of Dedalus’ critical view of religion.