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Example research essay topic: Eudora Welty And Jack London - 1,745 words

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... es a game to see who can kill first. It is inevitable that someone must die in order to ratify his own life. London emphasizes the theme of honor in death. The only honorable thing to do was to kill and be killed in The Death of a Legion. Had the blood bath not ended with Legion being dead, then he would have been a disgrace to his tribe.

In Clytie, Welty depicts the mentally disturbed womens death as an ultimatum to the horrible life she was forced to partake of. There was no honor in her death. However there was no honor in her life either. Jack London and Eudora Welty have written these brilliant works to motivate some emotion within their readers. Welty characteristically tries to induce pity and compassion as her primary motivated.

She makes her victims fragile and weak, which causes one to taste the bitter death the pathetic victims are facing. In Clytie, Welty takes great care to describe the main characters miserable life which she detests. Clytie longs for beauty, youth, and love to radiate her dark soul, however there seems to be no forecast for sunshine. In a final state of complete hopelessness, she throws herself into a trough of water upon meeting her wretched reflection.

Likewise in Flowers For Marjorie the vision of Marjorie's limb helpless body slumped over the window seal is etched in ones mind. Ones heart is marinated in the description of her horrible death. Tenderness and compassion overflows at the thought of the powerless young mother, which evades ones emotions. Jack London is aiming for a much different emotion to leap out at his readers. He injects them with the excitement, honor, and adventure which leads up to the moments before death.

As he describes the blood-bath of chiefs in The Death of a Legion, he causes adrenaline to overcome any moral obligation to the character being killed. He forms an image in ones mind that glorifies the honor in death, and brings out the primitive adventurer in ones inner being. In Which Makes Men Remember, London emphasize the thrill and sport in slaughtering another man; leaving no thought to The colorblind world had never seen color until Jack London's colorful writing opened their eyes to a new world. He describes the gold rush using a panoramic depiction of the brutality and cruel amusement of death. His picture proved the sole importance to a man during this time was survival and money. Little thought or care was given to the sanity of a man as long as he could survive, and he had money to throw in on a poker game.

He describes the northern gambler, and his awareness that the life of a gambler, especially a dishonest one, would be short lived. Lifes a skin-game... I never had half a chance... I was faked in my birth and flimflammed with my mothers milk. The dice were loaded when she tossed the box, and I was born to prove the loss. Chance is a gamblers best friend or worst enemy.

In addition to survival, London emphasizes a theme of dominance and sovereignty in The God of His Fathers. Sovereignty over man by nature is London's predominate philosophy. His theory of mastery was the idea that man will never be able to overcome the power of nature. In the end, law and harmony will prevail connect the white-man and nature. In his earlier writing he struggled to portray individual identity, so he turned his attention to blood brotherhood (Geismar 264) London's does not create his characters from factual people from his past: they are demigods, nameless heroes who lived during a fearless time in American history.

Years later theses brave men are being honored through epic stories. (Pattee 258) Race supremacy becomes a critical issue in many of London's short stories. The first story in which race became a dominant theme was The God of His Fathers. Jack London writes, Race is the true God... But, his philosophy is reconstructed in his later works. Children of the Frost is the beginning of a new wave of ideas for London. It is the death of racial identity.

Mastery is murdered as London recants his belief that order and harmony have the ability to conquer death. My task which I am trying to achieve is, by the power of the written word, to make you hear, to make you feel-it is, before all, to make you see. (Pattee 258) London's ability of description created his self-proclaimed reputation of a realist. It was a quality and style of writing that was meaningful to him. However, many critics believe that London's vivid description created an unrealistic picture of how things really were during that time. They argue that he exaggerated the beauty, and disguised much of the truth. (Pattee 258) London incorporated the literary technique of realism into the storyboard of tragedies. These stories inspire both fear and pity.

The events are sudden and portray roles being reversed to humble the hero and show him his ignorance. (Pattee Eudora Welty manipulates scenes, experiences and characters in her short stories in order to arouse the readers awareness of the terror which shadows evil. In Clytie she vividly describes the scene where the old maid drowns herself in a barrel of rain water. She paints a realistic episode which will lurk in the sub conscience of every reader, and strike fear in the hearts of every one who witnesses the incident. (Glenn 471) She creates lifelike scenes and characters in order to provide a connection to her readers. Her characters, settings, and experiences are so ordinary the reader can not discern reality from fiction.

She will fabricate events which run parallel to the lives of her reader. (Glenn 471) Welty's profound tenderness is a focal point in many of her short stories. Particularly in Clytie where she portrays a wretched old maid who dwells in a life whom no one understands or cares to understand. She is taunted by the beauty of the world, and is tortured by the cruelty which this wonderful world thrust upon her. Welty's writing always grants pity and mercy for those who are seeking love, yet are never able to attain this emotion which is essential to life. (Jones 481) Many of Welty's stories involve characters who are deprived of something and are living on the edge of life.

They view this lifestyle not as a social issue, but as product of humanity. They have no desire for standing within the community, riches or power, however they merely aspire for love and companionship. Her characters stand at many different places on the latter of success, however they share a common hunger for love. (Jones 482) Welty has mastered the art of walking the tightrope. She performs the amazing balancing act of accenting the tenderness and brutality which can live in the hearts of humanity. (Harris 464) In Flowers for Marjorie, Welty mystifies the reader and leads them on a journey which is indistinguishable from reality or fantasy.

She brilliantly entangles Howards violent dream of killing his wife into a precession of ironic events. The reader is led on a journey, unsure if it is really happening or if it is Howards mind running wild. However, in the end reality prevails and his wifes dead body is the only reliable truth. (Hardy 487) The descriptive details are not especially grisly; she understates, as always. But, the blood-terror is unmistakably evoked and the terror of the inexplicable permeates the pages. (Hardy 487) Some critics argue that Welty's tactical scheme in Flowers for Marjorie results in a irritating parody. The sequence of ironic events and disarray of symbols in the story produces confusion.

Placing the reader in an unrealistic fantasy world. (Hardy 487) The Hitch-Hikers, unlike Flowers for Marjorie, is not impaired by irony and illusion. Welty furnishes the reader with a simple bizarre plot which leads up to a mysterious conclusion. (Hardy 487) Welty surpasses the imagination of most authors through her perseverance of hope which embodies the characters. This hope leads to the ability of concrete matter to overcome and endure through the death of their users. (Hardy 488). In Flowers for Marjorie, a bouquet of dying flowers instantly become alive again as the small girls run to put them in their hair. (Hardy 488) Welty's writing embody many racial undertones, however she masks this motif by emphasizing the presence of African American humanity. She has mastered the art of delicately capitalizing the concept that African Americans are the source of many spiritual barricades.

Nevertheless, she fails to recognize that these burdens are collateral to the history and culture of the white man. (Hardy 488). The works of these two great authors have presented people of present and past with different outlooks on death through style, themes, and motive. Although their views are distinctly personal, they both tackle the essence of mans greatest fear and fascination. Their views represent a certain era of history which deserves to be passed down from generation to generation through their words. Jack London and Eudora Welty engage in a battle to help people fathom the unfathomable mystery of death. They have become the trailblazers in the journey to explore the winding backroads Death has traveled.

Bibliography: Works Cited Geismar, Maxwell. Jack London: The Short Cut. Rebels and Ancestors: The American Novel 1890 - 1915 1953: Rpt. in Short Story Criticism Ed. Thomas Votteler. vol. 4.

Detroit: Gale Research Company, 1990. 264 - 7. Glenn, Eunice. Fantasy in the Fiction of Eudora Welty. Critics and Essays on Modern Fiction: Representing the Achievement of Modern American and British Critics 1920 - 1951 1952: 506 - 17. Rpt.

in Short Story Criticism Eds. Laurie Lanzen Harris and Sheila Fitzgerald. vol. 1. Detroit: Gale Research Company, 1988. 470 - 3. Hardy, John Edward. The Achievement of Eudora Welty.

Southern Humanities Review vol. 2. No. 3 Summer; 1968: 269 - 78. Rpt. in Short Story Criticism Eds. Laurie Lanzen Harris and Sheila Fitzgerald.

vol. 1. Detroit: Gale Research Company, 1988. 487 - 8. Harris, Laurie Lanzen and Sheila Fitzgerald. Eudora Welty. Short Story Criticism vol. 1. Detroit: Gale Research Company, 1988. 464 - 5.

Jones, Alun R. The World of Love: The Fiction of Eudora Welty. The Creative Present: Notes on Contemporary American Fiction 1963: Rpt. in Short Story Criticism Eds. Laurie Lanzen Harris and Sheila Fitzgerald. vol. 1.

Detroit: Gale Research Company, 1988.


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Research essay sample on Eudora Welty And Jack London

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