Blog Post 11: Welcome to the JUNGLE!

                In Chapter 1 of The Bell Jar, the narrator, Esther, describes the Amazon as “[a hotel] for women only, and they were mostly girls [her] age with wealthy parents who wanted to be sure their daughters would be living where men couldn’t get at them and deceive them; and they were all going to posh secretarial schools like Katy Gibbs, where they had to wear hats and stockings and gloves to class, or they had just graduated from places like Katy Gibbs and were secretaries to executives and junior executives and simply hanging around in new York waiting to get married to some career man or other. (1. 4.)” Esther describes the Amazon and its residents in this manner to mock how alike and superficial they are and put emphasis on why she feels alone in this particular group of girls. The way Esther judges their aristocratic lifestyle, it is easy to tell that she has a much different background and different goals for her life.

                On page 5 and 6, Jay Cee is described as old and ugly by both Esther and Doreen, but despite her appearance, Esther still admires Jay Cee for her intelligence and talent as a head magazine editor. Esther tends to judge others based off of very superficial criteria—height, clothes, attractiveness, etc.—but Jay Cee is one of the few people Esther appreciates for who they are on the inside. Esther does not care that Jay Cee is old and ugly because she looks up to her as a mentor and as a woman who has accomplished a great deal in her career. Esther also mentions on page 6 that she cannot picture Jay Cee having sex. This odd view into Esther’s thoughts characterizes Esther as very innocent and narrow minded. She struggles to picture people such as Jay Cee in bed because she sees sex as taboo and only for more promiscuous women.

                In Chapter 2, on pages 19 and 20, Esther decided to take a hot bath because it helps her feel more pure. In this way, Esther’s character is very similar to Blanche in a Streetcar Named Desire. Both women feel the need to take hot baths whenever they feel guilty or morally dirty. As Esther sits in the water she says to herself that all the people in her life and the city are dissolving and she does not know them. She does not want to associate with her surroundings because she feels like her new experiences are tainting her and distracting her from her identity.

                In Chapter 4 Esther tells the reader that her mother was the one who taught her shorthand and typing. Even though Esther loves to write, she does not associate this passion with her mother. Instead, she sees her mother’s teachings as something that was done out of necessity when her father died. Her mother forcing her to learn shorthand in order to support the family explains why Esther questions her career path and passions later on in life. She began writing purely out of necessity, so now in this stage of her life, when Jay Cee questions what Esther wants to do, Esther is unsure of whether or not she actually wants to go into writing. In addition to explaining Esther’s confusing about writing, Esther’s relationship with her mother may also explain why Esther seems to have an unstable mental state. Her family background is obviously one of hardship and little support, which explains why Esther experiences a lot of self-doubt.

Blog Post 10: I-N-D-E-P-E-N-D-E-N-T - Do you Know What That Means?

                In Chapter XXIV, once all of her family has left, Edna “[walks] all through the house…as if inspecting it for the first time.  (XXIV.97.)” She does this because she finally is alone and does not have to worry about being tied down to her family. Now that her husband is away she is not attached to a man, and with her children gone she does not have to worry about her motherly responsibilities. These are two defining roles of the female in that society, so with are family gone she finally feels free and independent—something she has never had the chance to experience before. This is especially symbolic because the house is thought of as a symbol for women, so with the men gone from the house, they are also gone from Edna’s worries.

                In Chapter XXVI, on the way back from Mademoiselle Reisz’s house, Edna stops by the bakery and gets treats for her children—something she only does when she is feeling good about herself. Edna only expresses her love for her children when she is happy because she prioritizes herself over her children. She will not think of her children before herself because that would mean she was confining to society’s role for her as a woman. She wants to love her children, but not when she feels forced to.

                Edna sleeps with Alcee even though she is longing for Robert because she needs an outlet for her romantic passion because she knows she cannot be with Robert. Not only that, but her act of cheating is a way for her to exercise control and break away from the standards of society. She likes to break rules and go against norms because they make her feel more independent.

Blog Post 9: This Girl is on FIIIIIIIRE

In Chapter XIV, as Edna is discovering herself, she is also becoming closer and closer to Robert. One perspective could argue that her love for Robert is ironically just tying her down to another male figure, which actually makes her take on a more feminine role. In this feminine role, she cares for her children more, “coddling” and “caressing” them, because her passion for Robert needs an outlet that she can use without society’s disapproval.

                Robert decides suddenly to move to Mexico in Chapter XV because he feels guilty for having feelings for Edna, a married woman. On page 59, after Edna has offered him a fan he replies, “It does no good; you have to stop fanning some time, and feel all the more uncomfortable afterward.” Chopin uses this situation as a metaphor: Robert does not want to stay and let a relationship between himself and Edna blossom because he knows it will not work out, and when it is torn apart by society it will only leave them in more anguish than to begin with.

                On page 70 in Chapter XVII, Edna flings her wedding ring down on the floor in anger because she knows she is not happy with her marriage, but as a woman she has no control over it so she feels trapped and powerless. The act of her trying to crush it with her foot afterward is a symbol of her trying to break free, but she “did not even make an indenture, not a mark upon the little glittering circlet.” This is Chopin’s way of symbolizing how little power females had in that society. Edna slipping the ring back on at the end of the chapter even further develops the notion that females had no choice in society.

                In Chapter XIX, the significance of Edna’s painting is that she is able to find her voice and identity through it. In that time, women were not expected to express themselves, but painting allowed Edna to do that. Not only that, but painting also represents independence to Edna because eventually it would result in her having enough income to move out on her own away from her husband.

                To Edna, Madame Reisz and Madam Ratigonelle represent opposing feminine roles. While Adele represents the ideal female in society—one whose entire existence revolves around her family—Madame Reisz represents women who have broken free from standard feminine expectations. As the book goes on, Edna becomes much closer to Madame Reisz than Adele as she finds herself and breaks away from society.

Blogpost #8: The Awakening: Chapters 1-12: I'm EVERY WOMAN-- It's All in MEEEEEE

                Right from the very beginning of Kate Chopin’s The Awakening, it is evident that Robert and Leonce treat Edna differently. Even though Edna is married to Leonce, she has a stronger emotional connection with Robert. These contrasting relationships serve to point out how women are viewed and treated differently from men. While Robert still has a somewhat stereotypical male role in his relationship with Edna, he is not so overbearing to confine Edna in any way, whereas Leonce’s marriage with Edna serves to represent classic gender roles which limit Edna’s spirit of individuality. At the top of page 3, it even says Leonce “[looks] at his wife as one looks at a valuable piece of property which has suffered some damage.” Yes that’s right—“property.” Crazy right? A clear difference between the two men’s relationship with Edna is seen throughout page 3 of Chapter 1, when Edna and Robert arrive from the beach together full of laughter and Leonce is condescending and disconnected. The difference in Edna’s relationship with each man is clearly seen just by the way she approaches them: she does not even talk to Leonce and instead “silently reaches out to him” to retrieve her wedding ring, whereas with Robert she “[looks] across at [him] and [begins] to laugh” as if they have an inside joke. Following that interaction, Leonce asks what is so funny and Edna and Robert struggle to share their amusement with him. This immediately shows that Leonce is more of a “third wheel” in this trio, despite his marriage with Edna. After Leonce becomes bored with Edna and Robert’s laughter, the text says, “‘Come go along, Lebrun,’ he proposed to Robert. But Robert admitted quite frankly that he preferred to stay where he was and talk to Mrs. Pontellier. ‘Well send him about his business when he bores you, Edna,’ instructed her husband as he prepared to leave.” This interaction places tension between the two men because Leonce realizes he has the lower hand so he tries to exercise control by splitting up Edna and Robert, and then when that plan fails he tries to put Robert down by implying he is boring. It should also be noted that when Leonce addresses Robert, a fellow male, he is “proposing” an idea to him, but when he is speaking to Edna, he is “instructing” her. Leonce fills the stereotypical male role of superiority which imprisons Edna. On the other hand, Robert respects Edna and enjoys spending time with her, treating her as an equal human being rather than an object.

                In Chapter 3, Leonce has left for a trip and sends Edna a box full of treats and delicacies, which cause all the women to “[declare] that Mr. Pontellier was the best husband in the world.” In response, “Mrs. Pontellier was forced to admit that she knew of none better. (III. 9.)” Leonce is viewed as the perfect husband because he provides for his family financially and showers them with material possessions. He satisfies the male gender role of “the provider” almost without flaw. This is an issue for Edna because it confuses her definition of love and makes her feel guilty for wanting something more. Edna struggles with not knowing what love is, because society keeps telling her that her marriage has it. But Edna struggles to admit to herself that she wants real love—a meaningful emotional bond. Edna and society’s conflicting definitions of love fill her with guilt and confusion—so much so that she cannot understand the reason behind her reoccurring tears every night. She mistakes Leonce’s superficial ways of showing love for genuine “kindness and uniform devotion. (III. 8.)”

                Throughout the passage, the sea is a common motif for freedom. The ocean is vast and boundless, which Edna finds appealing because it differs from her reality of oppression and confinement by the boundaries of gender roles. On page 18 in chapter 6, Edna is having another midnight breakdown as she begins to gain insight about her purpose in life. She looks toward the sea as describes it, saying “The voice of the sea is seductive; never ceasing, whispering, clamoring, murmuring, inviting the soul to wander for a spell in abysses of solitude; to lose itself in mazes of inward contemplation. The voice of the sea speaks to the soul. The touch of the sea in sensuous, enfolding the body in its soft, close embrace.” Edna views the water as a symbol of desire, freedom, independence, and comfort. The sea’s symbolism is most evident in Chapter 10, when Edna first learns to swim. Throughout page 37, it repeats that she feels empowered and strong. Once they return from the water that night, Edna acts much more independently—developing her relationship with Robert and acting defiant for the first time with Leonce.  

                Throughout the text, Edna struggles to define romance and marriage. In her mind, the ideal wife is represented by the character Mrs. Adèle Ratignolle. In chapter 4 on page 10, it says “There are no words to describe her save the old ones that have served to often to picture the bygone heroine of romance and the fair lady of our dreams.” Adèle represents the perfect fulfillment of the typical female gender role: a woman who “idolizes [her] children, worships [her] husband, and [esteems] it a holy privilege to efface [herself] as [an individual] and grow wings as [a] ministering [angel].” Part of Edna wants to believe that a marriage will flourish with romance and happiness if the wife is able to satisfy this role. Edna often idolizes her because she is the model for the female mold of society. However, the other part of Edna knows that a relationship that confines her to that specific role does not lead to love or happiness. This is the part of her that married Leonce as an act of defiance against her father and because she was “flattered” by his “absolute devotion (VII. 24.)” At the point in time when she married Leonce, she had a secret love for a tragedian, but she says, “The acme of bliss, which would have been a marriage with the tragedian, was not for her in this world. As the devoted wife of a man who worshiped her, she felt she would take her place with a certain dignity in the world of reality, closing the portals forever behind her upon the realm of romance and dreams.” Because society had told her all of her life that she was inferior to men, she believed that Fate had decreed that she had to give up her romance for a man’s. In short, Edna believes marriage endues specific roles to the wife and the husband that prohibit real romance. So marriage is more of a social contract rather than an act of romance.