Sonny's Blues (Summery)

Frequently anthologized, James Baldwin's "Sonny's Blues" tells the story of two brothers who come to understand each other. More specifically, it highlights, through its two main characters, the two sides of the African-American experience. The narrator has assimilated into white society as much as possible but still feels the pain of institutional racism and the limits placed upon his opportunity. Conversely, Sonny has never tried to assimilate and must find an outlet for the deep pain and suffering that his status as permanent outsider confers upon him. Sonny channels his suffering into music, especially bebop jazz and the blues, forms developed by African-American musicians. "Sonny's Blues" was first published in 1957 and was collected in Baldwin's 1965 book, Going to Meet the Man.

The story also has biblical implications. Baldwin became a street preacher early in his life, and religious themes appear throughout his writings. In "Sonny's Blues," Baldwin uses the image from the book of Isaiah of the "cup of trembling" to symbolize the suffering and trouble that Sonny has experienced in his life. At the end of the story, while Sonny is playing the piano, Sonny's brother watches a barmaid bring a glass of Scotch and milk to the piano, which "glowed and shook above my brother's head like the very cup of trembling." As Sonny plays, the cup reminds his brother of all of the suffering that both he and Sonny have endured. His brother finally understands that it is through music that Sonny is able to turn his suffering into something worthwhile.

John Updike's short story "A & P"

Sammy's encounter with a trio of swimsuited girls in the grocery store where he works encompasses many of the themes central to adolescence, including accepting the repercussions of one's choices. When Sammy quits in protest of how the girls are treated by the store's manager, he knows that from now on, the world will be a more difficult place.

Critics have responded enthusiastically to "A & P," and readers' identification with Sammy's predicament has contributed to the story's popularity. Though little action occurs in the story, Sammy's character is finely drawn in the space of a few pages, and his brush with authority has large implications. He has been compared to Holden Caulfield, J. D. Salinger's protagonist in Catcher in the Rye, and Walter Wells has suggested that Sammy's moment of protest is similar to the "epiphany" of the narrator in James Joyce's story "Araby," a comment that places Updike in the pantheon of the most accomplished writers of the twentieth century. Negative reactions to the story center on what some readers perceive as Sammy's misogynist views. Other critics consider "A & P" a slight story, though one into which a lifetime of dignity, choices, and consequences is compressed.

Summary, Characters, Conflict and Themes of “Godfather Death”

1. Give a Brief summary of the work using specific names, detail, and examples.

In the story “Godfather Death” there is a father who has twelve children and then has another his thirteenth child, but he cannot afford this child. The father then decides to find the most suitable godfather for his thirteenth child. The father passes up the good lord and the devil his reasoning being that death is equal and does not discriminate between people. Death gives the child a gift for his baptism his gift is the ability to heal the sick as long as death is at their head if he was at their feet the person was to die. The doctor soon became famous and was well known through the country. The doctor soon found out the king was ill and when he approached him Death was at his feet, so the doctor switched the king’s position so that Death was at the king’s head. Death was upset at the doctor’s actions and warned him not to do it again. Well, the doctor disobeyed Death once more and this time Death said he must pay. Death took him to his cavern which had candles lining the walls, on the way down the doctor asked what the candles where for and death replied that they are peoples lives. Death showed the doctor his candle and it was almost out, so he doctor tried to convince him to let him live but death tricked him and put his candle out.

2. List the names of the protagonist and major Characters and give a description of each using specific details in your discussion.

The major characters in the short story “Godfather Death” are the doctor and Death. The doctor is the son of a man who had twelve children before him and he is the thirteenth and the father cannot afford to keep him. The doctor’s father then tries to find the most suitable godfather for the child and he decides to give the child to death. Death is also a main character in the short story. Death is the godfather of the doctor; he is a slim man that has a bony appearance. The godfather is a very equal man and does not discrm9inate between people. Death wants his commands to be taken seriously and the doctor does not follow his wishes. At the of the story Death shows his true side in that he will not differentiate between some one he knows well his own “family” or between someone he does not even know personally. In Death’s mind every one is treated equally there are no exceptions.

3. Identify the setting. (The time, place, situation)

There are many different locations in which the short story “Godfather Death” takes place. The first location in the story is a main highway where the father is attempting to find a suitable godfather. The next location that is described in the story is the forest in which Death gives the child, the gift of healing. After the forest the doctor is summoned to the king’s castle in which he breaks the wishes of his godfather. The final, location in the story is the underground cavern of Death, and this is where the story ends. I believe the story is set in medieval times, and I am partial to this belief because of the fact that the doctor uses all herbs to heal and there is a king presented in the story.

4. Explain the conflict(s): (internal and external).

The main conflict in the story begins when the godfather gives the boy the gift to heal, but makes stipulations that he can only help people with the godfather’s permission to do so. The doctor is put in a moral obligation when the king is found to be sick, and the godfather does not want the king to live. However the doctor feels differently than the godfather and revives the king. The doctor is warned that he should not have done that and he will be punished if it is done again. Soon after his first warning the doctors disobeys his godfather again and revives the king’s daughter this time however the godfather is not so kind, and takes the life of the his godson. I believe the main conflict in the story is not between the godfather and the doctor, but in the doctor’s head about weather or not he should help the people.

5. Explain the point of view. (Who tells the story?)

The story “Godfather Death” is told in 3rd person omniscient. This means there is a narrator telling the story, and the narrator has the ability to see what all the characters are thinking as well as know all of the external events that are taking place in the story. I don’t think the story “Godfather Death” could have been properly told through any other point of view. The method that was used in “Godfather Death” was, I believe extremely effective in telling the story. The point of view used in “Godfather Death” makes the story easy to read.

6. Explain the symbolic meaning of the title and other words, phrases, names, and laces in the story.

The story “Godfather Death” has many symbolic references in the story. I believe the most important symbolism in the story is that the child is the 13th born in his family. The number 13 to me is foreshadowing something that is going to occur further in the story that may have a bad outcome. The number 13 is also associated with a lack of luck. The use of candles burning to represent life is also symbolic. Each of the candles has a different length of flame and this represents how much longer the person will live. Another symbolic instance in the story is when Death warns the doctor “But if you try such a thing again it will be your neck,” this is another way of saying that the doctor will lose his life.

7. Discuss what you perceive to be the central idea or theme of the work. Use several specific examples from the work to support your ideas, citing the paragraph number at the end of the quote.

I believe the theme of the story is that no one can escape death and there is no defying death. This is evident when the doctor says, “If I cheat Death this one time, he will be angry but since I am his grandson, he will turn a blind eye, so I will risk it” (20). The doctor was right with his first thoughts but then he does it again and is whisked away to deaths cavern where Death tells him, “It’s all over for you. Now it’s your turn” (25). Then the doctor’s life is taken. I also think the story is trying to convey the message that everyone must accept the consequences for their actions.

Godfather Death

Godfather Deathby The Brothers Grimm

translated by Margaret Taylor (1884)

A poor man had twelve children and was forced to work night and day to give them even bread. When therefore the thirteenth came into the world, he knew not what to do in his trouble, but ran out into the great highway, and resolved to ask the first person whom he met to be godfather. The first to meet him was the good God who already knew what filled his heart, and said to him, "Poor man, I pity thee. I will hold thy child at its christening, and will take charge of it and make it happy on earth." The man said, "Who art thou?" "I am God." "Then I do not desire to have thee for a godfather," said the man; "thou givest to the rich, and leavest the poor to hunger." Thus spoke the man, for he did not know how wisely God apportions riches and poverty. He turned therefore away from the Lord, and went farther. Then the Devil came to him and said, "What seekest thou? If thou wilt take me as a godfather for thy child, I will give him gold in plenty and all the joys of the world as well." The man asked, "Who art thou?" "I am the Devil." "Then I do not desire to have thee for godfather," said the man; "thou deceivest men and leadest them astray." He went onwards, and then came Death striding up to him with withered legs, and said, "Take me as godfather." The man asked, "Who art thou?" "I am Death, and I make all equal." Then said the man, "Thou art the right one, thou takest the rich as well as the poor, without distinction; thou shalt be godfather." Death answered, "I will make thy child rich and famous, for he who has me for a friend can lack nothing." The man said, "Next Sunday is the christening; be there at the right time." Death appeared as he had promised, and stood godfather quite in the usual way.

When the boy had grown up, his godfather one day appeared and bade him go with him. He led him forth into a forest, and showed him a herb which grew there, and said, "Now shalt thou receive thy godfather's present. I make thee a celebrated physician. When thou art called to a patient, I will always appear to thee. If I stand by the head of the sick man, thou mayst say with confidence that thou wilt make him well again, and if thou givest him of this herb he will recover; but if I stand by the patient's feet, he is mine, and thou must say that all remedies are in vain, and that no physician in the world could save him. But beware of using the herb against my will, or it might fare ill with thee."

It was not long before the youth was the most famous physician in the whole world. "He had only to look at the patient and he knew his condition at once, and if he would recover, or must needs die." So they said of him, and from far and wide people came to him, sent for him when they had any one ill, and gave him so much money that he soon became a rich man. Now it so befell that the King became ill, and the physician was summoned, and was to say if recovery were possible. But when he came to the bed, Death was standing by the feet of the sick man, and the herb did not grow which could save him. "If I could but cheat Death for once," thought the physician, "he is sure to take it ill if I do, but, as I am his godson, he will shut one eye; I will risk it." He therefore took up the sick man, and laid him the other way, so that now Death was standing by his head. Then he gave the King some of the herb, and he recovered and grew healthy again. But Death came to the physician, looking very black and angry, threatened him with his finger, and said, "Thou hast overreached me; this time I will pardon it, as thou art my godson; but if thou venturest it again, it will cost thee thy neck, for I will take thee thyself away with me."

Soon afterwards the King's daughter fell into a severe illness. She was his only child, and he wept
day and night, so that he began to lose the sight of his eyes, and he caused it to be made known that whosoever rescued her from death should be her husband and inherit the crown. When the physician came to the sick girl's bed, he saw Death by her feet. He ought to have remembered the warning given by his godfather, but he was so infatuated by the great beauty of the King's daughter, and the happiness of becoming her husband, that he flung all thought to the winds. He did not see that Death was casting angry glances on him, that he was raising his hand in the air, and threatening him with his withered fist. He raised up the sick girl, and placed her head where her feet had lain. Then he gave her some of the herb, and instantly her cheeks flushed red, and life stirred afresh in her.

When Death saw that for a second time he was defrauded of his own property, he walked up to the physician with long strides, and said, "All is over with thee, and now the lot falls on thee," and seized him so firmly with his ice-cold hand, that he could not resist, and led him into a cave below the earth. There he saw how thousands and thousands of candles were burning in countless rows, some large, others half-sized, others small. Every instant some were extinguished, and others again burnt up, so that the flames seemed to leap hither and thither in perpetual change. "See," said Death, "these are the lights of men's lives. The large ones belong to children, the half-sized ones to married people in their prime, the little ones belong to old people; but children and young folks likewise have often only a tiny candle." "Show me the light of my life," said the physician, and he thought that it would be still very tall. Death pointed to a little end which was just threatening to go out, and said, "Behold, it is there." "Ah, dear godfather," said the horrified physician, "light a new one for me, do it for love of me, that I may enjoy my life, be King, and the husband of the King's beautiful daughter." "I cannot," answered Death, "one must go out before a new one is lighted." "Then place the old one on a new one, that will go on burning at once when the old one has come to an end," pleaded the physician. Death behaved as if he were going to fulfill his wish, and took hold of a tall new candle; but as he desired to revenge himself, he purposely made a mistake in fixing it, and the little piece fell down and was extinguished. Immediately the physician fell on the ground, and now he himself was in the hands of Death

Introduction To Fiction

The Elements of Fiction

Plot, Setting, Character, Conflict, Symbol, and Point of View are the main elements which fiction writers use to develop a story and its Theme.

Because literature is an art and not a science, it is impossible to specifically quantify any of these elements within any story or to guarantee that each will be present in any given story. Setting might be the most important element in one and almost nonexistent in another.

Just as a Crime Scene Investigator cannot approach a crime scene looking for a specific clue (e. g., shell casings), you as a reader cannot approach a story deciding to look for a specific element, such as Symbol. To assume could blind you to important elements. Both the CSI team and you must examine the entire “area” carefully to determine what is present and how it is important.

With that understanding, let’s examine the elements.

PLOT
Literature teachers sometimes give the impression that plot is not important, that anyone interested in plot is an immature reader.

Of course plot is important. It was what got us interested in reading in the first place. It was the carrot on the string that pulled us through a story as we wanted to see what would happen next.

That said, let me emphasize that plot is rarely the most important element of a good story. As much as I’ve always loved surprise endings, if the only thing a film or a story has is a great twist ending, it doesn’t have anything on a second look.

And it’s worth noting that recent fiction and film have deemphasized plot, frequently stressing character or conflict for example. In film, for example, think David Lynch or Pulp Fiction.

SETTING
Stories actually have two types of setting: Physical and Chronological.

The physical setting is of course where the story takes place. The “where” can be very general—a small farming community, for example—or very specific—a two story white frame house at 739 Hill Street in Scott City, Missouri.

Likewise, the chronological setting, the “when,” can be equally general or specific.

The author’s choices are important. Shirley Jackson gives virtually no clues as to where or when her story “The Lottery” is set. Examination suggests that she wants the story to be universal, not limited by time or place. The first two stories you will read each establish a fairly specific physical setting; consider what each setting brings to each story.



CHARACTER
What type of individuals are the main characters? Brave, cowardly, bored, obnoxious? If you tell me that the protagonist (main character) is brave, you should be able to tell where in the story you got that perception.

In literature, as in real life, we can evaluate character three ways: what the individual says, what the individual does, and what others say about him or her.

CONFLICT
Two types of conflict are possible: External and Internal.

External conflict could be man against nature (people in a small lifeboat on a rough ocean) or man against man.

While internal conflict might not seem as exciting as external, remember that real life has far more internal than external conflict.

Film and fiction emphasize external conflict not simply because “it’s more interesting” but also because it’s easier to write. In a film script, you merely have to write “A five minute car chase follows” and you’ve filled five minutes. How long would it take to write five minutes worth of dialogue?

SYMBOL
Don’t get bent out of shape about symbols. Simply put, a symbol is something which means something else. Frequently it’s a tangible physical thing which symbolizes something intangible. The Seven/Eleven stores understood that a few years ago when they were selling roses with a sign saying, “A Rose Means ‘I Love You.’”

The basic point of a story or a poem rarely depends solely on understanding a symbol. However important or interesting they might be, symbols are usually “frosting,” things which add interest or depth.

It’s normal for you to be skeptical about symbols. If I tell you that the tree in a certain story symbolizes the Garden of Eden, you may ask “Is that really there or did you make it up?” or “How do you know what the author meant?”

Literature teachers may indeed “over-interpret” at times, find symbols that really aren’t there. But if you don’t occasionally chase white rabbits that aren’t there, you’ll rarely find the ones that are there.

In the film 2001, a computer named HAL is controlling a flight to Jupiter. When the human crew decides to abort the mission, HAL—programmed to guarantee the success of the mission—“logically” begins to kill off the humans. Science fiction’s oldest theme: man develops a technology which he not only cannot control, it controls him.

Consider HAL’s name. Add one letter to each of the letters in his name. Change the H to I, the A to B, and the L to M. When you realize how close HAL is to IBM, the first response is disbelief. But clearly the closeness of the names is either an absolute accident or an intentional choice. As much as we are startled by the latter, we probably agree that the odds against the former—it being an accident—are astronomical.

Somebody thought that up. Or maybe a computer.

POINT OF VIEW
Point of View is the “narrative point of view,” how the story is told—more specifically, who tells it.

There are two distinctly different types of point of view and each of those two types has two variations.

In the First Person point of view, the story is told by a character within the story, a character using the first person pronoun, I.

If the narrator is the main character, the point of view is first person protagonist. Mark Twain lets Huck Finn narrate his own story in this point of view.

If the narrator is a secondary character, the point of view is first person observer. Arthur Conan Doyle lets Sherlock Holmes’ friend Dr. Watson tell the Sherlock Holmes story. Doyle frequently gets credit for telling detective stories this way, but Edgar Allan Poe perfected the technique half a century earlier.

In the Third Person point of view, the story is not told by a character but by an “invisible author,” using the third person pronoun (he, she, or it) to tell the story. Instead of Huck Finn speaking directly to us, “My name’s Huckleberry Finn” and telling us “I killed a pig and spread the blood around so people would think I’d been killed”, the third person narrator would say: He killed a pig and spread the blood…..

If the third person narrator gives us the thoughts of characters (He wondered where he’d lost his baseball glove), then he is a third person omniscient (all knowing) narrator.

If the third person narrator only gives us information which could be recorded by a camera and microphone (no thoughts), then he is a third person dramatic narrator.

In summary, then, here are the types of point of view:

First Person Narrator
Protagonist
Observer

Third Person Narrator
Omniscient
Dramatic

Different points of view can emphasize different things. A first person protagonist narrator would give us access to the thoughts of the main character. If the author doesn’t want us to have that access, he could use the first person observer, for example, or the third person dramatic.

THEME
Theme isn’t so much an element of fiction as much as the result of the entire story. The theme is the main idea the writer of the poem or story wants the reader to understand and remember.

You may have used the word “Moral” in discussing theme; but it’s not a good synonym because “moral” implies a positive meaning or idea. And not all themes are positive.

One word—love, for example—may be a topic; but it cannot be a theme.

A theme is a statement about a topic.

For example: “The theme of the story is that love is the most important thing in the world.” That’s a cliché, of course, but it is a theme.

Not all stories or poems (or films) have an overriding “universal” theme.