Betrayal

"The Apparition" by John Donne

In "The Apparition", the speaker addresses his former love interest as a "murderess" who has killed him metaphorically through her scorn.  He proclaims that all of her future relationships will be doomed, for when she finds herself "in worse arms" than his, "then shall my ghost come to thy bed," (Donne 889).  The speaker means that his memory shall haunt her when she is with other men.  Furthermore, through his language, the speaker reveals that this woman's transgressions against him are quite serious.  He calls her a "feigned vestal", or a fake virgin, to denounce her recent lascivious behavior.  Also, he foresees her becoming a "poor aspen wretch" and "a verier ghost" than he as she seeks the love of other men (Donne 889).  However, the purpose of the poem is not simply for the speaker to vent his anger, but for the woman to realize the severity of her sin.  Accordingly, the speaker informs this woman that he has something to tell her.  When she hears it, she shall "painfully repent" for what she has done, but that will not be enough (Donne 890).  The speaker never reveals his message, but I believe he means to tell the woman he loved her.  In doing so, he makes the woman's actions against him not just the ending of a relationship, but the betrayal of someone's earnest love. 

I Love Railroad Accidents

"The Story of an Hour" by Kate Chopin

Chopin begins "The Story of an Hour" in medias res, immediately throwing a huge tragedy, Mr. Mallard's death in a railroad accident, at her audience.  This abrupt beginning produces a somber, tragic mood and invites sympathy for the now widowed Mrs. Mallard.  Strangely, however, after Mrs. Mallard weeps with her sister Josephine, she retreats to a room by herself and takes on a completely different persona.  Instead of being a distraught widower, Mrs. Mallard, embracing her husband's tragedy, becomes overwhelmed with joy as she realizes she is now, "Free, free, free," (Chopin 326).  This sudden change in emotion serves as a stark contrast to the beginning of the story, which implied that Mrs. Mallard would be utterly depressed at the news of her husband's death.  About the time Mrs. Mallard comes to her realization, Josephine addresses her with her first name in saying, "Louise, open the door," (Chopin 327).  In naming Mrs. Mallard as Louise, Chopin emphasizes her newfound independence.  Overjoyed, Louise proceeds out of her room "like a goddess of Victory" and heads downstairs with Josephine to meet Mr. Mallard's friend, Richards (Chopin 327).  Then, much to the surprise of Louise, Josephine, and Richards, Brently Mallard, Louise's supposedly dead husband, walks through the door.  In a fit of situational irony, Mr. Mallard's reappearance does not please Louise, but, instigating her heart troubles, kills her.  The irony lies in the fact that Louise's heart troubles were not inflamed by her husband's death, but in knowing that he is still alive. 

Custody Battle

"Popular Mechanics" by Raymond Carver

Carver creates a melancholy tone as he opens "Popular Mechanics" with a description of winter slush on a dark day.  This descriptive opening serves to lead into a soon-to-be-divorced couple quarreling over their relationship.  Emotions run high as the woman begins to cry and calls her husband a "son of a bitch" (Carver 334).  This situation escalates quickly as the couple fights over their child.  The argument turns physical as both parents grapple for the child, leaving the baby "red-faced and screaming" (Carver 335).  Eventually, both parents gain equal control of the child, pull "back very hard", and realize "the issue [has been] decided" (Carver 335).  In their anger, the parents murder their child.  As such, "Popular Mechanics" attacks divorce and domestic violence as forces for familial dysfunction.  As literally depicted by the baby in the story, they tear families apart.  This is Carver's message and the theme of "Popular Mechanics".  He wants people to realize that their actions can have grave consequences on the lives of others.  

Odd Zoe

"You're Ugly Too" by Lorrie Moore

In this short story, Moore depicts Zoe, an eccentric female college professor, as a woman hopelessly lost in her search for companionship.  Contemplating the failed relationships of her past and the constant criticism from her students, Zoe struggles to find a place where she can be herself instead of the "Heidi" that everyone wants her to be (Moore 354).  Through her romantic endeavors, dialogue with students, and amusement over owning a home, Zoe indirectly characterizes herself as a strong, independent, opinionated woman.  Her sister, Evan, knows this about Zoe and attempts to help her with her love life accordingly.  Evan tells Zoe that at the upcoming Halloween party she must speak with her friend Earl and get to know him.  However, once Zoe arrives at the party, Evan's plan does not go well.  Zoe, dressed in a bonehead costume, and Earl, costumed as a naked woman, end up arguing bitterly.  Each character's costume signifies a reversal of traditional gender roles in the argument.  Zoe, who has also been complaining about her manly chin hair, assumes the role of a boneheaded man shut off to the idea of love.  She supports this role when she shares her idea of a love story which ends with a woman shooting "a gun through her head" (Moore 369).  Earl, then, becomes the vulnerable female in the argument, in accordance with his costume, as he speaks poetically about the idea of love.  Earl goes on to explain this gender reversal by saying that throughout society "hormones [are] sprayed around" and they change people (Moore 370).  The short story left me confused as to its message and what the gender reversals said about Zoe and Earl. 

Not-so-Lonely Hearts

"Lonely Hearts" by Wendy Cope

In this villanelle, each stanza represents a separate personal ad posted by someone, a lonely heart, seeking companionship.  Each person lists a set of unique characteristics he or she possesses and then contributes to the villanelle's traditional repetition by concluding with a question for other lonely hearts.  At first, the collection of lonely individuals searching for love seems depressing, reinforcing the notion that many people struggle to find love.  In reality, the poem does not seek to convey such a message.  Rather, by listing each lonely heart's request for companionship one after the other, the poem unites the lonely hearts in their search for love.  Furthermore, the diverse characteristics shared in each stanza prove that there are companions of every kind for anyone willing to search for such people.  Therefore, instead of supporting the futility of looking for love, a poem ironically entitled "Lonely Hearts" encourages lonely individuals to keep looking.  It does so through the villanelle's characteristic repetition of phrases.  Throughout the poem, each stanza repeats the questions, "Do you live in North London? Is it you?" or "Can someone make my simple wish come true?" (Cope 973).  These phrases encourage lonely hearts reading the poem that they are not the only ones searching for love.  Furthermore, the final stanza includes the supportive thought, "Who knows where it may lead once we've begun?" to emphasize that all relationships have the potential to be genuinely loving (Cope 974).

Be My Compass, Baby

"A Valediction: Forbidding Mourning" by John Donne

Concluding with a set of three beautifully nerdy stanzas, this poem expresses a man's temporary farewell to his lover as he embarks on a journey.  The speaker builds up to his final farewell by explaining to his lover that their love stands superior to that of ordinary people.  Unlike common "sublunary lovers' love", his love can handle a lover's absence as it is not based purely on physicality (Donne 802).  Rather, his love is "so much refined" that he says to his lover, "Our two souls . . . are one," (Donne 802).  To illustrate this incredible connection, he compares it, through simile, to the behavior of compass legs. My inner geek loves this comparison as it perfectly describes a bond between two lovers' souls by drawing upon a tool used in mathematics.  According to the speaker, his lover's soul functions as the stabilizing compass leg.  On an actual compass, this leg ensures that the drawing leg follows a perfect circular path and returns to its starting point.  It also leans toward the drawing leg, staying as close to it as possible, as the drawing leg moves farther away.  Likewise, his lover's soul will serve as his guide, maintaining his course on the journey, until he returns home.  Furthermore, when the speaker is traveling, his lover's soul will yearn for his, but will still be able to handle the absence as the bond between their souls is sturdy.      

A Dutiful Daughter

"Eveline" by James Joyce

In this short story, the protagonist, Eveline, struggles between her youthful desire to live her own, exciting life and a strong sense of duty to her family.  These internal conflicts drive the plot through Eveline's narration as she details her early years at home, her meeting Frank, and, most importantly, the promise she made to her mother.  She remembers vividly how she promised "to keep the home together as long as she could" after her mother's inevitable death (Joyce 221).  Due to this promise, Eveline debates whether she should depart with Frank and abandon her father and brother.  Additionally, in nostalgically meandering around her house, Eveline indirectly reveals a few more reservations about leaving Dublin for Buenos Aires.  She strolls around her home, analyzing "familiar objects from which she had never dreamed of being divided," (Joyce 218).  These musings show that Dublin represents familiarity and security to Eveline.  She has lived there all her life and it is all she has ever known.  As a result, even though Eveline has a difficult life taking care of her family in Dublin, such a life appeals to her because of the familiarity that accompanies it.  The culmination of all these inner reservations ultimately prevents Eveline from leaving with Frank.  Furthermore, she did not leave with him because she did not genuinely love him, as is evidenced in the line, "Her eyes gave him no sign of love or farewell or recognition," (Joyce 222).    

Ambiguity in Relationships

"How I Met My Husband" by Alice Munro

Munro incorporates ambiguity several times throughout her short story to build suspense and keep her audience entertained.  The most striking example of this ambiguity occurs in Chris Watters' dealings with Edie.  When he first encounters Edie, dolled up in the kitchen, he says, "Well, I just wanted to tell you you look very . . . nice and beautiful," (Munro 135).  This statement could be taken as a friendly compliment from an older passerby or a subtle romantic advance.  As a result of this ambiguity, the idea that Watters could be the husband mentioned in the title becomes plausible.  However, another instance of ambiguity, Alice Kelling's relationship with Chris Watters, almost eliminates that possibility.  Upon entering the story, Alice seems legitimate: she has a detailed story of meeting Chris, nursing him, falling in love, and accepting his marriage proposal. Regardless, Chris' dealings with Alice tell another tale.  For instance, when Chris and Alice return from a date, rather than kiss each other goodnight or show any type of affection appropriate for a soon-to-be-married couple, they, without emotion, part ways and go to sleep.  Consequently, the actual relationship between Chris and Alice becomes a mystery.  Although Alice states the two are engaged, they do not behave as such.  This fact reopens the possibility of Chris marrying Edie and keeps the audience engaged in the story until Munro provides a dramatic twist to end the story.