Ренц Т.Г., Кузнецова И.А., Пискова Т.В. Gender Readings

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ÌÈÍÈÑÒÅÐÑÒÂÎ ÎÁÐÀÇÎÂÀÍÈß

ÐÎÑÑÈÉÑÊÎÉ ÔÅÄÅÐÀÖÈÈ

ÂÎËÃÎÃÐÀÄÑÊÈÉ ÃÎÑÓÄÀÐÑÒÂÅÍÍÛÉ ÓÍÈÂÅÐÑÈÒÅÒ

ÂÎËÆÑÊÈÉ ÃÓÌÀÍÈÒÀÐÍÛÉ ÈÍÑÒÈÒÓÒ (ôèëèàë) ÂîëÃÓ

Ò.Ã. Ðåíö, È.À. Êóçíåöîâà, Ò.Â. Ïèñêîâà

GENDER READINGS

Top Ten

Âîëãîãðàä 2003

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ÁÁÊ 81.2Àíãë—923

Ð39

Ðåêîìåíäîâàíî ê ïå÷àòè

â êà÷åñòâå ó÷åáíî-ìåòîäè÷åñêîãî ïîñîáèÿ

ó÷åíûì ñîâåòîì èñòîðèêî-ôèëîëîãè÷åñêîãî ôàêóëüòåòà

ÂÃÈ (ôèëèàëà) ÂîëÃÓ (ïðîòîêîë ¹ 10 îò 15.05.03)

Ðåöåíçåíòû:

êàíä. ïåä. íàóê, äîö. Å.À. Ãðèøèíà (ÂÈÝèÌ ÂØÊ);

êàíä. ôèëîë. íàóê, äîö. Å.È. Ëèñòóíîâà (ÂÃÈ ÂîëÃÓ)

Ðåíö Ò.Ã., Êóçíåöîâà È.À., Ïèñêîâà Ò.Â.

Gender Readings. Top Ten. — Âîëãîãðàä: Èçä-âî ÂîëÃÓ,

2003. — 92 ñ.

ISBN 5-85534-828-8

Ïîñîáèå âêëþ÷àåò äåñÿòü ðàññêàçîâ àíãëîÿçû÷íûõ àâòî-

ðîâ, ðàñïîëîæåííûå ïî ñòåïåíè ñëîæíîñòè è óñëîâíî ðàçäå-

ëåííûå íà äâå ÷àñòè. Ïîñëå êàæäîãî ðàññêàçà ïðèâîäÿòñÿ ðàç-

íîîáðàçíûå óïðàæíåíèÿ, êîòîðûå ïîìîãàþò ðàçâèòü ó ñòóäåí-

òîâ ðå÷åâûå óìåíèÿ è íàâûêè àóäèðîâàíèÿ, ÷òåíèÿ è ïèñüìà.

Â ïîñîáèè ïîêàçûâàþòñÿ ñõîäñòâà è ðàçëè÷èÿ â ñòèëÿõ ïèñàòå-

ëåé æåíñêîãî è ìóæñêîãî ïîëà, ãðàììàòè÷åñêèå è ëåêñè÷åñ-

êèå îñîáåííîñòè ðå÷è ìóæ÷èí è æåíùèí, ÷òî ñïîñîáñòâóåò

êîììóíèêàòèâíîé ãðàììîòíîñòè èçó÷àþùèõ àíãëèéñêèé ÿçûê.

Ïðåäíàçíà÷åíî äëÿ ñòóäåíòîâ ñðåäíèõ è âûñøèõ ó÷åáíûõ

çàâåäåíèé, ñïåöèàëèçèðóþùèìñÿ â îáëàñòè àíãëèéñêîãî ÿçûêà.

ISBN 5-85534-828-8

Ò.Â. Ïèñêîâà, 2003

ãîñóäàðñòâåííîãî óíèâåðñèòåòà, 2003

(ôèëèàë) ÂîëÃÓ, 2003

Ð39

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Contents

Foreword ........................................................................................ 4

1. Kate Chopin. The Story of an Hour………… .................................. 6

2. Katherine Mansfield. The Singing Lesson ........................ 13

3. Dorothy Parker. The Last Tea……… ......................................... 23

4. Muriel Spark. A Member of the Family……………......................... 31

5. Laurie Colwin. Mr Parker……………………………… .............................................. 47

6. Graham Greene. The Invisible Japanese Gentlemen… ........ 56

7. W. Somerset Maugham. Home……………………… ......................................... 63

8. Bertrand Russel. How to Grow Old……………… ................................. 71

9. O’Henry. While the Auto Waits………………… ....................................... 76

10. James Joyce. Eveline…………………………………… ....................................................... 84

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FOREWORD

Alas! A woman that attempts the pen

such an intruder on the rights of men!

The aim of stories selected for reading and entitled “Gender

Readings” is to bring together a spectrum of approaches and positions

within their common focus writing by and about Men. Some scholars

are accustomed to assume that there are two literatures: one for men,

another — for women. Thus referring the first to serious as it most

often deals with war and the latter to popular as it deals with feelings.

And the absence of women-authors may provoke us to think that the

masculine viewpoint is considered normal and the feminine — diver-

gent. It is supposed that female students are expected to internalize

male values. After reading this book the students are expected to inter-

nalize both male and female values.

Each story is written from the individual standpoint of its au-

thor and speaks for itself, but each raises problems that are of com-

mon concern to the collection as a whole — problems ranging from

the nature of male and female literary tradition to assessing the deci-

sive innovations made by men and women writers.

Above all, what does writing as a woman and a man mean? What

are the specifications of the language of each gender? These are the

questions to be answered after reading each of these stories. For

questions like these there are no easy answers. We wouldn’t like to

impose a feministic viewpoint on the female oriented studenthood of

our department, but we’d like to prove there’s one literature percept-

ed by both sexes:

We would say

“Long live women!”

But we cannot say

“Short live men!”

Both need freedom

As proclaimed Kate Chopin!

So, ladies first¾

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Notes for a teacher

All the texts selected are followed by a biographical note on the

author, reading notes on points where help may be found useful, and

by a set of exercises.

The notes explain difficulties, especially of phrase or structure

that cannot be solved by reference to a dictionary.

The exercises are designed to lead the student, as he works

through them, to refer constantly to the text and in this way to get

the fullest benefit from his (her) reading of it.

Students working in their own without a teacher may, it is

hoped, find the book particularly suited to their needs. In the class-

room, the teacher should find the subjects for oral and written com-

position a stimulus to discussion and debate.

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KATE CHÎÐIN

THE STORY OF AN HOUR

Knowing that Mrs. Mallard was afflicted with a heart trouble,

great care was taken to break to her as gently as possible the news of

her husband’s death.

It was her sister Josephine who told her, in broken sentences,

veiled hints that revealed in half concealing. Her husband’s friend

Richards was there, too, near her. It was he who had been in the

newspaper office when intelligence of the railroad disaster was re-

ceived, with Brently Mallard’s name leading the list of “killed”. He

had only taken the time to assure himself of its truth by a second

telegram, and had hastened to forestall any less careful, less tender

friend in bearing the sad message.

She did not hear the story as many women have heard the

same, with a paralyzed inability to accept its significance. She wept at

once, with sudden, wild abandonment, in her sister’s arms. When

the storm of grief had spent itself she went away to her room alone.

She would have no one follow her.

Comment. The opening action is presented quickly and economi-

cally. We are not given Mrs. Mallard’s first name. And we might wonder if

there is any significance in the name “Mallard”. Do we hear something

odd in the description of Mrs. Mallard’s ailment as a “heart trouble”?

More important than these details is the announcement of her hus-

band’s death. Mrs. Mallard is contrasted with other women who sit para-

lyzed by such news — women who refuse, initially at least, to accept the

significance of such an announcement. Is there a difference between ac-

cepting the significance of a husband’s death and accepting the simple

fact of his death? We notice, finally, that Mrs. Mallard weeps with “sud-

den wild abandonment”.

There stood, facing the open window, a comfortable, roomy

armchair. Into this she sank, pressed down by a physical exhaustion

that haunted her body and seemed to reach into her soul.

She could see in the open square before her house the tops of

trees that were all aquiver with the new spring life. The delicious breath

of rain was in the air. In the street below a peddler was crying his wares.

The notes of a distant song which some one was singing reached her

faintly, and countless sparrows were twittering in the eaves.

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There were patches of blue sky showing here and there through

the clouds that had met and piled above the other in the west facing

her window.

She sat with her head thrown back upon the cushion of the

chair quite motionless, except when a sob came up into her throat

and shook her, as a child who has cried itself to sleep continues to sob

in its dreams.

Comment. The setting for the middle section of the story is Mrs.

Mallard’s room. Is the open window through which she looks of any sig-

nificance? Do the details that follow — trees, birds, rain, patches of blue

sky, peddler, and song — have anything in common? We notice also that

Mrs. Mallard is compared to a child who sobs in its dreams and may won-

der about the implications of this comparison.

She was young, with a fair, calm face, whose lines bespoke

repression and even a certain strength. But now there was a dull stare in

her eyes, whose gaze was fixed away off yonder on one of those

patches of blue sky. It was not a glance of reflection, but rather indi-

cated a suspension of intelligent thought.

There was something coming to her and she was waiting for it,

fearfully. What was it? She did not know; it was too subtle and elusive

to name. But she felt it, creeping out of the sky, reaching toward her

through the sounds, the scents, the color that filled the air.

Now her bosom rose and fell tumultuously. She was beginning

to recognize this thing that was approaching to possess her, and she

was striving to beat it back with her will — as powerless as her two

white slender hands would have been.

Comment. These paragraphs slightly alter the tone and pace of the

story. We are not told what Mrs. Mallard is waiting for. Whatever it is,

however, she feels it; she senses it coming as she looks out window. And we

see her resisting it — powerlessly. Do we perhaps also hear sexual over-

tones in the description of what is “approaching to possess” her? Or do

we wish to assign religious or psychological significance to this imminent

possession and her ambivalent feelings about it? We notice, in addition,

that Mrs. Mallard is described as not conscious of what is happened to her.

Chopin says that there is “a suspension of intelligent thought”. She seems

to feel rather than think.

When she abandoned herself a little whispered word escaped her

slightly parted lips. She said it over and over under her breath:

“Free, free, free!” The vacant stare and the look of terror that had

followed it went from her eyes. They stayed keen and bright. Her

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pulse beat fast, and the coursing blood warmed and relaxed every inch

of her body.

Comment. In the first sentence the word “abandoned” echoes the

earlier description of Mrs. Mallard’s “wild abandonment”. But she now

seems in control of herself. Her repetition of “free” signals her excite-

ment and perhaps convinces her of its truth. Her emotional excitement is

rendered in physical imagery: her pulse beats fast, and her blood courses

through her body — both signs of reawakened feeling.

She did not stop to ask if it were not a monstrous joy that held

her. A clear and exalted perception enabled her to dismiss the sugges-

tion as trivial.

She knew that she would weep again when she saw the kind,

tender hands folded in death; the face that had never looked save

with love upon her, fixed and gray and dead. But she saw beyond that

bitter moment a long procession of years to come that would belong to

her absolutely. And she opened and spread her arms out to them in

welcome.

There would be no one to live for during those coming years;

she would live for herself. There would be no powerful will bending

her in that blind persistence with which men and women believe

they have a right to impose a private will upon a fellow-creature. A kind

intention or a cruel intention made the act seem no less a crime as she

looked upon it in that brief moment of illumination.

And yet she had loved him — sometimes. Often she had not.

What did it matter! What could love, the unsolved mystery, count for

in face of this possession of self-assertion which she suddenly recog-

nized as the strongest impulse of her being!

Comment. We pause over the words “monstrous joy”. Clearly Mrs.

Mallard is overjoyed. And from one perspective her joy, however honestly

felt, is monstrous. She is happy — exultantly happy — that her husband is

dead. But the author makes clear that — Mrs. Mallard does not think:

about what she is feeling.

The first paragraph underscores Mrs. Mallard’s control and clear-

sightedness. Her sense of confidence, anticipated earlier, becomes

explicit and strong. We wonder if her husband treated her cruelly,

but the text answers that he has been kind, which makes Mrs. Mal-

lard’s open-armed welcome of the coming years indeed monstrous. In

the next paragraph Chopin does not exactly condemn Mr. Mallard but

does suggest that Mrs. Mallard had to bend her will to his. Kind or

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not, he controlled her; loving wife or not, she resented it. Chopin

here seems to move beyond the case of a particularly unhappy wife to

the larger issue of the bonds of marriage, using language that strongly

condemns the husband’s dominance. We hear it in such words and

phrases as “powerful will bending hers”, “blind persistence”, “im-

pose”, and “crime”. This language is balanced by a lyrical evocation of

Mrs. Mallard living in the years to come for herself rather than for

her husband. The moment is described as “that brief moment of

illumination”. This description builds on the earlier description oth-

erwise as keen and bright. Mrs. Mallard is possessed by a new sense of

herself and a new self-confidence as she envisions her future life. This

is the turning point of her life, a moment of recognition, insight, and

enlightenment, that makes her previous life with her husband pale

into insignificance. The next paragraphs could end the story:

“Free! Body and soul free?” she kept whispering.

Josephine was kneeling before the closed door with her lips to

the keyhole, imploring for admission. “Louise, open the door! I beg,

open the door — you will make yourself ill. What are you doing,

Louise? For heaven’s sake open the door.” “Go away. I am not

making myself ill.” No; she was drinking in à very elixir of life

through that open window.

Her fancy was running riot along those days ahead of her. Spring

days, and summer days, and all sorts of days that would be her own.

She breathed a quick prayer that life might be long. It was only yester-

day she had thought with a shudder that life might be long.

She arose at length and opened the door to her sister’s impor-

tunities. There was a feverish triumph in her eyes, and she carried

herself unwittingly like a goddess of Victory. She clasped her sister’s

waist, and together they descended the stairs. Richards stood waiting

for them at the bottom.

Comment. The discrepancy between what Josephine thinks is Mrs.

Mallard’s reason for keeping herself locked in her room and our knowl-

edge of the real reason is ironic. There is irony, also, in Mrs. Mallard’s

praying for a long life, as only the day before she had shuddered at the

thought of a long life with Brently Mallard. The language of these para-

graphs is charged with feeling — somewhat overcharged perhaps — but it

is in keeping with extending and intensifying Mrs. Mallard’s emotion. She

drinks in the “elixir of life”, has a “feverish triumph in her eyes”, and

comforts herself like a “goddess of Victory”. These paragraphs could end

the story, but they don’t. Instead Chopin has a surprise.

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Someone was opening the front door with a latchkey. It was

Brently Mallard who entered, a little travel-stained, composedly car-

rying his grip-sack and umbrella. He had been far from the scene of

accident, and did not even know there had been one. He stood amazed

at Josephine’s piercing cry; at Richard’s quick motion to screen him

from the view of his wife.

But Richards was too late.

When the doctors came they said she had died of heart disease

— of joy that kills.

Comment. The surprise, of course, is too much for Mrs. Mallard.

Does she die of shock, of despair, of joy that kills? We are left with the

impression that Josephine, Richards, and the doctor do not understand

that Mrs. Mallard dies not out of shock at seeing her husband alive, not out

of joy, but out of something like despair. Why does the narrator suggest

that none of them realizes the truth? Some interesting questions are left

unresolved by this ending. Is Mrs. Mallard being punished for harboring a

desire to be free of her husband? Or, is Mrs. Mallard a symbol of repressed

womanhood yearning to be free of male bondage? Does the story tran-

scend the sexual identity of its protagonist? Could we imagine a man in

Mrs. Mallard’s position?

Our emphasis in this interrupted reading of “The Story of an

Hour” has been to illustrate the active process of thinking while you

read. We have focused largely on issues of response and interpretation.

But we should also consider a few additional questions about the

story’s values.

THE AUTHOR

Kate Chopin was born in 1851. She was an interpreter of New

Orleans culture. Her real name is Katherine O’Hathery. She married

to Oscar Chopin who pronounced his name as Show-pen but it was

she who showed pen. To her pen belong more than 100 stories. Story-

writing was one of the few ways in which XIX century women could

support themselves. Her greatest work was “Awakening” published in

1899 which fell into obscurity for half a century because of sexual

frankness, sexual and artistic awakening of a young mother. “The

Story of an Hour” is one of the most interesting stories. The com-

ments do not so much interpret the story as illustrate the act of

reading; they represent the kinds of observations, inferences, and