Drama --- Story plots Flashcards
Three teenage girls, wearing only their bathing suits, walk into an A&P grocery store in a small New England town. Sammy, a young man working the checkout line, watches them closely. He appraises their looks and notes even minute details about the way they carry themselves. He also speculates about their personalities and their motivation for entering the store dressed the way they are. Sammy is particularly interested in the most attractive girl, who appears to be the leader of the group. This girl, whom Sammy dubs “Queenie,” has a natural grace and confidence, in addition to her beauty. As the girls roam the aisles of the A&P, they create a stir. As Sammy points out, the store is in the center of town, nowhere near the beach, where the girls’ attire would attract less notice. Sammy’s coworker Stokesie ogles the girls as well, joking around with Sammy as he does so. Sammy jokes along with him, but he feels the contrast between himself, still single, and the married Stokesie. Stokesie is resigned to a life of working at the A&P, whereas Sammy, although admitting that he and Stokesie are much alike, seems to feel that such a future is beneath him. As yet another of his coworkers begins to admire the girls, Sammy feels a twinge of pity for them for having compromised themselves this way, most likely without realizing it. This feeling is quickly supplanted by pure excitement as the girls choose Sammy’s checkout line to make their purchase.
Lengel, the store manager, approaches Sammy’s checkout lane. Lengel chastises the girls for entering the store in bathing suits, citing store policy. The girls are embarrassed, and Queenie protests that her mother wanted her to come in and buy some herring snacks. In this statement, Sammy gleans insight into Queenie’s life. He imagines her parents at a party, everyone dressed nicely and sipping “drinks the color of water.” He thinks about his own parents’ parties, where people drink lemonade or cheap beer.
As the girls begin to leave the store, Sammy suddenly turns to Lengel and quits his job, protesting the way Lengel has embarrassed the girls. Sammy hopes the girls are watching him. Lengel tries to talk Sammy out of quitting, telling him that he will regret the decision later and that his quitting will disappoint his parents. Sammy, however, feels that he must see the gesture through to its conclusion, and he exits the A&P. When he reaches the parking lot, he sees that the girls are long gone. Sammy is left alone with his ambiguous feelings and a growing sense of foreboding about what life has in store for him.
A&P
In its examination of a boy’s struggle with family loyalty and a higher sense of justice, fits firmly in Faulkner’s familiar fictional mode. Poverty and irrational, criminal behavior divide a family and, in the end, leave them more indigent and dependent than ever. The story first appeared in the June 1939 issue of Harper’s magazine and received the O. Henry Award for the year’s best work of short fiction. The story, a critical and popular favorite, was included in Faulkner’s Collected Stories (1950) and later reprinted in the Selected Short Stories of William Faulkner (1961). In his portrayal of the Snopes clan, an underprivileged family with few economic prospects, Faulkner examines the deep-rooted classism and systems that rigidly divided southern society along racial, economic, and familial lines. The Snopeses and their struggle, in particular, symbolize the falling away of an old order, as the agrarian South slowly shifted to embrace a new era of industrialization and modernization. Although Faulkner’s merciless portrayal of Abner Snopes precludes any sympathy for his peculiar brand of vigilante justice, the harsh reality the family faced was little more than institutionalized slavery and a life sentence of poverty and subsistence living.
Abner Snopes represents a common trope in Faulkner’s fiction—the dispossessed male, shorn of power and lashing out at a world that he perceives as habitually wronging him and thwarting his felonious desires. Faulkner examines the sway that such menacing figures have over family and community by portraying the individuals caught up in the shadows of these savage personalities, individuals who are powerless and often culpable. Freedom comes only for Sartoris, the youngest Snopes boy, but, as is frequently the case in Faulkner’s works, emancipation comes at a price. Sartoris has defended his sense of honor and attempted to restore the family name, but he ultimately faces an uncertain future alone.
“Barn Burning,”
Born in New Albany, Mississippi, in 1897, William Faulkner became famous for a series of novels that explore the South’s historical legacy, its fraught and often tensely violent present, and its uncertain future. This grouping of major works includes The Sound and the Fury (1929), As I Lay Dying (1930), Light in August (1931), and Absalom, Absalom! (1936), all firmly rooted in the fictional Mississippi county of Yoknapatawpha. By creating an imaginary setting, Faulkner allows his characters to inhabit a fully realized world that serves as a mirror to and microcosm of the South that the novelist knew so well and explored so deeply. Faulkner’s legendary milieu serves as a safe and distant—albeit magnifying—lens through which he could examine the practices, folkways, and attitudes that have united and divided the people of the South.
Faulkner was particularly interested in the moral implications of history. As the South emerged from the Civil War and Reconstruction and attempted to shake off the stigma of slavery, its residents were often portrayed as being caught in competing and evolving modes, torn between a new and an older, more tenaciously rooted world order. Religion and politics frequently fell short of their implied goals of providing order and guidance and served only to complicate and divide. Society, with its gossip, judgment, and harsh pronouncements, conspired to thwart the desires and ambitions of individuals struggling to unearth and embrace their identities. Across Faulkner’s fictive landscapes, individual characters often stage epic struggles, prevented from realizing their potential or establishing and asserting a firm sense of their place in the world.
Faulkner won the Nobel Prize for Literature in 1949, and he donated half the prize money to a fund that supports new writers. His gift takes the form today of the PEN/Faulkner Award. He died in 1962.
Faulkner
It is winter in Salinas Valley, California. The sun is not shining, and fog covers the valley. On Henry Allen’s foothill ranch, the hay cutting and storing has been finished, and the orchards are waiting for rain. Elisa Allen, Henry’s wife, is working in her flower garden and sees her husband speaking with two cigarette-smoking strangers. Elisa is thirty-five years old, attractive and clear-eyed, although at the moment she is clad in a masculine gardening outfit with men’s shoes and a man’s hat. Her apron covers her dress, and gloves cover her hands. As she works away at her chrysanthemums, she steals occasional glances at the strange men. Her house, which stands nearby, is very clean.
The strangers get into their Ford coupe and leave. Elisa looks down at the stems of her flowers, which she has kept entirely free of pests. Henry appears and praises her work. Elisa seems pleased and proud. Henry says he wishes she would turn her talents to the orchard. She responds eagerly to this suggestion, but it seems he was only joking. When she asks, he tells her that the men were from the Western Meat Company and bought thirty of his steers for a good price. He suggests they go to the town of Salinas for dinner and a movie to celebrate. He teases her, asking whether she’d like to see the fights, and she says she wouldn’t.
Henry leaves, and Elisa turns her attention back to her chrysanthemums. A wagon with a canvas top driven by a large bearded man appears on the road in the distance. A misspelled sign advertises the man’s services as a tinker who repairs pots and pans. The wagon turns into Elisa’s yard. Her dogs and the man’s dog sniff each other, and the tinker makes a joke about the ferocity of his animal. When he gets out of the wagon, Elisa sees that he is big and not very old. He wears a ragged, dirty suit, and his hands are rough. They continue to make small talk, and Elisa is charmed when the tinker says he simply follows good weather. He asks whether she has any work for him, and when she repeatedly says no, he whines, saying he hasn’t had any business and is hungry. Then he asks about Elisa’s chrysanthemums, and her annoyance vanishes. They discuss the flowers, and the tinker says that he has a customer who wants to raise chrysanthemums. Excited, Elisa says he can take her some shoots in a pot filled with damp sand. She takes off her hat and gloves and fills a red pot with soil and the shoots.
Elisa gives the tinker instructions to pass along to the woman. She explains that the most care is needed when the budding begins. She claims to have planting hands and can feel the flowers as if she’s one with them. She speaks from a kneeling position, growing impassioned. The tinker says he might know what she means, and Elisa interrupts him to talk about the stars, which at night are “driven into your body” and are “hot and sharp and—lovely.” She reaches out to touch his pant leg, but stops before she does. He says such things are not as nice if you haven’t eaten. Sobered, Elisa finds two pans for him to fix.
As the tinker works, she asks him if he sleeps in the wagon. She says she wishes women could live the kind of life he does. He says it wouldn’t be suitable, and she asks how he knows. After paying him fifty cents, she says that she can do the same work he does. He says his life would be lonesome and frightening for a woman. Before he leaves, she reminds him to keep the sand around the chrysanthemums damp. For a moment, he seems to forget that she gave him the flowers. Elisa watches the wagon trundle away, whispering to herself.
She goes into the house and bathes, scrubbing her skin with pumice until it hurts. Then she examines her naked body in the mirror, pulling in her stomach and pushing out her chest, then observing her back. She dresses in new underwear and a dress and does her hair and makeup. Henry comes home and takes a bath. Elisa sets out his clothes and then goes to sit on the porch. When Henry emerges, he says that she looks nice, sounding surprised. She asks him what he means, and he says she looks “different, strong and happy.” She asks what he means by strong. Confused, he says that she’s playing a game and then explains that she looks like she could break a calf and eat it. Elisa loses her composure for a moment and then agrees with him.
As they drive along the road toward Salinas, Elisa sees a dark spot up ahead and can’t stop herself from looking at it, sure that it’s a pile of discarded chrysanthemum shoots that the tinker has thrown away. Elisa thinks that he could have at least disposed of them off the road, and then realizes he had to keep the pot. They pass the tinker’s wagon, and Elisa doesn’t look. She says she is looking forward to dinner. Henry says she is different again, but then says kindly that he should take her out more often. She asks whether they can have wine at dinner, and he says yes. Elisa says she has read that at the fights the men beat each other until their boxing gloves are soaked with blood. She asks whether women go to the fights, and Henry says that some do and that he’ll take her to one if she’d like to go. She declines and pulls her coat collar over her face so that Henry can’t see her crying.
The Chrysanthemums
“Hills Like White Elephants” opens with a long description of the story’s setting in a train station surrounded by hills, fields, and trees in a valley in Spain. A man known simply as the American and his girlfriend sit at a table outside the station, waiting for a train to Madrid.
It is hot, and the man orders two beers. The girl remarks that the nearby hills look like white elephants, to which the American responds that he’s never seen one. They order more drinks and begin to bicker about the taste of the alcohol. The American chastises her and says that they should try to enjoy themselves. The girl replies that she’s merely having fun and then retracts her earlier comment by saying the hills don’t actually look like white elephants to her anymore.
They order more drinks, and the American mentions that he wants the girl, whom he calls “Jig,” to have an operation, although he never actually specifies what kind of operation. He seems agitated and tries to downplay the operation’s seriousness. He argues that the operation would be simple, for example, but then says the procedure really isn’t even an operation at all.
The girl says nothing for a while, but then she asks what will happen after she’s had the operation. The man answers that things will be fine afterward, just like they were before, and that it will fix their problems. He says he has known a lot of people who have had the operation and found happiness afterward. The girl dispassionately agrees with him. The American then claims that he won’t force her to have the operation but thinks it’s the best course of action to take. She tells him that she will have the operation as long as he’ll still love her and they’ll be able to live happily together afterward.
The man then emphasizes how much he cares for the girl, but she claims not to care about what happens to herself. The American weakly says that she shouldn’t have the operation if that’s really the way she feels. The girl then walks over to the end of the station, looks at the scenery, and wonders aloud whether they really could be happy if she has the operation. They argue for a while until the girl gets tired and makes the American promise to stop talking.
The Spanish bartender brings two more beers and tells them that the train is coming in five minutes. The girl smiles at the bartender but has to ask the American what she said because the girl doesn’t speak Spanish. After finishing their drinks, the American carries their bags to the platform and then walks back to the bar, noticing all the other people who are also waiting for the train. He asks the girl whether she feels better. She says she feels fine and that there is nothing wrong with her.
Hills Like White Elephants
The villagers of a small town gather together in the square on June 27, a beautiful day, for the town lottery. In other towns, the lottery takes longer, but there are only 300 people in this village, so the lottery takes only two hours. Village children, who have just finished school for the summer, run around collecting stones. They put the stones in their pockets and make a pile in the square. Men gather next, followed by the women. Parents call their children over, and families stand together.
Mr. Summers runs the lottery because he has a lot of time to do things for the village. He arrives in the square with the black box, followed by Mr. Graves, the postmaster. This black box isn’t the original box used for the lottery because the original was lost many years ago, even before the town elder, Old Man Warner, was born. Mr. Summers always suggests that they make a new box because the current one is shabby, but no one wants to fool around with tradition. Mr. Summers did, however, convince the villagers to replace the traditional wood chips with slips of paper.
Mr. Summers mixes up the slips of paper in the box. He and Mr. Graves made the papers the night before and then locked up the box at Mr. Summers’s coal company. Before the lottery can begin, they make a list of all the families and households in the village. Mr. Summers is sworn in. Some people remember that in the past there used to be a song and salute, but these have been lost.
Tessie Hutchinson joins the crowd, flustered because she had forgotten that today was the day of the lottery. She joins her husband and children at the front of the crowd, and people joke about her late arrival. Mr. Summers asks whether anyone is absent, and the crowd responds that Dunbar isn’t there. Mr. Summers asks who will draw for Dunbar, and Mrs. Dunbar says she will because she doesn’t have a son who’s old enough to do it for her. Mr. Summers asks whether the Watson boy will draw, and he answers that he will. Mr. Summers then asks to make sure that Old Man Warner is there too.
Mr. Summers reminds everyone about the lottery’s rules: he’ll read names, and the family heads come up and draw a slip of paper. No one should look at the paper until everyone has drawn. He calls all the names, greeting each person as they come up to draw a paper. Mr. Adams tells Old Man Warner that people in the north village might stop the lottery, and Old Man Warner ridicules young people. He says that giving up the lottery could lead to a return to living in caves. Mrs. Adams says the lottery has already been given up in other villages, and Old Man Warner says that’s “nothing but trouble.”
Mr. Summers finishes calling names, and everyone opens his or her papers. Word quickly gets around that Bill Hutchinson has “got it.” Tessie argues that it wasn’t fair because Bill didn’t have enough time to select a paper. Mr. Summers asks whether there are any other households in the Hutchinson family, and Bill says no, because his married daughter draws with her husband’s family. Mr. Summers asks how many kids Bill has, and he answers that he has three. Tessie protests again that the lottery wasn’t fair.
Mr. Graves dumps the papers out of the box onto the ground and then puts five papers in for the Hutchinsons. As Mr. Summers calls their names, each member of the family comes up and draws a paper. When they open their slips, they find that Tessie has drawn the paper with the black dot on it. Mr. Summers instructs everyone to hurry up.
The villagers grab stones and run toward Tessie, who stands in a clearing in the middle of the crowd. Tessie says it’s not fair and is hit in the head with a stone. Everyone begins throwing stones at her.
The Lottery
Mathilde Loisel is “pretty and charming” but feels she has been born into a family of unfavorable economic status. She was married off to a lowly clerk in the Ministry of Education, who can afford to provide her only with a modest though not uncomfortable lifestyle. Mathilde feels the burden of her poverty intensely. She regrets her lot in life and spends endless hours imagining a more extravagant existence. While her husband expresses his pleasure at the small, modest supper she has prepared for him, she dreams of an elaborate feast served on fancy china and eaten in the company of wealthy friends. She possesses no fancy jewels or clothing, yet these are the only things she lives for. Without them, she feels she is not desirable. She has one wealthy friend, Madame Forestier, but refuses to visit her because of the heartbreak it brings her.
One night, her husband returns home proudly bearing an invitation to a formal party hosted by the Ministry of Education. He hopes that Mathilde will be thrilled with the chance to attend an event of this sort, but she is instantly angry and begins to cry. Through her tears, she tells him that she has nothing to wear and he ought to give the invitation to one of his friends whose wife can afford better clothing. Her husband is upset by her reaction and asks how much a suitable dress would cost. She thinks about it carefully and tells him that 400 francs would be enough. Her husband quietly balks at the sum but agrees that she may have the money.
As the day of the party approaches, Mathilde starts to behave oddly. She confesses that the reason for her behavior is her lack of jewels. Monsieur Loisel suggests that she wear flowers, but she refuses. He implores her to visit Madame Forestier and borrow something from her. Madame Forestier agrees to lend Mathilde her jewels, and Mathilde selects a diamond necklace. She is overcome with gratitude at Madame Forestier’s generosity.
At the party, Mathilde is the most beautiful woman in attendance, and everyone notices her. She is intoxicated by the attention and has an overwhelming sense of self-satisfaction. At 4 A.M., she finally looks for Monsieur Loisel, who has been dozing for hours in a deserted room. He cloaks her bare shoulders in a wrap and cautions her to wait inside, away from the cold night air, while he fetches a cab. But she is ashamed at the shabbiness of her wrap and follows Monsieur Loisel outside. They walk for a while before hailing a cab.
When they finally return home, Mathilde is saddened that the night has ended. As she removes her wrap, she discovers that her necklace is no longer around her neck. In a panic, Monsieur Loisel goes outside and retraces their steps. Terrified, she sits and waits for him. He returns home much later in an even greater panic—he has not found the necklace. He instructs her to write to Madame Forestier and say that she has broken the clasp of the necklace and is getting it mended.
They continue to look for the necklace. After a week, Monsieur Loisel says they have to see about replacing it. They visit many jewelers, searching for a similar necklace, and finally find one. It costs 40,000 francs, although the jeweler says he will give it to them for 36,000. The Loisels spend a week scraping up money from all kinds of sources, mortgaging the rest of their existence. After three days, Monsieur Loisel purchases the necklace. When Mathilde returns the necklace, in its case, to Madame Forestier, Madame Forestier is annoyed at how long it has taken to get it back but does not open the case to inspect it. Mathilde is relieved.
The Loisels began to live a life of crippling poverty. They dismiss their servant and move into an even smaller apartment. Monsieur Loisel works three jobs, and Mathilde spends all her time doing the heavy housework. This misery lasts ten years, but at the end they have repaid their financial debts. Mathilde’s extraordinary beauty is now gone: she looks just likes the other women of poor households. They are both tired and irrevocably damaged from these years of hardship.
One Sunday, while she is out for a walk, Mathilde spots Madame Forestier. Feeling emotional, she approaches her and offers greetings. Madame Forestier does not recognize her, and when Mathilde identifies herself, Madame Forestier cannot help but exclaim that she looks different. Mathilde says that the change was on her account and explains to her the long saga of losing the necklace, replacing it, and working for ten years to repay the debts. At the end of her story, Madame Forestier clasps her hands and tells Mathilde the original necklace was just costume jewelry and not worth anything.
The Necklace
The narrator, Montresor, opens the story by stating that he has been irreparably insulted by his acquaintance, Fortunato, and that he seeks revenge. He wants to exact this revenge, however, in a measured way, without placing himself at risk. He decides to use Fortunato’s fondness for wine against him. During the carnival season, Montresor, wearing a mask of black silk, approaches Fortunato. He tells Fortunato that he has acquired something that could pass for Amontillado, a light Spanish sherry. Fortunato (Italian for “fortunate”) wears the multicolored costume of the jester, including a cone cap with bells. Montresor tells Fortunato that if he is too busy, he will ask a man named Luchesi to taste it. Fortunato apparently considers Luchesi a competitor and claims that this man could not tell Amontillado from other types of sherry. Fortunato is anxious to taste the wine and to determine for Montresor whether or not it is truly Amontillado. Fortunato insists that they go to Montresor’s vaults.
Montresor has strategically planned for this meeting by sending his servants away to the carnival. The two men descend into the damp vaults, which are covered with nitre, or saltpeter, a whitish mineral. Apparently aggravated by the nitre, Fortunato begins to cough. The narrator keeps offering to bring Fortunato back home, but Fortunato refuses. Instead, he accepts wine as the antidote to his cough. The men continue to explore the deep vaults, which are full of the dead bodies of the Montresor family. In response to the crypts, Fortunato claims to have forgotten Montresor’s family coat of arms and motto. Montresor responds that his family shield portrays “a huge human foot d’or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel.” The motto, in Latin, is “nemo me impune lacessit,” that is, “no one attacks me with impunity.”
Later in their journey, Fortunato makes a hand movement that is a secret sign of the Masons, an exclusive fraternal organization. Montresor does not recognize this hand signal, though he claims that he is a Mason. When Fortunato asks for proof, Montresor shows him his trowel, the implication being that Montresor is an actual stonemason. Fortunato says that he must be jesting, and the two men continue onward. The men walk into a crypt, where human bones decorate three of the four walls. The bones from the fourth wall have been thrown down on the ground. On the exposed wall is a small recess, where Montresor tells Fortunato that the Amontillado is being stored. Fortunato, now heavily intoxicated, goes to the back of the recess. Montresor then suddenly chains the slow-footed Fortunato to a stone.
Taunting Fortunato with an offer to leave, Montresor begins to wall up the entrance to this small crypt, thereby trapping Fortunato inside. Fortunato screams confusedly as Montresor builds the first layer of the wall. The alcohol soon wears off and Fortunato moans, terrified and helpless. As the layers continue to rise, though, Fortunato falls silent. Just as Montresor is about to finish, Fortunato laughs as if Montresor is playing a joke on him, but Montresor is not joking. At last, after a final plea, “For the love of God, Montresor!” Fortunato stops answering Montresor, who then twice calls out his enemy’s name. After no response, Montresor claims that his heart feels sick because of the dampness of the catacombs. He fits the last stone into place and plasters the wall closed, his actions accompanied only by the jingling of Fortunato’s bells. He finally repositions the bones on the fourth wall. For fifty years, he writes, no one has disturbed them. He concludes with a Latin phrase meaning “May he rest in peace.”
The Cask of Amontillado
The story is divided into five sections. In section I, the narrator recalls the time of Emily Grierson’s death and how the entire town attended her funeral in her home, which no stranger had entered for more than ten years. In a once-elegant, upscale neighborhood, Emily’s house is the last vestige of the grandeur of a lost era. Colonel Sartoris, the town’s previous mayor, had suspended Emily’s tax responsibilities to the town after her father’s death, justifying the action by claiming that Mr. Grierson had once lent the community a significant sum. As new town leaders take over, they make unsuccessful attempts to get Emily to resume payments. When members of the Board of Aldermen pay her a visit, in the dusty and antiquated parlor, Emily reasserts the fact that she is not required to pay taxes in Jefferson and that the officials should talk to Colonel Sartoris about the matter. However, at that point he has been dead for almost a decade. She asks her servant, Tobe, to show the men out.
In section II, the narrator describes a time thirty years earlier when Emily resists another official inquiry on behalf of the town leaders, when the townspeople detect a powerful odor emanating from her property. Her father has just died, and Emily has been abandoned by the man whom the townsfolk believed Emily was to marry. As complaints mount, Judge Stevens, the mayor at the time, decides to have lime sprinkled along the foundation of the Grierson home in the middle of the night. Within a couple of weeks, the odor subsides, but the townspeople begin to pity the increasingly reclusive Emily, remembering how her great aunt had succumbed to insanity. The townspeople have always believed that the Griersons thought too highly of themselves, with Emily’s father driving off the many suitors deemed not good enough to marry his daughter. With no offer of marriage in sight, Emily is still single by the time she turns thirty.
The day after Mr. Grierson’s death, the women of the town call on Emily to offer their condolences. Meeting them at the door, Emily states that her father is not dead, a charade that she keeps up for three days. She finally turns her father’s body over for burial.
In section III, the narrator describes a long illness that Emily suffers after this incident. The summer after her father’s death, the town contracts workers to pave the sidewalks, and a construction company, under the direction of northerner Homer Barron, is awarded the job. Homer soon becomes a popular figure in town and is seen taking Emily on buggy rides on Sunday afternoons, which scandalizes the town and increases the condescension and pity they have for Emily. They feel that she is forgetting her family pride and becoming involved with a man beneath her station.
As the affair continues and Emily’s reputation is further compromised, she goes to the drug store to purchase arsenic, a powerful poison. She is required by law to reveal how she will use the arsenic. She offers no explanation, and the package arrives at her house labeled “For rats.”
In section IV, the narrator describes the fear that some of the townspeople have that Emily will use the poison to kill herself. Her potential marriage to Homer seems increasingly unlikely, despite their continued Sunday ritual. The more outraged women of the town insist that the Baptist minister talk with Emily. After his visit, he never speaks of what happened and swears that he’ll never go back. So the minister’s wife writes to Emily’s two cousins in Alabama, who arrive for an extended stay. Because Emily orders a silver toilet set monogrammed with Homer’s initials, talk of the couple’s marriage resumes. Homer, absent from town, is believed to be preparing for Emily’s move to the North or avoiding Emily’s intrusive relatives.
After the cousins’ departure, Homer enters the Grierson home one evening and then is never seen again. Holed up in the house, Emily grows plump and gray. Despite the occasional lesson she gives in china painting, her door remains closed to outsiders. In what becomes an annual ritual, Emily refuses to acknowledge the tax bill. She eventually closes up the top floor of the house. Except for the occasional glimpse of her in the window, nothing is heard from her until her death at age seventy-four. Only the servant is seen going in and out of the house.
In section V, the narrator describes what happens after Emily dies. Emily’s body is laid out in the parlor, and the women, town elders, and two cousins attend the service. After some time has passed, the door to a sealed upstairs room that had not been opened in forty years is broken down by the townspeople. The room is frozen in time, with the items for an upcoming wedding and a man’s suit laid out. Homer Barron’s body is stretched on the bed as well, in an advanced state of decay. The onlookers then notice the indentation of a head in the pillow beside Homer’s body and a long strand of Emily’s gray hair on the pillow.
A Rose for Emily
Louise Mallard has heart trouble, so she must be informed carefully about her husband’s death. Her sister, Josephine, tells her the news. Louise’s husband’s friend, Richards, learned about a railroad disaster when he was in the newspaper office and saw Louise’s husband, Brently, on the list of those killed. Louise begins sobbing when Josephine tells her of Brently’s death and goes upstairs to be alone in her room.
Louise sits down and looks out an open window. She sees trees, smells approaching rain, and hears a peddler yelling out what he’s selling. She hears someone singing as well as the sounds of sparrows, and there are fluffy white clouds in the sky. She is young, with lines around her eyes. Still crying, she gazes into the distance. She feels apprehensive and tries to suppress the building emotions within her, but can’t. She begins repeating the word Free! to herself over and over again. Her heart beats quickly, and she feels very warm.
Louise knows she’ll cry again when she sees Brently’s corpse. His hands were tender, and he always looked at her lovingly. But then she imagines the years ahead, which belong only to her now, and spreads her arms out joyfully with anticipation. She will be free, on her own without anyone to oppress her. She thinks that all women and men oppress one another even if they do it out of kindness. Louise knows that she often felt love for Brently but tells herself that none of that matters anymore. She feels ecstatic with her newfound sense of independence.
Josephine comes to her door, begging Louise to come out, warning her that she’ll get sick if she doesn’t. Louise tells her to go away. She fantasizes about all the days and years ahead and hopes that she lives a long life. Then she opens the door, and she and Josephine start walking down the stairs, where Richards is waiting.
The front door unexpectedly opens, and Brently comes in. He hadn’t been in the train accident or even aware that one had happened. Josephine screams, and Richards tries unsuccessfully to block Louise from seeing him. Doctors arrive and pronounce that Louise died of a heart attack brought on by happiness.
The Story of an Hour
The narrator begins her journal by marveling at the grandeur of the house and grounds her husband has taken for their summer vacation. She describes it in romantic terms as an aristocratic estate or even a haunted house and wonders how they were able to afford it, and why the house had been empty for so long. Her feeling that there is “something queer” about the situation leads her into a discussion of her illness—she is suffering from “nervous depression”—and of her marriage. She complains that her husband John, who is also her doctor, belittles both her illness and her thoughts and concerns in general. She contrasts his practical, rationalistic manner with her own imaginative, sensitive ways. Her treatment requires that she do almost nothing active, and she is especially forbidden from working and writing. She feels that activity, freedom, and interesting work would help her condition and reveals that she has begun her secret journal in order to “relieve her mind.” In an attempt to do so, the narrator begins describing the house. Her description is mostly positive, but disturbing elements such as the “rings and things” in the bedroom walls, and the bars on the windows, keep showing up. She is particularly disturbed by the yellow wallpaper in the bedroom, with its strange, formless pattern, and describes it as “revolting.” Soon, however, her thoughts are interrupted by John’s approach, and she is forced to stop writing.
As the first few weeks of the summer pass, the narrator becomes good at hiding her journal, and thus hiding her true thoughts from John. She continues to long for more stimulating company and activity, and she complains again about John’s patronizing, controlling ways—although she immediately returns to the wallpaper, which begins to seem not only ugly, but oddly menacing. She mentions that John is worried about her becoming fixated on it, and that he has even refused to repaper the room so as not to give in to her neurotic worries. The narrator’s imagination, however, has been aroused. She mentions that she enjoys picturing people on the walkways around the house and that John always discourages such fantasies. She also thinks back to her childhood, when she was able to work herself into a terror by imagining things in the dark. As she describes the bedroom, which she says must have been a nursery for young children, she points out that the paper is torn off the wall in spots, there are scratches and gouges in the floor, and the furniture is heavy and fixed in place. Just as she begins to see a strange sub-pattern behind the main design of the wallpaper, her writing is interrupted again, this time by John’s sister, Jennie, who is acting as housekeeper and nurse for the narrator.
As the Fourth of July passes, the narrator reports that her family has just visited, leaving her more tired than ever. John threatens to send her to Weir Mitchell, the real-life physician under whose care Gilman had a nervous breakdown. The narrator is alone most of the time and says that she has become almost fond of the wallpaper and that attempting to figure out its pattern has become her primary entertainment. As her obsession grows, the sub-pattern of the wallpaper becomes clearer. It begins to resemble a woman “stooping down and creeping” behind the main pattern, which looks like the bars of a cage. Whenever the narrator tries to discuss leaving the house, John makes light of her concerns, effectively silencing her. Each time he does so, her disgusted fascination with the paper grows.
Soon the wallpaper dominates the narrator’s imagination. She becomes possessive and secretive, hiding her interest in the paper and making sure no one else examines it so that she can “find it out” on her own. At one point, she startles Jennie, who had been touching the wallpaper and who mentions that she had found yellow stains on their clothes. Mistaking the narrator’s fixation for tranquility, John thinks she is improving. But she sleeps less and less and is convinced that she can smell the paper all over the house, even outside. She discovers a strange smudge mark on the paper, running all around the room, as if it had been rubbed by someone crawling against the wall.
The sub-pattern now clearly resembles a woman who is trying to get out from behind the main pattern. The narrator sees her shaking the bars at night and creeping around during the day, when the woman is able to escape briefly. The narrator mentions that she, too, creeps around at times. She suspects that John and Jennie are aware of her obsession, and she resolves to destroy the paper once and for all, peeling much of it off during the night. The next day she manages to be alone and goes into something of a frenzy, biting and tearing at the paper in order to free the trapped woman, whom she sees struggling from inside the pattern.
By the end, the narrator is hopelessly insane, convinced that there are many creeping women around and that she herself has come out of the wallpaper—that she herself is the trapped woman. She creeps endlessly around the room, smudging the wallpaper as she goes. When John breaks into the locked room and sees the full horror of the situation, he faints in the doorway, so that the narrator has “to creep over him every time!”
The Yellow Wallpaper
Goodman Brown says goodbye to his wife, Faith, outside of his house in Salem Village. Faith, wearing pink ribbons in her cap, asks him to stay with her, saying that she feels scared when she is by herself and free to think troubling thoughts. Goodman Brown tells her that he must travel for one night only and reminds her to say her prayers and go to bed early. He reassures her that if she does this, she will come to no harm. Goodman Brown takes final leave of Faith, thinking to himself that she might have guessed the evil purpose of his trip and promising to be a better person after this one night.
Goodman Brown sets off on a road through a gloomy forest. He looks around, afraid of what might be behind each tree, thinking that there might be Indians or the devil himself lurking there. He soon comes upon a man in the road who greets Goodman Brown as though he had been expecting him. The man is dressed in regular clothing and looks normal except for a walking stick he carries. This walking stick features a carved serpent, which is so lifelike it seems to move.
The man offers Goodman Brown the staff, saying that it might help him walk faster, but Goodman Brown refuses. He says that he showed up for their meeting because he promised to do so but does not wish to touch the staff and wants to return to the village. Goodman Brown tells the man that his family members have been Christians and good people for generations and that he feels ashamed to associate with him. The man replies that he knew Goodman Brown’s father and grandfather, as well as other members of churches in New England, and even the governor of the state.
The man’s words confuse Goodman Brown, who says that even if this is so, he wants to return to the village for Faith’s sake. At that moment, the two come upon an old woman hobbling through the woods, and Goodman Brown recognizes Goody Cloyse, who he knows to be a pious, respected woman from the village. He hides, embarrassed to be seen with the man, and the man taps Goody Cloyse on the shoulder. She identifies him as the devil and reveals herself to be a witch, on her way to the devil’s evil forest ceremony.
Despite this revelation, Goodman Brown tells the man that he still intends to turn back, for Faith’s sake. The man says that Goodman Brown should rest. Before disappearing, he gives Goodman Brown his staff, telling him that he can use it for transport to the ceremony if he changes his mind. As he sits and gathers himself, Goodman Brown hears horses traveling along the road and hides once again.
Soon he hears the voices of the minister of the church and Deacon Gookin, who are also apparently on their way to the ceremony. Shocked, Goodman Brown swears that even though everyone else in the world has gone to the devil, for Faith’s sake he will stay true to God. However, he soon hears voices coming from the ceremony and thinks he recognizes Faith’s voice. He screams her name, and a pink ribbon from her cap flutters down from the sky.
Certain that there is no good in the world because Faith has turned to evil, Goodman Brown grabs the staff, which pulls him quickly through the forest toward the ceremony. When he reaches the clearing where the ceremony is taking place, the trees around it are on fire, and he can see in the firelight the faces of various respected members of the community, along with more disreputable men and women and Indian priests. But he doesn’t see Faith, and he starts to hope once again that she might not be there.
A figure appears on a rock and tells the congregation to present the converts. Goodman Brown thinks he sees his father beckoning him forward and his mother trying to hold him back. Before he can rethink his decision, the minister and Deacon Gookin drag him forward. Goody Cloyse and Martha Carrier bring forth another person, robed and covered so that her identity is unknown. After telling the two that they have made a decision that will reveal all the wickedness of the world to them, the figure tells them to show themselves to each other. Goodman Brown sees that the other convert is Faith. Goodman Brown tells Faith to look up to heaven and resist the devil, then suddenly finds himself alone in the forest.
The next morning Goodman Brown returns to Salem Village, and every person he passes seems evil to him. He sees the minister, who blesses him, and hears Deacon Gookin praying, but he refuses to accept the blessing and calls Deacon Gookin a wizard. He sees Goody Cloyse quizzing a young girl on Bible verses and snatches the girl away. Finally, he sees Faith at his own house and refuses to greet her. It’s unclear whether the encounter in the forest was a dream, but for the rest of his life, Goodman Brown is changed. He doesn’t trust anyone in his village, can’t believe the words of the minister, and doesn’t fully love his wife. He lives the remainder of his life in gloom and fear.
Young Goodman Brown
Mrs. Johnson and her daughter Maggie await the arrival of the narrator’s younger daughter Dee and her boyfriend.
Maggie and her mother expect to see a glamorous woman; instead, Dee surprises them by wearing traditional African clothes, changing her name, and introducing them to her Muslim husband.
Dee has left behind her connection to her rural background and instead reclaimed her African heritage.
Though as a child Dee was scornful of her mother’s way, she now appreciates the aesthetics of the quaint house and asks to take a quilt woven by her grandmother and intended for her sister.
Though Maggie agrees to let Dee take the quilt, the mother refuses. Dee leaves asserting that Maggie and her mother are stuck in a backwards way of living their lives.
Everyday Use
A frail, elderly African-American woman, Phoenix Jackson walks many miles from her home in the country to a medical clinic in Natchez, Mississippi, to secure medicine for her grandson.
Almost blind, Phoenix follows a rugged path through the countryside that takes her to a road into the city. She knows the way by heart, having made the trip many times.
On her journey, Phoenix demonstrates great courage and determination as she overcomes every obstacle in her way and encounters a hunter who points a gun at her.
Reaching the clinic, Phoenix is treated with disrespect as a “charity case,” but she endures the humiliation in order to get the medicine that will relieve her grandson’s suffering.
After forgetting briefly why she has come to the clinic, Phoenix leaves with the medicine and goes to buy him a paper windmill, imagining how happy he will be when she gives him the toy.
A Worn Path
Neil Gibson, the Gold King and former Senator for “some Western state”, approaches Holmes to investigate the murder of his wife Maria in order to clear his children’s governess, Grace Dunbar, of the crime. It soon emerges that Mr. Gibson’s marriage had been unhappy and he treated his wife very badly. He had fallen in love with her when he met her in Brazil, but soon realised they had nothing in common. He became attracted to Miss Dunbar; since he could not marry her, he had attempted to please her in other ways, such as trying to help people less fortunate than himself.
Maria Gibson was found lying in a pool of blood on Thor Bridge with a bullet through the head and note from the governess, agreeing to a meeting at that location, in her hand. A recently discharged revolver with one shot fired is found in Miss Dunbar’s wardrobe. Holmes agrees to look at the situation in spite of the damning evidence.
From the outset, Holmes observes some rather odd things about the case. How could Miss Dunbar so coolly and rationally have planned and carried out the murder and then carelessly tossed the murder weapon into her wardrobe? What was the strange chip on the underside of the bridge’s stone balustrade? Why was Mrs. Gibson clutching the note from Miss Dunbar when she died? If the murder weapon was one of a matched pair of pistols, why couldn’t the other one be found in Mr. Gibson’s collection?
Holmes uses his powers of deduction to solve the crime, and demonstrates, using Watson’s revolver, how it was perpetrated: Mrs Gibson, outraged and jealous of Miss Dunbar’s relationship with her husband, resolved to end her own life and frame her rival for the crime. After arranging a meeting with Miss Dunbar, requesting her to leave her response in a note, Mrs Gibson tied a rock on a piece of string to the end of a revolver, and shot herself, the rock pulling the revolver over the side of the bridge; the revolver found in Miss Dunbar’s wardrobe was the other pistol of the pair, which had been fired off in the woods earlier, and the chip in the bridge was caused by the pistol hitting the stonework as it was pulled off by the rock. Holmes’s reconstruction reproduces the damage to the balustrade of the bridge. He asks the police to drag the lake for the revolvers of Watson and Gibson.
The Problem of Thor Bridge
In August of 2026, in California, a fully-automated house announces that it is time to wake up. Yet the house is empty. Breakfast is automatically made, but there is no one to eat it. Outside, where the automatic sprinklers come on, a wall can be seen where the paint has all been burned off except for a few silhouettes. There is a silhouette of a man and woman doing yardwork and of a boy and a girl throwing a ball. The rest of the neighborhood is charred and flattened, and a radioactive glow hangs over the city. A dog enters the house, covered with sores, and dies. The robotic mice that automatically clean the house take the dog away to the incinerator. As evening comes, the house automatically reads the woman’s favorite poem, “There Will Come Soft Rains.” The poem describes how, once man is utterly destroyed because of a war, nature will go on without man, as if nothing had happened. Later that night, a tree bough falls on the house, causing a fire that consumes all of the house but one wall.
In October of 2026, a rocket lands on Mars. It carries a husband and wife and three boys. They have a stockpile of food. They head down a canal in a boat. The Dad has a mysterious smile on his face, and his eldest (but still young) son Timothy tries to understand what is happening. Suddenly, they hear an explosion, as their rocket self-destructs. The Dad explains that he has brought them away from Earth to start a new life on Mars. The next day, the Edwards will arrive with their daughters, and together they will start life anew. The Dad lets his boys pick out a city to live in, and he burns a number of papers he brought from Earth, even a map of Earth. He then takes his boys to see some Martians. He has them look into the canal at their own reflections.
Commentary
The irony of the story “There Will Come Soft Rains” is strong. The poem within the story describes how happy nature will be when man has destroyed himself, but the truth is that nature has been decimated by the war. The dog that comes in to die is lean and covered with sores. The rest of the city is “rubble and ashes.” Radiation hangs in the air. Yet nature lives on in a mechanical form. Mechanical mice scurry about the house. The closest thing to soft rains that fall are the mechanical rains of the sprinkler system that goes off when the house catches fire. The poem, which seems pessimistic, is actually very optimistic compared to the reality. In this penultimate story, Bradbury shows his final example of the folly of thoughtless technological development. It is no wonder that some in the Science Fiction community accuse him of being anti-science.
If “There Will Come Soft Rains” brings Bradbury’s criticisms of heedless advancement to a climax, then “The Million-Year Picnic” is a fitting denouement, or conclusion following the climax. It is his alternative to the pioneering style criticized in the rest of the book. Instead of making Mars as much like Earth as possible, Timothy and his family will adjust to Mars. The Dad tries to convince his boys that they will be Martians, and he symbolically burns a map of Earth. They decide to live in a Martian city instead of building a wooden, American town. They are fleeing Earth because they do not like it and want to be somewhere else. To Bradbury, this is the correct way to be a pioneer.
There will Come Soft Rains
A small boy, Bibi, and his father, Bobinôt, wait out a major Louisiana storm at a local store. They’re worried about the third member of their family, Calixta, but can’t do anything.
At home, Calixta realizes there’s a storm brewing. An old boyfriend, Alcée, happens to be passing by and gets stuck at her house when the storm breaks. Calixta gets more and more worried about her family, but before she knows it she and Alcée are making out…then having sex. This totally distracts them from the storm.
When the storm passes, Alcée leaves. Bibi and Bobinôt come home and never find out he was there. Calixta seems really glad to see them.
After the storm, Alcée writes a letter to his wife, Clarisse, saying it’s OK with him if she wants to stay longer on her trip. She is kind of relieved, because she could use a break from her husband and the romantic side of their relationship.
So when the storm’s over, everything has worked out pretty well for everybody.
The Storm
