A life changing summer in Sag Harbor?

    

As I read Sag Harbor, I couldn’t help but wonder how the events in this novel played into the coming-of-age theme. Was this summer defining for Benji? What makes adult Ben want to tell this story?

One of the main changes during this summer for Benji is his relationship with his little brother, Reggie. Benji and Reggie in the past were inseparable and often confused for twins. In the first chapter, Benji says “we had recently ceased to be twins” (Whitehead 6). He describes Reggie’s desire to not be the little brother any longer, and agrees that it is better that way, although it seems he may not be as happy as he pictures. This separation from his brother makes Benji feel off when they arrive at Sag Harbor and their traditions are not upheld. When Benji goes to get Reggie for their annual scope of Sag, he finds his brother hunched over a pair of Filas, a part of the current shoe trend. Benji seems to feel disconnected and a bit melancholy, as his brother appears to have moved on from their childhood routines. Sag Harbor is characterized by its wealthy African American population, and the culture passed through its generations. However, as Benji grows up in the 1980’s, and the street culture rapidly changes, he struggles to keep up with the other kids in Sag Harbor. Throughout the rest of the book, Benji’s attachment to the past in conflict with his desire to be perceived as grown up, sets him apart from his friends.

In the last chapter of Sag Harbor, Benji returns to his childhood Sag Harbor home, the Hempstead House. He is there with Melanie, who appears to represent growing up, having been his first kiss as a child and now once again as a new high schooler. While in the house, he paints a nostalgic and fond picture of his time there, even saying “my long lost love, was a house” (Whitehead 293). Sitting on his old bed with Melanie, it seems clear as ever that Benji is caught in the past. But, after all of his nostalgic words, he says “of course it never happened. But that was WLNG for you. Got you everytime” (Whitehead 303). Of course, the fantasy that Benji created did not line up with what we know of his family, but his emotion appears so real that the reader wants to believe it is true. So what is Benji so afraid of letting go? Is it the ability to pretend everything was fine? Or is he longing for something he never had? Either way, the novel ends with Benji setting goals for the coming school year, and it is unclear whether his dilemna has been solved.

The Cruelties of the Coming-of-Age

 

“These jokes the world plays, they're not funny at all.”

- David Mitchell, Black Swan Green

    Jason Taylor's story seems to be the most intelligible coming-of-age we have seen in this class so far. In the course of a year, Jason's perspective on the world transforms tremendously, and his own world at home and school changes completely. I couldn't help but feel a bit melancholy when the final scene ended with Jason's reminiscing on his life a year before. This reflection really put into perspective the amount of events that Jason confronted in his thirteenth year of living. It seems to me that his coming-of-age was not a joyful occasion or period in his life, a trend that we have seen in most of the novels we have read. So, is this transition to adulthood something negative? Or is there more to be gained than lost?

    Before Jason's supposed "maturing," his life doesn't appear to be particularly delightful, at least from his narration. Of course, most of his issues revolve around the boys at his school, and the complicated social politics which Jason must navigate with his secrets. Reading these chapters, it is east to be frustrated by how extremely concerned he is about how he is perceived. To a more mature audience, the tension brewing between his parents and the tragedy of the war is far more alarming than this social battle. However, as the novel progresses, so does Jason's awareness of the conflicts that surround him. This evolution can be seen in his reactions to both the Falkland's War and the tension within his household. Previously, Jason had been fascinated by the war, and was inclined to believe the propaganda of the Daily Mail. Later however, he becomes unsure of who to believe and his optimism about the war diminishes to anger. He says, “Me, I want to bloody kick this moronic bloody world in the bloody teeth over and over till it bloody understands that not hurting people is ten bloody thousand times more bloody important than being right." (Mitchell 118).

    Nevertheless, while Jason has lost the ability to be blissfully unaware of his parents' conflict, he also gains a comradery with his sister, Julia. He previously portrayed his relationship with Julia as very turbulent and often cruel. Then, in light of their parent's issues, Jason ends up forming an "alliance" with Julia and he later has actual meaningful conversations with her. In addition to this strengthened bond, Jason also seems to develop a sense for his own moral values. Where before Jason had been willing to do anything to fit in, we gradually witness the qualms he has about certain decisions, and how they affect him. For example, he has the chance to get revenge on Ross Wilcox by keeping his wallet, but his consciousness keeps bothering him about it. Ultimately, Jason returns the wallet, even though he does not benefit from this act. Instead we see that Jason is beginning to understand the complexities of justice, and his own morals.

       For the most part, Jason's coming-of-age could be a bittersweet story about the loss of innocence. But I think it is also a reflection on the development of self identity as you transition to adulthood. His newfound confidence and knowledge is only the basis for the rest of his life. As Julia says, "It'll be all right...because it's not the end."

Fiction and the Lives of the Bechdels

" …The most arresting thing about the tape is its evidence of both my parents at work, intent and separate… It’s childish, perhaps, to grudge them the sustenance of their creative solitude. But it was all that sustained them, and thus was all-consuming. From their example, I learned quickly to feed myself."

- Alison Bechdel, Fun Home

    

    The Bechdels, as portrayed by Alison Bechdel, lived lives cloaked in fiction. Bruce, in particular, drowned himself in the painted stories of novels and meticulously fabricated a life for his own family. From the curtains on the windows of their antique home to the outfits they wore to church, Bruce's work only covered the darkest of secrets. But Bruce was not the only Bechdel to live through fiction. Helen, Alison's mother, was a devoted actress. Although Alison does not dig too deep into her relationship with her mom in this novel, it seems that Helen threw herself completely into her roles, possibly to escape reality. 

    As the quote above states, Alison was well-aware of her family's detachment from a young age. Seeming to exist only as a prop in her parent's public façade, Alison had no choice but to take care of her needs by herself. To Alison, it felt as though she was trapped in her own story. Her means of escape came in the form of a discovery about her sexuality. Once again, she made this discovery through books at her local library. As she continues her research of this new possibility, she grows further and further from the life that had been painted for her. 

    Alison tells the story of her family through this novel by comparing the scenes of her life to works of literature, creating an intertwined story of fiction and reality. The last line of Fun Home suggests a breaking free from the traditional narrative. She says, "...in the tricky reverse narration that impels our entwined stories, he was there to catch me when I leapt" (Bechdel 232). The whole of chapter seven seems to reframe her life from a more neutral perspective, and this closing sentence hints at a positive view of Bruce, and the reality of his time as a parent. 

Esther's Coming-Of-Age

   "There ought, I thought, to be a ritual for being born twice--patched, retreaded and approved for the road..."

- Sylvia Plath, The Bell Jar

    Esther Greenwood has been given the opportunity of a lifetime, working in New York as a guest editor of a fashion magazine. She knows that other girls would be envious of her position and success. Everything seems to be going on the right track for Esther, as a successful man is smitten with her, and she is applying for a prestigious writing program. But what is meant to be a life-changing transition into adulthood-- her "coming-of-age"--spirals into a deep depression. Does Esther ruin her own coming-of-age? Does the book conclude with her having one at all?

    Throughout her stay in New York, Esther is continually aware of her lack of emotion regarding her current life. While her peers seem excited and passionate, she is frustratingly miserable. On page 3 she says, "I guess I should have been excited the way most of the other girls were, but I couldn't get myself to react..." (Plath). Despite her doubts, she expresses desire to experience New York and the life she had anticipated. However, she is easily influenced by her friend Doreen and spends many nights partying instead of working on her assignments.

    Something I found interesting about Esther's journey before her hospitalization is that she experienced all of the stereotypical "coming-of-age" moments, but in a twisted way. For example, she got involved in a relationship in which he proposed, but the whole time she was unsatisfied and feeling trapped. Furthermore, she realizes that his ideals do not match her expectations. This reinforces the idea that Esther is searching for the perfect life, even if she does not know what it is. 

    Altogether, what was Esther's coming-of-age? I believe that it was actually the process of getting rid of all expectations. Her journey through the inpatient homes represents a "rebirth" rather than a gaining of maturity or knowledge. She even mentions that she gains weight which could be compared to the losing of "baby fat." Overall, her coming-of-age contests the typical representations of growing up, although it might be more relatable to many.

Phoebe's Impact on Holden's Coming-of-Age

“I said I’m not going back to school. You can do what you want to do, but I’m not going back to school,”

- J.D. Salinger, The Catcher in the Rye

    At the beginning of The Catcher in the Rye, we are introduced to Holden's relentless criticism of "phonies", and it progresses excessively. The first person that Holden speaks fondly of is his sister, Phoebe. But what makes her so special to him? Phoebe is a smart, stubborn, and brutally honest girl who always listens to Holden.  While Holden's judgement of older characters prevents him from taking their advice, Phoebe has credibility to him. To the reader, she obviously seems more mature than Holden on many levels. She is more practical, and holds much better connections with others. This complicates our understandings of Holden, as he is drawn to the innocence and purity of childhood. And when he reunites with his sister, she is not impressed by his behavior. 

    In Holden's life, Phoebe is one of his only constants. He feels wildly out of place and longs to run away from the complexity of the world. So when she refuses to let Holden "fall" by himself, he is forced to reconsider his emotions. In class we discussed the image of Phoebe running after Holden wearing his red hunting hat. It is almost like a mirror image of Holden, and it seems to impact him enough to snap out of his bout. I was struck by the scene of Phoebe on the carousel in particular. Holden has realized that his little sister is growing up, but has remained her authentic self. Watching her ride the carousel, Holden feels happy for the first time in a while. This could be interpreted as him recognizing that growing older doesn't mean losing yourself. He will always be able to return to his memories and find joy. Although the last chapter doesn't reveal much of his current thoughts, I like to imagine that he finds hope for his future and the future of those around him.

All posts from this point on are for the Coming-of-Age Novel

Forgotten Heroes in The Song of Solomon

 

    A central theme in The Song of Solomon is flight. More specifically, the flight of men. But what happens to the women in this story? 

    Once the men "fly away," we don't know what happens to them. But we do know that they are gone, and the people left behind are the only ones who can continue their legacy. For example, Solomon's wife, Ryna, was abandoned by his "flight" and left to raise their twenty-one kids alone. Even the song that the children in Danville sing depicts this scene, "O Solomon don't leave me here / Cotton balls to choke me / Buckra's arms to yoke me." While Solomon and Ryna both suffered the terrors of slavery, Solomon was the only one to unearth freedom. This pattern is repeated once again with our main character, Milkman. 

    The most important women in Milkman's journey are Pilate, Hagar, his mother, and his sisters. Whilst Pilate raises Hagar independent from men, Milkman's mother and sisters are overshadowed by him and his father. Morrison reveals this quite later in the book, in a section through Lena's perspective. Although brief, we learn a lot about what might be the reality of their family dynamic, where the sisters have given up their childhood to raise Milkman. I think it is interesting how Morrison chose to include this after we have become sympathetic towards Milkman. Throughout the second half of the novel, his sisters establish their independence through hard work, while Milkman takes a road trip to learn how to fly. 

    Pilate on the other hand, seems to represent an "untethered" character, and is literally missing a navel. She is loving and fiercely loyal, contrary to the men in her family. At the end of the novel, Milkman says, "without ever leaving the ground, she could fly." Without leaving behind her loved ones, Pilate created a life and identity for herself. Her daughter Hagar, however, becomes heavily infatuated with Milkman. This only leads to disaster, with Milkman not willing to commit emotionally. When he leaves, Hagar is devastated and falls into a state of depression, eventually passing away. This happens at the same time that Milkman makes his enormous discoveries, and is about to make his "triumphant return" home. I believe that Morrison intentionally overlapped these scenes, in order to contrast the state of the two characters. In the end Milkman takes his flight, leaving behind the ground where the body of Pilate lays. 

Post-War Limbo

"You are all a lost generation"

- Gertrude Stein

    It can be inferred that Gertrude Stein is talking about the generation most affected by World War 1. But how did Hemingway, who was one of this generation, interpret this quote in The Sun Also Rises?

    The novel starts with a very sarcastic summary of Robert Cohn's life. What's interesting about this is that Robert is the only (main) character that was not directly harmed by the war. Jake and his friends seem to have plenty of criticisms of Robert, but generally allow him to tag along. As discussed in class, the use and non use of irony and sarcasm could represent a sense of dark humor developed from the war. Robert not only lacks in the other's humor, but he has a frustrating sort of blind hope. His extended pursuit of Brett seems to anger the others. A theory that I have slightly developed is the post-war limbo. The other main characters all lost something in the war and are not shown to be boding well. For example, Brett lost her husband and is constantly trying to fill the hole he left behind, Mike Campbell uses alcohol to distract himself. Cohn's aspirations to be with Brett represent characteristics that they have lost, evoking bitterness. These characters are caught in a state of numbness, always returning to the comfort of distractions.

    In the final scene, Brett and Jake meet in a cab, reflecting our first introduction to them. This parallel emphasizes the sense that nothing has really changed. Despite their eventful journey through Spain, they feel they have no choice to return to their previous way of life. Brett will never be content with Jake and Jake will always love Brett. 

    It is interesting to note that Hemingway later included Gertrude Stein's quote to contrast the excerpt from Ecclesiastes. The introduction reveals that Hemingway ultimately criticized Stein's generalization, after living through experiences that proved her wrong. Although The Sun Also Rises could be interpreted as pessimistic, there is also a vision of hope that is portrayed through Jake's adventures in Spain and the lasting bonds with his friends.