Art's Identity In Making It Home By Wendell Berry

Establishing and maintaining a certain identity mostly depends on the setting. The setting allows us to analyze someone at a deeper level. Considering the time, place and the circumstances around under which they respond allows us to explore them and determine their identity. In the short story “Sonny’s Blues”, James Baldwin conveys the message of how one goes about establishing and maintaining their identity on different levels by using elements of setting. The author uses elements of setting several times to convey the message but some of the prominent uses are the military service, life in Harlem and especially the use of

The excerpt from Mary Oliver’s “Building the House” serves as a way to describe what happens during the poetry writing process. Although Mary Oliver believes that writing poetry is hard work, she uses extended metaphor, juxtaposition, and point of view to describe the writing process in comparison of building a house, which shows that Oliver sees poetry as something that involves mental labor which is a different challenge than physical labor .

The author uses tone and images throughout to compare and contrast the concepts of “black wealth” and a “hard life”. The author combines the use of images with blunt word combinations to make her point; for example, “you always remember things like living in Woodlawn with no inside toilet”. This image evokes the warmth of remembering a special community with the negative, have to use outdoor facilities. Another example of this combination of tone and imagery is “how good the water felt when you got your bath from one of those big tubs that folk in Chicago barbecue in”. Again the author’s positive memory is of feeling fresh after her bath combined with a negative, the fact that it was a barbecue drum.

“Home is where the heart is.” In The House on Mango Street, Sandra Cisneros develops this famous statement to depict what a “home” really represents. What is a home? Is it a house with four walls and a roof, the neighborhood of kids while growing up, or a unique Cleaver household where everything is perfect and no problems arise? According to Cisneros, we all have our own home with which we identify; however, we cannot always go back to the environment we once considered our dwelling place. The home, which is characterized by who we are, and determined by how we view ourselves, is what makes every individual unique. A home is a personality, a depiction of who we are inside and

" In the 1900's black searched for a place in the world after slavery... "Joe Turner's Come and Gone their identity is called their song,..However main characters have trouble finding their song because of the internal struggle of whom they were and whom they are now becoming as a freed slave..." (Sinclair 99). Joe's Turner Come and Gone provide an example to how African Americans' culture was established, its self-identity issues relate how African-American's find not only their self but their culture as well, and once one can conceive that, they've found their identity or their "song": " ...It is connecting yourself to that and understanding that this who you are. Then you can go out in the world and sing your song as an African" ( P. 1352).

The next form of hunger that Richard encountered was one for literature which seemed to give him a release from the suffocating reality of his surroundings. His appetite for literature became a defining characteristic as the novel progressed. Though her effort was short-lived, a boarder at his Grandma’s house, Ella, gave him his first taste of reading. “As her words fell upon my new ears, I endowed them with a reality that welled up from somewhere within me…. My sense of life deepened…. The sensations the story aroused in me were never to leave me” (Wright 39). In light of Richard’s continued pursuit for knowledge critic Dykema-VanderArk reflects that, “Richard's reading opens his eyes… ‘made the look of the world different’ and let him imagine his life under different circumstances. Richard eventually recognizes that the social system of the South strives to keep black Americans from just such ways of thinking.” His craving for literature sets him apart from most of the black community surrounding him.

To fully understand Wendell Berry’s works more especially “Manifesto: The Mad Farmer Liberation Front” we take a look at his life. Born to an educated farmer in rural Kentucky Wendell Berry learned at an early age how important the

For example, in John Baldwin’s “Sonny’s Blues” one can see how the two characters were taking drastically different paths but grew up in the same Harlem ghetto. The Harlem environment was stultifying. This was evident when Baldwin described Harlem as the “…lifeless elegance of hotels and apartments buildings, toward the vivid, killing streets of our childhood” (54). Baldwin described Harlem as streets that killed our childhood which spoke volume to the issue of how the surroundings affect the youth in that area. They were raised in a dead end neighborhood which led to many of their dead end lifestyles like Sonny’s. Michael Clark, author of "James Baldwin's Sonny's Blues: Childhood, Light and Art”, states that Harlem was a place where children had often been “smothered” (Clark 24) saying that some even escaped this deplorable surrounding though some just could not. John M. Reilly, author of “Sonny's Blues: James Baldwin's Image of Black Community”, stated that “…in the story…the two men have chosen different ways to cope with the menacing ghetto environment” (2). For the narrator he dealt with his issues by becoming a math teacher and working to bring the kids out of the dead end environment that Harlem had presented. While on the other hand, Sonny coped with his pain through music and unfortunately drugs. This clash did

What insights into the American Dream are offered through the novella Of Mice and Men and the film American Beauty? In your essay you must consider the influences of context and the importance of techniques in shaping meaning.

     In the book, “Manchild in the Promised Land,” Claude Brown makes an incredible transformation from a drug-dealing ringleader in one of the most impoverished places in America during the 1940’s and 1950’s to become a successful, educated young man entering law school. This transformation made him one of the very few in his family and in Harlem to get out of the street life. It is difficult to pin point the change in Claude Brown’s life that separated him from the others. No single event changed Brown’s life and made him choose a new path. It was a combination of influences such as environment, intelligence, family or lack of, and the influence of people and their actions. It is difficult

In James Baldwin’s essay “Letter to My Nephew on the One Hundredth Anniversary of Emancipation” in The Fire Next Time, Baldwin advises his black, adolescent nephew living in the 1960’s during the African-American Civil Rights Movement on what living a free life means based on Baldwin’s own experience as an adult. As an existential thinker, Baldwin attributes a person’s identity to the collection of accomplishments and failures in his or her entire lifetime, as opposed to accepting a person as determinately good or bad. In order to be truly free of oppression, according to Baldwin, African Americans must seek to be authentic by not conceding to the expectations and restrictions of racist white Americans. A person’s authenticity lies in

In Narrative of the Life of Frederick Douglass, an American Slave, Written by Himself, Douglass describes his overseer as “a man of the most inflexible firmness and stone-like coolness” (Andrews 181). He adds that his mistress’s “tender heart became stone” (Andrews 188). When he first tries to free himself from such people, Douglass ends up “all alone, within the walls of a stone prison” (Andrews 208). Throughout these references, the image of stone is repeatedly linked with the stonehearted and dramatic Caucasian oppression of African-Americans. James Baldwin also includes images of stone and wood in his novel, If Beale Street Could Talk. Stone and wood are often mentioned together and are used for a joint purpose as Fonny, the

In James Baldwin’s short story “Sonny’s Blues,” one of the most pertinent themes throughout the story is the contrast and duality of light and darkness. More specifically, the author explores this theme by using light and darkness to explain the characters coming to terms with their realities and the realities of many people who live in their community. The theme also is key in explaining the relationship between Sonny and the narrator. In this paper, I intend to explain the significance of the tension of identifying one’s reality in “Sonny’s Blues,” by exploring the many instances that Baldwin uses light and darkness to explore one’s reality.

The building at 111 South Michigan Avenue, home of the Art Institute of Chicago, was opened in 1893 as the World’s Congress Auxiliary Building for the World’s Columbian Exposition. The building was passed on to the Art Institute after the end of the exposition. Designed in the Beax-Arts style by Boston firm Shepley, Rutan, and Coolidge, building has become an icon for chicagoans an tourists alike. The Modern Wing, the Art Institute’s latest and largest addition to date, opened on May 16, 2009, and was designed by Pritzker Prize-winning architect Renzo Piano. The 264,000 square foot addition now houses the museum’s collections of modern European painting and sculpture, contemporary art, architecture and design, and photography. The new

During the late 19th and 20th centuries Blacks in America were debating on the proper way to define and present the Negro to America. Leaders such as Alain Lock, W.E.B. Dubois, Marcus Garvey, and Tuskegee University founder Booker T. Washington all had ideas of a New Negros who was intellectually smart, politically astute, and contributors to society in trade work. All four influential leaders wrote essays to this point of the new Negro and their representations in art and life. In “Art or Propaganda”, Locke pleas not for corrupt or overly cultured art but for art free to serve its own ends, free to choose either "group expression" or "individualistic expression.” (National Humanities Center) In W.E.B. Du Bois speech "Criteria for Negro