Virgin Suicides and Storytelling
Storytelling is a powerful tool for social, political and personal activism. Experimenting with the power of storytelling to pursue the passion is essential in modern world. Teaching people in the organization how to tell their "who I am/why I am here" stories and will help any individual to find renewed their inner strength. Basically, this paper attempts to describe how narrators of Virgin Suicides illustrate the essence of story telling.
The setting of the story is in an unnamed suburb in the American heartland. The setting’s description of the novel “The Virgin Suicides” reverberate throughout usual suburban America. Basically, this novel explores the different variants such as love, passion, hatred, purity, happiness and sisterhood. Since the story presents in the milieu of a village whose crises, hypocrisies, conflicts, and characters are largely unexceptional, then the descriptions of the death of the characters are tragic. The exploration regarding the girls' deaths represents the endless details of ordinary life. It is merely about looking for the crucial and quietly significant instance where something went wrong.
Similarly, even though the suicides are stunning, the narrative sequence of the details of the story is not. As the story buzz happens in the community; the girls stay behind in their sober home and the boys attend school. Right the way through, the boys persistently assert the girls as normal human beings that should be conform to draconian law. The boys feel that the girls are their twins, according to Cecilia's diary. Actually one of the boys commented that the girls are just like his sister. Certainly, excluding for their suicides, the girls might be anybody. Their deep normalcy is perhaps finest proof by the planned failure of Ms. Perl to construct a persuasively thrilling documentary about their deaths.
In presenting the girls as ordinary, the novel intentionally tests the differences that individual tend to make between themselves and catastrophe. Based on the story, the girls kill themselves with normal items, and see annihilation where others saw just tools. Menace, uncertainty and even bereavement became a dodge of the light, a matter of looking doubtfully. By illustrating such usual revulsion and searching for the real cause of death, the readers tend to gaze the in-depth reason of wrong things. In the stir of normal catastrophe event, the reasons, the suspects, the triggers, and the cures are everywhere—they inhabit our insentient impulses bother our houses and drench the air we breathe. The outcome is much more shocking than stunning. Melodramatic catastrophe can be secluded and protected against, while the mundane is unavoidable.
With regards to the environment, the deliberate homogeneity of the Lisbons' suburb, with its consistently spaced houses, neighborhoods, and trees, describes the homogenized gladness of its residents. Thus, when this happiness is being challenged, then there would be a possible reaction than no one could ever expect. As the situation of the Lisbon’s family started to demur, their house also descends into hysteria, first within and then noticeably such that the neighbors and local media commence to take notice. Thus, it is remarkably to say that the changes in environments affect the inhabitants or vice versa. The force of environment's power is illustrated by the Lisbon sisters' outstanding revolution on the night of Homecoming, when they turn out to be glowing and typical upon leaving their dwelling. On the other hand, the power of the residents control on the environment is presented by the neighborhood’s swift physical turn down subsequent the Lisbon sisters' deaths.
The story's recurrent and unambiguous draw on of vision reveals its overruling sense of tragic fate. Actually, the death of the Lisbon girls is announced in the title of the book but the story continuously delayed this death and creates anticipation to the reader of a tragic death. As the Lisbon girls are introduced at Cecilia's party, the storytellers stated their ultimate means of suicide. Outstanding comments take on ominous quality, like when Mary calls Homecoming "the best time of my life." In general, the homologous arrangement of the events in the story provides to slyly pressure the reader's outlook of a scene. The trip of boys to the basement of Lisbon on the night of Cecilia's party absolutely advocates their identical plunge, after a year, on the night of the girls' suicides. Similarly, Lux's place as lookout on Homecoming night creates an idea to be in similar post as lookout on the night of June 15. Ultimately, the characters other than the storytellers infrequently also make prophetic annotations. Old Mrs. Karafilis is in deliberation to have commiserated with the Lisbon’s girls in the view of death, the workers in cemetery go on strike with the 1st suicide, and Dr. Hornicker advises of a lofty occurrence of rhythmic suicide in families.
With regards to the limits of facts, memory, and visualization, the story repeatedly raises these limits using symbols of physical boundaries. The failure of boys to enter the house of Lisbon and see its interior reflects to their failure to understand the character and identities of Lisbon girls. Equally, Lux's usual manifestation in windows and doorways and on threshold denotes her role as a mediator between the boys and her sisters. The neighbors got disappointed and bothered when the unraked leaves of Lisbon blow onto their lawns which symbolizes the hysteria of the house is beyond its acceptable limits. Lamentably, Cecilia’s jump after having a menstruation symbolizes that she is bounded and trapped between childhood and adulthood.
From the review and evaluation of this novel, the novel is very interesting and different, but the story is somewhat a little bit dark due to the death events. However it is not quite depressing, because it is so well written, but close -- not that one would expect a happy love fest with a title like that.
Credit:ivythesis.typepad.com
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