Contemporary Contemplations 1

BYU-Idaho English 314 Journal of Contemporary Literature Fall 2017

 Contemporary Contemplations 2

Greetings and a Warm Welcome,

We were excited, and a touch apprehensive, as we embarked on the journey of

scholarly publishing this semester. Most of us signed up for this journal because it
was the most interesting one left after signing up for the writing assignments. That
being said, it has been an enjoyable experience to read about contemporary literature.
Contemporary literature is generally thought to comprise world literature from the
1950s to the present day. Themes in contemporary literature are wide-ranging and
ever-changing. Therefore, as editors, we didn’t start out looking to focus on any
specific theme in the essays we accepted for publication. Instead, we accepted the
pieces we thought implemented strong writing and effective analysis. We looked for
papers that adequately express the author’s view on contemporary issues. After
looking at all the accepted essays, we did notice a theme. They focused on the
experience of the individual and self-exploration. Most of the following essays
address the concerns of fighting stereotypes, finding our true self, and learning who
we are apart from our parents.
Ralph Waldo Emerson said, “To be yourself in a world that is constantly trying to
make you something else is the greatest accomplishment.” It is our hope that the
following essays help you to find yourself, or to find the strength to continue being
yourself.

Sincerely,
The BYU-I ENG314 Journal of Contemporary Literature Board of Editors
December 2017

Michelle Landon Julie Queen Devyn Saravia Brooklyn Cook

Editor-in-Chief FLA Editor TBA Editor RA Editor
 Contemporary Contemplations 3

Table of Contents
Letter from the Editors .............................................................................................................. 2
Formalist Literary Analysis Essays ........................................................................................... 4
Individuality: A Risk Worth Taking by Noelle Helm ............................................................................... 4
Identity by Julio Noboa Polanco............................................................................................................. 6
The Geography of Self in “We are Many” by Laurie Caldwell ............................................................... 7
Muchos Somos/We are Many by Pablo Neruda ................................................................................ 10
Theory Based Analysis Essays .................................................................................................11
Inability to Change by Brittney Borchert ................................................................................................. 11
Everything That Rises Must Converge by Flannery O’Connor synopsis ....................................... 13
“All That:” A Look at the Mind of Child by McKell Blanchard .......................................................... 14
All That by David Foster Wallace ......................................................................................................... 16
Researched Analysis Essay ..................................................................................................... 17
Permissive Parenting: It’s Not What You Think by Emily Pehrson.................................................... 17
Housekeeping by Marilynne Robinson ................................................................................................ 21

About Our Authors

Noelle Helm is from Southern California. She is close to finishing her Communications
degree with an emphasis on Public Relations, and a minor in English.

Laurie Caldwell is also from Southern California. She is graduating with her degree in
University Studies, with a minor in English and clusters in Spanish and Chinese.

Brittany Borchert is from Washington state. She loves to read, play piano, and hike.

McKell Blanchard is actually McKell Swensen She just hasn’t changed her name with the
school after getting married. She is from Rexburg and is an English major.

Emily Pehrson lives in Rexburg with her husband and daughter She is a University
Studies major with a minor in English.

Individuality:
A Risk Worth
Taking
By Noelle Helm
“To have broken through the surface
of stone” is what it means to stand alone as an
individual, to have defied societal expectations
(7). Cultivating and nurturing individuality is
not a simple task, but is rather an anomaly – it
is a risk not often taken. In comparison to
conformity, individuality is an abnormal,
daunting, and yet fulfilling endeavor, as
highlighted in Julio Noboa Polanco’s Identity.
Via the use of metaphor, hyperbole, and
paradoxical language, Polanco contrasts the
unique freedom of being different with the
unimaginative constraint of being like everyone
else, emphasizing individuality as a risk worth
taking.
Polanco paints a vivid contrast
between individuality and conformity through
a metaphor, one that is employed throughout
the entirety of the poem. The metaphorical
comparison likens conformity to flowers, and
individuality to weeds. This literary device is
introduced in the beginning stanzas, with "Let
them be as flowers / always watered, fed,
guarded, admired, / but harnessed to a pot of
dirt" (1-3). This immediately introduces an
assumption regarding those that are "flowers.”
These people are cherished and taken care of,
but essentially trapped to their circumstances,
"harnessed" to their situations. Polanco
continues to underscore this opinion through
metaphorically speaking about individuality.
"I'd rather be a tall, ugly weed," the poem
unmistakably retorts to the first stanza,
confirming the contrast (4). This desire to be
different and to stand alone is emphasized even
more so in the fourth stanza:
I'd rather be unseen, and if
then shunned by everyone,
Contemporary Contemplations 4
than to be a pleasant-smelling flower,
growing in clusters in the fertile valley,
where they're praised, handled, and
plucked
by greedy, human hands. (13-18)
With this previous image of being a weed, the
narrator describes a preference to be alone,
unwatched and potentially even uncared for.
The necessity to be in "clusters," to be "praised,
handled," but only to be plucked “by greedy,
human hands” is contrary to the narrator’s
source of fulfillment, and this language
highlights the sense of oppression that groups
are subjected to (16-18). A greater purpose for
human beings is made manifest here – weeds
and flowers are both known to be natural of
this earth, and yet flowers are prone to human
constraint. Weeds, or individuals, are free to be
in the midst of earthly forces, “clinging to
cliffs,” which is natural of such a wild existence
(5). Flowers, or groups, are “harnessed to a pot
of dirt,” controlled by human hands, prevented
from a higher purpose (3). In other words, the
metaphor introduces the sense that human
beings that limit themselves to conformity are
restricting themselves from a purpose that
transcends human influence, whereas
individuals who may stand alone are free to
reach their potential. This metaphorical
language, which highlights a unique contrast
between weeds and flowers, concedes
individuality as against the norm but reveals the
incredible depth of life lived that coincides with
being unique. Metaphor is not the only device
that Polanco employs to paint this contrast.
Hyperbole underscores the
exaggeration throughout the poem,
emphasizing the contrast between individuality
and conformity while simultaneously bringing
the underlying metaphor to life. The narrator
claims, “I’d rather be a tall, ugly weed, /
clinging on cliffs, like an eagle / wind-wavering
above high, jagged rocks” (4-6). This vivid
imagery paints a wild, even daunting idea of
what it means to be an individual, to stand
alone from the crowd. Previously, the narrator
had referred to flowers as “harnessed to a pot

of dirt,” thus emphasizing a circumstantial
difference between the group and the
individual. The poem continues to describe
what individuality entails, what freedom of
standing alone as a “weed” means. According
to the narrator, it means “to live, to feel
exposed to the madness / of the vast, eternal
sky” (8-9). Those who remain with the crowd
appear even more clustered in comparison to
those who are described as being unique. The
narrator elaborates on what individuality
means: “To be swayed by the breezes of an
ancient sea, / carrying my soul, my seed, /
beyond the mountains of time or into the abyss
of the bizarre” (10-12). This elaborate
depiction relays the idea that being different is
to be remembered “beyond the mountains of
time,” even if just for being “bizarre.” The
hyperbolic language, the exaggeration as a
means by which to underscore the intended
contrast, paints individuality as dramatic and
exhilarating, rendering conformity as
unfulfilling and dull in comparison. This
exaggeration emphasizes the ironic contrast,
contradictory ideas that convey a seemingly-
strange advocacy for individuality.
The poem’s message is highlighted via
the paradoxical idea that going against the
norm, even if that means being alone in the
endeavor, is ironically what would make the
narrator feel the most fulfilled, despite the
comfort found in group settings. To “be a tall,
ugly weed” is “to live.” “I’d rather smell of
musty, green stench,” the narrator continues,
“If I could stand alone, strong and free” (20,
21). To be alone, to be an individual, to be
unique equates to strength and freedom, which
implies conformity as prone to weakness and
oppression, in spite of its security. Conformity
is never completely discounted – it becomes
evident in the poem that these groups are
protected, nurtured, accepted, “pleasant-
smelling” (15). However, the narrator battles
the idea that this acceptance is the only key to
happiness, describing a series of circumstances
that go against the norm, that combat societal
approval, and painting them in a positive light.
These strange circumstances equate to a sense
Contemporary Contemplations 5
of fulfillment that the narrator does not believe
could be found in conformity. “I’d rather be
unseen, and if / then shunned by everyone, /
than to be a pleasant-smelling flower,” the
narrator again asserts the paradoxical idea that
being alone is preferred to being with the
crowd, even if that means being “ugly” and
smelling of “musty, green stench” (13-15). This
unique contrast is evident throughout the
poem, and the argument’s paradoxical nature
emphasizes the unexpected fulfillment that
comes from individuality, despite its apparent
potential for isolation.
The manifestation of these literary
devices – the underling metaphor throughout,
the hyperbolic language, and the paradoxical
contrast – contributes to the ultimate message:
individuality is strange, it is different, but it is
the essence of freedom and fulfillment.
Through this contrast, between being unique
and being the same as everyone else, Polanco
relays a sincere desire to advocate for
individuality as an endeavor that is worth the
risk. The language brings this independence to
life vividly, shedding light on the potential that
lives outside of conformity. The paradox that
an “ugly,” weed-like existence is preferable to
adapting to the norm does not manage to
condemn conformity. In fact, Polanco does
not paint individuality as beautiful. He
concedes that “flowers” are taken care of,
“guarded, admired,” and even “pleasant-
smelling.” Though the poem cries out against
the unimaginative and restrictive nature of
conformity, it does so honestly. Being unique
is “ugly.” It is an exposed existence, prone to
elements, prone to rejection, prone to
loneliness. However, as Polanco illustrates, this
individuality is fulfilling, it is wild, it is truly
remarkable – it is a risk worth taking.
Works Cited
“Identity by Julio Noboa Polanco.”
Bread Loaf Poetry Exchange,
breadloafpoetryexchange.pbworks.com/w/pa
ge/39725748/Identity%20by%20Julio%20No
boa%20Polanco.
 Contemporary Contemplations 6

Identity
by Julio Noboa Polanco

Let them be as flowers,

always watered, fed, guarded, admired,
but harnessed to a pot of dirt.

I'd rather be a tall, ugly weed,

clinging on cliffs, like an eagle
wind-wavering above high, jagged rocks.

To have broken through the surface of stone,

to live, to feel exposed to the madness
of the vast, eternal sky.
To be swayed by the breezes of an ancient sea,
carrying my soul, my seed,
beyond the mountains of time or into the abyss of the bizarre.

I'd rather be unseen, and if

then shunned by everyone,
than to be a pleasant-smelling flower,
growing in clusters in the fertile valley,
where they're praised, handled, and plucked
by greedy, human hands.

I'd rather smell of musty, green stench

than of sweet, fragrant lilac.
If I could stand alone, strong and free,
I'd rather be a tall, ugly weed.

The Geography
of Self in “We
Are Many”
By Laurie Caldwell
“Who am I?” is the question of the
modern era, and the search for the authentic
self is its pilgrimage. In this quest for self, the
idea has been embraced that identity is a
decision that is allowed to cut across any
boundary, even a biological one, as long as one
feels its authenticity. The destination of this
solitary pilgrimage is to find the paradise of
one’s true self. This essay will show how Pablo
Neruda's poem, "Muchos Somos" or “We Are
Many”, uses contrasting characters, settings,
and Spanish diction to make the claim that
there is no one single identity but that
individuals are composed of many different
selves which they struggle to understand,
control, and reconcile.
The poem begins with the argument
that there is no one real self but many different
selves which appear as contrasting characters
in constant conflict. While the speaker is
striving to appear intelligent before others, el
tonto ‘the fool’ (7) arrives. While searching for
the valiant, un cobarde ‘a coward’ (12) runs to
take over, and when calling for a fireman, el
incendiario ‘the arsonist’ (17) swoops in. The
speaker is in conflict with himself as he tries to
appear as he believes he should be even as an
opposing character, either hidden or
unacknowledged, takes over the stage when the
speaker attempts to produce a noble or heroic
self. The speaker excuses his helplessness in
resolving this conflict: Pero cuando pido al
intrépido / me sale el viejo perezoso; ‘But
when I plead for the fearless one / to me what
arrives is the lazy old man;’ (28-29). He claims
that the ignoble characters have little or no part
of him. He insists that the coward is someone
Contemporary Contemplations 7
que no conozco ‘with whom I have no
acquaintance’ (12). The fool se toma la palabra
in mi boca ‘he puts the word in my mouth’ (8),
and the lazy old man seems to arrive on his
own. However, he admits that the fool is
someone that llevo escondido ‘I carry hidden’
(7), and he cries out upon seeing the arsonist,
ése soy yo ‘that is I’ (18). He wishes only to
acknowledge who he thinks he should be and
refuses to recognize who he seems to be when
the events of life crash down upon him. Even
accepting that the fool, the destroying force,
and the lazy old man are facets of his complete
identity, he only accepts the attractive
manifestations of himself. The unattractive
traits must be suppressed or disowned. He will
remain in conflict as long as he cares more
about how he appears than about who he is.
The settings in the poem are
anonymous stage sets where the conflict
between how he appears and his true self are
performed before a faceless audience. He does
not talk about his struggles to find himself
within home, family or friends where
authenticity in whatever form should be
embraced. The speaker does not seek to know
himself through quiet contemplation. His
settings are a casa estimada ‘manor house’ (15)
and la sociedad distinguida ‘High Society’ (10).
In introducing both the house and the society,
the speaker describes them as esteemed or
distinguished. Both estimation and distinction
are subjective judgments that come from
outside assessments of acclaim based on
arbitrary criteria that often have little to do with
inner being. In such settings he attempts to
mostrarme inteligente ‘show myself off as
intelligent’ (6). He isn’t being intelligent, he is
performing intelligence for shadowy onlookers
as one who casts a carefully edited video out
into the cloud hoping for a multitude of likes
from strangers. He prefers the performance
over the real man.
The speaker’s struggle to understand
and eventually resolve the conflict between the
many facets of his identity is most apparently
shown through the Spanish word usages or
diction. The poem begins with the speaker

saying: De tantos hombres que soy, que somos
/ no puedo encontrar a ninguno: ‘Of the many
men that I am, that we are, / I cannot find a
single one: (1-2). In the specificity of Spanish
diction there is more than one way to express
the verb ‘to be’. The word ser, which is the
word used here and conjugated both as soy (‘I
am’) and somos (‘we are’), is used when needed
to define an inherent state of being, who one
truly is. The speaker presents himself as both
one and many at his most basic core. However,
out of those many states of being, he states that
he cannot find a singular authentic and whole
self. The word ninguno, which can be
translated as ‘a single one’ in this context, is a
word which literally means ‘no one’. That
makes the word-for-word translation of no
puedo encontrar a ninguno to be ‘I cannot find
no one’. The Spanish uses the weight of the
double negative to add emphasis to the
possibility that the speaker cannot find the one
authentic self because it doesn’t exist.
The diction in the poem also switches
from back and forth between a first person and
a third person perspective to show the
speaker’s frequent sense of distance from and
lack of control over himself. Not only does the
speaker characterize himself as ‘I’ and ‘we’ but
also as ‘they’. He feels distanced from those
many others who he believes to be part of his
own identity but understanding them eludes
him as he says: se me pierdan bajo la ropa, ‘they
are lost to me under the clothing’ (3). Only the
artifice of appearance seems tangible to him,
and his own identity or many identities are
subsumed in the outward show. His real
identity hides beneath the man-made
constructions required by society. However,
although the speaker sometimes feels detached
from the many different sides of himself, that
doesn’t mean that they don’t exert control over
him.
The outward being acts upon the
inward being through the diction of reflective
word choices as in se me pierdan ‘they lose me’
(3). The reflexive is a common usage in Spanish
diction and gives the sense of being acted upon
rather than being the actor. In how the speaker
Contemporary Contemplations 8
processes both action and desires he says me
sale ‘it comes out of me’ or me gustaría ‘it
would be pleasing to me’ (29, 32). The
motivation for the action comes from an
outside source. The speaker doesn’t initiate it.
The pleasure that he feels is an outside entity
that is impressed upon him. He experiences it
as he would experience heat or cold. It
originates not from within but from without.
Even when the action comes from within the
singular self, the reflexive Spanish diction
shows that it still acts upon the speaker. The
speaker says me duermo ‘to myself I sleep’, or
me muero ‘to myself I die’ or me quedo
envidiando ‘to myself I’m left envious’ (9, 24,
26). The search for self is often described as
learning to know oneself through deep feelings
and personal actions as life is experienced. An
individual accumulates familiarity with how he
or she responds to both inside and outside
influences. With this reflexive form of diction,
the feelings, actions, and experiences of the
speaker happen to him. He neither instigates
them nor directs them. They exert force over
him. He cannot build an understanding of his
identity while remaining passively in the power
of outside forces.
The speaker finally acknowledged that
he is a stranger to himself. He cries out: No
tengo arreglo “I have no control” (18) before
finally asking two questions which again, are in
the reflexive form of diction. ¿Qué debo hacer
para escogerme? / ¿Cómo puedo
rehabilitarme? ‘What must I do to choose
myself (from all the others)? / How can I
rehabilitate/ make new/ return to myself?’ (19-
20). His attempts to produce a character he
feels will be acceptable to an audience have left
him feeling detached and without control of his
own identity. He is left to cry out: yo no sé
quién soy / no sé cuántos soy o seremos ‘I
don’t know who I am / I don’t know how
many I am / or who we are becoming’ (30-31).
In focusing on how he appears to those on the
outside, he is left not knowing who exists on
the inside. He not only doesn’t know who he is
but also cannot see the path ahead of who he

will become. He fears that he must
disaparecerme ‘disappear to [him]self’ (35).
In the end, disappearing to himself is
what brings the speaker to hope and finally to
action, and this is again demonstrated in the
diction. As indicated earlier, there are two ways
to express the verb “to be” in Spanish. The
second form is estar, which is primarily used to
indicate impermant feelings and movement. It
is used only once in the poem as the speaker
says, Mientras escribo estoy ausente “while I
write, I am absent” (36). Through an act of
creation, awareness of self is removed, and it
only matters what the speaker does. He loses
himself in work. Once his focus shifts away
from himself, the speaker turns his attention to
the people around him wondering if: las otras
gentes/ les pasa lo que a mí me pasa ‘the same
thing happens to other people as it does to me’
and ‘if they seem the same way to themselves’
(38-41). For the first time the speaker thinks of
someone other than himself and how he wants
to appear. He connects himself and his own
struggles to those of other human beings. It is
no longer about himself but about both his
work and about the individuals who are around
him. At that point, the diction of the poem
changes from passivity to action. He declares:
cuando lo haya averiguado / voy a aprender tan
bien las cosas ‘When I figure it out, I’m going
to learn it all so well’ (42-43). He ends with
what he is going to figure out, which is: …para
explicar mis problemas / les hablaré de
geografía. ‘in order to explain my problems / I
will speak to them of geography’ (44-45).
Geography represents a system of many
different pieces that works together
harmoniously to create a single, large, mutually-
dependent organism. No one feature is more
important than the other but all are necessary
parts of the whole. The speaker finds himself
by leaving his own small world behind and
becoming part a bigger one.
Ultimately, Pablo Neruda’s poem says
that the way to understand, control, and
reconcile the many parts of an individual is to
forget oneself and look outward to creation
and connection to a wider world. Myopically
Contemporary Contemplations 9
looking only inward or attempting to second
guess the appearances that are acceptable in
artificial environments brings no
enlightenment of identity or sense of
wholeness. Outside forces shape and influence
the inside man to an unknown image without
pushback against those forces. In the end,
however, the only rest from the inner conflict
comes from forgetting individual self in
creating the connections between us who all
share the struggle for identity together. As the
poem declares that “many we are”, it goes
beyond the many facets of a single identity to
the many of a single humanity. Real identity
comes from where one is connected within the
larger human community. From that
overarching vantage point, one can then look
back and have a clearer view of the individual
journey taken.
Works Cited
Neruda, Pablo. Universidad de Chile
Neruda. Ed. Universidad de Chile. n.d. Web.
26 September 2017.
<https://www.neruda.uchile.cl/obra/obraest
ravagario3.html>.
Real Academia Espanola. DLE:
Diccionario de la lengua española - Edición del
Tricentenario. Vers. 2017. octubre 2014. Web.
26 September 2017.
<http://www.rae.es/diccionario-de-la-lengua-
espanola/la-23a-edicion-2014>

De tantos hombres que soy, que somos,
Muchos Somos / We are Many
By Pablo Neruda
no puedo encontrar a ninguno:
se me pierden bajo la ropa,
se fueron a otra ciudad.
Cuando todo está preparado
para mostrarme inteligente
el tonto que llevo escondido
se toma la palabra en mi boca.
Otras veces me duermo en medio
de la sociedad distinguida
y cuando busco en mí al valiente,
un cobarde que no conozco
corre a tomar con mi esqueleto
mil deliciosas precauciones.
Cuando arde una casa estimada
en vez del bombero que llamo
se precipita el incendiario
y ése soy yo. No tengo arreglo.
Qué debo hacer para escogerme?
Cómo puedo rehabilitarme?
Todos los libros que leo
celebran héroes refulgentes
siempre seguros de sí mismos:
me muero de envidia por ellos,
en los filmes de vientos y balas
me quedo envidiando al jinete,
me quedo admirando al caballo.
Pero cuando pido al intrépido
me sale el viejo perezoso,
y así yo no sé quién soy,
no sé cuántos soy o seremos.
Me gustaría tocar un timbre
y sacar el mí verdadero
porque si yo me necesito
no debo desaparecerme.
Mientras escribo estoy ausente
y cuando vuelvo ya he partido:
voy a ver si a las otras gentes
les pasa lo que a mí me pasa,
si son tantos como soy yo,
si se parecen a sí mismos
y cuando lo haya averiguado
voy a aprender tan bien las cosas
que para explicar mis problemas
les hablaré de geografía.
Contemporary Contemplations 10
Of the many men whom I am, whom we are,
I cannot settle on a single one.
They are lost to me under the cover of clothing
They have departed for another city.
When everything seems to be set
to show me off as a man of intelligence,
the fool I keep concealed on my person
takes over my talk and occupies my mouth.
On other occasions, I am dozing in the midst
of people of some distinction,
and when I summon my courageous self,
a coward completely unknown to me
swaddles my poor skeleton
in a thousand tiny reservations.
When a stately home bursts into flames,
instead of the fireman I summon,
an arsonist bursts on the scene,
and he is I. There is nothing I can do.
What must I do to distinguish myself?
How can I put myself together?
All the books I read
lionize dazzling hero figures,
brimming with self-assurance.
I die with envy of them;
and, in films where bullets fly on the wind,
I am left in envy of the cowboys,
left admiring even the horses.
But when I call upon my dashing being,
out comes the same old lazy self,
and so I never know just who I am,
nor how many I am, nor who we will be being.
I would like to be able to touch a bell
and call up my real self, the truly me,
because if I really need my proper self,
I must not allow myself to disappear.
While I am writing, I am far away;
and when I come back, I have already left.
I should like to see if the same thing happens
to other people as it does to me,
to see if as many people are as I am,
and if they seem the same way to themselves.
When this problem has been thoroughly explored,
I am going to school myself so well in things
that, when I try to explain my problems,
I shall speak, not of self, but of geography.

Inability to
Change
By Brittney Borchert
Racism within our society has long
been an issue that many authors have tried to
address. Flannery O’Connor was born in a time
when there were many changes taking place in
America, and she used her writing as a way to
express the need for reform within their
society. In her short story, “Everything That
Rises Must Converge,” Mrs. Chestny is shown
to be a very racist person. Through Mrs.
Chestny’s diction, her characterization, and the
characterization of her son, Julian, O’Connor
is able to represent the unwillingness of many
people to accept societal changes and see black
people as equals.
Through the diction of Julian’s mother,
O’Connor is able to express the general
attitude of white people in her day regarding
their unwillingness to accept black people as
equal members of society. Throughout the
novel, Julian’s mother uses a very disrespectful,
derogatory tone when speaking about African
Americans. She brings up the fact that Julian’s
great-grandfather owned a plantation and two
hundred slaves, and states her belief that black
people were “better off where they were”
(O’Connor 79). Julian’s mother is still stuck in
the past, unwilling to accept the fact that
slavery is no longer a part of society, just as
many people in O’Conner’s day were stuck in
the past. O’Connor was born in 1925, in
Savannah Georgia (Gordon). Not only was she
born into a part of the United States where a
racist mindset was very prevalent, but she was
born in a time period when blacks were not
seen as equal to white people. Julian’s mother
does not want to acknowledge that blacks are
supposed to be treated as equals in the society
she lives in now. She believes them to be
inferior, and doesn’t like the changes brought
about by segregation, stating that “they should
rise, yes, but on their own side of the fence”
Contemporary Contemplations 11
(O’Connor 80). Because Julian’s mother is so
stuck in the past, she is unable to accept blacks
as a part of her future, which was the mindset
of many people in O’Connor’s day. Because of
their belief that black people were inferior,
whites were unwilling to accept the idea that
black people could mingle and associate with
them.
Through the portrayal of Julian’s
mother as a child, we also see the general
childish attitude of white people in O’Connor’s
time depicted through her racist attitude
towards blacks. Children are often scared to
attempt things alone; Julian tells us that his
mother “would not ride the buses by herself at
night since they had been integrated” (72). Mrs.
Chestny is portrayed as a child who is afraid to
ride the bus by herself because of her fear of
being alone with black people. She distrusts
them just as a child would distrust a stranger.
Similarly, people in O’Connor’s day were
distrustful of black people. This state of fear
and distrust led to the creation of groups like
the Ku Klux Klan. Mrs. Chestny is also
childlike because she only sees what she wants
to see. After Carver and his mother start to exit
the bus, Julian’s mother decides that she
“[wants] to give the little boy a nickel” (107).
However, by giving money to the little boy,
Julian’s mother is continuing to show her
dominance over black people. By giving money
as charity, she is emphasizing black reliance on
white people for money. Her childlike actions
lead to a confrontation between her and
Carver’s mother. These childish ways
combined with Mrs. Chestny’s antiquated
beliefs regarding blacks and whites show her
inability to adapt to a changing, integrated
society. Just as Mrs. Chestny had antiquated
beliefs regarding integration, so too did the
people in O’Connor’s day. Because of their
childish mindset, they were unwilling to see
blacks as their equals.
Readers are also able to see the
unchanging attitude of Julian’s mother
regarding blacks through her interactions with
others. After boarding the bus, Mrs. Chestny
and another woman immediately start to

discuss black people. The woman Julian’s
mother was talking with mentioned that on a
previous day, the blacks on the bus were “as
thick as fleas” (87). These white women are so
disgusted by the desegregation in their society,
they start to compare black people to annoying
parasites. Just as fleas live off the blood of
mammals, they believed that black people were
freeloaders living off what should only belong
to white people. This opinion was not
uncommon in O’Connor’s day. African
Americans were viewed as little more than
parasites, they were viewed as worthless
creatures that were unworthy to mix with the
supposed pure blood of the white people.
When a black woman enters the bus with her
son and takes a seat next to Julian, that act is
“more objectionable to [Mrs. Chestny] than it
was to [Julian]” (101). While Julian didn’t mind
sitting next to a black woman, his mother
minded very much. Because of her belief that
whites are superior to blacks, Mrs. Chestny was
annoyed that the black woman would sit next
to her son. She believed it would somehow
lower Julian’s status, almost as though he
would be brought down to the black woman’s
supposed lowly level by merely sitting by her.
This mindset that black people were lesser than
whites was very prevalent during the life of
Flannery O’Connor, and this was why
segregation was such a huge issue. The attitude
of Mrs. Chestny was one that was very
common among white people; they were so
blinded by their prejudice, they were unwilling
to accept the idea that black people were their
equals.
However, Mrs. Chestny’s opinions
don’t seem to apply to children. When she
starts interacting with Carver (a little black boy)
she is almost smug when she smiles at his
mother and claims that Carver likes her. Julian
noted that her smile was “the smile she used
when she was being particularly gracious to an
inferior” (105). Her smile was not friendly and
welcoming, instead, it was a smile used to show
her dominance as a white person in their newly
integrated society. Ultimately, during the final
confrontation between Julian’s mother and
Contemporary Contemplations 12
Carver’s mother, the stress proves to be too
much for Mrs. Chestny and she has a stroke.
Just as the title explains to the readers, the black
woman and white woman—two people from
different lifestyles and opinions— “converge.”
Unable to accept the changes in society
regarding black people, Julian’s mother loses
the battle with her beliefs regarding the
convergence of blacks and whites. Just as there
was a clash between these two women in the
story, there was a clash between the culture of
the whites and blacks while O’Connor was
alive. Whites wanted nothing to do with blacks,
and the blacks just wanted to be treated as
equals.
The last way racism is addressed is
through Julian’s attitude towards his mother’s
racist beliefs. Julian shows a lot of guilt at his
mother’s racist attitude. Before boarding the
bus, he thought to himself that when he gets
on, he would make “it a point to sit down
beside a Negro, in reparation as it were for his
mother's sins” (83). He is sickened by her
superior attitude, and wants to try to atone for
his mother’s mistakes. Flannery O’Connor
wanted her readers to be able to recognize the
superior attitude of the people in her day and
learn from their mistakes. She wrote for the
people who “did not share her belief in the fall
of humanity and its need for redemption”
(Gordon). Julian knows that his mother “lived
according to the laws of her own fantasy world,
outside of which he had never seen her set
foot” (O’Connor 89). He does not view the
world the same way as his mother; he is so
opposed to her views, he goes out of his way
to do the opposite of what she would want him
to do. There were many people in O’Connor’s
day that were stuck in their own little “fantasy
worlds.” They wanted to continue living life
the way they previously had, and they were
content to ignore the social changes that were
taking place.
In this short story, Flannery O’Connor
addresses the problems that were occurring in
society because of the unwilling attitude of
whites to fully accept blacks into their culture.
She mainly addresses these issues through the

diction and characterization of Mrs. Chestny
and her son, Julian. The readers can learn from
Mrs. Chestny’s inability to change; they can
learn the importance of accepting all
individuals and treating them with the love and
respect they deserve, regardless of race or color
of their skin.
Everything That Rises Must Converge
Contemporary Contemplations 13
Works Cited
Gordon, Sarah. “Flannery O'Connor
(1925-1964).” New Georgia Encyclopedia,
www.georgiaencyclopedia.org/articles/arts-
culture/flannery-oconnor-1925-1964.
O'Connor, Flannery. “Everything That
Rises Must Converge.” Overdrive,
byu.overdrive.com/byu-
byuidaho/content/media/1082978?openAcco
untMenu=true.
By Flannery O’Connor
This collection of nine short stories by
Flannery O'Connor was published
posthumously in 1965. The flawed characters
of each story are fully revealed in apocalyptic
moments of conflict and violence that are
presented with comic detachment.
The title story is a tragicomedy about social
pride, racial bigotry, generational conflict,
false liberalism, and filial dependence. The
protagonist, Julian Chestny, is hypocritically
disdainful of his mother's prejudices, but his
smug selfishness is replaced with childish fear
when she suffers a fatal stroke after being
struck by a black woman she has insulted out
of oblivious ignorance rather than malice.
Flannery O'Connor was working on
Everything That Rises Must Converge at the
time of her death. This collection is an
exquisite legacy from a genius of the
American short story, in which she
scrutinizes territory familiar to her readers:
race, faith, and morality. The stories
encompass the comic and the tragic, the
beautiful and the grotesque; each carries her
highly individual stamp and could have been
written by no one else.

“All That”: A
Look at the
Mind of a Child
By McKell Blanchard
Experiences shape us as human beings.
Each person can look through their past and
find moments that taught them a lesson, or
helped them learn more about themselves.
These kinds of experiences can occur at a very
young age. David Foster Wallace shares a
couple of these impactful moments in his short
story “All That”. It is evident that experiences
that are had at a young age will affect and shape
an individual for the rest of their life. Wallace’s
adolescent mind shows that experiences from
a young age shape your future life; this is taught
through his experience with a toy cement truck
and how it affected his religious beliefs, how
parental influence had a great impact on his
childhood mind, and that a child’s world is
more powerful, and optimistic than adults
often realize.
Wallace’s experience with the cement
truck as a child is what sparked his devout
religious beliefs which have stayed strong
throughout his life. Wallace shares the story of
receiving a toy cement truck for Christmas. His
mother tells him that the truck is magic, and
the mixer part of the truck spins while he is not
looking. This leads his young mind to believe
that magic is real, and he endeavors to see it for
himself. He says of this experience, “Months
were henceforward spent by me trying to
devise ways to catch the drum rotating”
(Wallace). The magic of the drum fascinated
Wallace’s young mind. In order to understand
how this experience led him to religious faith,
it is important to know the reason the magic of
the drum fascinated him so much, “I realize
that the reason I spent so much time trying to
‘catch’ the drum rotating was that I wanted to
verify that I could not.” (Wallace) Something
Contemporary Contemplations 14
about the truck being magic inspired a deeper
belief and devotion inside of his young mind.
The story often refers to the “magic” of the
truck. That magic becomes something far more
meaningful to Wallace, it becomes a religion.
“The toy cement mixer is the origin of the
religious feeling that has informed most of my
adult life” (Wallace). This shows that
experience’s at such a young age can impact
someone for the rest of their life. According to
Sigmund Freud’s Dynamic Model, our minds
are a mixture of conscious and unconscious
desire. Believing in magic was a conscious act
on Wallace’s part, but as he entertained this
thought, his unconscious developed a deeper
and more lasting effect of what magic meant to
him. “The irrational part of our psyche, the
unconscious, receives and stores our hidden
desires, ambitions, fears, passions, and
irrational thoughts” (Literary Criticism, 125).
The experience with the truck was stored in his
unconscious, and later in his life helped him
gain his religious fervor and devotion. This
made it possible for a deep-rooted love and
respect for “magic” to last in Wallace’s life. The
story teaches that experiences had at a young
age can have lasting effects on psychosis.
Another interesting point that Wallace
brings out through this experience is that of the
psychological influence parents have on their
children. It is evident that Wallace has a kind,
yet distant relationship with his parents. In
contrast to his deep-seated love for religion, he
time and again brings up the fact that his
parents are “devout atheists” (Wallace). He
also refers to them at one point as his
“Biological parents” (Wallace). Both of these
titles infer that while he respects them, and
appreciates what they have done for him, his
bond with them may not be as strong as some
other parent/child relationships. One of the
reasons for this could stem from the
experience with the cement truck. “This is why
it is that adults and even parents can,
unwittingly, be cruel: they cannot imagine
doubt’s complete absence. They have
forgotten” (Wallace). He calls his parents
actions “cruel”, yet does not hold it against

them stating they didn’t understand what they
were doing because they were “unaware of the
impact those tales may have” (Wallace). Jerome
Kagan, a psychologist with a Ph.D. from
Harvard, gives this example, “A 7-year-old
with a more extensive vocabulary than her
peers, because her parents encouraged
language development 5 years earlier, will
master the tasks of the elementary grades more
easily and, as a result, perceive herself as more
competent than her peers” (Kagan). This
shows that the experiences and things that
parents tell their child at a young age will have
a more lasting effect than the parent may
realize at the time. Wallace experienced what
Kagan explained with his cement truck. The
comments his parents were making, influenced
him to react in a certain way, and form
opinions at a young age that shaped his life.
Wallace also brings up the matter that
parents often do not completely understand
what their children are actually feeling. There
are multiple occasions in which he expresses
the intellectuality of his father. “He, an
intellectual, had been, according to his stories,
the sort of child who set traps for the Tooth
Fairy” (Wallace). This seems to break Wallace’s
heart because his father wanted him to be like
him, but no matter how hard he tried, Wallace
realized that his view was different than his
father. He wanted the magic to be real, his
father wanted to prove it was false. This shows
that a child’s mind is a hard place for adults to
comprehend. It is a place of magic and
creation, and if parents are not careful, they can
cause quite a bit of grief to their child, because
they don’t truly understand what they are
experiencing. “The world they saw and
suffered over was wholly different from the
childhood world in which I existed” (Wallace).
This brings a new understanding of the
imagination, and magic that a child sees and is
a part of.
Another example of the child’s mind
being an unknown world to adults it Wallace’s
experience with “voices”. Wallace speaks
about voices that he hears in his head and that
those voices started when he was very young.
Contemporary Contemplations 15
“I regarded—or ‘counted on’ – the voices as
another set of parents… I loved them and
trusted them… in short, I was not they’re
equal” (Wallace). This could most easily be
explained as imaginary friends. He expresses
these voices in his head to be voices of comfort
and peace, helping him make a decision and
understand his world. These voices changed
the perspective of this young boys mind. They
helped shaped the way that he understood and
viewed his world. This is a very normal and
healthy experience for a child to have.
“Imagining the thoughts, actions, and
emotions of another person or creature
provides a context in which children encounter
and manipulate multiple perspectives,
providing practice for real-life simulations of
other people’s points of view” (Taylor). This
helped him develop his world and understand
everything that was happening to him. These
voices and friends validate and encourage
children. Because he thought of them as
separate from his parents, he created different
opinions than they had throughout his life. The
aspect of child psychology is especially
important to remember when trying to
understand someone’s beliefs, and where they
may have come from.
David Foster Wallace allows readers to
come on a journey into his mind. The
development of his personality and beliefs are
shown at a very young age through the stories
that he shares in his short story “All That”. The
mind of a child is greatly influenced by the
interactions that a parent has with him or her.
Magic is real to children and will be used to
interpret the world around them. The way that
a child thinks and processes experiences in
their life can create a completely different
world in their mind than the adults around
them may see. The psychology of a child is
tender and sensitive and takes time and effort
to understand.
 Contemporary Contemplations 16

Works Cited
Bressler, C. Literary Criticism. Ed. V.
Garcia. 5th Vol. , 2011. Print.
Kagan, J. "The Role of Parents in
Children’s Psychological Development." 2017.
Web.
<http://pediatrics.aappublications.org/conte
nt/pediatrics/104/Supplement_1/164.full.pdf
>.
Taylor, M., and C. Mottweiler.
"Imaginary Companions." 2017. Web.
<www.journalofplay.org>.
Wallace, David Foster. "All That."
Web.
<https://www.newyorker.com/magazine/20
09/12/14/all-that-2>.

All That
By David Foster Wallace

If avid Foster Wallace wasn’t the

best writer of the last few decades,
then his scraggly hair and sly grin
certainly sit high up on the list.
“Genius” isn’t a word to be thrown
around lightly, but how else to
describe Wallace’s brand of writing?
Perfectly caustic (yet somehow
gentle) wit, deeply probing,
explorative in terms of human
nature, undeniable humor, the
descriptors go on.

He wrote without abandon, and in a

way, that’s the subject of “All That,”
his short story debuting
posthumously in The New Yorker,
the latest in a string of stories to do
so. The issue hits stands on Dec. 14,
but you can read the story now [in
the New Yorker.]
The brief fiction piece explains how closely tied religion and the childhood sense of magic are; both
require full commitment and unfaltering belief. Writing as a narrator reviewing his childhood obsession
with catching a magic toy in action (the result of his parents’ joke), Wallace is recognizably wonderful,
his familiar use of footnotes (in this case, parentheses) hitting like a familiar old friend.
Of childhood magic, he writes: “This is why it is that adults and even parents can, unwittingly, be cruel:
they cannot imagine doubt’s complete absence. They have forgotten.”
By Justin Jacobs, Paste Magazine
December 7,2009

Permissive
Parenting: It’s
Not What You
Think
By Emily Pehrson
No family comes without their own
complexities and problems. Even the families
that seem the most normal or functional deal
with crises at some point in their lives. The
world today is full of parents criticizing other
parents for the way they raise their children. At
the same time, those who are raising children
in a non-traditional way are fighting back and
proving to the rest of the world that some
parenting traditions are outdated and
unnecessary. Raising a child is no small task,
that is unquestionable. While most people
disagree with permissive parenting, the novel
“Housekeeping” shows the benefits that come
from this style of parenting and how it should
be considered as an option in a parent’s
approach to raising their children.
In many cultures, it is still the norm to have
children being raised by two parents who are
usually of the opposite gender. This is reflected
in many of the stories that are written, and
television shows and movies that are created.
In “Housekeeping,” the girls, Lucille and Ruth,
are passed from caregiver to caregiver until
they end up with their aunt, Sylvie. Sylvie is far
from traditional and has spent most of her life
as a drifter. She is someone that most of society
would deem unfit for raising children. At the
end of the story, the people in the town
convince the government that Sylvie is unfit to
care for her nieces and try to get the girls taken
away from their aunt. However, because of her
love for her nieces and their respect for Sylvie,
they find a way around that and choose to stay
with their aunt.
Contemporary Contemplations 17
Diana Baumrind, a clinical and
developmental psychologist, came up with
three different parenting styles that can be
identified upon observing a parent and the way
they treat their child. The parenting styles are
authoritative, permissive, and authoritarian. To
simply sum them up, authoritarian is too strict,
permissive is not strict enough, and
authoritative is the best balance of both. These
different styles have a powerful impact on
children. It is common for children of
authoritarian parents to rebel because they are
under too much pressure and control. There is
not enough love in this kind of relationship and
it often negatively impacts the child’s self-
confidence. In a permissive parenting situation
there is not much discipline at all and this can
lead to children misbehaving simply because
they have not been taught any better. However,
there is often lots of love and affection and the
children do not struggle to know their standing
with their parents. Authoritative parenting is a
good balance between the two. It brings the
love and affection of the permissive parenting
and combines it with healthy discipline.
Many studies have been done to figure out
which of the three parenting styles is most
ideal. One such study tried to prove the
negative effect of permissive and authoritarian
parenting and the positive impact of
authoritative parenting. In one such study, the
positive impact of authoritative parenting was
proven, and the negative impact of
authoritarian parenting was proven, but the
negative impact of permissive parenting was
not proven.
“…the hypotheses were partially
supported in that a greater degree of
authoritative parenting was negatively
correlated with child maladjustment
(i.e., positively correlated with child
adjustment), and a greater degree of
authoritarian parenting was positively
correlated with child maladjustment
(i.e., negatively associated with child
adjustment). Permissive parenting
style was not significantly associated
with child adjustment, which was

inconsistent with the hypotheses and
previous research findings.”(4)
This proves that many ideas about permissive
parenting are outdated and no longer true.
Although in the past it has been demonstrated
that permissive parenting is a negative thing,
just like in this study, that can no longer be
proven.
The permissive parenting style is
characterized by not expecting a lot out of
children but showing a lot of affection. A
permissive parent tries to be more of a friend
than a figure of authority. Although permissive
parenting is generally looked at negatively,
there are good things about it. “Baumrind
(1978) has stated that, although permissive
parents often are extremely lenient, they try to
watch out for their children’s safety.”(1) The
difference between permissive parents and the
other parenting styles is that permissive parents
allow their children to take healthy risks. Yes,
they are concerned for their children’s safety,
but they also allow them to make their own
choices and take their own risks. One study
looked at the effect of “risky” play on children.
These risks include physical risks such as the
risk of getting hurt, or social risks such as losing
a game or getting rejected by their peers. It was
found that permissive parents are most likely
to allow their children to participate in risky
play. This actually has some very positive
impacts on the children. “Children build self-
confidence, self-awareness, perseverance and
independence (Gill 2010; Gleave 2008; Knight
2012; Tovey 2007) through risky play.
Moreover, risky play helps children to develop
perceptual-motor and spatial-orientation
abilities, while mastering social skills such as
interaction with each other and conflict
resolution (Castro 2012; Sandseter 2010;
Sandseter and Kennair 2011).”(5) These are
just a few examples of some of the benefits of
permissive parenting.
Just like the other styles of parenting,
permissive parenting does not come without its
flaws. One study found that permissive
parenting is more highly associated with low
self-confidence, lack of follow through, and
Contemporary Contemplations 18
ignoring misbehavior. (6) Although most kids
think they would love to get away with
whatever they want, it takes a toll on a child’s
self-confidence. They begin to wonder why
their parents don’t care enough to punish
them. Most kids just want to be “normal” or
like the other kids. When they do not have
parents establishing rules for them, they notice
the difference and don’t enjoy it. With
permissive parenting often comes children
who follow their impulses. This can lead to
problems as the children get older, as one study
found. “Impulsivity has been identified as a key
aspect of poor regulation (Dvorak & Simons,
2009). Patock-Peckham and Morgan-Lopez
(2006) found that permissive and authoritarian
parenting styles were positively associated with
impulsivity, which mediated the relationship
between these two parenting styles and alcohol
use/ alcohol-related problems.”
Unfortunately, permissive parenting can lead
to children growing into adults who cannot
regulate themselves and follow all of their
impulses. This is an aspect of parenting that is
extremely negative and cannot be ignored.
Despite the negative aspects of
permissive parenting, Aunt Sylvie’s permissive
parenting is a great benefit in the case of Lucille
and Ruth. Having lost their mother and father,
they are not looking for someone who will
replace their parents. They need affection and
friendship more than they need discipline and
structure. The ability to show affection toward
children is an important aspect of parenting.
Children who are raised in environments
without displays of affection such as hugs and
kisses are often more lonely and insecure.
From infancy, the way parents show affection
for their children has an impact. The role of a
mother and her affection is especially crucial.
Many studies have been done on the influence
of parent’s affection towards their child.
“Findings show that young children and
adolescents whose parents convey affection,
acceptance, and support are likely to report
higher self-esteem, lower anxiety and
depression, greater happiness and scholastic
achievement, and fewer behavioral problems.”

(2) Affection is one of Sylvie’s strengths. She is
often hugging the girls or giving them a kiss on
the cheek. With Sylvie as their caretaker, they
do not want for affection. Despite the lack of
cleanliness in the home and an unstructured
schedule, the girls know how Sylvie feels for
them, and that brings a sense of security
despite many other unstable aspects of their
lives.
Another aspect of permissive parenting
is not setting a lot of rules or limits. There is
not much structure in homes with permissive
parents. Permissive parents do not restrict their
children by setting limits on the things they can
talk about. They are open in the conversations
they have. Many of the caregivers before Sylvie
hesitated to talk to the girls about their mom
and dad. They feared they would offend or
upset the girls so they didn’t say anything.
Sylvie does not believe in topics being “taboo”
and this reflects in the way she speaks to her
nieces. She welcomes their questions about
their parents and often shares with them
unique and special memories that they never
would have known if they weren’t being taken
care of by Sylvie. This openness is yet another
way of Sylvie displaying her affection for the
girls. She treats them with respect and doesn’t
shelter them from the truth because they are
children. Her honesty is refreshing and goes
against what many parents believe to be
appropriate to talk about with children. This
honest and open dialogue is something that
many parents and children would benefit from.
Sylvie’s permissiveness is at an all-time
high when she lets the girls skip school
whenever they want. This is one of the most
controversial things that Sylvie does as a
guardian. The first time the girls skip school is
when Lucille gets falsely accused of cheating on
a test. The girls are already alienated by their
peers due to the many quirks their family has.
The town they live in has never had close
association with their family so there are a lot
of untrue rumors floating around about them.
The girls are both quiet and reserved which
makes them a target for bullying. Although
their education is important, so is their
Contemporary Contemplations 19
emotional well-being. The first week that the
girls skip school is therapeutic for them. They
are not forced to face their peers and be
tormented. Instead, they bond and strengthen
their sisterhood. Ruth describes it beautifully.
“We spent the whole of that week at the lake.
At first we tried to decide how to get ourselves
back into school—for the difficulty was no
longer just Lucille’s…It seemed to us that we
were cruelly banished from a place where we
had no desire to be, and that we could not
return there of our own will but must wait to
return under duress and compulsion.”
(Robinson 79) The sisters had been through so
many trials between losing their parents and
being passed from caretaker to caretaker. Their
life was full of sadness, and all they really had
was their sisterly bond. This time away from
school brought a greater closeness for the
sisters. What can easily be classified as bad
judgment is simply a misunderstanding. What
Sylvie did for her nieces helped them
emotionally.
Sylvie’s permissive parenting does not
come without repercussions. Initially this style
has the girls worried and confused. It is a stark
contrast to the somewhat authoritarian
parenting that the girls have been subjected to.
They went from being limited on what they
could say and do to really no rules at all. When
they realize how little Sylvie cares about the
things parents usually care about, like where
the girls are at all times and when they come
home, they are worried that she will not be a
good caretaker. “We were very upset, all the
same, for reasons too numerous to mention.
Clearly our aunt was not a stable person. At the
time we did not put this thought into words. It
existed between us as a sort of undifferentiated
attentiveness to all the details of her
appearance and behavior.”(Robinson 82)
However, this adjustment is to be expected.
Despite the initial confusion, the girls
eventually adjust to this parenting style and see
the benefits of change.
Lucille never quite adjusts to this style
of parenting. Despite feeling loved and have
affection in her life, the permissive parenting

leaves a void in her life. Children do need to be
disciplined and structure is a good thing for
them. Lucille notices the lack of these values
and seeks to fill that void through her teacher.
Miss Royce is seen by many of her students as
uptight and too strict. She often gets pranked
because the students really don’t like her. This
kind of authority and conventional adult is
something that Lucille really misses. She ends
up moving in with Miss Royce who essentially
adopts her. The permissive parenting style
certainly does not work for every child.
Even Ruth, who stays with her Aunt
Sylvie despite her sister leaving, runs into issues
with permissive parenting. At one point, Sylvie
wanders off and Ruth is left alone for a
significant amount of time. She is left in fear,
not knowing when or if Sylvie will ever come
back. Although Ruth has a strong feeling of
dependence on Sylvie, Sylvie does not have
that for Ruth and that is hard for Ruth to
comprehend. It leads to strong feelings of
anger and disappointment in her aunt. “I was
angry that she had left me for so long, and that
she did not ask pardon or explain, and that by
abandoning me she had assumed the power to
bestow such a richness of grace. For in fact I
wore her coat like beatitude, and her arms
around me were as heartening as mercy, and I
would say nothing that might make her loosen
her grasp or take one step away.” (Robinson
161) One of the greatest problems with
permissive parenting is the feeling of
uncertainty it leaves in children. Ruth
experiences this, but like most children, she is
quick to forgive her aunt. This experience
highlights one of the biggest dysfunctions in
Sylvie’s relationship with the girls, and one of
the biggest issues with permissive parenting.
Another negative aspect of Sylvie’s
permissive parenting is that she fails to push
the girls. She doesn’t force them to go to
school, and that leaves them essentially
friendless. They are not forced to go and spend
time with other kids their age so they really
don’t thrive socially. They become more and
more isolated from their city and their peers.
They do not thrive socially. Ruth chooses to
Contemporary Contemplations 20
leave school for an extended period of time.
She eventually goes back and her time away
was quite detrimental. “I could not appear to
pay attention to the teacher for fear she might
call on me and I would suddenly be the center
of attention.” (Robinson 188) Despite how this
may seem negative, the girls already had
negative relationships with their peers before
they quit going to school. They never really
thrived socially. This just prevents them from
having to go to school and face criticism from
their peers.
Despite the lack of certainty and
structure, permissive parenting is not always a
negative thing. The love and affection that
parents show for their children is of utmost
importance and should always be a focal point
of parenting. Permissive parenting can allow
children to experience new things without their
parents hovering, and can teach children to be
flexible and open to new things. It allows
children to make their own choices without
being forced to do certain things. Parents
should consider situations in their lives where
permissive parenting would be beneficial to
their children. It is important to set aside the
rules and structure at times and just live freely.
The relationship between parent and child will
be strengthened as parents focus more on
showing their love and letting their children be
independent.
Works Cited
Smetana, Judith G. “Parenting Styles
and Conceptions of Parental Authority during
Adolescence.” Child Development, vol. 66, no.
2, 1995, pp. 299–316. JSTOR, JSTOR,
www.jstor.org/stable/1131579.
Robert E. L. Roberts, and Vern L.
Bengtson. “Relationships with Parents, Self-
Esteem, and Psychological Well-Being in
Young Adulthood.” Social Psychology
Quarterly, vol. 56, no. 4, 1993, pp. 263–277.
JSTOR, JSTOR,
www.jstor.org/stable/2786663.
 Contemporary Contemplations 21

Ebrahimi, Loghman, et al. "Attachment Kimble, Ashley B. The Parenting

Styles, Parenting Styles, and Depression." Styles and Dimensions Questionnaire: A
International Journal of Mental Health & Reconceptualization and Validation,
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Kison, S. D. (2016). Predictive effects com.byui.idm.oclc.org/docview/1626767440?
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resistance to peer influence on drinking Palmer, Cale D. Parenting Style and
behaviors in college freshmen: A social Self -Control Skills, University of Hawai'i at
learning perspective (Order No. 10133495). Manoa, Ann Arbor, 2009, ProQuest
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Robinson, Marilynne. Housekeeping. Ivrendi. "Risky Play and Parenting
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live. byui.idm.oclc.org/10.1007/s10826-015-0236-
1.

Housekeeping
By Marilynne Robinson

A modern classic, Housekeeping is the story

of Ruth and her younger sister, Lucille, who
grow up haphazardly, first under the care of
their competent grandmother, then of two
comically bumbling great-aunts, and finally of
Sylvie, the eccentric and remote sister of their
dead mother. The family house is in the small
town of Fingerbone on a glacial lake in the
Far West, the same lake where their
grandfather died in a spectacular train wreck
and their mother drove off a cliff to her
death. It is a town "chastened by an outsized
landscape and extravagant weather, and
chastened again by an awareness that the
whole of human history had occurred
elsewhere." Ruth and Lucille's struggle
toward adulthood beautifully illuminates the
price of loss and survival, and the dangerous
and deep undertow of transience.
Contemporary Contemplations 22

Designed by Michelle Landon

December 2017