INTRODUCTION TO PROSE By definition Prose can be identified as every day, descriptive speech. It is written in sentences and paragraphs. Prose generally does not make use of structural poetic elements such as meter or rhyme scheme; in other words it does not have a formal metrical structure. However, literary prose does sometimes make use of more flexible poetic elements such as metaphor, mile, and rhythm. Literature can be broken down into three genres of writing: + Drama + Poetry + Prose- anything that is NOT poetry or plays {oveover, Prose can then be divided into two categories: + Short story + Novel \ short story is defined as a brief work of literature usualy ‘len in narrative prose, and according to Edgar Allan n be read in one sitting” (1846). However, \uovel is considered a long prose narrative that must be ulin many sittings. whichBefore reading the novel students must understand that there are certain components that work in cohesion to create a complete literary work. The basic elements of| prose are: . Character, + Setting, . Plot, + Point of view, + Thematic construct, + Mood/Atmosphere + Style, Characters are any individuals present in the story and characterization isthe process in which these individuals and their traits are developed. Throughout reading you will come into contact with many different types of characters: + Flat Characters - these are usually two-dimensional and are relatively ‘uncomplicated and do not change throughout the work. + Round Characters - these are major characters of a work who encounter contradictory circumstances that cause them to change or undergo transformation. They are complex and lifelike. + Stock Characters - A type of flat character often recognized because he/ she represents 2 familiar stereotype to the reader, + Static Character - A character that remains essentially the same throughout. ()haracters are presented in two different ways ~ direcly vl indirectly. © Direct Presentation - The reader is told straight out what the character is like. Indirect Presentation - The author shows the character through their actionss the reader determines what the characteris like by what they say or do refers to:biographical information; personality traits; social roles, and psychological factors such as aspirations, fears, and personal values. ‘The Setting of the story refers to the context in which the action takes place ~ where, when and under what, circumstances is the action set. > physical environment, > social situation, > time period, and > location. Plot consists of a series of events in a narrative that is carefully constructed by the author for artistic purpose. It is not simply the action but the manner in which the author arranges the action toward a specific end, A plot is all about establishing connections, suggesting causes and showing relationships. Plot progresses through the three stages of rising action, climax, and resolution. Point of view is a technical term that identifies the narrator’s position relative to the story being told, ‘Through the point of view, the author allows the reader to “see” and “hear” what is going on. Point of view is divided into two main kinds ¥ _ First-person point of view - In the first person point of view, the narrator does participate in the action of the story. ‘This point of view is used when a character narrates the story with‘, “me’, “my”, and “mine” in his/her speech, He/she can appear as a main or supporting character. Y Third-person point of view - Here the narrator does not participate in the action of the story as one of the characters. The writer may choose third- person omniscient, in which the writer knows everything and his knowledge and prerogative are unlimited or third- person limited, in which the writer knows only in one angle. theme/Thematic construct of a piece of fiction is its lying message. Theme does not equal “moral” or lesson” but rather it provides a deeper meaning for the literary work. In order for a piece of writing to be meaningful it must contain a theme, otherwise it will ye shallow and superficial. Theme, therefore, refers to a critical belief or generalization about life that the writer | ying to convey throughout the novel or story. This Wvelief or message can transcend cultural barriers; it |» essentially unifying or universal, When a theme is \universal it touches on the human experience regardless ‘of race or language; often a piece of writing may have snore than one theme, Mood/Atmosphere means the dominant feelings and notions evoked.Style is the manner in which the author uses words, constructs sentences, incorporates non-literal expressions, and handles rhythm, timing and tone. When asked to discuss style, you are being asked to describe how or explain why the words, sentences, and imaginative comparisons are effective in terms of what is being created. Central to an authors style includes: > Vocabulary - Choice of words 0 Simple words - Everyday word choice. © Complex words © Concrete words - Things we can touch, see, ete. © Abstract words - Words that express intangible ideas (freedom, heritage, something). > Syntax - arrangement of words, their ordering, grouping and placement within phrases, clauses, and sentences > Rhythm. The pattern of flow and ‘movement created by the choice of words and the arrangement of phrases and sentences. Rhythm is directly affected by the length and composition of sentences, the use of pauses within sentences, the use of repetition, and the ease or difficulty in pronouncing the ‘combinations of word sounds in the sentences, GLossary OF CRITICAL TERMS FOR PROSE Adapted from “LitWeb,” The Norton Introduction to Literature Study Space Action Any event or series of events depicted in a literary work; ssievent may be verbal as wellas physical, so that speaking. ‘or telling a story within the story may be an event. Allusion \ brief, often implicit and indirect reference within \ literary text to something outside the text, whether iother text (eg. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. iguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are ‘sponding to a work’s ambiguity. This means that the vk: is open to several simultaneous interpretations. | anguage, especially when manipulated artistically, can viiunicate more than one meaning, encouraging our inexpretationsAntagonist A character or a nonhuman force that opposes, or is in. conflict with, the protagoni Anticlimax An event, or series of events, usually at the end of a narrative, that contrasts with the tension building up before. Antihero A protagonist who is in one way or another, the very opposite, of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis, Antiheroes are especially common in modern literary works. Archetype ‘A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures: examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern). The term and our contemporary understanding of it derive from the work of psychologist Carl Jung (1875- 1961), who argued that archetypes emerge from—and give us a clue to the workings of—the “collective unconscious, a reservoir of memories and impulses that all humans share but aren't consciously aware of. 2 Author The real author who actually wrote a narrative, not to be confused with the implied author, or authorial persona adopting an outlook implied by the work as a whole (and that may differ drastically from that of the real author). The author should not be confused with the narrator who tells the story. When a narrator tells a story in the first person, it does not mean that the author is telling his/her own experiences. Bildungsroman (German for ‘education novel”) \ novel that depicts the intellectual, emotional, and moral development of its protagonist, from childhood into \«lulthood; and is also sometimes called an apprenticeship ‘vel ‘This type of novel tends to envision character as (le product of environment, experience, nurture, and \Jucation (in the widest sense) rather than of nature, fate, and so on, Wiography \ workof nonfiction that recounts the life of areal person. Ii the person depicted in a biography is also its author, ‘hen we use the term autobiography. An autobiography {ht focuses only on a specific aspect of, or episode in, its \wihor’ life is a memoir. \\\e third part of plot (see Freytag’s pyramid), the point hich the action stops rising and begins falling or ‘\eruings also called turning point.Coming-of-Age Story ‘A narrative in which a character—often a child or young person—first learns a significant, usally life-changing truth about the universe, society, people, or himself or herself also called an initiation or rites-of passage story. Complication In plot, an action or event that introduces a new conflict or intensifies the existing one, especially during the rising action phase of plot. Conclusion Also called resolution, the fifth and last phase or part of plot, the point at which the conilictive or destabilized situation at the beginning becomes stable once more and the conflict is resolved. Conflict A struggle between opposing forces that vets the action in motion. An external conilict pits a character against something or someone outside himself or herself— another character or characters or something in nature or society. An internal conflict happens when the opposing forces are two driv single character. s, impulses, or parts of a Crisis In plot, the moment when the conflict comes to @ head, often requiring the character to make a decision; dometines the crisis is equated with the climax or turning point and sometimes 4 is treated as a distinct moment Dénouement (Erench for Suntying” as of a knot) A plot-related term used in three ways: (1) asa synonym for falling action, (2) asa synonym for conclusion or resolution, and (3) as the label for a phase following the conclusion in which any loose ends are tied up. See Freytag's pyramid. Dialogue 1) Usually, the representation of an oral exchange involving two or more characters, 2) More rarely, a literary work that consists ‘mainly or entirely of the speech of two or ‘more characters. Diction Choice of words that largely determines the tone of a narrative and influences the style of the creative piece of fiction, Informal or colloquial diction resembles everyday speech Formal diction: lofiy, impersonal, and dignified language. Exposition ‘The first phase or part of plot (see Freytag’ pyramid), which sets the scene, introduces and identifies characters, ‘while establishing the situation at the beginning ofa story. Additional information is often scattered throughout the work,Falling Action “The fourth of the five phases or parts of plot (see Freytag’s pyramid), in which the conilict or conflicts move toward resolution. Fiction Any narrative, especially in prose, about invented or imagined characters and action. Today, fiction falls into three major subgenres based on length—the short story, novella, and novel. Older, originally oral forms of short fiction include the fable, legend, parable, and tale. Fictional works may also be categorized not by their length but by their handling of particular elements such as plot and character. Detective and science fiction, for example, are subgenres. Others fictions include gothic, romance, historical and nonfiction. Figurative language Language that uses figures of speech or literary devices to express ideas. Flashback A plot-structuring device inserting a scene from the fictional past into the fictional present. Flash-forward A plot-structuring device inserting a scene from the fictional future into the fictional present. Foil A character with behavior and/or values that contrast those of another character in order to highlight the distinctive temperament of that character. Foreshadowing ‘ hint or clue about what will happen at a later moment in the plot. Preytag’s Pyramid. \ diagram of plot structure first created by the German novelist and critic Gustav Freytag (1816-1895). Climax Rising action Falling action Exposition Denouement Genre \ type or category of works sharing particular formal or \extual features and conventions; especially used to refer to the largest categories for dassifying literature - fiction, poetry, drama, and nonfiction. A smaller division within 4 genre is usually known as a subgenre, such as gothic fiction or epic poetry.Hero/Heroine A character in a literary work, especially the leading ‘male/female character, who is especially virtuous, usually larger than life, sometimes almost godlike. Image/imagery Broadly defined, imagery is any sensory detail or evocation in a work; more narrowly, the use of figurative Janguage to evoke a feeling, to call to mind an idea, or to describe an object. Imagery may be auditory, tactile, ‘visual, or olfactory depending on which sense it primarily appeals to—hearing, touch, vision, or smell. An image is particular instance of imagery. Inciting incident ‘An action that sets a plot in motion by creating conflict. In medias res (Latin for “in the midst of things”) Opening of the plot in the middle of the action, and then filling in past details by means of flashback Irony A situation or statement characterized by a significant difference between what is expected and what actually happens, or between what is understood and what is, meant. Verbal irony occurs when a word or expression in context ‘means something different from, and usually the opposite of, what it appears to mean; when the intended meaning is harshly critical or satiric, verbal irony becomes sarcasm. Situational irony occurs when the character's actions have an opposite effect from what was intended, or lead to areversal of expectation or unexpected. Dramatic irony occurs when there is a gap between what an audience knows and what a character believes or expects; when this occurs in a tragedy, dramatic irony is sometimes called tragic frony. Cosmic irony and irony of fate are sometimes used to refer to situations in which situational irony is the result of fate, chance, the gods, or some other superhuman force or entity. Metaphor A general term for almost any figure of speech involving comparison; more commonly, a particular figure ‘of speech in which two unlike things are compared implicitly—that is, without the use of a signal such as the word like or as—as in “Love is a rose, but you better not pick it? Mood Ihe feelings evoked while reading a literary text. Narration 1) Broadly, the act of telling a story or recounting a narrative. 2) More narrowly, the portions of a narrative attributable to the narrator rather than words spoken by characters (that is, dialogue).3) Term used in conjunction with qualifiers that determine the sort of perspective taken in the narrative (first-person narration, second-person narration, third-person narration, internal narration and external narration) Narrative A story, whether fictional or true, in prose or verse, related by a narrator or narrators (rather than acted out onstage, as in drama). At times a frame recounts the telling of another narrative or story that thus “frames” the inner or framed narrative. Narrator Someone who recounts a narrative or tells a story. An internal narrator isa character within the work telling the story to an equally fictional auditor or listener; internal narrators are usually first- or second-person narrators (see below). An external narrator is not a character. When applied to the actual narration, one talks of either internal narration or external narration. A first-person narrator: an internal narrator who consistently refers to himself or herself using the first- person pronoun I (or, infrequently, we). The first-person narrator should not be confused with the author. When a narrator tells a story in the first person, it does not mean that the author is telling his/her own experiences. A third-person narrator uses third-person pronouns such as she, he, they it, and so on; almost always external narrators, third-person narrators include omniscient, limited and objective narrators. Omniscient narrators (literally, “all-knowing”) describe the inner thoughts and feelings of multiple characters. Limited narrators relate the thoughts, feelings, and perceptions of omly one character (the central consciousness), Objective or detached narrators acting as ‘camera eye”) reveal nothing of characters’ thoughts and feelings, but report only actions, dialogue and behaviour. An unreliable narrator causes the reader to view the account of events with suspicion, as opposed to a reliable narrator, whose judgment and narration the readers may trust. An intrusive narrator is a third-person narrator who occasionally disrupts his or her narrative to speak directly to the reader or audience in direct address. Novel A fictitious prose narrative of book length. Novella A piece of fiction shorter than a book-length novel but longer than a short story. Plot The arrangement of the action, The five main parts oF phases of plot are exposition, rising action, climax or ‘turning point, falling action, and conclusion or resolution.Prose The regular form of spoken and written language, measured in sentences rather than lines, asin poetry. Protagonist The main character in a work, whether male or female, heroic or non-heroic. Rising Action ‘The second of the five phases or parts of plot (see Freytag’s pyramid), in which events complicate the situation ‘existing at the beginning of a work by intensifying the initial conflict or introducing a new one. Sequence. The ordering of events in a fictional plot. Setting ‘The time and place of the action in a work of fiction. ‘The spatial setting refers to the place or places in which action unfolds. ‘Temporal setting: the period in time in which action unfolds (temporal setting is thus the same as plot time.) General setting: the general time and place in which all the action unfolds. Particular settings: the times and places in which individual episodes or scenes take place. Both general and specific settings include the cultural, economic, manufactured, natural, political, religious, social and temporal environment of a text, including everything that the characters know and own. Short Story \ relatively short work of prose fiction (approximately 100 to 10,000 words) that, according to Edgar Allan Poe, can be read in a single sitting of two hours or less and works to create “a single effect” Two types of short story ave the initiation story and the short short story Short Short Story lspecially brief short story, as its name suggests, also sometimes called micro fiction. Simile \ figure of speech involving a direct, explicit comparison ‘fone thing to another, usually using the words like or as \o draw the connection, as in “MY love is like a red, red Style \ distinctive manner of expression; an author's style results from a combination of aspects, such as diction, rhythm, imagery, and so on. Symbol A person, place, thing, or event that figuratively represents or stands for something else. Often the thing ‘or idea represented is more abstract and general, and the symbol is more concrete and particular. \ traditional symbol recurs frequently in (and beyond) literature, making it immediately recognizable to those who belong to a given culture,In Western literature and culture, forexample, theroseand snake traditionally symbolize love and evil respectively. Some symbols may accumulate their complex meanings only within a particular literary work, Theme 1) Broadly and commonly, an idea explored ina literary work (e.g, “the value of all life”). 2) More narrowly, the insight about a topic communicated in a work (eg. “All living things are equally precious”). ‘Most literary works have multiple themes, though some people reserve the term theme for the central or main insight and refer to others as subthemes. Usually, a narrative illustrates a given theme rather than explicitly stating in it, Many narratives may illustrate the same theme, such as war and peace, generational gap, gain of maturity, and more, but the particulars will differ. Time Fiction includes at least four potentially quite different time frames: 1) author time: time when the author has originally created or published a literary text 2) narrator time: time when the narrator in a work of fiction supposedly narrates the story 3) plot times time when the action depicted in the work supposedly takes place (in other words, the works temporal setting) 4) reader (or audience) time: time when an actual reader reads the work. In some cases, author, narrator, plot, and reader time will be roughly the same, But in other cases, some or all ofthese time frames might differ. Tone Ihe attitude a literary work takes toward its subject, especially the way diction reveals it ve smite (from Latin verisimilitudo or “likeness to truth”) Ihe internal truthfulness, lifelikeness, and consistency of the world created within any literary work. Verisimilitude suggests judging that world on its own terms rather than in terms of its correspondence to the real world. Thus even awork that contains utterly fantastic or supernatural characters or actions (and does not aim at realism) may very well achieve a high degree of verisimilitude.ABOUT THE AUTHOR Merle Hodge is a Trinidadian novelist and critic. She was, born in 1944, in Curepe, Trinidad. She received both her elementary and high-school education in Trinidad, and 4as a student of Bishop Anstey High School, she won the Trinidad and Tobago Girls’ Island Scholarship in 1962. The scholarship allowed her to attend University College, London, where she pursued studies in French. In 1965 she completed her B.A. Hons. and received a Master of Philosophy degree in 1967, the focus of which concerned the poetry of the French Guyanese writer Léon Damas. Hodge did quite abit of traveling after obtaining her degree, working as a typist and babysitter to make ends meet. She spent much time in France and Denmark but visited many ‘other countries in both Eastern and Western Europe. After, returning to Trinidad in the early 1970s, she taught French Jor a short time at the junior secondary level. She then received a lecturing position in the French Department at the University of the West Indies (UWD, Jamaica. At UWI she also began the pursuit of a Ph.D. in French Caribbean Literature. In 1979 Maurice Bishop became prime minister of Grenada, and Hodge went there to work with the Bishop regime, She was appointed director of the development of curriculum, and it was her job to develop and install a socialist education program, Hodge had to leave Grenada in 1983 because of the execution of Bishop and the resulting US. invasion. Hodge is currently working in Women and Development \wulies at the University of the West Indies in Trinidad. lv date, Merle Hodge has written two novels: Crick Crack, Monkey (1970) and The Life of Laetitia, which was published more than two decades later, in 1993, Hodge’ first novel, Crick Crack, Monkey, is classic josicolonial writing, as it follows the story ofthe life of a young girk: Cynthia, called Cyntie or Tee. When Tee’ father ‘migrates abroad she and her brother are forced to live ‘at an aunts house in rural Trinidad, She has childhood escapades and attends a couple of different schools and irs all vividly portrayed. However, Tee’ well-off aunt who prizes whiteness in all its forms ~ physical and cultural - soon makes Tee her project. The story is narrated through the eyes of an unbiased child protagonist, The child’ innocent outlook, humour and vigour is used to delve into issues such as the destructive effects of colonial education and the complex intersections of race and class in cultural identification. ‘The Life of Laetitia (1993), the story of young Caribbean girls frst year at school away from home. The story centres ‘on a bright, strong-willed Laetitia, who struggles against poverty and prejudice while seeking an education in an turban secondary school, miles away from her Caribbean village. From the Trinidadian writer Hodge, this novel possesses an authentic taste of Caribbean culture and several serious themes.Pot Synopsis ‘The novel is a burgeoning story and is a first person narrative, told from the perspective of the main character Laetitia Johnson as she manoeuvres her new life at secondary school. ‘The story commences as the young protagonist, twelve year old Laetitia (“Lacey”), has passed her Common Entrance Examinations, but is forced to live with her father in La Puerta, because her grandmother ("Ma") cannot afford the cost of the long commute. Lacey is the first one in the family to be able to attend High School “I would be the first one ever, the first one in the family to go to secondary school” (pg. 6). However, the honour is overshadowed by the necessity of leaving the ‘wise grandparents who raised her and moving to town to live with an arrogant father (“Mr. Cephas”) she hardly knows After the “long uneasy” (pg 25) drive to La Puerta, Lacey is introduced to her step-mother “Miss Velma’, who proved to be a docile and timid woman, along with, her half-brother Michael; an unruly child who seemed to lack basic manners and decorum. Not long after her arrival Lacey comes to the decision that she was going to take Michael in hand “But I decided that Michael, before long, would learn to make his bed and tidy his belongings" (pg 30), Michael eventually learns to make his bed, pack away his jpossessions and even sweep and wash the dishes “Michael was a new little boy” (pg 83). Unfortunately, one fateful «day Lacey's father suddenly arrives home as Michael was inthe kitchen helping with the dishes. Appalled he ranted {o Miss Velma: “I tired talk to you about how you turning this boy into a damn cunumuns” (pg 84). Not long after, Mr. Cephas refused to give Lacey money to go back to Balatier on weekends. Lacey becomes unhappier in La Puerta as she misses her family in Balatier, This however, is not the only difficulty she faces in her new life. In addition to being miserable ather new home, Lacey experiences difficulties at school. At the commencement of the new school term Lacey is paired with a girl of East Indian decent, Anjanee. A friendship ensues between the two but Lacey is especially saddened by the hopelessness felt by her best friend, who does not have the support of her traditional Indian family at home. Anjanee misses much school because she does not have the financial backing of her father and brothers, She consequently begins to fail her subjects and begins to despair ending up like her overworked and unappreciated mother. Lacey offers to stay back in school to help Anjanee study since her bus arrives at four. This works for a time and Anjanee’s grades begin to improve until they are caught by Mr Cephas one afternoon. He chastises Lacey for having an Indian friend and orders her to stay away from the girl.Lacey then schemes to cut Spanish class in an effort to help Anjanee study, but this also proved to be futile as Anjanee was too uncomfortable with the idea of cutting class. Anjanee is ick throughout the novel,and ultimately commits suicide, Anjanee is also disapproving of Lacey's truancy. After Anjanee’s suicide, Lacey ends up having to inhabit Anjanee’s life. She re-evaluates her relationship with her own education and begins taking it seriously again, in the way Anjanee always wanted for her. Lacey's circumstances change, too, as her father refuses to let her live with him - unless she adheres to his lifestyle and ‘expectations - so she returns to her grandmother's home. “There, she must undergo the long journey that is similar to Anjanee’s daily commute to school at the end of the novel. CHAPTER SUMMARIES AND ANALYSES Chapter One Summary The story begins as Lacey makes her way out of Sooklal Trace, Balatier inher father’s motorcar, “Itwas ery strange to be going down Sooklal Trace in a motorcar” (pg. 3) she muses, The drive proved to be quite disconcerting as her estranged father “kept trying to make conversation” above the noise of the car. As her father aims at making conversation, Lacey sits in quiet contemplation on the day she found out she had passed the “Common Entrance examinations’. “It was a Sunday” (pg. 6) she recalls and her family were celebrating the news of her successful entry into Secondary School. Chapter Two Summary Lacey further recalls that she had “never seen much” (pg. 7) of her father, before his appearance two days after finding out she had passed her exam; and had gained entry into the Secondary School in the town of La Puerta, ‘where he resides. Ma “did not havea very high opinion of him” (pg. 7) for he never helped to maintain Lacey before this point.Although he may have sent some money, or a present, occasionally, his presence in Lacey's life was never consistent. As expected, when he showed up that fateful day to propose that Lacey come live with him while she attends Secondary School, Ma did not greet him very “warmly”. After they sent Carlyle to invite Mr. Cephas in and Ma was done interrogating him, Lacey knew Ma had already made up her mind. However, Ma agreed to write to Mammy Patsy and Mr Cephas would have to await confirmation from her about Lacey's living arrangements. Chapter Three Summary ‘As members of the family weighed in on Mr Cephas proposal Ma had already made up her mind even before the letter from Mammy Patsy arrived, as Ma could not afford the long commute it would make more financial sense for Lacey to stay with her father. Mammy Patsy agreed asshenoted, “itishigh time that man do something for the child” (pg. 12)."So it was decided. Late, late in the ‘August vacation” (pg. 13) that Lacey would go stay with her father in La Puerta. Chapter Four Summary On the day of registration Ma accompanied Lacey to the Secondary School, and there they encountered a female teacher, Mrs. Lopez, “She was wearing enormous gold earrings - they could have been little force ripe ‘oranges...she had too much hair for her thin face... Her cheeks, her mouth, and her eyelids were plastered in three Uifferent colours of heavy grease” (pg. 15). In their first encounter Mrs Lopez proved to be quite disrespectful and antagonistic, much to the surprise and disgust of Ma. Thankfully a male teacher intervened to complete the registration process. As they were in town, Ma and Lacey paid a visit to Mas “macomere” - Ma Zelline. ‘There Ma relayed the encounter with the “Circus-horse’ Mrs Lopez, as they sat catching up, before heading back to Balatier. Chapter Five Summary Ma had agreed to let Cephas come for Lacey one week before school opened. So the day before, Lacey got up early and began to prepare for her departure. She tended her little garden as Uncle Leroy agreed to look after it while she was gone. Once she had completed her chores, Lacey listened to the hum of voices emanating from the kitchen and the aroma of coffee filled the air. She felt safe and at home with the familiar sounds and smells. - leChapter Six Summary Lacey's reminiscing comes to an end just as the “long, ‘uneasy drive” to La Puerta ends with Mr. Cephas pulling up to his house. Mrs. Cephas was sitting in the gallery “Her head was tied with a pale cloth that made her seem to be sick or sorrowing’, Afier exchanging greetings and having been examined by “Mistress Cephas’, Lacey agreed to call her “Miss Velma” she was shown to her room, which she would be sharing with her half-brother Michael. Michael's bed was in disarray and toys strewn on the floor, yet he was nowhere to be found. When he finally came into the house he proved to be just as bad with courtesies as he was with keeping his room tidy. He was unruly and lacked proper decorum, but not long after, Lacey decided that she was going to make him change for the better. Chapter Seven Summary ‘Mr. Cephas arrived home very late that night and Miss ‘Velma sat in her rocking chair, in the gallery, all evening awaiting his return, until she no longer could and retired to her bedroom. The next morning, Miss Velma woke Lacey to accompany her to church, When they arrived home the house was still “closed up and quiet as a tomb’ ‘Miss Velma tiptoed through the living room as did Lacey. ‘They both changed and as Miss Velma was preparing both breakfast and lunch Lacey woke Michael, who “still sleeping, sprawled across the bed” (pg. 32). they both sat to eat breakfast and shortly after Michael dlisappeared into the neighbourhood. When Mr. Cephas awoke, he had breakfast then he himself left the house. He did not return until a quarter passed three and only then did they all sit to have Sunday lunch. That evening is Lacey sat reading in the living room Mr. Cephas had ‘a few guests over. “My father was showing me to a small party of men all more or less like him” (pg, 34), boastfully he made a show of his “little scholar” (pg. 34) making her shake all of their hands and later made her top up the ice in their glasses, “my father led me by the arm into the drawing room, He steered me from guest to guest for me to put ice in their glasses and for him to tell them again of my brains and my books and what a big shot I was going to be when I grew up” (pg. 35). Chapter Bight Summary The week before the start of the new term was filled with preparing for school. Miss Velma took Lacey to acquire books, school clothes and shoes. From the extra money Miss Velma was able to purchase some cloth to make three new dresses for Lacey, which Lacey greatly appreciated. Miss Velma was also glad because she always wanted a little girl to sew for. She made Lacey's school skirts and ‘when Lacey tried them, she was overcome as she wished her family was there to see how “smart” she looked. Miss Velma also showed Lacey around town so she would know her way.Having settled in nicely Lacey decided it was time to start, teaching Michael to be more responsible. She started by glaring at him “I opened my eyes wide like a madwoman, bared my teeth, and rose up off the bed as if to spring on him” (pg. 37). Frightened he ran out and brought back Miss Velma but could not explain why. After Miss Velma left the room Lacey called Michael over to her. She warned him that he was not to make noise in the room and ordered him to make up his bed and take a bath “a shadow of protest passed over his face” (pg. 39) but he conceded. In the end she rewarded him with a story “and his face was one big eager smile” (pg. 39). Chapter Nine Summary ‘The first day of school began for the new students of La Puerta Government Secondary with a “little welcoming, speech? (pg. 40). Students were sorted into classes and paired off with a classmate, Lacey “was placed in Form 1H and (her) partner was a girl named Anjanee Jugmohansingh” (pg. 41). To Lacey the girl reminded her of her cousin Charlene’s mother, Tara, “She didn't look like Tara, but she reminded me ofher because she seemed, to be smiling not with happiness but with the goodness of heart, a goodness that nothing could kill” (pg. 42). After introductions were made the students were led to their classrooms, where they formally met their Form Teacher ‘Miss Hafeez. The students were then given a tour of the school and were taken back to the class to be made aware of the school rules and class schedule. ‘The vastness of their new environment was awe inspiring, to Lacey and Anjanee. At lunch Anjanee pleaded with Lacey to accompany her so they could eat outside, To Lacey it seemed as though Anjanee was trying to get as far away from everyone as possible, because she was ashamed of her lunch, “[s]he had taken a little brown- paper parcel out of the desk but was holding it on her lap. She seemed to be trying to hide it” (pg. 43). Subsequent to finally settling to the far side of the field both girls sat down to eat, Anjanee reprimanded Lacey not to laugh at her lunch but as she unfurled the brown-paper parcel a bit and the aroma of “roti and talkarie” filled the air it reminded Lacey of home to a point where she became “quite homesick” and the two continued to talk and acquaint themselves with each other. Chapter Ten Summary By the next morning Anjanee however, was late for school. As time progressed throughout the day Lacey also took notice of the fact that she did not have any text books. By the afternoon Anjanee could barely keep herself awake. She also did not possess a Physical Education uniform. ‘The following morning Anjanee again arrived late to school, as did many because of the rain. The class proceeded over to the Home Economics room and even though there were five boys present in the class the teacher seemed to be incapable of noticing, “she kept saying: ‘Now, gitls tidy, tidy as we go” and: ‘Into your soups, now, girls! It was as if. she couldn't see the five boys with us, large as life, who had chosen to do home ec intead of woodwork” (pg. 48) BB,By lunchtime, due to the inclement weather the girls could not sit at their usual spot so Anjanee found them ‘anew one “a space behind the lockers where abandoned broken furniture was stored” (pg. 48). When they were finished eating they returned to the class, Anjanee put her head on the desk and fell asleep. Chapter Eleven Summary On Thursday of that week Anjanee unfortunately did not turn up to school. At this time the students were in Social Studies class where they were introduced to the concept of a “Broken Home’, By Western standards students ‘were taught that 2 happy family possessed both parents present and two children as was displayed by a poster the teacher attempted to hang in the classroom. To hone the concept the class was then required to illustrate in their notebooks their interpretation of “a Happy Family” (pg. 51). While children “obediently” drew exact replicas of the poster Lacey depicted her own family much to the dismay of her teacher: “Now think about it” she nagged, “can that family be happy? No, I don't think so” (pg. 52). Lacey dismissed the teacher noting that not all of her teachers were “foolish people” (pg. 52), holding two teachers in high regard: Miss Hafeez and Mr. Joseph, the teacher who saved the “Circus-horse” from Lacey's ‘grandmother, the teacher who also happened to be their English teacher. Chapter Twelve Summary Excited that she was going home for the weekend, Lacey got up “very early” (pg. 55). She had already packed her bag and planned on taking it to school with her. She was even more excited to see Anjanee as she had missed her the day before. As she questioned Anjanee about not attending school Anjanee stated that it was because she missed the bus. However, Lacey could sense that this was not the case, but Anjanee would not tell her. At the end of the school day both girls walked to the bus station, but as cheerful and effervescent Lacey was, Anjanee was the complete opposite. After some prodding, Anjanee admitted that she does not have the financial support of, her family. Her eyes filled up with tears as she relayed her situation to Lacey and both girls sat in silence until it ‘was time for her to go. As much as Lacey felt for Anjanee her spirits lifted as she left that world behind and the bus picked up speed toward her village. By the time she had gotten to Rampie’s corner evening was descending. Lacey was glad to be home, She was energetically welcomed by her cousins who were awaiting her return and she stayed up late that night relaying everything about her new life in La Puerta. Every now and again Ma inquired as to how Mr. Cephas was treating her, and while she was not overjoyed to be living there she could not complain. The next morning Lacey got up early to check on her little garden, After she had completed her homework she went to the bigger garden to help Uncle Leroy. She seemed to be of more use that Carlyle, who was preoccupied with other things.‘On Sunday her Uncle Jamesie came with his camera and she donned her uniform so he could take a picture to send for her mother, As time drew closer and Lacey was preparing to leave, she again began to feel worried for Anjanee. Lacey’s drop in spirit alarmed her grandmother who asked if her father ever hit her “The man like to hit, we know he like to hit!” Chapter Thirteen Summary Anjanee was reluctant to talk about herself anymore, and ‘was even averse to sharing Lacey's textbooks, assuring Lacey that she would get hers “next week’: An unfortunate incident with a pen led Lacey to realise that Anjanee also ‘owned one shirt. Anjanee was then absent for three days but when she returned she did not utter a word as to why. Frustrated that Anjanee would not confide in her Lacey threatened to end the friendship but Anjanee began to cry. Lacey assured her that she too had no money and could not understand why Anjanee was so ashamed. Slowly, Anjanee began to confide that her mother usually squeezed some money out of the allowance given to her, so that Anjanee could have money to pay the taxi to Caigual, but that Monday there was no money left over. She begged her father and brothers but to no avail. She was even threatened by the older brother who felt that she had enough education and her place was in the household. She was only able to come to school because she sold some vegetables from her mother’s garden but, fell il on the third day. Anjanee was vehement, she did not want to end up like her mother, “I rather dead” she said. Chapter Fourteen Summary Michael was trying very hard not to annoy Lacey. He quite enjoyed when she read him stories so he made sure to keep her happy. Whenever Lacey would come into the room, she would always find it looking neat. Michael didn't spend much time at home. He would come home from school, drop his bad in the living room, he would g0 into the kitchen and lift the lid off every pot. Ifhe liked what was made he would stay and eat if not he would leave. Miss Velma begged him to do his homework. When Cephas was not polishing his car he would force Michael to read, but Michael could not read properly to save his life. Cephas would berate the child and call him names “blockhead” and when he flew into a rage he would beat Michael with a belt. Miss Velma would come out to plead for the child. Mr Cephas alsotook great interest in Lacey's school work, much to her displeasure. However, Lacey could never figure out Miss Velma. She seemed to creep about her own house, she spoke in “low, apologizing voice” especially when Mr. Cephas was around. Cephas seemed to be like a weight, Lacey compared her to a plant in too much shade,Chapter Fifteen Summary ‘On weekends at home Lacey tended to her garden but, she found that the time spent there was too short. She ‘wanted to stay and leave on Monday mornings but Ma would “not hear of it” (pg. 70). One Friday, when she arrived at Sooklal Trace there was a letter waiting for her form her mother. Mammy Patsy was glad that Cephas was doing his part, this gave her more freedom to attend school again, Whenever Mammy Patsy would write, ‘Ma would sit holding the letter and reminisce on all the things she missed about her daughter, helping in the garden, making sugar cakes, pecling pommescytheres to soak, shelling tamarind for tamarind balls so that they could sell it on a Saturday morning in the Junction. Lacey ‘wanted to help her grandmother on Saturday mornings, ‘when she went to the junction but Ma would not allow it “They ain't give you no homework to do?” (pg. 73) she called for Carlyle. Even though Carlyle attended school ‘Ma was not sure he could even read properly as such he was resign to doing laborious work. Chapter Sixteen Summary As the term progressed the students of Form 1H began, to come out of their shells. There were already student teacher “clashes” (pg. 74) and some students decided to test the school rules. Doreen Sandiford and her gang had already broken the cardinal rule of visiting the Plaza in La Puerta. Marlon Peters and his gang had opted to fill the rolls of clowns as they had “taken on the job to keep things lively in the classroom” (pg. 75). However, no one would ever disturb Mr. Joseph in Literature class. However, it was the “Circus-horse’, who proved to be quite vexing, “As important as we felt in Mr. Joseph’s class, though, Mrs, Lopez was there to turn us into nothing” (pg. 76). She taught her maths “scornfully” (pg. 76). None of the students dated to ask a question until Anjanee “put God ‘out of her thoughts” and asked Mrs. Lopez to explain a concept she did not understand. However, instead of explaining she snapped at Anjanee, “Try paying attention in class!” (pg. 76). At this point Lacey attempted to explain the lesson to Anjanee but Mrs. Lopez’s cynical and hostile deportment proved to be too much for Lacey and she snapped. There “was war in her voice” (pg. 76) as she responded to Mrs. Lopez antagonistic questions but instead of sending Lacey to the principal’ office Mrs. Lopez decided to take the opportunity to lecture the class on decorum. She accused them of coming from the gutter, compared them to pigs, insulted their family dynamics as some of the children did not have parents and went as far as to propose that they were not good ‘enough for secondary school. As the “Circus-horse” left the classroom “in a tense silence...full of danger” (pg. 78) in walked the unfortunate Mr. Tewari.Chapter Seventeen Summary For the first few moments of Mr. Tewarie’ class the students completely ignored him. The class was boiling with vexation at the “Circus-horse” and at themselves for saying nothing, They listed the ways in which they would get revenge. Mr. Tewarie feebly tried to gain control of the class but to no avail, until, his patience ran out and he slammed his book to the table. This worked fora moment, ong enough for the class to learn “Mother is making an omelette” (pg. 80) in Spanish, but mulled sounds began to emanate from the class again. Soon enough the class ‘was in an uproar. A girl screamed and ran to the front of the classroom, “choking with anger Mr. Tewarie sent ‘out Marlon Peters, Wayne Joseph and Anderson Lewis” (pg. 81). Although Peters protested that another student “Ali” was involved, Mr. Tewarie was having none of it. He ordered Peters to get out of the class. Peters sauntered out of the class singing under his breath “coolie, coolie! come for roti/all the roti done” (pg. 81), which proved to further infuriate Mr. Tewarie. “Children shrieked, booed, Iaughed, sang along” but they truly had nothing against “poor” Mr Tewarie. Chapter Eighteen Summary As time progressed Michael became a “new little boy” (pg. 83). He was folding his cover neatly, reading and reading much better than before. A close relationship developed between the two siblings, Lacey was proud to see how far he had come. One evening Lacey was teaching Michael to wash the dishes. Miss Velma occupied her usual spot in the gallery with the “Daily Word” when suddenly Mr Cephas appeared. He was ranting about Michael washing the dishes twice his hand rose to hit Miss Velma, Lacey attempted to intervene but Miss Velma shot her a look. Tt was obvious that Miss Velma was not the one showing Michael to wash dishes, she could never get him to do anything, Lacey knew her father knew it was her, Later that evening Cephas called Michael to read, and even though Michael was much better he still “baulked and stalled” (pg, 85). Cephas beat Michael that evening but, Miss Velma did not come out to plead for him this time she “stayed hidden’ The following afternoon Miss Velma called Lacey into her bedroom for a talk. She showed Lacey her photo album and pleaded with her not to provoke her father. Like Lacey Miss Velma also attended. high school but was pulled out to give her younger brother a chance as it was more important for the boy child to attain an education. Chapter Nineteen Summary Form 1H felt for Anjanee, although Lacey was the only one who truly knew he situation, others could tell that things were not well with her. They offered to share their books, prompt her whenever a teacher asked her a question. One day she felt faint in PE, and Marlon Peters and Naushad Ali raced to get her a glass of water.‘The students “were quietly up in arms against the ircus-horse” and she seemed to not care for them ther. However, Anjanee became her target. She would throw her most sarcastic remarks to the tired eager chil remorselessly. She was insulting and denigrating toward Anjanee. The cynicism of Mrs Lopez began to affect Anjanee, one Monday she appeared and missed school for the rest of the week. She talked about dropping out. Lacey knew, however, that if Anjaneeleft school she would “shrivel up and die” (pg. 90) for she was determined to not end up like her mother. On the Friday of that week Mrs Lopez commented on Anjanee’s absence as “One to be too much for the class to cope with. One by one they eg to exch thelr eometry pant the foo: The call the principal ir class. Mr, Tewarie never threatened them with the principal. After two or three altercations with the class he went to Miss Hafeez. Wit quired as to why they would not behave in Spanish class. Marlon Peters accused Mr. Tewarie of being “racial” (pg. 94). While students snickered and joked about the issue of racism, Peters yelled out that another student’ uncle wanted to go to “South Africa and help all them white people kill- out nigger” (pg. 95). Miss Hafeez was deeply perturbed by the sentiments echoed in the class but told them, the term to class these accusations is “racist” not (pg. 95). The class greed that racist was too severe a word to describe theit , but Miss Hafeez assured them that their comments, were indeed racist. As Miss Hafeez attempted to deal with the issue of race she seemed to veer off the issue of i Tewarie’s but before the bell rang she could address Mr. Tewarie’s complair for end of the session, Chapter Twenty-one ‘Summary Lacey was able to go home on weekends until about the idle of the term when her father refused to give her ;ny more money for the bus fare. Mr. Cephas left Miss Velma to relay the news to Lacey. During the day Lacey ‘was preoccupied with thoughts of home. She worked out scheme after scheme on how she was going to leave La Puerta and return home. She finally settled on asking Ma but recalled Mais warning: ““I not sending you to arass the lady with every little stupidness, but you know you if something happen. Zelline don't ld round her neck” (pg, $9). Lacey mused that if Ma Zelline wanted children she would have had them. However, janee’s situation that put things in perspective for Lacey. Anjanee was preoccupied with the upcoming mid-term examinations. So Lacey started lending her textbooks to take home and was trying to help her with revision at lunchtime.Chapter Twenty-two Summary ‘That same Friday Mr. Cephas came home early. Lacey was sitting at the dining table doing her homework but could not focus as she longed to be home. At the sound of the car, her spitits lifted thinking that she was being rescued but Uncle Leroy never came. Upon the arrival of Mr. Cephas, Michael crept into the house “through the back door” (pg. 103). Mr. Cephas did not leave to go out; he stayed home and instead cleaned his car, Lacey knew that it was so that he could keep an eye on her. The next morning, Lacey attended to her chores by helping Miss Velma while Cephas yelled at Michael to get up and do some school work. After Mr. Cephas ate his fill he got dressed to go out and Lacey took this opportunity to visit Ma Zelline. Chapter Twenty-three Summary Lacey visited Ma Zelline and regaled her with tales of “the Circus-horse, the antics of Marlon Peters and his gang Mr. Tewarie, Anjanee...” (pg.106). Ma Zelline was quite entertained puffing on her pipe as she listened, but her spirits fell when Lacey spoke of Anjanee, “That poor little girl will do something one day; and then all of them will hold they head and baw!” (pg.107). Yet when questioned about Cephas, Lacey boiled over with vexation, Ma Zelline took her to the kitchen to prepare some juice $0 as to calm her down. As the afternoon approached Lacey attempted to leave, “better go back now. I dont know when Cephas coming home” (pg. 109) but Ma Zelline had other plans. She made Lacey stay to have lunch, they picked a breadfruit from the tree in her yard and some dasheen bush from her garden. Ma Zelline encouraged Lacey not to be distracted by the negative people around her and make the best out of the opportunity she has been given. Chapter Twenty-four Summary Mid-term test began on Monday. Anjanee again arrived late to school. Lacey had already translated the sentences ‘Mr. Tewarie provided for assessment so she placed her paper so Anjanee could see, Maths was next on the agenda and Anjanee was “sick with fright” (pg. 111). By the end of the week they class was beginning to get back their test papers, Mrs. Lopez entered and reproached the class for their poor performance, zeroing in on Marlon Peters, who could not help but to grin from ear to ear and poor Anjanee. She saved Lacey for last, although Lacey thought that Mrs. Lopez was also going to torture her she turned to Lacey with a more pleasant disposition and announced that she had gotten “98 percent” (pg.113). She requested that Lacey see her after and proceeded to lecture Lacey on the company she kept Mrs Lopez's negative attitude only fuelled Lacey further to want to misbehave, “the more she talked, the more determined T became: I would show this woman that I was no friend of hers” (pg.114)