The Idiot

Author: Arnold Bennett (English 1867-1931)
Published: 1905
Category: society
Text: Read Book Online

Summary:
A young man, on discovering his fiancée has left him, commits suicide with the help of the village idiot.

Analysis:
This story is somewhat deceiving in its simplicity. It is an example of the Classical Greek Unities as described by Aristotle in that it occurs in one place (the Queen's Arms at Moorthorne), over a short period of time (a few hours), and involves one incident (a suicide).

The title implies the story involves an idiot and there is an idiot in the story; the village idiot, Daft Jimmy

"Someone had told him [Daft Jimmy] the ancient story of the fool and his boots, and, with the pride of an idiot in his idiocy, he had determined that it should be related of himself."

I'm not sure which "ancient story" Bennett is referring to but the above statement appears to be telling us that this particular idiot is not the titular idiot.

Another candidate for the idiot is the protagonist himself, William Froyle; suicide may be viewed as an idiotic thing to do; however, on closer reading, we can find clues to a third, and perhaps bigger idiot than both Daft Jimmy and William Froyle combined, namely, the society they live in. 

William Froyle, we are told "... was a man about thirty years of age, with a serious and thoughtful, rather heavy countenance." who "commanded and received respect" from the whole village where "He was known for a scholar..."  and, as such, had been given "the proud position of secretary to the provident society styled the Queen's Arms Slate Club" yet we are also told that "...everyone wondered that so sedate and sagacious a man should have seen in Susie a suitable mate."  and that William, the scholar, did not fully understand the meaning of the word "nominee", and that he looked with disdain on the Chairman of the Queen's Arm Slate Club because the man had "signed the [club] rules without the use of capitals."  

So William had evinced poor judgment in selecting his fiancée, was somewhat dense when it came to understanding language and looked with disdain on those having authority over him.  Given all these shortcomings, one might wonder at the level of intelligence in the village of Moorthorne, after all, they had claimed him to be wise. Perhaps they could learn from Daft Jimmy, who came to his senses about his boot size:

'Them shoes!' the idiot ejaculated suddenly. 'Well, I be an idiot, and that's true! They can take the measure from my feet, and I never thought on it till this minute!'

Could it be that the villagers took the measure of William Froyle from the measure of their own intelligence and so they are really The Idiot referred to in the title?


Notes:

Bennett did a few other interesting things in the story with respect to the suicide itself. He tells us of an impending calamity "He [William] felt suddenly the near approach of a frightful calamity..." . The fiancée's surname is Trimmer, reminding one of the phrase "trimming one's sails" , something is to be curtailed. And then, in the lead up to the suicide itself, he uses language that evokes hangings: legs dangling, weighted chains, a little hanging cupboard, the hanging lamp. 

There is also Bennett's choice of the surname Froyle.  Froyle sounds like foil, while there is a town of Froyle also known as The Village of the Saints so William Froyle may be acting as a foil to a joke about village saints.


This story is recommended as a reading exercise in A Handbook on Story Writing by Blanche Colton Williams, 1917, p18.

The Overcoat

Author:  Nikolai Gogol (Ukrainian, 1809-1852)
Published: 1842
Category: Society
Text: Classic Reader

Summary:
An impoverished clerk spends his life savings on a new overcoat which is subsequently stolen; when his appeals to authority, for justice, prove futile, he dies of grief and cold. Shortly after the city is haunted by an apparition who steals the coats off people's backs.

Analysis:
In this story Gogol makes fun of minor officials and the insignificant in Russian society; although he manages to inject a sense of feeling for both. In speaking of the petty authority who scared the wits out of the protagonist, Akakiy, he tells us

"Suffering was unpleasant to him, for his heart was accessible to many good impulses, in spite of the fact that his rank often prevented his showing his true self."

And of the men the protagonist worked with, most of whom were inclined to make fun of him, there was at least one who was not so harsh.

"There was in it something which moved to pity; so much that one young man, a new-comer, who, taking pattern by the others, had permitted himself to make sport of Akakiy, suddenly stopped short, as though all about him had undergone a transformation, and presented itself in a different aspect."

And in the tailor, Petrovitch, who makes the new overcoat, we are shown that even the down-trodden take pride in their work and aspire to greater things, if only they could be given the opportunity.

"Taking out the cloak, he gazed proudly at it, held it up with both hands, and flung it skilfully over the shoulders of Akakiy Akakievitch....Petrovitch did not neglect to observe that it was only because he lived in a narrow street, and had no signboard, and had known Akakiy Akakievitch so long, that he had made it so cheaply; but that if he had been in business on the Nevsky Prospect, he would have charged seventy-five rubles for the making alone."

But throughout there is the overriding Russian sense of fate, of men being made what they are by their names and the  circumstances of their lives:

"His name was Akakiy Akakievitch. It may strike the reader as rather singular and far-fetched, but he may rest assured that it was by no means farfetched, and that the circumstances were such that it would have been impossible to give him any other."

And the only hope for a little justice comes after death.

"But the horror of the important personage transcended all bounds when he saw the dead man's mouth open, and, with a terrible odour of the grave, gave vent to the following remarks: "Ah, here you are at last! I have you, that -- by the collar! I need your cloak; you took no trouble about mine, but reprimanded me; so now give up your own."

Byezhin Prairie

Author: Ivan Turgenev (Russian, 1818-1883)
Published: 1852
Category: Sketch
Text: archive.org

Summary:
A huntsman loses his way home at dusk, coming across a camp fire set up by a group of young boys herding horses. As he lazes nearby he listens to the boys tell each other stories of house spirits, water nymphs, near deaths, accidental deaths, mad women, sorrowful men and the anti-christ; at one point, the ugliest of the boys rushes out into the night to scare off a wolf, the same boy later goes to the river for water and returns saying he heard the ghost of a drowned boy call his name.  The sketch ends with the huntsmen saying what a pity it was that the same boy 'met his end' that year.

Analysis:
This sketch reminds me of Washington Irving's Rip Van Winkle and The Legend of Sleepy Hollow; it has the same combination of pastoral setting and superstition. Both authors are wonderful at describing landscape; Turgenev skilfully leads us through a changing scenery; moving us from daylight, through dusk into night; from the sun's glare to the moon's weak light; from the heights to the valley; from firm and dusty roads to damp, soft grasses; from a dawn of reason to a night of superstition.  The narrator does not enter this world, he is not one of the boys, rather, he observes them in their natural habitat. And here lies the main difference between Turgenev and Irving, for Irving was one of the boys; proud to be a living, breathing part of the American landscape while Turgenev leaves the impression he enjoys riding freely across the Russian landscape but is not, and never has been, truly part of it.

The Embassy of Cambodia

Author: Zadie Smith (English, 1975- )
Published: 2013
Category: Modern
Text: The New Yorker

Summary: The daily movements of a young African woman, working as a servant in a middle class London home, located on the same street as the Cambodian Embassy, are observed.

Analysis:
The opening line of the story, "Who would expect the Embassy of Cambodia? Nobody."  is a paraphrase of Monty Python's "Nobody expects the Spanish Inquisition!"  and immediately one gets a sense that something unappealing in English middle class life is about to be revealed; and we are not disappointed, because the next few lines place us firmly in a North London suburban street, only now its little villas, with their private swimming pools, are also occupied by Arabs and, of all things, the Embassy of Cambodia.

There are a number of themes running through the story: the heard but unseen badminton game, the stealthy swims, the all-knowing friend, the Western back-packers entering the embassy; all in support of an overriding theme of unsympathetic detachment. The whole story leaves one feeling we are back in elementary school, the teacher has pinned a picture of a young black woman sitting on the sidewalk, in the drizzling rain, surrounded by her few belongings packed into shopping bags at her feet, and it is our task to describe how she came to be there. And the story we create is full of reasons that absolve us of any need for sympathy or empathy.

The young woman is an interloper in our society, just as she uses guest passes to her employer's club, without their permission, she is here, on this street, in this place, without ours. Her situation is not our doing but the world's, whose values have crept in and displaced ours, just as the Arabs and the Cambodian Embassy have moved into our street and physically displaced our English neighbours . It is up to Fatou, the girl, to "make her own arrangements" and not be fatuous about it; is it our fault she doesn't know she is a slave? that she has rights?

And the irony is, Fatou and those like her, are as detached from us as we are from them; being totally unaware that they are as vital to our sustained life as Fatou's presence was to Asma's life the day the child swallowed a marble; for in the end, we are all, English or not, middle-class or working class, Arab or Cambodian; as gormless as the narrator.

The Garden Party

Author: Katherine Mansfield (New Zealand, 1888-1923)
Published: 1922
Category: Society
Text: Classic Reader

Summary:
The accidental death of a young husband and father is the seed that allows the illusion of class distinction to take root and grow in the fertile ground of a young girl's mind.


Analysis:
Mansfield deftly employs an array of metaphors: flowers, hats, food, topography, and technology to describe a gradual change in a young girl's, Laura's, view of the people and events that fill her life on a day when "Only the blue was veiled with a haze of light gold"; implying the girl's changed view will be the result of an illusion created by a golden veil thrown over her head to turn her clear (true blue) vision hazy.

The story's title, "The Garden Party", itself, suggests a lovely summer's day of innocent pleasures while at the same time reminding us of the Garden of Eden and the possible loss of innocence as well as an indulgence in pleasures that may be sins. The idea of supplanted innocence is reinforced in the first paragraph where we are told

The gardener had been up since dawn, mowing the lawns and sweeping them, until the grass and the dark flat rosettes where the daisy plants had been seemed to shine.

Daisies, white spring flowers often associated with children and innocence, have been replaced with "dark flat rosettes". Later in the story we find that fake gold daisies decorate the brim of a hat given to Laura by her mother; not a "sweet hat" like the one her friend Kitty "wore on Sunday" but a "black hat" that made Laura look "Spanish", "striking" and "stunning" and directed her thoughts away from others

Just for a moment she had another glimpse of that poor woman and those little children, and the body being carried into the house. But it all seemed blurred, unreal, like a picture in the newspaper. 

and onto herself "Never had she imagined she could look like that."  Her new hat induces new thinking. The man's death, which took place "just outside the front gate", and his family's grief, which she first viewed as personal, "they're nearly neighbours", are now seen impersonally "like a picture in a newspaper." In fact, the whole impoverished community is now unreal to her, they are like the old woman with "her feet on a newspaper."; they no longer tread on common ground. Laura, her family, the garden, occupy the top of the hill, the dead carter, his family, neighbours and "cabbage" patches, the bottom. She does not bring them the "bread and butter" she nourished herself on at breakfast but the "fancy cream puffs" she indulged in later; filled with a "whipping cream" that induces an "absorbed inward look".

Instinctively recognizing her new view as false, "if only it was another hat", Laura blurts out "Forgive my hat", knowing she is no longer capable of putting it aside.  As she re-climbs the hill, her brother emerges from the shadows and asks if she was crying "Laura shook her head. She was."  She has learned to lie.

The Little Gypsy Girl

Author: Miguel de Cervantes Saavedra (Spanish, 1547 - 1616)
Published: 1613
Category: Tale
Text: Project Gutenberg

Summary:
A young nobleman falls in love with a young gypsy girl; pledging her two years of his life in exchange for her hand in marriage, he joins the gypsy band, abandoning his parents and his city but not his values.


Points of Interest:
More of a morality tale than a short story, it is full of negative comments on gypsies except for the young gypsy girl, Percosia, who is always described in glowing terms, as is her suitor. The reason becomes clear in the end, when we discover Percosia had been stolen away from her true parents when she was very young and was not really the old gypsy woman's granddaughter.

The Story of An Hour

Author: Kate Chopin (American, 1850-1904)
Published: 1894
Category: Character Study
Text: VCU, Ann Woodlief's English Web


Summary: 
Life, is it what you expect?

Analysis:
What do you expect from life? And who sets those expectations? You? Your family? Your friends? Your  husband? Do your expectations shape your life? Can changing your expectations, change your life? For a few precious moments, Mrs. Mallard, the protagonist in Kate Chopins' "The Story of An Hour", discovered they do, and they can.

Mrs. Mallard's expectations of life were shaped by her husband, whose "kind intentions" masked a  "powerful will" which sought, with "blind persistence", to force her life into a shape of his choosing; his loving looks "fixing" her in a "gray and dead...procession of years" the "thought" of which made her "shudder [,] that life might be long."  

Young, she lived as a child in a "dream", presenting "a fair, calm face" to the world; locking up her troubled thoughts in a troubled heart. It was only on receiving news of her husband's death that she dared, for a moment, to release them.

Fearfully, at first, then wildly, with a powerless abandonment, she allowed her old expectations of a long and dreary life to be replaced with the expectation of a new life holding the promise of a freedom of both "body and soul"; and, to her surprise, she discovered that with the release of the old expectations, came the release of "a monstrous joy".  A joy that refused to be locked away when her husband walked through the front door, alive and well.

There were signs that Mrs. Mallard knew her expectations of life were not her own; her "heart trouble" for one, the "physical exhaustion" that "haunted her soul"; her sense of "something coming to her" for which she had been "waiting".  And there were signs that her sister, Josephine, and her husband's friend, Richard, colluded with her husband's expectations for her; both acted to shield her from the news of his death, to break it to her gently, with "veiled hints"; an implicit recognition that her life was not her own, but his.

When Mrs. Mallard, on hearing the news of her husband's death, locked herself up in her room her sister, ironically, implored her to "open the door", fearing she would make herself ill, when she had been ill her entire married life. And although it was Mrs. Mallard who had entered the room, it was Louise who came out, joyful, victorious, "clasping her sister's waist", giving, rather than needing, support; standing tall above Richard, a man, waiting below.

Joyful and victorious until the "latch-key" turned and the front door of her larger world opened, re-admitting her "stained" husband, who carried with him the "grip-sack" of her old expectations, and her death.