On Plath’s The Bell Jar
By Claire Lloyd
Colour permeates Esther Greenwood’s narration in Sylvia Plath’s The Bell Jar. Esther often articulates her visual perception in vivid colour. She particularly emphasizes the aesthetic of a film she watches with the Ladies’ Day girls. The film is in technicolour; its colours are saturated. Esther is sickened by the film’s bright portrayal of disparate gender roles…. Plath shows that technicolour is psychological poison—its consumption results in a widespread sickness.
On Sylvia Plath’s The Bell Jar
By Tati Chavitage
The ability to embrace femininity has always been a uphill battle in relation to the issues women have dealt with in Western society: in recent years, liberating ourselves through our sexuality has become apparent through movements like “SlutWalk”, a march that demands an end to rape culture, or even “free bleeding”, in which women refuse to hide their menstruation by allowing themselves to bleed without the help of tampons or other methods of concealment.
On Cormac McCarthy’s The Road
By Alexandra Cooper
As the Man attempts to walk the narrow line separating blind optimism and consuming despair, he uses his dreams and memories to keep him situated on the difficult path of realistic survival. The combination of the will to survive and unavoidable despondency yields a certain type of recollection of memory. In The Road, Cormac McCarthy uses the Man’s philosophy on dreams to follow the state of mind of his own characters.