Big Read, Part Three

Reader’s Guide Question #3
The narrator describes the main characters as both ordinary and heroic. Do you agree?

I will start by agreeing that each of the main characters seem ordinary. That is to say upon first glance that they can all be neatly clumped into a box labeled “Normal People: nothing out of the ordinary”. I would also argue that there is nothing heroic about any of them either.
But the question leads one to start thinking further about the meaning of heroism and what constitutes heroic action. In order to learn more I decided to take a look at the Literature Resource Center database located on the Library’s web site to see if there were any articles written about heroic actions by the main characters. I discovered a few literary criticisms about acts of heroism and will site two of them here just to prove my first impression wrong.
It is argued that “Doctor Copeland, who understands so well the suffering and degradation of the Negroes in the South and has sacrificed his health and happiness to help them, reveals a selfless dedication that is as heroic as it is desperate” (Cook 1975).
McDowell states: “At her best, Mick is heroic in offering to quit high school to support her family by working in the dime store--especially since this decision means she can no longer teach herself to play the piano in the school gym. Her defiant final words, "O.K. Some good!" show that she is still above despair and that she will battle the society that demands of her so unfair a sacrifice...McCullers knew--even when she had completed only Part I and wrote her proposal to her publishers--that Mick, rather than Singer, might seem to some readers the principal character, one of the "heroic, though ordinary" figures to whom McCullers referred in her initial outline of The Mute” (McDowell 1980).
1. The Heart Is a Lonely Hunter. Richard M. Cook. Carson McCullers. New York: Frederick Ungar Publishing Co., 1975. p19-45. Rpt. in Twentieth-Century Literary Criticism. Ed. Linda Pavlovski. Vol. 155. Detroit: Gale, 2005.
2. The Heart Is a Lonely Hunter (1940). Margaret B. McDowell. Carson McCullers. Boston: Twayne Publishers, 1980. p31-43. Rpt. in Twentieth-Century Literary Criticism. Ed. Linda Pavlovski. Vol. 155. Detroit: Gale, 2005. From Literature Resource Center.

Question 4
What fuels John Singer’s devotion to his companion, Spiros Antonapoulos? How does Singer feel after Antonapoulos is sent to the asylum?
Singer’s devotion to Antonapolous is fueled by love and the understanding of a friend who shares similar circumstances. It is November when Antonapoulos is sent to the asylum, the story’s timeline moves very quickly afterwards. McCullers writes, “The weeks that followed did not seem real at all. All day Singer worked over his bench in the back of the jewelry store, and then at night he returned to the house alone” (page 12). It is during this period that the reader gets a glimpse into Singers youth; that he was orphaned very young and while in school he had learned American Sign Language and the method of Europeans. He also learned to speak but doing so made him uncomfortable. We also find out that he met Antonapoulos when he was twenty-two years old when he came to the south from Chicago. It was after meeting Antonapoulos that he chose to have “never spoken with his mouth again, because with his friend there was no need for this” (page 13). Singer emerges with “a new feeling of energy” (page 14) in the spring and it is at this time that he decides to move from the rooms he shared with his friend. He walks “silently and alone” through rain and cold and finally reaches a point of “deep calm… In his face there came to be a brooding peace that is seen most often in the faces of the very sorrowful or the very wise” (page 15). It is at this point in Singer’s life that he allows himself to become vulnerable to the hearing world, from which he has had little interaction for ten years, since connecting with Antonapoulos.

Question #5
Why would McCullers choose to tell us so little about Singer’s past?
McCullers allows the reader to develop his/her own theory of what life for as an orphaned deaf child in a major city was like. As an orphan, there could have been other relatives who thought it would be too much trouble to raise a deaf child and therefore put him in an institution. As a child he was intelligent, learning sign language before the other students, which perhaps didn’t make him a favorite among the other children. As an independent young man he moved south to take his first job as an engraver, perhaps arranged by the school/institution where he was raised. The lack of information frames the isolation and loneliness he endured as a child and young adult before meeting Antonapoulos and would endure again after being separating.

Questions #6
Mick Kelly has an “inside room” and an “outside room.” What does this mean? Is this true for the other characters as well?
There are two sides to the character Mick Kelly; the pragmatist and the idealist.
With her it was like there was two places--the inside room and the outside room.
School and the family and the things that happened every day were in the outside
room. Foreign countries and plans and music were in the inside room. ... The
inside room was a very private place. She could be in the middle of a house full of
people and still feel like she was locked up by herself. (195)

Rather than just stating that Mick Kelly is an adolescent, one way in which McCullers shows the reader typical adolescent behavior is by describing how she compartmentalizes her daily life from her dreams. The other characters all have inside and outside rooms; i.e., we witness Dr. Copeland entering his inside room every time he dreams of a better society effectuated by his children. McCullers uses the character of Mick Kelly to develop the theme that each character has secrets, or secret desires. Using the character of an adolescent mind developing a necessary coping mechanism that as adults, becomes so natural we don’t even realize we do it.

Question #7
How different is Dr. Copeland’s view of the world from his daughter’s? What does he want for Portia? Why does she reject her father’s ideal?
Copeland’s view of the world is that of oppression. His mother previously a slave and father a preacher; they educated him and sent him North where he became a doctor. Upon completing his education “he knew his mission and came south again… He went from house to house and spoke the mission and the truth. The hopeless suffering of his people made in him a madness, a wild and evil feeling of destruction.” (Page 172). What he wanted from Portia and his sons was a better life, he wanted them to be educated and able to effect change for equality. Potia rejects her father’s ideals first because she views him as being extreme in his determination toward accomplishing his mission, second he does not hold back his disappointment in his children, and third, he lost the opportunity to have the greatest influence on his children because of his madness. In other words, his view of the world has left a bad taste in their mouths.

Question #8
Why does Jake Blount try to find the person who wrote a Bible passage he saw on a wall?
“Ye shall eat the flesh of the mighty, and drink the blood of the princes of the earth” (pg191).
Is this passage significant in any way to Blount’s socialist message?
The evening before Jake sees the message on the wall he tells Singer, “All we can do is go around telling the truth. And as soon as enough of the don’t knows have learned this truth then there won’t be any use for fighting” (page 190). It seems to me that in Jake’s mind, the person who wrote the passage “knows” the truth. Knowing the truth is the foundation for Jake’s socialist message. The truth is that democratic society is based on a lie propagated by the powerful and benefiting only the few. In Blount’s mind, the consumption of that power is necessary for reform and therefore directly related to his message.

Let us know your thoughts on the subject!

--Larry G.