George Walker’s “The Good Fight” as arguing for means towards self-growth which aren’t merely acting out; which aren’t simply signs of perversity, of mental illness. Argues that rather than delineating the key differences between the downtrodden — those stepped on — and the rich — those (gleefully) doing the stomping down — it is truly more…[Read more]

Discusses Tennessee WIlliams’ “Cat on a Hot Tin Roof” and Arthur Miller’s “Death of a Salesman” in regards to Ann Douglas’s thesis of Americans appropriating the concept of terrible, truth-telling, phallicly-empowered “monsters” in order to lay low the influence of mothers whose influence over their children has stretched way outside the bounds of…[Read more]

Explores how Max Vigne, from Andrea Barrett’s “Servants of the Map,” makes use of the dangerous Himalayan mountain environment as almost as Winnicottian “play space,” in which to recover from being requited to a life of obligation, rather than real-self discovery, after his mother’s death.

Explores the invisible man, in Ralph Ellison’s “The Invisible Man,” as borrowing upon associations of patriarchal maleness, in the sense Ann Douglas in her “Terrible Honesty” argues 20s modern’s did, to secure freedom from feelings of entrapment by maternal figures, whose near-proximity to him is expressed in the text as often incestuous, gross;…[Read more]

Sinclair Ross’s “As For Me and My House” as a (nefarious) safe-space whereby readers can subsume themselves within a locale that promises the sense of being taken care of, that they experienced within the maternal home but on one condition: ready willingness to defer; acquiesce to “mother’s” leadership. Written just before a culture pivoted from…[Read more]

A review of Stanley Kunitz’s poetry, emphasizing how he used his poetry to both explore and manage his relationship with his dominating mother. Argues that none of Kunitz’s elegies work as conventional elegies, or as we traditionally understand or expect them to work, but more as working their way to the direction Peter Sacks advocates, as…[Read more]

Explores Bertram Brooker’s “Think of the Earth” from Norman Holland’s perspective of literature as a “place” where unsavory wishes can be satisfied, without alarming super-ego censors. Explores the character Tavistock as built to lure many readers into situating themselves within him, for conveying characteristics that define him as both a prodigy…[Read more]

Explores Maureen Folan, in Martin McDonagh’s “The Beauty Queen of Leenane,” as a psychological borderline, someone who is afraid to achieve a man she can have a relationship with, and so defaults to using him as simply another object she can use in warfare against a mother she is only yet capable of playing at being able to leave behind her.

Explores how Ralph Ellison’s “The Invisible Man” delineates a repeated pattern by the invisible man, whereby he associates with grandiose people of some sort of esteem, and ends up actually being seen by them in a way he rather favours. These figures underestimate him at first, look past him, but eventually draw focus, something they are made out…[Read more]

Explores how Cormac McCarthy’s “Blood Meridian” encourages, more than identification with, but an impressing oneself within “the kid,” and makes all of his adventures with Glanton and his outriders a ride we thrill at, even if at times very much secretly — as with the slaughter of the indigenous camp. Glanton is a phallic “hero” for us; it is the…[Read more]

Explores how Cormac McCarthy’s “Blood Meridian” encourages, more than identification with, but an impressing oneself within “the kid,” and makes all of his adventures with Glanton and his outriders a ride we thrill at, even if at times very much secretly — as with the slaughter of the indigenous camp. Glanton is a phallic “hero” for us; it is the…[Read more]

Explores Quentin Tarantino’s “Pulp Fiction” as if it were experienced by many viewers of a particular type — SCM’s: suburban, collegiate young men — as a feeling out of how they might contrive themselves so that their future development would not place them as identifiable as losers by he-men pulp figures they’d learned early represent…[Read more]

Compares how “Treasure Island” and “Charlotte’s Web” demonstrate how protagonist avatars for ourselves establish they truly matter to “parents” who pretend to value them but whose true lack of interest in them as individuals can’t be mistaken. Argues for seeing stories as recognizing the problem of “not being seen” by parents, and as them as…[Read more]

Explores a passage of Angela Carter’s “The Company of Wolves.” Delineates how Carter makes play with such things as the dialogue between the subconsciously experienced meanings of actual words ostensibly serving as only overt alphabetic components within words, to dramatize the fitfulness of the protagonist’s emergence at the finish of the story…[Read more]

Explores a passage of Angela Carter’s “The Company of Wolves.” Delineates how Carter makes play with such things as the dialogue between the subconsciously experienced meanings of actual words ostensibly serving as only overt alphabetic components within words, to dramatize the fitfulness of the protagonist’s emergence at the finish of the story…[Read more]