By Alex George
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Everything he'd visible were unimaginably assorted from the dry, dour streets of domestic, and to his shock he used to be no longer sorry within the slightest. He used to be obsessed on the beguiling otherness of all of it.
And so all started my grandfather's rapturous love affair with America—an affair that might proceed until eventually the day he died.
This is the tale of the Meisenheimer kin, informed through James, a third-generation American residing in Beatrice, Missouri. It's the place his German grandparents—Frederick and Jette—found themselves after touring around the turbulent Atlantic, fording the flood-swollen Mississippi, and being dropped at a surprising halt via the damaged water of the pregnant Jette.
A reliable American tells of Jette's dogged selection to feed a city sauerkraut and soul meals; the loves and losses of her kids, Joseph and Rosa; and the precocious voices of James and his brothers, occasionally raised in discord...sometimes in ideal concord.
But specially, A stable American is in regards to the tune in Frederick's center, a tune that started as an aria, was once jazzed through ragtime, and have become an anthem of affection for his followed nation that the kin nonetheless hears to today.
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Additional info for A Good American
From a constructivist view, as we have seen, Gary Fireman notes that “Narrative does not merely capture aspects of the self for description, communication, and examination; narrative constructs the self” (2003: 5). Fireman also claims that “the portions of human consciousness beyond the purely somatic—self-awareness, self-understanding and self-knowledge—are products of personal narratives” (4). As argued here, however, the self-awareness generated and communicated by means of narrative applies only to the linguistic, constructed aspect of the self.
When Stanley reaches Meg he begins to strangle her until Goldberg and McCann throw him off. After the lights suddenly go off, Stanley moves toward Lulu, who screams and faints, the result of an apparent assault that has led to the psychoanalytic interpretation of his venting a repressed psychic fear of the father and resentment for the mother (Naismith 2000: 52). From another perspective, Stanley without his glasses may simply have confused Meg for Goldberg and mistaken Lulu for McCann. As we can see, therefore, The Birthday Party uses various dramatic devices to call into question socially constructed identity, attenuate the mind’s conscious content, and intimate the move toward an experience of consciousness devoid of attributes.
In this sense, the art of Pinter’s play and the non-artistic “reality” of Goldberg and McCann operate on the same footing. Because the material, manifest world is nothing but simulation or illusion, any meaning—whether stemming from the world itself or imputed by the artist—is always a product of human creative intelligence. The difference between the meaning generated by Goldberg and McCann and that suggested by Stanley’s invisible background and identity is that the former hinges on a localized position while the latter unlocks the boundless.