Tag Archives: synopsis

The Triumph of Sisterly Love in Christina Rossetti’s “Goblin Market”

I wrote this summary and analysis of Christina Rossetti’s poem “Goblin Market” to help myself understand the poem better. Poetry isn’t my strong suit, I admit, but hopefully this will be helpful to someone. I was going to teach it at one point, but ultimately decided against it; maybe someday I will change my mind yet again.


Goblin Market by Christina Rossetti Illustrated by Dion Clayton CalthropChristina Rossetti’s poem “Goblin Market” (written in April 1859, published in 1862) opens with lush images of fruit being peddled by anxious goblin salesmen. Two sisters, Laura and Lizzie, appear by the river and Lizzie, afraid of what the the fruits may have been ripened on, covers her eyes, but Laura stares at the goblin men. Laura becomes entranced by the goblins, and Lizzie runs away before the goblins approach Laura.

Even though she wants to buy the goblin fruit, Laura has no money, but they tell her she has “much gold” on her head, and so she exchanges a lock of hair for fruit, which she eats ravenously. In a trance Laura returns home where Lizzie scolds her with the cautionary tale of Jeanie who became addicted to goblin fruit and died when she could not get more. Laura reassures Lizzie that she can always get more goblin fruit and will bring her some tomorrow.

The next morning they do their chores while Laura secretly pines for nightfall so she can return to the market. The sisters go to the river to fetch water and Laura delays them until past sunset; however, Laura can no longer see or hear the goblins, now only Lizzie is able to see them. Laura returns home heart-sick and, while Lizzie sleeps, Laura gnashes her teeth and weeps uncontrollably.

Continue reading

The Haunting of Hill House by Shirley Jackson

The Haunting of Hill House by Shirley JacksonThe Haunting of Hill House by Shirley Jackson was originally published in 1959 before being being turned into two movies and (soon) a Netflix series. After terrorizing students for years with her short story, “The Lottery,” I became intrigued by this novel when a friend read it for a book club. A year later, I’m happy to say that I finished the novel, and in two readings nonetheless. The night I started it, I stopped reading it when I was about 80 pages in because I could tell something terrifying was about to happen, and I didn’t want to be up all night either reading it or worrying about ghosts.

The novel has a relatively small cast of characters: Dr. John Montague, a paranormal scientist; Eleanor Vance (Nell) a shy woman of 32 who has taken care of her mother for the last 11 years; Theodora (Theo) who seems to possess some sort of telepathic or psychic abilities; and Luke Sanderson who is the heir to the house, a charming rake, and whose aunt seems to want to get rid of him. If four people from diverse backgrounds staying overnight in a haunted mansion where terrible events took place seems trite, don’t blame Jackson: she invented these tropes. As much as I hate horror movies, I absolutely love terror in books, and Jackson’s novel is a slow, atmospheric build. Once events start happening you know that it’s already out of control, and many questions remain unanswered at the end of the novel.

The Question of Eleanor and Theodora

One of the main questions that I ended the novel with is about Eleanor and Theodora; are they in love? I talked about “lesbian disruptions” in my The Return of the Soldier writeup, but this is something more. Eleanor is the shy mousy girl in the story, she’s living with her sister, Carrie, and her brother-in-law three months after her mother, who she was forced to take care of, died. She hated her mother, and kind of slept through her mother’s demand for medicine, which may have been what killed her. Oops! At 32 years old we get the impression that she’s never had a boyfriend or relationship of any kind, and that she sees herself as essentially unwanted. She has a wild, immersive imagination that fills the beginning sections of the novel, and she covers up the banality of her own life with pieces of these early daydreams. It’s only at the end of the novel that she reveals that she truly has no place to go home to, and it’s crushing.

Continue reading

Shakespeare’s Measure for Measure



Measure for Measure is one of those fascinating plays in the Shakespearean cannon that almost defies staging and is rarely filmed. Classified as a “problem play” (or “comedy” if you’re kind of messed up) it involves religion to an almost absurd level. The title is, as I’ve been told, a reference to the Sermon on the Mount, which I know nothing about, as I was raised Taoist. However, Shakespeare wouldn’t be crammed down the throats of high school and college kids alike if he didn’t have universal applications so it still bears analysis regardless of all the allusions that I don’t get. Sorry not sorry, dominant culture.

The play revolves around the hottest nun in town, Isabella, and everyone attempting to sleep with her. Pervs. Ooh, Measure for Measure: Pervs of Vienna would draw a good crowd for those of you producing it for the stage. The Duke of Vienna (Vincentio) has just realized that he been more carrot than stick and decides to “leave town” and make Angelo the temporary Duke. Angelo has a reputation for being super uptight and the Duke feels like Angelo will 1) do all his dirty work while 2) making the Duke look super nice in comparison. A flawless plan. Angelo, like all uptight people, doesn’t want anyone to have sex before marriage, so he shuts down all the brothels and arrests Claudio, a gentleman’s son, for getting his fiancee pregnant. Her name’s Juliet(ta), obviously, and I want to do a reading of this as an alternate timeline where she never meets Romeo but my professor would really hate that … due to it’s inaccuracy. Anyway, Claudio asks his whore-loving friend Lucio to get his sister Isabella right before she enters the convent, and make her use her rhetorical prowess to get him of jail. It works if you consider Angelo deciding to kill Claudio sooner and rape Isabella to be “success”. It’s not. She fails. Get thee (back) to a nunnery!

Continue reading

The Sirens of Titan by Kurt Vonnegut, Chapter 1 “Between Timid and Timbuktu”

The Sirens of Titan by Kurt VonnegutBelow is a detailed summary and literary analysis of the first chapter of The Sirens of Titan for my students and for me … and for you. It is very long. As a side note, this post has been more popular than I ever expected, and I suspect people are Googling “summary of Sirens of Titan Chapter 1 that is better than Sparknotes,” because the search results are leading me to feel this way, and I’m flattered. Wayward students: please use my research as a supplement, but don’t rob yourself of the pleasure of reading the novel yourself. Also feel free to ask me questions in the comments, I’m always happy to help.

Chapter 1 of The Sirens of Titan by Kurt Vonnegut is entitled “Between Timid and Timbuktu.”


Malachi Constant: “I guess somebody up there likes me.” Described in Ch. 1 as a playboy and depicted as an oaf (complete with clamoring up a fountain and being late for his appointment with someone “unstuck” in space-time) he is dressed as an “Edwardian dandy” and is “not even well-educated.” Malachi is described as a “well-made man” but also with a “Cro-Magnon brow-ridge.” He is thirty-one years old and worth three billion dollars, “most of it inherited.” He is intimidated by Winston Niles Rumfoord the moment they shake hands even through Rumfoord does not exist in any traditional sense of the word.

Beatrice Rumfoord aka Mrs. Winston Niles Rumfoord: She is thirty-four and has seventeen million dollars to her name. She is a “poetess” and the title of the chapter is a reference to her “reasonable well received” poetry collection of the same time. The collection – and arguably the novel – is a reference to time. The first (and only) time she met with her materialized husband he gave her news that was so unpleasant that she now refuses to see him. She is described as “marvelous” looking, but is described in the most unflattering terms, much like Constant, whom she detests. Her name is clearly a reference to Dante and The Divine Comedy, specifically Paradiso.

Winston Niles Rumfoord: While in his “private space ship” he and his mastiff (dog) Kazak intersected with a “chrono-synclastic infundibulum” and are now non-materialized, destined to forever appear on Earth every 59 days. He is described now as a “wave” and is – to use another Vonnegut term – “unstuck” in time, meaning that he can see the future as well as the past, and thus is bored. Rumfoord knows Constant from Titan (a moon of Saturn as Mrs. Rumfoord explains) and has requested his presence during the materialization that launches the novel. Rumfoord is genial and dignified to a degree that humbles Constant completely and Rumfoord is described only in glowing terms in the first chapter. He can read minds but, as he reminds Constant, he cannot “reproduce” (so Freudian), then again, as he explains, “Angels can’t either.”

Chrono: The son of Constant and Mrs. Rumfoord who is born on Mars (in the future) and whose “good-luck piece” is, as Mr. Rumfoord states, “unbelievably important.”

Continue reading