Duncan S. Jackson
ENG 1105
Charles Ellis
December 11, 2012
Final Essay: The Ties that Bind
At the beginning of this semester I chose five novels that, in the past, I had every intention of getting around to reading, but never quite made it so far as there was always something else, be it an assignment or some other book for my personal pleasure, that kept my time occupied. The beauty of independent study is that I was finally able to lay to rest my procrastination and fulfill both assignment and passion with the literary classics I chose to read and analyze: The Pearl, by John Steinbeck; Heart of Darkness, by Joseph Conrad; Lord of the Flies, by William Golding; The Art of War, by Sun Tzu; and Uncle Tom’s Cabin, by Harriet Beecher Stowe. These novels would prove to broaden my horizons as they reaffirmed my love of and for the written word, just as my analysis of each cultivated the belief that one should never judge a book by its cover, and especially in the case of Heart of Darkness and Art of War, that a single reading does not always give proper perspective of the work.
Surprisingly, especially considering the fact that they were picked at random, the books share a few common themes that allowed for effortless transitioning from one to the next, even though each was stylistic, refreshing, and original in its own right. The first to be examined is the theme of escape, and whether it comes in the form of Kino wishing to escape his paltry existence and provide a better future for his wife and child, as is the case in The Pearl; Kurtz’s desire to escape the trappings of civilized society, as is the case in Heart of Darkness; Ralph’s yearning to escape the island that threatens to change the boys to savages—he longs to return to the civility and morality that Kurtz so willingly left behind—as is the case in Lord of the Flies; a warrior’s quest to escape defeat and subsequent oppression at the hands of his enemy, as is the case in The Art of War; or every slave’s hunger to escape the bondage he or she has been placed under with his or her purchase—and let us not forget great characters such as Augustine St. Clare, Mr. Wilson, or the Quakers, all of whom fought so resolutely against the prescribed norm to ensure enslaved blacks were treated with kindness, fairness, and respect—as is seen in Uncle Tom’s Cabin, the passion that guides these legendary characters—and my heart along with them—is bittersweet as my escape into their world is riddled with the pain and fear, as well as the joy, bravery, and positive outlook they maintain even in the face of adversity.
Another theme shared by all is that of theology. We have but to view Kino, Juana, and Coyotito’s journey as that of Joseph, Mary, and Jesus’. Just as Herod had mandated that all the children should be killed in order to preserve his crown, an act that prompted the exodus from Bethlehem, so, too, do the characters of Steinbeck’s classic journey even as assassins track them for a pearl that promises much stature and power to its owner. In Heart of Darkness, it is not so much that Kurtz has imposed his will upon the tribal peoples, subjugating them into proclaiming him a god or even their god; they seem to do this of their own volition, and, in Marlowe’s eyes, Kurtz himself transcends even this, becoming more of a god than civilized Christians could proclaim of their own. Baal, literally translated as The Lord of the Flies, takes from Judeo-Christian superstition the demonic entity who is known to be one of the earliest manifestations of anti-Christian worship. His presence on the island plays well against Ralph’s “Jesus.” When speaking of Heaven in The Art of War, Sun Tzu referenced not godly beings and supernatural phenomena that existed in spiritual form above him, but the atmospheric conditions that could very well play into one winning or losing a battle. He does, however, adhere to the precepts spoken of in the Bible, that one should care for his brother (literal or otherwise) and put others before him-or herself; there is also a bit of “Render unto Caesar” in his teachings. Last, with Uncle Tom’s Cabin, we have before us a story so chokingly filled with Christian religion that one can scarcely make it through the story without feeling he or she is being preached to; the fact that the characters have these beliefs is acceptable, but it is when Ms. Stowe continuously loops a sermon to us from beginning to end that the distraction ensues.
Without going into much detail, the final theme would be confronting the great unknown. For Kino, it is improving his station in life; for Kurtz, Marlowe, and perhaps even the Narrator, it is overcoming the heart of darkness that not necessarily teems all around us, but dwells within; for Ralph, it is absence of civility and morality; for Sun Tzu, it is a fear of not living up to the expectations of his emperor as well as his subordinates; and for Tom and the other slaves, it is that strange and beautiful thing called freedom.
There are themes independent and indigenous to each of these books, and there are times when a single reading will not manifest those hidden meanings to us. Reading is not a chore, and it certainly should not be treated as punishment. It is a luxury that some take for granted, but in doing so, they deny themselves the beauty and escape—even for so limited a time—for which we all may secretly wish.
950 words
