Sample EE: The Awakening

Title:

An investigation of gender norms in Chopin’s The Awakening

Research Question:

In what ways does Chopin subvert both traditional norms of gender roles and literary conventions in her interrogation of the patriarchy in The Awakening

Subject: English Literature

Word Count: 4000

Introduction:

In 'The Awakening', Chopin constructs a picture of affluent 1890s New Orleans society: restrictive and lacking in opportunities for women to explore their identities. We follow protagonist Edna, a wife and mother, on her journey of emancipation and self-discovery: ‘The Awakening’. Throughout the novel, Chopin’s Edna undergoes artistic, romantic, and sexual discoveries, as she pursues an affair with Robert and focuses on her creativity, in turn controversially neglecting her “duty” as a woman. This pushes her to yearn for her own freedom: to create freely, to love freely, and to exist as an individual, emancipated from societal expectations of women as decorations, wives, or mothers. The 19^th century, post -civil war in the USA, saw the integration of female writers into the world of mainstream literature^[1]. It thus became key in the fight for women’s rights. While feminism has, no doubt, evolved, this work remains worthy of study as the shackles of societal expectation and the suppression of liberty by the patriarchy, endure, as does the friction between strengthening collective female identity, and pursuing the personal freedoms of individual women.

Now received as a leading piece of feminist literature, its genre has been viewed as somewhat ambiguous, due to Chopin’s refusal to create a didactic novel. She makes this clear in her ‘11^th Commandment: thou shall not preach’^[2]. Chopin’s purpose is therefore, alongside her criticisms of the patriarchy, to prompt self-reflection and advocate for greater individuality, going beyond the standard purpose of feminist literature to fight for social justice on behalf of the collective.

This essay explores Chopin’s presentation of the constraints of a patriarchal society, and her use of character, challenging the reader’s gendered expectations, as she successfully promotes the emancipation of women from this suffocating system, whilst challenging the constraints on her, and 19^th century female literature, by being both “political” and “not political enough”. To do this, I will analyse linguistic and structural features within ‘The Awakening’, exploring and evaluating their contribution to Chopin’s “feminist” and individual agenda.

I will argue that Chopin challenges traditional expectations through strategic characterisation of characters who embody both conformity and rebellion, and gendered power dynamics. Her characteristic third person narration makes the stifling setting of Louisiana and key symbolism representative of the oppressive patriarchy within which her novel, and we as readers, operate, demonstrating the need for the liberation of the female mind and spirit. However, viewing the novel with its purpose not to demand sweeping social change or pressure her readers into protest, instead focusing on internal exploration and freedom of expression, this essay also argues that Chopin subverts conventional expectations of literature by ignoring the demands of parallel movements of conformity to societal tradition.

Female Characters:

Chopin’s presentation of Edna challenges the standard depiction of “supportable” women in literature, celebrating attributes that challenge gender and thus literary norms.

Chopin does this indirectly, introducing Edna as ‘rather handsome than beautiful’^[3], thus imbuing her with masculine characteristics, reinforced when Edna is described as ‘handsome and distinguished’^[4]. Sontag argues ‘” handsome” is the masculine equivalent of -and refusal of- a compliment which has accumulated certain demeaning overtones’^[5]. Chopin criticises society’s synthesis of achievement and masculinity, ‘distinguished’, connoting earned success, being placed adjacent. Edna is said to have a ‘frankness of expression’^[6]. Blending a character trait into her appearance, rather than the purely physical, as is done for other female characters, celebrates breaking the gender binary. However, it can be regarded as perpetuating what she is trying to critique: Edna can escape because she already operated outside of conformity, thus implying emancipation is not accessible for everyone.

Furthermore, Edna’s attitudes to domesticity allow Chopin to subvert gender norms. Edna is ‘not a mother-woman’^[7], explicitly distancing her from her traditional position as a woman. Furthermore, turning ‘mother’ and ‘woman’ into a compound noun highlights that to be a woman means to be a mother. Indirectly, Edna is characterised through her interaction with her children, her son not being ‘apt to rush crying into his mother’s arms for comfort’^[8]. She thus has failed in making her children believe she has given herself to them entirely. Referencing ‘his mother’ reminds the reader of the role Edna is not fulfilling, while demonstrating that to be a mother means to lose one’s identity as an individual.

Another means by which Chopin illustrates Edna’s distaste for domesticity is free indirect discourse, describing wifedom as a ‘colourless existence’^[9] which can do nothing to satisfy ‘its possessor beyond blind contentment’^[10]. The adjective ‘colourless’ paints domestic life as dull, muffling a woman’s experience of beauty. The semantic field of vision reflects both how a satisfaction with domesticity arises from lack of understanding or knowledge, but also how succumbing to societal expectations as a woman impairs you.

Moreover, Chopin represents Edna’s inability to understand female conventionality as she does not speak ‘the same language’^[11] as Adele when it comes to sacrificing for her children, and ‘marvelled’ at another woman’s ‘coquetry’^[12]. It is incomprehensibly exotic, almost mystical. Equally, Edna perceives weddings as ‘one of the most lamentable spectacles on earth’^[13]. Chopin’s metaphor illustrates her distrust in the institution, the associated ceremony being a garish exhibition, in which women are forced to perform.

Edna is a female character who betrays her nature. She reflects the ‘symptoms’ of the perceived moral decay of the time, which the changing polity and economy exacerbated. Growing fear of this and its contribution to the supposed loss of fundamental American values fuelled conservativism and presented a huge challenge to the women’s rights movement of the 19^th Century^[14].

That said, Chopin’s Edna is not one-dimensional. She also exhibits reliance on men, she ‘could not leave his (a man from her childhood’s) presence’^[15]. The learned dependence on men seems inescapable.

Chopin also does present Edna to find joy in children, calling a baby ‘all manner of tender names, soothing him’^[16]. The quantifier ‘all’ amplifies affection, while skill in calibrating actions to the child’s needs is shown in the verb ‘soothing’. Edna’s interaction with her children as they return from their time away, indirectly characterises her as a good mother. Frequent questions, exclamation marks and listing such as ‘the pigs, the cows, the mules!’ ^[17]demonstrate her genuine interest and fascination with her children through lively emotional expression and elongated responses. Edna has intention to care, she ‘meant to think of them’^[18], reflecting both a maternal desire, and the persistence of the patriarchy. However, her determination being compared to a stake, ‘driven into her like a death wound’^[19], illustrates the pain in betraying oneself in favour of others’ standards as instinctive maternal tenderness is crushed by the societal expectation of self-denial.

Through Edna, Chopin demonstrates a compromise of feminine tendencies and self-fulfilment. Delbanco describes how ‘The Awakening is, in short, a book of divided loyalties toward its own subject'^[20], there is no clear avenue Edna is pushed down.

Chopin presents perfect prescribed femininity through her characterisation of Adele Ratignolle, a foil to Edna.

She is the ‘embodiment of every womanly grace and charm’^[21], thus the epitome of a “successful” woman.

Differently to Edna, Adele has ‘nothing subtle or hidden about her charms; her beauty was all there’^[22]. Beyond demonstrating the sheer impressiveness of her beauty, this emphasises how the patriarchy does not value internal qualities, or any deeper discernment of women. Adele is the ideal woman precisely because she is not complex. She is easily understood and does not require a subtle appreciation for human nuances. Similarly, Chopin mirrors the objectification of women with metaphors in Adele’s physicality, having ‘spun gold hair’^[23] and eyes ‘like nothing but sapphires’^[24]. The comparison to jewels critiques the reduction of a woman’s value to the physical, and the commodification thereof. Adele is identified by her physicality in other parts of the novel, being referred to as ‘the pretty woman at his (Robert’s) side’^[25], or as ‘her fair friend’^[26]. The adherence to societal expectations as a woman is thus the loss of one’s own identity.

Another channel through which their contrast is emphasised in the symbolism of their clothing. Adele is dressed in ‘pure white’^[27] muslin, while Edna’s has a streak of ‘brown running through it’^[28]. Adele is clean and virtuous, the ‘faultless Madonna’^[29], while the brown line in Edna’s reflects the sullying of her purity, ‘If Edna is not a Madonna, then by patriarchy’s binary, she must be a whore’^[30]. The compartmentalisation of women paralyses them and leads them to somewhat involuntary confirm this expectation.

The two women are, further contrasted in their approach to power dynamics with men. Adele ‘lean(s) draggingly upon his arm as they walked’^[31], while Edna ‘did not lean upon it’^[32]. Adele accepts her position of dependence, a choice which weighs her down, hence making her ‘drag’, while Edna chooses independence defiantly. With this, Chopin echoes growing criticisms and revolutionary thought within the feminist movement, which began to challenge the intense reliance on men, such as Gilmann presenting a speech critiquing the unparallelled nature of this within any other species, terming it ‘unnatural and unproductive’^[33].

Chopin characterises Adele as the perfect wife to emphasise Edna’s failures in this field. Adele criticises Edna for her unwillingness to sacrifice everything for her children, as ‘you could do no more than that’^[34]. Self-sacrifice being the ultimate achievement critiques the sentiment that women should be willing and even eager to abandon themselves to be “good”.

On top of this, Chopin’s use of religious language faults the restrictive nature of the Church. Women like Adele ‘idolised their children, worshipped their husbands, and esteemed it a holy privilege to efface themselves as individuals’^[35]. The semantic field of Christianity connects motherhood, and thus traditional femininity, with religion, demonstrating how societal pressure to succumb to a prescribed faith cages women. However, it is perhaps not a direct criticism of religion, but of how central family is considered to womanhood, and thus something to deify.

However, Adele’s conformity is used to acknowledge the privilege in rebellion. Adele is deliberately not infantilised, but presented as lucid and realistic, confronting Edna for acting ‘without a certain amount of reflection which is necessary in this life’^[36]. Adele’s choice to do what is expected therefore reflect a deeper understanding of the functioning of society, allowing Chopin to clarify that her critique is of the patriarchy which holds women captive, rather than the women who ‘choose’ to stay.

Mrs Reisz’s characterisation as an unmarried musician who becomes Edna’s close friend and mentor represents the opposite extreme: a subversion of gender norms so strong it results in societal ostracization.

Chopin describes Mrs Reisz as a ‘disagreeable little woman’^[37], she is ‘homely’ and has ‘no taste in dress’. The adjective ‘disagreeable’, alongside her unflattering physical description demonstrate how her shunning from society results from her unwillingness to mould herself to others’ wishes, refusing to make herself easier to get along with, or to prioritise her outward appearance which only others benefit from. While Chopin may be criticised for making her rebellious character conventionally unattractive, thus making a deviation from gendered expectations seem unappealing, this essay argues that this choice strengthens Chopin’s intentions: Mrs Reisz is a character who is equally fulfilled, through her nurturing of inward passions, rather than what others experience from her.

Chopin distinguishes Mrs Reisz as being viewed differently to other female characters by referring to her as the ‘little musician’^[38]. Addressing her by her profession and talent reflects how her decision to disregard norms and expectations, while seen as unlikeable and unattractive, allows her to be valued for achievements and personality, specifically the aspects Mrs Reisz herself chooses to value. She is part of what Susan B. Anthony describes as the ‘epoch of single women’, a product of the post-civil war shift in which women demanded access to creative sectors, of women who prioritised their career over family^[39]. Showalter describes the story of Avis, which reflects the held beliefs of women at the time: ‘whether she paints a picture, or loves a man, there is no division of labour possible in her economy'^[40]. Mrs Reisz is this idea personified, which Chopin acknowledges, but does not advocate for, through Edna not following her completely.

Beyond this, Mrs Reisz illustrates Chopin’s point of existence for oneself being the strongest form of rebellion. Following her musical performance, she stops for ‘neither thanks nor applause’^[41]. Chopin uses a negative correlative conjunction to magnify the disregard for external opinion, and thus, her self-fulfilment.

Showalter argues that the two women present the two distinct possibilities for Edna, to stay in her current position and succumb to society’s demands, or to pursue her art and career and become an outcast^[42]. However, Edna chooses neither, finding escape in her suicide. Thus, Chopin employs this diverse spectrum of female characters to criticise the constraints of the patriarchy, but more importantly to advocate for individual liberty, by preventing her protagonist from choosing either extreme. This is a central aspect of Chopin’s subversion of literary norms, not wanting to write a didactic novel, but rather desiring to observe and comment on the female experience.

Relationships with male characters:

In Edna’s relationship with her husband, Chopin chastises society for its support of the patriarchal institution of marriage. Leonce is described as ‘looking at his wife as one looks at a valuable piece of property’^[43]. On one hand, this is a criticism of Leonce’s character, and the disrespect shown to women by individual men. Yet, it is also a harsh criticism of the literal fact: legally, she is his property. Chopin highlights how society facilitates this exploitation. Similarly, before her awakening, Edna is referred to as ‘Mr Pontellier’s wife’^[44], lacking recognition of her individual identity. Robert explicitly states that ‘you were not free; you were Leonce Pontellier's wife’^[45]. Again, this is literal and metaphorical: she is not free to marry legally because she already is, but also, she is not free as a person because she is imprisoned in marriage. Chopin’s understanding of the connection between marriage and ownership underscores the novel’s contemporary relevance, where the feminist movement sparked fear of the loss of fundamental American values^[46]. The attack on (wives as) ‘property’ was considered an attack on the liberalism that the USA was founded on.

Similarly, the opening illuminates the difference in the privileges afforded to men and women in marriage. Leonce returns from his time in the Casino, and Edna is resigned to her responsibilities as a mother^[47]. Though Chopin demonstrates that Leonce is absolutely not the model father, having ‘forgotten the peanuts and bonbons for the boys’^[48], he still ‘criticises her ‘habitual neglect of the children’^[49] which he cannot evidence.

Despite this, Chopin emphasises Leonce’s value as a husband. Leonce sends his wife a basket ‘filled with friandises with luscious and toothsome bits’^[50], where Chopin’s listing of its contents represents his generosity. Edna even accepts this herself, being ‘forced to admit she knew of none better’^[51]. Thus, Chopin demonstrates how even a comparatively “good” marriage does not benefit women. It is not individual husbands who present the problem, but marriage itself.

There is a stark contrast in the marriages of the Ratignolles and the Pontelliers. The Ratignolles are the perfect ‘fusion’ of human beings, while Edna and Leonce ‘wouldn’t have anything to say to each other’^[52] if he spent more time at home. Chopin, however, does not advertise Adele and her husband’s marriage as something to strive for, it is the result of Adele’s devotion and submissiveness, not a functioning partnership. Their marriage appears strong because ‘his wife was keenly interested in everything he said’^[53]. The adjective ‘keenly’, and her addresal as ‘his wife’ emphasise Adele’s ability to mould into this role. Therefore, while it may seem to be Chopin acknowledging the beauty of a strong union, it begins to feel more sinister, especially as Adele’s husband repeatedly calls her ‘cruel’ for her demands during the process of giving birth to his child, dismissing her for being ‘full of whims’^[54], it stems from Adele’s sacrifice, rather than mutual understanding.

Chopin, however, shows a fulfilling romantic relationship through Robert, where the traditional gendered power dynamic is challenged. Robert dotes on Edna ‘like an adoring dog’^[55], a simile is used to convey loving servitude, strengthening this subversion. Chopin implies, through the metaphor that Robert ‘lived in her shadow during the past month’^[56], that Edna is the light, that she is central, and Robert exists around her, even beneath her. Edna can grow and “awaken”, because she is not restricted by a male presence.

However, Chopin also portrays a partnership, as 'each was interested in what the other said’^[57], a direct contrast to the respective ignorance and adoration of the Pontelliers and Ratignolles. Robert subverts gender norms because he gives Edna space to exist for herself, ‘directing the way’, rather than ‘leading it’^[58], ‘offering her his arm’, but Edna not taking it.^[59]

Despite this, Chopin emphasises how even Robert succumbs to the patriarchy’s pressure to possess women, having 'the longing to hold her and keep her'^[60]. However, Edna’s given ability to satirise this, saying how ‘I should laugh at you both’^[61] allows Chopin to raise this concern and challenge the deep-rooted normalisation of the commodification of women, while retaining Edna’s power and continuing to celebrate an uplifting relationship.

Their relationship has been criticised for basing Edna’s awakening in a man. Edna credits Robert with her emancipation: 'It was you who awoke me last summer out of a life-long, stupid dream'^[62], raising the concern that it is not true freedom, simply being freed from one man to find reliance and “obsession” with another.

Perhaps, Edna’s suicide was thus a necessary ending. It is Chopin’s condemnation of a society in which love and imprisonment have been synthesised, making death is the only way to be entirely free.

Setting:

Chopin sets of the novel in stifling New Orleans to mirror the patriarchy’s suffocation of her characters through strict societal expectations of gender. Chopin’s personification of the heat ‘beating down upon them’^[63], presents the setting as actively violent and oppressive. Chopin employs sensually rich imagery, describing mosquitoes that ‘made merry over her, biting her firm, round arms’^[64]. Alongside the association of mosquitoes as blood-thus life-sucking, vampirical animals, this illuminates how society thrives because of women at their expense.

However, as Edna “awakens”, the setting becomes gentler and romantic. In the ‘luxuriant warmth of some perfect southern summers day’^[65], Chopin’s shift to a more comfortable atmosphere, maintaining the same, but now inviting features, reflects Edna’s lighter outlook because of her emancipation.

Symbolism:

Chopin’s parrot, ‘hung in a cage’^[66] immediately sets the tone of oppression, the bird as a classic metaphor for freedom, now imprisoned. The verb ‘hung’ reduces its power further by limiting its control, thus heightening vulnerability. Gilmore argues that the parrot is crucial, because it represents both ‘mastery of language’ and a ‘caged imitator’^[67]. It reflects a talent for creative expression, but one that has been stifled by its oppressors. Similarly, female expression is caged by the men who possess them. The parrot’s ‘repeating over and over’^[68] also shows ‘distaste for recycled literature’^[69]. Chopin advocates for artistic pursuits which nurture the exploration of oneself, rather than “parroting” the already accepted. However, the repetition could also represent frustration to be heard in a system built to ignore women.

Yet, there is clear acknowledgement of the “false freedom” which the feminist movement provides. The parrot is ‘property’ of Madame Lebrun, where it has the ‘right to make noise’^[70]. Even possession by a female entity results in constraints, needing to be gifted the ‘right’ to express first. Adhering too strictly to a movement, even one that is designed to liberate, does not free you. Furthermore, a woman’s possession of this parrot does not protect it from man’s ability to ‘insist upon having the bird removed and consigned to the regions of darkness’^[71].

Through Edna’s wedding ring, Chopin comments generally on the institution of marriage. She is described to ‘fling (flung) it upon the carpet’ where she ‘stamps’ on it, ‘striving to crush it’^[72]. This sequence demonstrates desperation for freedom, ‘striving’ connoting yearning, and ‘crush’, desire to obliterate. However, Edna’s ‘small boot heel did not make an indenture […] upon the little glittering circlet'^[73]. Edna cannot effect change. The size of her boot heel, characteristic of her expected dress as a woman, impedes her. Frustration increases, as Chopin concentrates the patriarchy’s power in something small, thus unimposing, using the diminutive ‘circlet’. Even in this form, a woman cannot fight it. Chopin further challenges the idolisation of marriage as the ring ‘glitters’ defiantly; the foundations of the patriarchy remain unshaken, its beauty intact, as if to taunt the women which consequently suffer.

Finally, Chopin employs the sea as a metaphor for unattainable liberation. The sea is unlimited, something full of possibility. Chopin personifies it: ‘whispering, clamouring, murmuring’^[74], making it seem beautiful and enticing, the list of verbs creating a desperation to experience it. Repeated in the opening and ending, a cyclical structure is created. This could serve as a reminder of the sea’s, thus emancipation’s, magnetism: the successful realisation of a dream that Edna had ‘attempted all summer to learn’. Here, Edna’s suicide is a success: true liberation - after all, it was her ‘newly conquered power’^[75] which allowed her to swim out.

More cynically, the repetition feels like the closing of a sequence where you end up in the same place you began. With this, Edna’s suicide is not liberation, but rather limitation. It was impossible for Edna to break free and exist as an individual and thus she had to cease to exist altogether.

The sea is presented as increasingly threatening, the waves alluding to the devil’s temptation of Eve as ‘serpents’^[76]- perhaps thus, her suicide is not entirely her choice. Chopin presents the limits of feminism and acknowledge the restraints women will continue to face in the pursuit of their individual freedom.

Conclusion:

Overall, Chopin’s ‘The Awakening’ hinges on the subversion of gender dynamics, Edna’s journey of self-fulfilment is in direct conflict with what is expected of women: self-sacrifice and subservience. This even begins before Edna’s transition is underway, in her aversion to domestic duties. This raises a critical discussion: does it imply that emancipation is only for women who already have “one foot outside of” the binary? Or is Chopin acknowledging the validity in being content with the status quo as an individual?  Chopin harnesses other female characters as foils to one another and to Edna, emphasising Edna’s monumental decision to distance from expectations, and constructing different possible futures for Edna, which Chopin ultimately deliberately ignores. Chopin’s male characters reflect both society’s promotion of male domination and the possibility for change and partnership.

Contrasting descriptions of the suffocating heat of New Orleans reflect stifled female liberty, and the seduction of promised emancipation. Meanwhile the employment of symbols throughout, emphasise the plague of the inability to find personal happiness in society’s rigidity. However, centring the narrative around a wealthy white woman also presents a limitation of Chopin’s work: her support for the pursuit of individual and artistic freedom stems from privilege and idealism. This is emphasised by the contrast of a nameless African American slave girl.

 ‘The Awakening’ has survived shifting attitudes by disguising itself (not necessarily deliberately) as ‘local colour’. Its distinction as a feminist novel was not always overt. In times where the feminist movement was more united, Chopin’s novel stood as an advocate for individual liberty, for creativity, and against the restrictive nature of modern society. Operating in the patriarchy made it inherently feminist, but it stood small next to a movement focused on collective milestones. Now, though, ‘The Awakening’ is a necessary voice echoing through an increasingly judgemental and divided camp, re-centring individual women against the conformity to any expectation, be that patriarchal, or feminist.

Bibliography

Chopin, K. (2018). The Awakening. Milton Keynes: Penguin Books.

Delbanco, A. (1988). The Half-Life of Edna Pontellier. In W. Martin, New Essays on the Awakening (pp. 89-108). New York: Cambridge University Press.

Gilmore, M. T. (1988). Revolt Against Nature: the Problematic Modernism of The Awakening. In W. Martin, New Essays on the Awakening (pp. 59-88). New York: Cambridge University Press.

Showalter, E. (1988). Tradition and the female talent: The Awakening as a solitary book. In W. Martin, New Essays on the Awakening (pp. 33-58). New York: Cambridge University Press.

Sontag, S. (2023). Women's Beauty: Put Down or Power Source. In S. Sontag, On Women (pp. 89-94). London: Penguin Books Ltd.

Watkins, C. V. (2020, February 27). The Classic Novel That Saw Pleasure as a Path to Freedom. Retrieved from The New York Times: https://www.nytimes.com/2020/02/05/books/review/kate-chopin-the-awakening.html#

Bibliography

Chopin, K. (2018). The Awakening. Milton Keynes: Penguin Books.

Delbanco, A. (1988). The Half-Life of Edna Pontellier. In W. Martin, New Essays on the Awakening (pp. 89-108). New York: Cambridge University Press.

Gilmore, M. T. (1988). Revolt Against Nature: the Problematic Modernism of The Awakening. In W. Martin, New Essays on the Awakening (pp. 59-88). New York: Cambridge University Press.

Showalter, E. (1988). Tradition and the female talent: The Awakening as a solitary book. In W. Martin, New Essays on the Awakening (pp. 33-58). New York: Cambridge University Press.

Sontag, S. (2023). Women's Beauty: Put Down or Power Source. In S. Sontag, On Women (pp. 89-94). London: Penguin Books Ltd.

Watkins, C. V. (2020, February 27). The Classic Novel That Saw Pleasure as a Path to Freedom. Retrieved from The New York Times: https://www.nytimes.com/2020/02/05/books/review/kate-chopin-the-awakening.html#

Bibliography

Chopin, K. (2018). The Awakening. Milton Keynes: Penguin Books.

Delbanco, A. (1988). The Half-Life of Edna Pontellier. In W. Martin, New Essays on the Awakening (pp. 89-108). New York: Cambridge University Press.

Gilmore, M. T. (1988). Revolt Against Nature: the Problematic Modernism of The Awakening. In W. Martin, New Essays on the Awakening (pp. 59-88). New York: Cambridge University Press.

Showalter, E. (1988). Tradition and the female talent: The Awakening as a solitary book. In W. Martin, New Essays on the Awakening (pp. 33-58). New York: Cambridge University Press.

Sontag, S. (2023). Women's Beauty: Put Down or Power Source. In S. Sontag, On Women (pp. 89-94). London: Penguin Books Ltd.

Watkins, C. V. (2020, February 27). The Classic Novel That Saw Pleasure as a Path to Freedom. Retrieved from The New York Times: https://www.nytimes.com/2020/02/05/books/review/kate-chopin-the-awakening.html#

Bibliography

Chopin, K. (2018). The Awakening. Milton Keynes: Penguin Books.

Delbanco, A. (1988). The Half-Life of Edna Pontellier. In W. Martin, New Essays on the Awakening (pp. 89-108). New York: Cambridge University Press.

Gilmore, M. T. (1988). Revolt Against Nature: the Problematic Modernism of The Awakening. In W. Martin, New Essays on the Awakening (pp. 59-88). New York: Cambridge University Press.

Showalter, E. (1988). Tradition and the female talent: The Awakening as a solitary book. In W. Martin, New Essays on the Awakening (pp. 33-58). New York: Cambridge University Press.

Sontag, S. (2023). Women's Beauty: Put Down or Power Source. In S. Sontag, On Women (pp. 89-94). London: Penguin Books Ltd.

Watkins, C. V. (2020, February 27). The Classic Novel That Saw Pleasure as a Path to Freedom. Retrieved from The New York Times: https://www.nytimes.com/2020/02/05/books/review/kate-chopin-the-awakening.html#

Bibliography

Chopin, K. (2018). The Awakening. Milton Keynes: Penguin Books.

Delbanco, A. (1988). The Half-Life of Edna Pontellier. In W. Martin, New Essays on the Awakening (pp. 89-108). New York: Cambridge University Press.

Gilmore, M. T. (1988). Revolt Against Nature: the Problematic Modernism of The Awakening. In W. Martin, New Essays on the Awakening (pp. 59-88). New York: Cambridge University Press.

Showalter, E. (1988). Tradition and the female talent: The Awakening as a solitary book. In W. Martin, New Essays on the Awakening (pp. 33-58). New York: Cambridge University Press.

Sontag, S. (2023). Women's Beauty: Put Down or Power Source. In S. Sontag, On Women (pp. 89-94). London: Penguin Books Ltd.

Watkins, C. V. (2020, February 27). The Classic Novel That Saw Pleasure as a Path to Freedom. Retrieved from The New York Times: https://www.nytimes.com/2020/02/05/books/review/kate-chopin-the-awakening.html#

Bibliography

Chopin, K. (2018). The Awakening. Milton Keynes: Penguin Books.

Delbanco, A. (1988). The Half-Life of Edna Pontellier. In W. Martin, New Essays on the Awakening (pp. 89-108). New York: Cambridge University Press.

Gilmore, M. T. (1988). Revolt Against Nature: the Problematic Modernism of The Awakening. In W. Martin, New Essays on the Awakening (pp. 59-88). New York: Cambridge University Press.

Showalter, E. (1988). Tradition and the female talent: The Awakening as a solitary book. In W. Martin, New Essays on the Awakening (pp. 33-58). New York: Cambridge University Press.

Sontag, S. (2023). Women's Beauty: Put Down or Power Source. In S. Sontag, On Women (pp. 89-94). London: Penguin Books Ltd.

Watkins, C. V. (2020, February 27). The Classic Novel That Saw Pleasure as a Path to Freedom. Retrieved from The New York Times: https://www.nytimes.com/2020/02/05/books/review/kate-chopin-the-awakening.html#

Bibliography

Chopin, K. (2018). The Awakening. Milton Keynes: Penguin Books.

Delbanco, A. (1988). The Half-Life of Edna Pontellier. In W. Martin, New Essays on the Awakening (pp. 89-108). New York: Cambridge University Press.

Gilmore, M. T. (1988). Revolt Against Nature: the Problematic Modernism of The Awakening. In W. Martin, New Essays on the Awakening (pp. 59-88). New York: Cambridge University Press.

Showalter, E. (1988). Tradition and the female talent: The Awakening as a solitary book. In W. Martin, New Essays on the Awakening (pp. 33-58). New York: Cambridge University Press.

Sontag, S. (2023). Women's Beauty: Put Down or Power Source. In S. Sontag, On Women (pp. 89-94). London: Penguin Books Ltd.

Watkins, C. V. (2020, February 27). The Classic Novel That Saw Pleasure as a Path to Freedom. Retrieved from The New York Times: https://www.nytimes.com/2020/02/05/books/review/kate-chopin-the-awakening.html#

I wanted to explore feminist literature, as I am interested in the the evolution of the movement, and how it has been perceived. Originally, this led me Wolf's 'A room of one's own', however, I decided that I wanted to focus on fiction, preferring the language analysis in fiction. I therefore chose the 'The Awakening'. I have enjoyed finding essays on the differing interpretations of the novel, highlighting how changing values shift our perceptions of creative work over time. However, the abundance of secondary sources was also overwhelming, I needed to focus them specifically on my RQ. I mistakenly spent too much time on secondary sources. Now I know I need to ensure I don't neglect my own analysis. I struggled with my RQ, initially focusing generically on patriarchal limitations. It neglected aspects of the novel like identity and pursuit of individual happiness. I changed it to include room for this nuance.

I have now enacted the feedback I have been given on my first draft and am almost ready to submit my final EE. The hardest aspect if this project has definitely been adhering to wordcount, as the first completed version of my essay was around 6000 words. To overcome this, I had to make dramatic chops, sometimes evaluating which paragraphs were my weakest and cutting these in their entirety, and often rephrasing sentences to make them more direct. This also made my argument clearer.
However, in doing this, I went too far with cutting and focusing on direct language, which actually hurt the flow and coherency of my essay, making it harder to follow. As a result, I acted on my feedback for my submitted first draft and tried to establish stronger links between and within paragraphs. I saw how conjunctions and discourse markers are necessary extra words.

I came to my expected conclusion that Chopin challenges gender norms through female characters that embody this. However, I was surprised by how Chopin presented “traditional’ female characters as equally lucid. She does not present the most radical path as the most worthy of praise.
The most enjoyable aspect was looking at essays about the novel, specifically those by Gilmore. They offered new perspectives, for example the parrot representing a need for originality.
It may have been worth considering combining my sections on female characters and their relationships with men. However, I am glad I structured my essay in the way I did because it gave the characterisation of women more attention, fittingly allowing me to analyse women in their own right.
I have learnt how to write with greater clarity and conciseness. I saw this in the quality of my IAs before and after my EE, as the latter required less rephrasing and word-cutting. 
I was left wondering about the life of Chopin and how her experience as a mother of 6 and a creative would have influenced her work. Is it a representation of her desire to break further from the traditional than she was able to?