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Identifying Character
As a beginning writer I find creating
characters to be the part of writing the most difficult. Dealing with their interaction
and dialogue are very problematic fundamentals to successfully achieve.
Pagewise.com, in a
writing technique lesson, teaches, “In the simplest terms, to build a believable
character you must know your character. He/She must become like a real person”
(Landers). Having a plausible leading role that a reader can associate with is an
indispensable ingredient in writing a fictional story of good quality. The main character
of the story serves as the root source of conveying the message and theme of the storyline
to the reader. With this in mind, ,,
I have focused on
writers whom have effectively accomplished this in a fictional piece. The fiction novels My
Year of Meats, by Ruth Ozeki, Fools Crow, by James Welch, and Their Eyes
Were Watching God, by Zora Neale Hurston are well-told stories with vivid main
characters. Their larger than life passions and needs create
and develop in their main characters, a belief that readers can make dramatic connections
to. Ozeki, Welch, and Hurston blend together characters to
create a story’s remarkable purpose to life, all based on the developmental change of
the story’s main character through personal identification for growth.
Ozeki has only written just the one novel,
but in it she uses the main character to effectively construct various viewpoints for the
readers. Ozeki's compassion for her characters causes her to pursue her list of causes so
forcefully that readers are liable to feel manipulated, “Ozeki (herself a documentary
filmmaker) allows her fiction to be overshadowed by her message” (Funderburg). Ruth
Ozeki, like her main character, Jane Tagaki Little, has a Japanese mother and an American
father. By the end of the novel, everything has come full circle, with a small segment of
self-consciousness that is bundled out to mostly all of the characters. Superbly done is
her depiction of the television and documentary production atmosphere. The novel's
campaigning heartbeat fascinates many a reader, “Romance, agri-business,
self-discovery, cross-cultural misunderstanding – it takes a talent like Ruth Ozeki’s
to blend all these ingredients beautifully together…a sensitive and compelling
portrait of two modern women” (Golden). In that, the streamline of conviction, is the
foremost strength is Ozeki's feat in the characterization of Jane. To be able to truly see
the areas in character development Ozeki has yet to arrive at, it can be distinguished in
James Welch’s novel, Fools Crow.
Fools Crow is an extraordinary
novel that plunges the reader into the startling abruptness of the Indian world in the
late 1900th century, a world in which reality is pleasant and harsh, “Although
the popular impression during those years was that the Indians were a “disappearing
race,” the century saw a dramatic reversal of almost all indexes of decline”
(Foner). The unavoidability of its proceedings, develop human fluency within variety of
connections to its main character. Combining the rigorous authenticity of its cultural
reconstruction, the main character, Fools Crow, is developed magnificently. Associated
with tragic consequences, the lives and fate of the Lone Eaters ultimately rest in the
escalation in identity of the main character, “I myself do not understand, but if my
journey is successful, perhaps it will help the Lone Eaters find a direction” (Welch
316). Welch's clear, precise writing style and his interesting characters are especially
fascinating as their names describe the character in some way, an aspect of culture no
longer found today. The writing is done in third person but with an interwoven purpose. It
is a Native American voice that puts in the picture of their story, using their words and
using their paradigms to describe the world and events going on around them, “James
Welch looks at his people’s past with both compassion and a sharp sense of reality to
create an epic tragedy of classic proportions” (Cannon). Written from this point of
view, it contains a casehardened description of Indian life on the eve of destruction of
these cultures. Much like Welch, Hurston uses the vernacular or her era of writing to give
genuineness to her main character as well.
In the third person and
partially omniscient, in the novel Their Eyes Were Watching God, the voice of the
characters, speak primarily in a Southern, black dialect to establish right away the
certainty of the characters persona. Some of the descriptive passages in the novel, like
the opening passage about, “ships at a distance” (Hurston 1), use traditional
rhythmical language, which contrasts sharply with the witty, earthy idiom of Hurston’s
characters. Hurston goes to great lengths to depict the verbal infighting, which is so
important in many African-American communities; “The African American literary
tradition began with oral culture long before any of the materials in it were written
down. Throughout their American history, African Americans have used the oral culture as a
natural part of black expressive culture” (PBS.org). This serves as strengths in
personal character, even though its not bound by technical speech, “And while the
book is written in rural southern black dialect, instead of slowing me down, I felt the
lyrical dialog made the characters come to life” (Whitley). The story told through
this language helped me see Janie’s story as the narrative of a woman who comes to
find herself, her voice, and ultimately, happiness. The concrete tier of development
allows the reader to grow along with Janie still knowing she’ll be okay. A feminist
outlook can be contrived from a succession of sorts from her marriages. But in the end, it’s
the identity that is derived from the characters tribulations, that completes the story
and satisfies the reader. The main characters in all three of the aforementioned novels
had to establish an early understanding, or a least reveal it to the reader, a certain
weakness within the beginnings of their character.
Establishing identity
early showing the possibility of change and growth leads the reader to care about the
outcome of the character advancing the story toward its resolution and fulfillment. Ozeki
uses Jane as sharp-edged, desperate for a job, and determined not to fall in love again.
Jane Little, who goes by Tagaki, half-Japanese herself, accepts the job, partly out of
desperation and partly out of a desire to clarify Japanese misconceptions of American
culture, “it seems I was more useful as a go-between, a cultural pimp, selling off
the vast illusion of America to a cramped population on that small string of Pacific
islands” (Ozeki 9). Ozeki, having her main character display this association, allows
for the opportunity to take the reader into many elements of the main character
establishing the interest of the reader to continue reading. Rather than the direct
personal relation of a undeveloped character, taking Welch’s approach in showing the
contrast of weakness from supporting characters within he story frame, “a sullen
youth, in and out of love, unlucky in all his endeavors"(218). Connecting to family
is a very robust means to reach a reader. When comparing his two sons, Fools Crow father
spoke higher of his younger brother Running Fisher, “Running Fisher. He was the one
they talked about. At only sixteen winters he had already taken two horses from the
Cutthroats” (Welch 9). By means of this family association further solidifies the
early weakness associated with the identity of the main character. The use of youth and
nature is a firm method in which Hurston clearly excels. Since childhood, Janie has never
had a firm grasp of her identity. She didn't realize she was black until she saw a picture
of her one day, “Janie saw her life like a great tree in leaf with the things
suffered, things enjoyed, things done and undone. Dawn and doom was in the branches”
(Hurston 8). A youthful outlook allows for unlimited potential, but limits the character
at an earlier stage in the story permitting Hurston to develop a chronological storyline
of relevance to the progress of her main character Janie. Responding to the ideals and
formulating personal strong beliefs show the solid growth within the construct of the
flowing plot.
Evidence on concrete change and
development around the other characters within the story signifies the transformation even
more for the reader and shows progress beyond the awareness of the character themselves. Jane begins to stretch the boundaries of what
her producers consider normal and wholesome wives or families, “I regret to inform
you that your program of vegetarian lesbians is unacceptable to Mr. J. Ueno who insist
that you must resign from director of My American Wife! ever again” (Ozeki 179). Her
attempt to film a poor family proves unsuccessful, but she manages to slip in a show about
a large inter-racial family with many adopted children. Eventually her subversive impulses
take over and she presents the show featuring a lesbian, inter-racial, vegetarian couple,
“So here we go. I will probe its stinking heart and rub Ueno’s nose in its offal”
(Ozeki 202). The rebellious nature of that image portrays a shift in momentum for the
development in a positive view. Welch uses the change in personal commitment in the same
manner as Ozeki’s use of defiant behavior, “I have chosen the way of the warrior
and so I must take that trail, wherever it leads. If I were to stay behind, the others
would lose respect for me” (136). The freshly achieved self-esteem is matched with
self-confidence and community satisfaction. Not only does Fools Crow character develop
from the respect granted but is foreseen by his family very well favored, “White Man’s
Dog looked at his father. Rides-at-the-door smiled. And so the young man sat in the place
of honor,” (Welch 101). This directly changes the outlook when defining his identity
early on in the story, showing truly an indication of total dedication towards his
community beyond himself and his desires. Reflections of ideals that have been bestowed
onto the character Janie follow a course of certainty that she is making her own life
real. She realizes that her grandmother had the wrong idea when it came to finding and
fulfilling your dreams. Her grandmother wanted Janie to search for things, but Janie
really just wanted people and most of all, love. She knows that, “Ah was born back
due in slavery so it wasn't for me to fulfill my dreams of whut a woman oughta be and to
do . . . Ah wanted to preach a great sermon about colored women sittin' on high, but they
wasn't no pulpit for me” (Hurston 15). Personal growth in defining the characters
belief system of life, beyond the early influences and decisions forced onto, the
character institutes their own principle base presenting that the character is developing.
Finally all leading to a point that in the story that depicts the very essence of the main
character, and what they have become from the story.
The personal and
identifying moment for the reader and character, in which the growth of the character is
stated firmly. For Ozeki the identity of her main character doesn’t change much its
rather the change she makes on the identities of those around her from the affects of her
story, “I don’t think I can change my future simply by writing a happy ending…but
in reality I will just have to wait and see” (361). Her sacrifice an unwilling one,
is the binding connection between Welch’s Fools Crow and Ozeki’s Jane. Fools
Crow sacrifices are of choice. With his compliance to sacrifice and his passionate
spiritually that allows his character to progress, Fools Crow had fully developed far
reaching the expectations of his once youthful image, “For even though he was, like
Feather Woman, burdened with the knowledge of his people their lives and the lives of
their children, he knew they would survive, for they were the chosen ones” (Welch
390). There is no denying at this point the main character has been transformed into his
“greater self.” All three main characters undergo a journey of time and change,
which forces the characters development regardless of their willingness to do so. Hurston
identifies Janie’s development from her travel to the horizon and back clearly
knowing she has voyaged beyond her old self, “So Ah'm back home agin and Ah'm
satisfied tuh be heah. Ah done been tuh de horizon and back and now Ah kin set heah in mah
house and live by comparisons” (182). The potency seen in her ability to give an
African-American woman in that time, that level of personal strength is a peak itself in
character development concluded by the reader. The events of the story compel those main
characters to respond based on the sense of which they are, and then later are based on
who they have become and are aware of.
The main characters
in these three stories designed by the storytellers have the emotions that suggest how
they will react to life’s events. They deal with all external elements and
characters, but also, evoking the internal side of the equation portraying their
characters and genuine. The characters reactions set up the dramatic purpose and give
voice to their feelings and concerns as the stories bring to bear a theme, moral message,
or thought-provoking concept. Reaching resolution of character based on inner conflicts of
the characters bringing a true identity forth. The personal impact from the main character
to the reader carries with it a profound concept that touches everyone; “Creative
narratives provide a means to understand cultural standpoints while simultaneously
creating the psychological safety necessary for change to occur” (Schein). These
stories have meaning to those in the reading audience with similar feelings and issues,
but most of all, educates those who don’t.
Post Script.
Making connections in the stories themselves appeals to me more than connected the writing
mannerisms or characteristics of the authors. I do admit, in just writing this draft I
have learned a vast amount more than I initially did when writing my individual papers on
each of the books used here. Concepts designed to come to light in one story flowed into
the other and at first I didn’t even noticed. Now that I have collected sources and
my thoughts on the authors, there relation is more relevant to me every time I go back and
review anything. Not only in these stories, but also in all the work we’ve done. This
has brought me closer to the understanding of why my wife will read a book more than once
and why I just read Their Eyes Were Watching God for the second time. Also, Ozeki’s
next book is due out spring 2002, named, All Over Creation, another food book
dealing with potatoes. I certainly will be getting it.
Works
Cited
Cannon, Hal, and Jordan, Teresa.
eds. Fools Crow by James Welch. Fieldnotes West. 9 Mar.
2001
<http://www.fieldnoteswest.com/book-details/B2361.html>.
Foner, Eric, and Garraty,
John A., eds. The Reader’s Companion to American History.
Massachusetts:
Houghton Mifflin Company, 1991.
Funderberg, Lise, ed. “Review
of My Year of Meats”. 26 July 1998. New York Times on the
Web. 23
Feb. 2001.
Golden, Arthur. Literature
and Fiction: My Year of Meat. 8 Mar. 2001
<http://www.panmacmillian.com/fnf/landf/myyearofmeat.htm>.
Hurston, Zora Neale. Their
Eyes Were Watching God. New York: Harper & Row, 1990.
Landers, Monica, ed. Writing
technique: character development. PageWise, Inc. 9 Mar. 2001
<http://www.pagewise.com>.
Ozeki, Ruth. My Year of
Meats. New York: Penguin Putnam Inc., 1998.
PBS.org. “Interview
with Prof. Nelle Mckay”. African American Literature: Past, Present, Future. 18 Mar. 1997. 10 March 2001
<http://www.pbs.org/newshour/forum/march97/mckay_3
-18.html>.
Schein, E. H. Process
consultation: Lessons for managers and consultants. Vol. 2. Massachusetts:
Addison-Wesley
Publishing Company, 1987
Welch,
James. Fools Crow. New York: Penguin Books USA Inc., 1987.
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