Introduction
This essay seeks to apply literary theories to three short stories from *The Best Short Stories 2021*: “Brown Girls” by Daphne Palasi Andreades, “Malliga Homes” by Sindya Bhanoo, and “Scissors” by Karina Sainz Borgo. By employing Feminist Theory for “Brown Girls” and “Malliga Homes,” and New Historicism for “Scissors,” the analysis aims to uncover deeper meanings embedded within these texts regarding power dynamics, cultural identity, and historical contexts. Each section will introduce the relevant theoretical framework, articulate a clear thesis connecting the theory to the story, and support the argument with textual evidence. Furthermore, the broader cultural and historical implications of these works will be explored, demonstrating how literature reflects and challenges societal structures. The objective is to move beyond surface-level interpretations and engage critically with the texts, situating them within wider conversations about gender and history.
Feminist Theory in “Brown Girls” by Daphne Palasi Andreades
Feminist Theory examines how literature portrays gender roles, power imbalances, and patriarchal structures, often critiquing the ways in which women are marginalized or oppressed (Tyson, 2006). In “Brown Girls,” Andreades crafts a collective narrative of young women of color navigating their identities in a society that imposes rigid expectations. This story lends itself to a feminist lens, as it highlights the intersection of gender and race in shaping lived experiences. The central thesis here is that “Brown Girls” uses a collective voice to challenge patriarchal and racial norms, exposing how societal pressures constrain the autonomy of young women.
Throughout the text, the collective “we” underscores a shared struggle against gendered expectations. For instance, the line, “We are told to be grateful, to remember where we came from, but also to aim higher, to be American” (Andreades, 2021, p. 2), reveals the contradictory demands placed on these girls—to honor traditional roles while striving for an idealized, often unattainable, success. This duality reflects a feminist critique of how women, particularly those from marginalized backgrounds, are burdened with navigating conflicting cultural scripts. The insistence on gratitude also suggests an internalized pressure to conform, a theme often explored in feminist discourse as a mechanism of control (Hooks, 2000).
Moreover, the story illustrates how gendered spaces shape identity. The girls observe, “In our homes, we are daughters, sisters, but outside, we are something else—objects, targets” (Andreades, 2021, p. 3). This dichotomy between private and public spheres critiques the objectification inherent in patriarchal societies, where women’s worth is often determined by external gazes rather than internal agency. From a broader perspective, this resonates with contemporary discussions about intersectionality, highlighting how race and gender compound marginalization in Western contexts. Arguably, Andreades’ work invites readers to reconsider the systemic barriers that young women of color face, situating personal struggles within a wider cultural critique.
Feminist Theory in “Malliga Homes” by Sindya Bhanoo
Applying Feminist Theory to “Malliga Homes,” the focus shifts to the portrayal of aging women and the gendered expectations surrounding care and familial roles. Bhanoo’s narrative centers on a widow living in a retirement home, grappling with loneliness and societal dismissal. The thesis here posits that “Malliga Homes” critiques the patriarchal undervaluing of older women, exposing how their emotional and social contributions are rendered invisible.
Textual evidence supports this interpretation, particularly in the protagonist’s reflection: “I have lived for others all my life, and now, who is there for me?” (Bhanoo, 2021, p. 25). This poignant statement encapsulates the feminist concern with the unequal distribution of emotional labor, where women are often expected to nurture without reciprocation (Gilligan, 1982). The character’s isolation further underscores how society devalues women once they are perceived as no longer useful in traditional roles such as mother or wife. Additionally, the line, “They think I am just an old woman, nothing more to say” (Bhanoo, 2021, p. 28), highlights the silencing of older women’s voices, a recurring theme in feminist analyses of aging.
In a broader cultural context, this story speaks to the global issue of gendered aging, where women face compounded discrimination based on both gender and age. It prompts reflection on how societies might better value the lived experiences of older women, challenging readers to confront ingrained biases. Indeed, Bhanoo’s narrative serves as a reminder that feminist critique must extend beyond youth to encompass all stages of life, urging a reevaluation of care structures in modern societies.
New Historicism in “Scissors” by Karina Sainz Borgo
New Historicism examines literature within its historical and cultural context, focusing on how texts reflect or resist the power structures and ideologies of their time (Greenblatt, 1980). In “Scissors,” Sainz Borgo explores themes of loss and survival in a setting likely influenced by Venezuela’s recent socio-political crises. The thesis here is that “Scissors” reflects the historical instability of contemporary Venezuela, using personal grief to critique broader systemic failures and power imbalances.
The story subtly embeds historical context through its bleak imagery and tone. For instance, the protagonist notes, “Everything here is broken, even the air we breathe feels heavy with ruin” (Sainz Borgo, 2021, p. 87). This line can be read as a commentary on the collapse of social and political systems in Venezuela during the 21st century, where economic crises and authoritarian governance have led to widespread suffering (Human Rights Watch, 2020). From a New Historicist perspective, this imagery situates personal loss within a collective national trauma, illustrating how individual lives are shaped by larger historical forces.
Furthermore, the recurring motif of cutting and fragmentation, as seen in, “I take the scissors and cut away at what’s left, piece by piece” (Sainz Borgo, 2021, p. 89), mirrors the disintegration of societal structures. This resonates with New Historicist readings that view literature as a site of negotiation between individual agency and historical determinism. In a wider context, “Scissors” invites reflection on how political upheaval affects personal identity, particularly in post-colonial settings where power struggles often exacerbate human suffering. Therefore, Sainz Borgo’s work challenges readers to consider how history is not merely a backdrop but an active force in shaping narratives.
Conclusion
In conclusion, the application of Feminist Theory to “Brown Girls” and “Malliga Homes” reveals the pervasive impact of patriarchal structures on women across different life stages and cultural backgrounds, highlighting issues of objectification, emotional labor, and societal dismissal. Meanwhile, a New Historicist approach to “Scissors” uncovers how personal narratives are inextricably linked to historical and political contexts, particularly in settings of crisis like contemporary Venezuela. Together, these analyses demonstrate the power of literary theory to illuminate underlying meanings in texts, connecting individual stories to broader cultural and historical conversations. The implications of this study extend beyond literature, prompting critical reflection on how power dynamics, whether gendered or historical, continue to shape human experiences in the real world. Ultimately, these stories underscore the importance of challenging systemic inequalities, encouraging readers to engage actively with the social issues they portray.
References
- Andreades, D. P. (2021) ‘Brown Girls’, in *The Best Short Stories 2021*, pp. 1-4. New York: Anchor Books.
- Bhanoo, S. (2021) ‘Malliga Homes’, in *The Best Short Stories 2021*, pp. 22-36. New York: Anchor Books.
- Gilligan, C. (1982) *In a Different Voice: Psychological Theory and Women’s Development*. Cambridge, MA: Harvard University Press.
- Greenblatt, S. (1980) *Renaissance Self-Fashioning: From More to Shakespeare*. Chicago, IL: University of Chicago Press.
- Hooks, B. (2000) *Feminism is for Everybody: Passionate Politics*. London: Pluto Press.
- Human Rights Watch (2020) *Venezuela: Events of 2019*. New York: Human Rights Watch.
- Sainz Borgo, K. (2021) ‘Scissors’, in *The Best Short Stories 2021*, pp. 86-90. New York: Anchor Books.
- Tyson, L. (2006) *Critical Theory Today: A User-Friendly Guide*. 2nd ed. New York: Routledge.
