My Vocation, By Mary Lavin

BIOGRAPHY, by Maribel Mayorga

Mary Josephine Lavin wrote short stories and novels, and she is now regarded as a pioneer in the field of women's writing.

She is particularly noteworthy for her stories on the topic of widowhood, which are considered her finest.

Mary Lavin was born in East Walpole, Massachusetts, EUA, in 1912, the only child of Tom and Nora Lavin, an immigrant Irish couple. She attended primary school in East Walpole until the age of nine, when her mother decided to go back to Ireland. Initially, Mary lived in Athenry, in County Galway, in the West Coast. Afterwards, her parents bought a house in Dublin.

Mary attended Loreto College, a convent school in Dublin, before going on to study English and French at University College Dublin. She taught French at Loreto College for a while. As a postgraduate student, she published her first short story, "Miss Holland", which appeared in the Dublin Magazine in 1938.

In 1943, Mary published her first book, Tales from Bective Bridge, a volume of ten short stories about life in rural Ireland; it was a critical success and won the James Tait Black Memorial Prize for fiction

In 1954 her husband died. Lavin, with her reputation as a major writer already well established, was left to confront her responsibilities alone. She raised her three daughters and kept the family farm going at the same time. She also managed to publish short stories, and she won several awards for her work, including the Katherine Mansfield Prize in 1961, Guggenheim Fellowships in 1959 and 1961, and an honorary doctorate in 1968. Some of her stories written during this period, dealing with the topic of widowhood, are her best stories.

In 1992, the members of Aosdána (an affiliation of creative artists in Ireland) elected Lavin Saoi (one of the highest honours in Irish culture) for achieving "singular and sustained distinction" in literature.
She died in 1996 at the age of 84.

MY VOCATION

My  Vocation was published in 1956 in the Atlantic  Monthly, a magazine in the USA, thanks to  a recommendation from J. D. Salinger (author of The Catcher in the Rye).

This is a story that talks about family, religion, life in Ireland, and about a daughter who was looking for her vocation: she was thinking of becoming a nun. One day she found in an ad in a newspaper that they were looking for applicants. She did not hesitate to write, and she received a telegram in answer to the application. She lived in Dorset Street and the best thing of Dorset Street was that it was like a big happy family, and everyone was proud of the idea of her going to the missions, although she did not like the idea of going with lepers. It was time for the interview: what did she decide for her future?

QUESTIONS

The “dowry”: does the tradition go on in the case of brides?
The smell of people: do you think people smell according their job? Have you read “The perfume”?
What do you know about Mary Magdalen? What is the irony in the story?
What are the Tiller Girls? And the Gaiety? What do you need to have to be a Tiller Girl?

What is the Seven Churches ritual? Is there something similar here?

In the story they say nuns don’t cough or sneeze because they are like angels. Here, when someone sneezes, we say “Jesus!”, or “Health!”, or, in catholic anglophone countries, “Bless you”. But usually in Great Britain, when somebody sneezes, he or she says “Sorry!” Do you know any different habits about sneezing, or yawning or belching?

What do you need to be a waitress, according to the story?

What kind of girl do the boys choose to get married to, according to the story? Do you know other clichés?

What do you know about Mary Alacoque?

What preparations did the mother do for the nuns visit? How did the neighbours help?

Our protagonist ties a knot in her handkerchief: What do you do when you want to remember something?

What do you know about leprosy and lepers? Have you seen the film “Sweet Bean”? And Papillon? What happened to Gaugin in the novel The Moon and Sixpence, by Somerset Maugham?

What is a Recruiting Officer?

Describe the two nuns that visit the protagonist’s house.

How did the meeting go?

On page 440, line 20, one of the nuns says: “Oh, we have to be ready for all the eventualities”. What do you think she means?

What cab did the girl order for the nuns? Describe cab, horse, cabby…

Tell us about the accident. Did the nuns get hurt?

At the end: is she going to be a nun? How do you know? What is Dollymount?

PREPARE YOUR SPEECH

 

What do you know (from your experience) about nuns? Did you study in a nun’s school? What do you think about your experience?

Tell us your experience about your call/vocation. Is it easy to know one’s call? An important number of students change studies after their first year: why is it so difficult to choose what one wants to be in one’s life? What would you do if you didn’t like your child’s call?

What do you think of Missions or NGOs? Do they really help the people they say they’re helping?

VOCABULARY

cut out, call, hopscotch, sniff, cheapen, sparky, scrub, hold with, hot jar, kneeler, tightly, dead keen, morosely, dowry, harp on one string, start the ball rolling, front, ram, lore, square meal, lug, return room, being any the wiser, raffle, stub, back out of, gorgeous, wear away, pickle, daft, flighty, cabby, bucket, caper

A Visit of Charity, by Eudora Welty

Eudora Welty at the Wikipedia

A Curtain of Green at the Wikipedia

A Visit of Charity, character analysis

A Visit of Charity, video

BIOGRAPHY

She was born in Jackson, Mississippi, in 1909, and died when she was 92.
Jackson is a city now with more 70 % of Afroamerican people, while in the 60s it was the other way round; so the city has experienced big changes in demography and, accordingly, in politics.
Eudora Welty lived all her life in Jackson, save when she studied at Columbia University, New York.
She had a calm life in Jackson, despite all the racial problems, so her stories contrast vividly with the stories by Faulkner or by Richard Wright.
As a child, she was an insatiable reader and she wrote her stories without any particular encouragement. She started writing for a Southern magazine and then, thanks to the persistence of a literary agent, for the Atlantic Monthly and for The New Yorker.
She won the Pulitzer Prize when she was 64 years old for her novel The Optimist Daughter. 
She wrote mainly short stories, but also novels and her autobiography. Besides, she was a photographer and published a book of photograhs about the Great Depression.

A VISIT OF CHARITY

It is a short story from her book A Curtain of Green, published when she was 32. The book includes her first published story, Death of a Travelling Salesman.

The story tells us about a Campfire Girl who pays a visit a to an Old Ladies Home, as a part or her duties as a member of the youth organization, a visit which is going to get her some points in her score. But what people live and how the live in a Home comes as a surprise for her.

QUESTIONS

Why does she compare the Home to a block of ice?
Campfire Girl: have you belonged to an organization when you were young? What do you know / think of the Boy Scouts, for example?
What do you think about the contrast between the nurse’s cold appearance and her “sea-wave” air?
Why does the Campfire Girl have to pay a visit to some (any) old lady?
Gestures: What are their meaning? For instance, the girl pushing her hair behind her ear; the nurse looking at her watch...
The “waves” appear again: “she was walking on waves”. Is there any relationship between the wave on the nurse’s head and the waves on the linoleum?
"The hall smelt like the interior of a clock": what does this image suggest to you?
There’s an identification between old ladies and sheep, but also they are compared to harpies. Why?
What is the effect of the nurse saying “there are two”?
What is the feeling created by the room’s description?
The two ladies don’t agree about the flowers: why? Did the girl know about the flowers?
What expression suggests a clog in the throat?
How does the narrator show the girl’s anxiety?
What can be the meaning of the cameo pin?
What was the matter with Addie? Why was she so angry today?
It was the first time such a thing had happened to Marian: what was this thing?
What is the meaning of “That’s Addie for you”?
What kind of magazine was Field & Stream?
Do you think the nurse’s invitation to Marian to have lunch there is for real? Why?
Why did she hide an apple before going in the Home? And why did she make a big bite out of it at the end of the story?

VOCABULARY

Home (in context), whitewashed, mittens, awry, propelled (propeller), counterpane, square smile, my (in context), multiflora cineraria, ailing, comfort shoes, rigmarole, tan (gum), crow (in context), nickel

"You can't learn a nigger to argue"

I never see such a nigger. If he got a notion in his head once, there warn't no getting it out again. He was the most down on Solomon of any nigger I ever see. So I went to talking about other kings, and let Solomon slide. I told about Louis XVI that got his head cut off in France long time ago; and about his little boy the dolphin, that would 'a' been a king, but they took and shut him up in jail, and some say he died there.
"Po' little chap."

"But some says he got out and got away, and come to America."

"Dat's good! But he'll be pooty lonesome—dey ain' no kings here, is dey, Huck?"

"No."

"Den he cain't git no situation. What he gwyne to do?"

"Well, I don't know. Some of them gets on the police, and some of them learns people how to talk French."

"Why, Huck, doan' de French people talk de same way we does?"

"No, Jim; you couldn't understand a word they said—not a single word."

"Well, now, I be ding-busted! How do dat come?"

"I don't know; but it's so. I got some of their jabber out of a book. S'pose a man was to come to you and say Polly-voo-franzy—what would you think?"

"I wouldn' think nuffn; I'd take en bust him over de head—dat is, if he warn't white. I wouldn't 'low no nigger to call me dat."

"Shucks, it ain't calling you anything. It's only saying, do you know how to talk French?"

"Well, den, why couldn't he say it?"

"Why, he is a-saying it. That's a Frenchman's way of saying it."

"Well, it's a blame ridicklous way, en I doan' want to hear no mo' 'bout it. Dey ain' no sense in it."

"Looky here, Jim; does a cat talk like we do?"

"No, a cat don't."

"Well, does a cow?"

"No, a cow don't, nuther."

"Does a cat talk like a cow, or a cow talk like a cat?"

"No, dey don't."

"It's natural and right for 'em to talk different from each other, ain't it?"

"Course."

"And ain't it natural and right for a cat and a cow to talk different from us?"

"Why, mos' sholy it is."

"Well, then, why ain't it natural and right for a Frenchman to talk different from us? You answer me that."

"Is a cat a man, Huck?"

"No."

"Well, den, dey ain't no sense in a cat talkin' like a man. Is a cow a man?—er is a cow a cat?"

"No, she ain't either of them."

"Well, den, she ain't got no business to talk like either one er the yuther of 'em. Is a Frenchman a man?"

"Yes."

"Well, den! Dad blame it, why doan' he talk like a man? You answer me dat!"
I see it warn't no use wasting words—you can't learn a nigger to argue. So I quit.

                        A bit of dialogue between Jim and Huck (from Huckleberry Finn, by Mark Twain)