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Impact Of The New Deal On The Great Depression - 1355 Words

Impact of the New Deal on the Great Depression Preceding the Great Depression, the United States went through a glorious age of prosperity, with a booming market, social changes, and urbanization; America was changing. At the end of the 1920’s and well through the 1930’s, America was faced with its greatest challenge yet; the 1929 stock market crash. It would be the end of the prosperity of the â€Å"Roaring Twenties†. Now the American government and its citizens were faced with a failing economy. President Herbert Hoover was clueless to how to approach the problem. Hoover believed that government works best when it governs less, and should not intervene in the economy. Traditionally, he stayed out the issue hoping that the economy would fix itself; it didn’t. Hoover’s inaction makes his presidency look ineffective as if he caused the Great Depression. Franklin Delano Roosevelt (FDR) succeeded Hoover as president. Like Hoover, FDR didn’t know exactly how to help the economy. Unlike Hoove r, FDR introduced experimental ideas and programs to help solve the issue. These ideas and programs would become a part of Roosevelt s policies known as the New Deal which sought to fix America’s economic struggles. Despite short term successes, the New Deal implemented during the 1930 s by FDR did not lift the United States out of the Great Depression. Instead by intervening in the economy, and creating huge debt, the New Deal prolonged the Great Depression. The New Deal aimed to restoreShow MoreRelatedImpact Of The New Deal And Programs On The Great Depression1274 Words   |  6 Pages Impact of the New Deal and programs on the Great Depression Preceding the Great Depression, the United States went through a glorious age of prosperity, with a booming market, social changes,and urbanization..America was changing. At the end of the 1920’s well through the 1930’s, America was faced with it’s greatest challenge yet. The 1929 stock market crash was the end to the prosperity of the â€Å"Roaring Twenties†. Now the people and government were faced with a huge problem,a failing economy. PresidentRead More The Impact of the New Deal on the Great Depression Era Essay2016 Words   |  9 PagesThe Impact of the New Deal on the Great Depression Era In 1933, President Roosevelt proposed New Deal legislation to alleviate the effects of the Great Depression through various public works programs and other federal initiatives. The many reforms of the New Deal were racked by intense criticism from their very beginnings. The New Deal was a catalyst in the surge of the federal government’s power. One year before the financial collapse on Wall Street, President Hoover said, â€Å"We in AmericaRead MoreTaking Sides : Clashing Views Of United States History By Madaras, Larry And James Sorelle973 Words   |  4 Pageswhich debates on whether the new deal prolonged the great depression. The great depression refers to an era in US history, which happened from 1929 to 1941 during president Franklin Delano Roosevelt era, and it made the US citizens face economic hard times. The great depression era had much overproduction, inequality in wealth distribution and over borrowing. Consequently, the president implemented the new deal with the aim of saving American citizens from the great depression. However, people had differentRead MoreWomen s Role During The Great Depression1232 Words   |  5 PagesAs the Great Depression crept up on the United States people began to see the effects of the economic down spiral. To try a keep afloat people did what they could to survive. The role wom en played during this time period was a strong example of this drive for survival. Women stepped up to the plate for their family and jumped into the workforce to become the new breadwinners of their family. They broke barriers and didn t care what people thought of them. Even though most of the jobs out there wereRead More The Impact of the Great Depression Essay926 Words   |  4 PagesThe Impact of the Great Depression The stock market crash of 1929 sent the nation spiraling into a state of economic paralysis that became known as the Great Depression. As industries shrank and businesses collapsed or cut back, up to 25% of Americans were left unemployed. At the same time, the financial crisis destroyed the life savings of countless Americans (Modern American Poetry). Food, housing and other consumable goods were in short supply for most people (Zinn 282). This widespreadRead MoreHow did the events of the 1930’s impact African Americans prospects?809 Words   |  4 Pages1930’s impact African Americans prospects? Charlie Wilson The 1930’s was a time of great struggle in the USA. The New York stock market crashed in 1929 and triggered a spiral of economic depression, which hit African Americans hard. The Great Depression had a huge impact on African Americans. The Great Depression of the 1930s was catastrophic for all workers. But as usual, African Americans suffered worse, pushed out of unskilled jobs previously scorned by whites before the depression. AfricanRead MoreSocial and Economic Impact of The New Deal Essay966 Words   |  4 PagesSocial and Economic Impact of The New Deal Prior to the great depression, the U.S. economy alternated between periods of prosperity and sharp economic decline. During the great depression, aggregate demand dropped sharply, causing the price level and real GOP to decline. As aggregate output declined, the unemployment rate jumped, climbing from around 3 percent in 1929 to 25 percent in1933. There were several factors that played a major role in the Great Depression. The main explanationRead MoreThe events of the 1930’s, or the Great Depression, did the most to influence contemporary America.900 Words   |  4 Pagesevents of the 1930’s, or the Great Depression, did the most to influence contemporary America. During the twenties, America was at its most prosperous economic times until the stock market crashed in 1929. The stock market crash led to a dramatic decline of the U.S. economy. The decline in the economy changed Americans everyday lives. In 1932, Franklin D. Roosevelt was elected president and he created the New Deal to provide relief, recovery and reform. The Depression impacted America in the 1930’sRead MoreThe Worst Economic Depression Ever Felt Theu.s. Essay1249 Words   |  5 PagesThe worst economic depression ever felt in U.S. history was not only felt in north America, but this also became a worldwide economic slump. The Great Dep ression caused by many factors raised a question of how will the we take a step into recovery. The Election of president Franklin D. Roosevelt in 1932 was the beginning of the shaping of the U.S. government interaction with American citizens. Roosevelts campaign helped him win the election of 1932 with his laudable ideas of how to combat the effectsRead Moreap us history dbq1672 Words   |  7 Pagesï » ¿1.All of the following statements are true about Herbert Hoover’s responses to the Great Depression EXCEPT: B.:-) He saw the Depression as akin to an act of nature, about which nothing could be done except to ride it out. 2.Franklin D. Roosevelt’s New Deal program attempted or achieved all of the following EXCEPT C.:-) supported the creation of the Reconstruction Finance Corporation. 3.The â€Å"New Immigration† was made up primarily of D.:-) persons from Southern and Eastern Europe.

Reflection of My Clinical Practicum free essay sample

As a second year nursing student, I felt more confident in Simulation Learning Experience (SLE) practicum in that, I could integrate my nursing knowledge, skills, and clinical experience into the practice. In the simulation scenario, I simulated the primary nurse caring for a patient with post-operative complications. I learned about general procedures regarding how to approach a patient with post-operative complications. I learned how to effectively decide which assessments are priority, as well what signs and symptoms posed specific concern in such a scenario. I thought I had done quite well for some part; however, there was a situation in which I did not act as I should have. Elaborate A female patient with a postoperative left total knee arthroplasty, entered my floor that morning. Before she came in, she had vomited three times. My primary assessments focused on pain and the wound. The patient did not complain of pain, but I found a large amount of blood leaking out of the dressing. After analyzing the current vital signs and the lab results from last shift, blood pressure 90/40 mm/Hg was the main issue, so I decided to call the doctor. The doctor ordered : â€Å"2 NS boluses, 500 cc each and 2 units of PRBC’s and to increase the IV maintenance from 75cc/hr to 125cc/hr. † I hung up the IV bags and set up the IV pump, then I called the blood bank. After the blood arrived, my partner disconnected the IV line and connected the blood bag to the saline lock. My patient still complained of dizziness, the blood pressure was 90/50mm/Hg. Under that situation, I really did not how to act in this situation. In this scenario, I also paid close attention to the patient’s temperature and assessed the level of the patient consciousness, and so on. I believe that there were many problems in the scenario that I was unable to address. Analyze I was good at several assessments and interventions in that scenario, which could demonstrate my strength. A patient with a postoperative left total knee arthroplasty required specific assessments. According to Smith (2010), the priority care process should be respiratory and circulatory function, pain, temperature, and surgical site. I focused on pain assessment first, which is very important. Lucas (2008) stated that adequate pain management is essential in that, it can make patients mobilize as soon as possible after surgery. As cited in Smith (2010), the most effective interventions for pain include both pharmacological and non pharmacological approaches. Another good intervention I did was paid more attention on temperature of the patient. According to Smith (2010), if the core temperature was less than 36? , this could mean that the patient had hypothermia. Hypothermia may compromise immune function and cause postoperative pain, bleeding, and delay drug metabolism resulting in a prolonged hospital stay. If the temperature was higher than 37. 7 ? after the first 48 hours of a surgery, then infection should be considered. As well I assessed the patient’s level of the consciousness and sensory and motor status, which was an essential assessment, although they may not be prior assessment in this scenario. I also figured out some of my weaknesses in this scenario, which should be noted and improved in the future. For a postoperative patient, assessment should begin with an evaluation of the airway, breathing, and circulation (ABC) status (Smith, 2010). I assessed the airway and carried out suction, then administered oxygen, but I did not do it immediately. She had vomited three times, keeping the airway patent and administrating oxygen are very important for postoperative care (Smith, 2010). In fact, concerning treatment of hypotension in PACU, should always begin with oxygen therapy to ensure hypo-perfused organs meet the need of oxygen (Smith, 2010). The common cause of hypotension is fluid loss, IV fluid boluses will be given to normalize blood pressure (Smith, 2010), which is the reason why the doctor ordered the IV and blood transfusion. When transfusing blood or blood components, assessment is required before, during, and after the transfusion. If the client has an intravenous line in place, assess the venipuncture site for signs of infection or infiltration and patency (Jantzen Molzahn, 2010). In fact, we did not do very well in blood transfusion and we should keep the IV line running and set up another blood transfusion line in the other arm. The scenario was too short, if I had more time, I should assess potential urinary problem and gastrointestinal problem. Kwong, Kistler, Mills, Wildgoose, Klaskala (2012) stated that venous thromboembolism prophylaxis is also an important intervention nursing care for the postoperative patient. In a word, I can clearly figure out my strengths and weakness through the Simulation Learning Experience (SLE) practicum. Revise By participating in the scenario of post-operative complications, I realized that health care should be varied with the changing of the patient’s situations. As cited in Alligood Tomey (2010), Nightingale stated that any nursing process must be strictly followed in accordance with natural rule. The safety of a patient is the most priority (College of Nurse of Ontario, 2002), so it is very important for nurses to apply critical thinking for a nursing process (College of Nurse of Ontario, 2008). As cited in Alligood Tomey (2010), Parse noticed that the human is unitary human-living-health and human beings have their own rhythmical patterns of daily life. The intervention of nurses should adapt to the clients’ patterns, and an appropriate nursing process needs to be formed based on the clients’ different medical situations. In this scenario, I assessed the patient following the nursing process of postoperative care, although some of them need to be improved. I deemed the patient in the unitary of human and health environment and adhered to the rhythmical patterns of human being. I assessed pain, wound and attention on temperature, which demonstrated compliance with the particular nursing care in the postoperative unit. New perspective After the SLE lab practicum, I realized it is important to do more research on new nursing perspectives and techniques. Research will enrich my nursing experience and improve my nursing practice in the future. Furthermore, I need to be aware of the importance of nursing theories and apply them into daily nursing practice, because nursing theories can assist nurses to fulfill their clients’ needs. ?

Story and Details Regarding the Magic Barrel Essay Example

Story and Details Regarding the Magic Barrel Essay Malamud is considered one of the most prominent figures in Jewish-American literature. His stories and novels, in which reality and fantasy are frequently interlaced, have been called parables, myths, and allegories and often illustrate the importance of moral obligation. Although he draws upon his Jewish heritage to address the themes of sin, suffering, and redemption, Malamud emphasizes human contact and compassion over orthodox religious dogma. Malamuds characters, while often awkward and isolated from society, evoke both pity and humor through their attempts at survival and salvation. Biographical Information Malamud was born in Brooklyn, New York, on April 26, 1914 to Russian Jewish immigrants. His parents, whom he described as gentle, honest, kindly people, were not highly educated and knew very little about literature or the arts. Malamud recalled, â€Å"There were no books that I remember in the house, no records, music, pictures on the wall. † Malamud attended high school in Brooklyn and received his bachelors degree from the City College of New York in 1936. After graduation, he worked in a factory and as a clerk at the Census Bureau in Washington, D. C. Although he wrote in his spare time, Malamud did not begin writing seriously until the advent of World War II and the subsequent horrors of the Holocaust. At that time, he questioned his religious identity and started reading about Jewish tradition and history. We will write a custom essay sample on Story and Details Regarding the Magic Barrel specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Story and Details Regarding the Magic Barrel specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Story and Details Regarding the Magic Barrel specifically for you FOR ONLY $16.38 $13.9/page Hire Writer He explained, â€Å"I was concerned with what Jews stood for, with their getting down to the bare bones of things. I was concerned with their ethnicality—how Jews felt they had to live in order to go on living. † In 1949 he began teaching at Oregon State University; he left this post in 1961 to teach creative writing at Bennington College in Vermont. He remained there until shortly before his death in 1986. Major Works Malamuds first novel,  The Natural  (1952), is one of his most symbolic works. While the novel ostensibly traces the life of Roy Hobbs, an American baseball player, the work has underlying mythic elements and explores such themes as initiation and isolation. For instance, some reviewers cite evidence of the Arthurian legend of the Holy Grail; others apply T. S. EliotsWasteland  myth in their analyses. The Natural  also anticipates what would become Malamuds predominant narrative focus: a suffering protagonist struggling to reconcile moral dilemmas, to act according to what is right, and to accept the complexities and hardships of existence. Malamuds second novel,  The Assistant  (1957), portrays the life of Morris Bober, a Jewish immigrant who owns a grocery store in Brooklyn. Although he is struggling to survive financially, Bober hires a cynical anti-Semitic youth, Frank Alpine, after learning that the man is homeless and on the verge of starvation. Through this contact Frank learns to find grace and dignity in his own identity. Described as a naturalistic fable, this novel affirms the redemptive value of maintaining faith in the goodness of the human soul. Malamuds first collection of short stories,  The Magic Barrel  (1958), received the National Book Award in 1959. As in  The Assistant,  most of the stories in this collection depict the search for hope and meaning within the grim entrapment of poor urban settings and were influenced by Yiddish folktales and Hasidic traditions. Many of Malamuds best-known short stories, including â€Å"The Last Mohican,† â€Å"Angel Levine,† and â€Å"Idiots First,† were republished in  The Stories of Bernard Malamud  in 1983. A New Life  (1961), one of Malamuds most realistic novels, is based in part on Malamuds teaching career at Oregon State University. This work focuses on an ex-alcoholic Jew from New York City who, in order to escape his reputation as a drunkard, becomes a professor at an agricultural and technical college in the Pacific Northwest. Interweaving the protagonists quest for significance and self-respect with a satiric mockery of academia, Malamud explores the destructive nature of idealism, how love can lead to deception, and the pain of loneliness. The Fixer  (1966), is considered one of Malamuds most powerful works. The winner of both the Pulitzer Prize for literature and the National Book Award, the narrative is derived from the historical account of Mendel Beiliss, a Russian Jew who was accused of murdering a Christian child. Drawing upon Eastern European Jewish mysticism,  The Fixer  turns this terrifying story of torture and humiliation into a parable of human triumph. With  The Tenants  (1971), Malamud returned to a New York City setting, where the theme of self-exploration is developed through the contrast between two writers, one Jewish and the other black, struggling to survive in an urban ghetto. Within the context of their confrontations about artistic standards, Malamud also explored how race informs cultural identity, the purpose of literature, and the conflict between art and life. Malamud further addressed the nature of literature and the role of the artist in  Dubins Lives  (1979). In this work the protagonist, William Dubin, attempts to create a sense of worth for himself, both as a man and as a writer. A biographer who escapes into his work to avoid the reality of his life, Dubin bumbles through comically disastrous attempts at love and passion in an effort to find self-fulfillment. Malamuds next novel,  Gods Grace  (1982), differs from his earlier works in scope and presentation of subject matter. Set in the near future immediately after a nuclear disaster that leaves only one human being alive,  Gods Graceexplores the darkness of human morality, the nature of God, and the vanity and destruction associated with contemporary life. Critical Reception Malamuds place as a major American novelist is secure by the accounts of most critics, though most place him with Phillip Roth and Saul Bellow as a Jewish-American novelist. Largely considered one of the foremost writers of moral fiction, Malamud is also considered a writer in the tradition of Anton Chekhov and Fyodor Dostoyevski. Despite the preponderance of Jewish characters and subject matter in Malamuds works, critics argue that his stories extend far beyond Jewish literature. Malamud, Bernard (Vol. 27) Introduction Bernard Malamud 1914– American novelist and short story writer. Malamud ranks as one of the most significant contributors to contemporary American literature. His fictional world, most often urban and Jewish, is formed around the struggle for survival of characters who face the particular hardships of modern existence. Their survival depends upon their ability to combat lifes inevitable suffering by breaking through the barriers of personal isolation and finding human contact, compassion, and faith in the goodness of others. The typical Malamudian hero stumbles through this process in a tragic yet comic way, invoking both pity and humor. Although Malamud is a prolific writer and the recipient of many prestigious literary awards, he is perhaps best known for his novel  The Fixer  (1967), which was awarded both the Pulitzer Prize and the National Book Award. The Natural  (1952), Malamuds first novel, is perhaps his most symbolic. On the surface, the novel explores the life of an American baseball player; yet, as with all of Malamuds works, there are various interpretations of the deeper levels of meaning. For instance, some critics cite evidence of the Arthurian legend of the Holy Grail, while others apply T. S. Eliots wasteland myth in their analysis. In many ways it foreshadows predominant future concerns: a suffering protagonist struggling to reconcile moral dilemmas, to act according to what is right and good, and to come to grips with his existence. These themes recur in Malamuds second novel,  The Assistant  (1957), in the portrayal of the life of Frank Alpine, a cynical anti-semitic youth who goes to work for a Jewish grocer. Through this contact Frank learns to find grace and dignity in his own identity. Described as a fable, as are many of Malamuds stories, this novel affirms the redemptive value of maintaining faith in the inherent goodness of the human soul. Malamuds first collection of short stories,  The Magic Barrel  (1958), was awarded the Pulitzer Prize. Like  The Assistant, most of the stories in this collection depict the search for dignity and meaning within the grim entrapment of poor urban settings. They often resemble the Yiddish folk tale in their humor and their use of character-types drawn from Hasidic traditions. Many of Malamuds short stories have been reprinted recently in  The Stories of Bernard Malamud  (1983), a collection which includes two new stories. Based in part on Malamuds teaching career at Oregon State University,  A New Life  (1961) superimposes the heros quest for significance and understanding on a satiric mockery of academia. Malamuds next novel,  The Fixer, is one of his most powerful works. Derived from the historical account of Mendel Beiliss, a Russian Jew who was accused of murdering a Christian child, and also drawing on East European Jewish mysticism,  The Fixer  turns this terrifying story of torture and humiliation into a parable of human triumph. The Tenants  (1971) returns to an urban setting, where the theme of self-exploration is developed through the contrast between two writers, one Jewish and the other black, struggling to survive in a New York City ghetto. Within the context of their confrontations, Malamud also explores the conflict between art and life. The protagonist of  Dubins Lives  (1979), as with Harry Bernard Malamud 1914–  Ã‚ © Thomas Victor 1983 Lesser and Willie Spearmint in  The Tenants, attempts to create a sense of worth for himself, both as a man and as a writer. A biographer who escapes into his work to avoid the reality of his life, William Dubin bumbles through comically disastrous attempts at love and passion in an effort to find self-fulfillment. Gods Grace  (1982) differs from Malamuds earlier works in its scope and presentation of subject matter. Set in the near future immediately after a nuclear disaster which leaves only one human being alive,  Gods Grace  explores the darkness of human morality, the nature of God, and the vanity and destruction which has become an integral part of the human race. Critical reception to this work varies immensely: some critics feel that the contrast between the serious moral fable and the humor of a situation, in which the protagonist alternately converses with God and a group of apes, provides a uniquely intriguing narrative. Others, however, feel the structure of the novel does not support the seriousness and ambition of its themes. But in common with his other works,  Gods Graceexpresses Malamuds intensely humanistic concerns, along with the humor and insight that have made him a leading American author. See also  CLC, Vols. 1, 2, 3, 5, 8, 9, 11, 18;  Contemporary Authors, Vols. 5-8, rev. ed. ;Dictionary of Literary Biography, Vol. 2; and  Dictionary of Literary Biography Yearbook: 1980. ) W inner of the National Book Award for Fiction Introduction by Jhumpa Lahiri Bernard Malamuds first book of short stories,  The Magic Barrel, has been recognized as a classic from the time it was published in 1959. The stories are set in New York and in Italy (where Malamuds alter ego, the struggleing New York Jewish Painter Arthur Fidelman, roams amid the ruins of old Europe in search of his artistic patrimony); they tell of egg candlers and shoemakers, matchmakers, and rabbis, in a voice that blends vigorous urban realism, Yiddish idiom, and a dash of artistic magic. The Magic Barrel  is a book about New York and about the immigrant experience, and it is high point in the modern American short story. Few books of any kind have managed to depict struggle and frustration and heartbreak with such delight, or such artistry. Praise In the short story, Malamud achieved an almost psalmlike compression. He has been called the Jewish Hawthorne, but he might just as well be thought a Jewish Chopin, a prose composer of preludes and noctures. Mark Shechner,  Partisan Review There are thirteen stoires in  The Magic Barrel  and every one of them is a small, highly individualized work of art. This is the kind of book that calls for not admiration but gratitude. Richard Sullivan,  Th e Chicago Tribune   Is he an American Master? Of course. He not only wrote in the American language, he augmented it with fresh plasticity, he shaped our English into startling new configurations. Cynthia Ozick Gods Grace  (1982), Bernard Malamuds last novel, is a modern-day dystopian fantasy, set in a time after a thermonuclear war prompts a second flood-a radical departure from Malamuds previous fiction. The novels protagonist is paleolosist Calvin Cohn, who had been attending to his work at the bottom of the ocean when the Devastation struck, and who alone survived. This rabbis son? a marginal error? inds himself shipwrecked with an experimental chimpanzee capable of speech, to whom he gives the name Buz. Soon other creatures appear on their island-baboons, chimps, five apes, and a lone gorilla. Cohn works hard to make it possible for God to love His creation again, and his hopes increase as he encounters the unknown and the unforeseen in this strange new world. With  Gods Grace, Malamud took a great risk, and it paid off. The nove ls fresh and pervasive humor, narrative ingenuity, and tragic sense of the human condition make it one of Malamuds most extraordinary books. The Magic Barrel Bernard Malamud The following entry presents criticism on Malamuds short story The Magic Barrel, which was first published in 1954 and later revised and included in  The Magic Barrel  (1958). See alsoBernard Malamud Criticism  (Volume 1), and Volumes  2,  3,  5,  8,  9,  11,  18,  27. INTRODUCTION The title story of Malamuds prizewinning first short story collection, The Magic Barrel is one of his most frequently discussed works of short fiction. Described by Sanford Pinsker as quintessential Malamud—in form, content, and perhaps most of all, in moral vision, the story combines elements of realism and fantasy in an urban, Jewish setting and centers on the protagonists struggle to break through the barriers of personal isolation. While Malamuds handling of such themes as love, community, redemption, and Jewish identity has been widely praised, he is also noted for his creative use of ambiguity. Consequently, The Magic Barrel has generated a wide array of interpretations. Plot and Major Characters The Magic Barrel focuses on the interaction of two main characters: a young, unmarried rabbinical student named Leo Finkle and Pinye Salzman, a vulgar, yet colorful, marriage broker who smells distinctly of fish. At the storys outset, an acquaintance advises Finkle that it will be much easier for him to find a congregation after graduation if he is married. Having spent his life studying, Finkle has little experience in the area of romance and reluctantly decides to engage the services of Salzman. The marriage broker shows Finkle numerous pictures of potential brides from his magic barrel and comments on their qualities, particularly their ages, educational backgrounds, family connections, and the size of their dowries. Finkle, however, seems uninterested in Salzmans usual selling points and constructs flimsy excuses for rejecting many of the candidates. Salzman eventually convinces Finkle to meet a woman named Lily Hirschorn. During his traumatic encounter with Hirschorn, Finkle recognizes that his life has been emotionally empty and that he has lacked the passion to love either God or other humans. Finkles discovery of a picture of Salzmans daughter, Stella, prompts him to act on his new self-knowledge. Distinctive from the women in the previous photographs, Stella appears to be someone who has lived and suffered deeply. Salzman refers to her as a fallen woman, stating that she should burn in hell, and argues that the presence of her picture among the others was a mistake and that she is not the woman for Finkle. Finkle, however, remains strongly attracted to Stella and envisions an opportunity to convert The Magic Barrel Bernard Malamud her to goodness, himself to God. The storys concluding tableau is highly ambiguous. It depicts Finkle running toward Stella, who is standing under a lamppost dressed in a white dress and red shoes, while Salzman stands next to a wall around the corner, chanting the kaddish, a prayer for the dead. Major Themes Like many of Malamuds short stories, The Magic Barrel is essentially a love story that incorporates themes of suffering and self-discover y. Finkles search for a wife leads to his realization of his essentially dispassionate nature, and his love for Stella stems in part from his recognition of her suffering as a mark of having truly lived. The story also suggests the presence of the miraculous in everyday life. In the final tableau, for instance, violins and candles are said to be floating in the sky, and events in the story often suggest that Salzman possesses supernatural abilities. Such images and suggestions contrast with the storys surface of realistic detail and also further the theme of the rational versus the irrational. Finkle, for example, begins the story as a representative of reason but eventually falls in love with and seeks out Stella despite Salzmans logical arguments against such a match. Other events in the story focus on the theme of Jewish identity. Some critics argue that Finkles relationship to Salzman strengthens his connections to the Jewish community, while others posit that his attraction to Stella signifies a break with Jewish values. Critical Reception Critical reaction to The Magic Barrel has centered on the imagery of the storys concluding tableau and the ambiguity engendered by Salzmans prayers for the dead. As Lionel Trilling has remarked: Much of the curious power and charm of The Magic Barrel is surely to be accounted for by the extraordinary visual intensity of a single paragraph, the last but one, which describes the rendezvous of Leo Finkle and Stella Salzman. Nothing the storys ambiguity, critics argue that Salzmans prayers either signify Finkles abandonment of the Jewish faith or celebrate the death of his old self and the beginning of his new life—one which will be enriched by the lessons that he has learned from Salzman. Commentators have addressed issues concerning the archetypal nature of the charac ters as well. Salzman, for example, has been linked to such mythical figures as Pan and the Trickster, while Stella has been described as a symbol of eroticism. Scholars have remarked favorably on Malamuds mixture of folk and realistic treatments of his subject matter and have proposed links between The Magic Barrel and the paintings of Marc Chagall. Commenting on the storys conclusion, Mark Goldman has remarked that the last scene, like many of Malamuds sudden, summary endings, is a consciously ironic parable and not an escape from tragedy. All the complex meaning is fixed, flashed back upon the story itself in a kind of Joycean epiphany that runs counter to the neatly packaged endings of the naturalistic tale. Story and Details Regarding the Magic Barrel Essay Example Story and Details Regarding the Magic Barrel Essay Malamud is considered one of the most prominent figures in Jewish-American literature. His stories and novels, in which reality and fantasy are frequently interlaced, have been called parables, myths, and allegories and often illustrate the importance of moral obligation. Although he draws upon his Jewish heritage to address the themes of sin, suffering, and redemption, Malamud emphasizes human contact and compassion over orthodox religious dogma. Malamuds characters, while often awkward and isolated from society, evoke both pity and humor through their attempts at survival and salvation. Biographical Information Malamud was born in Brooklyn, New York, on April 26, 1914 to Russian Jewish immigrants. His parents, whom he described as gentle, honest, kindly people, were not highly educated and knew very little about literature or the arts. Malamud recalled, â€Å"There were no books that I remember in the house, no records, music, pictures on the wall. † Malamud attended high school in Brooklyn and received his bachelors degree from the City College of New York in 1936. After graduation, he worked in a factory and as a clerk at the Census Bureau in Washington, D. C. Although he wrote in his spare time, Malamud did not begin writing seriously until the advent of World War II and the subsequent horrors of the Holocaust. At that time, he questioned his religious identity and started reading about Jewish tradition and history. We will write a custom essay sample on Story and Details Regarding the Magic Barrel specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Story and Details Regarding the Magic Barrel specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Story and Details Regarding the Magic Barrel specifically for you FOR ONLY $16.38 $13.9/page Hire Writer He explained, â€Å"I was concerned with what Jews stood for, with their getting down to the bare bones of things. I was concerned with their ethnicality—how Jews felt they had to live in order to go on living. † In 1949 he began teaching at Oregon State University; he left this post in 1961 to teach creative writing at Bennington College in Vermont. He remained there until shortly before his death in 1986. Major Works Malamuds first novel,  The Natural  (1952), is one of his most symbolic works. While the novel ostensibly traces the life of Roy Hobbs, an American baseball player, the work has underlying mythic elements and explores such themes as initiation and isolation. For instance, some reviewers cite evidence of the Arthurian legend of the Holy Grail; others apply T. S. EliotsWasteland  myth in their analyses. The Natural  also anticipates what would become Malamuds predominant narrative focus: a suffering protagonist struggling to reconcile moral dilemmas, to act according to what is right, and to accept the complexities and hardships of existence. Malamuds second novel,  The Assistant  (1957), portrays the life of Morris Bober, a Jewish immigrant who owns a grocery store in Brooklyn. Although he is struggling to survive financially, Bober hires a cynical anti-Semitic youth, Frank Alpine, after learning that the man is homeless and on the verge of starvation. Through this contact Frank learns to find grace and dignity in his own identity. Described as a naturalistic fable, this novel affirms the redemptive value of maintaining faith in the goodness of the human soul. Malamuds first collection of short stories,  The Magic Barrel  (1958), received the National Book Award in 1959. As in  The Assistant,  most of the stories in this collection depict the search for hope and meaning within the grim entrapment of poor urban settings and were influenced by Yiddish folktales and Hasidic traditions. Many of Malamuds best-known short stories, including â€Å"The Last Mohican,† â€Å"Angel Levine,† and â€Å"Idiots First,† were republished in  The Stories of Bernard Malamud  in 1983. A New Life  (1961), one of Malamuds most realistic novels, is based in part on Malamuds teaching career at Oregon State University. This work focuses on an ex-alcoholic Jew from New York City who, in order to escape his reputation as a drunkard, becomes a professor at an agricultural and technical college in the Pacific Northwest. Interweaving the protagonists quest for significance and self-respect with a satiric mockery of academia, Malamud explores the destructive nature of idealism, how love can lead to deception, and the pain of loneliness. The Fixer  (1966), is considered one of Malamuds most powerful works. The winner of both the Pulitzer Prize for literature and the National Book Award, the narrative is derived from the historical account of Mendel Beiliss, a Russian Jew who was accused of murdering a Christian child. Drawing upon Eastern European Jewish mysticism,  The Fixer  turns this terrifying story of torture and humiliation into a parable of human triumph. With  The Tenants  (1971), Malamud returned to a New York City setting, where the theme of self-exploration is developed through the contrast between two writers, one Jewish and the other black, struggling to survive in an urban ghetto. Within the context of their confrontations about artistic standards, Malamud also explored how race informs cultural identity, the purpose of literature, and the conflict between art and life. Malamud further addressed the nature of literature and the role of the artist in  Dubins Lives  (1979). In this work the protagonist, William Dubin, attempts to create a sense of worth for himself, both as a man and as a writer. A biographer who escapes into his work to avoid the reality of his life, Dubin bumbles through comically disastrous attempts at love and passion in an effort to find self-fulfillment. Malamuds next novel,  Gods Grace  (1982), differs from his earlier works in scope and presentation of subject matter. Set in the near future immediately after a nuclear disaster that leaves only one human being alive,  Gods Graceexplores the darkness of human morality, the nature of God, and the vanity and destruction associated with contemporary life. Critical Reception Malamuds place as a major American novelist is secure by the accounts of most critics, though most place him with Phillip Roth and Saul Bellow as a Jewish-American novelist. Largely considered one of the foremost writers of moral fiction, Malamud is also considered a writer in the tradition of Anton Chekhov and Fyodor Dostoyevski. Despite the preponderance of Jewish characters and subject matter in Malamuds works, critics argue that his stories extend far beyond Jewish literature. Malamud, Bernard (Vol. 27) Introduction Bernard Malamud 1914– American novelist and short story writer. Malamud ranks as one of the most significant contributors to contemporary American literature. His fictional world, most often urban and Jewish, is formed around the struggle for survival of characters who face the particular hardships of modern existence. Their survival depends upon their ability to combat lifes inevitable suffering by breaking through the barriers of personal isolation and finding human contact, compassion, and faith in the goodness of others. The typical Malamudian hero stumbles through this process in a tragic yet comic way, invoking both pity and humor. Although Malamud is a prolific writer and the recipient of many prestigious literary awards, he is perhaps best known for his novel  The Fixer  (1967), which was awarded both the Pulitzer Prize and the National Book Award. The Natural  (1952), Malamuds first novel, is perhaps his most symbolic. On the surface, the novel explores the life of an American baseball player; yet, as with all of Malamuds works, there are various interpretations of the deeper levels of meaning. For instance, some critics cite evidence of the Arthurian legend of the Holy Grail, while others apply T. S. Eliots wasteland myth in their analysis. In many ways it foreshadows predominant future concerns: a suffering protagonist struggling to reconcile moral dilemmas, to act according to what is right and good, and to come to grips with his existence. These themes recur in Malamuds second novel,  The Assistant  (1957), in the portrayal of the life of Frank Alpine, a cynical anti-semitic youth who goes to work for a Jewish grocer. Through this contact Frank learns to find grace and dignity in his own identity. Described as a fable, as are many of Malamuds stories, this novel affirms the redemptive value of maintaining faith in the inherent goodness of the human soul. Malamuds first collection of short stories,  The Magic Barrel  (1958), was awarded the Pulitzer Prize. Like  The Assistant, most of the stories in this collection depict the search for dignity and meaning within the grim entrapment of poor urban settings. They often resemble the Yiddish folk tale in their humor and their use of character-types drawn from Hasidic traditions. Many of Malamuds short stories have been reprinted recently in  The Stories of Bernard Malamud  (1983), a collection which includes two new stories. Based in part on Malamuds teaching career at Oregon State University,  A New Life  (1961) superimposes the heros quest for significance and understanding on a satiric mockery of academia. Malamuds next novel,  The Fixer, is one of his most powerful works. Derived from the historical account of Mendel Beiliss, a Russian Jew who was accused of murdering a Christian child, and also drawing on East European Jewish mysticism,  The Fixer  turns this terrifying story of torture and humiliation into a parable of human triumph. The Tenants  (1971) returns to an urban setting, where the theme of self-exploration is developed through the contrast between two writers, one Jewish and the other black, struggling to survive in a New York City ghetto. Within the context of their confrontations, Malamud also explores the conflict between art and life. The protagonist of  Dubins Lives  (1979), as with Harry Bernard Malamud 1914–  Ã‚ © Thomas Victor 1983 Lesser and Willie Spearmint in  The Tenants, attempts to create a sense of worth for himself, both as a man and as a writer. A biographer who escapes into his work to avoid the reality of his life, William Dubin bumbles through comically disastrous attempts at love and passion in an effort to find self-fulfillment. Gods Grace  (1982) differs from Malamuds earlier works in its scope and presentation of subject matter. Set in the near future immediately after a nuclear disaster which leaves only one human being alive,  Gods Grace  explores the darkness of human morality, the nature of God, and the vanity and destruction which has become an integral part of the human race. Critical reception to this work varies immensely: some critics feel that the contrast between the serious moral fable and the humor of a situation, in which the protagonist alternately converses with God and a group of apes, provides a uniquely intriguing narrative. Others, however, feel the structure of the novel does not support the seriousness and ambition of its themes. But in common with his other works,  Gods Graceexpresses Malamuds intensely humanistic concerns, along with the humor and insight that have made him a leading American author. See also  CLC, Vols. 1, 2, 3, 5, 8, 9, 11, 18;  Contemporary Authors, Vols. 5-8, rev. ed. ;Dictionary of Literary Biography, Vol. 2; and  Dictionary of Literary Biography Yearbook: 1980. ) W inner of the National Book Award for Fiction Introduction by Jhumpa Lahiri Bernard Malamuds first book of short stories,  The Magic Barrel, has been recognized as a classic from the time it was published in 1959. The stories are set in New York and in Italy (where Malamuds alter ego, the struggleing New York Jewish Painter Arthur Fidelman, roams amid the ruins of old Europe in search of his artistic patrimony); they tell of egg candlers and shoemakers, matchmakers, and rabbis, in a voice that blends vigorous urban realism, Yiddish idiom, and a dash of artistic magic. The Magic Barrel  is a book about New York and about the immigrant experience, and it is high point in the modern American short story. Few books of any kind have managed to depict struggle and frustration and heartbreak with such delight, or such artistry. Praise In the short story, Malamud achieved an almost psalmlike compression. He has been called the Jewish Hawthorne, but he might just as well be thought a Jewish Chopin, a prose composer of preludes and noctures. Mark Shechner,  Partisan Review There are thirteen stoires in  The Magic Barrel  and every one of them is a small, highly individualized work of art. This is the kind of book that calls for not admiration but gratitude. Richard Sullivan,  Th e Chicago Tribune   Is he an American Master? Of course. He not only wrote in the American language, he augmented it with fresh plasticity, he shaped our English into startling new configurations. Cynthia Ozick Gods Grace  (1982), Bernard Malamuds last novel, is a modern-day dystopian fantasy, set in a time after a thermonuclear war prompts a second flood-a radical departure from Malamuds previous fiction. The novels protagonist is paleolosist Calvin Cohn, who had been attending to his work at the bottom of the ocean when the Devastation struck, and who alone survived. This rabbis son? a marginal error? inds himself shipwrecked with an experimental chimpanzee capable of speech, to whom he gives the name Buz. Soon other creatures appear on their island-baboons, chimps, five apes, and a lone gorilla. Cohn works hard to make it possible for God to love His creation again, and his hopes increase as he encounters the unknown and the unforeseen in this strange new world. With  Gods Grace, Malamud took a great risk, and it paid off. The nove ls fresh and pervasive humor, narrative ingenuity, and tragic sense of the human condition make it one of Malamuds most extraordinary books. The Magic Barrel Bernard Malamud The following entry presents criticism on Malamuds short story The Magic Barrel, which was first published in 1954 and later revised and included in  The Magic Barrel  (1958). See alsoBernard Malamud Criticism  (Volume 1), and Volumes  2,  3,  5,  8,  9,  11,  18,  27. INTRODUCTION The title story of Malamuds prizewinning first short story collection, The Magic Barrel is one of his most frequently discussed works of short fiction. Described by Sanford Pinsker as quintessential Malamud—in form, content, and perhaps most of all, in moral vision, the story combines elements of realism and fantasy in an urban, Jewish setting and centers on the protagonists struggle to break through the barriers of personal isolation. While Malamuds handling of such themes as love, community, redemption, and Jewish identity has been widely praised, he is also noted for his creative use of ambiguity. Consequently, The Magic Barrel has generated a wide array of interpretations. Plot and Major Characters The Magic Barrel focuses on the interaction of two main characters: a young, unmarried rabbinical student named Leo Finkle and Pinye Salzman, a vulgar, yet colorful, marriage broker who smells distinctly of fish. At the storys outset, an acquaintance advises Finkle that it will be much easier for him to find a congregation after graduation if he is married. Having spent his life studying, Finkle has little experience in the area of romance and reluctantly decides to engage the services of Salzman. The marriage broker shows Finkle numerous pictures of potential brides from his magic barrel and comments on their qualities, particularly their ages, educational backgrounds, family connections, and the size of their dowries. Finkle, however, seems uninterested in Salzmans usual selling points and constructs flimsy excuses for rejecting many of the candidates. Salzman eventually convinces Finkle to meet a woman named Lily Hirschorn. During his traumatic encounter with Hirschorn, Finkle recognizes that his life has been emotionally empty and that he has lacked the passion to love either God or other humans. Finkles discovery of a picture of Salzmans daughter, Stella, prompts him to act on his new self-knowledge. Distinctive from the women in the previous photographs, Stella appears to be someone who has lived and suffered deeply. Salzman refers to her as a fallen woman, stating that she should burn in hell, and argues that the presence of her picture among the others was a mistake and that she is not the woman for Finkle. Finkle, however, remains strongly attracted to Stella and envisions an opportunity to convert The Magic Barrel Bernard Malamud her to goodness, himself to God. The storys concluding tableau is highly ambiguous. It depicts Finkle running toward Stella, who is standing under a lamppost dressed in a white dress and red shoes, while Salzman stands next to a wall around the corner, chanting the kaddish, a prayer for the dead. Major Themes Like many of Malamuds short stories, The Magic Barrel is essentially a love story that incorporates themes of suffering and self-discover y. Finkles search for a wife leads to his realization of his essentially dispassionate nature, and his love for Stella stems in part from his recognition of her suffering as a mark of having truly lived. The story also suggests the presence of the miraculous in everyday life. In the final tableau, for instance, violins and candles are said to be floating in the sky, and events in the story often suggest that Salzman possesses supernatural abilities. Such images and suggestions contrast with the storys surface of realistic detail and also further the theme of the rational versus the irrational. Finkle, for example, begins the story as a representative of reason but eventually falls in love with and seeks out Stella despite Salzmans logical arguments against such a match. Other events in the story focus on the theme of Jewish identity. Some critics argue that Finkles relationship to Salzman strengthens his connections to the Jewish community, while others posit that his attraction to Stella signifies a break with Jewish values. Critical Reception Critical reaction to The Magic Barrel has centered on the imagery of the storys concluding tableau and the ambiguity engendered by Salzmans prayers for the dead. As Lionel Trilling has remarked: Much of the curious power and charm of The Magic Barrel is surely to be accounted for by the extraordinary visual intensity of a single paragraph, the last but one, which describes the rendezvous of Leo Finkle and Stella Salzman. Nothing the storys ambiguity, critics argue that Salzmans prayers either signify Finkles abandonment of the Jewish faith or celebrate the death of his old self and the beginning of his new life—one which will be enriched by the lessons that he has learned from Salzman. Commentators have addressed issues concerning the archetypal nature of the charac ters as well. Salzman, for example, has been linked to such mythical figures as Pan and the Trickster, while Stella has been described as a symbol of eroticism. Scholars have remarked favorably on Malamuds mixture of folk and realistic treatments of his subject matter and have proposed links between The Magic Barrel and the paintings of Marc Chagall. Commenting on the storys conclusion, Mark Goldman has remarked that the last scene, like many of Malamuds sudden, summary endings, is a consciously ironic parable and not an escape from tragedy. All the complex meaning is fixed, flashed back upon the story itself in a kind of Joycean epiphany that runs counter to the neatly packaged endings of the naturalistic tale.