Powerpoint Presentation

The Mandelbaum Gate Overview

In Muriel Spark's The Mandelbaum Gate, the cultural and religious tension between Jordan and Israel make a pilgrimage difficult for Catholic convert Barbara. Barbara struggles with the limitations she's forced to endure based on her religious background. But with the help of a newfound friend, also struggling with identity crisis, throughout the course of her journey she's able to come to grips with the true purpose behind her rebellious journey and develop the person she desires to be without the restrictions of her stereotypes.

The Finishing School Overview

In Muriel Spark's The Finishing School, main characters Rowland and Chris butt heads in the process of developing their separate novels. Chris is a child prodigy with a successful writing career budding in front of, teacher, Rowland's eyes. With Rowland struggling to produce a masterpiece himself, he becomes irked by the talented student, obsessing over Chris' every move. Throughout the novel Rowland struggles with identity crisis and jealousy. He attempts to hold his cool and be the type of person society demands of him. But eventually after holding his tongue and letting his feelings fester he reaches the ultimate realization and is forced from denial.

The Mandelbaum Gate Passage

Pages 79 - 80

‘You see, you mustn’t,’ Matt said quietly, go round here alone. It’s a question of your Jewish blood.’

‘Nobody will know anything about my Jewish blood unless you talk about it.’

Freddy said, ‘Actually we’ve discussed your position in Jordan quite a bit. Because, you see, it’s more dangerous for you here than I thought it was. I intended to beg you not to come. Anyone with Jewish blood is automatically arrested as an Israeli spy.’

‘My passport’s all right,’ Barbara said. ‘I’d call for the British consul if there was any trouble.’

Their island was beginning to disintegrate. Having said his piece, Freddy felt, in reality, that Miss Vaughan was not in such danger as she had seemed to be in their imagination. Here she stood, calmly, in flesh and blood. As for her being, in fact, a spy . . .

‘I think it would be a bit unfair,’ Joanna said, ‘to involve the British consulate in an incident of that kind.’

‘Why?’ said Freddy. Perhaps it was the heat, or his age – he could not fathom it afterwards, although he had no regrets – but Freddy felt much the same irate urge to declare something at this moment as he had felt the day before in the shop when the woman customer was being tiresome with Alexandros. ‘Why, Joanna?’ he said. ‘Why shouldn’t she appeal to the consulate in the event of her being molested in a foreign country?’

‘It’s so much a matter between Arabs and Jews,’ Joanna said. ‘We can’t officially take sides, can we?’

‘It’s a blood-feud between Semites,’ Matt said, ‘that’s all it is.’

Joanna said, reproachfully, as if both men were at fault, ‘I’m sure this must be a very embarrassing conversation for Barbara.’

‘It doesn’t seem to be about me,’ Barbara said. ‘You are talking about a situation that’s outside the scope of the consulate.’

‘Won’t you sit down, Barbara, while we’re talking?’ Joanna said. ‘What I mean,’ she said to Freddy, ‘is that Barbara’s Jewish blood is outside official range, in a sense.’

‘Jewish blood or not,’ Freddy said, ‘the point is, it’s hers, and it has got to be protected by her country.’

‘Yes, well, to get back to the individual case,’ Matt said, ‘we know Ramdez. H’s a snooper for his government. He probably knows already about the Jewish part of Barbara’s origins, through his son in Israel.’

‘The son is a hostage, then,’ Barbara said.

‘Now I think that’s a bit unfair,’ Matt said.

‘There is too much talk,’ Barbara said, ‘Everything would be easy if people didn’t talk so much.’

‘Why is it unfair?’ Freddy said to Matt. ‘I think it’s a very good point. That Ramdez can’t very well move against Miss Vaughan while his son is in Israel. Young Abdul is a hostage.’

‘Because, mad as it sounds, Jewish blood is illegal here. I – Joanna and I – we think it’s a lunatic situation. But it seems a bit unfair of Barbara to tempt the law and risk involving a young Arab in Israel.’

‘The trouble with you,’ Freddy said, fully conscious and rather astonished that he was wrecking the delightful atmosphere, ‘is that you blow neither hot nor cold, but lukewarm – What was that passage in the Bible Miss Vaughan? Can you recall it? – It goes something like, you blow neither hot nor cold and I will spew thee out of my mouth. Something like that. Very apt.’

Prose Passage Analysis

The Mandelbaum Gate 

(pages 79 -80)

A Gradual Build Up

In my passage from the Mandelbaum Gate by Muriel Spark, the author’s language, syntax and diction create a mood of increasing tension from the reluctance of people to speak out on such a divided topic as religion and culture. In the beginning of the passage it is assumed that all of the characters have the same viewpoint towards this topic because of their common British heritage and the previously reserved demeanor in which people discussed the ability of Jews to enter Jordan. But readers see the tension heighten with Spark’s literary techniques.

The first time readers see a shift in the calm atmosphere is when “their island was beginning to disintegrate,” in paragraph five, when discussing whether or not Barbara should be in Jordan. An island suggests a safe place, secluded from the incivility and chaos that the topic brings. It suggests that they are united in their beliefs, separate from any corruption. But the island begins to disintegrate when each character begins to speak out, making his or her own opinions clear as the conversation has not yet suggested anger, but banter becomes more prominent.

            After Joanna shares that it would be unfair to involve the British consulate Freddy begins to repeatedly ask her “Why . . . why, Joanna . . . why shouldn’t she . . .” (Spark 80). This repetition or anaphora illustrates a demanding tone, the tension rising with each “why.” In Freddy’s increasing anger both at this moment and when Spark references the shop the previous day, readers start to see this change in Freddy, a bursting out of his shell and an intolerance for being pushed around. Freddy’s word choice also exhibits tension in its less casual connotation. Readers see a heat bubbling inside Freddy with his “irate urge to declare something” (Spark 80). Before this moment the diction has been fairly lukewarm, adding to the formal atmosphere demanded at that time. But Spark describes Freddy as needing to “declare something,” the word bringing with it much more power and passion than simply a stating of opinion. When Freddy questions Joanna he describes Barbara’s potential situation as “being molested in a foreign country” (Spark 80). This word “molested” suggests a violent and crude connotation that Spark felt was needed exaggerate the situation and fully express Freddy’s state.

            The depth of the conversation is also seen throughout the passage as Barbara is referred to as if she, in fact, isn’t present. Matt expresses that he believes that “it is a bit unfair of Barbara . . .” addressing Freddy and not directly accusing Barbara (Spark 80). This suggests a concentration on the topic as a whole and an unusual differing of opinion rather than a focus on solving Barbara’s predicament for her. The characters seem so entrenched in the conversation, giving rise to the continually growing gap between the pieces of their island.

            The “delightful atmosphere” is officially destroyed when Freddy accuses the Cartwrights of “blowing neither hot nor cold, but lukewarm.” Readers are first taken aback when he starts by saying, “The trouble with you . . .” before going off to an internal description (Spark 80). This split of the comment leaves the readers with growing suspense as the tension comes to a climax with the surprise of Freddy’s frank and unusual stating of opinion. Freddy is, in fact, “astonished” with himself that he makes this declaration, further proving this change in Freddy’s character (Spark 80).

            The structure of the passage is purposefully crafted to reveal the growing tension along with the gradual transformation in Freddy. He becomes unreserved and finally free, symbolized by the passage’s structural build up, along with Freddy’s internal build up.       

            

The Mandelbaum Gate Passage

Pages 159 - 160

From the floor above, where she had come from, a noise of running water and padding footsteps came in muffled spasm between the overwhelming attic snores; this was probably caused by one of the German women moving around in the night, having awakened either by habit or by the sound of Barbara’s packing and departure. A tinted glass window about the stair she had just come down let in the moonlight, but the next flight down to the front hall was in blackness by contrast to that dusky amber windowlight above. Barbara lingered on this landing, between the half-light and the pure dark, as if waiting for something. Along the corridor, where the Mother Superior slept, nothing stirred. Barbara did not know why it should. Almost disappointed, she moved to follow Freddy cautiously down the very dark staircase.

            Freddy half-way, came to a curve in the stair and bumped the suitcase loudly into the wall. Barbara halted on the third step and whispered down to him, ‘Are you all right?’ He did not reply but she could hear him continue to pick his step by muted step. She glanced behind and upward, and could not place her sense of something unaccomplished in the silence. The front door was unlocked and Freddy now held it open so that the moonlight flooded her last footsteps from the sleeping convent. They had got away.

            Immediately on passing into the night air she realized that she had almost hoped to be caught, it would have been a relief and a kind of triumph and justification. For there had been a decided element of false assumption in her reception at the convent the previous day, after they had inquired politely, and estimated her type. Of course she was an English Catholic convert. She was indeed the quiet type. But there was a lot more than met the eye, at least she hoped so. She had thought, as the Mother Superior made her benign speech of welcome, and the old novice-mistress hovered with an admiring smile, if only they knew.

Prose Passage Analysis

The Mandelbaum Gate by Muriel Spark
(pages 159 - 160) 

Crossing Over

In my passage of The Mandelbaum Gate by Muriel Spark, the contrast of light and dark and vivid imagery illuminate Barbara’s own transformation and realization. In the passage Barbara is escaping from the convent with Freddy but time is slowed down so the readers are able to see the symbolism behind Barbara’s rebellious act.

            The use of detail and vivid imagery in the first paragraph creates a dramatic slowing of time, allowing suspense. We hear the “noise of running water and padding footsteps” and see the “dusky amber windowlight” (Spark 159). Every sound or absence of sound when “nothing stirred” (Spark 159) is observed showing Barbara’s concentration on her surrounds and yearning for some sort of excitement in the few casual and unsuspecting noises. The description sets the suspenseful tone and illustrates Barbara’s supposed paranoia. But in her lingering readers see her true desire to, not escape, but be recognized for her daring nature.

To illustrate this surfacing realization of Barbara’s, there is a consistent theme of light and dark throughout the passage symbolizing a crossing over. At a point, Barbara is stuck “between the half-light and the pure dark” (Spark 159), showing both her inability to turn back or away from this rebellious nature, and a loss of hope of being caught and recognized as something more than “an English Catholic convert” (Spark 160). This description reflects the simplistic way that she is seen by the ladies at the convent, a description that Barbara, eventually, realizes doesn’t fit her entire being. The surface level and short description aimed at encompassing her character entirely is an unfair representation as Barbara as a whole, classified in just three words. The “light” description contrasted with her “dark” actions shows there is much more to Barbara than what meets the eye, a concept she struggles with.

            Barbara seems upset by the lack of excitement and impact her act has made, feeling “something unaccomplished in the silence” (Spark 159) knowing that her image will remain as crystal and pure as ever. This silence, both spoken of here and felt in the darkness, symbolizes the fact that nothing has changed. The silence represents a stillness that means no impact has been made, no sense of “triumph and justification” that Barbara had been hoping for (Spark 160).

            Barbara’s intent in escaping so scandalously was to make a point to the ladies in the convent, shown by her constant concentration on her surroundings. But in Barbara’s noncritical description of the ladies at the convent we can tell that she isn’t upset with the ladies but rather society as a whole in their classification of her. The ladies simply “inquired politely,” giving off an innocent tone rather than a harsh judgment (Spark 160). Through Barbara’s physical journey we see her transform into the multidimensional person that was forever hidden inside. In her crossing over from light to dark and back to light beyond the convent walls, she recognizes her distaste with society’s ways and her true reason for escaping.

"A Smile to Remember" by Charles Bukowski

we had goldfish and they circled around and around
in the bowl on the table near the heavy drapes
covering the picture window and
my mother, always smiling, wanting us all
to be happy, told me, 'be happy Henry!'
and she was right: it's better to be happy if you
can
but my father continued to beat her and me several times a week while
raging inside his 6-foot-two frame because he couldn't
understand what was attacking him from within.

my mother, poor fish,
wanting to be happy, beaten two or three times a
week, telling me to be happy: 'Henry, smile!
why don't you ever smile?'

and then she would smile, to show me how, and it was the
saddest smile I ever saw

one day the goldfish died, all five of them,
they floated on the water, on their sides, their
eyes still open,
and when my father got home he threw them to the cat
there on the kitchen floor and we watched as my mother
smiled 

Close Reading Poetry Analysis

"A Smile to Remember" by Charles Bukowski

 The First Step: Acceptance

            In Charles Bukowski’s poem, “A Smile to Remember,” the extended metaphor, denotation and dialogue enhance the mother’s trapped and delusional state as she falsely tries to convince herself otherwise. The poem depicts the narrator as a child, struggling alongside his mother to be freed from the weight of his abusive father.

            The most important aspect to the poem is the symbolism or metaphor of the goldfish. The fish appear both in the very beginning of the poem and at the end to tie the piece together. The first visual of the goldfish as they “circled around and around” (Bukowski 1) clearly mirrors the mother’s situation, reflecting the fact that she is trapped physically and emotionally with her denial to accept the truth and fix it. At the end, the goldfish reappear as they float “on their sides, their/ eyes still open” (Bukowski 18-19) after they have been mysteriously killed. Their death, untraditionally, represents a freedom for both the mother and themselves. Readers infer that it was in fact the mother that killed them as a symbol for her rising up.

            It is the son who describes this connection, relaying the story in a rather detached tone. The choppy sentences and line breaks along with very simplistic diction create denotation that parallels the mother’s casual attitude when there is so much turmoil within. The narrator describes that the mother is “beaten two or three times a week” (Bukowski 12) but “always smiling, wanting us all/to be happy” (Bukowski 4-5). He states the facts as they are, not lending any emotion to the reality of this situation and contrasting the positive and negative in a nonchalant manner. He uses his language and writing style to mask the inner turmoil that is evident, giving the piece a greater effect.

            The simplistic dialogue also helps readers to unveil the mother’s true feelings. Her enthusiastic comments are contrary to the tone of the rest of the poem and the events at hand, as she demands Henry to, “smile!” allow readers to see through her enthusiasm, reinforcing her feeling of being trapped.

            The same fishbowl concept can be applied to Freddy in Muriel Spark’s The Mandelbaum Gate. Between Freddy’s constant routine of Israel, Jordan with the Cartwrights, letters to his mother and Arabic lessons with Abdul, he leads a dreary and safe life, especially brought down by ties to his family. With no real passion for anything in his life, the beginning of the book takes on a formal and removed tone similar to “A Smile to Remember” as the boy describes his mother as a “poor fish,” indicating helplessness and detachment. Like the false front of the mother in the poem, Freddy simply “functioned” and because of the constant burden of his own mother, “he had done for thirty years of his natural history, a letter a week” (Spark 50).  He too swam “around and around” (Bukowski 1) wasting his life by filling pages with “a trail of familiar patterns” (Spark 50).

There is a sense of freedom in “A Smile to Remember” when the fish die and the “mother smiled” hinting she will no longer surrender and has come to grips with reality. She rids herself of the symbol reminding her of the prison in which she lives her life, resembling a new beginning. Freddy experiences this same courage when he disposes the letters to his mother, Benny and the doctor down the toilet, “dropping the charred remains one by one” (Spark 144). He slowly relieves himself of this weight and allows himself to begin an adventure. Freddy symbolically frees himself as does the mother, but goes further to start an adventure without burden, steering clear of the “heavy drapes” as depicted in the poem.  The previous denial and entrapment is clearly evident in both pieces, along with the eventual refusal to surrender and beginning of passion, showing the importance in “disposing of some tiresome correspondence” (Spark 145).

"Be Kind" by Charles Bukowski

we are always asked
to understand the other person's
viewpoint
no matter how
out-dated
foolish or
obnoxious.

one is asked
to view
their total error
their life-waste
with
kindliness,
especially if they are
aged.

but age is the total of
our doing.
they have aged
badly
because they have
lived
out of focus,
they have refused to
see.

not their fault?

whose fault?
mine?

I am asked to hide
my viewpoint
from them
for fear of their
fear.

age is no crime

but the shame
of a deliberately
wasted
life

among so many
deliberately
wasted
lives

is. 

Close Reading Poetry Analysis

"Be Kind" by Charles Bukowski

Lives Wasted by Ignorance

In the poem “Be Kind” by Charles Bukowski, the choppy line breaks, repetition and rhetorical question emphasize the speaker’s frustration with the expectation that one should hold their tongue.

The abrupt line breaks put emphasis on certain words, allowing the author to more strongly relay his point. When describing the opinions of others Bukowski calls them “out-dated/ foolish or/ obnoxious” (Bukowski 5-7), each adjective harsh and accusatory. Each term is separated, existing on its own line to give punch to the speaker’s feelings about other’s viewpoints, clearly showing is annoyance. The technique of leaving the words on their own lines allows them to each stand alone, instead of the adjectives blending together. To further emphasize the extent of his feelings, Bukowski uses asyndeton referring to their views as “their total error/their life-waste” (Bukowski 10-11). Each description is secluded as if the speaker has paused and decided a less mild accusation was more appropriate. It gives the stronger of the two descriptions its own emphasis, indicating his growing rage.

Bukowski’s use of rhetorical question contributes to the accusatory tone, giving his speech a demanding feel. The questions are all incomplete sentences, signifying a more rapid interrogation as he asks, “not their fault” (Bukowski 25)? This initial question is immediately backed up with “whose fault?/mine?” showing his disagreement with the first statement, one we can assume he’s heard before (Bukowski 26-27). This repetition of rhetorical question implies that the speaker wants an answer but knows he cannot receive one, furthering his point and showing his frustration in the demanding tone. 

Bukowski’s frequent repetition demands emphasis on the extent of his disappointment with humanity. “For fear of their/ fear” (Bukowski 31-32), indicates a censorship of society and the repetition of the word “fear” shows a criticism by the speaker on the power and hold that fear has on society. In the final stanzas the parallel between “deliberately wasted life” and “deliberately wasted lives” illuminates the extent to which the speaker feels that holding back opinion affects society.

This concern is also very apparent in the book, The Mandelbaum Gate. In an area of the world separated with so much hostility, the sharing of ideas is very rare. Speaking against the stereotypical viewpoints of your people is largely looked down upon. If there is any breaking of native bonds or interaction between competing races, the people are considered “snoopers for their government” (Spark 80). With such suspicion, open communication is unlikely and therefore people “have refused to see” (Bukowski 23-24). These “wasted lives” (Bukowski 40-41) lead to a continuation of separation despite the secretive face that “people- they are people” a comment by Alexandros in The Mandelbaum Gate that must not be repeated for fear he would be pinned a spy.

Bukowski criticized the fact that it doesn’t matter how ridiculous a person’s  viewpoint may be, people are still encouraged to save their own opinion “for fear of their fear” (Bukowski 31) or a bruising of feelings. Freddy, in The Mandelbaum Gate, experiences this frustration and is unable to hold back his feelings when he criticizes the Cartwrights of “blow[ing] neither hot nor cold, but lukewarm” (Spark 80). This outburst and frank display of opinion is surprising to the people of that setting and time. But both Freddy and Bukowski share the need to move against the current and change the path of “so many deliberately wasted lives” (Bukowski 38-41).

Multiple Choice Explanations: The Mandelbaum Gate

1.)   The inclusion of lots of details splits up the action and gives the appearance that time is moving slowly. Because readers are anxious to know what happens next this also allows suspense. Setting the stage and painting a picture for the readers with detail allows them to feel as if they are actually there. Therefore C is the correct answer.

2.)   The sentence declaring that Freddy and Barbara had got away has a short and to-the-point sentence structure, contrasting to the rest of the passage. This allows the sentence to stand out and stand powerfully on its own. Therefore C is the correct answer.

3.)   The passage’s many details and high intensity wondering what will happen next give the passage a feeling of suspense. In between the action Barbara also comes to a realization, proving that the passage is reflective as well. Therefore A is the correct answer.

4.)   Proven by Barbara’s later realization that she would’ve liked to be caught, the sentence shows Barbara’s unhappiness in the lack of excitement or unrest that came with her escape. Therefore D is the correct answer.

5.)   The passage does not emphasize Barbara’s fear as she remains consistently quite calm during the escape. The light and dark represent a permanent transformation rather than her feelings in the moment. Therefore E is the correct answer.