Assignment 06: Influence

“Hitting Budapest” by Noviolet Bulawayo, Response by Natalie Palumbo

What are the precise strategies that are used by its creator to convey the world to us and us to the world?

We start off with knowing the names of the characters: Bastard, Chipo, Godknows, Sbho, Stina, and the storyteller, who is later named “Darling”.

Bulawayo introduces the characters through their interplay during the overarching action. They are traveling from Paradise, their modest village, to Budapest because their friend, Chipo, is starving for a guava. We discover that Chipo is pregnant when they take a break from traveling because she needs to rest. During a discussion about childbirth, it's inferred the group is bordering on puberty because of their lack of specific knowledge. The most horrifying revelation occurs when one character states that a man has to impregnate a woman in order for her to get pregnant, and candidly asks Chipo if her grandfather was that man. Chipo nods without answering aloud. Her reluctance to vocalize implies trauma associated with incest and sexual abuse. Chipo declares that she does not want to be pregnant or be a mother, and that she is starving and only wants guava. This frustrated proclamation implies the situation was against her will, and the guava is her simplistic way of coping under the circumstances. 

Bulawayo describes the landscape in Budapest through the character musings from previous visits, and how beautiful they say it is compared to their home. It is described as an idealistic place that appears locked up as if residents are off on vacation, and everything is put away. The phrase, “Budapest is like a different country. A country where people who are not like us live,” implies an elevated way of life as compared to the simpler village life of these characters.

The group meets a woman from London who is wearing a long dress, and a camera around her neck. While conversing with this woman, the audience discovers that the collective group is aged around 8-10 years old. Even though Chipo's stomach is the “size of a soccer ball”, the London woman is emotionally removed from the harsh reality that the child before her is pregnant. She, instead, asks to take a picture of the group as a memento of her trip, but appears oblivious to their hardship. When the group leaves, they observe her throwing away the food she had in her hand. They children shout insults at her for not appreciating something so necessary to survival that they could not readily find.

The group eventually comes across a large house with guavas growing around it, and collect them before they start their walk back to Paradise. To avoid looking like they were stealing, they try to appear as relaxed as possible as they travel. The group’s discussion reveals Paradise is more impoverished than Budapest. The children romanticize about owning a house in Budapest, or marrying someone that lives there. Most, if not all of the children, want to escape their current station in life, and fantasize about where they will travel in order to begin this new life.

The story is being told through an unrevealed character that is looking forward to going to America with her aunt. The boy, called Bastard, disagrees saying she shouldn’t go because it’s too far away, and Chipo agrees with him. The unrevealed character describes Bastard as “stupid” and Chipo as “soccer-bellied” to the audience to demonstrate her frustration with their negativity. It is at this point the audience realizes that the character telling the story has her own perspective within the group as opposed to merely being an omnipotent storyteller. Bastard starts saying offensive things about the move to America stating she will do nothing but “work in nursing homes and clean poop”. The storytelling character is enraged, and imagines physically attacking Bastard for his insulting comments. She chooses not to because no good will come of it. We then discover in her inner dialogue that she is called “Darling”, and that Bastard’s opinion doesn’t matter to her because she is going to America without him.

The group arrives back in Paradise after eating lots of guava fruit, and they are all relaxed now that they are full. Later that night, the kids are using the bathroom in the bushes. One of the kids, Godknows, screams upon discovering a hanged woman in a tree. It is inferred that the people who lured this woman to her death are still lurking because the kids heard an unfamiliar voice ask, “What’s that?” when they heard Godknows scream. At first, everyone is horrified at this discovery, and all of them want to run. Bastard, on the other hand, is intrigued with the shoes on this woman, and starts throwing rocks at her feet to make the shoes fall off. He is under the impression that the shoes could be traded for bread, and convinces the rest of the group to go along with him. The ability to see a murder victim and only see the monetary value of their shoes communicates the desperation of these children, and their willingness to do whatever is necessary to survive.

The story ends on this dark note, leading the audience to believe that the cycle of desperation will continue given an unrelenting need to survive in these harsh circumstances. Even though Darling has the opportunity to escape, she is too deeply rooted in her primal instinct to survive to avoid going along with Bastard's quest to get the dead woman's shoes for money. These children seem unaffected by the brutal circumstances deemed unthinkable in other areas of the world. The idea that a 10 year old child can be pregnant at the hands of her grandfather is disturbing regardless of economic status. It is also troubling that Darling observes that the adult women are unemotional an uncaring toward the children, except someone called Mother of Bones who tells them stories.

We are introduced to the characters through Darling’s perspective of her friends, and the description of their surroundings. The character motivations are conveyed through group conversations and recollection of events within the group, which allows the audience to visualize the scenario, and imagine their experiences, including the taste and texture of the guava fruit. Even for those that have never visited Budapest, it can easily be visualized from Bulawayo's eloquent descriptions of the roadways, houses, and surrounding landscape. It’s as if the reader is sitting down with Darling to have an intimate conversation rather than experiencing it as a distant reader.

Assignment 05: Reading From A Critical Position

The stories I read are the following:

“Story of an Hour” by Kate Chopin
“Lust” by Susan Minot
“Planet of the Amazon Women” by David Moles
“Even The Queen” by Connie Williams

For this assignment, I will be discussing “Story of an Hour” and “Even the Queen” because those were my favorite stories of the four.

Are there any female characters in the work that you identify with?

I could identify with Mrs. Mallard from “Story of an Hour” and Traci from “Even The Queen”. Both characters are in less-than-desirable circumstances being misunderstood, as well as not being given the freedom to explore their options in life. While I never felt controlled by my family, I have experienced several relationships where external people tried to hinder my choices, or control me for self serving reasons. In those circumstances, I refused to give up control of my choices and give away my power, and the relationships ended. In a way, Mrs. Mallard represents the consequence of giving another person that kind of power. Traci, on the other hand, represents an alternative situation. After a childhood of being controlled, Traci attempts to give her own daughters more freedom, but offers no explanations. Traci's daughter, Perdita, is resentful of this because the lack of discussion demonstrates little concern for her feelings and concerns.

How are relationships between men and women (or characters assuming male/female roles) portrayed in the story?

In “Story of an Hour”, the male characters are more symbolic than representative of actual people. The husband represents lost opportunities for Mrs. Mallard, and how she might have made foolish decisions leading to being with her husband. As for Traci in “Even The Queen”, she is observing women being controlled by men for their feminine attributes, including their menstrual cycles. For some reviewing this story, the idea that women could be content with being controlled in this way is astonishing. Some characters act as if it is completely normal. Those women are either young enough to feel comforted with that kind of control over their lives, or experienced it long enough to have become complacent, and the idea of independence is now frightening.

What are the power relationships between men and women in the text? How are male and female roles defined?

In both stories, men are expected to have the majority of power and control in society, and women are expected to obey them without a desire for independence. In Mrs. Mallard’s case, it is presumed her husband has died, and she is now widowed. The reaction to this news isn’t that of concern for Mrs. Mallard's well being, but rather a lack of confidence she can support herself without her husband.

In “Even the Queen”, the men are in positions of political and social power over large groups of women as opposed to one man controlling one woman. They are not represented by an individual character in this instance. Men are conveyed more as a conceptual idea of authority rather than a human manifestation. Because this control is nameless and faceless, it feels more ominous and oppressive than if depicted by one singular character. The societal consensus over who maintains control implies greater helplessness on the part of these women. The idea that they are expected to surrender their control willingly, to me, is intensely more frightening.

What constitutes masculinity and femininity in the world of the story? Do characters take on traits from opposite genders in the story? How so? Does this change others reactions to them?

In both stories, the more feminine you are, the less control over your circumstances. Both Traci and Mrs. Mallard are in circumstances where other people have control over their lives, whether it be a parent or a spouse. Men are expected to be in control regardless of whether or not they seek it. Traci’s mother believed that women should not promote femininity, and should conceal it at every opportunity. This included taking medicines that altered hormonal balance and hindered the menstrual cycle. For some people reading this story, the idea that someone might suppress something as natural as a menstrual cycle would be considered invasive, if not downright oppressive.

What does the work reveal about the operations (economically, politically, socially, or psychologically) of patriarchy?

In both stories, women are expected to stay under the care of men, even if some find it less than a desirable choice. In most cases, women have no control over what happens to them, and this societal expectation gives them very little room to explore life, or determine what they really want. Even if the women determine what they want, or find themselves free to choose, and it is often too late in their lives for them to salvage their choice. The effect of oppression becomes so great that the idea of independence becomes overwhelming. In “Even The Queen”, most women succumb to the numbing effects of being controlled, and even surrender the power over their bodily functions to men. Some will even side against their own gender to avoid being chastised by men. Because of the lack of power balance, women give away their independence reluctantly, or sometimes willingly, as a means of survival to avoid the mistreatment for not being men.

What does the work express or imply about the possibilities of sisterhood as a mode of resisting patriarchy?

There is a chance for female bonding in “Even The Queen”, but it only exists in the younger generations. This is due to the fact that the younger girls have been given more opportunities to explore life as the social and political landscapes becomes more progressive. For instance, Perdita is more willing to join the Cyclists, a progressive menstruation group, despite the women in her family objecting to it. The older women don’t realize the potential of uniting to resist being controlling and punished for merely existing. In this instance, the generational divide makes forging a “sisterhood” a missed opportunity for change, and settling for outdated traditional ideals with limited choices.

What does the work say about the history of women in literature or the arts or about women's creativity?

The writings of these women could be seen as an observation of their own standing in society for audiences outside their situation to understand and empathize. In some cases, I believe these stories are meant to educate women about their worth, and what they could do to improve their station in life. These stories could also be seen as a cautionary tale of oppression, and what women could do to resist and avoid it in the future.

I read “Story of An Hour” when I was 14, and now again as a 22 year old woman. At age 14, I was astonished that Mrs. Mallard could be relieved her husband was gone. I found that to be a heartless perspective at age 14. It did not occur to me that she had spent much of her life being unhappy under his control, and his death was her only path to freedom. My perspective greatly changed re-reading the story at age 22 because of my social experiences. I was being pressured to give up my educational pursuits by someone who had self serving motives. I worked exceptionally hard for many years to gain acceptance to my first choice of college, and was unwilling to sacrifice pursuing my career. Had I given in, my reaction to this story might be one of regret that I didn't fight harder for myself. Luckily, my perspective is that of relief that I didn't give up on my goals, and joy I did the right thing.

Assignment 04: The Secret History Of Wonder Woman

If I were designing a female superhero character, I would want her to be self sufficient, reliable, intelligent, coy, and fundamentally strong. She would be a master of visual illusion able to manipulate visions and sound to confuse her foes. She would be attractive, and exude confidence. I would not, however, model her with masculine characteristics to illustrate her “strength”.

The idea that a strong woman must demonstrate strength by being portrayed as masculine is shortsighted, and completely inaccurate in today’s landscape. Strength is internal, not external. It comes from intestinal fortitude. Strength is determination, making intelligent choices, and persevering in times of hardship. Feminine or masculine qualities refer to style, but cannot guarantee strength.

I would want my character to be demonstrably feminine because I, myself, am demonstrably feminine. I like dresses and the color pink. I am undeniably “girly”. I define strength as the ability to problem solve and successfully pursue my personal and professional goals. My style doesn’t determine my strength. My choices do.

It is often debated that the biggest mistake when portraying a strong female protagonist is when that same character needs to be rescued, which they argue implies weakness. I believe that completely depends on the circumstances of the story. Was she being heroic? Was she willing to face danger for the good of the many? Was she captured by her enemies for being a threat? Is she considered a worthy adversary? Did she try to save herself? Many stories have male heroes facing peril against their enemies resulting in the need for a rescue. If a strong female faces danger with the same courage as her male counter-part, then her rescue makes her a valued part of a team, not a damsel. To suggest that a woman is somehow weaker for needing help is a dangerous message. Why should a woman be considered strong only if she depends on no one? A man is still considered as strong if he works alongside a supportive brotherhood. It should not be viewed as a sign of weakness to have quality support come to the rescue. Women should not be made to believe that separateness and “never needing help” determines her strength when it is, in fact, determination.

I've observed strong female leads that will avoid any 'classic' feminine characteristics (sometimes vocally rejecting it) and fashion themselves after typical male heroes. I feel this trend suggests that boys set the standard for strength, and girls must mirror them to be considered “strong”. This approach is meant to shatter stereotypes giving girls more imaginative options. However, it tends to come across as “the tomboy” is stronger than “the princess”. This is inaccurate since strength is measured by individual endurance and the ability to persevere. The emphasis should be about what makes an individual strong, and the qualities of dedication and perseverance.

If I were designing a strong female lead, I would want her to have a warm, natural allure, and be as indestructible as Batman. I would want her to have mystique, and be a femme fatale for her enemies. She would be confident and emotionally whole. She would use her talents wisely with humility, compassion, and an unwavering will to survive. I would want to show her practicing her education during the day, and using her intelligence to fight crime during the night. I would want her to be fearless, quick thinking, and maintain a calm exterior that outwits her adversaries. I would want to include pink somewhere in her design to defy the stereotype that femininity implies weakness. Rejection of pink further suggests that regardless of efforts, girls will still be judged by arbitrary standards of strength rather than for their accomplishments. A strong person is inspired by the good works of other strong people. Honorable is honorable regardless of gender.


To sum up, here are the characteristics I’d like to see in a strong female lead:

- Intelligence, compassion and humility

- Illusionist able to manipulate vision and sound

- A Mysterious femme fatale for her enemies

- Cunning survival skills with cool headed bravery

- Emotionally whole

- Pink in design (To defy stereotype that feminine qualities should be rejected to communicate strength)

- Feminine physique, confident and a “knowing” look (feminine, strong, and intelligence combined)


These characteristics are based on my personal perspective. I’ve always been willing to work hard to achieve my goals. From the time I was 2 years old, I've loved the color pink...to the point I was forced to choose other colors. I am the only sibling to an older brother with low-verbal autism. He was a fearless wanderer with severely limited language. We all had to work together in my family to keep my brother safe. I had to stay emotionally strong and dedicate myself to achieve my goals.

The assertion that “pinkifying girls” will somehow weaken potential and limit options is frustrating to me. I believe potential is defined by choices, and a dedication to achievement. My strength is my willingness to work hard for what I want, and to persevere through setbacks. I measure myself by my accomplishments. Wearing pink no more makes me weak than avoiding it makes someone strong. My determination to achieve and willingness to improve is my strength...I just prefer to wear pink while I do it.