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Essay / Research Paper Abstract
A 6 page essay that looks at T.C. Boyle's novel The Tortilla Curtain and Lawrence Kasdan's film The Grand Canyon, each of which picture male middle-class, white protagonists who undergo a traumatic and life-altering event that has racial overtones. In Boyle's novel, trauma substantiates Delaney's nascent racism into something concrete and compelling, which subsequently takes over his life. Grand Canyon, a similar trauma opens Mack to new possibilities and new ways of perceiving his humanity and that of others. The ways in which these two men differ points to the dichotomy that exists in the ways in which people can react to traumatic events and points to the truth that how one reacts is a choice. Bibliography lists 3 sources.
Page Count:
6 pages (~225 words per page)
File: D0_khtorgrc.rtf
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Unformatted sample text from the term paper:
that has racial overtones. In Boyles novel, trauma substantiates Delaneys nascent racism into something concrete and compelling, which subsequently takes over his life. Grand Canyon, a similar trauma opens Mack
to new possibilities and new ways of perceiving his humanity and that of others. The ways in which these two men differ points to the dichotomy that exists in the
ways in which people can react to traumatic events and points to the truth that how one reacts is a choice. The Tortilla Curtain begins with Delaney Mossbacher accidentally
colliding into a man, an illegal Mexican immigrant, Candido Ricon. Delaneys orientation toward materialism is immediately evident in that his first consideration is damage to this car rather than injury
to another human being. "To his shame, Delaneys first thought was for the car (was it marred, scratched, dented?) and then for his insurance rates" (Boyle 2). As the government
will deport him if he goes to a hospital, Candido accepts $20 from Delaney and hobbles off. From the beginning of this narrative, Boyle stresses how trauma robs Delaney
of his conceptualization of reality, which centers not only on materialism but also on centrality that issues of control play in Delaneys everyday life. At first, in his shock, Delaney
has trouble controlling his body and does not begin to feel some returning sense of normality until he reaches the Acura dealership, which is a "bastion of the familiar and
orderly" (Boyle 13). Everything in Delaneys life is controlled and regimented. The community in which they live allows homes to be painted in one of three prescribed shades of white.
He and his wife, Kyle abhor clutter, adhere to every politically correct dictum of modern life, non-smokers, social drinkers, and come apart at the seams whenever anything disturbs their expectations.
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