In Lockridge attempted to write that future for him, as a literary prophet with a strong sense of nostalgia but with a mission also—to restore to American life its fading mythic sense of things, anchored in immediate and celebratory sensate experience.
Finishing his novel just as World War II was coming to an end, Lockridge thought this mythic sense of things was greatly imperiled by commerce and industry, by the lack of what Matthew Arnold called “sweetness and light” and Northrop Frye “the myth of freedom.” As the best-selling novel in the early months of 1948, seemed for a time to answer to a hunger in the populus for American meaning beyond the banalities of Main Street.
The violence and abuse, both childhood and sexual, that April faces from the De Rosiers and her rapists, respectively, are examples of personal racism.
This includes the slanderous names that the De Rosiers call her, like “half-breed,” “squaw,” and “Ape, the bitch” (Mosionier 35, 46).
Only through Cheryl’s death can April finally begin her personal growth, self-actualization, and psychological healing from the trauma in her life.
Throughout her life, April deals with racism on a multitude of levels that can be primarily classified into two intertwining categories: personal and institutional.Nonetheless, there are more subtle forms of thought that constitute personal prejudices, even though they stem from larger social institutions, such as the media and education. As young and impressionable girls, this speech rattles April and Cheryl.An example is the belief that April’s social worker, Mrs. The ‘Native girl’ syndrome blames the individual instead of acknowledging the social conditions that lead to these problems.Shawnessy asks this kind of question again and again, and mingles history with prophecy in a way full of implication for “The Next Indiana.” The “endlessly courageous dreamers” whom Ross Lockridge speaks of may not be found in our politicians—and politicians with the exception of Lincoln come off poorly in -ordinary must be found as we take stock of our collective heritage, find the uses of the past, maintain our rivers and lakes, and work toward what Lockridge called “the gigantic labor by which the earth is rescued again and again from chaos and old night.” I tell the story of my father in Larry Lockridge is Professor of English at New York University and a Guggenheim Fellow.He is author of Coleridge the Moralist, The Ethics of Romanticism, and essays on biography and British Romantic literature.April’s search for her identity is incomplete without her “posthumous reconciliation” with Cheryl (Gillis 68).Thus, when Cheryl dies and April discovers her letters and son, their bond strengthens, and April becomes ready to accept her Metis heritage.April also experiences racism in the form of physical and verbal abuse and her rapists, in the added form of sexual violence.When April gets raped, she is forced into “the identity of the ‘squaw’—a figure created to justify sexual and racial abuse” (Fee 220).Semple, has in the constructed trope of “the ‘Native girl’ syndrome,” (Mosionier 64). Semple does not exhibit explicit hatred towards April for her Nativeness, she looks down on her and limits her scope for self-definition by confining her to such a stereotype. Thus, these symptoms remain, as naturalized ideologies do, in April and Cheryl’s minds until the syndrome becomes a self-fulfilling prophecy for Cheryl.The ‘Native girl’ syndrome’s symptoms include, “[getting] pregnant right away, [being unable to] find or keep jobs… Margery Fee notes that “April decides to be white; Cheryl decides to be a Native social worker.