Writing about fiction is sometimes less intimidating to students than writing about poetry or drama, but it comes with a unique set of challenges. First and foremost, stories center around plots that tend to bewitch the reader and to obscure the story’s other elements. You might find yourself recalling a story by saying, “Oh, that’s the one about the guy who works in the grocery store,” but as you know, plot is only one element. Most poems are only a page or two long, meaning you can see them all at once and visually compare their elements, whereas fiction tests your power of memory. Plays consist mostly of dialogue, whereas fiction tends to intersperse dialogue and description, sometimes demanding that your imagination make great leaps over time and space. In short, fiction often creates its own world, and its expansiveness is sometimes hard to gather in.
Given the fact that fiction tends to swell over time and space and focuses on the endlessly fascinating subject of human behavior, it is probably best to begin broadly and work toward narrowing down your topic. In writing about poetry, you might start with a single feature of language, like rhythm; in writing about fiction, you will probably be drawn initially toward a character. Fiction offers a wider variety of entry points. We’d suggest that you try to determine what you find unique, fascinating, noteworthy, or perhaps just recognizable within a given story as a way of figuring out where you want to begin.
Nancy Lager’s paper analyzes the setting in John Updike’s “A & P” (the entire story appears in Chapter 5). The assignment simply asked for an essay of approximately 750 words on a short story written in the twentieth century. The approach was left to the student.
The idea for this essay began with Lager asking herself why Updike used “A & P” as the title. The initial answer to the question was that “the setting is important in this story.” This answer was the rough beginning of a tentative thesis. What still had to be explained, though, was how the setting is important. To determine the significance of the setting, Lager jotted down some notes based on the passages she underlined and her marginal notations:
A & P
“usual traffic”
lights and tile
“electric eye”
shoppers like “sheep,” “houseslaves,” “pigs”
“Alexandrov and Petrooshki” — Russia
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
From these notes Lager saw that Lengel serves as the voice of the A & P. He is, in a sense, a personification of the intolerant atmosphere of the setting. This insight led to another version of her thesis statement: “The setting of ‘A & P’ is the antagonist of the story.” That explained at least some of the setting’s importance. By seeing Lengel as a spokesman for A & P policies, Lager could view him as a voice that articulates the morally smug atmosphere created by the setting. Finally, she considered why it is significant that the setting is the antagonist, and this generated her last thesis: “Because the intolerant setting of ‘A & P’ is the antagonist in the story, it is crucial to our understanding of Sammy’s decision to quit his job.” This thesis sentence does not appear precisely in these words in the essay, but it is the backbone of the introductory paragraph.
The remaining paragraphs consist of details that describe the A & P in the second paragraph, the New England town in the third, Lengel in the fourth, and Sammy’s reasons for quitting in the concluding paragraph. Paragraphs 2, 3, and 4 are largely based on Lager’s notes, which she used as an outline once her thesis was established. The essay is sharply focused, well organized, and generally well written. In addition, it suggests a number of useful guidelines for analytic papers:
The text on the top right corner of the page reads, Lager 1. The text on the left reads, Nancy Lager, Professor Taylor, English 102-12, 2 February 2018.
The title reads, John Updike’s open quotes A and P close quotes as a State of Mind.
The text reads, The setting of John Updike’s open quotes A and P close quotes is crucial to our understanding of Sammy’s decision to quit his job. Although Sammy is the central character in the story and we learn that he is a principled, good-natured nineteen-year-old with a sense of humor, Updike seems to invest as much effort in
The text reads, describing the setting as he does in Sammy. The setting is the antagonist and plays a role that is as important as Sammy’s. The title, after all, is not open quotes Youthful Rebellion close quotes or open quotes Sammy Quits close quotes but open quotes A and P. close quotes Even though Sammy knows that his quitting will make life more difficult for him, he instinctively insists on rejecting what the A and P comes to represent in the story. When he rings up a open quotes No Sale close quotes and open quotes saunter[s] close quotes (31) out of the store, he leaves behind not only a job but the rigid state of mind associated with the A and P.
Paragraph 2. Sammy’s descriptions of the A and P present a setting that is ugly, monotonous, and rigidly regulated. The fluorescent light is as blandly cool as the open quotes checkerboard green-and-cream rubber-tile floor close quotes (6). We can see the uniformity Sammy describes because we have all been in chain stores. The open quotes usual traffic close quotes moves in one direction (except for the swimsuited girls, who move against it), and everything is neatly ordered and categorized in tidy aisles. The dehumanizing routine of this environment is suggested by Sammy’s offhand references to the typical shoppers as open quotes sheep close quotes (20), open quotes houseslaves close quotes (5), and open quotes pigs close quotes (30). They seem to pace through the store in a stupor; as Sammy tells us, not even dynamite could move them.
Paragraph 3. The A and P is appropriately located open quotes right in the middle close quotes (10) of a proper, conservative, traditional New England town north of Boston. This location, coupled with the fact that the town is only five miles from Salem, the site of the famous seventeenth-century witch trials, suggests a narrow, intolerant social atmosphere in which there is no room for stepping beyond the boundaries of what is regarded as normal and proper. The importance of this setting can be appreciated even more if we imagine the action taking place in, say, a mellow suburb of southern California. In this prim New England setting, the girls in their bathing suits are bound to offend somebody’s sense of propriety.
Paragraph 4. As soon as Lengel sees the girls, the inevitable conflict begins. He embodies the dull conformity represented by the A and P. As open quotes manager close quotes (13), he is both the guardian and enforcer of open quotes policy close quotes (19). When he gives the girls open quotes that sad Sunday-school-superintendent stare close quotes (15), we know we are in the presence of the A and P version of a dreary bureaucrat who open quotes doesn’t miss that much close quotes (14). He is as unsympathetic and unpleasant as the woman open quotes with rouge on her cheeks and no eyebrows close quotes (1) who pounces on Sammy for ringing up her open quotes HiHo crackers close quotes twice. Like the open quotes electric eye close quotes (22) in the
A text on the top right corner of the page reads, Lager 2.
The text below reads, doorway, her vigilant eyes allow nothing to escape their notice. For Sammy the logical extension of Lengel’s open quotes policy close quotes is the half-serious notion that one day the A and P might be known as the open quotes Great Alexandrov and Petrooshki Tea Company close quotes (9). Sammy’s connection between what he regards as mindless open quotes policy close quotes (19) and Soviet oppression is obviously an exaggeration, but the reader is invited to entertain the similarities anyway.
Paragraph 2. The reason Sammy quits his job has less to do with defending the girls than with his own sense of what it means to be a decent human being. His decision is not an easy one. He doesn’t want to make trouble or disappoint his parents, and he knows his independence and self-reliance (the other side of New England tradition) will make life more complex for him. In spite of his own hesitations, he finds himself blurting out open quotes Fiddle-de-doo close quotes (28) to Lengel’s policies and in doing so knows that his grandmother open quotes would have been pleased close quotes (28). Sammy’s open quotes No Sale close quotes rejects the crabbed perspective on life that Lengel represents as manager of the A and P. This gesture is more than just a negative, however, for as he punches in that last entry on the cash register, open quotes the machine whirs ‘pee-pul’ close quotes (31). His decision to quit his job at the A and P is an expression of his refusal to regard policies as more important than people.
A text on the top right corner of the page reads, Lager 4.
The text below reads,
Subheading. Work Cited
New paragraph. Updike, John. Open quotes A and P. close quotes The Compact Bedford Introduction to Literature, edited by Michael Meyer and D. Quentin Miller, twelfth edition, Bedford slash Saint Martin’s, 2020, pages 140–144.
The citation is formatted with a hanging indent.