Pride's Perils: Literary Characters' Downfall

In exploring the adage "pride goes before a fall," literary luminaries Alice Walker, Joyce Carol Oates, and John Updike employ their central characters—Dee, Connie, and Sammy—in the stories "Everyday Use," "Where Are You Going, Where Have You Been?," and "A&P," respectively. These characters serve as poignant examples of how pride manifests in diverse ways, ultimately leading to their inevitable downfall.

As we delve deeper into the analysis of these characters, we gain valuable insights into the complexities of human nature and the nuanced ways pride can shape and, ultimately, break individuals.

Each character's journey serves as a microcosm of the broader human experience, emphasizing the universal themes woven into the fabric of these literary works.

Dee's Ego-Centrism and Loss of Appreciation

Dee's pride surfaces in her self-centered personality, which results in a disconnect from her family and heritage. The pivotal moment occurs when she insists on taking quilts meant for her sister Maggie, dismissing her mother's wishes.

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Walker's portrayal of Dee's attitude is encapsulated in the statement, "Hang them, she said. As if that was the only thing you could do with quilts" (Walker 375). Prior to this, Mama revered Dee; however, the incident exposes Dee's ingratitude and inability to recognize anyone beyond herself.

Dee's eagerness to claim the quilts solely for their monetary value reveals her materialistic approach, devoid of genuine appreciation for her heritage. Had she approached the situation differently, acknowledging the cultural significance of the quilts, she might have garnered her mother's approval. Dee's unchecked pride not only severs her ties with family and heritage but also leads to a loss of maternal respect.

Expanding our analysis, we observe the intricate layers of pride entangled within Dee's character. Her egocentrism extends beyond the mere desire for material possessions; it infiltrates her relationships and perceptions. Her fall from grace becomes emblematic of a broader societal trend where individuals prioritize personal gain over communal bonds and cultural heritage.

Connie's Overconfidence and the Price of Negligence

In Oates's "Where Are You Going, Where Have You Been?," Connie's overconfidence, stemming from her perceived physical attractiveness, precipitates her downfall. Connie's belief that her mother favors her due to her beauty feeds her pride, ultimately blinding her to the potential dangers in her surroundings. This is evident when she encounters an unfamiliar car in her driveway, and instead of prioritizing her safety, she fixates on her appearance, as illustrated in the passage, "It was a car she didn’t know... she whispered 'Christ, Christ,' wondering how bad she looked" (Oates 54).

Connie's decision to approach the unknown car reveals her negligence towards personal safety. Her actions blend the recklessness of adolescence with the budding maturity of a young adult. As she hangs out the screen door, Connie unwittingly enters a realm of uncertainty, unable to revert to the safety of her teenage years. Her fall is precipitated by the very overconfidence that once defined her.

Moreover, the narrative unfolds Connie's internal struggle between the perceived invincibility of youth and the harsh realities of adulthood. Her fixation on physical appearance and social standing becomes a metaphor for society's obsession with surface-level attributes, often leading individuals to neglect the profound implications of their choices.

Sammy's Rashness and the Unforeseen Consequences of Pride

In Updike's "A&P," Sammy's pride manifests in his brash response to his boss, Mr. Lengel, showcasing his disregard for societal norms. Sammy's impulsive decision to quit his job is fueled by a desire to be perceived as a hero by the girls he admires, as articulated in the passage, "The girls who’d blame them, are in a hurry to get out, so I say 'I quit' to Lengel quick enough for them to hear, hoping they’ll stop and watch me, their unsuspected hero" (Updike 87).

Sammy's pride-driven actions, however, lead to unforeseen consequences. His expectation of admiration from the girls remains unfulfilled, leaving him to grapple with the harsh reality of unemployment. As the narrator reflects, "I look around for the girls, but they’re gone... I felt how hard the world was going to be to me hereafter" (Updike 88). Sammy's fall is twofold—initially, the disappointment of not being recognized as a hero, and subsequently, the realization of the challenges he will face without a job.

Delving deeper into Sammy's character, we unravel the layers of societal expectations and the clash between individual desires and the harsh realities of the adult world. Sammy's hasty decision to quit reflects a yearning for autonomy and a rejection of conformity, a theme resonating with readers navigating their own journeys through societal expectations and personal aspirations.

Conclusion

In conclusion, the characters of Dee, Connie, and Sammy exemplify the perils of unchecked pride in distinct ways. Dee's ego-centrism results in severed familial and cultural ties, while Connie's overconfidence leads to a neglect of personal safety, and Sammy's rashness in quitting his job brings about unforeseen consequences. These literary examples serve as cautionary tales, urging readers to reflect on the consequences of hubris in their own lives. Through the nuanced exploration of pride and its ramifications, Walker, Oates, and Updike offer valuable insights into the human condition.