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.patriarchy, as he has done in The Cryptogram, for thepsychological damage it inflicts on women through contempt (1997b, 9).Furthermore, in choosing Jolly as that character who has both the voice andthe vocabulary to win our attention, Mamet emphatically illustrates the highcost of disrespectful discourse to men and women alike.Fusing mamaloshen, the Yiddish that comes easily to her lips with itsbawdy vulgarity, Jolly, clearly without benefit of the counseling she mocks,channels her substantial rage into narrative.Contrasted with this discourseis a language of affection also rare in Mamet s canon; Jolly not onlydeciphers the coded phrases that intimate with few words the depth of herbrother s pain, she communicates her profound love for him.Repeatedlyusing that wonderful Yiddish phrase (of varying spellings) Bubeleh orthe shorthand, Buub for which there is no apt English equivalent otherthan that it bespeaks unconditional love, and when used by his now-deceased mother cloaked judgment.For Jolly, however, the word is not onlya natural expression of affection but a marker of the dual worlds in whichshe functions as an angry, hurt adult badly scarred by horrific memories andrecent history a woman who labels any uncaring action, whether in thepast or the present, as an unethical exchange and conversely a caringmother, wife, and sister who is one of Mamet s most fascinating women anddedicated teachers.Counterbalancing to some degree the painful heritage of abusedredged to the surface of the play, Jolly is a figure of reconciliation whoselife-affirming and sustaining family activities nurture Carl and her daughtersin an effort to initiate a new legacy, notably through giving the gift ofherself in playing games with her children, home cooking (its echoicallusion to Roma s and Levene s shtick that glorified home cooking inGlengarry Glen Ross), and inventing weekend ceremonies that have the fullforce of ritual.Additionally, Jolly implicitly conveys that despite or becauseof the burden that she carries, she at least sets an ethical example for her 149Gathering Sparksdaughters, lessons to which they may refer after her death.Simply put, asJolly tells Bobby, linking her past experience and current choices, she createsin a different model: If they [their parents] had loved us.Mightn t they haveknown what we might want.I know what my kids want (J 36).Thus it is withdelight that she playfully makes Bobby admit that he slept well in her homebecause it is Safer than Anyplace in the World (J 57). You see, Bob? Doyou see? This is a family (J 39), though in a surprise ending Mamet revealshow tenuous the concept of safe haven is for them or any of us, no matterhow appearances and reiterated code words may shore up the illusion.As a child Jolly felt her home was anything but safe.Her recollectionsof rejection of literally being kicked out of bed by a stepsister, an iconic signthat signals her exilic, unprotected condition within the home are linked toher mother s rejection of Jolly s plea to recognize the validity of her claim andher place in the primal family.Although Bobby readily acknowledges that thefamily treated Jolly like filth, Jolly s disturbing childhood recollection is acase in point that implies her lingering resentment of her beloved brotherwho left her to face her oppressors alone:.Do you know, you don t know, cause you weren t there whenthey first came.Mother told me, I was ten.So she was eight; shewas going to sleep in my bed.She took up the bed, as she was a creeper, you know.I m a rock.You put me in a bed.Andunmoving.Morning.She was all over the place.And I went andtold Mom that I couldn t sleep.She said, she is his daughter, andthis is the case.If you can t sleep, sleep on the floor. (J 10)In retrospect, it is an event that opened the floodgates for all mannerof verbal and physical abuse inextricably bound to this test of a mother s love,or rather the failure of the mother to protect Jolly from the intruder in herbed and, by extension, in her home [ Pobierz całość w formacie PDF ]
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.patriarchy, as he has done in The Cryptogram, for thepsychological damage it inflicts on women through contempt (1997b, 9).Furthermore, in choosing Jolly as that character who has both the voice andthe vocabulary to win our attention, Mamet emphatically illustrates the highcost of disrespectful discourse to men and women alike.Fusing mamaloshen, the Yiddish that comes easily to her lips with itsbawdy vulgarity, Jolly, clearly without benefit of the counseling she mocks,channels her substantial rage into narrative.Contrasted with this discourseis a language of affection also rare in Mamet s canon; Jolly not onlydeciphers the coded phrases that intimate with few words the depth of herbrother s pain, she communicates her profound love for him.Repeatedlyusing that wonderful Yiddish phrase (of varying spellings) Bubeleh orthe shorthand, Buub for which there is no apt English equivalent otherthan that it bespeaks unconditional love, and when used by his now-deceased mother cloaked judgment.For Jolly, however, the word is not onlya natural expression of affection but a marker of the dual worlds in whichshe functions as an angry, hurt adult badly scarred by horrific memories andrecent history a woman who labels any uncaring action, whether in thepast or the present, as an unethical exchange and conversely a caringmother, wife, and sister who is one of Mamet s most fascinating women anddedicated teachers.Counterbalancing to some degree the painful heritage of abusedredged to the surface of the play, Jolly is a figure of reconciliation whoselife-affirming and sustaining family activities nurture Carl and her daughtersin an effort to initiate a new legacy, notably through giving the gift ofherself in playing games with her children, home cooking (its echoicallusion to Roma s and Levene s shtick that glorified home cooking inGlengarry Glen Ross), and inventing weekend ceremonies that have the fullforce of ritual.Additionally, Jolly implicitly conveys that despite or becauseof the burden that she carries, she at least sets an ethical example for her 149Gathering Sparksdaughters, lessons to which they may refer after her death.Simply put, asJolly tells Bobby, linking her past experience and current choices, she createsin a different model: If they [their parents] had loved us.Mightn t they haveknown what we might want.I know what my kids want (J 36).Thus it is withdelight that she playfully makes Bobby admit that he slept well in her homebecause it is Safer than Anyplace in the World (J 57). You see, Bob? Doyou see? This is a family (J 39), though in a surprise ending Mamet revealshow tenuous the concept of safe haven is for them or any of us, no matterhow appearances and reiterated code words may shore up the illusion.As a child Jolly felt her home was anything but safe.Her recollectionsof rejection of literally being kicked out of bed by a stepsister, an iconic signthat signals her exilic, unprotected condition within the home are linked toher mother s rejection of Jolly s plea to recognize the validity of her claim andher place in the primal family.Although Bobby readily acknowledges that thefamily treated Jolly like filth, Jolly s disturbing childhood recollection is acase in point that implies her lingering resentment of her beloved brotherwho left her to face her oppressors alone:.Do you know, you don t know, cause you weren t there whenthey first came.Mother told me, I was ten.So she was eight; shewas going to sleep in my bed.She took up the bed, as she was a creeper, you know.I m a rock.You put me in a bed.Andunmoving.Morning.She was all over the place.And I went andtold Mom that I couldn t sleep.She said, she is his daughter, andthis is the case.If you can t sleep, sleep on the floor. (J 10)In retrospect, it is an event that opened the floodgates for all mannerof verbal and physical abuse inextricably bound to this test of a mother s love,or rather the failure of the mother to protect Jolly from the intruder in herbed and, by extension, in her home [ Pobierz całość w formacie PDF ]