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Anderson's Winesburg, Ohio: The Individual in the Village Dr ...

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Damascus University Journal, Vol.٢٠, No. (١+٢), ٢٠٠٤<br />

Kutrieh<br />

Ahmad Ramez<br />

little th<strong>in</strong>gs that make his characters cognizant of <strong>the</strong>ir be<strong>in</strong>g alive, when<br />

<strong>the</strong>y realize <strong>the</strong> enormous possibilities and potentials of <strong>the</strong> moment,<br />

potential that rema<strong>in</strong> elusive and beyond <strong>the</strong>ir reach, yet <strong>the</strong>y feel <strong>the</strong><br />

vibrancy of life. This vibrancy makes even less fulfilled because of <strong>the</strong>ir<br />

<strong>in</strong>ability to do anyth<strong>in</strong>g with <strong>the</strong>ir feel<strong>in</strong>gs and ideas. It may seem at first<br />

that Anderson is provid<strong>in</strong>g simple descriptions of his hometown. <strong>The</strong><br />

reader soon realizes that <strong>the</strong> descriptions are most often non-specific and<br />

could be descriptions of any small midwestern town or village. <strong>The</strong><br />

descriptions serve also to dramatize <strong>the</strong> moment mak<strong>in</strong>g <strong>the</strong> past and <strong>the</strong><br />

future irrelevant. <strong>The</strong>se time disconnected moments, show time frozen<br />

and heighten <strong>the</strong> readers' sense of <strong>the</strong>se moments. Anderson keeps<br />

present<strong>in</strong>g <strong>the</strong> significant moments to show that <strong>the</strong> life that matters is <strong>the</strong><br />

present. It is liv<strong>in</strong>g, not hav<strong>in</strong>g lived, that matters. His narrative never<br />

varies from dwell<strong>in</strong>g on <strong>the</strong> moments of life <strong>the</strong> characters experience.<br />

Every story is constructed around <strong>the</strong>se moments and descriptions. For<br />

example, <strong>in</strong> "<strong>The</strong> Th<strong>in</strong>ker," Seth walks with Helen White under <strong>the</strong> trees.<br />

<strong>The</strong> reader is told,<br />

Heavy clouds had drifted across <strong>the</strong> face of <strong>the</strong><br />

moon, and before <strong>the</strong>m <strong>in</strong> <strong>the</strong> deep twilight went<br />

a man with a short ladder upon his shoulder.<br />

Hurry<strong>in</strong>g forward, <strong>the</strong> man stopped at <strong>the</strong> street<br />

cross<strong>in</strong>g and, putt<strong>in</strong>g <strong>the</strong> ladder aga<strong>in</strong>st <strong>the</strong><br />

wooden lamp-post, lighted <strong>the</strong> village lights so<br />

that <strong>the</strong>ir way was half lighted, half darkened, by<br />

<strong>the</strong> lamps and by <strong>the</strong> deepen<strong>in</strong>g shadows cast by<br />

<strong>the</strong> low branched trees. In <strong>the</strong> tops of <strong>the</strong> trees<br />

<strong>the</strong> w<strong>in</strong>d began to play, disturb<strong>in</strong>g <strong>the</strong> sleep<strong>in</strong>g<br />

birds so that <strong>the</strong>y flew about call<strong>in</strong>g pla<strong>in</strong>tively.<br />

In <strong>the</strong> lighted space before one of <strong>the</strong> lamps, two<br />

bats wheeled and circled, pursu<strong>in</strong>g <strong>the</strong> ga<strong>the</strong>r<strong>in</strong>g<br />

swarm of night flies. (١٦٧)<br />

In "Sophistication," George and Helen White go to <strong>the</strong> grandstand of<br />

<strong>the</strong> fair grounds. <strong>The</strong> narrator <strong>in</strong>forms us that <strong>the</strong> two are sitt<strong>in</strong>g <strong>the</strong>re at<br />

that lonely place, and <strong>the</strong>n moves on to say,<br />

In <strong>W<strong>in</strong>esburg</strong> <strong>the</strong> crowded day had run itself out<br />

<strong>in</strong>to <strong>the</strong> long night of late fall. Farm horses<br />

٤١

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