Aimée C. Taylor
English 7758
Dr. Nordquist
July 3, 2002

                                            Help Eugene-He’s Lost and Alone 

Wolfe, Thomas. Look Homeward, Angel. New York: Scribner, 1995.

      Wow! What an intense and incredibly descriptive novel. Those familiar with

Joyce’s Stephen or Woolf’s Septimus will recognize similarities, but what really makes

this novel amazing is the knowledge that it is truly autobiographical. It is unfathomable

that so much misery, hysteria and confusion can surround a child, a child who rises from

the turmoil to write masterfully. Even beginning to understand the complexity of the

novel requires immediate dissection.

      Style: Describing Wolfe’s style is difficult because he layers and combines

literary elements and rhetorical devices. From determining the point of view to

examining the impact of structure, Wolfe keeps the reader guessing, in a fog. Placing

Wolfe into neat little categories is virtually impossible; but here I go. (Yes, this

complicated style is frustrating but only because the reader is constantly

challenged/invited to ask more than “So What?”

      Point of View: Although usually first person point of view creates a close

relationship between reader and narrator, Wolfe establishes this intimacy with a more

perplexing point of view. The narrator in Look Homeward, Angel is all knowing,

constantly editorializing but not completely impartial, especially concerning Eugene’s

siblings. The reader experiences the novel from a number of perspectives without ever

being completely through the eyes of one character. The novel actually has many

characteristics usually associated with steam of consciousness. An interior monologue

exists in present tense, sometimes foreshadowing future chapters, sometimes explaining

previous ones. When Eugene daydreams, reads a new book, or retreats in fear, the

thoughts are painstakingly passing through his mind while the reader observes. A

guarded but personal relationship is established even if the reader does not see directly

through Eugene’s eyes or feel with his hands or judge his inner thoughts. In general,

Wolfe uses impersonal pronouns, but he throws the reader for a loop by using personal

pronouns such as I, us, and we, laced throughout the novel unexpectedly.

      Questions to consider: Does Wolfe use personal pronouns to unite humanity,

showing Eugene as one character representing many, or is there another purpose? How

does such usage shift/change in the dialogue? Is the novel told through subjective or

objective eyes? How so?

      Words: Wolfe’s high and formal diction in a good portion of the narrative raises

his style while the idioms, colloquialisms, and slang in the dialogue put the novel on a

more informal and personal level. The double meanings, sexual innuendoes, and parodies

complicate his style but enhance it as well. The denotations and connotations affect

meaning-emotional meaning, implications, tone, etc. Consider the multiple meanings in

the novel for words such as “isolation” (74), “bird” (186), “God” (77), “spring” (78),

“yellow” (156), and “angel” (93). Their definitions are not the same every time they are

used.

        Devices: In conjunction with sound, words parallel pace, intensity, mood, etc. For

example, Wolfe tends to use alliteration in simple sentences that follow involved, long

descriptions in single sentences that encompass entire paragraphs.   In chapter 14, the

narrator justifies the gruesome murder of Moses Andrews, mimicking a newspaper

account. He then summarizes the event simply saying, “Moses had been murdered in

moonlight” (154). Several devices are being used; but combined, the devices force the

reader to dwell on the words and ponder the implications. The repetition of the “m”

sound prolongs the passage, while adding a musical quality through the humming created

with such sounds, almost as if a Negro spiritual. The obvious religious connotations blur

the reader’s slant on the death. In addition, “moonlight” alludes to the prevailing dark

angel, Eugene’s fear of the unknown “joy”, as well as the time of day when the Gant

family members are at their craziest.

       Similarly, Wolfe gives detailed explanations in his narrative, but he follows with a

concise and quick judgment tacked on the end, almost an after thought, but necessary to

understand the extent of Eugene’s dismay and confusion. After detailing Eugene’s faith,

disillusions of man and/or his powers of observation, Wolfe then simply states why

Eugene lives in constant fear and joy: “Eugene believed in the glory and the gold” (187).

“But when he reflected, he was a child…” (211). “There was no disorder in enchantment”

(160). “He was moral for that which was denied him” (116). 

       Wolfe also shows a fondness of cataloguing appeals to the five senses. Not only

does he offer rich sensory and imagery syntax, he takes compound-complex at first loose

sentences and then strings on prepositional phrases as well as conjunctions, creating

balanced but contrasting ideas. He does so to do more than just get the reader’s attention.

He explains, justifies character’s behaviors, beliefs, and blasphemies. The phrases serve

as elements of a mathematical equation. Eugene is constantly checking and balancing his

life. He must find a positive for every negative. He must make sense out of the chaos

around him. Such complicated descriptions parallel then his inner turmoil. He is a child

with adult perception, experience. He is a boy privy to the emotional insight and

sensitivity of a woman. He is a Gant with the intelligence and drive of a Vanderbilt. He is

a dark soul forever looking for his angel in the light. Wolfe always offers such striking

realizations. Eugene is but a child.

      The overabundance of food is another example of balancing the equation. The

Gnats are “just scraping by,” but they eat better than anyone in town.  This oozing excess,

especially the fruits in the orchard, shows the Gants’ distorted perceptions and values.  

Eliza needs to acquire property to gain a sense of worth and security; yet, she wears old

clothes and saves trash. She will not buy Eugene shoes that fit because Ben has discarded

a pair. “It would be a pity to throw away a good pair of shoes” (188). Eugene painfully

wears the shoes for weeks until Ben forcibly removes them from Eugene’s feet. Gant

spends more on booze than he is willing to spend on his children’s education. Each

member blames another for his/her troubles, never willing to take responsibility for self-

imposed misery or imperfections.

     Wolfe also likes to omit conjunctions in repeating phrases/words that appear at

the end of a sentence. The lack of conjunctions often shows a disinterest in people and/or

events. On pages 167-168, the omissions show how Eugene views some people. Here, he

thinks they are trivial, not worth his time, thus, he quickly moves on.  Contrastingly,

repeating entire phrases at the beginning of several successive sentences does show an

interest. The opening of Part Three sets Eugene up for disillusionment. The repetition of

“he believed” foreshadows his fall. He is about to find out just how wrong his beliefs

have been all along. The paragraph concludes, “He exulted in his youth, and he believed

that he would never die” (326). Eugene is destined (which brings the novel full circle

when at the beginning “destiny” is manipulated) for failure. Ironically, Wolfe personally

fulfills this omen himself, dying before age 38. Ben’s impending death accompanies

Eugene’s disillusionment acquired through formal education and experiences before

venturing out into the big scary world as well as outside the prison mountain walls of

home.

       Questions to Consider: Which has a bigger impact on Eugene’s life, his family

at home or the realization that the world is not perfect (either)? Why does Wolfe divide

the novel into three parts? If you had to name them, what would they be? Why? Is

Wolfe’s difficult structure a way for him to show off his education or is he experimenting

with both language and perception? Explain. How does the ending leave the reader

hanging? How should Wolfe have ended the novel? 

     Humor: Eugene at least has a sense of humor for dealing with this strange world

of violence, ignorance and distorted loyalty. Humor really is the uniting force of the

novel, as other characters also look for relief from dread and poverty. In a “Hawkeye

Pierce” view of inhumanity and suffering, the characters adapt in order to endure.

Although Wolfe retelling his life in chronological order (for the most part) gives the

novel basic structure, the humor laced throughout makes the content both realistic and

personable while establishing the voice as credible. Even with complicated descriptions

and elaborate diction, childlike humorous observations make the novel inviting and

tangible, while also making the mood less pessimistic, melancholy, foreboding, and

somber.

      After a Jewish boy is tormented to the breaking point and Eugene is sure that

Leonard is going to kill that boy, the tantrum is de-emphasized through Eugene’s

observations/reactions. “Eugene closed his eyes, unable to witness the snuffing out of a

young life” (195). Then, “Eugene waited for God’s visitation upon the unhappy

blasphemer” (195). (Interestingly, this episode is referred to numerous times in the rest of

the novel as “cowardly” and “dishonorable”, implying that the author really was haunted

by his own behavior and lack of compassion.)

      Harry Tugman joins in the fun of word games and name-calling as he parodies the

social column and adventures of the rich and famous. He details the “Younger Set,”

creating hilarious names, proving his point-they all look and act ridiculous but without a

care in the world. “Mrs. Firkin’s accomplished sister, Miss Catherine Hipkiss,

affectionately known to members of the local younger set as Roaring Kate, supervised the

checking of overcoats, evening wraps, jock-straps, and jewelry” (150). “Among those

dancing were the Misses Aline Titsworth, Lena Ginster, Ophelia Legg, Gladys Firkins,

Beatrice Slutsky, Mary Whitesides, Helen Shockett, and Lofta Barnes” (150). An

otherwise elegiac, cynical, and ominous narrative balances with sardonic but whimsical

observations.

     In addition, Eugene’s innocent literary based fantasies of grand illusions are

equaled to Ralphie’s in the movie A Christmas Story. “Good old Bruce-Eugene…[he]

wanted the two things that all men want: he wanted to be loved and he wanted to be

famous.” So he imagines himself rescuing the damsel in distress, cheered on by crowds,

wanting to deflower this virgin all by himself. He is impressed with his own creativity in

such scenarios. “He pulled his clotted handkerchief from his pocket and blew the contents

of his loaded heart into it in one mighty, triumphant and ecstatic blast of glory and

sentiment. Ah, me!” (89).  The reader absolutely loves Eugene at this point and defends

him throughout the rest of the novel. Eugene truly represents every child daring enough

to dream. He has real courage!

      Questions to Consider: How do you feel towards Eugene? What about the rest of

his family? Why? Does Wolfe want you to have a favorite character? Is it necessary to

like a character in order to put yourself in his/her shoes? Why or why not?  Explain the

funniest moment of the novel? How is the humor conveyed? What is the saddest moment

in the novel? How is it conveyed differently than the funniest moment? Is the ending

happy or sad? Why? Knowing that the novel is autobiographical, does that change your

perspective on the harshness or compassion of various characters? How so?

      Problems in the Novel: Wolfe creates not only a narrator but also an entire

ensemble of sexist and racist characters. Yes, the novel is autobiographical, so the reader

assumes that the author is trying his best to write an authentic view of the way life was

for him. However, only periodically, such as in the case of the Jewish student, does he

offer tinges of regret. It is easy to understand why both his family and hometown was

upset with the portrayals. If they truly were accurate, who would ever want to visit

Asheville? With the exception of Margaret Leonard, the rest of the women were only

described as sexual objects, brutal, unfaithful, and smothering. Not only are blacks, Jews,

and women portrayed negatively, so is the case for the institutions of religion and

education.   Together, all elements add to Eugene’s growing sense of isolation/alienation.

[This will be addressed more in-depth in the final paper.]

Possible Assignments: Each of the following is an essay topic to be written in

class under a time limit. Our class sessions meet for 90 minutes. The students choose

which topic they want to write on and turn in rough drafts and final copies.

Obviously, they are allowed to use their texts. A minimum of six paragraphs is

expected.

1.  Choose one of the humorous passages and conduct a mini-rhetorical analysis. What specific devices are used most often to convey humor? How do the devices work in conjunction with other literary elements?

2.    Examine the use of the word “yellow” in the text. How do the numerous connotations differ from the first use of the word? How is the word used--negatively or positively? Why?

3.     Pretend that you are a student in class with Eugene. Describe his personality,

physical appearance, speech, manners, etc. Paint the most detailed portrait of

him.

4.    Explain the relationship between Eliza and Eugene. Why does she insist that

he sleep with her even when he is no longer a small child? Is their relationship

good? How could the relationship be better?

5.    Pretend that you are either Eliza or Mr. Gant. Explain why the two of you are

still married despite the obvious hostility and differences in personality. Why

do you have two dwellings?

6.     Defend or refute the following statement based entirely on the text. Support

your stance with specific examples, explain when necessary: “Each of us is all

the sums he has not counted: subtract us into nakedness and night again, and

you shall see begin in Crete four thousand years ago the love that ended