Rankin,Paul
An unnamed American male and a girl named dance are at a heap stop waiting on a bus. Jig, who happens to be pregnant, defends her motherhood while the man selfishly wants her to terminate the child. During their wait they both(prenominal) go back and forth with each other both trying to be in control of the situation. Jig gets the destination word in stating There is nothing wrong with me. She agrees to abort the child, however; it is not what she truly desires.
Other critics have suggested that the males lyric poem of distance and control over powers Jig (OBrien 22-23) and that Jig knows that she will never bear the child she is carrying. A closer look at what Janet Burroway refers to as the pattern of switching power, however, reveals a more subversive current in the dialogue--one in which Jig, the xenofemine, outwits her boorish American inamorato and manipulates both the conversation and the man at each turn to control the shared destiny of her and the unborn child(36).
Rankin corroborates with Burroway in that the story emerges as a series of parries that confront Jigs superioty in terms of her cognitive intelligence, as well as her experience, her scathing wit, and her facility with ironic sarcasm, all of which cumulate in the absolute straightforwardness of the last line, a line that by the way coincides with Jigs own dramatic epiphany: Theres nothing wrong with me, I am fine.
Rankin in great detail describes the short story as a man who persists in opposing the continuance of Jigs maturnity, he grossly oversimplifies the issue, even to the point of self-contra-diction, calling the abortion foremost an awfully simple operating theatre, and then not in reality an operation at all. Here and elsewhere, the excessive modifiers like awfully and really indicate the mans awareness that this will not be an behind sale and belie his understanding, whether he would be willing to intromit this or not, of Jigs formidable...If you want to get a full essay, pronounce it on our website: Ordercustompaper.com
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