Jennifer Price's Criticism Of The American Culture Of Mid 1900's In Her Novel The Plastic Pink Flamingo: A Natural History
In ‘The Plastic Pink Flamingo: A Natural History,’ Jennifer Price applies the cultural fixation of the plastic pink flamingos with the debasement and self-importance of American culture during the ahead of schedule to mid-1900’s. Through her utilization of reference, incongruity, phrasing, and broadened representation inside the whole piece, Price ridicules society for its self important goals. The expressed ‘two significant cases to intensity’ both display our way of life’s avarice with the flamingo speaking to riches while it being pink embodies its ostentatiousness. Value’s wry tone all through the paper appears to deride society and its indulgent principles.
Value references numerous conspicuous individuals in this piece like ‘criminal Benjamin ‘Bugsy,” Tom Wolfe, Karal Ann Marling, and Elvis Presley. Nonetheless, after every one of these implications were made, an appositive, a word or expression that renames the thing, didn’t pursue both of the inferences to clarify who the individual was and their noteworthiness. Value’s thinking in doing this was to include ethos and epitomize that these individuals were probably notable in those days. Value’s utilization of understood individuals adds validity to her contention and shows that society hops on the alleged ‘fleeting trend.’
The unexpected tone of this entry helps with promoting Price’s theory of social eagerness and debasement. The way that the flamingo is thought to speak to riches is unexpected, in light of the fact that in Florida in the 1800’s flamingos were pursued to elimination while now they are believed to be sumptuous. In places like Mexico and Egypt, they were believed to be fairly sacrosanct. The second utilization of incongruity is expressed in the last passage where the plastic flamingo is said to be superior to a genuine one. Maybe the most evident bit of incongruity is the title, ‘The Plastic Pink Flamingo: A Natural History.’ Plastic and common contradict each other which establishes the pace for the whole entry. Value proceeds with her amusing and frequently taunting tone when she expresses that the flamingos ‘feed in groups on green growth and spineless creatures’ which doesn’t present a picture of riches and luxury like it is thought to speak to.
Cost uses a particular lingual authority in the paper to taunt the showiness of the flamingos. Words, for example, of ‘sprinkled,’ ‘rushing,’ and ‘desert spring’ are intended to parallel the typical and regular vision of a flamingo while our way of life overstates its uniqueness and renown. Nonetheless, it expresses that the flamingo is ‘synonymous with riches and style’ which repudiates Price’s lingual authority of giving the flamingo its normal sense.
All through the whole paper, Price uses an all-inclusive allegory which looks at this normal creature, the flamingo, to an indulgent way of life. The way that the fowl is an uncommon pink is thought to make it progressively significant and increasingly alluring which adds to its ‘strength.’ This analogy is mocking in tone and speaks to the self-importance and garish beliefs of our general public by the juxtaposition of the regular excellence of the flamingo to a bit of empty plastic garden stylistic layout.
Through Price’s utilization of clear incongruity, phrasing, an all-encompassing representation, and implications, she endeavors to show to the peruser the debasement of our general public. In spite of the fact that it is an odd and bizarre methodology because of the subject being plastic pink flamingos, Price’s frame of mind is obvious and effectively convinces the peruser to grasp her perspective while as yet captivating the peruser.
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