The Image of Self-awareness in Literature

Understanding Self-Awareness

One word: self-awareness. A crucial element in the human daily experience, self-awareness signifies a person's ability to understand and regulate their own emotions, thoughts, and behaviors. For instance, a child might quickly judge someone for a disability they cannot control, such as a person in a wheelchair or using a cane. Self-awareness also involves confronting challenges independently from a young age and deciding how to respond to them. Two short stories that explore these nuances of self-awareness are “Cathedral” by Raymond Carver and “Where Are You Going, Where Have You Been?” by Joyce Carol Oates.

The Image of Self-Awareness in Literature

Carver's "Cathedral"

In Raymond Carver's short story “Cathedral” (1981), the narrative is delivered through a first-person point of view. This perspective allows readers to experience events and situations through the eyes of the narrator, who ultimately has a transformative interaction with Robert, a blind man. Carver uses this approach to highlight that the narrator is not entirely self-centered; rather, he undergoes significant personal growth. Instead of focusing solely on Robert's blindness, Carver invites readers to observe the narrator’s body language and emotional journey.

Carver presents the narrator as initially self-absorbed, showing little regard for his wife's presence and emotions. However, as Robert demonstrates genuine interest in his wife's past, he indirectly encourages the narrator toward empathy and self-reflection. Initially resistant to Robert’s visit—"I wasn't enthusiastic about Roberts visit. He was no one I knew. And his being blind bothered me" (Carver, 1981)—the narrator is portrayed as judgmental and closed-minded. Yet through this interaction, he learns that "learning never ends" because he "got ears." Though possessing physical sight and hearing, the narrator discovers that true understanding requires deeper introspection.

Oates's "Where Are You Going, Where Have You Been?"

In contrast, Joyce Carol Oates’s story “Where Are You Going, Where Have You Been?” (1966) features Connie as its central character—an adolescent preoccupied with her appearance and her mother's approval. Oates describes Connie’s habit of constantly checking mirrors or others’ faces for validation: "She was fifteen and she had a quick, nervous giggling habit of craning her neck to glance into mirrors or checking other people’s faces to make sure her own was all right" (Oates, 1966). Connie’s actions reflect her struggle with personal identity and societal expectations.

Unlike Carver's first-person narrative, Oates employs third-person narration to depict Connie's internal conflicts within a suspenseful environment. This choice prevents Connie from gaining new perspectives on life or developing empathy for others' feelings. Her high yet unrealistic sense of self-awareness reflects youthful naivety—a theme Oates weaves skillfully into the storyline without offering an opportunity for significant transformation.

The author illustrates that while Connie may fantasize about an idealized life free from constraints, her inability to confront reality hinders genuine self-growth—a stark contrast against Carver’s protagonist who achieves meaningful change.

Conclusion

To summarize both narratives: while Carver grants his narrator potential enlightenment through newfound awareness amidst personal surroundings (Carver & Stull), Oates juxtaposes this journey by presenting consequences arising from unexamined lives devoid proper direction (Oates). The exploration across both works underscores literature's capacity delve intricacies shaping human consciousness itself.

• Carver R., & Stull W.L., eds., Cathedral: Stories (1981).
• Oates J.C., Where Are You Going? Where Have You Been?: Selected Early Stories (1966).