Essay on Marxist Critique of Desirees Baby - 2096 Words

Michael A. Morales Professor Carol Froisy LITR 320 American Fiction June 10, 2012 A Marxist Critique of Desirà ©e’s Baby The Antebellum south, or merely the word plantation, conjures images of white, columned manses shaded by ancient oaks bowed beneath the weight of Spanish moss and centuries. Somehow these monuments of Greek revivalist architecture sparkle in their ivory-coated siding, even while the trunks of their aged arboreal neighbors hide under layer upon soggy layer of dense, green lichen. The white house is a reflection of the inhabitants, its cleanliness in the damp, soiled environment standing as a stark reminder of the hegemony governing the lives of those living not in the house, but hidden nearby. L’Abri, the plantation†¦show more content†¦If Desirà ©e were actually black in the Antebellum south, she would know these things from early childhood. Desirà ©e disappears â€Å"among the reeds and willows that grew thick along the bank of the deep sluggish bayou; and she did not come back again† (404). Desirà ©e’s disappearance is not only her physical departur e from L’Abri; it is the disappearance of the white woman that was Desirà ©e. And none of these circumstances is decided by biology, but by what Marxists refer to as a â€Å"struggle for power between different social classes† (Gardner 145). Chopin is delivering a message that power transcends race. What sets Desirà ©e apart in terms of her subjugation by Armand? It is not race, but the lack thereof. Desirà ©e is unable to hide anything about herself because her origins are unknown (Chopin 401). She is a willing captive to Armand as a result of her love and her marriage, but she is not an unwilling captive to race; she is an unwilling captive to her otherness. She does not have doubts about her race, but must live with the reality that â€Å"Armand has told me I am not white† (Chopin 404). Because her origins are unknown and she does not have a name, she must acquiesce to the whims of Armand, who had at first decided to be unconcerned about â€Å"the girl’s obscure origins† (Chopin 401). Armand is the power here. He makes all of the decisions regarding the lives of those within his circle of power, and he does so because he is allowed to do so. Madam