To Kill a Mockingbird, Harper Lee
To Kill a Mockingbird Harper Lee
(Born Nelle Harper Lee) American novelist.
The following entry provides criticism on Lee's novel To Kill a Mockingbird. See also Harper Lee Contemporary Literary Criticism.
Lee's Pulitzer Prize-winning novel To Kill a Mockingbird has remained enormously popular since its publication in 1960. Recalling her experiences as a six-year-old from an adult perspective, Jean Louise Finch, nicknamed “Scout,” describes the circumstances involving her widowed father, Atticus, and his legal defense of Tom Robinson, a local black man falsely accused of raping a white woman. In the three years surrounding the trial, Scout and her older brother, Jem, witness the unjust consequences of prejudice and hate while at the same time witnessing the values of courage and integrity through their father's example. Lee's first and only novel, To Kill a Mockingbird was published during the Civil Rights movement, and was hailed as an exposé of Southern racist society. The heroic character of Atticus Finch has been held up as a role model of moral virtue and impeccable character for lawyers to emulate. To Kill a Mockingbird has endured as a mainstay on high school and college reading lists. It was adapted to film in 1962 as a major motion picture starring Gregory Peck.
Plot and Major Characters
To Kill a Mockingbird is set in the small, rural town of Maycomb, Alabama, during the early 1930s. The character of Atticus Finch, Scout's father, was based on Lee's own father, a liberal Alabama lawyer and statesman who frequently defended African Americans within the racially prejudiced Southern legal system. Scout and her brother Jem are raised by their father and by Calpurnia, an African-American housekeeper who works for the family. Scout and Jem meet and befriend seven-year-old Dill Harris, a boy who has arrived in Maycomb to stay with his aunt for the summer. Lee has stated that the character of Dill is based on young Truman Capote, a well-known Southern writer and childhood friend. Together with Dill, Scout and Jem make a game of observing “Boo” Radley, a town recluse who has remained inside his house for fifteen years, trying to provoke him to come outside. Local myth holds that Boo eats live squirrels and prowls the streets at night, and the children's perception of him is colored by such tales. In the fall, Dill returns to his family in the North and Scout enters the first grade. Scout and Jem begin to discover mysterious objects, designed to intrigue children, hidden in a tree on the Radley property.
When Tom Robinson, an African-American man, is accused of raping Mayella Ewell, Atticus is appointed as the defense attorney. Mayella and her shiftless father, Bob Ewell, live in abject poverty on the outskirts of town. The family is known as trouble and disliked by townspeople. Despite this, Atticus's defense of Tom is unpopular in the white community, and Scout and Jem find themselves taunted at school due to their father's defense of a black man. Atticus consistently strives to instill moral values in his children, and hopes to counteract the influence of racial prejudice. The children view their father as frustratingly staid and bookish, until he is asked by the sheriff to shoot a rabid dog that is roaming the street. After Atticus kills the dog, Scout and Jem learn that their father is renowned as a deadly marksman in Maycomb County, but that he chooses not to use this skill, unless absolutely necessary. Scout's aunt, Alexandra, unexpectedly arrives to reside with the Finch family, announcing it is time someone reined in the children. She makes it her mission to counteract Atticus's liberal influence on the children and to instill ladylike virtues in the tomboyish Scout. The night before the trial of Tom Robinson is to begin, a group of local men threaten a lynching, but Scout inadvertently disrupts their plan when she recognizes the father of a schoolmate in the crowd of would-be lynchers. When the trial begins, Atticus tries to protect his children from the anger and prejudice they would hear; however, Scout, Jem, and Dill sneak into the courtroom and sit in the balcony with the black community. Mayella and her father testify that Tom raped Mayella after he was asked onto their property to break up an old chifforobe into firewood. Atticus, however, proves Tom's innocence by demonstrating that while Mayella's face was beaten and bruised on her right side, Tom's left arm had been rendered completely useless by an earlier injury. Therefore, Atticus concludes, Tom could not possibly be the left-handed assailant who struck Mayella on the right side of her face. Atticus further suggests that it was Bob, Mayella's father, who beat her, and that, in fact, no rape occurred. Before the jury departs to deliberate, Atticus appeals to their sense of justice, imploring them not to allow racial prejudice to interfere with their deliberations. However, after two hours, the jury returns with a guilty verdict, sentencing Tom to be executed for rape. Later, Tom is shot to death during an attempt to escape from jail. The following fall, Bob Ewell, incensed by Atticus's treatment of him during the trial, attacks Scout and Jem with a knife as they are walking home from a school Halloween pageant. Boo Radley, secretly observing the scene, intervenes in the scuffle, and Bob Ewell is stabbed and killed in the process. Called to the scene, the Sheriff and Atticus agree to not report Boo's involvement to the police, because a trial against him would likely be prejudiced. Intimately aware of issues of prejudice due to the Tom Robinson case, Atticus and the children agree to report that Ewell fell on his knife in the scuffle, sparing Boo the consequences of a legal trial. Scout realizes in retrospect that Boo has never been the threatening figure the children had imagined, and that he was responsible for leaving the mysterious gifts for them to find on his property. After walking Boo home, Scout stands on the porch of his house looking out, finally seeing the world through a wider perspective.
The central thematic concern of To Kill a Mockingbird addresses racial prejudice and social justice. Atticus Finch represents a strongly principled, liberal perspective that runs contrary to the ignorance and prejudice of the white, Southern, small-town community in which he lives. Atticus is convinced that he must instill values of equality in his children, counteracting the racist influence. Lee makes use of several images and allegories throughout the novel to symbolize racial conflict. The children's attitudes about Boo, for example, represent in small scale the foundation of racial prejudice in fear and superstition. The rabid dog that threatens the town has been interpreted as symbolizing the menace of racism. Atticus's shooting of the rabid dog has been considered by many critics as a representation of his skills as an attorney in targeting the racial prejudices of the town. The central symbol of the novel, the mockingbird, further develops the theme of racial prejudice. For Christmas, Scout and Jem are given air rifles by their father, who warns that, although he considers it fair to shoot other birds, he views it a “sin to kill a mockingbird” because they “don't do one thing but sing their hearts out for us.” The mockingbird represents victims of oppression in general, and the African-American community more specifically. The unjust trial of Tom Robinson, in which the jury's racial prejudice condemns an innocent man, is symbolically characterized as the shooting of an innocent mockingbird. Toward the end of the novel, Scout realizes that submitting Boo to a trial would be akin to shooting a mockingbird—just as the prejudice against African Americans influences the trial of Tom Robinson, the town's prejudices against the white but mentally disabled Boo would likely impact a jury's view. The concept of justice is presented in To Kill a Mockingbird as an antidote to racial prejudice. As a strongly principled, liberal lawyer who defends a wrongly accused black man, Atticus represents a role model for moral and legal justice. Atticus explains to Scout that while he believes the American justice system to be without prejudice, the individuals who sit on the jury often harbor bias, which can taint the workings of the system. Throughout the majority of the novel, Atticus retains his faith in the system, but he ultimately loses in his legal defense of Tom. As a result of this experience, Atticus expresses a certain disillusionment when, at the conclusion of the book, he agrees to conceal Boo's culpability in the killing of Ewell, recognizing that Boo would be stereotyped by his peers. Atticus decides to act based on his own principles of justice in the end, rather than rely on a legal system that may be fallible.
To Kill a Mockingbird also can be read as a coming-of-age story featuring a young girl growing up in the South and experiencing moral awakenings. Narrated from Scout's point-of-view, the novel demonstrates the now-adult narrator's hindsight perspective on the growth of her identity and outlook on life. In developing a more mature sensibility, the tomboyish Scout challenges the forces attempting to socialize her into a prescribed gender role as a Southern lady. Aunt Alexandra tries to subtly and not-so subtly push Scout into a traditional gender role—a role that often runs counter to her father's values and her own natural inclinations. However, as events around the trial become ugly, Scout realizes the value of some of the traditions Alexandra is trying to show her and decides she, too, can be a “lady.” To Kill a Mockingbird explores themes of heroism and the idea of role models as well. Lee has stated that the novel was essentially a long love letter to her father, whom she idolized as a man with deeply held moral convictions. Atticus is clearly the hero of the novel, and functions as a role model for his children. Early in the story, the children regard their father as weak and ineffective because he does not conform to several conventional standards of Southern masculinity. They eventually realize that Atticus possesses not only skill with a rifle, but also moral courage, intelligence, and humor, and they come to regard him as a hero in his own right.
Since its publication, To Kill a Mockingbird has been enormously popular with the reading public, has sold millions of copies, and has never gone out of print. The initial critical response to Lee's novel was mixed. Many reviewers lauded the book as a poignant and insightful exposé of racism in the South, and a powerful rendering of modern heroism. Others, however, found fault with Lee's use of narrative voice, asserting that she fails to effectively integrate the voice of the adult Scout with the childish perspective of the young girl who narrates much of the novel. Critical reception of the book has primarily centered around its messages concerning issues of race and justice. Joseph Crespino observed, “In the twentieth century, To Kill a Mockingbird is probably the most widely read book dealing with race in America, and its protagonist, Atticus Finch, the most enduring fictional image of racial heroism.” Proponents of the novel have championed its usefulness as a teaching tool in high school and college curricula for examining issues of racism and justice. Atticus has been held up by law professors and others as an ideal role model of sound moral character and strong ethical principles. As Steven Lubet remarked, “No real-life lawyer has done more for the self-image or public perception of the legal profession than the hero of Harper's Lee's To Kill a Mockingbird. For nearly four decades, the name of Atticus Finch has been invoked to defend and inspire lawyers, to rebut lawyer jokes, and to justify (and fine-tune) the adversary system.” Since the 1960s, as the discourse around race and justice in America has become more complex and multi-faceted, To Kill a Mockingbird has come under strong criticism for the fundamental values it puts forth. The novel has been criticized for promoting a white paternalistic attitude toward the African-American community. Such critics hold that the novel's central image of the mockingbird as a symbol for African Americans ultimately represents the African-American community as a passive body in need of a heroic white male to rescue them from racial prejudice. Isaac Saney remarked, “Perhaps the most egregious characteristic of the novel is the denial of the historical agency of Black people. They are robbed of their roles as subjects of history, reduced to mere objects who are passive hapless victims; mere spectators and bystanders in the struggle against their own oppression and exploitation. … The novel and its supporters deny that Black people have been the central actors in their movement for liberation and justice.” The status of Atticus Finch as a role model for lawyers has also come under attack in recent years. These critics have scrutinized Atticus from the perspective of legal ethics and moral philosophy, and analyzed his characters' underlying values in relation to race, class, and gender. As Monroe Freedman argued, “Finch never attempts to change the racism and sexism that permeates the life of Maycomb […] On the contrary, he lives his own life as the passive participant in that pervasive injustice. And that is not my idea of a role model for young lawyers.” Yet the character of Atticus continues to have avid defenders. Ann Althouse asserted, “For those entering the legal profession, who commonly worry that they will lose themselves in an overbearing and tainted alien culture, Atticus is a model of integrity.” Althouse concluded, “Atticus Finch is an example: a man who has found a way to live and work as a good person in a deeply flawed society.”
SOURCE: Smykowski, Adam. “Symbolism and Racism in To Kill a Mockingbird.” In Readings on “To Kill a Mockingbird,” edited by Terry O'Neill, pp. 52-6. San Diego, Calif.: Greenhaven Press, 2000.
[In the following essay, originally published online in 1996 as “Symbolism in Harper Lee's To Kill a Mockingbird,” Smykowski analyzes Lee's use of symbolism to explore issues of racism in the novel.]
“I'd rather you shoot at tin cans in the backyard, but I know you'll go after birds. Shoot all the bluejays you want, if you can hit 'em, but remember it's a sin to kill a mockingbird.” This is what Atticus Finch tells his children after they are given air-rifles for Christmas. Uniquely, the title of the classic novel by Harper Lee, To Kill a Mockingbird, was taken from this passage. At first glance, one may wonder why Harper Lee decided to name her book after what seems to be a rather insignificant excerpt. After careful study, however, one begins to see that this is just another example of symbolism in the novel. Harper Lee uses symbolism rather extensively throughout this story, and much of it refers to the problems of racism in the South during the early twentieth century. Harper Lee's effective use of racial symbolism can be seen by studying various examples from the book. This includes the actions of the children, the racist whites, and the actions of Atticus Finch....
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SOURCE: Shackelford, Dean. “The Female Voice in To Kill a Mockingbird: Narrative Strategies in Film and Novel.” Mississippi Quarterly 50, no. 1 (winter 1996-97): 101-13.
[In the following essay, Shackelford compares To Kill a Mockingbird with its film adaptation in terms of representations of gender. Shackelford argues that, while the book's female narrator infuses the novel with a feminist perspective, the film's visual focus on the point of view of Scout's father undermines this feminist perspective.]
Aunt Alexandra was fanatical on the subject of my attire. I could not possibly hope to be a lady if I wore breeches; when I said I could do nothing in a dress, she said I wasn't supposed to be doing anything that required pants. Aunt Alexandra's vision of my deportment involved playing with small stoves, tea sets, and wearing the Add-A-Pearl necklace she gave me when I was born; furthermore, I should be a ray of sunshine in my father's lonely life. I suggested that one could be a ray of sunshine in pants just as well, but Aunty said that one had to behave like a sunbeam, that I was born good but had grown progressively worse every year. She hurt my feelings and set my teeth permanently on edge, but when I asked Atticus about it, he said there were already enough sunbeams in the family and to go about my business, he didn't mind me much the way I was.1...
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SOURCE: Lubet, Steven. “Reconstructing Atticus Finch.” Michigan Law Review 97, no. 6 (May 1999): 1339-62.
[In the following essay, Lubet questions the standard perception of Atticus Finch as a role model for lawyers. Lubet provides an analysis of the trial portrayed in To Kill a Mockingbird from the perspective of today's legal defense methods and ethics, particularly in regard to rape trials.]
No real-life lawyer has done more for the self-image or public perception of the legal profession than the hero of Harper Lee's novel, To Kill a Mockingbird.1 For nearly four decades, the name of Atticus Finch has been invoked to defend and inspire lawyers, to rebut lawyer jokes, and to justify (and fine-tune) the adversary system. Lawyers are greedy. What about Atticus Finch? Lawyers only serve the rich. Not Atticus Finch. Professionalism is a lost ideal. Remember Atticus Finch.2
In the unreconstructed Maycomb, Alabama of the 1930s, Atticus was willing to risk his social standing, professional reputation, and even his physical safety in order to defend a poor, black laborer falsely accused of raping a white woman. Serving for no fee, Atticus heard the call of justice.3 His defense was doomed to failure by the very nature of Southern life, but Atticus nonetheless succeeded in...
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SOURCE: Althouse, Ann. “Reconstructing Atticus Finch? A Response to Professor Lubet.” Michigan Law Review 97, no. 6 (May 1999): 1363-69.
[In the following essay, Althouse responds to the essay “Reconstructing Atticus Finch,” by Steven Lubet. Althouse argues that Atticus is a model lawyer in the sense that he maintains the same high ethical standards in his personal life as he does in his capacity as a lawyer.]
“He's not an example, Dill. … He's the same in the courtroom as he is on the public streets.”1
In one of her childishly obtuse moments, Scout, the narrator of Harper Lee's To Kill a Mockingbird, denies that her father Atticus Finch is any sort of proper example of how a lawyer ought to act when cross-examining a witness. The prosecutor's cross-examination of the accused Tom Robinson has moved her friend Dill to tears:
I couldn't stand … [t]hat old Mr. Gilmer doin' him thataway, talking so hateful to him—2
Scout, who has taken her friend out of the courtroom, explains:
Dill, that's his job. … He's supposed to act that way.3
Atticus, on the other hand, does not turn into a lawyer stereotype when he enters the courtroom. He faces the adversities and injustices...
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SOURCE: Atkinson, Rob. “Comment on Steven Lubet, ‘Reconstructing Atticus Finch.’” Michigan Law Review 97, no. 6 (May 1999): 1370-72.
[In the following essay, Atkinson responds to the essay “Reconstructing Atticus Finch,” by Steven Lubet. Atkinson argues that, taking To Kill a Mockingbird on its own “childishly simplistic” moral terms, Atticus Finch is certainly a role model. However, Atkinson concludes that the book is a less complex and morally challenging novel than it is given credit for.]
Professor Lubet has joined a growing list of revisionists who question Atticus's standing as the paragon of lawyerly virtue [in To Kill a Mockingbird,].1 But Professor Lubet takes revisionism in a distinctly postmodern direction, if not to a radically new level. Atticus's previous critics have wondered how he could have overlooked, perhaps even condoned, the pervasive racism, sexism, and classism of the Depression-era South. They have even occasionally censured his paternalism toward his pro bono client, the working-class black rape defendant Tom Robinson. But they have never questioned either Tom's claim of innocence or the propriety of Atticus's advocacy of that claim. Professor Lubet questions both.
Early on, he asks, “What if Mayella Ewell [the accusing witness] was telling the truth? What if she really was raped (or nearly raped) by Tom Robinson? What...
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SOURCE: Chura, Patrick. “Prolepsis and Anachronism: Emmet Till and the Historicity of To Kill a Mockingbird.” Southern Literary Journal 32, no. 2 (spring 2000): 1-26.
[In the following essay, Chura discusses the representation of race and justice in To Kill a Mockingbird in the historical context of the Civil Rights movement of the 1950s.]
Though there is a strong consensus that To Kill a Mockingbird is deeply oriented within the history of the Depression era, no analysis has attempted to separate the historical conditions of the moment of the text's production in the mid 1950s from the historical present of the novel, the mid 1930s. Such analysis is revealing, first because under scrutiny the novel's 1930s history is exposed as at times quite flawed in its presentation of facts. The WPA, for example, did not exist until 1935, but it is mentioned in the novel's fourth chapter, which is set in 1933. Eleanor Roosevelt did not violate segregation law by sitting with black audience members at the Southern Conference on Human Welfare in Birmingham until 1938, but this event is mentioned by Mrs. Merriweather during the fall of 1935. More important than these several occasional chronological lapses, however, is the novel's participation in racial and social ideology that characterized not the Depression era but the early civil rights era. Because the text's 1930s history...
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SOURCE: Crespino, Joseph. “The Strange Career of Atticus Finch.” Southern Cultures 6, no. 2 (summer 2000): 9-29.
[In the following essay, Crespino examines popular and critical responses to the representation of race and justice in To Kill a Mockingbird between the years 1960 and 2000.]
Contemporary debates concerning race in America owe much to the 1960s when African Americans and other minority groups gained basic legal protections and rights of citizenship denied them in the century following Reconstruction. The current offspring of this movement is multiculturalism, a term that encompasses a range of progressive educational techniques, policy recommendations, and social movements that celebrate racial and ethnic differences and seek to empower people to pursue goals of personal and communal freedom. One of the basic questions raised in the 1960s that reverberates in multiculturalism today is who in our society is allowed to speak authoritatively on racial issues. Over the course of the twentieth century, but particularly with the flowering of African American studies, the era in which white intellectuals debated the “Negro problem” among themselves has ended once and for all. In countless cultural productions and scholarly works from the civil rights era and more recent decades, African Americans are the subjects in the exploration of racial inequality in American history and life. And...
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SOURCE: Dare, Tim. “Lawyers, Ethics, and To Kill a Mockingbird.” Philosophy and Literature 25, no. 1 (April 2001): 127-41.
[In the following essay, Dare discusses the issue of moral responsibility in the legal profession in terms of ethical and moral philosophy, and evaluates whether or not the character of Atticus Finch serves as a positive role model for lawyers.]
Lawyers are widely thought to be callous, self-serving, devious, and indifferent to justice, truth, and the public good. The law profession could do with a hero, and some think Atticus Finch of Harper Lee's To Kill a Mockingbird fits the bill.1 Claudia Carver, for instance, urging lawyers to adopt Atticus as a role model, writes: “I had lots of heroes when growing up. … Only one remains very much ‘alive’ for me. … Atticus made me believe in lawyer heroes.”2 Not everyone endorses Atticus's nomination. Most influentially, Monroe Freedman argues that Atticus is hardly admirable since, as a state legislator and community leader in a segregated society, he lives “his own life as the passive participant in that pervasive injustice.”3
Although there is plainly disagreement between Freedman and his opponents, there is also an important point of consensus. Both sides to the debate accept that Atticus's suitability as a role model is settled by...
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SOURCE: Jolley, Susan Arpajian. “Integrating Poetry and To Kill a Mockingbird.” English Journal 92, no. 2 (November 2002): 34-40.
[In the following essay, Jolley discusses her approach to teaching To Kill a Mockingbird to high school students in conjunction with the study of poetry treating themes of courage and compassion.]
O Mockingbird, Mockingbird! Wherefore art thou so popular? And wherefore art thou so maligned? So popular, in fact, that the mayor of Chicago would exhort his denizens to read and discuss you en masse? So popular that more than 30 million copies of you have been sold since your publication in 1960 (Carrier 216)? And so maligned that writer Francine Prose calls you a “sentimental, middlebrow favorite” (76), refers to your presence in public school curricula as “grisly” (77), and urges that high school students be shielded from your likes and exposed to a strict diet of top-flight writers like Kafka, Shakespeare, and Twain.
I maintain, however, that you are not as simplistic as some people would have us believe. You are rich enough in thematic material and accessible enough and moving enough to open the eyes of many an American high school student to worlds and perspectives they need to see. The good you can do in a high school classroom and the possibilities you present for multigenre teaching certainly outweigh any...
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SOURCE: Jones, Carolyn M. “Harper Lee.” In The History of Southern Women's Literature, edited by Carolyn Perry and Mary Louise Weaks, pp. 413-18. Baton Rouge, La.: Louisiana State University Press, 2002.
[In the following essay, Jones provides a general overview of To Kill a Mockingbird and its critical reception.]
As Harper Lee struggled to rework the manuscript of To Kill a Mockingbird, Newsweek reported in 1961, her supporters at Lippincott were “screaming and yelling, hollering, ‘The book may not sell 2,000 copies, but we love Nelle.’” Their enthusiasm initiated that of a nation as Harper Lee burst onto the literary scene in 1960 with the publication of her first and only novel. To Kill a Mockingbird has never gone out of print, and its gentle but tough story of a small southern town, a racist act, a trial, an honorable man, and a lively young girl coming of age has influenced, now, nearly three generations of readers.
Nelle Harper Lee was born in Monroeville, Alabama, in 1926, a descendent of Robert E. Lee. Her father, Amasa Coleman Lee, on whom Atticus Finch, the major character in her novel is based, was a lawyer in the small town. He had been part owner and editor of the Monroe Journal and was in the state legislature from 1926 to 1938. He seems to have been a tough and principled person, defending blacks in the small town in...
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SOURCE: Saney, Isaac. “The Case against To Kill a Mockingbird.” Race & Class 45, no. 1 (July-September 2003): 99-110.
[In the following essay, Saney discusses the media's response to the 1996 banning of To Kill a Mockingbird from the standard curricula of public schools in Nova Scotia.]
For many years the Black Educators' Association and parents, amongst others, have lobbied the Nova Scotia Department of Education and school boards to remove various books from the school curriculum and school use. Similar initiatives have taken place in New Brunswick and other provinces across Canada. Pressure from the community forced the Department of Education to face up to its social responsibility to provide enlightened education and teaching materials and address the issue of restricting racist materials in the province's classrooms, in the same way that pressure had forced the government to abandon its legislated policy of segregated schooling for the African Nova Scotian population, a policy only formally ended in the 1950s. In 1996, after intensive community pressure, three works—To Kill a Mockingbird by Harper Lee; In the Heat of the Night by John Dudley Ball; and Underground to Canada by Barbara Smucker—were taken off the authorised list of texts recommended by the Department of Education. They can no longer be purchased from the provincial government....
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SOURCE: Champion, Laurie. “Lee's To Kill a Mockingbird.” Explicator 61, no. 4 (summer 2003): 234-36.
[In the following essay, Champion explicates the symbolic use of the terms “right” and “left” in To Kill a Mockingbird, arguing that “right” in the novel symbolizes virtue, while “left” symbolizes iniquity.]
Throughout Harper Lee's To Kill a Mockingbird, besides the ordinary connotations of “right” and “left” as opposing spatial directions, the terms also work on a subtler level: “right” suggesting virtue and “left” suggesting iniquity.
Connotations of “right” and “left” play a crucial role during the climactic trial scenes. Building evidence against Bob Ewell, Atticus asks Sheriff Tate which one of Mayella's eyes was bruised the night she was attacked, and Tate replies, “Her left.” Atticus asks, “Was it her left facing you or her left looking the same way you were?” (179). Tate says, “Oh yes, that'd make it her right. It was her right eye, Mr. Finch. I remember now, she was bunged up on that side of her face” (179). Bob says that he agrees with Tate's testimony that Mayella's “right eye was blackened” (187). A reading of the transcript of Tate's testimony reminds the jury that Tate testified that Mayella's right eye was black: “[W]hich eye her left oh yes that'd make it her right it was her right eye....
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Baecker, Diann L. “Telling It in Black and White: The Importance of the Africanist Presence in To Kill a Mockingbird.” Southern Quarterly 36, no. 3 (spring 1998): 124-32.
Provides critical discussion of the representation of African Americans in To Kill a Mockingbird.
Champion, Laurie. “‘When You Finally See Them’: The Unconquered Eye in To Kill a Mockingbird.” Southern Quarterly 37, no. 2 (winter 1999): 127-36.
Provides an analysis of the symbolism of light and darkness in To Kill a Mockingbird.
Hovet, Theodore R., and Grace-Ann Hovet. “‘Fine Fancy Gentleman’ and ‘Yappy Folk’: Contending Voices in To Kill a Mockingbird.” Southern Quarterly 40, no. 1 (fall 2001): 67-78.
Critical discussion of the use of regional dialect in To Kill a Mockingbird.
Johnson, Claude. “The Secret Courts of Men's Hearts: Code and Law in Harper Lee's To Kill a Mockingbird.” Studies in American Fiction 19, no. 2 (autumn 1991): 129-39.
Provides critical discussion of the theme of justice in To Kill a Mockingbird.
Johnson, Claudia Durst. “To Kill a Mockingbird”: Threatening Boundaries, New York: Twayne, 1994, 125 p.
Provides a general overview of To Kill a...
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