Absurdity and Reality

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The primary theme of The Zoo Story revolves around absurdity and reality. At the play's outset, Jerry starts a conversation with Peter, selecting familiar topics like family and career to engage him. However, Jerry quickly begins to introduce bizarre remarks and questions into what initially seems like a typical conversation between two strangers getting acquainted. This becomes evident when Jerry, presuming Peter dislikes his daughters' cats, inquires if Peter's birds are sick. Peter responds that he doesn't think so, to which Jerry says:

"That's too bad. If they did you could set them loose in the house and the cats could eat them and die, maybe." These irrational and absurd moments in the play start to unsettle Peter's sense of reality and place. Yet, Jerry swiftly balances these instances with genuinely pleasant, benign remarks and captivating stories to keep Peter's attention. Throughout the play, as Jerry continues to share his tales, he carefully steers the conversation, manipulating Peter. By the conclusion, Jerry has distorted Peter's sense of reality to such an extent that Peter engages in a physical confrontation over what he perceives as "his" park bench, and in an attempt at self-defense, inadvertently assists Jerry in his own death. The stark reality of the events then hits Peter, prompting him to flee, exclaiming "Oh my God!"

Alienation and Loneliness

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In The Zoo Story, the theme of alienation and loneliness is portrayed as a fundamental aspect of the human experience, driving Jerry's actions throughout the play. From the moment Jerry enters Peter's life, it is apparent that he struggles with basic social interactions. Instead of a polite greeting like "Hello, may I sit down," Jerry's initial words are: "I've been to the zoo. I said, I've been to the zoo. MISTER, I'VE BEEN TO THE ZOO!" As Jerry shares his stories, Peter discovers that Jerry lost both parents at age ten and afterwards lived with his aunt, who passed away on the day of his high school graduation. Jerry also makes candid remarks about the boarding house where he resides and its other occupants, who resemble a makeshift family to him, despite his lack of real connection with them. He even includes these individuals in his nightly prayers. Albee quickly establishes Jerry's isolation from society and gradually reveals more about his life to the audience. The profound loneliness Jerry feels ultimately leads him to orchestrate his own death with Peter's unwitting assistance at the play's conclusion. In his final moments, Jerry finds peace and tells Peter: "I came unto you and you have comforted me. Dear Peter."

Wealth and Poverty

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A key theme in The Zoo Story is the disparity between wealth and poverty and the misconceptions that arise between different social and economic classes. This theme is intricately linked to alienation and loneliness, as Albee suggests that the pressures of class are the root of Jerry's distress. The topic of class is introduced early in the play when Jerry questions Peter about his family and career, then provocatively asks: "Say, what's the dividing line between upper-middle-middle class and lower-upper-middle class?" Clearly, Jerry is not part of these classes, and he acknowledges his own sarcasm. However, Jerry's assumptions about Peter's life are surprisingly accurate, while Peter finds Jerry's existence entirely unfamiliar.

Estrangement and Alienation

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The Zoo Story is an intensely harrowing expression of estrangement in American society. The lack of communication between Jerry and his landlady’s vicious dog is merely an analogy for the hostility among living beings in a world in which alienation and lack of sympathy are deep-seated psychological conditions. The story of the dog leads to Jerry’s zoo story, but the roundabout, digressionary mode of relation...

(This entire section contains 120 words.)

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is emblematic of Edward Albee’s style. This drama is one in which a lonely man on the verge of nervous breakdown desperately attempts to find at least one individual who will hear him out and come to an understanding of the existential plight that Jerry sees as a malaise in the world.

Isolation and Unhappiness

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Although only in his late thirties, Jerry is in physical decline. His weariness is evidently a result of his sordid personal history: He is a product of a broken home, the orphaned son of a promiscuous, alcoholic mother and a weak father. Deprived of a normal family environment—his adoptive puritanical aunt dies prematurely— Jerry is apparently unable to find solid, loving relationships. His homosexuality separates him from others, and his seedy rooming house reeks of alienation. Its most vivid tenants are symptomatic of the problem that Jerry sees as a pathological contaminant of contemporary life. The mysterious person in the main-floor front room whom nobody has ever seen, the “colored queen” with rotten teeth, plucked eyebrows, and Japanese kimono, the Puerto Rican family forced to live in crowded squalor, and the lady on the third floor who cries softly but determinedly all the time are all caged in their respective cells of solitude, cut off from one another in a hellish half-world.

Communication and Misunderstanding

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Further signs of isolation and unhappiness lie in the figure of the fat, ugly, misanthropic, drunken landlady, who makes repulsive sexual advances to Jerry, and in the figure of her monstrous dog. Jerry and the dog are as alienated from each other as the animals in the zoo are from one another and from humans. Jerry’s inability to communicate with the dog has rendered him desperate for one last chance at contact with a living being. Peter, however, with his tweeds, pipe, horn-rimmed glasses, and afternoon book, is unable to offer him that vital breakthrough. Suspicious, bewildered, and afraid, Peter hails from a highly organized and conventional middle-class world and repeatedly fails to apprehend the moral in any of Jerry’s stories. What is more important, he fails to see the desperate humanity and vulnerability of Jerry and so fails to recognize his own human deficiencies. He remains representative of the successful American businessman—the type so securely locked into his bourgeois values and comfortable way of life that he cannot see or respond to the desolation around him. He is a sophisticated version of the impersonality that Jerry sees in other, more primitive settings (the rooming house and zoo), but he is typical of society’s refusal to pay heed to the pains and needs of its outcasts.

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