Showing posts with label Essay. Show all posts
Showing posts with label Essay. Show all posts

Poetry on the Patio: A Gala Celebration of Literature and the Arts in Dr. Meenakshi Mohan’s Pristine Abode, Maryland, USA

Lopamudra Bannerjee

Lopamudra Banerjee

“Om Bhur Bhuvaс╕е Suvaha
Tat-savitur Vare├▒yaс╣Г
Bhargo Devasya Dheemahi
Dhiyo Yonaс╕е Prachoday─Бt”

The auspicious chanting of Gayatri Mantra in our ancient scriptures emphasizes on meditating on the divine power of our Supreme Lord, the creator, and His divine light that illumines all realms—be it physical, mental or spiritual. In the pristine surroundings of the Mohan family home in Potomac, Maryland, little Veda, the charming, spirited 5-year-old granddaughter of Dr. Meenakshi Mohan inaugurated "Poetry on the Patio", the grand literature and art festival on August 16, 2025, the auspicious day of Janmashtami in India, with this divine chanting in front of the statuettes of Lord Krishna, Lord Ganesha and Goddess Saraswati. In those few indescribable moments of bliss, everyone present for the occasion must have felt the doors illuminating our minds, our intellect, our souls opening up.

Dr. Meenakshi Mohan has built up her mighty presence in the literary and artistic community for a considerable amount of time in Maryland and DC area in North America by virtue of her beautiful paintings and artworks and her impressive portfolio of published books in poetry and children’s literature. I personally knew her as a very insightful speaker and erudite poet when I happened to meet her for the first time during the in-person launch of the stellar anthology ‘Tapestry of Women in Indian Mythology’ (edited and curated by her) at the 3rd Annual DC South Asian Literary Festival on May 6, 2023. This August, precisely two years later, I again had the privilege to meet her as the gracious host of "Poetry on the Patio" the literary and art festival hosted by her, and it was all the more special as the literary event was dedicated as a heartfelt tribute or homage to her husband, Dr. Kshitij Mohan’s memory. In my fervent heart, I still carry the memories of the evening ‘mehfil’ of poets and artists that happened at Dr. Mohan’s beautiful abode in May 2023 amid the pristine green surroundings that resembled a picture postcard in its quaint, artistic beauty, with the dazzling presence of renowned poets including Arundhati Subramaniam, Gopal Lahiri, Anurag Sharma, among others. Fast forward two years, it almost felt like a d├йj├а vu moment in my consciousness when the settings were exactly the same, with the lush greenery around us, the cicadas chirping in their evening glory, with Dr. Meenakshi Mohan welcoming all of us poets, thinkers, writers, artists to share our literary works that surpassed the definition of a ‘creative forum’ and became an ‘intimate haven’, embracing our collective consciousness.

Authors, poets, translators, artists sharing their poetry and art:

 Having read Meenakshi Mohan's debut poetry collection titled ‘Symphonies of Life’, I was already aware that in her intensely personal poems, the themes of family, nature and the universe, and the beautiful amalgamation between memory and imagination appear as almost her alter-ego, her second self. Incidentally, the tranquil setting of a patio or balcony frequently appears in her work, serving as a space for quiet, almost meditative reflection. Quite naturally, in this same spirit of reflection, this literature and arts festival has been hosted by her in her patio, in collaboration with Setu International Bilingual mag, the literary journal based in Pittsburgh that strives to connect with readers as a cultural bridge, emphasizing on superior artistic expressions. The readers sharing their literary works in poetry and prose, including Dr. Marianne Szlyk, Dr. Ethan Goffman, Dr. Anita Nahal, Mr. Alan Britt, Mr. Luther Jett, Sri Indran Amirthanayagam, Tanusree Ghosh, Sunayana Pal and yours truly (in the English section) and Ms. Vinita Tiwari, Ms. Sashi Padha and Sri Anurag Sharma—all carried their distinct voices and ethos which were embedded in their pieces, yet it was all a tapestry of creative collaboration in its overall essence, created in an intimate, welcoming atmosphere. Some authors and poets present for the literary and artistic soiree shared their deeply reflective, meditative poetry and narratives, wherein lay the profound beauty, power and aura of creative writing. In their powerful writings in both English and Hindi language, the familial world, or the microcosm and the greater universe, the macrocosm converged, evoking universal emotions. Thus, the collective consciousness of the poets and authors, both in English and the vernacular Hindi language, added unique dimensions and nuances to the creative writing they presented on stage. Coupled with the readings, their published books and art were also on display at the venue, adding the icing on the cake.

The artists and the art installations at the venue, on their part, added to the beauty and vigor of the creative expressions, carrying alternate worlds and realities through the magic of their paintbrushes. The guest artists Ms. Nimmi Trehan and Ms. Shanti Chandrasekhar shared their respective interpretations of their artworks that transcended the boundaries of human imagination and became precious vehicles of metaphorical truth.

Also, not to forget, this entire soiree of literature and art was presented in an innovative, interactive way by the moderator of the program, Poonam Auluck Shah.

Anurag Sharma, founder and editor of Setu International Bilingual mag introduced the literary contributions of Setu in his moving speech, while recounting the momentous journey of Setu within the span of nine years (since its inception), and the huge readership that the mag enjoys today, celebrating the unique richness of South Asian diaspora literature. It is the collaboration between Setu mag and the host Meenakshi Mohan that culminated in the execution of such a delightful evening of poetry and art.

 

The Tribute:

The very eloquent opening speech by Meenakshi Mohan’s daughter Kavita Mohan tugged at the heartstrings of everyone present at the scene, commemorating the wondrous legacy of her father, Dr. Kshitij Mohan. In her speech, she reflected on the extraordinary life of her father thus: “My father was a scientist who shaped national policy, a poet who wrote with soul in three languages, and a leader whose vision touched industries and institutions alike. But to me, he was simply my Papa—the man who recited poetry late into the night from his office, who taught me the elegance of a well-turned phrase, the enduring power of literature, and the rigor of a well-reasoned argument.” She also described her father’s life as “a master class in pursuing knowledge, embracing the arts, and living with love.” To this, she also added the “extraordinary efforts” of her mother in continuing “her lifelong passion for the arts and her deep, unwavering love” for her father.

In her closing note, she also said that in today’s technology-driven world, “poetry and the arts offer us not just escape, but insight. My father understood this—and lived it. My mother continues to exemplify it. Together, they have taught me that the most enduring legacies are not built of accolades or achievements, but of wisdom shared, love given, and beauty created.”

The closing remarks of Dr. Meenakshi Mohan also lingered in the minds of the audience, especially her rendition of her poem ‘The Cosmic Wonders’ along with a stupendously crafted painting (oil on canvas, with a palette knife) titled ‘Threshold’. The poetry rendition and the surreal landscape depicted in the painting merged with the beauty of the surroundings as the evening converged into the night, with the call of the cicadas. Followed by her reading and the vote of thanks, also given by Dr. Mohan, the audience witnessed the most moving spectacle of presenting the Certificate of Excellence to Anurag Sharma of Setu Mag. The Certificate, presented by Veda’s tender hands, was truly a testament to how literature and art serve as enduring legacies, from one generation to the next.

Towards the end of the ceremony, each guest or reader received a certificate and a replica of Dr. Meenakshi Mohan’s artwork—which Setu Bilingual Journal, in their Facebook page, described as ‘a keepsake of a night where legacy met light.’

 Already making its mark as a significant forum for propagating literary and artistic talents in Maryland and also other parts of the nation, ‘Poetry on the Patio’, in memory of Dr. Kshitij Mohan, physicist, bilingual poet, diplomat, and patron of the arts, with its congregation of meaningful voices in the literary firmament, will be remembered as a memorable milestone.

Significant parts of the opening and closing of the ceremony on August 16th can be accessed here:


Author Bio: Lopamudra Banerjee is an author, poet, translator, editor with nine solo books and six anthologies in fiction, nonfiction and poetry. She has received the Journey Awards (First Place category winner) for her memoir ‘Thwarted Escape: An Immigrant’s Wayward Journey,’ the International Reuel Prize for Poetry (2017) and other honors. Her poetry has been published in renowned platforms including ‘Life in Quarantine’, the Digital Humanities Archive of Stanford University. She has been a Featured Poet at Rice University, Houston in November 2019. Her other notable publications are her poetry collection ‘We Are What We Are: Primal Songs of Ethnicity, Gender & Identity’ (2022), a collaboration with Mexican-American poet Priscilla Rice (Winner, New York Book Festival 2024), ‘Bakul Katha: Tale of the Emancipated Woman’, English translation of Ashapurna Devi’s award-winning Bengali novel (Honorable Mention, London Book Festival) and ‘The Bard and His Sister-in-Law’, English translation of Mallika Sengupta’s historical novel ‘Kabir Bouthan’ (Honorary Mention, Paris Book Festival 2024).

Introduction to Sigmund Freud and Psychoanalysis

Akash Paul
Abstract: This paper critically examines the foundational role of Sigmund Freud in the development of psychoanalysis, a revolutionary framework for understanding the human psyche. Beginning with his theories on the unconscious, repression, and the structure of the mind (id, ego, and superego), the paper explores how Freud redefined the study of mental life through clinical practices like free association, dream analysis, and the interpretation of slips and symptoms. Emphasis is placed on Freud’s model of psychosexual development and the Oedipus complex, which underscore the centrality of childhood in shaping personality and behavior. Additionally, the paper addresses the major criticisms and revisions his work underwent, particularly from Neo-Freudians and later psychological movements. Despite evolving perspectives, Freud’s psychoanalytic legacy remains influential in both clinical practice and cultural theory. This study highlights the enduring relevance of Freud’s insights into the unconscious processes that govern thought, emotion, and behavior.                

Keywords: Sigmund Freud, Psychoanalysis, Psychodynamics, Psychology, Criminals Psychology, Behavioural Science , Criticism, Literary Criticism

Introduction:

Sigmund Freud, a pioneering figure in modern psychology, revolutionized the understanding of the human mind with his development of psychoanalysis. As a neurologist in Vienna during a time when effective medical treatments were scarce, Freud introduced innovative therapeutic practices rooted in a deep exploration of the unconscious mind. His theories, though controversial, have had a profound and enduring impact on both psychological theory and clinical practice. From his early work with hysteria and hypnosis to his comprehensive structural model of the mind and stages of psychosexual development, Freud's contributions continue to shape modern understandings of personality, mental illness, and human behavior. This paper explores the core concepts of Freudian psychoanalysis, examining his views on personality structure, defence mechanisms, psychosexual stages, and clinical treatment techniques, while also acknowledging both the transformative power and ongoing debates surrounding his legacy.

Freud and Psychoanalysis:

Sigmund Freud, a Viennese neurologist (1856–1939), remains one of the most influential intellectual figures of the twentieth century. Renowned for his wit, analytical depth, and willingness to revise his theories with growing clinical experience, Freud introduced a revolutionary method for understanding and treating psychological disorders. At a time when effective medical interventions were rare, particularly in the realm of mental health, Freud embarked on a path that would lead to the development of psychoanalysis: a foundational framework for modern psychology.

Freud's initial clinical work was rooted in the treatment of hysteria, a condition marked by physical symptoms without any identifiable organic cause. Initially, like many of his contemporaries, Freud employed hypnosis as a therapeutic tool. He was particularly influenced by his friend and collaborator, Joseph Breuer, who observed that hypnotized patients often recovered lost memories of emotionally distressing events, leading to symptom relief. However, due to the inconsistency of hypnosis and its ineffectiveness with certain patients, Freud gradually formulated an alternative approach: psychoanalysis, a method enabling patients to uncover repressed memories and unresolved conflicts without hypnosis.

Freud’s innovative techniques and compelling ideas quickly gained recognition. By the time he visited the United States in 1909, his reputation as a transformative thinker had already crossed the Atlantic.

Freud's Theories of Personality:

Freud’s theory of personality is multifaceted, rooted in two foundational concepts: psychic determinism and the conscious-unconscious continuum.

Psychic determinism posits that all human behavior, whether overt (e.g., muscle movements) or covert (e.g., thoughts or dreams), is the result of prior mental events. This view assumes that nothing happens by chance and that even seemingly trivial behaviours have underlying psychological causes. Freud aimed to alter maladaptive behavior by uncovering and resolving these hidden determinants.

Freud proposed that mental processes exist along a spectrum of awareness:

Conscious: Thoughts and feelings that are currently in one's awareness.

Preconscious: Mental content not in current awareness but easily retrievable.

Unconscious: Thoughts, memories, and desires that are deeply buried and only accessible with difficulty.

He was especially interested in how unconscious material influences conscious behavior, especially when internal conflicts, what he termed intrapsychic conflicts create psychological tension. A classic example is the young boy who desires his mother yet also loves and admires his father, forming the basis of what Freud would later conceptualize as the Oedipus complex. The greater the conflict, the more likely these thoughts remain unconscious, potentially leading to psychological disorders when triggered by later life experiences.

Freud introduced the concept of libido as the central energy force behind human behavior, a form of psychic energy analogous to physical energy. He believed that this internal energy seeks gratification, and if thwarted, creates inner tension. Though Freud emphasized sexuality, his definition was broad: libido encapsulated the general human pursuit of pleasure and satisfaction, not merely sexual gratification.

Stages of Psychosexual Development:

A cornerstone of Freud’s personality theory is the psychosexual stages of development, emphasizing the crucial role of early childhood experiences. Freud asserted that the first five years of life are critical in shaping adult personality.

During this period, children progress through a series of stages based on the focus of their libido on different erogenous zones:

1. Oral Stage (0–1 year): Pleasure centres on the mouth (sucking, biting).

2. Anal Stage (1–3 years): Focus shifts to the anus (toilet training).

3. Phallic Stage (3–6 years): Pleasure involves genital stimulation; development of the Oedipus/Electra complex.

4. Latency Period (6–12 years): A period of sexual inactivity and focus on social and intellectual skills.

5. Genital Stage (12+ years): The emergence of mature sexual interests and emotional intimacy.

Freud argued that unresolved conflicts during these stages could lead to fixation, stagnation of psychological development. For instance, overindulgence or deprivation during the oral stage might lead to dependency or aggression in adulthood. Furthermore, under stress, adults may exhibit regression, reverting to behaviours characteristic of an earlier stage.

While Freud’s psychosexual theory remains controversial especially due to its focus on childhood sexuality, it underscored the formative influence of early life experiences, a notion widely accepted in contemporary psychology.

The Psychic Apparatus: Id, Ego, and Superego:

Freud conceptualized the mind as comprising three interacting systems: the id, ego, and superego.

The id is the primitive, instinctual component driven by the pleasure principle, demanding immediate gratification of desires.

The ego governed by the reality principle, mediates between the impulsive demands of the id, the constraints of the external world, and the moral imperatives of the superego.

The superego serves as the internalized moral conscience, derived from societal and parental standards, and uses guilt as a mechanism to enforce ethical behavior.

In early infancy, the id dominates. Freud described the infant’s thought patterns as primary process thinking, marked by irrationality and impulsivity. As the child matures, secondary process thinking, characterized by logic, delay of gratification, and planning, emerges through the development of the ego.

Nevertheless, remnants of primary process thinking persist into adulthood, surfacing in dreams, humour, and certain maladaptive behaviours like binge eating or emotional outbursts.

Anxiety and Defence Mechanisms:

Freud defined anxiety as a psychological alarm system triggered by perceived threats both external and internal. Anxiety alerts the ego to danger, prompting the activation of defence mechanisms if the threat cannot be resolved directly.

These unconscious strategies, employed by the ego to reduce anxiety, include:

Repression: The unconscious exclusion of distressing thoughts or memories what Freud called the “cornerstone of psychoanalysis.”

Denial, projection, rationalization, and other mechanisms also play roles in shaping behavior and coping with stress.

Repression, in particular, involves motivated forgetting of emotionally charged experiences. It may result in real lapses in memory, not intentional avoidance. For instance, someone might genuinely forget a job interview due to underlying fear of failure.

While everyone employs defence mechanisms at times, excessive reliance on primitive defences can indicate psychological maladaptation.

Clinical Psychoanalysis:

Psychoanalysis is both a theoretical paradigm and a therapeutic practice. Clinically, it involves extensive, often years-long sessions designed to uncover and interpret unconscious conflicts rooted in childhood experiences.

Freud developed the technique of free association, wherein patients verbalize their thoughts without censorship. This process aims to bypass ego defences and reveal repressed material. Freud also placed significant emphasis on dream analysis, viewing dreams as the “royal road to the unconscious.”

Modern psychoanalysis acknowledges that not all individuals are suitable for this form of therapy. Effective psychoanalysis requires verbal intelligence, emotional insight, and considerable financial resources. Freud himself believed that severe psychotic disorders could not be effectively treated through this method.

While traditional psychoanalysis adheres to Freud’s foundational principles, contemporary practice has become more eclectic and integrative, often blending with other psychodynamic and therapeutic approaches.

More Recent Approaches to Psychoanalysis:

While Sigmund Freud laid the foundation for psychoanalytic theory, numerous scholars within and beyond his inner circle have since revised, expanded, or reimagined his ideas to reflect a broader and more optimistic view of human nature. These revisions reflect shifts in both theoretical emphasis and clinical focus, paving the way for contemporary psychoanalytic schools that integrate cultural, developmental, cognitive, and interpersonal dimensions.

Carl Jung: The Collective Unconscious

One of Freud’s earliest dissenters, Carl Jung (1875–1961), diverged sharply in his emphasis on spirituality, creativity, and the collective unconscious, a controversial concept proposing that all humans inherit a reservoir of shared archetypal experiences and symbols. While Freud saw unconscious content as primarily repressed desires, especially of a sexual nature, Jung viewed the unconscious as a source of wisdom and transformation. His interest in Eastern philosophy, mythology, and religion broadened psychoanalytic inquiry, aligning it with existential and transpersonal psychology. Jung did not believe that behavior was strictly determined by past events but instead emphasized personal growth and individuation: the lifelong process of becoming one's true self.

Alfred Adler: Individual Psychology

Alfred Adler (1870–1937) also broke from Freud’s pessimistic determinism, proposing a more socially-oriented theory known as individual psychology. Adler argued that human beings are motivated not by sexual drives but by a striving for superiority and a desire to overcome feelings of inferiority. He believed psychological health depends on fostering a sense of social interest and community belonging. To Adler, early childhood was still formative, but change was always possible through supportive social environments. His commitment to preventative care, especially in childhood education and parenting, emphasized empowerment over pathology.

Erik Erikson: Psychosocial Development

Erik Erikson (1902–1994) further extended Freud’s model by developing a lifespan psychosocial theory of development. While Freud confined psychosexual development to the early years, Erikson proposed that identity evolves across eight distinct stages, each associated with a core psychosocial challenge from trust vs. mistrust in infancy to integrity vs. despair in old age. Erikson’s focus on the ego as a creative and autonomous force marked a departure from Freud’s emphasis on conflict and compromise. He envisioned a more proactive ego capable of mastery, intimacy, and self-renewal. His work gave rise to ego psychology, which examines the ego’s functions in perception, memory, learning, and adaptive planning bringing psychoanalysis closer to cognitive psychology.

Object Relations Theory

Emerging largely in Britain, object relations theory shifted the psychoanalytic lens from internal drives to early relationships, particularly between the infant and primary caregivers. Melanie Klein (1882–1960) introduced the concept of internalized object fantasies, suggesting that infants form primitive emotional representations of significant others ("objects") from birth. These internalizations shaped by gratification or frustration lay the foundation for later interpersonal dynamics.

A key concept in this theory is splitting, the psychological division of a single object (like the mother) into “good” and “bad” parts. This binary thinking, common in childhood, can persist into adulthood in individuals who struggle with trust, intimacy, or emotional regulation. Object relations theorists emphasize that personality and psychopathology are deeply embedded in one's relational patterns, formed and distorted by early emotional experiences.

Self Psychology

A more recent development in psychoanalytic thought is self psychology, pioneered by Heinz Kohut (1913–1981). Kohut placed the self rather than the id or libido at the center of psychological development. He argued that emotional health hinges on the formation of a cohesive, stable self-structure, which is nurtured through empathic caregiving and attuned social interactions. Kohut believed that early failures in parental responsiveness lead to fragmentation of the self, resulting in low self-esteem, narcissistic disturbances, and emotional instability.

Unlike Freud’s emphasis on internal drives, self psychology interprets psychological distress as a consequence of deficits in self-structure, rather than conflicts among id, ego, and superego. Treatment, therefore, involves providing a reparative relational environment in which patients can re-experience empathy, develop self-worth, and learn to regulate both personal and interpersonal needs.

Contemporary Perspectives

Together, these revisions have contributed to a more holistic and humanistic evolution of psychoanalytic theory. Modern psychoanalysis now recognizes the relational and social dimensions of psychological development, alongside the traditional intrapsychic focus. These newer models prioritize prevention, adaptability, and growth, offering a more nuanced view of human motivation and a wider range of therapeutic interventions.

Furthermore, these perspectives deemphasize biology in favor of cultural, social, and interpersonal explanations for maladaptive behavior. The individual is no longer seen as merely the battleground of unconscious drives but as an active agent interacting with and shaped by others. In this light, disorders are understood as failed or distorted adaptations to relational crises, not solely as consequences of repressed sexuality or unresolved Oedipal conflicts.

Conclusion:

Psychoanalysis, as pioneered by Sigmund Freud, introduced the world to a profoundly new way of understanding the human mind one governed by unconscious desires, childhood experiences, and internal conflicts. His theories of psychosexual development, defense mechanisms, and the dynamic interplay between the id, ego, and superego revolutionized the treatment of mental illness and laid the foundation for modern psychotherapy.

However, Freud's legacy is far from static. Subsequent generations of psychoanalysts such as Jung, Adler, Erikson, Klein, and Kohut have not only challenged but expanded the boundaries of classical psychoanalysis. Their work has shifted the focus from biological determinism to the developmental, relational, and cultural dimensions of personality and psychopathology. The collective unconscious, social striving, lifespan development, object representations, and self-cohesion have all emerged as central themes in contemporary psychoanalytic discourse.

Today, psychoanalysis is no longer monolithic. It has become a pluralistic field, embracing diverse viewpoints that accommodate the complexity of human experience. From dream analysis and free association to empathy-centered therapy and relational models, the psychoanalytic tradition continues to evolve. Despite its controversies and revisions, its core insight remains enduringly powerful: that our past, particularly our earliest relationships and unconscious processes, continues to shape who we are and how we relate to the world.

In an age increasingly influenced by cognitive science, neuroscience, and evidence-based therapy, psychoanalysis remains relevant not because it offers definitive answers, but because it dares to ask the most fundamental questions about desire, identity, memory, trauma, and healing. Whether as a clinical tool, philosophical inquiry, or cultural critique, psychoanalysis continues to inspire, provoke, and transform the way we think about the human condition.

***

Bio: Akash Paul is a columnist for Different Truths magazine, where he regularly explores the intersection of crime, psychology, and society. Known for his sharp analytical insights, Akash writes compelling crime blogs that offer readers a deep look into the minds of offenders and the aftermath of violent crimes. He does focus on serious research, writing, and public discourse around criminology and mental health.Special Edition: 202508E, English, Poetry, Fiction, Essay, Article, Book, Review, Redefining the Boundaries,


The Role of Escape in the Works of Tennessee Williams and Anton Chekhov

Durga Patva

Durga Patva

Assistant Professor (Department of English)
Dr. L.K.V.D. College Tajpur, Samastipur Bihar

Abstract:

This paper examines the theme of escape in Tennessee Williams’ The Glass Menagerie and Anton Chekhov’s The Seagull and Three Sisters. It focuses on how Tom Wingfield and Chekhov’s characters express a profound desire to flee their restrictive and often suffocating lives through art, dreams, and memories. Tom’s restless yearning to break free from familial obligation and societal expectations mirrors the struggles of Chekhov’s characters, who grapple with emotional dissatisfaction, unfulfilled ambitions, and the stagnation of provincial life. Both playwrights use the motif of escape to explore complex emotional conflicts, highlighting the tension between personal freedom and the harsh realities of existence. This comparative analysis reveals how escape serves as both a coping mechanism and a tragic impulse, underscoring the universal human search for meaning and self-identity within the constraints of modern life.

Keywords: escapism, emotional conflict, theatrical characters, personal freedom, existential longing, family dynamics, creative expression, modernist drama.

“We all want to escape, whether from a room, a town, a past, or even ourselves.”

James Baldwin

Introduction

The motif of escape occupies a central thematic position in the dramaturgy of Tennessee Williams and Anton Chekhov, functioning as a critical lens through which the psychological and existential dilemmas of their characters are articulated. In The Glass Menagerie, Tom Wingfield’s persistent desire to extricate himself from the confines of familial obligation and socio-economic limitation epitomizes the struggle between individual aspiration and imposed circumstance. Likewise, Chekhov’s The Seagull and Three Sisters delineate a spectrum of characters whose artistic and emotional yearnings manifest in a profound impulse to transcend the mundanity and inertia of provincial life. This paper undertakes a comparative analysis of how Williams and Chekhov deploy the theme of escape as both a metaphorical and literal vehicle, revealing the intricate interplay between personal disillusionment, creative ambition, and the inescapability of existential entrapment. Through this examination, the works of both playwrights are shown to interrogate the dialectic of hope and resignation inherent in the human condition.

Literary and Historical Context

The socio-economic and cultural milieus in which Tennessee Williams and Anton Chekhov wrote significantly shape their characters’ experiences of entrapment and their consequent desires to escape. Williams’ The Glass Menagerie is set in the 1930s during the Great Depression, a period marked by economic instability and limited opportunities for upward mobility in America. This historical context is central to understanding Tom Wingfield’s yearning for liberation. Tom is painfully aware of the restrictions imposed by his working-class background and the suffocating responsibilities toward his mother and sister. His internal conflict is encapsulated when he laments, “I didn’t go to the moon, I went much further- for time is the longest distance between two places” (Williams 85). This metaphor underscores Tom’s profound emotional and psychological desire to transcend his stifling reality, a desire shaped by the era’s harsh socio-economic realities.

Conversely, Chekhov’s plays The Seagull and Three Sisters are situated in late 19th- to early 20th-century Russia, a period characterized by social stagnation and the decline of the aristocracy. The provincial setting of Chekhov’s works reflects a society in which traditional structures confine individuals, especially those with artistic or intellectual ambitions. In The Seagull, Nina’s dream of becoming a great actress symbolizes the struggle against the inertia of provincial life. She declares with a mixture of hope and despair, “I want to be a bird, a seagull, to fly over the water and over the earth and above men’s hands” (Chekhov 21). This imagery poignantly captures the tension between aspiration and the oppressive social milieu that limits her freedom.

Similarly, in Three Sisters, the titular characters are trapped by their provincial existence and nostalgic longing for Moscow, which represents a lost ideal of culture and possibility. Irina’s poignant assertion, “If we only lived in Moscow! If we only lived in Moscow!” (Chekhov 45) reveals the emotional weight of geographic and social confinement that defines their lives. The sisters’ repeated invocation of Moscow is emblematic of their yearning for escape from the monotonous and restrictive reality of their everyday lives.

In both playwrights’ works, historical and societal contexts engender a pervasive sense of entrapment. For Williams’ Tom Wingfield, economic hardship and familial obligation create a psychological cage, while for Chekhov’s characters, the inertia of provincial Russian society and the collapse of aristocratic privilege generate a similarly paralyzing environment. These contexts intensify the characters’ emotional and artistic desires to flee, framing escape not merely as physical departure but as a profound existential quest.

Tom Wingfield and the Desire for Escape in the Glass Menagerie

Tom Wingfield embodies the tension between familial responsibility and the yearning for personal and artistic freedom in Tennessee Williams’ The Glass Menagerie. As both character and narrator, Tom offers insight into his internal conflict, revealing his emotional and creative desires to escape the confines of his life. Burdened by his obligation to support his mother Amanda and his fragile sister Laura, Tom feels trapped and restless. He confesses, “I try to give you something—something better. But it’s all I’ve got to give—myself” (Williams 15), indicating both his dedication and his frustration with the limited choices available to him.

Tom’s desire for escape is linked to his longing for adventure, which he seeks vicariously through movies: “I go to the movies because I like adventure. Adventure is something I don’t have much of at work” (Williams 12). His fascination with the merchant marine symbolizes the physical escape he dreams of, a means to break free from his monotonous life. Moreover, Tom’s artistic sensibility as an aspiring poet intensifies his sense of alienation and fuels his restlessness. This is poignantly expressed in his reflection, “I didn’t go to the moon, I went much further—for time is the longest distance between two places” (Williams 85), emphasizing that his escape transcends physical departure to become a psychological and existential journey.

As narrator, Tom’s perspective is layered with regret and ambivalence. His role complicates the notion of escape, as he simultaneously seeks freedom and feels guilt for leaving his family behind. He admits, “I give you truth in the pleasant disguise of illusion” (Williams 9), suggesting that his storytelling itself is a form of escape—a way to soften the harsh reality of his departure. Through Tom, Williams explores the painful paradox of escape: the desire for liberation entangled with the emotional cost of separation and loss.

Escape and Artistic Longing in Chekhov’s The Seagull and Three Sisters

In Anton Chekhov’s The Seagull and Three Sisters, the theme of escape is closely intertwined with characters’ emotional and artistic longings, reflecting their desire to transcend the stagnation of provincial life. In The Seagull, Nina epitomizes this yearning for freedom and creative fulfilment. She passionately declares, “I want to be a bird, a seagull, to fly over the water and over the earth and above men’s hands” (Chekhov, The Seagull 21), using the image of flight as a metaphor for liberation and artistic aspiration. However, Nina’s dreams are harshly confronted by reality; her eventual disillusionment underscores the tragic limitations imposed by society and her own frailty. Scholar James N. Loehlin observes that Nina “embodies the tragic vulnerability of youthful ambition crushed by the realities of social and personal constraints” (Loehlin 76).

Konstantin, Nina’s lover and an aspiring playwright, similarly struggles with the clash between his creative ideals and the expectations of his provincial environment. His sense of isolation and failure to communicate his artistic vision highlight the alienation often experienced by artists in such restrictive social settings (Chekhov, The Seagull 45).

In Three Sisters, the titular characters- Irina, Masha, and Andrei- express profound dissatisfaction with their provincial existence, repeatedly longing for Moscow as a symbol of culture, opportunity, and escape. Irina’s lament, “If we only lived in Moscow! If we only lived in Moscow!” (Chekhov, Three Sisters 45), poignantly captures this collective yearning. Despite their dreams, the sisters’ lives are marked by inertia and compromise, reflecting the tragic futility of their hopes. Critic Michael Goldman notes that the sisters’ “dreams of escape remain suspended in a liminal space between hope and resignation, revealing the play’s central tension” (Goldman 102). Chekhov’s treatment of escape is thus complex and often paradoxical: while his characters crave liberation, their attempts to flee are frequently thwarted by social realities and inner limitations, suggesting that true escape is as much psychological as physical.

Comparative Analysis

Tennessee Williams and Anton Chekhov both explore escape through their characters’ emotional and artistic yearnings, yet their portrayals diverge in tone and outcome. Williams’ Tom Wingfield and Chekhov’s Nina and Irina share dissatisfaction with their immediate realities, but Tom’s escape culminates in physical departure, whereas Chekhov’s characters often face symbolic or failed escape. Tom’s yearning for freedom is palpable and urgent, expressed in his confession: “I didn’t go to the moon, I went much further—for time is the longest distance between two places” (Williams 85). His role as narrator adds layers of regret and self-awareness, acknowledging the costs of escape: “I give you truth in the pleasant disguise of illusion” (Williams 9). Scholar John Lahr emphasizes that Tom’s escape is “both an act of survival and a source of profound guilt,” revealing the complex emotional landscape of liberation (Lahr 45). Chekhov’s characters, in contrast, are often trapped in a liminal state, their artistic and emotional aspirations stymied by social inertia. Nina’s dreams, for instance, end in painful disillusionment, and Irina’s repeated invocation of Moscow remains an unfulfilled longing. As Goldman asserts, “Chekhov’s plays dramatize the tension between the human desire for change and the forces that bind us, highlighting the fragility of hope” (Goldman 109).

Both playwrights use artistic longing as a catalyst for escape: Tom’s poetic ambitions and Nina’s acting dreams are manifestations of their deeper need for identity and meaning beyond their circumstances. Symbolically, escape in their works represents an existential quest, grappling with the contradictions between hope and resignation, freedom and obligation. Thus, while Williams offers a narrative of physical and emotional departure, Chekhov’s portrayal is more tragic and ambiguous, emphasizing the elusiveness of true escape. Together, their works illuminate escape as a profound and universal human impulse, rich with both aspiration and sorrow.

Conclusion

The exploration of escape in the works of Tennessee Williams and Anton Chekhov reveals its profound role as both a psychological and artistic imperative. Through characters such as Tom Wingfield, Nina, and the Three Sisters, escape emerges not merely as a physical departure but as an existential yearning to transcend the limitations imposed by family, society, and self. Williams’ portrayal of Tom’s restless departure underscores the complex interplay between duty, desire, and guilt, illustrating how escape can simultaneously represent liberation and loss. Chekhov’s characters, by contrast, embody the often tragic futility of escape, their aspirations entangled with the inertia of provincial life and unfulfilled dreams.

This comparative study highlights escape as a universal human impulse- rooted in emotional longing and artistic aspiration- that resonates across cultural and historical contexts. It underscores the paradox of human existence: the persistent drive to seek freedom and meaning, even in the face of overwhelming constraints and inevitable compromises. Moreover, both playwrights use escape as a symbolic lens through which to examine identity, memory, and the fragility of hope, inviting audiences to reflect on their own desires for transformation.

Future research might fruitfully explore how contemporary narratives continue to grapple with the theme of escape amid modern socio-economic and technological pressures. Additionally, investigating the intersections of escape with gender, race, and class could deepen understanding of its varied implications in different contexts. Ultimately, the enduring relevance of Williams and Chekhov’s works attests to the timeless and multifaceted nature of escape as a vital, if often elusive, aspect of the human and artistic condition.

 Works Cited

1.    Baldwin, James. The Price of the Ticket: Collected Nonfiction 1948–1985. St. Martin’s Press, 1985.

2.    Chekhov, Anton. The Seagull. Translated by Constance Garnett, Dover Publications, 1998.

3.    Chekhov, Anton. Three Sisters. Translated by Constance Garnett, Dover Publications, 1998.

4.    Goldman, Michael. Anton Chekhov: A Study of the Plays. Cambridge University Press, 1989.

5.    Lahr, John. Tennessee Williams: Mad Pilgrimage of the Flesh. W.W. Norton & Company, 2014.

6.    Loehlin, James N. The Cambridge Introduction to Chekhov. Cambridge University Press, 2010.

7.    Williams, Tennessee. The Glass Menagerie. New Directions Publishing, 2004.

A Brief Critical Look at Artificial Intelligence and Art

Robert Maddox-Harle

by Robert Maddox-Harle

 
This unprecedented phenomenon is very complex and needs to be looked at from both technical, philosophical and cultural perspectives, in this article I will try and expose the main points so as to encourage further research and analysis.
 
AI (Artificial Intelligence) has three main, and quite distinct aspects to be considered.
(1) The technical, machine/computation nature of an AI “mind” [sic].
 
(2) The practical application of AI used in day-to-day areas such as medical/scientific analysis/diagnosis, commerce, Internet search engines used extensively by such organisations as Google and Facebook, the absurd AI assistants (chat bots) on banking, shopping and most interactive sites, I say absurd because generally these are a waste of time and can only answer simple questions that most users do not need to ask anyway.
 
(3) How AI has the capability to supplant human creativity, its (AI) creation of art, and how it cannot think out-of-the-box as almost all original creatives do. It is point three that is the main thrust of this essay.
 
Looking at Point (1) the actual function of an AI computer mind, which is a combination of original programming, high-end hardware, data storage and internet connectivity has become astonishing, I find this exciting and fascinating and like nothing humans have ever created. Prior to AI, calculators, computers, punch card weaving looms were programmed to function as humans wanted them to, now AI computers can actually think for themselves? (see Figure 1)
 
 Artificial Intelligent Machines (AIMs) can now create original art, not from rule based programming, that is, they are thinking, whether or not “intentionally” is perhaps debatable. I personally believe the machines being discussed are displaying or employing  intentionality, in a Searlean sense. However, the latest AIMs, with convoluted neural networks, do raise some very interesting ontological questions. “The crucial point is that the machine was producing images that were not programmed into it.” (1)
 
As Elwes has discovered, when the generator is cut loose from the discriminator (in these GANS), it is free “to meander in its own latent space”, perhaps analogous to the human non-conscious (subconscious). This machine’s state is a world outside of our experience. The images Elwes has shown are from this latent space, and, “we have no inkling of what these images are in the machine’s multi-multi-dimensional universe” but they do exist! To me this is one of the most exciting discoveries, or perhaps inventions, ever made. Nelson who quips AI stands for Artificial Imbecile would argue that even this “latent space intelligence” is still a human construct, I beg to differ, mainly because, yes of course we have created these machines and yes, we are analysing their intelligence from a human perspective, but these machines are doing things we do not know about nor understand. (2) “By saying a machine can be creative you are not anthropomorphising the machine,” Akten asserts, “but liberating it by expanding the term ‘creativity’ to go beyond humans.” (3) 
 
Figure 1 Inside an AI Mind (no AI used) gicl├йe on art paper
(how I imagine an AI mind looks like from a Quantum perspective)
 
Point (2), practical AI is now being used more and more, used in this way AI is a very powerful and useful tool, and used mindfully it could or may? be a great thing for humanity, but as usual, humans throw the baby out with the bath water and paradoxically end up being enslaved to the tools we have created to help us. I believe, due to our brilliance but lack of wisdom, AI is the final stage in the “dumbing down” of humanity!
 
As with most things humans have invented  there are great benefits and significant dangers. The mobile phone is an incredible technological achievement, unthinkable when I made crystal sets as a child to listen to the radio station. However, the dangers of mobile phones both physical (CVS and RSI), but more importantly psychological/mental health problems – addiction, loss of real social skills, belief in anything that crosses the screen (Dr Google diagnosis of illness) are very serious problems for humans. We must learn to use these devices as tools to help us, not become enslaved by them!
 
The output of AI is devoid of critical thinking, without critical thinking we accept almost everything we see and hear – the nightly news (and fake news), Google search information, apart from having our opinions given to us by those who control these sources, the danger lurks in becoming “sheeplings”, or Soma swallowing, Huxley-like Epsilons.
 
This is becoming more and more an insidious mind programming endemic and therefore dumbing down - as a couple of examples; people say, “just Google it”, totally unaware that there are numerous other internet search engines which give slightly different results than the ubiquitous Google, incidentally the search results are gradually tailored to your lifestyle and buying patterns. If “religion is the opium of the masses”, Google is the new mind/personality opium of the masses. Google is an incredibly powerful tool but should not be used ‘uncritically’ unless you are happy to be an ignorant, manipulated Epsilon.
 
AI is/will be exactly the same! Great invention/discoveries, such as penicillin, happened because the inventors extended their thinking “out-of-the-box” – AI cannot in its practical applications think “out-of-the-box” in this way. Yes, within its own ‘thinking’ can produce unique things (artwork for example) that we don’t understand (as mentioned), and have no control over.
 
However practical AI, asking, with our input, for a certain artwork or essay will return an amazing ‘seemingly original’ image or essay (not really original) based on its massive data analysis power. These images or essays are similar to a junior student ‘more-or-less’ copying say, Picasso’s style Cubism or writing an accurate, well written descriptive essay, devoid of original creative input. Sometimes, ‘out-of-the-box’ original creation produces rubbish, sometimes astonishing new creations, AI is a very sharp two-edged sword, if we are to exercise any wisdom it must be used with caution, mindfully and critically.

Figure 2 Self Portrait #2 Work in Progress (gicl├йe print on art paper).
This work is an experiment/test using some AI generated sections, it’s
easy to see which figures are AI and not a human artists’ creations.
 
 
Point (3) concerns not the “dumbing-down of humans” but the replacement of human creation by AI producing artworks of all genres which belong to it, not the human driving the engine so to speak. A poignant example of this is the Ghibli phenomenon, Japanese artist Hayao Miyazaki once called artificial intelligence "utterly disgusting" and "an insult to life itself". He even said he would "never wish to incorporate this technology into [his] work at all". (4)
 
Miyazaki created, by meticulous hand drawing, an artwork style of cartoon characters which achieved world fame and almost cult following, Chat GPT created an AI application which copied Miyazaki’s drawings and now anyone using this can produce his unique style and absurdly pretend they are the (an) artist. Miyazaki has said himself this is not being inspired by my work it is direct stealing! The artworks alluded to by Elwes in point (1) above are a very different matter.
 
Of course all creatives stand on the shoulders of others, are inspired by others works/styles but while “plagiarism is the greatest form of flattery” it is also the lowest act existential inauthenticity imaginable, this is why plagiarism is the worst offense a student can commit at university, when detected immediate failure or suspension occurs.
 
Some mindful, honest artists use AI tools to help their own creativity, but do not pass the work off, either deliberately or mindlessly, as their own. Figure 2 is a work I created to test an AI application in this regard, the stylised skeleton head is quite obviously an AI generated component of the artwork, not mine at all. I believe, just as we have copyright and Intellectual Property laws to protect creators, we should have laws that if AI, in any form, is used in a work it must be declared. It is worth considering that most AI applications, which more-or-less encourage plagiarism and stealing others’ works have originated in America, the land of the most extreme reinforcement of copyright breeches and extreme copyright laws. Whilst it is still legal in America to reproduce a small portion of written text for educational purposes (fair use) it is illegal to reproduce images, for the same purpose without the express consent of the copyright holder. This means, as an example, I cannot scan the cover of a book I am reviewing, to go with the written review, without trying to find the owner of the copyright! I consider this new American law an infantile, absurd manifestation of paranoia!
 
It is vitally important to get the difference clear between an artist’s original work, (perhaps created with technological tools, such as Photoshop, Poser or Bryce or photographic processes), and AI assisted artworks, and AI generated artworks that have nothing artistic to do with the person issuing the commands/text prompts.
 
I tested this for myself a year or so ago, I asked an AI application for a poem about Nepal, and separately for a critical essay on the poetry of Sylvia Plath. It immediately returned an infantile-like poem listing facts about Nepal with a little poetic flavour? The critical essay was very well written, factually correct but had no critical discussion at all, not even mentioning established, publicised critiques of Plath’s work.
 
We have transcended clever, incredibly capable robots-cyborgs-androids, which are driven by sophisticated sensors and amazing, complex programming. AIMs have evolved [sic] with a mind [sic] of their own, they have partly learnt rule-based operations, like we humans learn, how as a child say, to behave in public. “When you show it something new,” like an undefined image of a cloud, “it tries to make sense of what it’s seeing in terms of what it already knows, which is” – and this is the crux of the matter – “ how we make sense of the world”. “Perception is in the brain, whether it be our brain or that of a deep neural network.” (5)
 
AI when used as a helpful tool for humans, in any of our endeavours, will be a powerful assistant, however an abhorrent disaster when used by individuals to create work which they think is theirs. I agree with Miyazaki, it is disgusting. This act heralds the end of being human, negates any notion of existential authenticity, and supplants the need for real effort, practice and training.
 
References:
 
1 – Miller, A. I. 2019. The Artist in the Machine. The World of AI-Powered Creativity. MIT Press, Cambridge, Massachusetts p.64
2 – Nelson, P. L. 2022 Artificial Intelligence: The Perfect Psychopath https://independent.academia.edu/PeterNelson44?swp=tc-au-93904532
3 - Miller, (op. cit.) p.76
5 - Miller, (op. cit.) p.75