Critical analysis is a creative process that can be approached from various perspectives, referring to certain factors that make up the work. First, the reader can turn to the very form of the narrative, studying the means of expressiveness, setting, or type of narrative used by the author. The collection of these tools, which are part of the literary analysis, make up a critical approach called Formalist Critic. On the other hand, the reader can try to analyze the work through the prism of some ideology. For example, if there is a class struggle, it is appropriate to apply Marxist ideology, and the presence of a female character allows analysis using a feminist method. However, in the case of each specific work, a unique approach must be sought. The purpose of this essay is a literary analysis of Dagoberto Gilb’s “Love in L.A.” using critical methods.
This short story is especially interesting for analysis precisely because of its brevity. The lack of a large amount of material forces readers to examine the available details with greater thoroughness. In the case of “Love in L.A.,” the reader has the opportunity to observe just one morning in the life of the protagonist, a man named Jake (Gilb). Moreover, the perspective given to the reader is minimal as the author deliberately uses a type of narrative classified as a limited third person. Despite having the freedom to switch between characters, Gilb intentionally does not do this, showing the world through Jake’s eyes and not forming an attachment. This approach allows the author to achieve several goals at once. First of all, readers can observe the protagonist’s thoughts, but only his, which forces them to form an opinion about the character according to his actions in the current context. Secondly, such
Detachment allows not to develop in advance attachment to the protagonist. The reader has the opportunity to soberly and impartially assess what is happening, starting from an unbiased narrative.
Continuing to look at “Love in L.A.” from the point of view of a formalist critic, one should also pay attention to the figure of the protagonist. Often in literature, the protagonist is a character pleasing to the reader. However, deviation from such a stereotype only attracts more interest in the protagonist’s figure since a logical question arises: what exactly does the author want to show with such a figure? In the case of “Love in L.A.,” it can be noted that Jake is far from the concept of a positive character. The protagonist demonstrates a whole set of negative qualities while making almost no positive impressions. Deep in his dreams, the man only, at the last moment, notices the car in front of him and manages to do only enough to prevent a major accident (Glib). At the same time, despite his apparent fault, the protagonist does not feel guilty. Jake lies, coming up with excuses and details of his life on the go to gain the affection of the beauty he meets. Since sympathy for such a character is doubtful, such a move signals the reader about the hidden meaning.
One should turn to another tool and use the “new” critic to explore the symbolism and reveal this topic in more detail. Up to this point, the current analysis has never focused on the location in which the events occur. However, the setting is just as important as the protagonist and his actions. According to the author, Jake was driving in the morning under the Hollywood Freeway on Alvarado Street (Glib). Hollywood itself is a powerful symbol that many people associate with luxury and fulfillment of desires. The story is called “Love in L.A.” – the emphasis is placed on where the events occur. The presence of Hollywood, the “dream factory,” leaves a kind of imprint on the manifestation of emotions, the style of thinking, and the system of values. It is the last factor that is reflected in the narrative through the thoughts of the protagonist. The influence of Los Angeles and Hollywood, the desire for
Luxury, expensive things and entertainment, and pleasure, can be traced in all of Jake’s thoughts. In addition, the scene takes place under the Hollywood Freeway, which in a way, symbolizes the low position of the characters, who, nevertheless, wish to rise.
By collecting the details studied using two methods of critical analysis, one can get the complete picture and the most accurate meaning of actions taking place in history. Jake is a typical follower of Hollywood ideas, the part of them that is usually visible to the public.
There is nothing but the desire to have pleasure, the desire for wealth, and a better life in his thoughts. He is wholly imbued with the spirit of the “dream factory,” being ready to cling to even the slightest opportunity. At the same time, he is living a low life, both materially and spiritually, sitting behind the wheel of an old Buick and having nothing but complacency and base desires. The author shows an episode from a man’s life entirely absorbed in striving for unrealizable dreams, usually demonstrated by the mass media. A person does not see anything real behind these dreams and does not even want to admit his own mistakes, reveling in his invented significance and proximity to the place of fulfillment of desires.
Thus, Gilb shows the underside of Hollywood as a place surrounded by fame, glamor, and wealth. At the same time, such sites corrupt people’s minds, forcing them to pursue the impossible while losing humanity and exchanging real-life values for false views and aspirations that have nothing to do with reality.
Work Cited
Gilb, Dagoberto. Love in L.A. 1986.