To Kill A Mockingbird

To Kill a Mockingbird

There have been many criticisms written about Mrs. Harper Lee's classic novel To Kill a Mockingbird. Many of the critiques of this novel deal with the novels theme, southern racism during the 1930's. Other critiques deal with the books setting, Maycomb, Alabama. Still, other critiques deal with Harper Lee's writing style. And, another topic that the critiques of To Kill a Mockingbird have in common is Mrs. Lee's choice to write the novel through the eyes of children.

To Kill a Mockingbird has been criticized by many authors. Many of the critiques are either about the setting or theme of the novel. One critique in particular, deals with both the theme and the setting, among other things:

Set in the 30's in Maycomb, AlabamaÐ'...Tells the story of racial tension during a rape trial of Tom RobinsonÐ'....Vividly describes minor charactersÐ'...Jem Matures throughout the storyÐ'...The story is told by Scout FinchÐ'...The story is about rape and racismÐ'...Realistically reflects the reality of racism in the south during the 1930'sÐ'...To Kill a Mockingbird was turned into a movie. (Esselman 1367-76)

The setting and the writing style of Harper Lee is also touched on:

Harper Lee's Maycomb County bears out many of the stereotypes commonly attributed to the south and southerners regarding race relations. In the midst of portraying negative attitudes and prejudices, however, a truer face of the south shines through in the actions of the Finch family. Lee skillfully balances Atticus and his children with symbols of life in a "typical" southern town to draw a sharp distinction between those who would live the life they are told to live and those whose consideration of the world around them make their lives richer and more meaningful. (Symbols of Race)

The subject of Harper Lee writing about the children in the novel is also discussed.

"Harper Lee seems to be showing the children as realistic characters in the midst of a heightened "Southern Gothic: background. A great deal of this heightened world comes from the children's experiences" (Growing Pains). It is again discussed by William Going. "Though Miss Lee may not have solved all her problems of style in the dual approach of child eyes and mature heart, Mockingbird demonstrates the powerful effect and economy of a well conceived point of view" (Going 250). But, the discussion of the theme seems to be a common thread throughout most critiques:

The two themes Miss Lee interweaves throughout the novel emerge as enemies of each other. The charm and wistful humor of the childhood recollections do not foreshadow the deeper, harsher note which pervades the later pages of the book. The Negro, the poor white girl who victimizes him, and the wretched community spirit that defeats him, never rise in definition to match the eccentric, vagrant, and appealing characters with which the story opens. The two worlds remain solitary in spite of Miss Lee's grace of writing and honorable decency of intent. (LeMay 241).

Some discuss the general "feel" of To Kill a Mockingbird throughout its pages. For example, throughout the novel, the story "unfolds and reveals" not just a "sharp look" at a group of people, but also a "view of the American south, and its attitudes, feelings, and traditions" (Sullivan 341). The topic of "Southern Claims" is also discussed. To Kill a Mockingbird concerns Southern behavior in the claim for honor, "Ð'...Boo Radley's presence in the story reinforces that claim" (May 305). Some discuss the realistic portrayal of individuals, instead of them being stereotyped by their race.

To Kill a MockingbirdÐ'... is the complete antithesis of [Leon Odell Griffith's] Send in the Wind. Instead of stereotyped Negroes, this novel presents living, convincing, characters- neither saints nor devils, neither completely ignorant or craven a foolish, nor completely wholly courageous. Instead of blatant propaganda from beginning to end, the socially significant over tones do not begin to appear until the story has progressed a third of the way and then they creep in unobtrusively, as natural as breathingÐ'..."