The Way of the Wind - Essay Example

“The Way of the Wind the Father-Son Relationship. Amos Oz’s tragic short story, “The Way of the Wind,” is a poignant exploration of a father-son relationship, with Shimshon Sheinbaum and Gideon Shanav as the protagonists. Oz gives the reader advance warning of the tragic nature of his tale, with the dire first line denoting that this is “Gideon Shanav’s last day” (39). The narrative hinges on Shimshon Sheinbaum, and his expectations as a father. Gideon Shenav, the son, attempts to live up to these expectations, finally at the cost of his life. Oz gives a detailed portrayal of the personalities of Shimshon and Gideon, and makes the story’s denouement and tragic climax inevitable consequences of this characterization. The most striking part of Oz’s characterization is the marked contrast in the personalities of the father and the son, and the yawning chasm which separates them. The reader perceives that Shimshon and Gideon are too different to ever be reconciled in a loving relationship. The contrasting personalities of Shimshon and Gideon influence their father-son relationship, and lead to the death of Gideon. Shimshon Sheinbaum is portrayed as an extremely rigid and dictatorial man. His defining role in life is that of an ideologue, with its connotation of blind partisanship, and the refusal to consider any opposing point of view. He would like to impose his ideology on everyone. Even when he looks forward to the birth of his grandchildren, it is for the pleasure of taking “care of their ideas” (Oz, 49) and not for love or family. He is obsessed with rules and regulations. Going by the book is a matter of pride to him. He reprimands Zaki asking, “Are there no rules anymore?” (Oz, 51). He is a workaholic, who thinks that “the best way to celebrate (a holiday) is to work” (Oz, 41). He is absolutely certain that he is correct in his attitude and stand on life. When his prediction of the Khamsin comes true, he experiences the satisfaction that he has been “right yet again” (Oz, 41). His personality demonstrates an emphatic steak of snobbish superiority, and contempt for what he perceives to be “the weakness of others” (Oz, 42). He has the reputation of knowing “no slackness or weakness of will” (Oz, 43). Shimshon is very critical of others. This is evident in his attitude, not only to his son, but also to Gideon’s generation as a whole. He is of the opinion that his son’s generation is “pampered and corrupted by sentimental verses by decadent poetesses” (Oz, 50). The author very clearly depicts this fault-finding aspect of Shimshon’s personality by asserting that “his eyes had always been amazingly skilful at detecting weeds” (50). In line with this thinking, Shimshon is critical of the young boy who has taken his place as the kibbutz’s gardener. He is certain that the boy can never match his own exacting standards. Shimshon does not condone any dilution of standards, and hold himself and others to the same high expectations. He is proud of his conscientious execution of his duties in the kibbutz, and abhors any special privileges or exemptions. However, in an apparent contradiction, Shimshon is not above bending the rules and using his influence to secure a paratrooper’s position for his son. Again, his treatment of Raya Greenspan – sending her back after the birth of their son - is decidedly shabby. In both these instances, the reader is inclined to suspect that Shimshon’s assumption of an aura of almost perfect saintliness is only a facade which covers some flaws in his character. Shimshon’s personality stands in complete contrast with Gideon Shanhavs’. Gideon’s personality is markedly different from that of his father. Shimshon revels in the limelight of fame, while his son is “a dark, gentle youth,” (Oz, 45) who is content to write poetry, and remain inconspicuous and silent. In contrast to Shimshon’s machismo, and his chauvinistic treatment of women, Gideon is portrayed as a sentimental lad who is “constantly having his heart broken by girls of all ages” (Oz, 45). However, when viewed in the light of Gideon’s sniveling, and apparent weakness of character, his love for parachuting seems a contradiction. The slow youth exults in the thrill of jumping from an aero plane: “the speed is drunken, reckless” (Oz, 47). The author’s almost lyrical description of Gideon’s love for parachuting reveals a deeper facet of Gideon’s character. The reader perceives that there are hidden depths to Gideon’s personality. His slowness of speech and action is belied by “the blue vein throbbing in his neck” (Oz, 49), which his commander spots. This is an indication of the passions which lie simmering beneath his silent exterior. Unlike Shimshon’s unwavering self confidence, and belief in the rightness of his position, Gideon is almost pathetically eager for public approval and adulation. He looks forward to his parachute drop over his kibbutz as a way to make an impression of heroism: the kids of his kibbutz will wait for “their hero to touch down” (Oz, 47). His imagining of the jump is centered on the impression he will make on “Mother and Dad and the pretty girls and the little kids and everyone” (Oz, 53). He eagerly anticipates being the center of attention. The disintegration of his heroic aspirations is terrible to perceive. He reverts to the sniveling child of the past. It is evident that his aspiration of heroism does not reflect his true character. Gideon assumes his heroic part only to play the role expected of him by Shimshon in their father-son relationship. The father-son relationship between Shimshon and Gideon is the result of their respective characters. The relationship may arguably be considered to have been doomed from the start: even before Gideon’s birth. Shimshon decides to have a child at the ripe old age of fifty-six. His motivation is “to beget a son and heir to bear his stamp and his name into the coming generation” (Oz, 44). This desire, which is not based on love or caring, does not augur well for a father-son relationship. Shimshon leaves Gideon to Raya during the early years of childhood, when the strongest parent-child bonds are forged, and takes on the role of “his son’s mentor” (Oz, 45) only when the boy is six or seven year of age. His ideology is more important to Shimshon than his role as a father. Obviously, Shimshon views the role of a father largely as that of a disciplinarian. This is seen in his admonishment of his younger son, Zaki: “Are there no rules anymore?” (Oz, 51). Shimshon is a stickler for rules. It is evident that he approached his relationship with Gideon in the same dictatorial manner: “Sit still Gideon, stop scratching yourself, stop biting your nails” (Oz, 50). In line with his character, he continues to draw up a list of expectations which Gideon is required to live up to: he is to toughen up, learn to handle women, and break away from shyness and sentimentality. Above all, Gideon is to become a ‘man’ in the aggressive sense of the word. In Shimshon’s view, Gideon’s personality is “not the stuff of which dynasties are founded” (Oz, 45). The father lets his disappointment show through in their relationship. Shimshon is prepared for his son to “drop out at the last minute” (Oz, 41) and avoid the parachute jump. In the event that Gideon does go through with the jump, Shimshon is prepared to be proud of him “for a change” (Oz, 50). In this scenario, Gideon obviously chooses to join the paratroopers out of a desire to live up to the heroic expectations of his father, and redeem himself in Shimshon’s eyes. This has dire consequences. It is in anticipation of his father’s approval that Gideon sets out on his jump: his father would “watch the whole performance with pensive pride” (Oz, 48). This parachute jump is Gideon’s opportunity to stand out from the crowd and prove himself to his father. Gideon is so geared up to make an impression on his father that he is fixated on the idea of shining in lonely splendor. He is determined to ensure that he is the cynosure of attention, and his parents will be able “to fix me and me alone with their anxious loving gaze” (Oz, 53). Gideon’s act of releasing the emergency chute may be attributed to the pressure exerted by the father-son relationship. When the situation deteriorates, Shimshon is unable to summon up any sympathy for his son. He peremptorily orders Gideon to “stop sniveling” (Oz, 55). He is acutely conscious of the humiliation of having his son suspended upside-down from the cable, and has no patience with Gideon’ s fear and his immobility in the face of danger. Shimshon, with absolutely no empathy towards his son’s personality, firmly asserts that there is “no such thing as can’t” (Oz, 54). Shimshon is disgusted with Gideon’s ineptitude and finally exclaims, “You’re a fool, that’s what you are, a fool and a coward” (Oz, 55). As Gideon dies, and Shimshon becomes a bereaved father, there is finally a change in his role as a father – Shimshon loses his poise and, for the first time, indulges in an act of tenderness towards his child: he strokes Zaki’s hair. He wishes to convey to his younger son his appreciation of his heroism. However, it is too late, as Shimshon collapses without being able to speak to Zaki. Similarly, Shimshon’s relationship with Gideon cannot be redeemed for is now too late to make amends. “The Way of the Wind” explores the complexities of the father-son relationship. The contrast between the adamant war hero father, and the son who yearns to win his approval, is used to anchor the narrative. Shimshon’s unrealistic expectations, totally at odds with Gideon’ s personality, make it impossible for the son to fit the mold his father has made for him. It is Shimshon’s rejection of his son which makes Gideon attempt to project an image of heroism. This is the cause of the final tragedy. Ultimately, it is the father-son relationship which leads to Gideon’s death. Works Cited. Oz, Amos. “The Way of the Wind.” Where the Jackals Howl. Name of Translator. Name of Editor. Name of Publisher. Date of publication. Place of publication. 39-60. Read More