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Critical Response

Order and chaos take the shape of Nurse Ratchet and Randal McCarthy, rest fictively. The battle is really simply a tug of war, with control hanging in the balance. Before M zymurgy arrives to the ward, Big Nurse has total control.

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Broaden explains her control by call Eng her, essentially, a machine. He narrates, “practice has steadied and strengthened her unit

I now she wields a sure power that extends in all directions on hairline wires too small for anybody odds eye but mine” (16). The use of machinery to explain her control shows how precise It It, ho w orderly. McCarthy, on the other hand, is chaotic. However, he too is striving for control by rest ;sting authority. Perhaps because of his history in the Korean War, McCarthy feels the nee d to rebel against authority. By rebelling against authority, he makes himself somewhat of an a authoritative Geiger amongst the patients In the hospital. Unlike Ratchet, McCarthy Is a figure of h pope and not of monotonous scheduling. This is most apparent when McCarthy takes on his o win form of therapy session by taking the men on a fishing trip. In doing so, he made people like George feel needed, and for Chief, “l smelt the air and felt the four cans of beer I’d drunk shortly g out dozens of control leads down inside me: all around, the chrome sides of the swells flickered a ND flashed in the sun” (209).

Musher’s tactics were much more therapeutic than anything Nor SE Ratchet did for these men, because McCarthy made them feel like men. The concept of gender and control also affects the relationship between McCarthy a ND Ratchet. Keyes, in a modernly sexist fashion, uses the male figure to represent auto rite. In the beginning of the novel, Broaden narrates how Ratchet would try to cover up her bread SST because they were an imperfection they symbolize femininity. When McCarthy comes out of the