The post modern period after world war two, being the atomic age ushered in profound socio-political and economic change, delving the perspectives of the atomic bomb and repercussions of war to destruction of hope and meaning, and a sense of strength and prosperity. America’s economic world boomed into production, with wealth and fabrication as a reminder of their atomic power leading them to progress and innovation. This thus blinded society of the torturous ramification of death and pain from war that had signified the deterioration of humankind.

Religion became a centre of this division, In consequence delving the society that fluxed or denied spiritual beliefs. One perception of those who were Influenced by the horrors of the atomic bomb, rejected God and religion in complete annihilation of hope, faith and meaning to what seemed their moral less lives. Existentialism as a philosophical reasoning taught desire and radical freedom to be the purpose and sole antidote to existence.

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Others clung to the hope and Justification of a god or savior to give them desire to exist and a comfort to the anxiety and anticipation of the cold war that sparked legislation of unknown, uncontrollable sudden death and destruction. Both texts, Samuel Bucket’s “Waiting for God” and J. D Clinger’s “Perfect Day for Banishes” were written in 1948 amidst the atomic era, subsequently conveying the perspectives of the divides In postmodern society after the bomb.

In the postmodern times and the period after the war American and allied countries dabbled in their perspectives of wartime success and power through their economic boom. Society became materialistic and consumer driven, reveling in excess and Layton to shade the scarcity necessitated by the war and the poverty and obliteration as a result of the atomic bomb. Slinger crestless the materialism of the economic paradigms by portraying Muriel as a depiction of societies gluttony.

This is captured through the use of descriptive imagery of her silk gowns, blouses and fine leather luggage. The central issue of the repudiation of poverty and pain through indulgence in wealth is portrayed strongly also through Merrill’s obsession with wealth and total lack of concern for her husband’s emotional and psychological pain. Demonstrated through the use of psychotic dialogue and rapid change In topic through use of punctuation. “Muriel my word of honor. Dry. Skivvies said Seymour may completely lose control-” interrupted by “l just got here, Mother. Concerned more of her holiday stay than of her husband. Continuously, in “Perfect Day for Banishes”, Seymour uses Satire through sarcasm to denote his wife’s avaricious customs “At the hairdresser. Having her hair dyed mink. Or making dolls for poor children, in her room”. This use of sarcasm portrays Seymour cynical mementos towards near consumer Arleen Tie Ana whimsically represents the divide between the suffering and the materialistic blanket used to Justify the pain of war.

Existentially you can see through Seymour disconnection and insanity through behaviors such as his wearing of a robe on the beach or reverting inside to play piano, the influences of war have created a meaningless, confusion of his existence, comparably to societies Justification of existence through capitalized prosperity. Likewise to Seymour in Perfect Day for Banishes, Samuel Bucket’s “Waiting for God” characters Vladimir and Estrange depict the pain and poverty that is lamented in societies greed.

The use of theatre of the absurd technique of tragic comedy in act 1 “Vladimir breaks into a heartily laugh which he immediately stifles, his hand pressed to his pubis, his face contorted. Vladimir: One darer’s even laugh anymore” This signifies the constant suffering being a corollary of the bomb and is tragically accentuated in this example through comedy, usually relative to pleasure resulting in Vladimir physical pain. Also the use of personification in Bozo’s quote in act 1 “The tears of the world are a constant quantity. Let us not speak ill of our generation, it is not any unhappier than its predecessors”.

This accentuates the postmodern approach to the suffering of the period after the bomb, Bozo, a symbol of political and economic power excusing the destruction and the war affected. Existentially Vladimir and Estrange symbolism the questioning of existence whereby they revert to means of purpose, through comedy or through their waiting for God, as Bozo shows where pain is inevitable, life must go on. This in effect is representative of the religious paradigm, being the influx to and from elision to rationalize their actions within the war such as Winston Churchill within his “Sinews of Peace” speech. God has willed that this shall not be. ” Referring to the faith of God giving circumstances in their favor. The aspect of God as a director of all circumstances permeates Waiting for God. The concept of living in purgatory, waiting between heaven and hell is apparent firstly in act 1 when through personification, Estrange introduces himself to Bozo as Adam, symbolizing their life as a biblical wait within the consequence of sin. The idea of living in limbo highlights societies perspective influenced by the deterioration of life after the bomb.

A minimalist, bleak set is also used to convey the scarcity and miserable world that society has become. As Estrange quotes “the moon is pale for weariness of climbing heaven and gazing on the likes of us. ” Through personification he signifies the Moon rising as the anticipation of their Savior in heaven approaching. This embodies also existentially, their suffering and cyclical existence has meaning through desire to find God and a purpose through hope and faith of his existence. Valhalla Ana Storage’s addle AT seclude represents isosceles sequestering AT Tie, whereby the idea of choice and desire created purpose and an essence.

In act 1 the use of constant psychotic questions “Well? What do we do? ” “Lets wait and see what he says. ” “Who? ” “God. ” In response to Storage’s “Let’s hang ourselves immediately! ” demonstrates their faith of Godson’s appearance to be their drive to choose existence, symbolically of the religious perspectives of the postmodern era. Contradictorily Seymour is unable to find a sense of hope or faith in existence and is suicide at the conclusion through an emotionless, lack of descriptive imagery creates a euthanized depiction of death. Then he went over and sat down on the unoccupied twin bed, looked at the girl, aimed the pistol, and fired a bullet through his right temple. ” Thus proving his disability to connect to religion to Justify his life and the deterioration of humanity, Seymour portrays societies perspectives of the atomic bomb and cold war to be meaningless and ultimately too painful to survive. Conclusively there evidently in both Clinger’s “Perfect Day For Banishes” and Bucket’s Waiting For God are pervading examples of the perspectives of society after the bomb and in the postmodern era.

Through Muriel materialism, Seymour representation of pain and destruction, as a depiction of the affects of war, Vladimir and Storage’s constant hurt and bleak, bareness of their world, along with Bozo’s view of inevitable pain and apathy for the suffering in a whole being a symbol of societies economic paradigm in postmodern times. Religious archetypes are displayed through the existential affect of the war through Vladimir and Storage’s denying suicide in hope of a savior.

The creation of a life within limbo and suffering through biblical references to Adam and the oncoming moon in heaven a symbol of their faith that God, representative of a savior is in existence. Contradictorily shown through Seymour lack of faith and purpose of hope through his own God and his reach for escape through suicide, as a representation of a society that cannot find hope or meaning to life. This being through the events of deterioration of humanity and annihilation of war . This in effect demonstrates both texts effective portrayal of perspectives of society after the bomb.