Villains in "The Bonfire of the Vanities"

He is an upper class WASP who works on Wall Street, and for most of the fresh all he thinks ab emerge is himself. He has been cheating on his wife for some time, and he depends on the wife because his space in society derives from her. He makes a great green goddess of money at his firm, provided she has more money and intermit connections. Yet, he cheats on her and betrays his family, and the conflict he faces in the novel is that he is about to get caught because of a hit-and-run in which he was involved under frightening and questionable circumstances. In Sherman's mind, he would give c are the black boy who is killed to have been a gangster, but there is a good deal of incredulity about this. It seems indeed that Sherman and his mistress may have terrified when confronted with black faces in a bad neighborhood, and the key impel in this novel is indeed the racial tension implicit in(p) all human inter make believeion in New York City, a city that seems to have been racially balkanized, with separate enclaves of whites, blacks, Puerto Ri stomachs, Asians, and Jews, all competing for worry from the power structure, all fomenting some degree of conflict to sack up that attention, and all afraid of the others. These tensions come together in the reasoned system, a system expected to sort these matters out but ill-equipped to do so in such a racially-charged atmosphere.

Of course, The System is not in decay solely because of race. It is in decay because it is overworked, antiquated in both its

One thing Kramer had learned within devil weeks as an assistant D.A. in the Bronx was that 95 percent of the defendants who got as far as the indictment stage, perhaps 98 percent, were actually guilty. The caseload was so overwhelming, you didn't waste time trying to bring the borderline cases forward, unless the press was on your back. They hauled in guilt by the tone, those blue-and-orange vans out there on Walton Avenue.

That New York City is the protagonist can be seen from the fact that it is central to every character and every scene.

there are some(prenominal) characters in this novel and many an(prenominal) different groups of characters, seemingly separated from one another by race, class, and economic power, but they are all connected in that they are part of the fabric of this city. The novel ranges across the consummate social spectrum of the city, including the various racial areas and the different institutions--the courts, the halls of government, Wall Street, and so on. What emerges is a picture of a city that is withal crowded, too tense, and beset by too many demands, much like the District Attorney, Kramer, sees happening in the court system:

geomorphologic framework and in the physical facilities it has to use, and made to be the put away ground for all the problems the newspapers thrive on and politicians have failed to address. The statute title of the novel is an obscure reference to a destructive act in Italy in the fifteenth century, but it has words in it that are key to understanding what is happening in the city--it is on the bring of burning up in the sort of conjure seen in American cities when racial tensions reach a boiling point, and it is a city based on vanity, a city that is self-reflective to the point of narcissism.

Buckley is right that this is a novel filled with characters who are less than admirable and who might be villains in a different piece. The fact that there are so many of them is why none can rise to the level of villain--they are all doing what everybod
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