Ava Wrestles the Alligator

Three Dimensions Museo del Prado in Madrid, Spain houses an unconventional triptych called The tend of E nontextual matterhly captivate painted by Hieronymus Bosch in 1504. A triptych works by combining three different panels and forming i picture, world, or scene. In the case of The Garden of E machinationhly Delight we ar presented with a triptych that, not only has three remove scenes of Eden, Ecclesias Paradise, and Hell present when opened but when closed the viewer mickle see foundation garment as a whole. In Ava Wrestles the Alligator the triptych given is SwamplandiaIn this red neck fairytale the dimensions of Swamplandia are parallel to the famous Bosch work due the ideas of Earth, Heaven, Hell, and Swamplandia the kingdom. In Swamplandia the idea of Earth is known as commonplace activities the running of the park, feeding the alligators. Ava and Ossie have pet lizards and giggle at night in the room they share. We musical accompaniment giggling, happy and nervous, tickled by an incomplete innocence (Russell 4). During these simple, earthly times of normality Ossie also begins to experiment with her fresh formed womanly body.In The Garden of Earthly Delight the images of smiling, naked men and women cover the center panel. The figures in the painting are seen experiencing life as naturally as possible. Even the lives of two young girls can be represented in art painted hundreds of years before their time. This gives the reader and the avid art viewer the idea that it is human nature to experience, laugh, and dream about the world above and beyond the vitrine that is the human body. Ossie yearns to feel alive. With the use of her own body and her imagination she takes her kingdom and makes it her own.Far above the kingdom of Swamplandia the booze of past Swamplandians hover most importantly the deceased induce of Ava and Ossie. Ava tells the reader summer rain is inactive the most comforting sound I know. I like to pretend that its our dea d mothers fingers, drumming on the ceiling above us (Russell 3). In The Garden of Earthly Delight the idea of Heaven is represented by animals, including alligators, relaxing by a pool of water and the miss of humans, comforted only by a single cloaked figure. In the ase of Ava and Ossie the cloaked figure is the conceit of their mothers spirit encasing their house with each drop of rain. One of the most focal points of The Garden of Earthly Delight is shown in the bottom right corner of the right hand panel. The image of a Bird Beast, or Prince of Hell, ruling over the Underworld is most prominent to the scene. The Prince lures in his prey and uses them for his benefit, whether it is food, pleasure, or manual labor. Like Ossie is a slave to her own pleasure and even attempts suicide to become one with her own twisted sense of desire.The women of The Garden of Earthly Delight are trapped by call down and pleasure, emotions commonly mistaken for love. Though the similarities are o bvious between the two men of each novel the most striking common feature of Ava Wrestles the Alligator and The Garden of Earthly Delight comes from the Prince shown devouring a woman, much like how the Bird Man rapes Ava. As obvious as the painting, Ava identifies the Bird Man as no Prince Charming. Hes covered in feathers and bird shit (Russell 11). With these three dimensions the idea of a kingdom is more apparent than the simple highway passing of SwamplandiaThe reader is presented with a complex and surreptitious gateway through the mind of a twelve year old and to the world of diamond lizards, grief, and the real notion that magic is above, below, and surrounding each human being that decides to open the doors of their own triptych. With a shine into Avas world and a single glance at a classic work of art each person can discover a fairytale. Works Cited Russell, Karen. Ava Wrestles the Alligator. St. Lucys Home for Girls Raised by Wolves. New York Vintage Books, 2006. 3- 25.