Analysis Of Dr. Lubanski's Misguidedness

Even though it is observed that the city had seemed to swell symbolically into a world of desires, but in the above mentioned situation, the city seems to admit a possible slit along the hem of its aspirations. There is ambivalence if such ambitions are worth attaining at the cost of its past status of which the Sattler monument locates as an emblematic proof. Ryder attempts to mock the Sattler monument by capturing pictures and posing aside of it. He is not conscious of the importance of the monument and he just been placed by the photographers thirst to capture a controversial photograph. In the café the “shocked silence” and the way in which people stare in a questioning manner at him implies a glimpse into a crosscurrent of uncertainty and illogicality arising underneath a prevailing eagerness to move away from the past. However, the moment instantly ends and one among them, Dr. Lubanski arises with a justification, “if Mr. Ryder chooses to make such a gesture, it can only indicate one thing. That the extent of our misguidedness is even deeper than we suspected” (Unconsoled, 201).
The town folk gather together in an “angry circle” (Unconsoled, 203) over Max Christoff and warns him of physical attack. The implication of circularity reflects here again Christoff vanishes amidst the folk gathered around him. From the scene Ryder departs uninvolved to meet Boris, his son. The chapter closes with Ryder and son, moving “out of the building into the sunshine” (Unconsoled, 205). It is desperately symbolic point as Christoff is erased and overpowered while Ryder moves to the daylight, implying that a greater, cultural homogenizing attempt trumps seemingly antiquated local