Salt, Sweat, Sugar on the Asphalt

Just by reading the first paragraph of Shiloh a reader can sense that Norma Jean is no ordinary woman. Throughout the short story, Norma Jean breaks the rules of the conventional role of women in a family situation and in society. She has completely traded roles with her husband, but not just because she is interested in a predominately male activity, body-building. Norma Jean exhibits a commitment to her job and an interest in acquiring talents and knowledge in a personal quest to improve herself. Norma Jean is the spouse in the family who goes to work early, leaving a cold spot in the bed next to Leroy and her dirty cereal bowl on the table (54). She is the breadwinner of the family when she stands on her feet all day behind a cosmetics counter at the Rexall drugstore, while Leroy lounges on the couch at home (9). She has learned to play the organ and is now attending night school, taking a course on composition at the local community college (86). Norma Jean spends her evenings outlining paragraphs in preparation for night school, while Leroy plays around with his set of miniature Lincoln Logs (93). Finally, when the Moffitt’s take a trip to Shiloh at the request of Mabel, we see Norman Jean take the driver’s seat, both literally and metaphorically. Typically, the man drives the car and the woman sits in the back tending to the children; however, Norma Jean is no normal woman (127). Females are usually portrayed as wives who want their husbands to spend less time at work and away from home and more time with the family. Yet, Norma Jean has “never complained about his traveling” (9). Ironically, Norma Jean, who sheds her female behaviors, was named after Marilyn Monroe, the iconic symbol of sensual femininity.

On the other hand, Leroy Moffitt has lost many of the characteristics commonly associated with the male. Firstly, Leroy is no longer the career-man. Leroy sits at home during the day, and his rig “sits in the back backyard like a gigantic bird that has flown home to roost” (5). Instead of looking for a new job, Leroy spends his time making things from craft kits: miniature log cabins from popsicle sticks, string art and a macramé owl kit (6). Although these activities are not directly related to the usual house chores women are responsible for, they do have a domestic feel to them. The craft kits require patience, creativity, and a knack for the arts, all characteristics commonly linked to females—soft, gentle, and inactive. At one point, Norma Jean’s mother Mabel points to Leroy’s unsuccessful needle-point and cries “that’s what a woman would do” (33). While Leroy is comfortable with his almost domestic role, Mabel and Norma Jean are not. Norma Jean says to Leroy, “you have to find a job first” (37). Leroy is no longer the “King” of the house (116).

Only when the Moffitts are in their former, traditional roles do they get along as a happy, married couple—when Norma Jean is the typical domestic female and Leroy is the hard-working, on the road career man. Even Bobbie Ann Mason points out this “connection between him (Leroy) and Norma Jean,” but only when Norma Jean is explaining to Leroy the stages of complexion care and Leroy is thinking about petroleum products. Before Leroy’s injury and his return home, Norma Jean would cook all of Leroy’s favorite foods including picnic ham, chocolate pie, and fried chicken. The couple used to watch television and play cards after work (53). I am not sure why Norma Jean and Leroy cannot communicate once they switch roles. It could be that the Moffitts are naturally evolving into their rightful forms, yet they are both uncomfortable with their spouse’s changes. To agitate the problem, each refuses to budge. Maybe if one of them had stayed the same, the couple would have been able to adapt and continue their marriage.