Like Father, Like Son

Frankenstein
Mary Shelley
Pages 149-166

"'Peace, peace! learn from my miseries, and do not seek to increase your own,'" (Shelley, 156).

With the conclusion of Frankenstein's narrative, the audience is reminded of the frame story nature of the novel. It returns to Walton's letters to his sister, and Walton resumes the position of narrator. Walton tells his sister and the audience that Frankenstein's story is to be taken as truth due to his emotional connection to its telling and the factual evidence presented to Walton such as the letters and the sighting of the creature. Also, the second sighting of the creature and his interaction with Walton referring to Victor as his creator confirm this notion.

The end of Frankenstein's story also completes the end of his downward mental spiral. He has degraded to the state which he had earlier detested; he is a monster consumed with the thought of the destruction of his enemy, much like the monster he had created. In his obsession with the elimination of the beast preoccupied with causing his misery, Frankenstein became the same thing that he was trying to destroy. This reversal of roles illustrates the dynamic nature of the characters of both the creation and the creator. Their respective evolutions paralleled each other; one rose in his intellect and understanding while the other degraded in their mental health.

By ending the story through the eyes of Walton, Shelley was able to leave the reader with a secondhand perspective in order to dispel any doubt or suspicion of Frankenstein's story. This deliberate change in the point of view, as with all of the other various viewpoints throughout the story, adds to the depth of the meaning of the work by allowing for a multitude of interpretations of the actions. It allows the reader to freely analyze the actions of the characters and the action of the story in general. Overall, it was very effective and made the story more interesting.

Hitting Rock Bottom

Frankenstein
Mary Shelley
Pages 136-149

The letter from Elizabeth that opens this section allows the reader to gain an outside perspective of just how far Victor has fallen from his prior state. "Yet I fear that the same feelings now exist that made you so miserable a year ago, even perhaps augmented by time," (Shelley, 138). Elizabeth's fear is true. Victor himself even acknowledges that "misery had her dwelling in [his] heart," (Shelley 137). However, the two still have their marriage, and Elizabeth intends to live happily ever after. However, Victor's knowledge of the creature's threat haunts his memory; he continues to believe that his life is destined to be ended by the monster on the night of his wedding. This is ironic because the reader is able to infer that the threat was made in regard to the life of Elizabeth. The murder of Elizabeth would further destroy the mentality of Victor and would enter him into a state of solitude similar to that of the monster. And through the successful murder of Elizabeth and the subsequent death of the father, the monster succeeded in reducing Victor to a barbaric mental state.

Mirror Image

Frankenstein
Mary Shelley
Pages 120-136

For the second time in the story, Victor Frankenstein is in the process of animating physical life. The two events are very similar in their most basic nature, but the second is presented in a sort of mirror image to the first event of creation. Mirror being the most import word in that phrase because in a mirror, the image is the same, but everything is in reverse from the original. This reversal juxtaposes the two events to highlight the change experienced by Frankenstein as a result of the events which have occurred between the two creations. In the first creation, Frankenstein eagerly anticipates the animation of his creature, and he is full of hopes and dreams that his experiment will fulfill. On the other hand, the second creation is preceded by feelings of doubt and visions of the horror that could occur as a result of the creation. "Had I a right, for my own benefit, to inflict this curse upon everlasting generations?" (Shelley, 121). Also, both creations end with the monster opening the door to interact with his creator. The monster now eloquently is able to speak and even threaten his creator whereas he had barely been able to communicate at their first interaction.

The death of Henry Clerval also sends Victor back into a state of physical and emotional despair. These constant emotional breakdowns illustrate Victor's progressive mental deterioration at the hands of the creature.

I Can Have It, But You Can't...

Frankenstein
Mary Shelley
Pages 104-120

After the creature finishes his story and presents his request to Victor, Victor has trouble complying to create a mirror image of the creation which has caused him so much misery. "Shall I create another like yourself, whose joint wickedness might desolate the world?" (Shelley, 104). However, all the creature truly desires is to have a being with whom he can form a relationship in order to bring him happiness and fulfillment in life. After all, Victor himself has such a companion.

In Victor's life, there are several people who bring him happiness. For example, Elizabeth and Victor's father offer familial support, and Henry Clerval is his always reliable friend. These people together offer Frankenstein the happiness for which the creature searches; therefore, it is ironic for Victor to deprive him of such relationships. This also explains the reasoning behind the creature's murder of William and his threat to destroy the heart of Victor. Through this desolation of his family, the creature is able to force Victor to be in compliance with his desires.

However, as Victor approaches the creation of the creature's companion, he is filled with a doubt that he will be able to complete the task. "But now I went to it in cold blood, and my heart often sickened at the work of my hands," (Shelley, 120). This is also ironic because the creature has already created great despair and turmoil in the life of Frankenstein. Who is to say that the creature is not bound to repeat his actions if Victor fails to honor his promise? What would Victor do if he lost the remainder of his loved ones? In the end, he must complete the female creature in order to protect his loved ones and his own sanity.

A Slippery Slope

Frankenstein
Mary Shelley
Pages 81-104

"I shall relate events, that impressed me with feelings which, from what I had been, have made me what I am," (Shelley, 81). Opening this section with this statement by the creature, Shelley offers an explanation that the reader can connect to the murder of William Frankenstein. Recalling what had previously occurred regarding the murder of the young boy, the reader can deduce that this section would detail the negative events that transformed the creature from a eloquent and polite creation to a murderous beast.

The first human character to alienate the creature from his relation to humans is Safie. She appears as a foil character to the creature; she embodies everything that the creature wishes to be. Safie is beautiful and able to bring happiness and companionship to the DeLaceys. On the other hand, the creature attempts to raise himself above Safie in the only aspect which he can: his intelligence. "I improved more rapidly than the Arabian" claims the creature about the pairs learning of the French language (Shelley, 84). Throughout the section, the creature is also rejected by Felix DeLacey, the girl which he saves from drowning, and the young William Frankenstein. All of these characters and their respective negative rejections of the beast help to shape his hatred for humans, especially his creator, Victor Frankenstein, "to him towards whom I have sworn eternal revenge," (Shelley, 102).

The section then proceeds to end with a request from the creature as a solution to his change in character. He asks Victor for a companion, a relationship through which he can experience the companionship that humans had failed to provide him.

Look Who's Talking

Frankenstein
Mary Shelley
Pages 61-81

Frankenstein's second encounter with the creature is a complete reversal compared to their first meeting. Whereas on their first interaction the beast "muttered some inarticulate sounds," this second meeting in the mountains presents the creature with a scholarly eloquence (Shelley, 35).

This dynamic evolution of the creation persuades Frankenstein to listen to the creature's tale. "I felt what the duties of a creator towards his creature were, and that I ought to render him happy before I complained of his wickedness," (Shelley, 70). Recognizing this responsibility, however, also presents a new aspect to the characterization of Frankenstein. The monster uses biblical references to compare Victor Frankenstein to God, the ultimate creator. His allusions to "Adam" and the "fallen angel" describe his plight (Shelley, 69). He was supposed to be the joy of his creator's heart, yet he is viewed as the antithesis. The creature simply wants to understand the reasoning behind Frankenstein's rejection of him and also to share his story with his creator in hopes of some sort of empathy.

When the creature begins his narrative detailing his travels and self-taught education (yes, Shelley implements yet another narrator into the story), the audience is given a detailed description as to how the creature has become this dynamic character. Through his steady observance of human life, he has been able to become, in a psychological sense, a fully functioning person. However, his physical appearance still segregates him from the rest of society. I feel as though the creature will continue to develop, and his development will either bring him closer or further separate him from that which is his greatest desire: companionship.

Frankenception

Frankenstein

Mary Shelley

Pages 40-60

Just when I thought the story already had a depth of narrators, I began reading Chapter Six. The frame story added another dimension to itself with the introduction of its newest narrator Elizabeth. The original frame story has now became a story being told within a story to a man who is telling the story to yet another person. Confusing, I know.

However, with the re-implication of the letters as a device to tell the story from different viewpoints, Shelley is able to add even more diversity to her story. Also, it helps to bring the importance of Victor's family, especially Elizabeth, back to the forefront of the story after the preoccupation with the creature and its effects on Victor. Elizabeth's reentering into the story and the dilemma that she presents to Victor help to call him back to his roots. Yet, coming home is not as always as happy as it may seem. The accusation and subsequent death of Justine paired with the hunch that his own creation had murdered one of his family members took their respective tolls on Frankenstein. He cannot forgive himself for the creation of a beast that had led to the death of two of the people for whom he had cared the most. "Thus spoke my prophetic soul, as torn by remorse, horror, and despair, I beheld those I loved spend vain sorrow upon the graves of William and Justine, the first hapless victims to my unhallowed arts," (Shelley, 60).

Again, Frankenstein foreshadows that his destiny, or his creation of life, will have awful and terrifying consequences as the story develops.

THE CREATURE

Frankenstein
Mary Shelley
Pages 29-40

Finally, we are presented with the creation of the creature. However, it is very different than what popular culture has made it out to be. There is no horrendous storm. There is no terrorizing of the townspeople by a henchman named Igor. There was no proclamation of "IT'S ALIVE!" It was simply the generation of life in the school room of Victor Frankenstein.

This generation of life might be the event which was foreshadowed in the previous sections; Frankenstein's creature could lead to his eventual doom. "I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body...but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart," (Shelly, 35). This statement by Frankenstein is ironic in the fact that the thing to which he had devoted so much of his time disappointed him upon its completion. The reader expects that Frankenstein would rejoice and be excited that he succeeded in the goal of his studies; however, he is downtrodden and even experiences a breakdown in his physical and mental health. This is dramatically ironic because it is the opposite of what is expected to occur in the story. Also, the reappearance of Henry Clerval reiterates the importance of his small social circle to the stability of the character of Victor Frankenstein.

Foreshadowing... and Doom.

Frankenstein
Mary Shelley
Pages 14-29

In the first three chapters of the novel, foreshadowing plays a very prevalent role. It is ubiquitous in the section, consuming everything from character descriptions to the innermost thoughts of Victor Frankenstein. To begin, the introduction of Frankenstein's family further adds to his own characterization. We are first presented with his mother, Caroline Beaufort, who emphasizes the passiveness of women throughout the story. His mother also possesses the intrinsic caring nature of the archetypal mother character. "This, to my mother, was more than a duty; it was a necessity, a passion, - remembering what she had suffered, and how she had been relieved, - for her to act in her turn the guardian angel to the afflicted," (Shelley, 16). Also, his "more than sister" Elizabeth enters the story in this section (Shelley, 17). Elizabeth is beautiful and extremely good-natured, and she will come to play an important role in the course of the story.

Frankenstein also directly characterizes himself. He constantly refers to his destiny that he discovered in his adolescent years. He also speaks of his father's rejection of the matter of his studies, and how it even further piqued his curiosity. "It is even possible that the train of my ideas would never have received the fatal impulse that led to my ruin," (Shelley, 21). The use of the various references to his impending doom in this section foreshadow a dark outcome for the life of Victor Frankenstein.

The Letters

Frankenstein
Mary Shelley
Pages 1-14

Mary Shelley's Frankenstein opens with a series of letters exchanged between Robert Walton and his sister Margaret Saville. These letters set the story up in a very particular structure: a frame story. Walton is the first character introduced to the audience in the novel, and he is also the first narrator by which the story is told. It is through him that we receive our first glimpse of the creature and the first perception of Victor Frankenstein. The frame story structure of Frankenstein allows the reader to watch the story of its namesake unfold from different viewpoints. Instead of learning of Victor Frankenstein's plight directly, the audience is told the story through Frankenstein's recollection of the events that shaped his character."'You may easily perceive, Captain Walton, that I have suffered great and unparalleled misfortunes. I had determined, at one time, that the memory of these evils should die with me, but you have won me to alter my determination,'" (Shelley, 13).

In addition to an indirect understanding of the story, the frame story structure of the novel offers room for bias to appear. This bias can occur in the retelling of the story because it is told through a personal perception and then recorded by yet another person. Therefore, the reader is the second person to hear the story from the original source which calls in to question its reliability. It also allows for certain details to be exaggerated or underplayed; however, the reader, as with most literary works, has the responsibility to interpret and understand the work according to his own ascertainment.

An Inconvenient Answer

"APO 96225"
Larry Rottman

Question #2, page 847
Can you relate the material in this poem to the attitudes of the American public toward the war in Vietnam?

With the information provided in question one, I was able to confirm my notion that the poem was about the Vietnam War. The war was a very controversial issue in the American public. Technically, it was not a war, but an abuse of presidential power that angered many American citizens. One of the largest of the original complaints about the war was that President Johnson was not looking for a definite win in the country but rather a negotiated peace. The Kent State University shooting also added to the controversy surrounding the war.

The Vietnam War was the first war to be televised in the United States. For the first time, Americans were able to witness the atrocities of war within the comfort of their own living rooms. They had asked to be informed of all that was going on, and they were granted their wish. However, they were not so happy with what they were seeing. Just as the mother in the poem does not relinquish her inquiry into her son's life until she hears the truth, the American people had always wanted to be fully informed until they actually saw of what they were being informed. "'Please don't write such depressing letters. You're upsetting your mother.'" said the father reflecting the feelings of the American people (Rottman, 846). Citizens were pleading "Please don't show such depressing images," yet they were simply being given what they asked. They wanted to know, didn't they?

Truth about Society

"Much Madness is divinest Sense"
Emily Dickinson

The motivation behind this poem comes from society's expectations and definitions of sanity. It's short, brief statement reveals a much larger truth. Dickinson is calling into question the idea that society is the body that judges what is correct through the minds of the majority. "'Tis the Majority/ In this, as All, prevail-" (Dickinson, 830). With this aphorism, Dickinson reveals the truth that society dictates what is acceptable. All the beliefs of the majority are what are acceptable and to be the leading form of thought. If an individual chooses to accept this general truth, "you are sane," (Dickinson, 830). However, if one is to reject the common beliefs, "you're straightway dangerous," (Dickinson, 830).

With knowledge of the meaning of this poem, the reader cannot help but to connect it with the life of Emily Dickinson. She was often declared mad in her lifetime, and these declarations continued even after her death. Her retreat from society, though, allowed her to observe society from an outsider's perspective. Ergo, she was able to comment and critique the workings and interactions of a society of which she was once a part.

A Journey through Emily Dickinson

"I felt a Funeral, in my Brain"
Emily Dickinson

This poem is FULL of figurative language. To begin, the entire poem in itself is an extended metaphor. I think that it is a comparison of the author's current mental state to a funeral. Within this extended metaphor, there are many other literary devices of which Dickinson takes advantage. For example, "A Service, like a Drum - Kept beating" in lines 6-7 is a simile (Dickinson, 776). There is also a synecdoche in line 9 and another in line 17.

However, the most important thing that Dickinson does with her language is guide the reader on a journey through her thoughts through her references to various parts of her inner being. We begin our voyage in Dickinson's brain; it is literally the organ that controls her bodily functions, but it is figuratively the house of the funeral. We are then transferred to her sense. Finally, a knowledge of what is occurring enters her brain. This causes her brain to then become transformed into her mind or a realm of conscious thought. From the mind, Dickinson leads us to her soul; we enter the emotional aspect of the poem. After the soul, we are presented with her being and finally, reason.

Earlier in the poem, Dickinson had referred to "breaking through" with sense, and again she references a break-through with reason (Dickinson, 776). This comparison of sense and reason lead the reader to believe that the author believes that the two play a very similar role in our individual psyches.

On a completed unrelated note, however, imagine how much fun it is to literally interpret this poem. A bunch of little men conducting a funeral in Emily Dickinson's head...

Miss Brill: Point of View

"Miss Brill"
Katherine Mansfield

The point of view in "Miss Brill" contributes greatly to the overall meaning of the story. It is told in third-person omniscient point of view, meaning that we get to observe Miss Brill from an outside perspective while still gaining insight into her perceptions of the world around her. This combination of information allows the reader to sympathize with Miss Brill while still maintaining a rational view of the whole situation. The isolation felt by Miss Brill is conveyed through her thoughts, but the comments of others around her also help to cast her out from society. In the end, this specific point of view lets the reader classify Miss Brill as they choose: an elderly woman slowly losing her grip on reality or a social outcast deserving of our pity.

Miss Brill, suggested to be an old woman herself, refuses to relate with the old people on the benches around her claiming that "they were odd, silent, nearly all old, and from the way they stared they looked as though they'd just come from dark little rooms," (Mansfield, 184). To add to her isolation, Miss Brill views her life as a musical, giving her thoughts an unrealistic feel. Participating in the drama of her life does not allow Miss Brill to connect to anyone negatively or positively. Even the people for whom she does not care are still viewed as characters performing their stage directions in the theatre of life.

Have a Little Pity

"Bartleby the Scrivener"
Herman Melville

In "Bartleby the Scrivener," the narrator invokes pathos in his audience through the focus on the main character of the story. Progressively presenting more and more characteristics of Bartleby, Melville develops a similarly growing feeling of sympathy within the reader. He is first presented to the audience after he is hired to help fulfill the extra work that the Lawyer has accumulated. Bartleby is hardworking and works routinely to soon become the most efficient scrivener in the office. However, a stark contrast arises in his character when he first says "I would prefer not to" and fails to give a reason (Melville, 648). His repetition of the phrase throughout the story calls into question his motivation behind the saying.

The combination of this repetition paired with his strict schedule made me question whether or not Bartleby might be autistic. I also thought that his living in the office might suggest that he is homeless. These attributes all contribute to the reader's pity toward the character, but only to a certain extent. Eventually, Melville presented so much sympathetic presentations of Bartleby that I began to lose interest in his dealing. It became very redundant almost to emphasize the feelings of the Lawyer toward his scrivener. "So true it is, and so terrible too, that up to a certain point the thought or sight of misery enlists our best affections; but in certain special cases, beyond that point, it does not," (Melville, 658).

Refrains and the Inevitable

"Do Not Go Gentle into That Good Night"
Dylan Thomas

Throughout "Do Not Go Gentle into That Good Night," there are two refrains that are alternately repeated every stanza. They are both presented in the first stanza of the poem: "Do not go gentle into that good night" and "Rage, rage against the dying of the light," (Thomas, 968). In each subsequent stanza, the refrains are placed at the end of the sets of three lines and cause the reader to recollect the theme of this poem. The poem details a sunset, a typical and inevitable part of daily life. Through his use of a sunset, Thomas suggests that death is also to be expected in the life of every person. However, his refrains suggests that despite the inevitability of death, we should not give in to its grip on our life. We should fight for every moment that we spend alive and not give in when death seems all too close. He urges the reader to "rage against the dying of the light" that exists in the life of every human being. Although it is bound to happen to all people, Thomas ultimately challenges the reader to make the most out of the time that he does have and not to go through the routine of life watching it pass by without question. Carpe Diem!

Death, be not proud but also be not bad!

"Death, be not proud"
John Donne

In its normal interpretation, death is simply the condition of not living. However, Donne gives life to the state of not living through his use of personification. This is also ironic because he is animating something that simply is the lack of such. However, Donne characterizes death as a benevolent force, even going as far as to claim that death is actually a great form of delight. "From rest and sleep, which but they pictures be,/ Much pleasure - then, from thee much more must flow," suggests that the pleasure that we receive from a restful night of sleep or a break from activity is experienced tenfold in death (Donne, 971). Donne claims that death is just the ultimate form of relaxation and pleasure.

According to Donne, the source of this pleasure from death is eternal life. The time period in which this poem was written suggests that religion still played a major role in the understanding of life for most people. Again, we are presented with a view of death that offers some hope as to what we might face in the time following death. Overall, Donne presents death as a good thing; it is simply a method to make us happier when we think happiness has ended.

"Crossing the Bar" - An Extended Metaphor

"Crossing the Bar"
Alfred, Lord Tennyson

Through the vivid descriptions of the ocean as well as the nautical diction, Tennyson connects his voyage to death with a voyage on the sea. His poem is an extended metaphor comparing death to a journey out into the ocean. "Crossing" in the context of this poem can possess many different meanings. It could be meant as the euphemism of "crossing over," or passing into a different state of being which can carry a religious connotation with it. Another religious interpretation suggests that the "crossing" refers to the Christian belief in adorning ourselves in the sign of the cross, reminiscent of the crucifixion of Jesus Christ. The "bar" to which he refers is a sand bar, commonly located just off the shore of many beaches. Similarly, it could also have the religious connotation of being the line or obstacle through which one travels on the journey to the afterlife. In the final stanza of the poem, it can be deferred that this afterlife is the Christian ideal of heaven. In the belief of heaven, there is no passing of time or exact destination which explains why Tennyson claims that his voyage will take him beyond their reach. "I hope to see my Pilot face to face" also refers to God (Tennyson, 886). The capitalization of "Pilot" suggests the importance of his spiritual guide and ergo ultimately leads to reader to conclude that Tennyson's voyage leads him to heaven.

“One's perception of time was relative to one's desire for its passage.”

"A Rose for Emily"
William Faulkner

Continually referenced throughout the short story, time plays an important role in the existence of Miss Emily Grierson. Its passing, or lack thereof, within the of Miss Emily's life influences nearly every scene in the story. Also, the narrator chooses to present scenes that are not subsequent; they jump from year to year to detail peculiar occurrences within her life.

The skipping of certain time periods in Miss Emily's life allows the narrator to characterize the woman in a manner that is best suited for the image which they are trying to convey. The narrator, referred to as a collective group, holds a seemingly negative view of Miss Grierson. For example, they believe that she is crazy and somewhat wasting her time courting a homosexual man. Therefore, their careful selection of various seemingly unrelated situations in the life of Miss Emily allow the narrator to shape the audience's perception of her. Without insight into her personal thoughts or the thoughts of someone close to her, the narrator effectively convinces the reader to believe that Miss Emily is simply a crazy old lady.

However, the most convincing of these descriptions, as well as the greatest evidence of the Miss Emily's unwillingness to let go of the past, resides within her "big, squarish frame house," (Faulkner, 281).We are first presented with Emily's retreat within the house when she refuses to release her father's corpse to be buried. Then, at the conclusion of the story, the dead man in the upper level of her home also characterizes her inability to let go. Miss Emily uses her home as an escape from reality. She rarely leaves her "house filled with dust and shadows" and, therefore, never leaves her past for the current time period of reality (Faulkner, 288). Essentially, she is trapping herself, like the man upstairs, within a time capsule in the form of a decrepit white house.

A Box and a Tradition

"The Lottery"
Shirley Jackson

One of the most important aspects of the story is that of the box out of which the lottery is held. It is old, falling apart, and mysterious within its origin; all of these characteristics can also be used to describe the tradition of the lottery itself. Therefore, the black box is symbolic of the lottery itself.

The first characteristic of the box, its being old, is one of the most important aspects of the lottery. It is tradition. It has been passed on from when society had first begun. Even with talk of letting the tradition die, the townspeople find trouble in abandoning their past. "Mr. Summers spoke frequently to the villagers about making a new box, but no one liked to upset even as much tradition as was represented by the black box," (Jackson, 265). Likewise, no one seems to know where the box hails from. Some rumor that it was constructed from pieces of the previous lottery box, but no one knows for certain. They also have no knowledge of how the tradition of the lottery began. The only person calling any recollection of the meaning of the ritual is Old Man Warner, the oldest inhabitant of the village, and his recollection is solely a vague saying about the ceremony.

Lastly, the box is falling apart, just as the tradition of the stoning is also beginning to lose popularity. Mr. Adams states that other villages have already abandoned the practice of the tradition. This is an indirect suggestion that maybe their village should also consider giving up on the harsh ritual. However, just like the black box, it continues to endure and remains a constant reminder of the villagers' past and tradition.

TGM: A Different Kind of Magic

The Glass Menagerie
Tennessee Williams

"Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion," (Williams, 1236).

With the opening line of the play, Tom introduces himself as a magician, but a magician of a different sort. Tom's magic occurs through his narration of the play as well as his participation in its action. However, I had forgotten of Tom's supernatural connection until the opening of Scene 4 which portrays Tom coming home from the show of Malvolio the Magician. As marveled as he was at the main coffin trick of the illusionist, Tom indeed is also in his own coffin. Just as his father was restricted by his home life, Tom, too, is confined within the coffin of his family. Connecting the two men  together, the stage directions call for the portrait of Tom's father to answer his rhetorical question: "Who in hell ever got himself out of [a coffin] without removing one nail?" (Williams, 1249).

Symbolically, the fire escape is one method of freeing himself from this coffin that so tightly constricts Tom's dreams and ambitions. In reality, a fire escape is used to safely escape a building in case of an internal fire. On the other hand, Tom's fire escape offers him the ability to escape the firery nonrealism of his family within the apartment. It offers him a connection to the outside world, to his dreams beyond his current situation. Also, it is the only entrance to the apartment, symbolizing that Tom only has one option to release himself from his shackles.

Just as Malvolio had done so, Tom was able to escape his coffin in the end of the drama. By leaving his family behind and exiting the apartment by the fire escape, Tom ultimately fulfilled his father's shoes in leaving the family that had held him down.

TGM: Nonrealistic, but not Unrealistic

The Glass Menagerie
Tennessee Williams

 

Although stated in the stage directions of the play, the audience is soon able to understand that The Glass Menagerie is a nonrealistic play. The first hint is that "the play is memory" and the memory is Tom's (Williams, 1236). The second, more noticeable, hint is the music that plays in the background of the action. Even though it would make life more entertaining at some points, our reality does not include the pleasure of a nice composition to accompany our moods. The music, played during several points throughout the play, helps the audience to empathize with the emotions that Tom connects with his memories.

However, the action in the play is not unrealistic. A middle-aged crippled woman who is unlikely to find a suitor if she spends most of her time locked away in her apartment, a man working at a dead-end job and craving adventure, an engaged man who slips to his desires, but regains his senses, and a mother who only wants the best for her daughter are all very real characters. Therefore, the realistic nature of the characters allows the audience to connect with the play even though it is unrealistic both in production and the manner in which it is written.

TGM: "That's what you are, a Christian martyr!"

The Glass Menagerie
Tennessee Williams

A reoccurring theme in the play is the inability of Amanda to forget her past. Whether consciously or subconsciously, Amanda connects almost every contemporary occurence to something that occurred in her girlhood or upbringing.

One of the most easily noticed is her use of the phrase "Christian martyr," or simply "Christian" in general, throughout her conversations with others. It is reflective of her past in the southern town of Blue Mountain. Her deep religious roots bind her to the Christian ideals of others, and she lacks the ability to think of a life that deviates from these values.

Another is the constant reminder of her seventeen gentleman callers who were all "some of the most prominent young planters of the Mississippi Delta" and the eventual settling for Laura and Tom's father. Amanda seems to relive her youth by retelling of her frequent courtships, and she almost seems to force this same type of womanhood upon her daughter. It is almost as though her choice for husband was not sufficient, and Amanda hopes to keep Laura from making the mistake that she feels she had made herself. Amanda also uses jonquils, the flowers from her summer of suitors, to decorate the apartment for the arrival of Jim O'Connor in yet another attempt at reflecting her youth upon her daughter.

TGM: The Fragile Glass Lady

The Glass Menagerie
Tennessee Williams

Although possessing the least amount of lines in the play, Laura drives the action throughout the course of the drama. She is the concern of her mother and also the hindrance to her brother's desire for adventure. She is seemingly and genuinely more concerned about the feelings of others rather than her own emotions and wellbeing. Laura cried over Tom's unhappiness and could not face the "awful suffering look...like the picture of Jesus's mother in the museum" that would inevitably appear on her mother's face at the news of her resignation from Rubicam's Business College (Williams, 1242).

However, Laura undergoes a sort of transformation at the conclusion of the play upon meeting Jim O'Connor. As he knocks the glass unicorn out of her hand and breaks it, Laura brushes it off as just a new horse to add to her collection. Earlier in the play, Laura had been heartbroken when her glass collection had been accidentally broken. However, just as the glass unicorn had become a new figure, so had the glass emotions of Laura. She had blossomed into a less awkward woman who felt more comfortable than she had before; she was at home with the "Blue Roses" of high school.

TGM: Stage Directions and Character Descriptions

The Glass Menagerie
Tennessee Williams

One of the first things of which I took notice while reading The Glass Menagerie was the specificity used by Williams in his stage directions and the descriptions of his characters. Normally, a play or any form of theatrical drama offers its producer the ability for some creative license. There is usually some sort of "free room" which the director or producer can use as his or her own expressive outlet. However, Williams leaves little room for free interpretation of the production of his play. He blatantly states the personality traits of his characters and vividly describes the appearance of the setting.

In addition to the concentration camp feel in regard to the execution of the play, there is also revelation of William's various literary techniques directly to the reader. He tells of the symbolism of the Laura's glass menagerie. He acknowledges the irony of Amanda's character by telling that there "is much to admire in [her], and as much to love and pity as there is to laugh at," (Williams 1234). Williams also uses Tom, a character in the play, as his narrator. Another twist, though, is that the play centers around the memories of Tom. With this information alone, the reader can decipher that the drama will be nonrealistic, yet Williams still feels the need to directly tell this in his stage directions. Needless to say, Williams does not want his audience to miss a single of his intentions, and he makes it obviously so.

The Joy of Cooking

"The Joy of Cooking"
Elaine Magarrell

Throughout the extended metaphor of "The Joy of Cooking," Elaine Magarrell compares the organs of her siblings to gourmet meals. It is slightly humorous, but it also serves as a prime example of the effectiveness of an extended metaphor.

Magarrell expresses somewhat negative, yet nowhere near hateful, feelings towards the least favorite characteristics of her siblings. For her sister, it was the constant talking of some sort. Her brother, his unloving, and small heart. Both of the body parts are common cuisine in many areas of the world which adds to the effectiveness of the cooking analogy.

Her sister's tongue is described as being filled with "roots, small bones, and gristle," none of which sound appealing to the appetite. However, she suggests that she might serve it with a horseradish sauce, a very spicy dressing that shows the "spicy" nature of her sister's speech. Also, Magarrell says that the tongue will probably grow back, implying that even the most conventional methods of silencing her sister never seemed to work.

As far as her brother's heart goes, the author reflects upon its lack of care, and refers to it as simply something necessary for life. By referring to it as a "muscle more than organ meat," she strips the heart of any emotional implications that it traditionally holds. Again, Magarrell uses a sauce to complete the description of her sibling by suggesting the "sour" nature of her brother's affections.

Those Winter Sundays

"Those Winter Sundays"
Robert Hayden

This poem by Robert Hayden centers about the relationship between a child and his or her father, presumably reflective of the relationship that existed between the author and his father throughout his youth.

The first line of the poem, "Sundays too my father got up early," shows the dedication and hard work that the father executes in his life (Hayden, 781). Sundays are traditionally a day of rest and relaxation, but the father still rises early in order to provide for the well being of his family. The same stanza closes with the phrase "No one ever thanked him," (Hayden, 781). Closing this section of this phrase illustrates the reflective nature of the poem; although the speaker may not have appreciated his father as a young child, but now recognizes this lack of appreciation as an adult.

The rhetorical question at the end of the poem also helps to illustrate the poem's reflective nature. The speaker tells of his lack of knowledge regarding the relationship as a child, and implies that he now knows better as he has matured and grown wiser.

The Drunkard

"The Drunkard"
Frank O'Connor

As negative as the title of this story may appear, it is actually a light comedy of a little boy who saved his father from the drink. Ironic, as well, is that the son became the actual drunkard of the story after constructing the bad character of the father.

This short story illustrates that although some of the workings of a family might not be perfect, the most important outcome is the preservation of the family as a whole. All the apparent unpleasentness of the inner-workings of a familial relationship help the family to run smoothly like a well-oiled machine. Larry's role in the story, to stay his father from drinking, is fulfilled although not in what would have been an acceptable method. His drinking of his father's alcohol did not allow his father to consume it himself, and thus, Larry fulfilled his mother's wish. "'You were his guardian angel,'" his mother tells him when he thinks he would be scolded (O'Connor, 351).

Once Upon a Time

"Once Upon a Time"
Nadine Gordimer

"Once Upon a Time" by Nadine Gordimer  is a frame story in which Gordimer decides to tell herself a child's story to calm her own fears as she attempts to fall asleep one night. The story that she tells is not so much a children's story as it is a satirical play on the insecurities of the American family. The story's setting, a well-off suburban neighborhood, is representative of the commonly sought "American dream." However, the action of the story shows how this utopian dream can be diluted by the manner that society manipulates the insecurities of its puppets.

Although the family's increasing of security measures encompassing their property makes them feel safer, it actually increases their fear. This is driven by the knowledge that there is always something bigger and better, reflective of the American dream, but this also makes fears bigger and greater as well. It also satirizes the ignorance that backs these fears. "Don't worry, my dear, cats always look before they jump," says the husband in the story (Gordimer, 237). This ironic phrase seems to put the cat on a higher pedestal of the understanding of the outcomes of its actions than the one on which society stands. The author furthers this point by telling of how the cat remained away from the Dragon's Teeth entrapment, but their son becomes mangled by the very thing that was installed to protect him.

The "child's story" told by the author rationalizes her own fears by realizing the irrationality behind the fears of others.

A Worn Path

"A Worn Path"
Eudora Welty

In the short story "A Worn Path," Phoenix Jackson's memory takes the forefront of the action. After her walk to the town, Phoenix struggles to recall the purpose of her extended journey. This struggle begs the question as to whether or not Phoenix actually possesses the ability to collect her thoughts or even remember simple tasks. Therefore, how is her claim to her grandson credible? The grandson is left a nebulous issue, presumably as Welty had wanted him to be. His ambiguity is reflective of the ambiguity and vagueness that is the mind of Phoenix Jackson. But just as the phoenix of mythology is reborn in the ashes as it ages, Phoenix Jackson's memory is also reborn with the nurse's mention of her grandson. "At last there came a flicker and then a flame of comprehension across her face as she spoke," (Welty, 229). Phoenix's grandson is her ashes which causes her mental revitalization. In conclusion, the mind of Phoenix Jackson experiences a rebirth replicating the rebirth of the majestic phoenix from mythology.

A Raisin in the Sun - Mr. Younger's Lingering Presence

A Raisin in the Sun
Lorraine Hansberry

Mr. Younger has a very strong presence in the play even though he is dead and never physically present in any part of the action. He continues to influence his family and affect them in a variety of ways.

The most important and the most obvious of these influences comes in the form of the insurance check. Mr. Younger's hard work throughout his life to provide for his family is also providing for his family long after his hard work had concluded. "THAT MONEY IS MADE OUT OF MY FATHER'S FLESH" reinforced Walter (Hansberry 128). The check also connects Mr. Younger to the play because it is Mama's with which to deal and distribute. Mr. Younger was Mama's as well, and together, they sought to build the dream which continued to evade them: home ownership. However, this dream is finally realized by Mama when she uses the insurance check in order to buy her home.

Another of his lasting legacies is that of his impact on the character of his son. Criticized by his mother earlier in the play, Walter begins to understand what it means to be a man through the example set by his father. In the end, he experiences an emotional metamorphisis that allowed him to round into the ideals and morals of his father incarnate.

A Rasin in the Sun - Walter's Change

A Raisin in the Sun
Lorraine Hansberry

In the course of the play, many characters undergo significant changes. Ruth becomes pregnant. Mama becomes wealthy. Beneatha continuously changes her opinions. However, of all the changes undergone by the characters, the most important occurs within the character of Walter.

Although his change occurs in the conclusion of the novel, it is still significant to the overall meaning of the play. It displays how he has matured as a result of the action in the play and also how he is willing to accept new roles in the life of his family. Early in the play, Mama calls Walter "a disgrace to your father's memory,' stating that Walter has done little to live up to the legacy of the man who had raised him. His father's ideals, morals, and wisdom had apparently failed to take up root within himself. Throughout the play, Walter struggles with borderline alcoholism and the increasing gap between himself and his wife. The epiphany that make him recognize this fault within his character occurs when he realizes he no longer has the money that once drove his ambitions. It is revealed to the audience through one of Mama's final lines of the play: "He finally come into his manhood today, didn't he? Kind of like a rainbow after the rain," (Hansberry 151). With this statement, Mama revokes her earlier claim that Walter could not live up to the legacy of his father. In the end, he did.

A Raisin in the Sun - The Generation Gap

A Raisin in the Sun
Lorraine Hansberry

"Because [money] is life, Mama!" (Hansberry 74).

With this phrase, Walter finally reveals his obsession with his fortune during his dispute with Mama at the end of the first act. This fight does not only concretely reveal Walter's motives behind his actions in life, but it also shows the generation gap that exists between Mama and her children.

In Mama's earlier days, "freedom used to be life," and she cannot comprehend the obsession with success that both of her children possess (Hansberry 74). Coming from the threat of death and constant racial prejudices, Mama finds the freedom of the northern city of Chicago to be sufficient for her happiness in life as it was for her late husband. Her children, on the other hand, see money as the new path to success and feel they need to have money in order to have any sense of happiness in life.

Hansberry juxtaposes these two ideas in order to show the change in values of the racial minority as their rights and qualities of living increased. Imbedding a political and social issue within the dialogue of her characters, the author is able to draw the attention of the reader to concerns outside of the play.

But this is not the only misunderstanding that exists between the generations. There is also a difference in belief that occurs solely between Mama and Beneatha. Beneatha's denial of religion is incredibly shocking to her mother, a woman who has deeply rooted religious beliefs that were common of the older generation. However, Beneatha has discovered the concept of humanism that suggests that humans are the highest beings and our actions are a result of our own choosing and not the intervention of a divine being. This dispute, although very debated, eventually ends with a concession by Beneatha at the request of her mother.

A Raisin in the Sun - Question 1

A Raisin in the Sun
Lorraine Hansberry

In literature, as in life, a character may search for a better way of life. Show how two characters from A Raisin in the Sun are searching for a better way of life. Explain what each character is hoping to gain through this search and discuss the ways in which each character attempts to bring about a change in his or her life.

Although each of the major characters has their own search for their personal betterment, two of the most important of these quests are that of Walter and that of Beneatha. The siblings have their own goals in life and their own methods of pursuit; however, they each also have their own methods of attaining these goals.

Walter's goal, at it's most basic level, is to obtain a new personal level of wealth. With this wealth, he can provide a higher quality of life for his family, including better living conditions, the ability for his wife to work less, and a college education for his son. Walter attempts to gain his fortune by entering into a business partnership to start up a liquor store. Initially interested in the seemingly vast reward from the business, Walter waited until he received money left over from his father's insurance check after his mother purchased her new home. Ironically, the check that was supposed to be a panacea for his problems is taken by the very man who he trusted to invest it. The long awaited key to a better life actually ended up almost bankrupting his dreams. In the end, however, he realizes that it is more important to be the patriarchal figure of the household than to chase money that is unlikely to ever come into his possession.

On the other hand, Beneatha is actively pursuing her constantly changing fancies, with the most important being that of becoming a doctor. She is enrolled in college and very well educated. Unlike her consistency in pursuit of education, she has a capricious nature toward almost every other aspect of her life: musical lessons, equestrian memberships, and men, with the emphasis being on the latter. Another goal of Beneatha is to discover her heritage and remove the "little mirage that [she] thinks is the future," but the two men in her life are pulling her to opposite sides of the issue (Hansberry 134). George supports the assimilationist view while Asagai calls her to return to her traditional African roots. In the end, the most consistent thing in her life, her schooling, becomes sidelined as she begins to consider the possibility of moving to Africa with Asagai.

Unlike the personality of Walter, Beneatha's character is easily influenced by others in the story and subject to many passing fancies. Ultimately, however, both of the characters end up changing their goals.

A Raisin in the Sun - Setting

A Raisin in the Sun
Lorraine Hansberry

As the play opens, the reader is presented with his first impression of the Younger household, the setting for the whole of the action throughout the drama. "All pretenses but living itself have long since vanished from the very atmosphere of this room," (Hansberry 24). The tired and dingy little apartment that is home to the five members of the Younger family, however, plays one of the largest roles in this play.

Reflective of the changing mood throughout the play, the light that comes from the single window also changes its cast from bright and sunny to dark and grey. At the conclusion of the play, the lights dim on the apartment as the family leaves, symbolizes the end of their journey within the cramped living space. The Younger family had spent all their lives in the home, and moving to Clybourne Park shows how the family is closing one chapter of their life in order to move on to a new one. Another thing that helps to contribute to the importance of the apartment is the fact that the reader's only impression of the characters comes from their interactions within the apartment; Asagai, George, and other characters are only visitors, and our sole understanding of who they are is fed by their presence in the apartment or indirect characterization offered by the conversation of the habitants of the apartment. Likewise, most of the disagreeable aspects of the play occur outside of the apartment. For example, the chasing and beating of the rat by Travis and Walter's drinking both occur outside of the house. This happens to feed the theme that the residents try to hold the house together by attempting to remove anything that could be detrimental to the emotional ties of the family: the violence and alcoholism.

Overall, the consistency of the setting of the play adds to the overall development of the action. Watching the world unfold around the interactions of the Younger family allows the reader to develop a personal connection with the characters and an insight into the intimate workings of the family.

"Dream Deffered"

"Dream Deffered"
Langston Hughes

Obviously a big fan of figurative language, Langston Hughes uses a variety of similes in order to emphasize his point in "Dream Deferred." The similes are woven into rhetorical questions that help to illustrate what happens to an abandoned dream, the author's main theme. The repitition of the figurative language serves to impress the physical image of a dying dream. This image, however, is very negative and thus causes the reader to view the defferment of a dream as negative. Or the dream cam simply "sag like a heavy load" over the head of the dreamer and burden him with the loss of his opportunity (Hughes).
The poem possesses a very negative theme and ultimately is very depressing until the last phrase of the writing: "Or does it explode?" (Hughes). It is italicized ultimately to draw attention to it. This rhetorical question causes the reader to consider a possibly more positive reaction to a dream put on the sideline. One day, the accumulation of all the feelings toward the once fervered dream resurface in an explosion of passion. Although this could also have a negative connotation, I consider this to be positive because it allows for the realization of oneself and for the release of negative energy stored within oneself.

"Mr. Z"

"Mr. Z"
M. Carl Holman

Seeming to be written as a narrative of the life of one black man overcoming diversity to live a stereotypically "white" life, "Mr. Z" is a story that can be very relatable for many people who share in the same ethnic background. That is why the title of this poem is so very ambiguous. Failing to provide any information as to the identification of its subject, the poem allows readers to imagine themselves in the shoes of Mr. Z himself.
But greater than the title's ambiguity is its choice of the letter Z, the last letter of the alphabet. When he left the title so open for interpretation, Holman must have had a reason behind the selection of the letter. It could actually represent a Mr. Zimmerman or Mr. Zachford, or it might represent the view of minorities as a whole in the time period of the poem. Z, being the last letter of the alphabet, is representative of the lowest and last part of a series; this offers a connection to the position of minorities within society. They feel as if they are the lowest, and they are often treated as so by the majority. However, one is not limited to the bottom of the totem pole. Just as Mr. Z, himself, "climbed, unclogged by ethnic weights," so too can every other person (Holman).

The grammatical structure of this poem also lends itself to the idea that Mr. Z did somewhat succeed in his quest for equality. It is written in a very formal and well organized manner similar to that of a well educated white male of the time. Although it does rhyme, it does not detract from the overall scholarly nature of the piece.

"Hazel Tells LaVerne"

"Hazel Tells LaVerne"
Katharyn Howd Machan

Throughout her poem, Machan uses many different literary techniques in order to convey the message the poem is illustrating on an analytical level. The two most important, however, are the lack of punctuation and the use of a very specific dialect of the English language. The lack of punctuation in the entirety of the poem does not detract from its clarity or from its literary effectiveness; consequently, it increases the overall effect of the writing. Machan purposely leaves out periods, commas, and capitalization to emphasize the lack of education that Hazel posseses. It also allows for a better flow of the writing and allows the reader to adjust his reading style in order to fit the language of the poem. The language also works to emphasize this educational void that Hazel so clearly characterizes. Hazel's diction with words such as "sida," "sohelpmegod," and "hitsm," and the revelation of her current employer in the third line prove the lower social and educational status in which Hazel finds herself. Her repetition of the phrase "me a princess" accentuates the main meaning of this poem: her inability to rise above her current social standing (Machan). To even think that there might be a better life for her is simply a preposterous idea that Hazel quickly refutes by repeatedly mocking the idea with the rhetorical question.

You Say 'Potato', I Say 'Tragic Love Story set in Medieval England'...

As I read through Perrine's article, I saw his argument as adressing two different audiences: the writer himself and the interpreter, the reader.

The Writer

Throughout the first page or so, Perrine asserts that it is the reader's responsibility to interpret poetry and there is no way for a writer to know exactly what he means to write. An inserted quote from E. A. Robinson helps to explain Perrine's thoughts, "A writer should not be his own interpreter." Perrine means to say that although the writer may have a specific concept in his mind throughout the writing process, it is not wise to admit this truth of his poetry. If a writer is to limit his work, he is cutting out the fun behind poetry: being able to see what one wants to see within the mere lines on the page. It diminishes the ability to find an alternate meaning or create an extra story that exceeds that which already exists. Sadly, Perrine also claims that this "above and beyond" is not tactful on the reader's behalf.

The Reader

For as much advice that Perrine offers to the author, he offers three times as much to the reader. From such basics as covering all the details and not letting our interpretations become too farfetched to the importance of diction in illustrating the setting of a poem, Perrine makes sure to cover his bases. By providing his "correct" analyses on several works we covered in class (coincidental, eh?), Perrine is able to show his audience how to correct apply the information which he has given to us.

As far as his basic principles are concerned, I agree with Perrine's stance on the interpretation of poetry; as long as it covers details without contradicting itself or becoming too abstract, an interpretation is valid. However, the statement that one evaluation is more correct than another bothers me. Poetry is art, and art is for the eye of the beholder. If we want to see something in a certain work, who is to say that we shouldn't? Yes, our own individual visions must have some grounding in reality, but why can't it stick its head to the clouds?

Just readin' some House of Mirth

chill.

Closing Reflections

The Great Gatsby
F. Scott Fitzgerald
Pages 163-180

"Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that's no matter - tomorrow we will run faster, stretch out our arms farther..." (Fitzgerald, 180).

For as much of a lavish and acquaintance filled lifestyle that he led, Gatsby had a relatively pathetic funeral. I use the term 'acquaintance' because the attendance of his ceremony showed the lack of people who actually cared for him. I felt bad for the man. He was constantly used throughout the entirety of his life and has little to show for it in death. At least his father still cared for his son, who, in his eyes, could not be more successful or a bigger source of pride.

As Nick narrates the end of the story, I found a bit of truth in his contrast of the East and the West. He claimed that even though Daisy, Tom, Jordan, and himself liked the East, there was always a little bit of their home within their perceptions of who they were. I felt a very strong connection to this section because entering my senior year, I will be beginning on a new chapter in my life. Moving away from home to continue my education in college, I can only hope to cling to my roots and not let the exciting new surroundings change the person that my home had spent so many careful years shaping.

Overall, I really liked this book. It was easy to read, yet it contained many truths about life symbolically hidden throughout the story. It was far more interesting than The House of Mirth, and the language was much more comprehensible.

I. See. Everything.

The Great Gatsby
F. Scott Fitzgerald
Pages 156-162

"'God knows what you've been doing, everything you've been doing. You may fool me, but you can't fool God!'" (Fitzgerald, 159).

I KNEW IT! The eyes of Doctor T. J. Eckleburg were a symbol for something; they are an illustration of God's omnipresence on earth. The strange part about it, though, is the location of the sign. It stands in the wasteland of ashes, between the artistocracy and wealth of Long Island and the fast-paced immoral lifestyle of New York. Many times, Tom Buchanan had passed by these 'eyes of God' as he crossed into the city to carry on his affair. They had also witnessed the abrupt end of this very same affair. Another thing though, is that the advertisement lacks a mouth, which I interpret as the lack of judgment being passed, especially from Nick. He was aware of both affairs, yet he let them continue without interruption because it was not his place to ruin the lives of others.

But other than the grand symbolism in this section, GATSBY?! I'm beginning to notice a reoccuring theme in our summer reading: an individual on the search for love whose life is stripped from them as they discover what they want. Depressing, yes.

The Unattainable Grail

The Great Gatsby
F. Scott Fitzgerald
Pages 147-155

"He was clutching at some last hope and I couldn't bear to shake him free," (Fitzgerald, 148).

Even after a traumatic evening and the soft rejection of his love, Gatsby refuses to leave behind his hopes of Daisy. He even takes the time to tell Nick of their courtship years ago in Louisville. Nick realizes that Gatsby "had committed himself to the following of a grail" because Daisy had become unattainable, and it seemed clear to all except for the man with the strongest feelings. When Gatsby reveals that he and Daisy gave themselves to each other, he also reveals that this is the point in their relationship that he felt the strongest connection to Daisy. Because of this, he has refused to let her go.

When we come back to reality, the weather is lovely and cool, a sharp contrast from the previous day and excellent foreshadowing of another completely unexpected turn in the story. Perhaps a happier one this time. But even the weather could not relieve Nick of his worries involving his friends and the previous night. He even rejects a date with Jordan Baker, a woman for whom he feltly so strongly only the evening beforehand.

I'm really confused as to what Fitzgerald is doing right now. This day seems to be in complete contrast from the day that preceeded it. But, hey, it's only half over...

Hit and Run to a Crash and Burn

The Great Gatsby
F. Scott Fitzgerald
Pages 136-145

"There is no confusion like the confusion of a simple mind," (Fitzgerald, 125).

And Mr. Wilson is simple-minded indeed. After finally noticing the very public affair of your wife, locking her away in her room seems to be the simplest way of dealing with an obviously very complex issue. Yet, his wife must also share in his simple-mindedness if she thinks running in front of a speeding car in an attempt to catch its attention is a good idea.

Survival of the fittest, I guess...

After the shock of one mistress dying passed, I was confronted by yet another involving the other mistress. Daisy had attempted to steer herself into the path of oncoming traffic, but she lost her nerve and turned back the other direction and instead ended up killing her own husband's mistress.

Talk about a twisted love story!

Again, we are presented a Mr. Gatsby standing in the moonlight, adoring his love from a distance. Only this time, he is in a completely different position. At the beginning of the story, he was working his way to confronting his long lost love, but now, she is drifting away from him. The parallelism here is really cool. As his physical distance to Daisy shortened, she grew farther away from him emotionally.

It's Getting Hot in Here!

The Great Gatsby
F. Scott Fitzgerald
Pages 113-136

"Their eyes met, and they stared together at each other...She had told him that she loved him, and Tom Buchanan saw," (Fitzgerald, 119).

As this chapter opens up, we are presented with a description of the unbearable heat. I interpretted this change in the weather as foreshadowing to a "heated" confrontation of some sort. And boy, was I right...

With a single glance, Tom Buchanan was able to distinguish the affair from the stares of the lovers, thus reiterating the reoccuring presence of eyes in the story. But another thing I noticed about Tom Buchanan was his eagerness to pick at the phrase "old sport" which was such an omnipresent selection in Gatsby's diction. For so long, it had gone unquestioned, yet Tom uses it to initiate his inquisition of his wife's affair.

To add to his control of the argument, Tom maintained his composure and managed to convince Daisy of their love through past experiences. Again, time comes into play in their argument; Gatsby attempts to tell Tom that Daisy had loved him for the past five years, but his plan backfires when Daisy realizes how much more Tom had contributed to her within that timespan. Finalizing his dominance over the discussion and Daisy, Tom orders Gatsby and his wife to ride home by themselves because he is sure that he has ruined any inkling of an affair that may have continued to exist.

The Spark Fades

The Great Gatsby
F. Scott Fitzgerald
Pages 97-111

"It is invariably saddening to look through new eyes at things upond which you have expended your own powers of adjustment," (Fitzgerald, 104).

I'm glad we finally have some solid information on Jay Gatsby. I was honestly getting tired of characterizing the man solely on his interactions with others and the rumors ensuing from these others.

However, I kind of liked the story that Gatsby had told earlier better. I know this 'American dream' that led Gatsby to his current state of wealth embodies the ambitious attitude that allows us as fellow Americans to relate to the story, yet it still makes me a little disappointed. And I still can't place my finger on why Fitzgerald chose to insert this information at this point in the story even though Nick confesses that it was told much later. The only reasoning I can see behind this is that this is some turning point of the story; the information to follow is directly relevant to Gatsby and the author simply wants the audience to feel a connection towards his character before some sort of triumph or tragedy.

Another thing I found interesting in this section was the lack of enjoyment that took place at Gatsby's party. I feel like this was bigger than the actually party itself. I think the party is simply a metaphor for Gatsby and Daisy's relationship. They used to be so extravagant and entertaining when the mystery and the chase was involved, but now that Gatsby has claimed his prize, he realizes it was not all that he had hoped it to be. Therefore, the party has lost its allure. Even Nick goes as far to comment on the matter by say that "the incarnation [of Gatsby's fantasy] was complete," (Fitzgerald, 111).

A Timely Meeting

The Great GatsbyF. Scott Fitzgerald
Pages 81-96

"I think that voice held him most, with its fluctuating, feverish warmth, because it couldn't be over-dreamed - that voice was a deathless song," (Fitzgerald, 96).

At last, a reunion between two star-crossed lovers who had been lost to time and the  expectations of society.

"But it wasn't coincidence at all," Ms. Baker reminds us (Fitzgerald, 78). This had been a plan of Gatsby's ever since he lost the eye of Daisy Fay years ago. He established himself at a location where their paths would be likely to cross, yet fate never interjected its guiding hand. I now see that the point of his open invitation parties were to see if Daisy would wander in through his front door, but she failed to make it.

Gatsby had imprisoned himself in the past, obsessed over an idea that once was. He idealized his former love, but still, he remained satisfied when her reality revealed itself to him. His knocking of Nick's clock during their meeting is symbolic of this. It is a reminder that time has separated them, but they are going against it in order to try their love once more. Gatsby is shattering the distance between them, enacting his plan that he so carefully forged over the years.

They have History

The Great Gatsby
F. Scott Fitzgerald
Pages 74-80

"There are only the pursued, the pursuing, the busy, and the tired," (Fitzgerald, 79).

WHAT?!
A PAST LOVE AFFAIR?!

Discovering that Mr. Gatsby and Mrs. Buchanan had a fling in their early years definitely throws an element of excitement into the story. This explains the awkward interaction between Tom and Gatsby at lunch the other day.

I feel that this revelation came along at an appropriate time in the story, but I am having trouble trying to figure out why Fitzgerald selected Jordan as the herald of the news and not either of the parties involved. It would have been much easier for Gatsby to just confide in his new friend rather than to put Nick through this great ordeal of secrecy and stress.

In any manner, the truth is revealed and another mystery of Gatsby is unveiled. Just as the green light that he so longed for in the first chapter had seemed so mysterious, an unknown source calling to him over the water, Gatsby's past is also hidden in a haze which will presumably be cleared by characters surrounding Gatsby and not the man himself. However, now that Nick connects that the light with Daisy, things start to make more sense.

The symbolic connection between Gatsby and Daisy is very evident in this section. Hopefully, more characters establish connections through other symbols in the story because I just think it's a really cool way of creating relationships.

STUDY BREAK!

Ok, let's watch the trailer for the movie coming out next summer...

A little Frank Ocean, nice touch...



A Little Bit of Truth

The Great Gatsby
F. Scott Fitzgerald
Pages 61-74

"And with this doubt, his whole statement fell to pieces, and I wondered if there wasn't something a little sinister about him, after all," (Fitzgerald, 65).

After what seemed to be a pointless two and a half page recap of the guest list from the summer, we finally get to decode the man, the myth, and the legend: Jay Gatsby.

Or, at least I thought we did...

Well, I mean, at least we got some information into his past that helps to outline the entity that is the great Gatsby. But at the first sign of doubt from Nick, I began, as well, to doubt the story that flowed forcefully from the lips of Mr. Gatsby. The only credible item was his involvement in the war; it had been proven earlier by his recognition of Carraway and again by his medal from Montenegro.

Recalling the claim I made earlier of illegal ongoings connected to Gatsby, the meeting with Mr. Wolfsheim only seemed to reassure my assertion. Wolfsheim's tale of an acquaintance being shot down along with a shady business proposal reveal his illicit background. Adding to his resume, Gatsby tells us that he fixed the World's Series.

Also, the interaction between Tom Buchanan and Gatsby was awfully suspicious. What is Gatsby hiding from Tom? What in his past could be so shameful?

"It takes two to make an accident."

The Great Gatsby
F. Scott Fitzgerald
Pages 55-59

"Dishonesty in a woman is a thing you never blame deeply..." (Fitzgerald, 58).

At this point in the story, Nick halts his narration to clarify the chronology of the events occurring that summer. I had read the events as happening all within the same short period of time, yet they actually all took place several weeks apart. And although Nick claims that these events did not absorb him, he spent a good deal of time recording the events within the first quarter of the story. I think that these events actually will be key to the events that have yet to unfold in the upcoming portion of the novel.

Also, as Nick gets to know Jordan Baker better, her character becomes revealed to the reader. Nick claims that he is not particularly in love with the professional golfer, but he rather experiences "a sort of tender curiosity" towards something that he feels she is concealing (Fitzgerald, 57). He describes her as dishonest which is ironic because he claims to be the most honest person he knows. The irony lies within the classic cliche that opposites attract. Another seeming irony within the pair's relationship is that while Jordan is careless with her own wellbeing, she is attracted to more careful counterparts which explains her attraction to Nick.

The juxtaposition by Fitzgerald of the two quotes beginning and ending this entry show the difference between the views of honesty in men and honesty in women; it's not at woman's fault, but it is choice for man.

"Every one suspects himself of at least one of the cardinal virtues, and this is mine: I am one of the few honest people that I have ever known," (Fitzgerald, 59).

No Less Mysterious

The Great Gatsby
F. Scott Fitzgerald
Pages 47-55

"It understood you just as far as you wanted to be understood, believed in you as you would like to believe in yourself, and assured you that it had precisely the impression of you that, at your best, you hoped to convey," (Fitzgerald, 48).

Putting a face to the name, Nick finally gets the pleasure, unbeknownst at first to him, of meeting the great Jay Gatsby. Recalling memories of the war they endured together, the two struck up an instant bond. Solidifying the new friendship, Gatsby draws Nick in with a captivating smile full of "eternal reassurance," (Fitzgerald, 48).

But I feel this ivory flash might not be as friendly as it seems. Twice within this section, Gatsby is called away by a servant to receive a phone call that is simply referred to by its city of origin. Shrouded in secrecy, I think these phone calls have to do something with his business, about which nothing is known. The lack of information provided as to the reason behind these covert conversations leads me to believe that Gatsby's business may not be entirely accepted by society; he might be involved in some sort of criminal activity that provides his incredible wealth.

Even more secrets ensue when Gatsby takes Jordan aside to have a private conversation with her. Jordan refuses to tell Nick about the nature of their conversation, but instead, she invites him to come visit her at her aunt's house.

I'm a little confused about the car incident that closes out this section though. Maybe it will connect later, or it might just be thrown in to take up space. We'll see.

Welcome to the Show!

The Great Gatsby
F. Scott Fitzgerald
Pages 39-46

"...the air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and enthusiastic meetings between women who never knew each other's names," (Fitzgerald, 40).

Finally! An opportunity for Nick to meet this mysterious neighbor of his that is the source of so many rumors.

And yet, there only seems to be more rumors... A German spy! A Murderer! An Oxford alumnus!
As Jordan Baker invites Nick to follow her on a self-guided tour through the house, the two stumble upon the library of Gatsby. In the library, they encounter an inebriated man who proceeds to prove that the library contains genuine books (shocking to find real books in a library, I know). Apparently, the man, referred to as Owl Eyes, expected the whole room to be a show, even going as far to compare Gatsby to "Belasco," an allusion to American theatre.

I found it strange to read that allusion in reference to Gatsby. Unless, Gatsby's extravagance, his wealth, and his prestige is all an act, some sort of elaborate performance orchestrated by the man to hide some aspect of his character. What if Gatsby's wealth isn't completely genuine? I don't know why Fitzgerald would include this dialogue in the story other than for that reason. I guess we will see as the book progresses.

A Public Affair

The Great Gatsby
F. Scott Fitzgerald
Pages 23-38

"People disappeared, reappeared, made plans to go somewhere, and then lost each other, searched for each other, found each other a few feet away," (Fitzgerald, 37).

To begin, I'm a little confused about this field of ash which they drive through to get to New York. It might be my infamiliarity with the Empire State's geography, but I thought Nick and Tom lived on Long Island.

Another item of confusion were the giant eyes of Dr. T. J. Eckleburg that loomed over the wasteland. By the manner in which they were described, I have a feeling they are symbolic for something, but I'm unable to figure out their meaning at this point. Hopefully, they will reappear later on in the book.

The public affair of Tom Buchanan and Myrtle Wilson is shocking, not only the fact that Tom invites his mistress out in front of her husband but also in the fact that he welcomed his wife's cousin to be his company. The party seemed to make things even more strange for me. A middle-aged man only being drunk for the second time in his life. A sister who knows more about the marriages of the couple than they seem to know themselves. An awkward couple from the apartment downstairs. I'm glad that Nick felt uncomfortable and disapproved of his company; however, is this a subtle disapproval of the affair and lifestyle being lead? Nick wants to leave, but he is fascinated by the lifestyles held by his financial superiors. "I wanted to get out...but each time I tried to go I became entangled," (Fitzgerald, 35).

I think Nick will eventually intercede within the lives of the Buchanans, Gatsby, and other members of the wealthy class.

Ignorance is Bliss

The Great Gatsby
F. Scott Fitzgerald
Pages 13-21

"And I hope she'll be a fool - that's the best thing a girl can be in this world, a beautiful little fool," (Fitzgerald, 17).

As we get a glimpse at the beginning of social interactions between the characters in the story, we are introduced to Mr. and Mrs. Tom Buchanan. Although Nick and Daisy are cousins, they barely have any idea of who the other is except for what they have been told and what is rumored. But by the end of the evening, Nick (or at least the proactive reader) has discovered the unhappiness of his cousin in her marriage. Her husband is pursuing a seemingly public affair while she is imprisoned at home by the shackles of women's role in 1920 society.

At a time when the role of women in society was changing, Daisy Buchanan is caught between her own desires and those of her provincial husband. Wishing to break away from the normalcy and live life for herself, Daisy confides her struggle to her two friends. Her advice to her child further emphasizes this point by hinting that a fool who did not realize the situation in which she finds herself would be much happier than she ever would be.

This part is added into the story to set the stage for the upcoming happy reunion between Mrs. Buchanan and Gatsby which I connected after reading further ahead in the story.

Excuse Me, but What Is Your Name?

The Great Gatsby
F. Scott Fitzgerald
Pages 1-12

"'Whenever you feel like criticizing any one,' he told me, 'just remember that all the people in this world haven't had the advantages that you've had,'" (Fitzgerald, 1).

As the story opened with some background information on the narrator and the purpose of the story, I realized that we were still missing critical information: who the narrator actually was. I was unable to decipher whether I would be reading the novel through a first person point of view, a third person point of view, or even an objective point of view. It wasn't until the story actually began two pages later that I ascertained Nick Carraway would be my guide through the life of Gatsby. Only, I didn't know his name till ten more pages later. The opening quote of the book also has some foreshadowing behind it, letting the reader know that money, possessions, and experiences will come into play in the evaluation of certain characters. However, as the old cliche goes, we must not judge a book by its cover and instead wait until we can fully critique the whole of a character.

I can already tell that Fitzgerald doesn't like to spoonfeed his readers; he likes them to figure things out on their own. Some might call it ambiguity, but I like to think of it more as a challenging adventure in which I have to navigate my mind through a perilous sea of words and phrases. But then again, that might just be me wanting to make my summer work more exciting...

Seriously..?

The House of Mirth
Edith Wharton
Chapters XIII & XIV, pages 252-268

...268 pages, and it ends like this...

I honestly don't know how to feel about this. Part of me wants to be happy for the the difference that Lily made in the life of Nettie Struther and the peace that Lily now experiences as her life started to turn around. Yet, I feel like the ending could have been SO much happier. Selden with his marriage proposal and Lily with the reassurement that she could once again rise to the social status with which she was so familiar.

I have so many questions left unanswered.
What was this "word" to be shared between Lily and Selden?
Was the baby that Lily felt in her arms a foreshadowing of the life she could have with Selden?
Why had the two not professed their love beforehand?

I guess Wharton leaves these open for the reader to decipher. But at least she does give us some comfort in one of her favorite motifs throughout the story: the weather. On the morning of Lily's death, the weather was described as "mild and bright, with a promise of summer in the air" and the sun shone "joyously down Lily's street...and struck prismatic glories from the panes of her darkened window," (Wharton, 263). So maybe Lily was happy after all, and her world was at last at peace. Who knows. I guess that is why this novel is considered a great of American literature.

Love Conquers All!

The House of Mirth

Edith Wharton
Chapters XI & XII, pages 241-252

Because of my excitement, I have to exclaim something before I begin my analysis of this section. YES! FINALLY!

Lily lets Selden know how she feels! Letting go of the "old Lily," however, is nonsense because they will still end up together.

But back to what I am actually supposed to be doing...

Again, we see the symbolism of the weather come into play. As Lily leaves Rosedale, she walks along the street to "a rush of cold rain slanted into her face," (Wharton, 247). I have two theories behind the meaning of this sudden change in the weather: Lily has either reached her lowest point and is beyond the help of others or the rain acts as a moment of clarity or a smack in the face by which she realizes that Selden is the one for her. I favor the second option, but the first has basis as well.

When Lily finally reaches the Benedick, she notices that Selden's apartment is just as she had remembered it. Wharton included this recollection to illustrate that Lily feels as though Selden is the only person in her life that has not changed his attitude towards throughout the development of the story. She feels comfort in the invariability that Selden has offered to her.

Referring back to my burst of joy at the beginning of this post, Lily reaffirms that she does not want to leave Selden by burning the letters that would ultimately have harmed him. Following their conversation, Lily experienced an ironic change of heart. Just moments beforehand, she was ready to ruin Mrs. Dorset (and consequently Selden) in exchange for a marriage for money. But alas, she realizes that money cannot replace the feeling of true love, and her true love is Selden.

What Does She Want?!

The House of Mirth
Edith Wharton
Chapters IX & X, pages 221-241

At last, a reunion between Selden and Lily. Not quite the star-crossed lovers that I had hoped that they would turn out to be, but at least Selden was able to get over himself and bring himself to stop avoiding Lily. As I said earlier, and still hold to be true in the bottom of my heart, Selden and Lily will end up together whether by the fate that seems to be controlling the life of Lily Bart or by their own free choice. Although, I feel like Lily might have a plan for her future. "...but as you have always told me that the sole object of a bringing-up like mine was to teach a girl to get what she wants, why not assume that that is precisely what I am doing?" (Wharton, 228). However much Selden wants to deny that she can do what she sets her mind to, he cannot deny that he wants her to be happy, and he wants to be happy with her. If only he would have waited a little longer to listen to Lily, I'm sure Selden would have been able to express his true feelings towards her.

Their relationship keeps reminding me of songs by Adele. Maybe it's the heartbreak, the unhappiness of having to hide their feelings, or maybe it's the need to let each other go. In any manner, the song that seems to fit their situation at this time is "Turning Tables" because it is not a one-sided love affair, and the two cannot keep fighting for the affection of the other and then let it slip away.

A lot can happen in thirty pages, and I expect that Wharton will accept my challenge of a thoroughly entertaining ending!

Fate's Guiding Hand

The House of Mirth
Edith Wharton
Chapters VII & VIII, pages 201-221

"'Oh, Gerty, I wasn't meant to be good,'" (Wharton, 215).

I am starting to feel bad for Miss Lily Bart. I feel like her plight has now fallen out of her control, and she is at the mercy of fate. Up until this point, I could always find some way that Lily could have avoided a social blunder or financial point, but I find a more difficult time as she slips farther and farther off of her social pedestal. I want her to be happy again. I want to be able to live the only life that she has ever known.

However, I fail to think that this will be so. The above quote is likely a form of foreshadowing or maybe a revelation of Lily's hubris embedded by Wharton in the context of her characters' conversation. As I read further and further into the book, I think that Wharton had destined Miss Lily Bart to failure since she was a mere thought in the mind of her creator. It is sad, yes, but I have come to accept that not everyone can be happy, especially when one has passed up so many opportunities to make oneself happy. Maybe it is just too late for Lily, but I favor the explanation of the role of fate.

I might be wrong, but I'm willing to bet that the rest of the book continues to follow Lily downwards until it closes with a last glance at the place from which she had fallen.

Love over Money

The House of Mirth
Edith Wharton
Chapters V & VI, pages 187-201

Lily Bart seems to revert a little bit back to her old ways in this section by feeling below her standards by socializing with the Gormers. However, the change that I noticed the most in Lily was her reasoning behind finding a suitable husband. With some persuasion by Carry, Lily begins to reconsider marriage again. Except this time, she wishes to marry for redemption into her previous social standing and for financial stability which she desperately needs. Earlier in the story, Lily simply wanted to marry in order to firmly establish herself in the social hierarchy and to continue to live the lavish lifestyle that she so very loved. Yet, with the suggestion of Rosedale, a character that she despised only sections ago, Lily thinks again of her needs and determines that he would be a suitable candidate. She cannot marry him for the social aspect, seeing as she has fallen from her position, so she decides to take a different approach. "What if she made him marry her for love, now that he had no other reason for  marrying her?" (Wharton, 195).