//now playing.
"My reveng is of no moment to you; yet, while I allow it to be a vice, I convess that it is the devouring and only passion of my soul." p. 148
the one theme that my group has and I struggled with really finding concrete examples for was depravity/sinfulness. now that I've finished I've found all kinds of examples. yay me! first, Victor even admits that his relentless desire to kill his creation is a sin. also, he kills himself. I think that creating the creature was also a playing-God sort of action and probably sinful. also, I'm pretty sure his lack of vocality when Justine was wrongfully accused was wrong of him. obviously, Victor isn't the only one. The creation essentially goes on a murder spree there at the end. not good. I think that the creation's blackmail of Victor (make me a woman, I won't kill your loved ones) was wrong as well. so there we have it. the other two weren't too hard to find examples for, although I'm kinda bummed that Victor never created a new creature. I sorta wanted to meet her.
Thursday, April 21, 2011
Inception spoiled me.
"Walton, in continuation.
You have read this strange and terrific story, Margaret..." p. 155
I feel like I'm stuck on Inception, but I can't really forget about it while dealing with frame story. am I the only one that sorta wanted another level or frame? I'm not sure who it would continue off of... maybe Elizabeth? she seems a little dull though. possibly De Lacey... or Clerval. yeah. he'd be good. I think it'd be really interesting to see what Clerval had to say about things. I'm not sure how it would fit in though. it'd be super trippy if maybe he was reading all the letters from Walton for some reason. like, maybe he's Margaret's husband or something? I mean, it couldn't be, but that would be weeeeird! right? I'm all excited about this now. boo. such a nerd. =D
You have read this strange and terrific story, Margaret..." p. 155
I feel like I'm stuck on Inception, but I can't really forget about it while dealing with frame story. am I the only one that sorta wanted another level or frame? I'm not sure who it would continue off of... maybe Elizabeth? she seems a little dull though. possibly De Lacey... or Clerval. yeah. he'd be good. I think it'd be really interesting to see what Clerval had to say about things. I'm not sure how it would fit in though. it'd be super trippy if maybe he was reading all the letters from Walton for some reason. like, maybe he's Margaret's husband or something? I mean, it couldn't be, but that would be weeeeird! right? I'm all excited about this now. boo. such a nerd. =D
holy. batman. quityerwhining!
"For an instant I dared to shake off my chains, and look around me with a free and lofty spirit; but the iron had eaten into my flesh, and I sank again, trembling and hopeless, into my miserable self." p. 117
first of all, STOP. WHINING. I'm sick of it. I get that you're miserable, but are you really so miserable that you can't even shake it for a moment? you're in the English countryside, and you can't pretend to enjoy it?! you make me sad. so be it. (come, Patsy!). after finishing, I realize that this as a foreshadowing to Victor going bye-bye. and by "going bye-bye", I mean jumping ship. literally. he's miserable. he might have been recovering, but retelling this story to Walton just made everything gush back and he got miserable all over again. and this time he really can't shake it. poor guy.
first of all, STOP. WHINING. I'm sick of it. I get that you're miserable, but are you really so miserable that you can't even shake it for a moment? you're in the English countryside, and you can't pretend to enjoy it?! you make me sad. so be it. (come, Patsy!). after finishing, I realize that this as a foreshadowing to Victor going bye-bye. and by "going bye-bye", I mean jumping ship. literally. he's miserable. he might have been recovering, but retelling this story to Walton just made everything gush back and he got miserable all over again. and this time he really can't shake it. poor guy.
caracterización
don't need a translator for that one.
"While I was overcome by these feelings, I left the spot where I had committed the murder, and seeking a more secluded hiding-place, I entered a barn which had appeared to me to be empty." p. 103
This is the creation, immediately after killing William. I mean, he says "You shall be my first victim", but then shows remorse right after that. I'll be honest, I never thought I'd be characterizing the creation. my perception was that he would never be anything more than a flat character. NO! he's multi-dimensional. dynamic, even. he feels remorse (as many murderers do, Criminal Minds tells me), happiness, sadness, anger, frustration. HE'S A REAL BOY! =} what's even more interesting to me is that he feels guilt and also fear of being caught. (he could rip humans limb from limb, why is he afraid of police?) even MORE impressive to me is that he has the capacity to frame Justine for the crime. boggles. my. mind. really quite impressive.
"While I was overcome by these feelings, I left the spot where I had committed the murder, and seeking a more secluded hiding-place, I entered a barn which had appeared to me to be empty." p. 103
This is the creation, immediately after killing William. I mean, he says "You shall be my first victim", but then shows remorse right after that. I'll be honest, I never thought I'd be characterizing the creation. my perception was that he would never be anything more than a flat character. NO! he's multi-dimensional. dynamic, even. he feels remorse (as many murderers do, Criminal Minds tells me), happiness, sadness, anger, frustration. HE'S A REAL BOY! =} what's even more interesting to me is that he feels guilt and also fear of being caught. (he could rip humans limb from limb, why is he afraid of police?) even MORE impressive to me is that he has the capacity to frame Justine for the crime. boggles. my. mind. really quite impressive.
volverte a ver, es todo lo que quiero hacer.
"I have good dispositions; my life has been hitherto harmless and in some degree beneficial; but a fatal prejudice clouds their eyes, and where they ought to see a feeling and kind friend, they behold only a detestable monster." p. 95
This line made me sad. also, I think it's funny that the creation decides to tell one of those "so, I have this friend..." sort of stories to figure out what he should do. that's really... intelligent. I know most people blogged about this last time, but it's just now starting to hit me that this creation is really intelligent. it bothers me a lot, in a way. I understand I'm supposed to just go along with the suspended reality, but that doesn't work so well for me. the only way I can console the two is if I convince myself that his brain retained the information of the previous owner (makes it sound like a car... show me the carfax?) and the creation just had to... restore it? maybe.
This line made me sad. also, I think it's funny that the creation decides to tell one of those "so, I have this friend..." sort of stories to figure out what he should do. that's really... intelligent. I know most people blogged about this last time, but it's just now starting to hit me that this creation is really intelligent. it bothers me a lot, in a way. I understand I'm supposed to just go along with the suspended reality, but that doesn't work so well for me. the only way I can console the two is if I convince myself that his brain retained the information of the previous owner (makes it sound like a car... show me the carfax?) and the creation just had to... restore it? maybe.
Thursday, April 14, 2011
parallelism
"My affection for my guest increases every day." p. 11
firstly, I'm a little weirded out by this line. but it works to introduce what I want to talk about: Walton and Frankenstein. I mentioned in my last blog that the frame story seems silly to me, but I know it creates a sort of parallel between the two. it does initially, at least. it shows right away that the two are loners and like to whine. I get a feeling that part of their "loneliness" comes from the fact that both of them have some sort of complex. they both talk about how great their minds are almost constantly at first. Walton is so excited about his exploring and Frankenstein about his inventions. maybe they're lonely because they can't connect to anyone else properly. sorta like in Flowers for Algernon when Charlie becomes so intelligent that no one can relate to him on a level that suits him... maybe. also, Walton and Frankenstein have weird ways of expressing affection - both towards each other and to their sisters. still weirds me out. a lot.
firstly, I'm a little weirded out by this line. but it works to introduce what I want to talk about: Walton and Frankenstein. I mentioned in my last blog that the frame story seems silly to me, but I know it creates a sort of parallel between the two. it does initially, at least. it shows right away that the two are loners and like to whine. I get a feeling that part of their "loneliness" comes from the fact that both of them have some sort of complex. they both talk about how great their minds are almost constantly at first. Walton is so excited about his exploring and Frankenstein about his inventions. maybe they're lonely because they can't connect to anyone else properly. sorta like in Flowers for Algernon when Charlie becomes so intelligent that no one can relate to him on a level that suits him... maybe. also, Walton and Frankenstein have weird ways of expressing affection - both towards each other and to their sisters. still weirds me out. a lot.
it's a story within a story within a story....
are we in Inception?
"Strange and harrowing must be his story, frightful the storm which embraced the gallant vessel on its course and wrecked it - thus! ..." p. 14
yay for frame story! I'm still not convinced that the letters serve any purpose other than to create a frame story. awesome, Mary Shelly. so cool. I'm kinda nervous now about how deep this is going to go. I mean, after about two levels it's harder to kick out. right? I'm just not sure what purpose it serves yet. and there's probably more to come. great. I know that the frame serves to show parallels between Walton and Victor, but why? why not just have them in the same story in the same time period? why not have Victor tell his story all over again to Walton's "sister"? smh. I'm sure it'll all make sense eventually.
"Strange and harrowing must be his story, frightful the storm which embraced the gallant vessel on its course and wrecked it - thus! ..." p. 14
yay for frame story! I'm still not convinced that the letters serve any purpose other than to create a frame story. awesome, Mary Shelly. so cool. I'm kinda nervous now about how deep this is going to go. I mean, after about two levels it's harder to kick out. right? I'm just not sure what purpose it serves yet. and there's probably more to come. great. I know that the frame serves to show parallels between Walton and Victor, but why? why not just have them in the same story in the same time period? why not have Victor tell his story all over again to Walton's "sister"? smh. I'm sure it'll all make sense eventually.
"it's alive!"
"Beautiful! - Great God!" p. 35
short. sweet. to the point. I have a feeling that a lot of people were really shaken up by the fact that Frankenstein didn't say "It's alive!" when the creature was, well, alive. I, on the other hand, had no qualms with this. maybe it's the fact that I never really paid attention to the details surrounding the Halloween-type Frankenstein monster, but it didn't bother me a bit. it's also possible that since I've always been a miser when it comes to dressing up as someone I'm not, the whole "history" of Halloween monsters was never important to me. I've always just cared about the facts surrounding the concept. nerd. I actually think it's incredibly interesting that the media has taken so many liberties with the concept. I guess it's like literary license, but it's on a larger scale. like, media-wide... hm.
short. sweet. to the point. I have a feeling that a lot of people were really shaken up by the fact that Frankenstein didn't say "It's alive!" when the creature was, well, alive. I, on the other hand, had no qualms with this. maybe it's the fact that I never really paid attention to the details surrounding the Halloween-type Frankenstein monster, but it didn't bother me a bit. it's also possible that since I've always been a miser when it comes to dressing up as someone I'm not, the whole "history" of Halloween monsters was never important to me. I've always just cared about the facts surrounding the concept. nerd. I actually think it's incredibly interesting that the media has taken so many liberties with the concept. I guess it's like literary license, but it's on a larger scale. like, media-wide... hm.
creation as a theme...
"My mother had much desire to have a daughter, but I continued their single offspring." p. 16
one of the themes my group has is "creation". this includes invention, procreation, you name it.
my group discussed this rather at length today in class. I still can't decide if Victor's mother didn't have other children due to lack of ability or lack of effort. she does have two children later on in life. two sons when all she wanted was a daughter. but she already had a daughter. an "adopted" daughter. who really was only adopted to serve as a future spouse for Victor? there's something really weird about the way that went down, I think.
but anyway, I think that regardless of the circumstances preventing Victor's mother from procreating, the book still deals heavily in other ways with other creations... duh.
one of the themes my group has is "creation". this includes invention, procreation, you name it.
my group discussed this rather at length today in class. I still can't decide if Victor's mother didn't have other children due to lack of ability or lack of effort. she does have two children later on in life. two sons when all she wanted was a daughter. but she already had a daughter. an "adopted" daughter. who really was only adopted to serve as a future spouse for Victor? there's something really weird about the way that went down, I think.
but anyway, I think that regardless of the circumstances preventing Victor's mother from procreating, the book still deals heavily in other ways with other creations... duh.
this place about to blow-oh-oh-oh-oh-oh-oh-oh.
"I threw myself into the chaise that was to convey me away and indulged in the most melancholy reflections." p. 25
why are all of the guys in this book so whiny? they all seem to be very moody. it bothers me a lot. I don't like when people brood. I don't like "pity parties". no one wants to be invited, and anyone who is invited is just gonna be a party pooper. you know it's true. books don't change this sentiment one iota. stop. being. such. a. whiner. no one likes whiners. except maybe your cousin/sister. that reminds me of a Bo Burnham song that I won't post, but it's called Klan Kookout. yes. it's what you think it is. yes, it's awful. hence, the not posting. merely referencing. =]
why are all of the guys in this book so whiny? they all seem to be very moody. it bothers me a lot. I don't like when people brood. I don't like "pity parties". no one wants to be invited, and anyone who is invited is just gonna be a party pooper. you know it's true. books don't change this sentiment one iota. stop. being. such. a. whiner. no one likes whiners. except maybe your cousin/sister. that reminds me of a Bo Burnham song that I won't post, but it's called Klan Kookout. yes. it's what you think it is. yes, it's awful. hence, the not posting. merely referencing. =]
Friday, April 8, 2011
love ♥ =]
These are the 100 most beautiful words in the English language, apparently.
Ailurophile
A cat-lover.
Assemblage
A gathering.
Becoming
Attractive.
Beleaguer
To exhaust with attacks.
Brood
To think alone.
Bucolic
In a lovely rural setting.
Bungalow
A small, cozy cottage.
Chatoyant
Like a cat’s eye.
Comely
Attractive.
Conflate
To blend together.
Cynosure
A focal point of admiration.
Dalliance
A brief love affair.
Demesne
Dominion, territory.
Demure
Shy and reserved.
Denouement
The resolution of a mystery.
Desuetude
Disuse.
Desultory
Slow, sluggish.
Diaphanous
Filmy.
Dissemble
Deceive.
Dulcet Sweet, sugary.
Ebullience
Bubbling enthusiasm.
Effervescent
Bubbly.
Efflorescence
Flowering, blooming.
Elision
Dropping a sound or syllable in a word.
Elixir
A good potion.
Eloquence
Beauty and persuasion in speech.
Embrocation
Rubbing on a lotion.
Emollient
A softener.
Ephemeral
Short-lived.
Epiphany
A sudden revelation.
Erstwhile
At one time, for a time.
Ethereal
Gaseous, invisible but detectable.
Evanescent
Vanishing quickly, lasting a very short time.
Evocative
Suggestive.
Fetching
Pretty.
Felicity
Pleasantness.
Forbearance
Withholding response to provocation.
Fugacious
Fleeting.
Furtive
Shifty, sneaky.
Gambol
To skip or leap about joyfully.
Glamour
Beauty.
Gossamer
The finest piece of thread, a spider’s silk.
Halcyon
Happy, sunny, care-free.
Harbinger
Messenger with news of the future.
Imbrication
Overlapping and forming a regular pattern.
Imbroglio
An altercation or complicated situation.
Imbue
To infuse, instill.
Incipient
Beginning, in an early stage.
Ineffable
Unutterable, inexpressible.
Ingénue
A naïve young woman.
Inglenook
A cozy nook by the hearth.
Insouciance
Blithe nonchalance.
Inure
To become jaded.
Labyrinthine
Twisting and turning.
Lagniappe
A special kind of gift.
Lagoon
A small gulf or inlet.
Languor
Listlessness, inactivity.
Lassitude
Weariness, listlessness.
Leisure
Free time.
Lilt
To move musically or lively.
Lissome
Slender and graceful.
Lithe
Slender and flexible.
Love
Deep affection.
Mellifluous
Sweet sounding.
Moiety
One of two equal parts.
Mondegreen
A slip of the ear.
Murmurous
Murmuring.
Nemesis
An unconquerable archenemy.
Offing
The sea between the horizon and the offshore.
Onomatopoeia
A word that sounds like its meaning.
Opulent
Lush, luxuriant.
Palimpsest
A manuscript written over earlier ones.
Panacea
A solution for all problems
Panoply
A complete set.
Pastiche
An art work combining materials from various sources.
Penumbra
A half-shadow.
Petrichor
The smell of earth after rain.
Plethora
A large quantity.
Propinquity
An inclination.
Pyrrhic
Successful with heavy losses.
Quintessential
Most essential.
Ratatouille
A spicy French stew.
Ravel
To knit or unknit.
Redolent
Fragrant.
Riparian
By the bank of a stream.
Ripple
A very small wave.
Scintilla
A spark or very small thing.
Sempiternal
Eternal.
Seraglio
Rich, luxurious oriental palace or harem.
Serendipity
Finding something nice while looking for something else.
Summery
Light, delicate or warm and sunny.
Sumptuous
Lush, luxurious.
Surreptitious
Secretive, sneaky.
Susquehanna
A river in Pennsylvania.
Susurrous
Whispering, hissing.
Talisman
A good luck charm.
Tintinnabulation
Tinkling.
Umbrella
Protection from sun or rain.
Untoward
Unseemly, inappropriate.
Vestigial
In trace amounts.
Wafture
Waving.
Wherewithal
The means.
Woebegone
Sorrowful, downcast.
Ailurophile
A cat-lover.
Assemblage
A gathering.
Becoming
Attractive.
Beleaguer
To exhaust with attacks.
Brood
To think alone.
Bucolic
In a lovely rural setting.
Bungalow
A small, cozy cottage.
Chatoyant
Like a cat’s eye.
Comely
Attractive.
Conflate
To blend together.
Cynosure
A focal point of admiration.
Dalliance
A brief love affair.
Demesne
Dominion, territory.
Demure
Shy and reserved.
Denouement
The resolution of a mystery.
Desuetude
Disuse.
Desultory
Slow, sluggish.
Diaphanous
Filmy.
Dissemble
Deceive.
Dulcet Sweet, sugary.
Ebullience
Bubbling enthusiasm.
Effervescent
Bubbly.
Efflorescence
Flowering, blooming.
Elision
Dropping a sound or syllable in a word.
Elixir
A good potion.
Eloquence
Beauty and persuasion in speech.
Embrocation
Rubbing on a lotion.
Emollient
A softener.
Ephemeral
Short-lived.
Epiphany
A sudden revelation.
Erstwhile
At one time, for a time.
Ethereal
Gaseous, invisible but detectable.
Evanescent
Vanishing quickly, lasting a very short time.
Evocative
Suggestive.
Fetching
Pretty.
Felicity
Pleasantness.
Forbearance
Withholding response to provocation.
Fugacious
Fleeting.
Furtive
Shifty, sneaky.
Gambol
To skip or leap about joyfully.
Glamour
Beauty.
Gossamer
The finest piece of thread, a spider’s silk.
Halcyon
Happy, sunny, care-free.
Harbinger
Messenger with news of the future.
Imbrication
Overlapping and forming a regular pattern.
Imbroglio
An altercation or complicated situation.
Imbue
To infuse, instill.
Incipient
Beginning, in an early stage.
Ineffable
Unutterable, inexpressible.
Ingénue
A naïve young woman.
Inglenook
A cozy nook by the hearth.
Insouciance
Blithe nonchalance.
Inure
To become jaded.
Labyrinthine
Twisting and turning.
Lagniappe
A special kind of gift.
Lagoon
A small gulf or inlet.
Languor
Listlessness, inactivity.
Lassitude
Weariness, listlessness.
Leisure
Free time.
Lilt
To move musically or lively.
Lissome
Slender and graceful.
Lithe
Slender and flexible.
Love
Deep affection.
Mellifluous
Sweet sounding.
Moiety
One of two equal parts.
Mondegreen
A slip of the ear.
Murmurous
Murmuring.
Nemesis
An unconquerable archenemy.
Offing
The sea between the horizon and the offshore.
Onomatopoeia
A word that sounds like its meaning.
Opulent
Lush, luxuriant.
Palimpsest
A manuscript written over earlier ones.
Panacea
A solution for all problems
Panoply
A complete set.
Pastiche
An art work combining materials from various sources.
Penumbra
A half-shadow.
Petrichor
The smell of earth after rain.
Plethora
A large quantity.
Propinquity
An inclination.
Pyrrhic
Successful with heavy losses.
Quintessential
Most essential.
Ratatouille
A spicy French stew.
Ravel
To knit or unknit.
Redolent
Fragrant.
Riparian
By the bank of a stream.
Ripple
A very small wave.
Scintilla
A spark or very small thing.
Sempiternal
Eternal.
Seraglio
Rich, luxurious oriental palace or harem.
Serendipity
Finding something nice while looking for something else.
Summery
Light, delicate or warm and sunny.
Sumptuous
Lush, luxurious.
Surreptitious
Secretive, sneaky.
Susquehanna
A river in Pennsylvania.
Susurrous
Whispering, hissing.
Talisman
A good luck charm.
Tintinnabulation
Tinkling.
Umbrella
Protection from sun or rain.
Untoward
Unseemly, inappropriate.
Vestigial
In trace amounts.
Wafture
Waving.
Wherewithal
The means.
Woebegone
Sorrowful, downcast.
Tuesday, April 5, 2011
beeeep.
"So we beat on, boats against the current, borne back ceaselessly into the past." p. 115
anyone else bummed that Nick and Jordan never get together? I am. I sorta wanted them - ANYONE - to be happy at the end. I mean, Tom has no one. Gatsby's dead. Daisy's with Tom, but not really. Jordan's got a man, but with the way relationships go in this book, I don't see that lasting long. good thing the book ends before anything bad happens.
ANYWAY.
If this quote isn't the quote referenced in the opening line of the book, I'd rather like to think that it is anyway. please don't correct me unless it's vital to my understanding of the work as a whole. also, it fits quite nicely into the whole "I'm on a path trying to figure stuff out" theme I established in my first blog. I think it's a beautifully haunting quote. nice imagery, too.
I haven't decided if I like this novel yet or not, but I've gotta give props to Fitzgerald: it's very well written.
anyone else bummed that Nick and Jordan never get together? I am. I sorta wanted them - ANYONE - to be happy at the end. I mean, Tom has no one. Gatsby's dead. Daisy's with Tom, but not really. Jordan's got a man, but with the way relationships go in this book, I don't see that lasting long. good thing the book ends before anything bad happens.
ANYWAY.
If this quote isn't the quote referenced in the opening line of the book, I'd rather like to think that it is anyway. please don't correct me unless it's vital to my understanding of the work as a whole. also, it fits quite nicely into the whole "I'm on a path trying to figure stuff out" theme I established in my first blog. I think it's a beautifully haunting quote. nice imagery, too.
I haven't decided if I like this novel yet or not, but I've gotta give props to Fitzgerald: it's very well written.
presagio.
"I've always been glad I said that. It was the only compliment I ever gave him, because I disapproved of him from beginning to end." p. 98
I should have picked up on this right about this part of the book... Nick starts talking about "the end". he reflects more about Gatsby's life as a whole. he foreshadows Gatsby's death a mere five pages later. uh-duh. I feel a little stupid now for not noticing it, but I was still kinda worried about Myrtle dying and trying to figure out where Tom was and so on and so forth. the end of the book isn't super clear about all of that. that's probably typical. the reader doesn't need to know EXACTLY where people go. it's sorta like that object permanence thing that babies learn when they're a few months old: just because you can't see it doesn't mean it's not there. it's pretty well placed, actually. right at the coattails of the Myrtle incident. right after the big to-do between Gatsby and Tom. boo. well played, Fitzgerald.
I should have picked up on this right about this part of the book... Nick starts talking about "the end". he reflects more about Gatsby's life as a whole. he foreshadows Gatsby's death a mere five pages later. uh-duh. I feel a little stupid now for not noticing it, but I was still kinda worried about Myrtle dying and trying to figure out where Tom was and so on and so forth. the end of the book isn't super clear about all of that. that's probably typical. the reader doesn't need to know EXACTLY where people go. it's sorta like that object permanence thing that babies learn when they're a few months old: just because you can't see it doesn't mean it's not there. it's pretty well placed, actually. right at the coattails of the Myrtle incident. right after the big to-do between Gatsby and Tom. boo. well played, Fitzgerald.
grr. style.
"'Are you a college man?' he enquired suddenly." p. 109
I'm not sure why it bothers me so much that they use "enquire" instead of "inquire". It really shouldn't. It's the same exact word. same meaning. (I just checked dictionary.com to be sure - don't wanna be lookin' like a fool). They use the word a lot. I'm sure it's just a style thing. Fitzgerald also uses "realises" instead of "realizes". if it were a British novel, I'd be a little more understanding. but it's American lit... it might be to appeal more to a higher level of society in some sense. but this is supposed to represent America, no? how can that be accomplished fully if atypical spellings are used? hm?
meh. sorry. badmood. not a good time to blog. hah. yaaay, time constraints!
I'm not sure why it bothers me so much that they use "enquire" instead of "inquire". It really shouldn't. It's the same exact word. same meaning. (I just checked dictionary.com to be sure - don't wanna be lookin' like a fool). They use the word a lot. I'm sure it's just a style thing. Fitzgerald also uses "realises" instead of "realizes". if it were a British novel, I'd be a little more understanding. but it's American lit... it might be to appeal more to a higher level of society in some sense. but this is supposed to represent America, no? how can that be accomplished fully if atypical spellings are used? hm?
meh. sorry. badmood. not a good time to blog. hah. yaaay, time constraints!
theme update..
"As he left the room again she got up and went over to Gatsby and pulled his face down, kissing him on the mouth. 'You know I love you,' she murmured." p. 74
now that I've gotten a little further in the book, I've got some solidified themes. I think. essentially, Tom and Daisy aren't at all happy in their marriage. so what do they do? cheat, lie, and lie some more. exhibit A ^ "He" is Tom. Gatsby is not Tom. "She" is Daisy. again, Gatsby is not Tom. what?! right before this they all speculate that Tom is on the phone with his girl, right in front of Daisy. so, she's gotta know that he's with her, right? and he finds out for sure shortly after this that Gatsby and Daisy have a thing for one another two. BUT THEY STILL DON'T GET RID OF EACH OTHER. gaaaaaaah. drives me crazy. especially that everyone holds onto these elaborate lies that everyone else knows about... I mean really? what's the point?
this has been happening throughout the book, but I'm really sick of it now.
now that I've gotten a little further in the book, I've got some solidified themes. I think. essentially, Tom and Daisy aren't at all happy in their marriage. so what do they do? cheat, lie, and lie some more. exhibit A ^ "He" is Tom. Gatsby is not Tom. "She" is Daisy. again, Gatsby is not Tom. what?! right before this they all speculate that Tom is on the phone with his girl, right in front of Daisy. so, she's gotta know that he's with her, right? and he finds out for sure shortly after this that Gatsby and Daisy have a thing for one another two. BUT THEY STILL DON'T GET RID OF EACH OTHER. gaaaaaaah. drives me crazy. especially that everyone holds onto these elaborate lies that everyone else knows about... I mean really? what's the point?
this has been happening throughout the book, but I'm really sick of it now.
I know it has a "c" and the letters "chous" at the end..?
"Daisy looked at Tom frowning, and an indefinable expression, at once definitely unfamiliar and vaguely recognisable, as if I had only heard it described in words, passed over Gatsby's face." p. 77
Nick does this a lot... he describes things he sees, but in the absolute vaguest sense ever. even he isn't quite sure how to describe what he's seeing, so he tells the reader that. it's very unhelpful. I understand what he's talking about, so I guess it's effective, but nonetheless, it's frustrating. I want to know how things look too, not just that Nick can't put it into words because he can't recognize it himself. it reminds me of what happens to me on tests (prime example: today's Bio test). since I have a photographic memory, I can see what the answer is, but I can't read it. it's almost like the hemispheres of my brain aren't connecting. so I recognize what the answer is, but I can't translate that recognition into intelligible descriptions. maybe that's sorta what's happening here?
Nick does this a lot... he describes things he sees, but in the absolute vaguest sense ever. even he isn't quite sure how to describe what he's seeing, so he tells the reader that. it's very unhelpful. I understand what he's talking about, so I guess it's effective, but nonetheless, it's frustrating. I want to know how things look too, not just that Nick can't put it into words because he can't recognize it himself. it reminds me of what happens to me on tests (prime example: today's Bio test). since I have a photographic memory, I can see what the answer is, but I can't read it. it's almost like the hemispheres of my brain aren't connecting. so I recognize what the answer is, but I can't translate that recognition into intelligible descriptions. maybe that's sorta what's happening here?
Wednesday, March 23, 2011
here's lookin' atcha, kid.
"Let's go to Coney Island, old sport. In my car."
why not use "kid", or "bud", or just plain ol' "sport". this is my rant blog. it has no real relevance. but I don't like that Gatsby uses "old sport" at the end of nearly every sentence addressed to Nick. I'm hoping that there's some profound meaning behind it. I'm sure there's not. it reminds me of those people, usually girls, who randomly throw the word "like" in the middle of sentences. I counted during the Death/Raisin SocSem for some people. in a single comment, a few of the girls got up to 20+ "like" uses that were not necessary or proper. the "y'know"s and "I mean"s are getting bad too. I know I say "I mean" a lot though. hm... I'll work on that. but really, Gatsby? can't you give me a little bit of variety here? I'm dying. I can't stand when people call other people "sport". It really bothers me. I'm sure you can understand how "old sport" is even worse. ugh.
why not use "kid", or "bud", or just plain ol' "sport". this is my rant blog. it has no real relevance. but I don't like that Gatsby uses "old sport" at the end of nearly every sentence addressed to Nick. I'm hoping that there's some profound meaning behind it. I'm sure there's not. it reminds me of those people, usually girls, who randomly throw the word "like" in the middle of sentences. I counted during the Death/Raisin SocSem for some people. in a single comment, a few of the girls got up to 20+ "like" uses that were not necessary or proper. the "y'know"s and "I mean"s are getting bad too. I know I say "I mean" a lot though. hm... I'll work on that. but really, Gatsby? can't you give me a little bit of variety here? I'm dying. I can't stand when people call other people "sport". It really bothers me. I'm sure you can understand how "old sport" is even worse. ugh.
characterization, eh?
"He had seen me several times, and had intended to call on me long before, but a peculiar combination of circumstances had prevented it - signed Jay Gatsby"
peculiar indeed. the characterization in this book is pretty direct with all of the characters except Gatsby. generally, Nick just says what they're like. sometimes another character helps us out as well, but generally it's just Nick. in the beginning, he characterized himself straight-up and continues to do so. all of the other characters are loud, obnoxious, quiet, pretty, calm, interesting. they're all given the adjectives you learn to use in any first-year language class. La chica es bonita. Él es alto. blahblahblah. you get the point. but Gatsby is a rather strange fellow. no one knows him. so he's indirectly characterized. we know he likes (or doesn't mind) having parties. he's rather reserved. and Nick doesn't think he has much to say. he's a bit shifty. I'mma keep my eye on him.
peculiar indeed. the characterization in this book is pretty direct with all of the characters except Gatsby. generally, Nick just says what they're like. sometimes another character helps us out as well, but generally it's just Nick. in the beginning, he characterized himself straight-up and continues to do so. all of the other characters are loud, obnoxious, quiet, pretty, calm, interesting. they're all given the adjectives you learn to use in any first-year language class. La chica es bonita. Él es alto. blahblahblah. you get the point. but Gatsby is a rather strange fellow. no one knows him. so he's indirectly characterized. we know he likes (or doesn't mind) having parties. he's rather reserved. and Nick doesn't think he has much to say. he's a bit shifty. I'mma keep my eye on him.
themesie.
"However, as calmness wasn't and end in itself, I made an excuse at the first possible moment, and got to my feet."
I'm starting to see a pattern here. Nick doesn't like tension. I mean, no one does, but he ACTIVELY avoids it. (by "avoid" I of course mean "runs away from") and it's not just tension for him. he just up and leaves when he feels uncomfortable. it's a pretty common theme I've found. when Gatsby and Daisy are... sitting in silence in Nick's house, he just leaves. when Tom decks Myrtle and breaks her nose, Nick leaves. again. he doesn't seem to want to deal with anything. at all. but he doesn't really seem to have any vice. he's only been drunk twice in his life, y'know.
Nick's pretty self-conscious, I think. it's starting to get a little annoying.
I'm starting to see a pattern here. Nick doesn't like tension. I mean, no one does, but he ACTIVELY avoids it. (by "avoid" I of course mean "runs away from") and it's not just tension for him. he just up and leaves when he feels uncomfortable. it's a pretty common theme I've found. when Gatsby and Daisy are... sitting in silence in Nick's house, he just leaves. when Tom decks Myrtle and breaks her nose, Nick leaves. again. he doesn't seem to want to deal with anything. at all. but he doesn't really seem to have any vice. he's only been drunk twice in his life, y'know.
Nick's pretty self-conscious, I think. it's starting to get a little annoying.
Tuesday, March 22, 2011
protaaaaaaaaaagonist!
for some reason I wanted to type Antigone, but that's not related at all to the task at hand.
this fellow Nick is the protagonist. this surprises me some. I expected there to be some mention of the title character beyond
"Or, rather, as I didn't know Mr. Gatsby..."
but nope. Mostly Nick thinking. and talking. but, since he's the narrator as well, that's to be expected. looks like Nick's the one that's going to be going through things and introducing us to people. so anything he sees, we see. and not much else. he's calling the shots here. he's the head honcho of what the reader knows. it looks like we're going to be moving right along with what he does. could call for some bias along the road, but I'm not seeing any so far.
this fellow Nick is the protagonist. this surprises me some. I expected there to be some mention of the title character beyond
"Or, rather, as I didn't know Mr. Gatsby..."
but nope. Mostly Nick thinking. and talking. but, since he's the narrator as well, that's to be expected. looks like Nick's the one that's going to be going through things and introducing us to people. so anything he sees, we see. and not much else. he's calling the shots here. he's the head honcho of what the reader knows. it looks like we're going to be moving right along with what he does. could call for some bias along the road, but I'm not seeing any so far.
GreGat.
that's how I've decided to shorten The Great Gatsby, bytheway.
"In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since."
That's the first line of this novel. I find it particularly interesting. So did a list I stumbled upon recently naming the fifty best first lines of novels, but that's beside the point. This line is pretty simple, I think. It's not anything really profound, and he (the narrator) doesn't even tell you what his father said to him. He simply says he was once given some advice. And it stuck, since he's been mulling it over since he was "more vulnerable". This sentence sets the tone for the book and gives one of the themes too, I believe. So far, the book focuses on the one character, Nick. The story is told from his point of view. I think that this line gives the reader the indication that this book isn't about living life and having all the answers. Rather, it's the story of a journey. and how this one man reflects on his own view of the world throughout the book, trying to make sense of it all. maybe I'm jumping a little to far ahead of myself here. we'll find out shortly, I'm sure.
"In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since."
That's the first line of this novel. I find it particularly interesting. So did a list I stumbled upon recently naming the fifty best first lines of novels, but that's beside the point. This line is pretty simple, I think. It's not anything really profound, and he (the narrator) doesn't even tell you what his father said to him. He simply says he was once given some advice. And it stuck, since he's been mulling it over since he was "more vulnerable". This sentence sets the tone for the book and gives one of the themes too, I believe. So far, the book focuses on the one character, Nick. The story is told from his point of view. I think that this line gives the reader the indication that this book isn't about living life and having all the answers. Rather, it's the story of a journey. and how this one man reflects on his own view of the world throughout the book, trying to make sense of it all. maybe I'm jumping a little to far ahead of myself here. we'll find out shortly, I'm sure.
Saturday, March 5, 2011
of the books on this list I've read, most of them were introduced through school.
and I'm reading the rest of them eventually...
50 Banned Books That Everyone Should Read
By Britney Wilkins
As long as there have been books, there have been people opposed to what is said in some of those books. Authors who challenge the accepted norms in their literature are often the target of angry people who do not understand or appreciate their literature. The following books are excellent examples of great literature that has become banned or challenged in an attempt to shield the public from what some see as inappropriate.
Protect the Children
These books have all been at the heart of controversy over their appropriateness for children and youth to read.
Catcher in the Rye by JD Salinger.
Frequently a target of censorship, this classic coming-of-age story of a teenage boy in New York is often banned due to the language and sexuality–particularly a scene with a prostitute.
The Adventures of Huckleberry Finn by Mark Twain.
Offensive language, in particular, one very racially-charged word, is the usual reason given for banning this book, which has been controversial since it was published in 1884. Twain’s famous story highlights the friendship between a white boy and a black man in a book that attempted to challenge the racism Twain saw around him.
Forever by Judy Blume.
Blume is frequently the target of censorship as many of her books deal with teen issues revolving around becoming a sexual being. Forever documents a high school girl’s loss of virginity and delves into the emotional aspects of her choice.
The Golden Compass by Philip Pullman.
This fantasy novel says much about friendship and loyalty, but it also says plenty about not following a religion blindly. Many have seen the book as anti-religion and have banned the book.
Lord of the Flies by William Golding.
Most who oppose this book claim the violence, language, and the implication that man is little more than an animal as the reasons. The book depicts a microcosm of society played out on an island populated by young boys stranded there and trying to survive. The struggle between good and evil and the exploration of human nature can force readers to examine themselves in ways that may not feel comfortable.
The Harry Potter series by JK Rowling.
Some parents object to the magic and wizardry that is at the heart of the Harry Potter books. Because of their objections, many schools and libraries have banned these books.
Bridge to Terabithia by Katherine Paterson.
A powerful book that explores friendship, life, and death, this book is often banned due to what some feel is offensive language and scenes of witchcraft which some believe promotes disobeying authority as well as anti-religious sentiments. Oddly, the theme of death, which is a major element in the novel, is also used as a reason to ban this book.
James and the Giant Peach by Roald Dahl.
This book depicts a child who lives under the oppression of mean caretakers and relies on his creativity and an alternate world in order to survive. Those opposed to the book dislike the violence, language, and disobedience towards adults.
And Tango Makes Three by Peter Parnell and Justin Richardson.
This children’s story tells of two male penguins at a zoo who care for an egg together. Despite the reality that male penguins bond together to care for their eggs in nature and that the two characters in the book are based on actual penguins from the Central Park Zoo, the idea of two males creating a family has forced many to ban the book due to reasons of homosexuality and anti-family issues.
A Wrinkle in Time by Madeleine L’Engle.
The bonds of family and friendship are at the heart of this novel, but it also highlights the battle of good and evil and brings in supernatural spirits, therefore making it a target for those worried about the religious implications they feel the novel makes.
The Chocolate War by Robert Cormier.
Selling chocolates as a fundraiser at school not only sets off fictional turmoil in this book, but it also prompts parents to challenge the book. Reasons given include language, violence, resisting authority, and sexuality.
The Giver by Lois Lowery.
The award-winning book that depicts a society driven to maintain an amazing amount of control over its members, including euthanasia and suicide. Some parents have reacted strongly to these themes in the book and have taken the book as an endorsement for killing.
Religion and Politics
Banned by governments, taken off shelves at libraries, and removed from schools, these books have been contested because of the way they portray religion or politics.
The Satanic Verses by Salman Rushdie.
This book of magical realism describes a battle between God and the devil through the depiction of two men who go through fantastical journeys. This book was so reviled by several governments and religious leaders in Asia and the Middle East that a fatwa was issued against Rushdie, who had to live in hiding for many years in order to avoid being killed.
A Prayer for Owen Meany by John Irving.
Irving’s book is a powerful one that highlights the loyalty and bonds of friendship and family in a poignant and humorous manner. Some feel that the stance Irving takes on religion and opposition to US in Vietnam are reason enough to ban this incredible book.
The Grapes of Wrath by John Steinbeck.
When this book was originally banned in California for obscenity. However, there is evidence that shows the censorship was lead by wealthy landowners who did not want their treatment of their workers to become highlighted from the very realistic accounts in Steinbeck’s novel.
Uncle Tom’s Cabin by Harriett Beecher Stowe.
When this book was published in1851, it was criticized by slavery supporters and described as a false depiction of slavery. The importance and relevance of this novel has survived the censorship it has experienced to allow current generations to learn from their ancestors’ mistakes.
The Lorax by Dr. Seuss.
On the surface this book seems it should be included in the Protect the Children section, but the reason this Dr. Seuss book is banned has more to do with adult issues. The book is an allegorical story describing the effects of poor stewardship on the Earth. Those opposed to the book, specifically some in California, feel it shows an unfair portrayal of those in the logging industry.
The Da Vinci Code by Dan Brown.
This popular thriller is a work of fiction, but that doesn’t mean any less to those opposed to it. Catholic leaders have banned The Da Vinci Code for what it sees as its anti-Christian sentiment and for the portrayal of Christ in a physical relationship with Mary Magdalene–even having children together.
1984 by George Orwell.
Perhaps one of the most famous dystopian novels written, 1984 was published in the early part of the 20th century with a warning to society that has become eerily true. The book has been banned in the past due to pro-communist sentiment and sexuality.
Animal Farm by George Orwell.
This satirical allegory was initially banned in the Soviet Union because of its anti-Stalinism, but has also been challenged in America by parents fearful that their children will be exposed to the communist sentiment expressed in the introduction and the text.
Gulliver’s Travels by Jonathan Swift.
Underlying themes in this famous work include political corruption, anti-war sentiments, and the injustices of colonization. It’s no wonder this book has been banned in several countries and Swift had to publish it anonymously.
Candide by Voltaire.
Politics, war, colonialism, and religion are all sharply skewered with the satire in Candide. Since it’s publication in 1759 through the 20th century, this book was banned by several countries.
Sex
Perhaps the most popular reason a book is banned or challenged, the following books all portray sexuality in a way that has made some uncomfortable.
Lady Chatterley’s Lover by DH Lawrence.
Lawrence’s book tells the story of an adulterous love affair and includes explicit sexual language. It was banned in the UK and Lawrence eventually published in Italy, where the first edition sold out immediately.
Tropic of Cancer by Henry Miller.
Miller’s novel was banned in Great Britain and the US due to the sexuality described in the book. Miller eventually had his autobiographical account of living in Paris published in France.
Fanny Hill by John Cleland.
Considered the first erotic novel published in English, Fanny Hill describes the sexual exploits of a woman who begins with selling her virginity and eventually ends up a prostitute by trade. Besides the typical sexuality described in the book, there are also instances of homosexuality (both with men and women), masturbation, and sadomasochism.
Leaves of Grass by Walt Whitman.
Whitman published several versions of this book filled with his poetry that often celebrates sexuality, both homosexual and heterosexual. From the late 1800’s to the present day, these poems have faced challenges to be read.
The Great Gatsby by F Scott Fitzgerald.
New wealth, old relationships, and a society trying to find itself are at the center of this novel. Opponents of this work cite sexual references and profanity in the book.
Brave New World by Aldous Huxley.
Huxley’s dystopian view of society depicts adults dulling their senses with pacifying drugs and casual sex. What Huxley uses as a tool to illustrate what he felt was wrong with society is exactly what those opposed to the book latch on to when challenging it.
The Kite Runner by Khaled Hosseini.
Hosseini’s beautiful book of friendship and loyalty examines the life of two boys in Afghanistan who come from two widely differing classes. Besides the Afghanistan government’s upset over the content of the book, others around the world have challenged the book due to claims of offensive language and a sexually explicit scene in which a young boy is raped.
Flowers for Algernon by Daniel Keyes.
This touching story of Charlie, a mentally challenged young man who participates in a scientific experiment to raise his intelligence, portrays the awakening both intellectually and emotionally of the man. A part of this awakening includes exploration of his sexuality, which has prompted many to want the book banned.
The Awakening by Kate Chopin.
Chopin’s short novel tells the tale of a married woman who discovers herself and explores her newfound freedom through bucking societal expectations, having an adulterous affair, and eventually opting for suicide as a way to preserve her freedom and not become a slave to a life she detested. Opponents object to the sexuality.
Madame Bovary by Gustave Flaubert.
Trapped in a loveless and unfulfilling marriage, Madame Bovary engages in adulterous affairs in an attempt to find happiness. The sexuality in the book prompted many countries to ban the book on the basis of its being immoral.
Rabbit, Run by John Updike.
The main character, 20-something Rabbit, runs to escape the constraints of family life and becomes involved with a prostitute, an ex-girlfriend, and others as he deals with the issues surrounding his marriage. A direct result of the oppressive social atmosphere of the 1950’s, Rabbit, Run includes many sexual depictions that offended quite a few people.
Anne Frank: Diary of a Young Girl by Anne Frank.
This classic autobiography is taught in almost every school in America, but that doesn’t mean it hasn’t faced its challenges. Parents have protested against this book as being too sexually charged, pornographic, and even claiming it was too depressing to be taught.
Lolita by Vladmir Nabokov.
First published by a pornographic press in France, Nabokov explores the life of Humbert Humbert, a pedophile who runs away with the 12 year-old daughter of his landlady. The book was banned from many countries and still experiences challenges today.
Race and Gender Issues
Racism or the treatment of women are the driving forces behind having these books removed from the public eye.
To Kill a Mockingbird by Harper Lee.
Racism, language, and a rape scene are the usual culprits when banning this book. In reality, Lee was highlighting the rampant racism of her time in this much beloved book in an attempt to change the wrongs she saw in society.
Of Mice and Men by John Steinbeck.
Steinbeck’s portrayal of an unusual friendship between two men, one of whom is developmentally challenged, has prompted many to oppose the book due to the language, social and racial implications, and violence in the book.
The Color Purple by Alice Walker.
Some of the reasons this book is challenged include the violence, profanity, and sexuality in the book, including a rape scene, but most importantly are the race relations that Walker depict. Racism is difficult to face for many and the reaction to ban literature that depicts it is a strong one.
I Know Why the Caged Bird Sings by Maya Angelou.
Sexual content, racism, offensive language, violence are the most popular reasons this book is challenged and continues to be today. Angelou’s autobiographical book is both shocking and beautiful as she recounts the experiences of her early life as she endured racism, abuse, and other challenges she eventually overcame.
Little Women by Louisa May Alcott.
Perhaps one of the most surprising books on banned book lists, Little Women is a very wholesome depiction of a family of four sisters who struggle in poverty but are rich in love and familial ties. The reason the book is challenged may be based on what some view as punishment of the one character who has a strong feminist approach by her marriage to a boring and much older man.
Catch-22 by Joseph Heller.
This anti-war satire is surprisingly not challenged due to that theme, but because of the depiction of women in the novel. The word "whore" is used frequently and there have been claims that the book promotes misogyny.
Multiple Reasons
Sometimes a book is so controversial or so powerfully written that it hits people on several different levels. These books have been banned for many different reasons, usually including profanity, violence, and sexuality.
Fahrenheit 451 by Ray Bradbury.
Perhaps the most ironic banned book situation, Fahrenheit 451 deals with the issue of censorship in a dystopian society that sends firefighters out to burn down houses discovered to have books inside. Those opposed to this book claim various reasons for banning it including profanity, portrayal of smoking and drinking, and anti-religious and anti-establishment sentiments.
Native Son by Richard Wright.
Violence, sex, and profanity are the reasons this book is frequently banned. The hard depiction of life in the novel highlights the hopelessness and racism suffered by one man and illustrates what happens to a man caught in a society that marginalizes him.
Beloved by Toni Morrison.
Morrison’s book about an escaped slave who rears her children in a world of fright and lack of freedom includes instances of violence and sexual abuse. On the surface, the book may appear to contain gratuitous scenes, Morrison ties everything together in a cautionary reminder for society to heed the mistakes of the past.
As I Lay Dying by William Faulkner.
This masterpiece of American literature explores the physical and mental journey of those oppressed by a life of poverty. The reasons many feel the need to ban this book include the references Faulkner makes to masturbation, abortion, and questioning the existence of God as well as profanity.
One Flew Over the Cuckoo’s Nest by Ken Kessey.
Telling the story of a group of mentally ill patients in an oppressive hospital, this story explores what happens when someone stands up to that oppression in order to create a more equanimous situation, moral choice everyone must face, and forming friendships despite hardship. Those opposed to Kessey’s novel claim it glorifies criminal activity, is "garbage," includes bizarre torture, bad language, bestiality, and promotes secular humanism.
The Handmaid’s Tale by Margaret Atwood.
This dystopian story tells of a society run by men that remove all freedom from women and class them according to what purpose they can serve for the men. The story is told from the perspective of a handmaiden, or a women who is used solely for providing babies to wealthy couples. Those opposed to the book claim it is anti-Christian and pornographic.
In Cold Blood by Truman Capote.
This true story details the violent murder of an entire family by two criminals in search of money that they were wrongly informed existed at the family’s farmhouse. This book is considered to be the first true crime book, and upon its publication, many were appalled by the violence depicted in the book for what seemed no good reason.
Slaughterhouse Five by Kurt Vonnegut.
Vonnegut’s book about a time-traveling prisoner of war who has no control of where he will end up next has faced challenges against what opponents feel is unnecessary sex, violence, language, anti-religion, torture, ethnic spurs, and misogyny.
East of Eden by John Steinbeck.
The battle of good and evil in humanity is the major theme in this powerful novel that parallels the book of Genesis in the Bible. The book has been challenged as an obscenity that is ungodly.
50 Banned Books That Everyone Should Read
By Britney Wilkins
As long as there have been books, there have been people opposed to what is said in some of those books. Authors who challenge the accepted norms in their literature are often the target of angry people who do not understand or appreciate their literature. The following books are excellent examples of great literature that has become banned or challenged in an attempt to shield the public from what some see as inappropriate.
Protect the Children
These books have all been at the heart of controversy over their appropriateness for children and youth to read.
Catcher in the Rye by JD Salinger.
Frequently a target of censorship, this classic coming-of-age story of a teenage boy in New York is often banned due to the language and sexuality–particularly a scene with a prostitute.
The Adventures of Huckleberry Finn by Mark Twain.
Offensive language, in particular, one very racially-charged word, is the usual reason given for banning this book, which has been controversial since it was published in 1884. Twain’s famous story highlights the friendship between a white boy and a black man in a book that attempted to challenge the racism Twain saw around him.
Forever by Judy Blume.
Blume is frequently the target of censorship as many of her books deal with teen issues revolving around becoming a sexual being. Forever documents a high school girl’s loss of virginity and delves into the emotional aspects of her choice.
The Golden Compass by Philip Pullman.
This fantasy novel says much about friendship and loyalty, but it also says plenty about not following a religion blindly. Many have seen the book as anti-religion and have banned the book.
Lord of the Flies by William Golding.
Most who oppose this book claim the violence, language, and the implication that man is little more than an animal as the reasons. The book depicts a microcosm of society played out on an island populated by young boys stranded there and trying to survive. The struggle between good and evil and the exploration of human nature can force readers to examine themselves in ways that may not feel comfortable.
The Harry Potter series by JK Rowling.
Some parents object to the magic and wizardry that is at the heart of the Harry Potter books. Because of their objections, many schools and libraries have banned these books.
Bridge to Terabithia by Katherine Paterson.
A powerful book that explores friendship, life, and death, this book is often banned due to what some feel is offensive language and scenes of witchcraft which some believe promotes disobeying authority as well as anti-religious sentiments. Oddly, the theme of death, which is a major element in the novel, is also used as a reason to ban this book.
James and the Giant Peach by Roald Dahl.
This book depicts a child who lives under the oppression of mean caretakers and relies on his creativity and an alternate world in order to survive. Those opposed to the book dislike the violence, language, and disobedience towards adults.
And Tango Makes Three by Peter Parnell and Justin Richardson.
This children’s story tells of two male penguins at a zoo who care for an egg together. Despite the reality that male penguins bond together to care for their eggs in nature and that the two characters in the book are based on actual penguins from the Central Park Zoo, the idea of two males creating a family has forced many to ban the book due to reasons of homosexuality and anti-family issues.
A Wrinkle in Time by Madeleine L’Engle.
The bonds of family and friendship are at the heart of this novel, but it also highlights the battle of good and evil and brings in supernatural spirits, therefore making it a target for those worried about the religious implications they feel the novel makes.
The Chocolate War by Robert Cormier.
Selling chocolates as a fundraiser at school not only sets off fictional turmoil in this book, but it also prompts parents to challenge the book. Reasons given include language, violence, resisting authority, and sexuality.
The Giver by Lois Lowery.
The award-winning book that depicts a society driven to maintain an amazing amount of control over its members, including euthanasia and suicide. Some parents have reacted strongly to these themes in the book and have taken the book as an endorsement for killing.
Religion and Politics
Banned by governments, taken off shelves at libraries, and removed from schools, these books have been contested because of the way they portray religion or politics.
The Satanic Verses by Salman Rushdie.
This book of magical realism describes a battle between God and the devil through the depiction of two men who go through fantastical journeys. This book was so reviled by several governments and religious leaders in Asia and the Middle East that a fatwa was issued against Rushdie, who had to live in hiding for many years in order to avoid being killed.
A Prayer for Owen Meany by John Irving.
Irving’s book is a powerful one that highlights the loyalty and bonds of friendship and family in a poignant and humorous manner. Some feel that the stance Irving takes on religion and opposition to US in Vietnam are reason enough to ban this incredible book.
The Grapes of Wrath by John Steinbeck.
When this book was originally banned in California for obscenity. However, there is evidence that shows the censorship was lead by wealthy landowners who did not want their treatment of their workers to become highlighted from the very realistic accounts in Steinbeck’s novel.
Uncle Tom’s Cabin by Harriett Beecher Stowe.
When this book was published in1851, it was criticized by slavery supporters and described as a false depiction of slavery. The importance and relevance of this novel has survived the censorship it has experienced to allow current generations to learn from their ancestors’ mistakes.
The Lorax by Dr. Seuss.
On the surface this book seems it should be included in the Protect the Children section, but the reason this Dr. Seuss book is banned has more to do with adult issues. The book is an allegorical story describing the effects of poor stewardship on the Earth. Those opposed to the book, specifically some in California, feel it shows an unfair portrayal of those in the logging industry.
The Da Vinci Code by Dan Brown.
This popular thriller is a work of fiction, but that doesn’t mean any less to those opposed to it. Catholic leaders have banned The Da Vinci Code for what it sees as its anti-Christian sentiment and for the portrayal of Christ in a physical relationship with Mary Magdalene–even having children together.
1984 by George Orwell.
Perhaps one of the most famous dystopian novels written, 1984 was published in the early part of the 20th century with a warning to society that has become eerily true. The book has been banned in the past due to pro-communist sentiment and sexuality.
Animal Farm by George Orwell.
This satirical allegory was initially banned in the Soviet Union because of its anti-Stalinism, but has also been challenged in America by parents fearful that their children will be exposed to the communist sentiment expressed in the introduction and the text.
Gulliver’s Travels by Jonathan Swift.
Underlying themes in this famous work include political corruption, anti-war sentiments, and the injustices of colonization. It’s no wonder this book has been banned in several countries and Swift had to publish it anonymously.
Candide by Voltaire.
Politics, war, colonialism, and religion are all sharply skewered with the satire in Candide. Since it’s publication in 1759 through the 20th century, this book was banned by several countries.
Sex
Perhaps the most popular reason a book is banned or challenged, the following books all portray sexuality in a way that has made some uncomfortable.
Lady Chatterley’s Lover by DH Lawrence.
Lawrence’s book tells the story of an adulterous love affair and includes explicit sexual language. It was banned in the UK and Lawrence eventually published in Italy, where the first edition sold out immediately.
Tropic of Cancer by Henry Miller.
Miller’s novel was banned in Great Britain and the US due to the sexuality described in the book. Miller eventually had his autobiographical account of living in Paris published in France.
Fanny Hill by John Cleland.
Considered the first erotic novel published in English, Fanny Hill describes the sexual exploits of a woman who begins with selling her virginity and eventually ends up a prostitute by trade. Besides the typical sexuality described in the book, there are also instances of homosexuality (both with men and women), masturbation, and sadomasochism.
Leaves of Grass by Walt Whitman.
Whitman published several versions of this book filled with his poetry that often celebrates sexuality, both homosexual and heterosexual. From the late 1800’s to the present day, these poems have faced challenges to be read.
The Great Gatsby by F Scott Fitzgerald.
New wealth, old relationships, and a society trying to find itself are at the center of this novel. Opponents of this work cite sexual references and profanity in the book.
Brave New World by Aldous Huxley.
Huxley’s dystopian view of society depicts adults dulling their senses with pacifying drugs and casual sex. What Huxley uses as a tool to illustrate what he felt was wrong with society is exactly what those opposed to the book latch on to when challenging it.
The Kite Runner by Khaled Hosseini.
Hosseini’s beautiful book of friendship and loyalty examines the life of two boys in Afghanistan who come from two widely differing classes. Besides the Afghanistan government’s upset over the content of the book, others around the world have challenged the book due to claims of offensive language and a sexually explicit scene in which a young boy is raped.
Flowers for Algernon by Daniel Keyes.
This touching story of Charlie, a mentally challenged young man who participates in a scientific experiment to raise his intelligence, portrays the awakening both intellectually and emotionally of the man. A part of this awakening includes exploration of his sexuality, which has prompted many to want the book banned.
The Awakening by Kate Chopin.
Chopin’s short novel tells the tale of a married woman who discovers herself and explores her newfound freedom through bucking societal expectations, having an adulterous affair, and eventually opting for suicide as a way to preserve her freedom and not become a slave to a life she detested. Opponents object to the sexuality.
Madame Bovary by Gustave Flaubert.
Trapped in a loveless and unfulfilling marriage, Madame Bovary engages in adulterous affairs in an attempt to find happiness. The sexuality in the book prompted many countries to ban the book on the basis of its being immoral.
Rabbit, Run by John Updike.
The main character, 20-something Rabbit, runs to escape the constraints of family life and becomes involved with a prostitute, an ex-girlfriend, and others as he deals with the issues surrounding his marriage. A direct result of the oppressive social atmosphere of the 1950’s, Rabbit, Run includes many sexual depictions that offended quite a few people.
Anne Frank: Diary of a Young Girl by Anne Frank.
This classic autobiography is taught in almost every school in America, but that doesn’t mean it hasn’t faced its challenges. Parents have protested against this book as being too sexually charged, pornographic, and even claiming it was too depressing to be taught.
Lolita by Vladmir Nabokov.
First published by a pornographic press in France, Nabokov explores the life of Humbert Humbert, a pedophile who runs away with the 12 year-old daughter of his landlady. The book was banned from many countries and still experiences challenges today.
Race and Gender Issues
Racism or the treatment of women are the driving forces behind having these books removed from the public eye.
To Kill a Mockingbird by Harper Lee.
Racism, language, and a rape scene are the usual culprits when banning this book. In reality, Lee was highlighting the rampant racism of her time in this much beloved book in an attempt to change the wrongs she saw in society.
Of Mice and Men by John Steinbeck.
Steinbeck’s portrayal of an unusual friendship between two men, one of whom is developmentally challenged, has prompted many to oppose the book due to the language, social and racial implications, and violence in the book.
The Color Purple by Alice Walker.
Some of the reasons this book is challenged include the violence, profanity, and sexuality in the book, including a rape scene, but most importantly are the race relations that Walker depict. Racism is difficult to face for many and the reaction to ban literature that depicts it is a strong one.
I Know Why the Caged Bird Sings by Maya Angelou.
Sexual content, racism, offensive language, violence are the most popular reasons this book is challenged and continues to be today. Angelou’s autobiographical book is both shocking and beautiful as she recounts the experiences of her early life as she endured racism, abuse, and other challenges she eventually overcame.
Little Women by Louisa May Alcott.
Perhaps one of the most surprising books on banned book lists, Little Women is a very wholesome depiction of a family of four sisters who struggle in poverty but are rich in love and familial ties. The reason the book is challenged may be based on what some view as punishment of the one character who has a strong feminist approach by her marriage to a boring and much older man.
Catch-22 by Joseph Heller.
This anti-war satire is surprisingly not challenged due to that theme, but because of the depiction of women in the novel. The word "whore" is used frequently and there have been claims that the book promotes misogyny.
Multiple Reasons
Sometimes a book is so controversial or so powerfully written that it hits people on several different levels. These books have been banned for many different reasons, usually including profanity, violence, and sexuality.
Fahrenheit 451 by Ray Bradbury.
Perhaps the most ironic banned book situation, Fahrenheit 451 deals with the issue of censorship in a dystopian society that sends firefighters out to burn down houses discovered to have books inside. Those opposed to this book claim various reasons for banning it including profanity, portrayal of smoking and drinking, and anti-religious and anti-establishment sentiments.
Native Son by Richard Wright.
Violence, sex, and profanity are the reasons this book is frequently banned. The hard depiction of life in the novel highlights the hopelessness and racism suffered by one man and illustrates what happens to a man caught in a society that marginalizes him.
Beloved by Toni Morrison.
Morrison’s book about an escaped slave who rears her children in a world of fright and lack of freedom includes instances of violence and sexual abuse. On the surface, the book may appear to contain gratuitous scenes, Morrison ties everything together in a cautionary reminder for society to heed the mistakes of the past.
As I Lay Dying by William Faulkner.
This masterpiece of American literature explores the physical and mental journey of those oppressed by a life of poverty. The reasons many feel the need to ban this book include the references Faulkner makes to masturbation, abortion, and questioning the existence of God as well as profanity.
One Flew Over the Cuckoo’s Nest by Ken Kessey.
Telling the story of a group of mentally ill patients in an oppressive hospital, this story explores what happens when someone stands up to that oppression in order to create a more equanimous situation, moral choice everyone must face, and forming friendships despite hardship. Those opposed to Kessey’s novel claim it glorifies criminal activity, is "garbage," includes bizarre torture, bad language, bestiality, and promotes secular humanism.
The Handmaid’s Tale by Margaret Atwood.
This dystopian story tells of a society run by men that remove all freedom from women and class them according to what purpose they can serve for the men. The story is told from the perspective of a handmaiden, or a women who is used solely for providing babies to wealthy couples. Those opposed to the book claim it is anti-Christian and pornographic.
In Cold Blood by Truman Capote.
This true story details the violent murder of an entire family by two criminals in search of money that they were wrongly informed existed at the family’s farmhouse. This book is considered to be the first true crime book, and upon its publication, many were appalled by the violence depicted in the book for what seemed no good reason.
Slaughterhouse Five by Kurt Vonnegut.
Vonnegut’s book about a time-traveling prisoner of war who has no control of where he will end up next has faced challenges against what opponents feel is unnecessary sex, violence, language, anti-religion, torture, ethnic spurs, and misogyny.
East of Eden by John Steinbeck.
The battle of good and evil in humanity is the major theme in this powerful novel that parallels the book of Genesis in the Bible. The book has been challenged as an obscenity that is ungodly.
Monday, February 28, 2011
were you just singing a TLC song?
I'm pretty sure you were.
AAAANYWAY.
The familial relationship here really bothers me. It's not so much that the family doesn't get along. that I understand (to an extent). it's just that somehow Biff is the one who is at fault here. and I don't get that at all. I think even his name makes him automatically the "black sheep" somehow. I mean, his brother's name is Happy! I think "Sunshine" and "Rainbow" are the only two names that are more positive than that. so right off the bat, Biff gets the short end of the stick. plus, he failed algebra and caught dad cheating when he tried to tell him. that's a pretty rough life right there. and things never really got better for him. bummer. =/ what really bothers me is when Willy gets excited about Biff's potential job, but then yells at people for "interrupting" and then suddenly turns sour on everyone. I get that he's got issues. but that just really bothers me. It's just irrational. and I don't understand that, I guess...
AAAANYWAY.
The familial relationship here really bothers me. It's not so much that the family doesn't get along. that I understand (to an extent). it's just that somehow Biff is the one who is at fault here. and I don't get that at all. I think even his name makes him automatically the "black sheep" somehow. I mean, his brother's name is Happy! I think "Sunshine" and "Rainbow" are the only two names that are more positive than that. so right off the bat, Biff gets the short end of the stick. plus, he failed algebra and caught dad cheating when he tried to tell him. that's a pretty rough life right there. and things never really got better for him. bummer. =/ what really bothers me is when Willy gets excited about Biff's potential job, but then yells at people for "interrupting" and then suddenly turns sour on everyone. I get that he's got issues. but that just really bothers me. It's just irrational. and I don't understand that, I guess...
I'm anxiously awaiting the start of House
blogs are a good filler, right?
so now, to analyze protagonists, antagonists, foils, ect. yay!
I'm thinking that Willy and Biff are definitely foils. I mean, they bicker all the time. no wait, they're cool and Willy is supporti- oh, wait, nope. they're arguing again. I can't really tell who THE protagonist is... I mean, it's about Willy. and Biff plays a big role in Willy's actions, but Linda is ALWAYS there... if I had to pick one, it'd be Willy. Biff is definitely an antagonist, but whatever mental issue Willy has serves as an antagonist of its own. Happy kinda mellows things out (imagine that!). The rest of the characters just kinda float in and out (literally for some, I think [Ben?]). I think Linda and Happy serve as foils for Willy and Biff, respectively. like I said, I'm still pretty confused by the whole thing.
so now, to analyze protagonists, antagonists, foils, ect. yay!
I'm thinking that Willy and Biff are definitely foils. I mean, they bicker all the time. no wait, they're cool and Willy is supporti- oh, wait, nope. they're arguing again. I can't really tell who THE protagonist is... I mean, it's about Willy. and Biff plays a big role in Willy's actions, but Linda is ALWAYS there... if I had to pick one, it'd be Willy. Biff is definitely an antagonist, but whatever mental issue Willy has serves as an antagonist of its own. Happy kinda mellows things out (imagine that!). The rest of the characters just kinda float in and out (literally for some, I think [Ben?]). I think Linda and Happy serve as foils for Willy and Biff, respectively. like I said, I'm still pretty confused by the whole thing.
why are all our plays about crazy people?
I mean really, what's the deal with that?
I'm sorta sick of it, Costello. hahah
I've read (and re-read) Death of a Salesman, and I'm still not entirely sure what's going on. I mean, is Willy entirely crazy? or is some of this actually happening? I can't tell. it's a lot like the Glass Menagerie in that sense. You can never really tell what's happening because it's so... scattered? is that the word I'm looking for? I guess so. In the Glass Menagerie, nothing was reliable because of Tom's obvious bias, but in this, the unreliability comes with the fact that it's so unclear as to what is actually happening. of course, that's the charm of the whole thing, but it's still pretty weird. endearing, and touching, but also really weird.
I'm sorta sick of it, Costello. hahah
I've read (and re-read) Death of a Salesman, and I'm still not entirely sure what's going on. I mean, is Willy entirely crazy? or is some of this actually happening? I can't tell. it's a lot like the Glass Menagerie in that sense. You can never really tell what's happening because it's so... scattered? is that the word I'm looking for? I guess so. In the Glass Menagerie, nothing was reliable because of Tom's obvious bias, but in this, the unreliability comes with the fact that it's so unclear as to what is actually happening. of course, that's the charm of the whole thing, but it's still pretty weird. endearing, and touching, but also really weird.
Tuesday, February 15, 2011
poor Jim...
don'tcha just feel terrible for the guy?
I mean, this whole dinner scene just seems like something you'd find in a terrible Adam Sandler (that's redundant, I know) movie.
maybe Ben Stiller a la "Meet The Parents"? The guy shows up, and he's suuuper nice, pleasant, attractive - according to Laura -, and generally just a stand up guy, it seems. but then the girl he's come to meet won't even look at him. won't talk to him. becomes "sick" before dinner even starts. so you're just kinda stuck hanging out with a guy that you like, but aren't great friends with or anything.
oh, and did I mention her mom is hitting on you?
yeeeeeeeah.
but what a trooper, right? I mean he puts up with it all night. and doesn't burn the house down or anything...
in fact, I like him. A lot. that whole scene with Jim and Laura together is just so cute! even though they can't be together. it was cute.
I still don't like Amanda.
I mean, this whole dinner scene just seems like something you'd find in a terrible Adam Sandler (that's redundant, I know) movie.
maybe Ben Stiller a la "Meet The Parents"? The guy shows up, and he's suuuper nice, pleasant, attractive - according to Laura -, and generally just a stand up guy, it seems. but then the girl he's come to meet won't even look at him. won't talk to him. becomes "sick" before dinner even starts. so you're just kinda stuck hanging out with a guy that you like, but aren't great friends with or anything.
oh, and did I mention her mom is hitting on you?
yeeeeeeeah.
but what a trooper, right? I mean he puts up with it all night. and doesn't burn the house down or anything...
in fact, I like him. A lot. that whole scene with Jim and Laura together is just so cute! even though they can't be together. it was cute.
I still don't like Amanda.
Hey, there, Mr. Light Bulb!
hahaha, that line makes me laugh.
I'm gonna answer question 3 in this post.
protagonists, antagonists, foils, blahblahblahblahblah - I mean... YAAAY!
okay, but really.
protagonist is Amanda. straight up. she drives the story. she's the one that's making things happen. the mover, shaker, producer, etc... without her, the story would be going even less nowhere. (even more nowhere?) so she's the main character.
antagonists then would be Tom and Laura. mostly because, well, they're the other two. they're important to the story, and they motivate a lot of Amanda's behavior. I would also put the father in as an antagonist since multiple times (especially when talking about courting) Amanda refers to him, which introduces a revival of a glory-day memory for Amanda.
they're all foils of each other as well, I think.
Tom is a go-getter. he wants to make things better for himself - Laura is pretty content with falling through the cracks - Amanda wants the best for her children and tries to motivate them (maybe too strongly) to do what SHE thinks they should be doing.
Jim foils all three of them as well because he seems to be very socially adept and friendly, while the others tend to err on the side of awkward and too forthright/quiet.
I'm gonna answer question 3 in this post.
protagonists, antagonists, foils, blahblahblahblahblah - I mean... YAAAY!
okay, but really.
protagonist is Amanda. straight up. she drives the story. she's the one that's making things happen. the mover, shaker, producer, etc... without her, the story would be going even less nowhere. (even more nowhere?) so she's the main character.
antagonists then would be Tom and Laura. mostly because, well, they're the other two. they're important to the story, and they motivate a lot of Amanda's behavior. I would also put the father in as an antagonist since multiple times (especially when talking about courting) Amanda refers to him, which introduces a revival of a glory-day memory for Amanda.
they're all foils of each other as well, I think.
Tom is a go-getter. he wants to make things better for himself - Laura is pretty content with falling through the cracks - Amanda wants the best for her children and tries to motivate them (maybe too strongly) to do what SHE thinks they should be doing.
Jim foils all three of them as well because he seems to be very socially adept and friendly, while the others tend to err on the side of awkward and too forthright/quiet.
be-cause- we NEEEDALITTLECHRISTMAS! //unrelated
okay, I know I've made this entirely obvious in class, but I think Amanda is entirely delusional. Scene 6 pretty much drives the last nail in (ha! more nail-in-coffin-ness). Not only does she tell Tom to "talk sensibly...-and don't be sarcastic!" when he suggests that it's possible that men meet girls that they don't marry, but she's so much more excited about the "gentleman caller" than Laura is. she sorta forces Laura to live in this world where nothing is real except what Amanda believes is real. poor girl. and the way she's always on Tom (anyone else catch the snide "if you tried, you'd have a good job like Mr. O'Connor" remark?) is terrible as well.
also, and most importantly, WHAT IS UP WITH THE YELLOW DRESS? isn't the caller for her daughter?! So, why is she getting all dressed up. and why in the world did she suddenly remember her southern accent on page 1269? I think Amanda gets carried away with pretending things are different. She falls in love with the idea of things, even if said thing doesn't even exist, which is understandable, but also very frustrating. I understand now why Williams described her character as "unwittingly cruel...[but has a] tenderness."
she drives me nuts though.
also, and most importantly, WHAT IS UP WITH THE YELLOW DRESS? isn't the caller for her daughter?! So, why is she getting all dressed up. and why in the world did she suddenly remember her southern accent on page 1269? I think Amanda gets carried away with pretending things are different. She falls in love with the idea of things, even if said thing doesn't even exist, which is understandable, but also very frustrating. I understand now why Williams described her character as "unwittingly cruel...[but has a] tenderness."
she drives me nuts though.
Thursday, January 27, 2011
be prepaaaaared!
so, since Othello's dead, the first thing that came to my mind is "NO KING NO KING LALALALALALA!" from The Lion King...
obviously, I looked up the video for that song on youtube, and realized that Iago is a LOT like Scar. (I know, I'm mixing my Disney movies... sorry Lindsey!)
let me explain... no, there is too much, let me sum up. (anyone? ...sigh)
they're both evil.
they're both conniving.
no one likes them.
they both get away with what they're doing almost the whole time.
no one knows they're lying through their teeth with every word they say.
they're both very intelligent.
they have idiots doing their bidding for them, but can't deal with their insurrection (hyenas, Roderigo)
Scar does die at the end, which is a little more fair, but it's also Disney, so it sort of has to end fairly.
and Scar does say ONE thing I like, which is "Life's not fair... is it?" and I don't like anything about Iago.
but yeah. as much as I hated Iago... this play is definitely one of my favorites so far... maybe because I understood it without needing to be spoon-fed, but regardless... I approve =]
enjoy!:
obviously, I looked up the video for that song on youtube, and realized that Iago is a LOT like Scar. (I know, I'm mixing my Disney movies... sorry Lindsey!)
let me explain... no, there is too much, let me sum up. (anyone? ...sigh)
they're both evil.
they're both conniving.
no one likes them.
they both get away with what they're doing almost the whole time.
no one knows they're lying through their teeth with every word they say.
they're both very intelligent.
they have idiots doing their bidding for them, but can't deal with their insurrection (hyenas, Roderigo)
Scar does die at the end, which is a little more fair, but it's also Disney, so it sort of has to end fairly.
and Scar does say ONE thing I like, which is "Life's not fair... is it?" and I don't like anything about Iago.
but yeah. as much as I hated Iago... this play is definitely one of my favorites so far... maybe because I understood it without needing to be spoon-fed, but regardless... I approve =]
enjoy!:
dundundun...
how is dramatic suspense created?
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question four
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HOW IS DRAMATIC SUSPENSE CREATED?! ARE YOU KIDDING ME!? it's a tragedy, and NO ONE DIES... until the bloodbath at the end of act V. we all know it's a Shakespearean tragedy. so we all know that SOMEONE is going to die. (I was pushing for Iago the whole time, but we all knew that wasn't going to happen. just like the Seahawks making it to the Super Bowl). so THAT'S how it's created. haha
I mean, aren't we all sorta waiting the whole time for someone to die? usually, there's a few people here or there. at least one around Act III, but that didn't happen here! I mean, the play could end in Act III, really. that creates drama too... you kinda feel like it's over after that, so what more could Iago POSSIBLY want?! but he finds something. of course. I touched on this in my last post, but this question asks about it specifically... the fact that we know more about what's going on than the characters adds a lot of suspense too, I think. I was waiting for someone to figure it out the whole time and catch Iago in the middle of a bold-faced lie. it didn't quite happen that way.. and when it did it was a little too late, I think, but hey, I'm counting it...
good guys: 1
Iago: ugh.. not counting >=[
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question four
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HOW IS DRAMATIC SUSPENSE CREATED?! ARE YOU KIDDING ME!? it's a tragedy, and NO ONE DIES... until the bloodbath at the end of act V. we all know it's a Shakespearean tragedy. so we all know that SOMEONE is going to die. (I was pushing for Iago the whole time, but we all knew that wasn't going to happen. just like the Seahawks making it to the Super Bowl). so THAT'S how it's created. haha
I mean, aren't we all sorta waiting the whole time for someone to die? usually, there's a few people here or there. at least one around Act III, but that didn't happen here! I mean, the play could end in Act III, really. that creates drama too... you kinda feel like it's over after that, so what more could Iago POSSIBLY want?! but he finds something. of course. I touched on this in my last post, but this question asks about it specifically... the fact that we know more about what's going on than the characters adds a lot of suspense too, I think. I was waiting for someone to figure it out the whole time and catch Iago in the middle of a bold-faced lie. it didn't quite happen that way.. and when it did it was a little too late, I think, but hey, I'm counting it...
good guys: 1
Iago: ugh.. not counting >=[
oh, hey, my blog title involves reality...
quesetion one: does the play involve realistic or nonrealistic conventions?
yes. (ha! caught you in a compound question!)
but really, I definitely think it employs very realistic conventions. maybe a little far-fetched and dramatized... but still plausible.
back again with the themes - they're definitely things that nearly everyone can relate to! some themes (like ones with daddy issues *coughMetamorphosiscough*) just don't apply to a wide spectrum, so the events that build that theme are not as realistic. this pulls conflicts straight out of real world drama (Real World drama, maybe?) that definitely makes things realistic, even if erring on the side of slightly stylized.
this question also asks about departures from normal conventions and their effects...
the only real departure I see is that Iago gets away with it the whole time. NO ONE catches on? really? I find that really hard to believe, but maybe that's the dramatic irony at work. because we know what's going on the whole time, we don't notice how slick he's really being?
ugh. I don't know. I still don't like him.
yes. (ha! caught you in a compound question!)
but really, I definitely think it employs very realistic conventions. maybe a little far-fetched and dramatized... but still plausible.
back again with the themes - they're definitely things that nearly everyone can relate to! some themes (like ones with daddy issues *coughMetamorphosiscough*) just don't apply to a wide spectrum, so the events that build that theme are not as realistic. this pulls conflicts straight out of real world drama (Real World drama, maybe?) that definitely makes things realistic, even if erring on the side of slightly stylized.
this question also asks about departures from normal conventions and their effects...
the only real departure I see is that Iago gets away with it the whole time. NO ONE catches on? really? I find that really hard to believe, but maybe that's the dramatic irony at work. because we know what's going on the whole time, we don't notice how slick he's really being?
ugh. I don't know. I still don't like him.
Thursday, January 20, 2011
Christian Powers: a font of creativity
luckily, I don't need to read Chrisitan's to come up with ideas for this.
this is my detail blog. yep.
first, my favorite line of the ENTIRE play (so far) is I.i.125-126:
"If this be known to you, and your allowance,
We then have done you bold and saucy wrongs."
essentially: "yo, brah, if you already knew about this, I'm wicked sorry for waking you, but it seemed pretty important, y'know?"
but "bold and saucy wrongs". yes.
"saucy" is my new adjective. it's - forgive me - saucy.
I've also decided to keep track of the number of racial slurs I come across. I'm not sure if that's really something that's meant to be focused on, but I find them interesting. and sneaky at times. for example, I.ii.70: "sooty bosom" isn't really a slur so much as it is a reference. but it's coming from Brabantio in his little rant about how Othello is no good for his daughter or something, so it's probably meant to be taken condescendingly. I'm up to about three that I've caught. but I'm not exactly searching.
this is my detail blog. yep.
first, my favorite line of the ENTIRE play (so far) is I.i.125-126:
"If this be known to you, and your allowance,
We then have done you bold and saucy wrongs."
essentially: "yo, brah, if you already knew about this, I'm wicked sorry for waking you, but it seemed pretty important, y'know?"
but "bold and saucy wrongs". yes.
"saucy" is my new adjective. it's - forgive me - saucy.
I've also decided to keep track of the number of racial slurs I come across. I'm not sure if that's really something that's meant to be focused on, but I find them interesting. and sneaky at times. for example, I.ii.70: "sooty bosom" isn't really a slur so much as it is a reference. but it's coming from Brabantio in his little rant about how Othello is no good for his daughter or something, so it's probably meant to be taken condescendingly. I'm up to about three that I've caught. but I'm not exactly searching.
y ahora, numero dos.
todavía en Español.
okay. and now number five.
THEMES! yay! everyone's FAVORITE part of analyzing any work of literature, right?
yes.
okayso, thus far (Acts I-III) I'm seeing a few recurring themes. two in particular that I remember discussing in class. (oh, so those DID have relevant purpose! haha, only kidding.) firstly: hatred stems from preconceived notions - or something to that effect. Iago has this hatred for Othello that I'm still not really able to understand. I mean, is it because he's black? or is it because he's (is he?) younger than Iago, but has higher rank? quizá es porque Othello has dado a Cassio a higher rank that Iago, and Iago thinks that he deserves the rank? I don't know. all I know is that I don't understand hatred.
secondly, jealousy runs rampant. there's a girl (or two...) involved in all of this. it's nearly inevitable. everyone wants Desdemona. everyone. Emilia probably wants her too. and Emilia doesn't really want Othello or Cassio or anything, but she's jealous of the attention, of course (typical!).
pretty realistic themes. I'm pretty sure that the in-class activity proved that though.
okay. and now number five.
THEMES! yay! everyone's FAVORITE part of analyzing any work of literature, right?
yes.
okayso, thus far (Acts I-III) I'm seeing a few recurring themes. two in particular that I remember discussing in class. (oh, so those DID have relevant purpose! haha, only kidding.) firstly: hatred stems from preconceived notions - or something to that effect. Iago has this hatred for Othello that I'm still not really able to understand. I mean, is it because he's black? or is it because he's (is he?) younger than Iago, but has higher rank? quizá es porque Othello has dado a Cassio a higher rank that Iago, and Iago thinks that he deserves the rank? I don't know. all I know is that I don't understand hatred.
secondly, jealousy runs rampant. there's a girl (or two...) involved in all of this. it's nearly inevitable. everyone wants Desdemona. everyone. Emilia probably wants her too. and Emilia doesn't really want Othello or Cassio or anything, but she's jealous of the attention, of course (typical!).
pretty realistic themes. I'm pretty sure that the in-class activity proved that though.
no puedo pensar en ingles.
y yo no sé porque. pero, pienso que debo continuar en ingles o no voy a sacar buenas notas. si mi maestro no puede leerlo, él no puede darme buenas notas, sí? uf. continuamos:
p. 1119 number 2
okay, I'm not sure how qualified I am to answer this question, but I'm going to anyway. from what I know, Othello is a tragedy (and a short visit with the Google machine has confirmed this knowledge). this knowledge alone is starting to ruin the play for me, but it's really unavoidable. the final question on number 2 is actually really closely tied to that statement: "how important to experiencing the drama is the audience's awareness of the classification of the play?"
and actually, I was going to address that anyway. raad!
SO, like I said, knowing that this is a tragedy (a Shakespearean tragedy, no less), I know things aren't going to work out well. but for who!? I mean, justice says that the lying scumsucker Iago gets it in the end, but will he? I mean, he has to, right? RIGHT? but probably not. in fact, the two that don't really deserve it probably get it in the end. but I'm just anticipating so many things, and it's kinda preventing me from fully enjoying the work as a whole, I think.
oh well. *another note in regards to my spanish use... I used the term "Shakespearean comedy" multiple times in discussion this past summer in my literature class. imagine that: pronouncing the word "Shakespearean" in Spanish. it's a monster.
p. 1119 number 2
okay, I'm not sure how qualified I am to answer this question, but I'm going to anyway. from what I know, Othello is a tragedy (and a short visit with the Google machine has confirmed this knowledge). this knowledge alone is starting to ruin the play for me, but it's really unavoidable. the final question on number 2 is actually really closely tied to that statement: "how important to experiencing the drama is the audience's awareness of the classification of the play?"
and actually, I was going to address that anyway. raad!
SO, like I said, knowing that this is a tragedy (a Shakespearean tragedy, no less), I know things aren't going to work out well. but for who!? I mean, justice says that the lying scumsucker Iago gets it in the end, but will he? I mean, he has to, right? RIGHT? but probably not. in fact, the two that don't really deserve it probably get it in the end. but I'm just anticipating so many things, and it's kinda preventing me from fully enjoying the work as a whole, I think.
oh well. *another note in regards to my spanish use... I used the term "Shakespearean comedy" multiple times in discussion this past summer in my literature class. imagine that: pronouncing the word "Shakespearean" in Spanish. it's a monster.
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