//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
Labels:
disappointed,
frame story,
Frankenstein,
Inception,
Mary Shelly
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.
Labels:
death,
euphemism,
foreshadowing,
Frankenstein,
Mary Shelly,
whining
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.
Labels:
brain,
Frankenstein,
intelligence,
Mary Shelly,
reality
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.
Labels:
creepy,
Frankenstein,
Mary Shelly,
parallel,
personality,
Walton
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.
Labels:
frame story,
Frankenstein,
Inception,
Mary Shelly
"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.
Labels:
Frankenstein,
Halloween,
literary license,
Mary Shelly,
media
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. =]
Labels:
annoying,
Bo Burnham,
Frankenstein,
Mary Shelly,
moody,
whining
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.
Labels:
F. Scott Fitzgerald,
happy,
quotes,
The Great Gatsby,
theme
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.
Labels:
death,
F. Scott Fitzgerald,
foreshadowing,
The Great Gatsby
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!
Labels:
American,
F. Scott Fitzgerald,
style,
The Great Gatsby,
word choice
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.
Labels:
F. Scott Fitzgerald,
lies,
lying,
The Great Gatsby,
theme
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?
Labels:
expression,
F. Scott Fitzgerald,
memories,
The Great Gatsby,
vague
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