tag:blogger.com,1999:blog-49257549229674605982024-03-12T17:11:39.749-07:00Are We There Yet?This is the class blog for Professor McRae's Senior Seminar for Fall 2014. Play with it! Love it! Hate it! Write stuff on it!Perfeserhttp://www.blogger.com/profile/06842072353784264875noreply@blogger.comBlogger33125tag:blogger.com,1999:blog-4925754922967460598.post-36759270173761694292014-12-04T12:07:00.000-08:002014-12-04T12:07:00.851-08:00A Retro Comic For my project I spent many, many hours going through old issues of <i>The Leader</i>. Here's this one comic that I, currently, didn't include in my project. <div>
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<a href="http://4.bp.blogspot.com/-YZxMGh2rA3Y/VIC96npeZZI/AAAAAAAAAEA/FOGKnM97Ieg/s1600/April%2B22%2C%2B1966%2B(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-YZxMGh2rA3Y/VIC96npeZZI/AAAAAAAAAEA/FOGKnM97Ieg/s1600/April%2B22%2C%2B1966%2B(2).jpg" height="395" width="400" /></a></div>
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This comic was published on April 22, 1966 and really sums up the attitude that students hard towards the Vietnam War, here's someone's pretty morbid sense of humor. </div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-74583853141470806262014-11-12T16:53:00.000-08:002014-11-12T16:53:12.717-08:00House of Leaves Fan Art Alright, so we've had enough time to deal with our post <i><span style="color: blue;">House </span>of Leaves</i> feelings. I was looking at some fan art of it to see how others digested it.<br />
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Here's what I found<br />
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Legos? I'd watch a stop motion video of that.<br />
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<a href="http://fc07.deviantart.net/fs71/f/2012/136/1/6/five_and_a_half_minute_hallway_pt_3_by_nevilsnake-d501jid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://fc07.deviantart.net/fs71/f/2012/136/1/6/five_and_a_half_minute_hallway_pt_3_by_nevilsnake-d501jid.jpg" height="300" width="400" /></a></div>
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<a href="http://media-cache-ak0.pinimg.com/736x/ce/14/5c/ce145c6358d35676144294de3df00f7b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://media-cache-ak0.pinimg.com/736x/ce/14/5c/ce145c6358d35676144294de3df00f7b.jpg" height="640" width="413" /></a></div>
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There are so many tattoos of this quote</div>
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<a href="http://media-cache-ec0.pinimg.com/736x/f3/08/e3/f308e3320689138cd08f4199b1f65205.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://media-cache-ec0.pinimg.com/736x/f3/08/e3/f308e3320689138cd08f4199b1f65205.jpg" height="640" width="449" /></a></div>
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And an actual tattoo!</div>
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<a href="http://media-cache-ec0.pinimg.com/736x/8e/81/77/8e8177e21c2ab85075dfdd7f725226a9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://media-cache-ec0.pinimg.com/736x/8e/81/77/8e8177e21c2ab85075dfdd7f725226a9.jpg" height="318" width="400" /></a></div>
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Check out this totally trippy video. The video's description reads, "Recently recovered part of the Navidson Record."</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Gyug0q9eyqw?feature=player_embedded' frameborder='0'></iframe><br />
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I'd love to hear what everyone makes of these things! </div>
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-39106712909319538112014-10-26T15:57:00.001-07:002014-10-26T15:57:23.851-07:00Resume stuff! Yay!Hey everyone, I know that we're going to be working on resume stuff soon and I just went over this with English Works so I figured I'd share the presentation I made for the last meeting.<br />
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http://prezi.com/wkxlw7cflcvb/?utm_campaign=share&utm_medium=copy&rc=ex0share <br />
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Aside from this, there is some great material in the Career Development Office for this sort of thing; they have tons of suggestions on how to improve or design your resume, a list of action words to use so you sound accomplished (apparently a lot of them of scanned through programs to look for keywords so this is super helpful in making you sound good), and a bunch of stuff about cover letters, too. It's also really beneficial to make an appointment on their website and have them look over your resume because they'll tell you what you need to work on and what looks pretty vs. what doesn't. Also, they're really nice people so don't be afraid to ask for anything! I've made good friends with some of them already.Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-6448975788815778512014-10-07T12:18:00.001-07:002014-10-07T12:20:31.605-07:00Thar She Blows.OR whatever. Yeah.<br />
So I haven't gotten as far along in the book as I would've liked to by today.<br />
But I'm getting there.<br />
Perhaps it's because this book is <br />
<br />
<span style="color: red;">I</span><br />
<span style="color: red;">N</span><br />
<span style="color: red;">S</span><br />
<span style="color: red;">A</span><br />
<span style="color: red;">N</span><br />
<span style="color: red;">E </span><br />
and I've had to sleep with my <span style="color: orange;">light</span> on and <span style="color: cyan;">windows</span> <span style="color: cyan;"><span style="color: black;">open</span> </span>every night since I started reading it.<br />
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One thing that I'm getting more used to but that is still bothering me is reading the actual <span style="font-size: large;">text</span>.<br />
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Then the<strike> footnotes</strike>.<br />
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Then back to the original <span style="font-size: large;">text.</span><br />
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<span style="font-size: large;"><span style="font-size: small;">Not to mention the actually citation <strike>footnotes</strike> which in comparison are rather disappointing and quite frankly my dear, I don't give a damn.</span> </span><br />
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Which very well may be a page and a half <strike>footnote </strike>later.<br />
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It's interrupts my thought process.<br />
And the flow of my eyes. <br />
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One thing I love is the narrative voice of Johnny Truant. At first he bothered me because he sounds just like my friend Cameron. His voice as a narrator and Cam's voice as a person are nearly identical. Same cynicism marinated in marijuana and spirits, paranoia, and an overactive mind. Highly intelligent despite what I can only assume as a rather grungy appearance. If Cam came across the Navidson Records he would go just as insane analyzing them. Now Johnny's epic <strike>footnotes </strike>are some of my favorite passages. Perhaps it's because Johnny's language is as lax and blunt as my personal speech outside (and sometimes inside) the classroom. Or perhaps it's because I am imposing a <i><b>face</b></i> and a <b>body</b> onto Johnny Truant.<br />
I don't know.<br />
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What I do know is that I'm excited to keep reading.<br />
Even if that means I have to keep the<span style="color: orange;"> lights</span> on.<br />
Even if that means I have to keep making big strong boys sleep at my house because I was already petrified of the dark and the things that move in the dark before I started reading the book.<br />
And of enclosing spaces. Thus the open <span style="color: cyan;">windows</span>. <br />
And just like the hallway, it's fucking freezing in here.<br />
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<br />Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-33911537097803041822014-10-07T11:47:00.004-07:002014-10-07T11:47:50.128-07:00Things are getting strangerMaybe my title is an understatement?<br />
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I think we have just embarked on where the strange gets stranger. Things start to get really weird on page 97:<br />
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We have a visual shift that we did not have in the text before. Of course, in our earlier readings, we had the dynamic between Zampano's writing, the annotations, and Johnny's personal annotations. Now we have sections broken up with small boxes. These sections even break when a sentence has unfinished or there is no need for a break. </div>
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Another visual on this page that really gets me going is this one:</div>
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<a href="http://2.bp.blogspot.com/-N0uYlshX2nE/VDQxGusrbRI/AAAAAAAAACM/PO2045FNkH0/s1600/photo%2B1%2B(1).JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-N0uYlshX2nE/VDQxGusrbRI/AAAAAAAAACM/PO2045FNkH0/s1600/photo%2B1%2B(1).JPG" height="300" width="400" /></a></div>
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What is up with that check? I know it is printed into the book and nothing something a previous owner had scribbled on. Does this check mean, "yes, this book is about to get a whole lot more visually stimulating?" It bothers me, much more than the large boxes we encounter at the end of out readings. It is such a strange and almost insignificant thing to be bothered by. </div>
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On the following page, page 98, for annotation number 110, Johnny writes "There's something weird going on here, as if Zampano can't quite make us his mind whether this is all an exploration or a war." In the first half of this quote, I felt as if Johnny and I really had a connection. When I was reading it, I was thinking, "yeah, Johnny things are getting real strange." However, he is bothered by the actual meat of the text, if you will, rather than it's jarring visual dynamic (I'm thinking about you check mark).</div>
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Not far after, on page 100, we get introduced to a new layout:</div>
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This page has multiple short sections with small boxes in the blank spaces, where some of the boxes are blank or blackened. Furthermore, several of these sections cut off even if the sentence is not finished. </div>
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The last thing that made me want to yell out "oh my god" is something that Johnny is talking about in his personal annotation which is on the final line of page 106. Thumper told Johnny that, "If you want my opinion, you just need to get out of the <span style="color: blue;">house</span>." I feel so jittery just writing about this. What she said made me think about what is going on in the house that Zampano is talking about in his section of the book. During this part of the book, things seem to take a horror story turn where the men are going deeper into that <span style="color: blue;">house</span> and I just want to tell them to get out of it! You can feel the badness that will come from it. Getting out of the <span style="color: blue;">house</span> does not seem to be so easy. </div>
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-73925577713100038182014-10-07T11:40:00.002-07:002014-10-07T11:40:34.247-07:00House of Leaves- ????I was sick this past Thursday and missed class, which I'm regretting more and more the deeper I read into <i>House of Leaves</i>. To be honest, I'm quite lost and craving some class discussion. After finishing this blog post I'll read through every else's and hopefully make sense of what I've been reading!<br />
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My thoughts thus far revolve mainly around the relationship between Zampano' and Johnny. Johnny increasingly becomes a less reliable narrator as his violent hallucinations take over, while Zampano' seems a bit more reliable. But <i>how</i> reliable? Something I've been considering is how Johnny and Lude's description of Zampano' conflicts with the narration Zampano's provides once he enters the book. A blind man that wanders around a courtyard and dies alone is an identity that doesn't quite fit with the prolific writings that Johnny becomes obsessed with.<br />
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Trying to map out a timeline of the multiple stories has both helped and complicated my reading. <i>The Navidson Record </i>occurs first, then Zampano's reading, then Zampano's death, then Johnny's narration, but even his narration is broken across time. But before <i>The Navidson Record, </i>"The Five and a Half Minute Hallway" was released, then "Exploration #4," and finally <i>The Navisdon Record. (</i>Am I getting this right??) The fractured timeline we are presented with mirrors how the story is physically told on the page; Zampano's writings and footnotes depicting <i>The Navidson Project </i>(presumably in a linear fashion?) becomes slowly tangental, breaking off into Zampano's research and analysis of the film. Underneath all of this Johnny's own analysis and mental deterioration are typed.<br />
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Mark Z. Danielewski does an incredible job of having Zampano' explicitly analyzing the film and then having Johnny affected by this in his daily life without realizing it. Many times this daily application conflicts with Zampano's analysis. For example, when Zampano' details both the mythical and physical aspects of an echo, Johnny is dealing with the echoes of Thumper, the stripper from the tattoo parlor, and how those echoes are interfering with his present day life. We as readers are left to connect Zampano's writings and see the consequence Johnny's mental state is dealing with. In this instance, When considering echoes, Johnny cannot help but ask "what about light?, all of which made sense to me at a certaub hour before midnight or at least came close to making sense" (50). Zampano's constant points about darkness are counterpointed with Johnny's search for light. Moreover, as Johnny reads deeper into Zampano's text, his handle on reality loosens.<br />
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My thoughts thus far are not very complete, I know, but I'm working through them. Look out for a possible blog post from me over break, because writing my thoughts usually helps me connect them.Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-44854253969687976652014-10-07T11:34:00.005-07:002014-10-07T11:34:23.571-07:00The Familiar and the Un-Familiar: Making You Think About the Way We Read So I love, love, love this book! It took me a bit but I loved the format changes (other than the killing of the tress (the poor trees)) after I realized some strategies on how to read them. What I do first is read the section, just for reading sakes, to enjoy the story and enjoy the silliness of the format. After I read the section I set the book down, take some ibphrofane and think about what made me uncomfortable.<br />
Looking at the sections that made me uncomfortable I ask myself, why? Why does this give me a headache? Why am does this make me so uncomfortable? The answer seems to always be that I am not used to the format, that is book goes against everything I have learned since I started reading. This isn't a mistake by the author, he intends to make you uncomfortable. He intends to make us as readers question what we consider the rules of reading to be and what a book makes up in total. This could be seen as pretentious, that a writer believes he has such a firm grasp on writing and that a normal narrative is boring to him, but I don't think that this is the case with book. I think it's a mixture of fun for the author as well as a chance to make the reader feel uncomfortable. The discomfort makes us pause and look critically at books format and how we read.<br />
One of the things that the author plays with is authorial power and legitimacy. The term "author" has significant weight and power that goes along with it. "Published" itself has some loftiness to it, especially when it comes to undergraduate college students. Individuals who are "authors" do have a certain amount of authority given to them, that they are the experts on a certain subject, especially on the subject they are writing on. Therefore footnotes and explanations are often trusted, wither its truthful or not. Mark points this out in his own footnotes are untruthful, that he makes up information or that the footnotes themselves truly mean nothing to the story. This makes us question other authors and published works.<br />
The second thing that the author plays with is narrator. We as readers give certain trust to the narrator to give us information a timely fashion, not to interrupt the flow of the story (especially in a framed narrative) and to keep side stories in check. We often have a unreliable narrator (One example being The Murder of Roger Ackyord) but there is always a truthful narrator somewhere in the mix. In this story we are given not one but three unreliable narrators. One is a crazy dead man, another a criminal and the third is an editor, not a very trustworthy bunch. So after reading this book I read something I am reading for pleasure, "Aesop's Fables". I found myself questions the narrator and wondering who exactly was speaking to me; the editor, the crazy dead man, or the criminal.<br />
I love that this book is making me look at expected english truths critically, especially in my senior english class. Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-64592386681263244352014-10-07T11:08:00.002-07:002014-10-07T11:08:52.776-07:00Warning: do not attempt to read this book late at nightI'm really excited that we're reading <span style="color: blue;">House</span> of Leaves at such an appropriate time to be spooky because that's how I feel almost every time I read it.<br />
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I didn't mind the framed narrative, or the different colors, or the weird layout, or the made-up sources until about page 132 where it starts to get really funky because that was the last place where the text seemed to really cut loose for the first time. First, I recognized the structure was off and I was like, okay, I can let go of structure, and I kept reading. Then it was conventional lifestyles with Johnny really digging into the unreliable narrator role by always being drunk, high, or both, and I was like, okay, I don't need a reliable narrator, and I kept reading. On page 132, one of the footnotes ends at "whether" and I can't find the rest of it no matter where I look so now I've reached the point where I'm like, okay, I guess that's the end of the footnotes as well. And for some reason, that kind of seemed to be one of the last straws for me.<br />
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I am not a fan of footnotes by any means. I think they're disruptive, they distract me from the flow of the original text, and most of the time I'm not going to look up that extra source so it might as well not be there at all. That's with the majority. These footnotes I've made friends with because they're different. However, when the author decided to take them away or leave them unfinished, it really bothered me. I really wanted to finish reading that footnote - it meant something to me. (What is this book doing to me?) One speculation of this is that up to this point, I've been pretty dedicated to the footnotes because they've told me so much that the story NEEDS to continue. It's not just all extra bologna. And since I've learned so much through them, once I'm unable to, it's very disturbing as a reader because of the lack of footnotes, not because of their presence. Interesting changes...<br />
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I think that one of the biggest aspects of this book is to force readers to let go of expectations and all comforts, and it achieves its goal splendidly. I adopted a very passive role when I started because that's just what you have to do to get through it, and every once in a while Johnny or Zampano will throw you an anchoring event in the plot to grap onto while you're drowning in this sea of concepts. The point of the novel is to be uncomfortable. He wants you writhing in that armchair, upsetting your cup of tea, that's for sure.<br />
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I'm really glad that someone mentioned the whole scholarly "echo" business because that stood out to me as well. It's so formally written and the tone is so different from not just Johnny's but every character's voice that it made me take a double take while reading. Obviously, Danielewski is playing with form but for some reason I think there's more to this part than that. The concepts of the labyrinth and the echo are so relevant to the entire Navidson record and even Johnny's story (if not more metaphorically) that perhaps Zampano decided to make these entries more scholarly in an effort to convey the idea that these concepts should be taken more seriously. Obviously, not that seriously because the whole thing is just one big mindfuck of a story but you know what I mean. Serious in the appropriate context for the story/ies.<br />
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I'm really enjoying everything so far, although the amount of cold medicine I've consumed in the past few days does make the crazy layouts more difficult to comprehend. But maybe an altered state of mind is just what I need to really get this book - we'll see.Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-4925754922967460598.post-49114398731306741202014-10-07T11:04:00.001-07:002014-10-07T11:04:37.691-07:00Still Struggling<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Despite my best
intentions, I am still having a wicked time getting into <i style="mso-bidi-font-style: normal;">House of Leaves</i>. I suppose that I can appreciate its strangeness as
an idea, but it is so far out of the realm of something that I would normally
read. <o:p></o:p></div>
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<span style="mso-tab-count: 1;"> </span>It
still strikes me as pretentious, but I am pushing ahead. I sort of like the
idea that the whole thing may just be a series of crazed recollections between Johnny’s
highs. Maybe it is just Johnny’s mind creatively (or crazily) putting his
psyche back together after a few too many rails or bong rips. I also certainly
enjoy his strange narrative of life. <span style="mso-tab-count: 1;"> </span><o:p></o:p></div>
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If this is all it
is I’m entirely not sure what to do with it. Is it a “don’t do drugs” kind of
thing, or maybe a “if you do drugs at least do something cool with the craziness”?
It obviously can’t be analyzed in the traditional “English major” way. My best
guess is that we should just sort of read it for what it is (whatever that is)
and try to untangle it as a group. It takes a lot to bewilder a class full of
intelligent people, but <i style="mso-bidi-font-style: normal;">House of Leaves </i>is
doing a great job so far. <o:p></o:p></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-26976536109754493292014-10-07T08:28:00.003-07:002014-10-07T08:28:40.353-07:00HOL: Double Narratives and the Nature of RealityI'm really taken with the idea of a double narrative (Zampano and Johnny Truant, whom I might call JT because it amuses me) mostly because I think it's interesting how Johnny and Zampano work through this mystery with the monster/monstrous house/...whatever the hell it is.<br />
<br />
Zampano intellectualizes the house: he reaches back into the past to ancient and canonical sources for clues on how to express and deal with this phenomenon, hence the bit about Minos' maze. If not that, he refers to other critical works somehow--if tenuously--related to <i>the Navidson Record</i>, though he tends to enjoy pointing out how they're wrong or misguided rather than actually thinking about how it might help. His parts are just as much a stream-of-consciousness narration as Johnny's are, they're just framed in a different way. Unlike Johnny though, Zampano seems not to be okay with suggesting things wholly on his own, and so he adds all the names in the side margins and other places to add a ridiculous sort of credibility to himself in a way that isn't actually...credible. We always mention how Johnny isn't a reliable narrator, but then neither is Zampano, at least not entirely. But I think Zampano's intellectualizing, at base, is something we can understand, as the highly-educated English majors we are. I feel like, faced with the absolute weirdness of the situation, we would also reach back into what we've learned, both the processes and the content, to find something familiar, hoping there would be a predecessor to help us understand.<br />
<br />
Johnny, on the other hand, pulls from his own experiences, sexual and drug-induced in nature as they may be. His experiences as the house monster starts ripping his life apart parallel the growing knowledge of Navidson and the others listed in the <i>Record, </i>just as the form and the organization of the book itself degenerates. He is the layman to Zampano's educated man, and his experiences that he draws from are just as credibly incredible as Zampano's, and therefore have just as much merit. And let's face it, JT's sections are much more interesting and poetic to read than Zampano's seeming digressions. I feel like there's a reason for that.<br />
<br />
This double narrative, on a larger scale, illustrates the very different ways that people can approach a particular problem/phenomenon. (I have a particular example to use here, but unfortunately it's further on than we've read). Not to go into the whole "is there really existence" debate, but it's entirely possible, as some of you have pointed out, that this whole thing is an imagined drug trip by Johnny Truant. But couldn't we say that about any odd experience we've had? Couldn't we also say that of literature, even that which we really like and in some way, believe that it's true? Reality and its relation to truth is a very postmodern problem that hasn't been solved, and it's definitely a central issue of this book. There's no way to tell what's real or true in House of Leaves, so the story comes down to what we believe as individual readers, not really being able to prove anything, just going from instinct and what we think might be true or real. And isn't that just like life?<br />
<br />
You know, I think I like this book. :)Lacey Mariehttp://www.blogger.com/profile/03213569763220519954noreply@blogger.com1tag:blogger.com,1999:blog-4925754922967460598.post-82613760052750135012014-10-07T06:50:00.001-07:002014-10-07T06:50:41.650-07:00Golden Ratio Spiral Vs. the Maze<div style="text-indent: .5in;">
<br /></div>
<div style="text-indent: .5in;">
So, this book pretty much shatters
every preconceived notion I have about how a book should be formatted, as well
as how a plot should be narrated. In class last week we talked a lot about how
the we reacted to the format of the book and how that impacted our reading of
it. In fact, this discussion was the basis of the entire class. It is hard to
get into this book without really considering how it is visually and spatially
set up, as well as how the multiple narratives alter the story. To me, what is
interesting about this is the way in which Danielewski uses the formatting of
the book to add meaning to the story itself. A book is often set up in the way
that makes it the easiest for a reader to read. In this book, it is set up in a
way that makes the reader understand the narrator and the story itself more
(well maybe…).<br /> </div>
<div style="text-indent: .5in;">
We talked a little bit about the
cover in class and I think that this provides a fair example of how the book
itself functions. In class we talked about how the spiral on the front is a
mathematical sequence that occurs in nature. This represents natural order and
beauty, the things that are predictable in the world. On the outside of the
spiral is what looks to be a maze. A maze is almost always filled with
uncertainty, confusion, and possibly even fear of finding the way out. These
very different representations are an indication to what will be found within
the book. There is this weird sort of academic and reasonable undertone
contrasted by the confusion and even hysteria that is incited by this <span style="color: #2e75b6; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #2E75B6; mso-style-textfill-fill-colortransforms: lumm=75000; mso-style-textfill-fill-themecolor: accent1; mso-themecolor: accent1; mso-themeshade: 191;">house </span>that
nobody can understand. It almost seems as though the house leads people away
from the natural order of things into the more confusing and less certain. This
can be seen in the way that the format becomes less linear. We also see this in
our main narrator, Johnny, as he learns more he becomes more confused and
uncertain.</div>
<div class="MsoNormal" style="text-indent: .5in;">
<o:p></o:p></div>
<br />
<div class="MsoNormal" style="text-indent: .5in;">
<o:p></o:p></div>
Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-4925754922967460598.post-84573278639856477192014-10-06T18:23:00.001-07:002014-10-06T18:23:54.417-07:00fnweufbweuifhwioehfeiwofg<div class="MsoNormal" style="text-indent: .5in;">
I would like to talk about the
Introduction because I think how you read this really explains the rest of the
book for you. It opens with a narrator who is clearly unreliable; “I tried
every pill imaginable… with shots of bourbon… a few lung rasping bong hits”
(xi). The narrator tells us he is so tried and needs sleep and he still gets
nightmares. I notice that like this narrator the entire book is crazy, upside down,
right to left, blank, underlined, etc. The last line of the introduction, “And
then the nightmares will begin” so is this whole book just one big, drug
induced nightmare because I think it is. </div>
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<span style="mso-tab-count: 1;"> </span>The
house is also the center point for the story; everything it seems is connected
by this “optical illusion” of a home. I think house is in blue throughout the
entire book for a reason. The layout of the book is exactly like the
description of the house itself. Danielewski is breaking a lot of rules and yet
follows them at the same time.</div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-37703155647447009662014-10-06T11:29:00.000-07:002014-10-06T11:30:54.821-07:00• • • – – – • • •<!--[if gte mso 9]><xml>
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<b><span lang="EN-US">· · · – – – · · ·</span></b></div>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
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<b><span lang="EN-US" style="font-size: 24.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">· · · – – – · · ·</span></b></div>
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<b><span lang="EN-US" style="font-size: 36.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">· · · – – – · · ·</span></b></div>
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<span lang="EN-US">According to my dear friend G, “<b>· · · – – – · · ·”
</b><span style="mso-bidi-font-weight: bold;">this weird Morse code in chapter
VIII (from 97p to 106p) means S.O.S, which is Save Our Ship, more easy way,
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to focus on the basic plot; which is Holloway Robert and other two members’
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<![endif]--><span lang="EN-US" style="font-family: "맑은 고딕"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-language: KO; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;"></span>I had to encounter several obstacles while I
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<span lang="EN-US" style="mso-bidi-font-weight: bold;">However, when we follow the footnote, we will confront these missing signs.</span></div>
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and</div>
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<span lang="EN-US">Now, I know printed books can <i>physically </i>distract me.
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footnotes over one page to interrupt me concentrating one plot. When Wax gets
shot (I was very serious at this point and wanted to know what would happen to
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Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-4925754922967460598.post-17217923834201505702014-10-05T12:15:00.000-07:002014-10-05T12:27:56.755-07:00<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMAQe27j3cXwreCJWFsbXinG9wTgezRxfHWXtCxZrytrhUcisemgKAh38KWc9YpujRmzudcrD6lTULGpfBl0TGiDHOJl1tfMCUnZLLFhPtoEHngb663-L91p4DTQf_CEfx4rgxOj63WRQ/s1600/funny-angry-cat-shaved.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMAQe27j3cXwreCJWFsbXinG9wTgezRxfHWXtCxZrytrhUcisemgKAh38KWc9YpujRmzudcrD6lTULGpfBl0TGiDHOJl1tfMCUnZLLFhPtoEHngb663-L91p4DTQf_CEfx4rgxOj63WRQ/s1600/funny-angry-cat-shaved.jpg" height="200" width="140" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The unhappiest shaved kitty on earth.<br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjme1hwKsAYwxxFcMvucShOom-ULEVInrwwb5Qzj1LebRRph7GgMEYUzSnHxl0SQZXrVlc_38Mu4uzU3pIZ0MUk-z_x3VUZuFe3r0AEstCd50TozrlKwrzq_EkjWwJejjXKlzpzh0GJ5PY/s1600/Thumper_(3).gif" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjme1hwKsAYwxxFcMvucShOom-ULEVInrwwb5Qzj1LebRRph7GgMEYUzSnHxl0SQZXrVlc_38Mu4uzU3pIZ0MUk-z_x3VUZuFe3r0AEstCd50TozrlKwrzq_EkjWwJejjXKlzpzh0GJ5PY/s1600/Thumper_(3).gif" height="200" width="135" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thumper</td></tr>
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<br />Perfeserhttp://www.blogger.com/profile/06842072353784264875noreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-35105832636184070532014-10-05T11:44:00.003-07:002014-10-05T12:54:17.455-07:00<div class="separator" style="clear: both; text-align: center;">
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"Hey Pretty," by Poe, from the album <i>Haunted</i>. Just in case you thought that at least <i><a href="http://derbyimages.woot.com/Drakxxx/Inspired_by_House_of_Leaves_-vf5jh7-d.jpg">House</a> of Leaves</i> hadn't seeped into absolutely everything, Mark Danielewski is Poe's brother. The voiceover and text in this video are him reading from of <i>House of Leaves (pp 88-89, </i>to be exact. Tuesday's reading. Freaky coincidence! This book--it is everywhere! <span style="font-family: Courier New, Courier, monospace;">I came into Fenton to work today--Sunday, stood in the entrance looking down the long, empty corridor, and felt a little freaked out. </span>The album <i><a href="http://popwatch.ew.com/2008/03/24/poe-haunted-bir/">Haunted</a></i>, is a companion piece to the book. You can find the songs on youtube.<br />
<br />
I'm not sure what to do with this book yet. I think it's a matter of perspective, in the strictest sense--it's important not to try and hold it too closely, to micro-analyze it. For one thing, that's impossible, and trying will cause English Major Head Implosion. There are a bazillion things to analyze on every page, and the nested academic footnotes and welter of real and fake references don't help either. This book mocks all attempts at doing what it is we think we're supposed to do with books.<br />
<br />
On the other hand, holding it too far away, assuming it doesn't make sense, doesn't mean anything and is just there to thwart and annoy us, also misses the point. It is, if nothing else, beautifully made. The pieces do all fit together, reflect and echo and complement each other--even the digressions. Zampano's long and absurdly academic digression on the topic of "Echo somewhere between pp 44-54, for example, describes exactly what it is we try to do when we navigate any kind of unfamiliar space, architectural or intellectual--make a sound and wait for something to come back to us. Even though an echo isn't real communication, strictly speaking, it is at least signals depth and boundaries. All the stuff about labyrinths makes perfect sense too. A labyrinth is an architectural structure which is also a mystery--and a very dangerous one if there happen to be any minotaurs hanging out in the center of them.<br />
<br />
The whole discussion of the uncanny on pp 24-25 is somewhat helpful too--the <i>unheimlich </i>is that which is not home, not comforting, not safe--the things that look like those things, but aren't. That's pretty much exactly how most horror tropes work--haunted houses, monsters. They're just versions of us and our fears and desires, really.<br />
<br />
This book does tell us how to read it. There's a plot we can follow, a fairly small cast of characters, a sort of narrative consistency. Johnny's crazy, as it turns out, has a history.<br />
<br />
What I'm noticing are all the little echoes in the book, all the parallels between Johnny's narrative and Zampano's writeup of the <a href="http://tvtropes.org/pmwiki/pmwiki.php/Literature/HouseOfLeaves?from=Main.HouseOfLeaves">Navidson Record</a>, the academic digressions and the main plot. But most of all, I'm pretty sure that the <a href="http://images2.fanpop.com/images/photos/4700000/House-of-Leaves-Icons-house-of-leaves-4756690-200-200.jpg">house</a> and the <span style="font-family: Courier New, Courier, monospace;"><a href="https://m1.behance.net/rendition/modules/9826707/disp/12aefc1457e3409e68e28532c9ce37c0.jpg">book</a> echo</span><span style="font-family: Times, Times New Roman, serif;"> each other</span><span style="font-family: Courier New, Courier, monospace;">. </span><span style="font-family: Times, Times New Roman, serif;">One of the definitions of 'leaf' is "a single sheet of paper, a page from a book. A house of leaves is an uncanny piece of architecture with doorways, corridors, and spaces that defy the laws of physics, which haunt a family. A book is also a house of leaves, opening up impossible worlds for its reader.</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">OK, so tell me. What are your thoughts? What is your way in to this book? What do you notice?</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<br />
<br />
<br />
<br />Perfeserhttp://www.blogger.com/profile/06842072353784264875noreply@blogger.com1tag:blogger.com,1999:blog-4925754922967460598.post-43449314790585222014-10-05T07:38:00.001-07:002014-10-05T12:26:42.377-07:00<h2>
<span style="color: blue; font-family: Times, Times New Roman, serif;">House</span> of Leaves</h2>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://imgs.xkcd.com/comics/house_of_pancakes.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" src="http://imgs.xkcd.com/comics/house_of_pancakes.png" height="352" title=""Fuck it. I'll just go to Waffle House."" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">http://xkcd.com/472/</td></tr>
</tbody></table>
</div>
<div>
<span style="background-color: white; font-family: Lucida, Helvetica, sans-serif; font-size: 16px; font-variant: small-caps; text-align: center;"><br /></span></div>
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<span style="background-color: white; font-family: Lucida, Helvetica, sans-serif; font-size: 16px; font-variant: small-caps; text-align: center;"><br /></span></div>
Perfeserhttp://www.blogger.com/profile/06842072353784264875noreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-76159136592930465782014-09-22T17:19:00.000-07:002014-09-22T17:19:35.912-07:00A Response to Skylar and Melisa's Post- Happy Endings: The Myth and the Legend <span style="font-family: Times, Times New Roman, serif;">Whenever I hear the term end phrase "and they lived happily ever" the cynical part of me always asks "But do they really?". Our definition of happiness and living a life that one can consider full and happy is both individualistic. Reading both Skylar and Melisa's posts, along with Happy Endings by Margaret Atwood, I see how ones definition of a good "happy" ending versus the "unhappy" endings can be very different. This leads me into an idea I have grappled with, being the idea that the ending of a life can be considered happy. </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">This born to die motif that both Melisa and Skylar touch on is interesting and I find myself questioning my own ideas of death. Of course death is sad and I fear death but this does not take away the possibility of happiness in an ending. Yes John and Mary will eventually die. But this fact does not change the lives of the individuals. Each story centers around life. Call my naïve but this common thread between the stories, a commentary of life, as Skylar points out, has a message about the living, not the dead. I think these stories, while they all end with eventual death of the characters, speaks about the deepness or shallowness of a life. And while its sad and scary you can't stop living your life. </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">These lives that the individual characters lead some may not be considered happy or fulfilling to some but that does not seem to matter. Each still ends with a "happily ever after". This brings the thought I mentioned in the beginning of the post, that happiness is individualistic. While one reader may see story A as sad, being the characters lives are boring, another may find happiness in simplicity of their lives. It is interesting to see others ideas of what "happiness" truly is and I think Melisa's idea of bringing this story into a classroom setting would create interesting discussion.</span><span style="font-family: Times, 'Times New Roman', serif;"> </span><br />
<br />Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-4925754922967460598.post-56223076506989248002014-09-22T07:31:00.001-07:002014-09-22T07:31:38.250-07:00"Happy Endings" response to Alex<div class="MsoNormal" style="text-indent: .5in;">
No matter what way I read “Happy
Endings” I found it satirical. I thought it was mocking how anyone can honestly
believe they will have a simple “happy ending” to their life or lives. I think
the style Atwood chose to use is in direct contrast to her satirical style. As
I read “A” it was more of a list than anything. It is supposed to be the most
“happy ending” however Atwood’s syntax and diction lead me to read it
sarcastically. Like life is this, this, and this; then we die. </div>
<div class="MsoNormal" style="text-indent: .5in;">
I think Atwood’s main idea was that
no matter what we do in our lives from life to death, in the end we all die;
“You'll have to face it, the endings are the same however you slice it. Don't
be deluded by any other endings, they're all fake, either deliberately fake,
with malicious intent to deceive, or just motivated by excessive optimism if
not by downright sentimentality. The only authentic ending is the one provided
here: J<i style="mso-bidi-font-style: normal;">ohn and Mary die. John and Mary
die. John and Mary die.</i>” </div>
<div class="MsoNormal" style="text-indent: .5in;">
I agree with Alex that it’s hard to
get over the discomfort of not reading a traditional piece and that it is up to
us to take the story wherever we want. I think we can compare this story with
life itself, its up to us to pick the path we want to go down, but doing so,
finding the how and why is not always going to be so simple like in “A”. </div>
<div class="MsoNormal" style="text-indent: .5in;">
I also agree that the technical
format is extremely important. Like Alex said, there is no cloud of detail to
wade through making each character very concise. This is real and allows us to
see the desires and hopes of each character. Without the use of poetic
descriptions we can focus all our attentions strictly on the characters. Also
there is no single setting or plot. This pushes me to zone in more on the
characters as well. Atwood’s characters names are also very boring and typical;
this allows me to be whomever I want in the story. It makes the stories more
relatable you could say, but it also forces the reader to not get attached to
any one character and just understand the idea behind the story. </div>
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The story ends with “F” where
Atwood is challenging the reader to make up his or her own ending. She is being
sarcastic saying “make John a revolutionary and Mary a counterespionage agent
and see how far that gets you”. This backs up my idea of this piece being
satirical. </div>
Anonymousnoreply@blogger.com3tag:blogger.com,1999:blog-4925754922967460598.post-15442830280035949542014-09-21T11:07:00.001-07:002014-09-21T11:07:15.314-07:00Response to Alex (Happy Endings Analysis) <div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Alex, I agree with you. I think this story does serve as a life lesson to the reader. I first read this story in my form and theory class, and I considered it more of a tool for fiction writers than as literature. However, now that I am re reading it and analyzing it, I see it as both a commentary on the writing process, and a commentary on literature. </span></div>
<b id="docs-internal-guid-4277be2a-9964-df4e-5cb6-545e2723773f" style="font-weight: normal;"><br /></b>
<div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I found it interesting when you said, “</span><span style="background-color: white; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">There is no overarching traditionalist form like is seen in literature for centuries.”. “Happy Endings” is so wildly different than traditional stories because of it’s unique formula. There is no direct and visible climax in the story as whole, although one could argue that each individual section has a climax. The sections that make up the story also lack development. “Happy Endings” reads more as an outline for a short story than one itself, which I think is Atwood’s main point. Sarcasm is also something Atwood plays around with a lot. From the first paragraph “A” the readers know Atwood’s sarcastic tone. Section “A” is just way too good to be true. Because of the brevity and lack of development section “C” has a dramatic tone to me. The use of such generic names also add to the sarcasm. It’s like Atwood is poking fun at her characters and the various directions short stories usually go in. </span></div>
<br /><span style="background-color: white; font-size: 16px; vertical-align: baseline; white-space: pre-wrap;">I also like what you said about the story exposing parts of the human condition. I think Atwood does this for a reason. She shows her readers various emotions in each section to represent how humans are emotionally evolving. In “Happy Endings”, Atwood tells us that the beginnings of stories are much more important and exciting than endings. I don't know if I would have agreed with Atwood before reading, “Happy Endings”. One of the things “Happy Endings” does is prove this. I also think it’s interesting to note the theme of happiness. The only section of the story that if completely happy is section “A”. Characters in the other sections are generally unhappy, however are happy at the end, thus the story’s title. Because of this, Atwell shows us how truly boring endings can be. She suggests that in a way, the readers already know the ending to a story- the characters die. “Happy Endings” show us that the ways in which we reach the ending are much more interesting than the endings themselves. </span>Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-4925754922967460598.post-4882899400139017072014-09-21T10:22:00.002-07:002014-09-21T10:22:55.656-07:00"Happy Endings" Analysis<div class="MsoNormal" style="text-indent: .5in;">
“Happy Endings” struck me as a
commentary both on writing and on how people act. We discussed the significance
of form thoroughly in class, but I want to delve into the format a bit deeper.
The idea that a story can be changed simply by skipping a part (in this case a
numbered section) and substituting it with another, is rather interesting to
me. It sounds so simple, but a few choice words can change meaning drastically.
<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
This is made blatantly clear in
section “E”, where Atwood suggests that if the reader is not satisfied with the
story as it is, he can simply substitute four phrases and the story is
completely different. The sad but hopeful tone is changed to gloomy and
uncomfortable with the substitution of a few words. <o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
Getting back to the first point, so
much literature stands as a monolithic unified force that it is off-putting to
see it as malleable as it is here. If the reader chooses, he can simple pick a
random section and be done with it. There is no overarching traditionalist form
like is seen in literature for centuries. After I got over this initial
discomfort, I was able to embrace it and play with the story. It is interesting
to read the passages out of order, to see where and how they meld together. <o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
The technical format of the story
is certainly important, but I think the content is even more significant. All
of these stories, whether they are written well or not, express the hopes and
desires of people that might as well be real. There is no cloud of details to
wade through. Instead, they are very concise, focusing almost strictly on
character. <o:p></o:p></div>
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“B” showcases the fall of a woman
lacking ambition and too scared to change to know when she is being taken
advantage of. “C” describes a love triangle born of boredom and ending in
bloody jealously. They all give a snapshot of the human condition, whether it is
good or bad. I would argue that they do in fact work as life lessons to the
reader. <o:p></o:p></div>
Anonymousnoreply@blogger.com1tag:blogger.com,1999:blog-4925754922967460598.post-40917100639807018442014-09-21T10:16:00.000-07:002014-09-21T10:16:38.330-07:00Response to Lacey: Children Inside and Outside the StoryLacey, the way that your mind works is hilarious and fascinating. Thank you for the humor throughout your post :)<br />
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I responded to Jessica’s first post without reading yours, so it’s amazing to me how we came to similar conclusions but by completely different routes. You read the characters in the story as childlike while I argued that the absence of actual children in the story makes it a commentary on adulthood and keeping your humanity.<br />
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Middle school students are (in my opinion) the worst, because they are in this strange limbo between childhood and young adulthood. Comparing the adults in the story to this age group is a great analogy because these characters exhibit attributes of children and adults.<br />
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If you’ve ever hung out with elementary school kids, you probably noticed how naturally compassionate most of them are. They don’t really care about difference; younger children play games without consciously discriminating or being cruel. (Not to say that kids can’t be cruel, because they definitely can be, but as a whole there is a lot more compassion from what I’ve noticed). The little child in the story only becomes an important character towards the end, when he interacts with the old man. Once the parents get “used to the smell” of the old man and the chicken coop, the child enter the coop to play. Marquez connects the two characters when “they both came down with the chicken pox at the same time.” Through this interaction, the doctor enters and concludes that the old man is as human as can be, plus the existence of wings.<br />
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Why am I connecting all of this? It’s a little bit jumbled, but (connecting back to my response to Jessica) the physical humanness of the old man is revealed when he and the little boy both become sick. “A Tale for Children” can be read in many different ways, and trying to connect my initial thoughts with your blog post, I think we are both onto something. The adults in the story are immature but lacking the compassion that children have-they’ve lost is somewhere in the grotesque, cut-off world they live in. The subtitle of this story is satirical (and a bit sassy) and brings the reader’s attention to the absence of compassion these adults have; children being read or told this poem, because your point about how this story is fantastic as an oral one, would pick up on the clear mistreatment of the old man by the adults and understand that fair treatment is important.<br />
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-1410697383524566222014-09-21T09:34:00.000-07:002014-09-21T09:34:19.243-07:00Response to JayyyKayyy: A Tale for Children "A Very Old Man With Enormous Wings: A Tale for Children" is one of the best titles I've heard in a while. And it perfectly ties into the two main points you focused on in your post, which is always convenient! This is the only piece I've read by Gabriel Garcia Marquez, but from his writing style it seems that "A Tale for Children" is both satirical and purposeful. You mentioned the golden rule of "treat others the way you want to be treated" and I agree that this story presents that rule in an unusual way. <div>
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For starters, there aren't any children mentioned in the story but the baby boy that is hardly mentioned, which feels significant to me. When you boil it down, all of the adults are attempting to use the old man for their own personal gain: Elisenda and Pelayo exploit the old man's presence to make a profit, the Priest tries to interpret the old man as an angel to reinforce religious beliefs, and the sick of the town physical grab the feathers off of the old man and try to cure their strange ailments. Another point you mentioned is that everyone identifies the old man as an angel. One quote you highlighted is "he reminded them that the devil had the bad habit of making use of carnival tricks in order to confuse the unwary," and this fear of the unknown that Marquez is exploring explains why the townspeople understand the old man to be an angel. </div>
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Everything about the old man is human except for his wings, for the doctor towards the end notices that the old man's wings "seemed so natural on that completely human organism that he couldn't understand why other men didn't have them too." If he is so human-like, why must everyone see him as an angel? The answer lies in the quote about the "carnival tricks" that "confuse the unwary." When presented with something unusual or just outside of our understanding, many of us react in unfavorable ways. Some of the actions that the townspeople and Elisenda take towards the old man are atrocious, but when viewing them through the lens this quote creates, they are not that shocking.</div>
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Drawing the two points together, I think Marquez is depicting how cruel humanity can be towards the unknown and how when we identify something as familiar in order to simply name it, we create expectations for it. And just like in the story, when these false expectations are not met, we have the tendency to act with cruelty rather than kindness. To answer your question, the old man is not an angel, but because we have a need to name things to understand them, he is an angel to those in the town. "A Tale for Children" is an appropriate name for the story, because it's less about teaching children a lesson and more about observing a part of humanity that these adults are exhibiting.</div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-64668946117535994822014-09-20T14:53:00.000-07:002014-09-20T14:53:02.669-07:00Response to JayyKayy's AVOMWEW: Tales and Fables for ChildrenI'm glad you asked why this is considered a tale for children, Jessica, and though I can't provide you with an unequivocal answer, maybe by working through my process I can come up with a pretty good theory.<br />
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The first thing I'm drawn to with this text, as with any other, is the tone and diction of the writer. I love Marquez's imagery, and the way he uses in medias res in this story. I mean, what better first line is there than "[o]n the third day of rain they had killed so many crabs inside the house that Pelayo had to cross his drenched courtyard and throw them into the sea..."? That first paragraph is filled with imagery, but it's not exactly the pretty kind. Pelayo, Elisenda, and the other villagers live in an ugly gray squalor, a type of poverty which seems stuck in time. There is basically no mention of any sort of technology or industrialized product until Pelayo and Elisenda become rich, and even then it's the country provincial sort. As we touched on in class, this feels strangely like a fairy tale, and I tend to think of fairy tales as inhabited by children: Hansel and Gretel, arguably Cinderella, etc. You mentioned, Jessica, that you thought Marquez's tone was sarcastic, and I can't say I'd use that strong a term--maybe more of a satirical ridiculousness--but you're definitely right that he doesn't shrink from the weird, grotesque, and odd. More likely he delighted in it.<br />
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Getting back to the text, when I first read this, I found myself reading it aloud. As I said, it's definitely strange but it's a beautiful sort of strange that's fun to say aloud. And now that I think about it, I see this story as one which would be passed down through oral tradition, in front of the village children. I can't see kids understanding it any more than you can, but even if they didn't understand it, it doesn't mean they wouldn't enjoy hearing it, imagining it. I mean, how many things did we read or see as a kid, and now experience as an adult in a completely different way? For example, has anyone noticed all the double entendres and innuendos in Shrek? But I digress.<br />
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In a sense too, I think the townspeople are childlike. Their responses to the old man with wings are both classically human and childlike: they look on him first with fear and apprehension, then attempt to put him into a category that they are familiar with (hence the angel thing) with limited success, and when that fails, they resort to fear and abuse again. Take this quote for example: "They looked at him [the angel] so long and so closely that Pelayo and Elisenda very soon over came their surprise and in the end found him familiar"--but this is very soon changed after the man speaks unintelligibly to them, and the neighborhood lady "shows them their mistake." One need only spend a day in a middle school to see this phenomenon at work: children who are perceived as different are found threatening in some way to the others, and they respond with abuse to make themselves feel better. It's precisely what the townspeople do, so in some ways, perhaps their development, they're still children. Ostensibly, they've probably never left their village, where they live in waterlogged shacks, or had a good education--hell, it's clear from Elisenda's baby's fever that they can't afford a doctor.<br />
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So, in conclusion, maybe when Marquez says "a Tale for Children," he means those people who remain at a level of understanding the same as the townspeople, who need a fable/tale like this to bring forth some inner growth. But I don't think he's being derisive, either: this is a gently-teaching fable designed to encourage people to accept those who are perceived as different from themselves while reading something fun. Just as it doesn't actually matter whether or not the old man is an angel or a freakish old man with buzzard wings when it comes to him flying away in that perfect end scene, our categorization of others doesn't really matter--we just need to treat them compassionately and equally, and not allow ourselves to trip over our fears as the townspeople do.Lacey Mariehttp://www.blogger.com/profile/03213569763220519954noreply@blogger.com0tag:blogger.com,1999:blog-4925754922967460598.post-54225883041257069622014-09-20T11:06:00.000-07:002014-09-21T19:29:00.877-07:00Response to Skylar's post: Happy Ending of My LifeBefore I start to read a certain story, fist I ALWAYS check the title. Thinking about a title before reading might be expected from most people, but not a lot of people do that. Especially, if those are assignments, most students might focus on “finishing” their homework.<i> Happy Ending</i> by Margaret Atwood drags my attention even from the title. <i> </i><br />
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<i>Happy Ending</i>?<br />
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Then, will that story be a happy ending? <br />
I start to read this story focus on the word <b>happy</b>.<br />
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The story starts like this: if I want to read a happy story, should try A. However, A is not an ideal future that we might have dreamed. John and Mary have “stimulating and challenging” jobs, sex life and hobbies. But, it seems to be boring and simple. At the same time, we all know this future is hard to get.<br />
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Then, <u>what is happy? How can I be happy? </u><br />
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Except A, John and Mary cannot be together happily: “Everything continues as in A, but under different names.” Atwood intentionally dehumanized characters’ lives. All stories somehow are concluded to A as if a fairy tale ends they lived happily ever after. While I was reading the story, I cannot but think about myself. I identified other dehumanized characters and myself to think about this happy ending. Our life is same. We are born and we will die at some point like John and Mary do. Also, Fred is going to die for heart disease, and Madge might die for cancer. Some people might pass away with other diseases. <i>Yes, it sounds bitter</i>.<br />
If Atwood ends her story at this point, I might be depressed forever. However, Atwood asks "now try How and Why" at the end of F to readers and give a chance to think about how to get over this boring life. This interesting format also represents different and various worlds that people live. <br />
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I want to tell this story to Korean high school students who do not decide what they really want to do. Koreans' passion for their children's education is excessive. People, who believe their futures will be decided depending on which college you go, lock their children up into the prison (so-called school) to make them enter a certain college (those people are called this process as “study”). When I was in high school, I had to stay there from 7am until midnight. School systems in America and Korea are very different. Most students go to college even though they do not know what they want to do. Also, because it is very hard to change their majors in college, most students just keep doing what they currently do. But, most of them do not even think that they can change it because they grow up like that way. I do not want to say this system is just bad. Of course, it has a good side, too. However, this is the thing. Most students do not know what they want to do. And they will meet common spouses to marry and have two children to become<i> another John and Mary</i>. Moreover, they will pretend they are happy. <br />
Or they really believe that is happy.<br />
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How did I read <i>Happy Ending</i>?<br />
Why did I read it that way?<br />
What does that say about me?<br />
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I would say this was a great chance to think about myself. I chose to become an English major student in the American college. I am not hundred percent sure what I will be in the future. But, I can tell you that I do not regret what I am doing right now (even though sometimes it is hard to understand some words in the class).<br />
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If I keep considering about how to be happy of my life, maybe 10 years later, I can be a protagonist of my happy ending story.<br />
<br />Anonymousnoreply@blogger.com2tag:blogger.com,1999:blog-4925754922967460598.post-89136990484522959652014-09-19T15:36:00.000-07:002014-09-19T15:36:22.927-07:00A Very Old Man With Enormous: A Tale For ChildrenTo start this conversation I am going to question why this is considered "a tale for children". I feel like this was overlooked the first time that read/looked at this. I am twenty one years old and this story confused me, how is a child supposed to understand this story. Thinking back to when I was a child I would have read the first two lines and been confused and gave up. So this makes me think that saying it's a child's tale has a tiny bit of sarcasm behind it, but hey that's just me. Somehow I feel like you can relate this to the golden rule we were all taught in school when we were younger, "treat others the way you want to be treated". They mocked and laughed at the poor old man/angel and then wanted him to work miracles for them. So when the old man didn't work the wonders that they were expecting they got pissed off. It was almost as if he were teasing them back. For example " Besides, the few miracles attributed to the angel showed a certain mental disorder, like the blind man who didn't recover his sight but grew three new teeth or the paralytic who didn't get to walk but almost won the lottery, and the leper whose sores sprouted sunflowers." These were very sarcastic remedies, like they almost got a miracle "but nah". The elder man gave them a taste of what he could do, but he was treated so badly that he didn't care to actual help.<br />
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Also what attributes make him an angel? The fact that he has wings? There are other characters within the story whom also have strange extremities. It never says that he actually has the wings of an angel. They are actually described as buzzard wings that have seen better days. If he were to be an angel I feel that his wings would be majestic and beautiful and could with stand a little weather. Then at the end of the story when he is secretly growing his wings back they are described as "the feathers of a scarecrow" again, not very majestic. Yet they keep referring to him as an angel. In a way it shows the fear of the unknown. They weren't sure what he was so they wanted to assume he was something nice and helpful rather than assuming he was evil and sent by the devil. Which they are even warned of that could be an option. "He reminded them that the devil had a bad habit of making use of carnival tricks in order to confuse the unwary." Why wasn't this considered an option, instead of automatically assuming it was an angel. Were they just afraid? I just don't think they wanted to know what he was. Assuming good over evil is always easier.<br />
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In the end he makes the family very rich and gets them out of the rundown home that they had. Do you think that this was an act of god? And that the man really was an angel and just had a funny way of showing it? Or do you think it was just a very old man with wings? (Yes I know we touched on this in class but the topic caught my attention).Anonymousnoreply@blogger.com0