James Baldwin, the oldest of 9 children, was born on
August 2, 1924 to an unwed mother who eventually
married David Baldwin, a religious and contentious man
who stressed James's racial and religious roots later
in life. David Baldwin eventually adopted Baldwin.
Baldwin described his childhood as being spent with a
book in one hand, and a baby in the other. Although
it was not specified, one wonders if this reflects
distance from David Baldwin.
While in middle school, Baldwin found
guidance in African American poet Richard Wright.
Wright showed Baldwin the potential for a black voice,
and encouraged his writting although both knew Baldwin
could not afford college.
In 1943, the year David Baldwin died, Baldwin moved to
Greenwich village. Social rejection continued, and
Baldwin eventually found solace in Paris where he
continued writting, often on homosexuality and race.
Our book claims Baldwin avoided being pigeon holed as
a racial writer by using white characters. However,
the majority of information attributes his main
literary influences as Lawrence, Dickens, and Stowe.
I feel this restrains Baldwin's work. To say Stowe
was a major influence encourages one to expect Uncle
Toms in every story and superfluous moralistic
summaries. Similarly, the only person asking for more
in Sonny's Blues might be Sonny looking for another
drink. Poverty is not patronized by Baldwin.
I think his French influences are important to note,
as he spent most of his life in Paris. His lucid
sentences are like Montaigne's; his concern with time
is almost Proustian. But Baldwin's approach deserves
recognition. For Baldwin, telling Sonny's Blues in
media res shows the inherent untruths of the past and
those misconceptions continual resurfacing in American
life. If nothing else, his time spent preaching
before moving to Greenwich may have given his stories
the oratorical power suggested by so many resources.
Baldwin died on December 1, 1987.
I was thinking I could also print out a timeline.
Monday, May 14, 2007
1924 James Baldwin Born
1927 mother marries david baldwin
1930s baldwin's oppressive father shields him from
harsh, outside world. Baldwin reads Stowe and Dickens.
1940 Baldwin comes to terms with his poverty. becomes
member of pentecostal faith church in act of paternal
rebellion
1940s attends de witt clinton high school,
predominately white and jewish
1942 baldwin does not graduate with class but recieves
diploma. establishes lasting friendships with school
paper editors
1943 david baldwin dies. james moves to greenwich
1946 book review on Maxim Gorky published in nation.
writes sixty pages of unfinished novel "in my father's
house"
1948 leaves new york for paris. writes "everybody's
protest novel" and frees himself from racial
expectations
1951-53 finishes "In My Father's House" and retitles
as "Go Tell It on the Mountain"
Writes many books, plays articles. publishes
giovanni's room in 1956, a book about homosexuality,
to sum it up in small terms.
Continues publishing in 1960
1970 sees rise in black rights writings
1986 awarded legion of honor in france
1987 baldwin dies
main points i've covered between the two stories are there. hope that helps or is enough.
I want to stress that baldwin's telling the story in media res is similar to his entire artistic statement. It is as though untruths and misconceptions come back and "haunt" the narrator. baldwin's art was apparently about the racial lies that continue in American society.
1927 mother marries david baldwin
1930s baldwin's oppressive father shields him from
harsh, outside world. Baldwin reads Stowe and Dickens.
1940 Baldwin comes to terms with his poverty. becomes
member of pentecostal faith church in act of paternal
rebellion
1940s attends de witt clinton high school,
predominately white and jewish
1942 baldwin does not graduate with class but recieves
diploma. establishes lasting friendships with school
paper editors
1943 david baldwin dies. james moves to greenwich
1946 book review on Maxim Gorky published in nation.
writes sixty pages of unfinished novel "in my father's
house"
1948 leaves new york for paris. writes "everybody's
protest novel" and frees himself from racial
expectations
1951-53 finishes "In My Father's House" and retitles
as "Go Tell It on the Mountain"
Writes many books, plays articles. publishes
giovanni's room in 1956, a book about homosexuality,
to sum it up in small terms.
Continues publishing in 1960
1970 sees rise in black rights writings
1986 awarded legion of honor in france
1987 baldwin dies
main points i've covered between the two stories are there. hope that helps or is enough.
I want to stress that baldwin's telling the story in media res is similar to his entire artistic statement. It is as though untruths and misconceptions come back and "haunt" the narrator. baldwin's art was apparently about the racial lies that continue in American society.
Thursday, May 10, 2007
final project
Melinda, thanks for the response. I think these ideas are great!
I think you're right. We can all do research on both authors and tie them in together with music and art.
I will agree to write the outline. Please send any info you have to me and I will write it up. I will reply to make sure you agree on the format/material.
If we are all contributing to the outline in a random order, is that how you want to present? I think the more scattered the art and music are the better too!
Please let me know what you all think.
I think you're right. We can all do research on both authors and tie them in together with music and art.
I will agree to write the outline. Please send any info you have to me and I will write it up. I will reply to make sure you agree on the format/material.
If we are all contributing to the outline in a random order, is that how you want to present? I think the more scattered the art and music are the better too!
Please let me know what you all think.
Wednesday, May 9, 2007
W3rd... sorry for posting so late; I hope it's not a problem.
After mulling over the two stories and skimming a little, I thought of the following:
Both artists find inspiration in sorrow
Both are incapable of fitting into rules
Both overcome eventual restraint
Both pianos play strange, inaccessible music
Music comes from a road/parking lot in both stories
The end reaction towards both finished musics is sort of some "he gets the Kerouac-ian IT"
An interesting contrast would be Card's inherent distaste for the fine art admirers, whereas Baldwin treats practice as a necessary means for an end.
It may also be interesting to look at Card's "fine art" isolation, and Baldwin's complete absorption in other music... don't know if i agree with Card.. lots of music contains musical allusions, intentional ones.
I was thinking there must be a reason Christian is named Christian... but I can't think of it. His story seems to be some sort of odd meditation on youth.
After mulling over the two stories and skimming a little, I thought of the following:
Both artists find inspiration in sorrow
Both are incapable of fitting into rules
Both overcome eventual restraint
Both pianos play strange, inaccessible music
Music comes from a road/parking lot in both stories
The end reaction towards both finished musics is sort of some "he gets the Kerouac-ian IT"
An interesting contrast would be Card's inherent distaste for the fine art admirers, whereas Baldwin treats practice as a necessary means for an end.
It may also be interesting to look at Card's "fine art" isolation, and Baldwin's complete absorption in other music... don't know if i agree with Card.. lots of music contains musical allusions, intentional ones.
I was thinking there must be a reason Christian is named Christian... but I can't think of it. His story seems to be some sort of odd meditation on youth.
Thursday, April 26, 2007
James Baldwin
Mark, I like your idea for choice of author for final project. I'm willing to go forward with your suggestion. I'm intrigued.
Tuesday, April 24, 2007
I don't know if anyone still uses this, but I wanted to ask about possibly using James Baldwin as our group author for our final project. I have a collection of his stories and his story Sonny's Blues is in our anthology.
Sonny's Blues is the story of an algebra teacher and his heroin-addicted, Jazz musician brother. But it's probably important to note Baldwin does not glorify drug use, has a remarkably lucid style, and displays unique compassion. Reading the story and presenting it would allow us to view a portion of the world that lives in our minds as the other united states, that underground filled with shady behavior and musical icons we hear of every so often but rarely enjoy. Additionally, we would have the opportunity to view the work of a black american author who was, and has been, very influential.
I wanted to post some passages from the story I thought were particularly beautiful in order to sway judgement:
This is the narrator's (i forget his name) meeting with a drug addict toward the beginning:
[narrator ("would" should be italicized):] "How the hell would I know what you mean?" I almost whispered it, I don't know why.
"That's right," he said to the air, "how would he [italics] know what I mean?" He turned toward me again, patient and calm, and yet I somehow felt him shaking, shaking as though he were going to fall apart. I felt that ice in my guts again, the dread I'd felt all afternoon; and again I watched the barmaid, moving about the bar, washing glasses, and singing....
Another scened when the narrator hears music:
All I know about music is that not many people ever really hear it. And even then, on the rare occasions when something opens within, and the music enters, what we mainly hear, or hear corroborated, are personal, private, vanishing evocations. But the man who creates the music is hearing something else, is dealing with the roar rising from the void and imposing order on it as it hits the air. What is evoked in him, then, is of another order, more terrible because it has no words, and triumphant, too, for that same reason. And his triumph, when he triumphs, is ours...
And, slightly later: I had never before thought of how awful the relationship must be between the musician and his instrument. He has to fill it, this instrument, with the breat of life, his own. He has to make it do what he wants it to do. And a piano is just a piano. It's made out of so much wood and wires and little hammers and big ones, and ivory. While there's only so much you can do with it, the only way to find this out is to try; to try and make it do everything.
I hope I've been succinct
Sonny's Blues is the story of an algebra teacher and his heroin-addicted, Jazz musician brother. But it's probably important to note Baldwin does not glorify drug use, has a remarkably lucid style, and displays unique compassion. Reading the story and presenting it would allow us to view a portion of the world that lives in our minds as the other united states, that underground filled with shady behavior and musical icons we hear of every so often but rarely enjoy. Additionally, we would have the opportunity to view the work of a black american author who was, and has been, very influential.
I wanted to post some passages from the story I thought were particularly beautiful in order to sway judgement:
This is the narrator's (i forget his name) meeting with a drug addict toward the beginning:
[narrator ("would" should be italicized):] "How the hell would I know what you mean?" I almost whispered it, I don't know why.
"That's right," he said to the air, "how would he [italics] know what I mean?" He turned toward me again, patient and calm, and yet I somehow felt him shaking, shaking as though he were going to fall apart. I felt that ice in my guts again, the dread I'd felt all afternoon; and again I watched the barmaid, moving about the bar, washing glasses, and singing....
Another scened when the narrator hears music:
All I know about music is that not many people ever really hear it. And even then, on the rare occasions when something opens within, and the music enters, what we mainly hear, or hear corroborated, are personal, private, vanishing evocations. But the man who creates the music is hearing something else, is dealing with the roar rising from the void and imposing order on it as it hits the air. What is evoked in him, then, is of another order, more terrible because it has no words, and triumphant, too, for that same reason. And his triumph, when he triumphs, is ours...
And, slightly later: I had never before thought of how awful the relationship must be between the musician and his instrument. He has to fill it, this instrument, with the breat of life, his own. He has to make it do what he wants it to do. And a piano is just a piano. It's made out of so much wood and wires and little hammers and big ones, and ivory. While there's only so much you can do with it, the only way to find this out is to try; to try and make it do everything.
I hope I've been succinct
Tuesday, March 20, 2007
I wanted to change my stance on whether Tim O'Brien's character was a coward in "On the Rainy River." By my logic, O'Brien would actually be constricting himself by moving to Canada, where his actions would be largely dictated by possible poverty and a lack of relations. By going to the war, if he survives, he has a greater range of freedoms.
Similarly, if the imagery be considered, I think it is intentional that the woman with the Umbrella is carrying a copy of Plato's Republic, a book throughout which Plato's Socrates voices his opinion on one having obligations to the state because it is a sort of parent to the individual. If O'Brien were to swim across the river he would go through a sort of literary rebirth, and be left an astranged child in a new country, orphaned.
If we look at Hemingway, and the way duty was emphasized, he would be abandoning his duty. O'Brien, doubtless, feels the war was wrong, but seems also to have realized the futility of his "one man stand" against something as nebulous as a war. I agree that the plan seemed childish, if not completely a farce.
Similarly, if the imagery be considered, I think it is intentional that the woman with the Umbrella is carrying a copy of Plato's Republic, a book throughout which Plato's Socrates voices his opinion on one having obligations to the state because it is a sort of parent to the individual. If O'Brien were to swim across the river he would go through a sort of literary rebirth, and be left an astranged child in a new country, orphaned.
If we look at Hemingway, and the way duty was emphasized, he would be abandoning his duty. O'Brien, doubtless, feels the war was wrong, but seems also to have realized the futility of his "one man stand" against something as nebulous as a war. I agree that the plan seemed childish, if not completely a farce.
Wednesday, March 7, 2007
I decided on this for my intro and did some extensive editing (really slimmed down my sentences and made things as declarative as possible.)
Nick Adams listens to it crying. He is with his father (the doctor) and uncle George and the Indian woman and its father in the top bed, and Nick wonders. And the quilt is not moving. But Nick scans the room, not noticing. Nick stands alone between the movements. The pin slides through her skin in the doctor’s fingers with alacrity, the fishing line roseate against chiaroscuro. And when it is born and a baby, and the baby is breathing because his father smacked the breath into it, and Nick and his father and Uncle George have cleaned, Uncle George, congratulating, jubilant, lifts up the quilt, and Nick sees the blood. The doctor takes nick’s hand, leads him out to the canoe on the riverbank, only saying what Nick needs to hear to understand. He ignores the other parts as if ignoring the screams of labor. Nick notices.
I've got it italicized because I wanted to emphasize an attempt at nick's perspective that went all...whatever, like with all the "and"s. but i realized a 7 year old probably never read an art book and wouldn't think to call pink roseate. I just didn't think "pinkening" (as it's not really a word) would fly with mr. kizzier. chiaroscuro/odd shadows...no diff, right?
man, i hate having to turn in papers, or any work at all, really.
did i mention I got accepted to college to everyone (build up my confidence before I have to hand in something I had to think about)? happened like a week ago, pretty excited...
See everyone tommorrow
Nick Adams listens to it crying. He is with his father (the doctor) and uncle George and the Indian woman and its father in the top bed, and Nick wonders. And the quilt is not moving. But Nick scans the room, not noticing. Nick stands alone between the movements. The pin slides through her skin in the doctor’s fingers with alacrity, the fishing line roseate against chiaroscuro. And when it is born and a baby, and the baby is breathing because his father smacked the breath into it, and Nick and his father and Uncle George have cleaned, Uncle George, congratulating, jubilant, lifts up the quilt, and Nick sees the blood. The doctor takes nick’s hand, leads him out to the canoe on the riverbank, only saying what Nick needs to hear to understand. He ignores the other parts as if ignoring the screams of labor. Nick notices.
I've got it italicized because I wanted to emphasize an attempt at nick's perspective that went all...whatever, like with all the "and"s. but i realized a 7 year old probably never read an art book and wouldn't think to call pink roseate. I just didn't think "pinkening" (as it's not really a word) would fly with mr. kizzier. chiaroscuro/odd shadows...no diff, right?
man, i hate having to turn in papers, or any work at all, really.
did i mention I got accepted to college to everyone (build up my confidence before I have to hand in something I had to think about)? happened like a week ago, pretty excited...
See everyone tommorrow
Melinda's paper
I just read melinda's paper, and enjoyed it much more than most school papers.
There are few things I can suggest for your introduction. It's epistolary, and starting it anyway other than "dear friend" might be difficult, or a bad idea.
I thought you did a good job of capturing the voice of an 18th century person. And I liked how things seemed to double for this or that, instrumens=poe's voice.
The only concern I can think of is its length (big spaces between paragraphs), but I imagine it will be all right and think it's complete as is.
There are few things I can suggest for your introduction. It's epistolary, and starting it anyway other than "dear friend" might be difficult, or a bad idea.
I thought you did a good job of capturing the voice of an 18th century person. And I liked how things seemed to double for this or that, instrumens=poe's voice.
The only concern I can think of is its length (big spaces between paragraphs), but I imagine it will be all right and think it's complete as is.
Tuesday, March 6, 2007
Melinda's Writer's Response
ENGL 252 Kizzier
Writer’s Response 1
What kind of intro are you using? Why?
I guess I would say that I am using a thought-provoking idea, statement.
What do you like best about your paper right now? Why?
I like my choice of form. I chose to write my paper in letter form. One of Chekov’s characters, Iona, speaks to Roderick Usher empathizing with his “plight.” I draw interesting and vivid comparisons between both of their lives in order to illuminate Poe’s choice of mood and setting. The darkness that hangs over the house also hangs in Iona’s heart and that made for a dimensional parallel. I was surprised with how easily the paper took form. I am hopeful that what needs to be conveyed comes through; my one concern is that maybe points might be ambiguous. Tried to convey, or mimic, Poe’s style…but may not be specific enough.
What would you work on if you had more time? Why? Try and be specific and please, no comments about grammar.
I am concerned that I have read both pieces closely enough. As stated before, I am hoping that the paper’s points along with my assessment of Poe’s style, comes through. Paper is “packed” emotionally; that may or not be a good thing. I am very happy with the prose. Not in clear essay form.
Writer’s Response 1
What kind of intro are you using? Why?
I guess I would say that I am using a thought-provoking idea, statement.
What do you like best about your paper right now? Why?
I like my choice of form. I chose to write my paper in letter form. One of Chekov’s characters, Iona, speaks to Roderick Usher empathizing with his “plight.” I draw interesting and vivid comparisons between both of their lives in order to illuminate Poe’s choice of mood and setting. The darkness that hangs over the house also hangs in Iona’s heart and that made for a dimensional parallel. I was surprised with how easily the paper took form. I am hopeful that what needs to be conveyed comes through; my one concern is that maybe points might be ambiguous. Tried to convey, or mimic, Poe’s style…but may not be specific enough.
What would you work on if you had more time? Why? Try and be specific and please, no comments about grammar.
I am concerned that I have read both pieces closely enough. As stated before, I am hoping that the paper’s points along with my assessment of Poe’s style, comes through. Paper is “packed” emotionally; that may or not be a good thing. I am very happy with the prose. Not in clear essay form.
Reader's response for Mark
What kind of intro is the author using? Suggest a way to use another effective one.
The author uses an effective intro in the fact that he manages to state the purpose of the essay without outright restating the prompt. He goes on to use vivid, attention-catching imagery that draws the reader into the piece. It may be a little too wordy, but it doesn’t detract from the overall understandability of the paragraph.
Where is the author describing a scene from one of the stories? Suggest at least one other scene from a story the author could use.
The author chooses several scenes from the Hemmingway stories that effectively support his purpose. He uses examples from “Indian camp” and “The battler” to describe the symbols that mark Nick’s transformation from a child into a man, and how these relate to defining moments in the stories (“…mist, sawdust or the presence of a swamp—that indicates the beginning of a suspenseful moment.”)
Personally, I think he pretty well covered all of the relevant scenes that could be used throughout the selection of stories he analyzed, and don’t really have any suggestions in this respect.
List any paragraphs where you were confused or unclear about the author‘s intention or meaning. What made it unclear? How could it be said more coherently?
I don’t think that any one paragraph really was unclear, but the author might benefit from using more concise ways of explaining what he is trying to convey with this piece. The descriptions are very vivid, but I got a bit distracted by the wordiness and became a bit lost about the second page. The concept is there, it could just use a bit of condensing.
The author uses an effective intro in the fact that he manages to state the purpose of the essay without outright restating the prompt. He goes on to use vivid, attention-catching imagery that draws the reader into the piece. It may be a little too wordy, but it doesn’t detract from the overall understandability of the paragraph.
Where is the author describing a scene from one of the stories? Suggest at least one other scene from a story the author could use.
The author chooses several scenes from the Hemmingway stories that effectively support his purpose. He uses examples from “Indian camp” and “The battler” to describe the symbols that mark Nick’s transformation from a child into a man, and how these relate to defining moments in the stories (“…mist, sawdust or the presence of a swamp—that indicates the beginning of a suspenseful moment.”)
Personally, I think he pretty well covered all of the relevant scenes that could be used throughout the selection of stories he analyzed, and don’t really have any suggestions in this respect.
List any paragraphs where you were confused or unclear about the author‘s intention or meaning. What made it unclear? How could it be said more coherently?
I don’t think that any one paragraph really was unclear, but the author might benefit from using more concise ways of explaining what he is trying to convey with this piece. The descriptions are very vivid, but I got a bit distracted by the wordiness and became a bit lost about the second page. The concept is there, it could just use a bit of condensing.
mark's response to cat's paper
ENGL 252 Kizzier
Writer’s Response 1
1. What kind of intro is the author using? Suggest a way to use another effective one.
Cat seems to have the beginning of the contradiction thing. But it is not very strong, if there is one. Cat may consider using an introduction that…illustrates the unreliability of the narrator?
2. Where is the author describing a scene from one of the stories? Suggest at least one other scene from a story the author could use. do you like best about your paper right now? Why?
The first paragraph includes a description. The author may use a scene from the oblong box more toward the end, when the main character begins to seem a little off, just to give the audience an inclination of her ultimate means.
3. List any paragraphs where you were confused or unclear about the author‘s intention or meaning. What made it unclear? How could it be said more coherently?
As of this far, everything flows more smoothly than I could make it. Continue to use your outline. It looks like you know where you’re going (more than I can say).
Writer’s Response 1
1. What kind of intro is the author using? Suggest a way to use another effective one.
Cat seems to have the beginning of the contradiction thing. But it is not very strong, if there is one. Cat may consider using an introduction that…illustrates the unreliability of the narrator?
2. Where is the author describing a scene from one of the stories? Suggest at least one other scene from a story the author could use. do you like best about your paper right now? Why?
The first paragraph includes a description. The author may use a scene from the oblong box more toward the end, when the main character begins to seem a little off, just to give the audience an inclination of her ultimate means.
3. List any paragraphs where you were confused or unclear about the author‘s intention or meaning. What made it unclear? How could it be said more coherently?
As of this far, everything flows more smoothly than I could make it. Continue to use your outline. It looks like you know where you’re going (more than I can say).
ENGL 252 Kizzier
Writer’s Response 1
1. What kind of intro are you using? Why?
My intro is sort of a question. I would like to change it to an anecdote in order to excite and mirror the scenes I rely on in order to interest. A question may work if I can make it flow more smoothly, and make it seem as though I’m asking it instead of giving an example of one.
2. What do you like best about your paper right now? Why?
I like some of my sentences, but not all of them. But some of them are neat, long, and I think certain ones said something close to what I wanted. I also think my paper does an alright job of moving between the three stories I chose.
3. What would you work on if you had more time? Why? Try and be specific and please, no comments about grammar. I would work on my introduction because it is lifeless. I also may try to include more from the first story. My closing could use some work also. It wraps things up the way a children’s movie does. And parts of my paper could flow more smoothly, or be tighter… I really don’t like it and will be revising it until I have to hand it in.
Writer’s Response 1
1. What kind of intro are you using? Why?
My intro is sort of a question. I would like to change it to an anecdote in order to excite and mirror the scenes I rely on in order to interest. A question may work if I can make it flow more smoothly, and make it seem as though I’m asking it instead of giving an example of one.
2. What do you like best about your paper right now? Why?
I like some of my sentences, but not all of them. But some of them are neat, long, and I think certain ones said something close to what I wanted. I also think my paper does an alright job of moving between the three stories I chose.
3. What would you work on if you had more time? Why? Try and be specific and please, no comments about grammar. I would work on my introduction because it is lifeless. I also may try to include more from the first story. My closing could use some work also. It wraps things up the way a children’s movie does. And parts of my paper could flow more smoothly, or be tighter… I really don’t like it and will be revising it until I have to hand it in.
Writer Response
What kind of intro are you using? Why?
I am using a standard effective intro that restates the prompt and introduces the purpose of the essay. Currently, mine is sort of a work in progress. My brain was a bit burned out, and I’d like to go into more depth about how the narrator affects and is affected by the events in both stories before I move on to describe each specific story.
What do you like best about your paper right now? Why?
I am planning on using a lot of quotes to back my paper up, and like that it will eventually be very specific. Once I got a hold of the concept that the prompt was trying to convey, I found a lot of examples to support it throughout both stories that I am looking at. Poe likes to describe things, and his narrators generally have a very strong voice, so it was easy to find what I was looking for, as well as incorporate them into my paper.
What would you work on if you had more time? Why? Try and be specific and please, no comments about grammar.
I would have liked to go more in depth with the two stories, more specifically the character of both narrators. I find them to be interesting and worth looking at more closely, but for the sake of length, I had to be very picky with what I put into the paper. I am still trying to figure out the ‘why’ part of the prompt, and hope I’ll figure it out by the final draft. The prompt leaves so many things to talk about between these two stories.
I am using a standard effective intro that restates the prompt and introduces the purpose of the essay. Currently, mine is sort of a work in progress. My brain was a bit burned out, and I’d like to go into more depth about how the narrator affects and is affected by the events in both stories before I move on to describe each specific story.
What do you like best about your paper right now? Why?
I am planning on using a lot of quotes to back my paper up, and like that it will eventually be very specific. Once I got a hold of the concept that the prompt was trying to convey, I found a lot of examples to support it throughout both stories that I am looking at. Poe likes to describe things, and his narrators generally have a very strong voice, so it was easy to find what I was looking for, as well as incorporate them into my paper.
What would you work on if you had more time? Why? Try and be specific and please, no comments about grammar.
I would have liked to go more in depth with the two stories, more specifically the character of both narrators. I find them to be interesting and worth looking at more closely, but for the sake of length, I had to be very picky with what I put into the paper. I am still trying to figure out the ‘why’ part of the prompt, and hope I’ll figure it out by the final draft. The prompt leaves so many things to talk about between these two stories.
Monday, March 5, 2007
Essay rough draft/ outline
This is my rough draft as it stands now... it's still half an outline, as I got a bit stuck, but here it is anyway. I decided to do prompt number one.
Prompt #1: First draft
In both the stories, “The Oblong Box” and “The Fall of the house of Usher”, the narrators seem to be very much affected by the events that they describe. By contrast, the narrator’s state of mind throughout the story directly affects the depictions of the events. This is illustrated several times in the course of both stories.
In “The Oblong Box”, the narrator takes the form of another passenger of the ship, and friend to the main character. Already we have a bias through the narrator’s relationship to Cornelius Wyatt, who had been a peer of his at University. The narrator, to begin with, seems like a curious sort of man, as he checks the passenger lists to see who else is on the ship. He remarks in the second paragraph of the story, “…I was rejoiced to see that of Mr. Cornelius Wyatt, a young artist, for whom I entertained feelings of warm friendship.” In this quote, we have established an opinion of Wyatt through the narrator’s feelings for them.
The narrator goes on to describe his friend more fully in the next passage, “He had the ordinary temperament of genius, and was a compound of misanthropy, sensibility, and enthusiasm. To these qualities he united the warmest and truest heart which ever beat in a human bosom.”
Already, the narrator is setting up this man to be a sympathetic character. This first description is what will carry through the rest of the story. The narrator cares for this man, and therefore, the reader cares about him as well.
As the story continues, the beginnings of the plot become apparent in the fact that Wyatt was apparently traveling with three other persons, but only three staterooms were assigned to his party. This gets the narrator thinking. On the first page, he is already pondering over the mystery that will consume him almost to the end of the piece…. (cont)
-Quote: “I could not comprehend why there were three state-rooms for these four persons...” (Curiosity on part of narrator)
-Everything seen through narrator’s eyes, and opinions… we can form no unbiased feelings of our own on these characters with the biased information given. (pg 433, description of Mrs. Wyatt, Pg 435, rant about friend’s wife.)
-Curiosity example: Oblong box introduction, pg 433
-Pg 443 Increasing obsession with the box… fixation on that and not other goings on about the ship. We don’t know other events because the narrator is obsessed.
-His feelings affect the overall feeling of the piece, moods-piece mood.
-Pg 438, description of shipwreck- Seen from narrator’s eyes, don’t know what Wyatt is feeling. Mystery is solved,
House of Usher--
-Introduction of house of usher and narrator.
-First sentence, pg 378- sampling of mood of piece.
-Describe word-use and how that betrays the narrator’s state of mind about the house. Look at house descriptions.
-Metaphor of house/Roderick’s mind, pg 379
-”Although as boys….” quote, pg 379
-Degrading relationship between Roderick and Narrator…. Pg 380
-Sickness/moldering house metaphor.
“Upon my entrance, Usher…” quote, pg 381
-describe how narrator’s overall opinion colors reader’s view of Roderick and his sister
Closing paragraph-
-Describe how point of view decides how readers view events
-Closing statement/restatement of ‘purpose’/ main paragraph
Prompt #1: First draft
In both the stories, “The Oblong Box” and “The Fall of the house of Usher”, the narrators seem to be very much affected by the events that they describe. By contrast, the narrator’s state of mind throughout the story directly affects the depictions of the events. This is illustrated several times in the course of both stories.
In “The Oblong Box”, the narrator takes the form of another passenger of the ship, and friend to the main character. Already we have a bias through the narrator’s relationship to Cornelius Wyatt, who had been a peer of his at University. The narrator, to begin with, seems like a curious sort of man, as he checks the passenger lists to see who else is on the ship. He remarks in the second paragraph of the story, “…I was rejoiced to see that of Mr. Cornelius Wyatt, a young artist, for whom I entertained feelings of warm friendship.” In this quote, we have established an opinion of Wyatt through the narrator’s feelings for them.
The narrator goes on to describe his friend more fully in the next passage, “He had the ordinary temperament of genius, and was a compound of misanthropy, sensibility, and enthusiasm. To these qualities he united the warmest and truest heart which ever beat in a human bosom.”
Already, the narrator is setting up this man to be a sympathetic character. This first description is what will carry through the rest of the story. The narrator cares for this man, and therefore, the reader cares about him as well.
As the story continues, the beginnings of the plot become apparent in the fact that Wyatt was apparently traveling with three other persons, but only three staterooms were assigned to his party. This gets the narrator thinking. On the first page, he is already pondering over the mystery that will consume him almost to the end of the piece…. (cont)
-Quote: “I could not comprehend why there were three state-rooms for these four persons...” (Curiosity on part of narrator)
-Everything seen through narrator’s eyes, and opinions… we can form no unbiased feelings of our own on these characters with the biased information given. (pg 433, description of Mrs. Wyatt, Pg 435, rant about friend’s wife.)
-Curiosity example: Oblong box introduction, pg 433
-Pg 443 Increasing obsession with the box… fixation on that and not other goings on about the ship. We don’t know other events because the narrator is obsessed.
-His feelings affect the overall feeling of the piece, moods-piece mood.
-Pg 438, description of shipwreck- Seen from narrator’s eyes, don’t know what Wyatt is feeling. Mystery is solved,
House of Usher--
-Introduction of house of usher and narrator.
-First sentence, pg 378- sampling of mood of piece.
-Describe word-use and how that betrays the narrator’s state of mind about the house. Look at house descriptions.
-Metaphor of house/Roderick’s mind, pg 379
-”Although as boys….” quote, pg 379
-Degrading relationship between Roderick and Narrator…. Pg 380
-Sickness/moldering house metaphor.
“Upon my entrance, Usher…” quote, pg 381
-describe how narrator’s overall opinion colors reader’s view of Roderick and his sister
Closing paragraph-
-Describe how point of view decides how readers view events
-Closing statement/restatement of ‘purpose’/ main paragraph
Wednesday, February 28, 2007
nick+father+vignettes
To ask what kind of person Nick is without specifying time is a bit tricky. The perspective we have of Nick changes as he gets older and more confident in himself. Nick is very quiet when we read Indian camp. He doesnt quite know how to respond to the chaos.
When reading on we start to see the process of maturity. It takes a while for him to even state his own opinions. He is at first complacent and uninspired and kind of soft. He respects his father a great deal.
His friend Bill and his girlfriend Maragrieare are influencial as well. He has no backbone to even stand up for his girlfriend because he feels embarrased that she is indian. I really dont feel that Nick is either very intelligent, witty or even strong metally or physically. He seems to very normal and nothing special.
In the Battler he has a very strang experience that helps him to have a better scope on life. He seems a bit more inquisitive and intriqued by strang people.
Many more things help to shape Nicks maturity, but after his experience in war; his backpacking trip helps explain a lot about his personality.
He is quite busy with plans and focus of every detail of his trip. He is a sponge soaking up nature's glory down to the charcoaled cricket.
I didnt get a sense of his avoidence of his own mind untill he was setting up camp. It seems like theres a lot going on that he is blocking with a dam of certain events of instant reality. I truly believe the vingettes are a comparison between reality and fantasy, dreams and being awake. This dam is uncontrollable when one is sleeping and the mind is unleashed to be free and as wild as it can.
I think Hemminway was interested in the contrast, comparison and stuggle between opposing forces both in emotional tension and physical brutality.
Hemmingway has shown us this struggle in a number of ways.
I think Nick's issue is his stuggle of the mind in conflict with past hardships. He doesnt want to face his own mind.
Nick's father is similar in that he has temper issues. He has an acceptance complex. He is affended easily and this is even more magnified by his wife. He finds solace in his son Nick because he knows that his own son looks up to him.
Hemmingway's stories show the vulneralbility of especially Nick and his father. I think that at the time Hemmingway was writing these stories he may not of been as conscious of this clash of one's own mirrored consiousness. I bet Hemmingway was either experiencing similar situations in his own life or saw it around him. His stories are simple but they cut to the core of the human experience.
When reading on we start to see the process of maturity. It takes a while for him to even state his own opinions. He is at first complacent and uninspired and kind of soft. He respects his father a great deal.
His friend Bill and his girlfriend Maragrieare are influencial as well. He has no backbone to even stand up for his girlfriend because he feels embarrased that she is indian. I really dont feel that Nick is either very intelligent, witty or even strong metally or physically. He seems to very normal and nothing special.
In the Battler he has a very strang experience that helps him to have a better scope on life. He seems a bit more inquisitive and intriqued by strang people.
Many more things help to shape Nicks maturity, but after his experience in war; his backpacking trip helps explain a lot about his personality.
He is quite busy with plans and focus of every detail of his trip. He is a sponge soaking up nature's glory down to the charcoaled cricket.
I didnt get a sense of his avoidence of his own mind untill he was setting up camp. It seems like theres a lot going on that he is blocking with a dam of certain events of instant reality. I truly believe the vingettes are a comparison between reality and fantasy, dreams and being awake. This dam is uncontrollable when one is sleeping and the mind is unleashed to be free and as wild as it can.
I think Hemminway was interested in the contrast, comparison and stuggle between opposing forces both in emotional tension and physical brutality.
Hemmingway has shown us this struggle in a number of ways.
I think Nick's issue is his stuggle of the mind in conflict with past hardships. He doesnt want to face his own mind.
Nick's father is similar in that he has temper issues. He has an acceptance complex. He is affended easily and this is even more magnified by his wife. He finds solace in his son Nick because he knows that his own son looks up to him.
Hemmingway's stories show the vulneralbility of especially Nick and his father. I think that at the time Hemmingway was writing these stories he may not of been as conscious of this clash of one's own mirrored consiousness. I bet Hemmingway was either experiencing similar situations in his own life or saw it around him. His stories are simple but they cut to the core of the human experience.
Thursday, February 22, 2007
Reflections on today's class
I hope I'm not wasting anyone's time by posting this. Just thought it was sort of the use for the class blog.
So, in the middle of class I mentioned a Hemingway quote from our short story textbook and might have made it sound like I thought the stories were "true." I guess what I was trying to say was that they were true in the Tim O'brien sense, that whole: "yes, at some point he sat in a room and drank with his friend. But what matters is that there is a certain truth to that event, one that should be considered." I know John Keats had the same idea, and I don't feel I'm totally wrong in saying that, even though the meaning isn't as clear as some may have wanted it, that truth serves as a panacea for many readers.
I know that Hemingway liked Tolstoy. I don't know if he was familiar with Tolstoy's ideas on what constituted good art. I wasn't familiar until a week ago, when it came up in my philosophy class. Tolstoy thought that art should forge a moral community between people. Sure, late in life Tolstoy cracked out, and may have held religious convictions that were too strong for my taste, but I realized that, even if that community wasn't a Christian one, as Tolstoy wanted, there is some truth in the idea. I have trouble understanding why someone would have written countless drafts of a story and then decided that they wanted to make it completely inaccessible. I've also noticed that it seems like the most illiterate people sometimes gravitate towards those books that rely so heavily on their author's eurudition. Before I had read many books at all I read portrait of the artist as a young man and dubliners, and those books spoke to me. Joyce, in my opinion, for his reliance on allusion, was much more pretentious than Hemingway, and yet, I, in my completely illiterate state, just after high school, adored those books so much. Even if Hemingway was pretentious, I doubt that it was to drive a seperation between people or to flaunt it. I mean, I can read an entire book of Hemingway's without having to pick up a dictionary.
I've never really understood how someone can dislike a story because of how much effort an author puts into it. I've always felt that if the story be appreciated as a beautiful collection of words, and if people study the sentences, the format, regardless of who started what fight, they might come to see the same. I empathize with Derek's disgust at having to read something in class he already read and loved. When I form a personal bond with a work of art I hate it when people tell me I'm right or wrong, or even when they try to make me explain myself. Emotions are difficult to capture in words, and it seemed like that's part of the reason we tell stories. I certainly can't explain what it _feels_ like to read a story. Stories seem like the closest to magic in this world, to me, anyway.
I've read some books on writting and reading. A common thing authors seem to touch on is intertextuality: this story is related to that story and so on, culminating in one big story, the story that every story tries to tell. They're all the same. When I read a new author I normally have doubts; it takes me a while to understand the author. If it ever becomes to difficult, I think of something contemporary I've read, maybe look into an author I like, and try to find out where that author got their influences. Reading the books they liked most is the closest thing to stepping into the head of the person who wrote the book, not that side of the person that is the artist.
If someone happens to read something they don't like, just try to remember those things. The artist wrote the books to tell the reader something, and to make them feel something. Not because she wanted to bore people or make them talk in class. Don't get me wrong, class has value. And people are entitled to their opinions. And not a day goes by when I hear something in class I wish I had thought of for myself. Just figured it might make things bearable to look at a story in this way if anyone is reading something they dislike.
So, in the middle of class I mentioned a Hemingway quote from our short story textbook and might have made it sound like I thought the stories were "true." I guess what I was trying to say was that they were true in the Tim O'brien sense, that whole: "yes, at some point he sat in a room and drank with his friend. But what matters is that there is a certain truth to that event, one that should be considered." I know John Keats had the same idea, and I don't feel I'm totally wrong in saying that, even though the meaning isn't as clear as some may have wanted it, that truth serves as a panacea for many readers.
I know that Hemingway liked Tolstoy. I don't know if he was familiar with Tolstoy's ideas on what constituted good art. I wasn't familiar until a week ago, when it came up in my philosophy class. Tolstoy thought that art should forge a moral community between people. Sure, late in life Tolstoy cracked out, and may have held religious convictions that were too strong for my taste, but I realized that, even if that community wasn't a Christian one, as Tolstoy wanted, there is some truth in the idea. I have trouble understanding why someone would have written countless drafts of a story and then decided that they wanted to make it completely inaccessible. I've also noticed that it seems like the most illiterate people sometimes gravitate towards those books that rely so heavily on their author's eurudition. Before I had read many books at all I read portrait of the artist as a young man and dubliners, and those books spoke to me. Joyce, in my opinion, for his reliance on allusion, was much more pretentious than Hemingway, and yet, I, in my completely illiterate state, just after high school, adored those books so much. Even if Hemingway was pretentious, I doubt that it was to drive a seperation between people or to flaunt it. I mean, I can read an entire book of Hemingway's without having to pick up a dictionary.
I've never really understood how someone can dislike a story because of how much effort an author puts into it. I've always felt that if the story be appreciated as a beautiful collection of words, and if people study the sentences, the format, regardless of who started what fight, they might come to see the same. I empathize with Derek's disgust at having to read something in class he already read and loved. When I form a personal bond with a work of art I hate it when people tell me I'm right or wrong, or even when they try to make me explain myself. Emotions are difficult to capture in words, and it seemed like that's part of the reason we tell stories. I certainly can't explain what it _feels_ like to read a story. Stories seem like the closest to magic in this world, to me, anyway.
I've read some books on writting and reading. A common thing authors seem to touch on is intertextuality: this story is related to that story and so on, culminating in one big story, the story that every story tries to tell. They're all the same. When I read a new author I normally have doubts; it takes me a while to understand the author. If it ever becomes to difficult, I think of something contemporary I've read, maybe look into an author I like, and try to find out where that author got their influences. Reading the books they liked most is the closest thing to stepping into the head of the person who wrote the book, not that side of the person that is the artist.
If someone happens to read something they don't like, just try to remember those things. The artist wrote the books to tell the reader something, and to make them feel something. Not because she wanted to bore people or make them talk in class. Don't get me wrong, class has value. And people are entitled to their opinions. And not a day goes by when I hear something in class I wish I had thought of for myself. Just figured it might make things bearable to look at a story in this way if anyone is reading something they dislike.
Wednesday, February 21, 2007
I used to blog (on the livejournal) a little bit, and hope that I'm not exercising too much freedom with the blogger or what we've talked about in class. Noticed also this blog isn't the one appearing on class blogs, but I'm not a member of that one. Wanted to note two things: first, I hope I didn't sound pretentious earlier. I do like Hemingway and understand his relevance, just see him a lot in English classes. No big deal. Why should I complain about reading great stories? I should be so lucky... Second is unrelated, but related to art. Patrick told us he was a musician and had an interest in classical music. I was wondering if he had heard of Philip Glass, and heard on the radio about some of Glass's music being performed this weekend by the BSO. It's my birthday tomorrow and think I might be lucky enough to have my parents buy me a ticket for the cheap seats. If you're interested in going check this: http://www.baltimoresymphony.org/ . Also, www.lifethroughtime.com is supposed to be related...
Look forward to seeing everyone in class tomorrow, haven't finished the stories but will tonight.
Look forward to seeing everyone in class tomorrow, haven't finished the stories but will tonight.
Tuesday, February 20, 2007
In response to the attempt at initiating dialogue
I appreciate your (Melinda's) attempt to establish a dialogue relating to class. In the beginning of class you mentioned you were an actor, and, if you are familiar with Samuel Beckett's work, there is an exhibit at UMBC containing correspondence (who cares...), photographs of theatrical productions, and a short film that I had never before seen, the best part.
Concerning my view of the stories in class, Poe was one of those guys everyone had heard of, but whom I'd never read... And now I know why, although I did enjoy the stories... somewhat. I prefer Hawthorne if gothic stories are of concern, and, from my understanding (according to an american lit text book), they were just as influential. Poe's comments in the text are actually in regards to Hawthorne.
Chekhov was wonderful. It was nice to see stories that aren't included in signet or barnes and nobel editions of his work. Even though I'd already read it, I liked the lady with the pet dog.
It dissapoints me that we are spending so much time on Hemmingway. I would have expected many people who are interested in the subject to have read him, but was apparently wrong. I'm of the Faulkner camp of modern american literature and also feel he did more for the short story. His collected stories contains more, and more interesting, stories. He also wrote novels that blur the line between short story collection and novel: (I have heard) If I Sing for the Jerusalem, The Sound and the Fury (in some sense). But this isn't scholarly opinion, and is mostly based on heresay. I think the Snopeses contain more than Nick Adams. But truthfully, I've only read some stories, Intruder in the dust, Light in august, Sanctuary, Absalom! Absalom!, and am nearly finished The Sound and the Fury. From Hemmingway I've read some of these stories, Old Man and the Sea, The Sun also Rises, and For Whom the Bell Tolls. Not really enough to claim one guy was good and one was "bad."
Hemmingway's style turns me off... I feel like a big part of why teachers love him is that he is so declamatory. If students are going to be influenced by a writer, why not make it one that might make grading easy?
I understand writting like Faulkner takes a different kind of skill, but would think maliable minds would learn to adapt their voice from Faulkner. Although largely informal, there's a lot that could be taken as active in his writting. And though he may ramble, his words are rarely superfluous. A page description of the sound of a key turning definately has significance. And where else would one hear a similie comparing a cop in a dilapitated car to someone (not a woman) sweeping the floor.
Concerning my view of the stories in class, Poe was one of those guys everyone had heard of, but whom I'd never read... And now I know why, although I did enjoy the stories... somewhat. I prefer Hawthorne if gothic stories are of concern, and, from my understanding (according to an american lit text book), they were just as influential. Poe's comments in the text are actually in regards to Hawthorne.
Chekhov was wonderful. It was nice to see stories that aren't included in signet or barnes and nobel editions of his work. Even though I'd already read it, I liked the lady with the pet dog.
It dissapoints me that we are spending so much time on Hemmingway. I would have expected many people who are interested in the subject to have read him, but was apparently wrong. I'm of the Faulkner camp of modern american literature and also feel he did more for the short story. His collected stories contains more, and more interesting, stories. He also wrote novels that blur the line between short story collection and novel: (I have heard) If I Sing for the Jerusalem, The Sound and the Fury (in some sense). But this isn't scholarly opinion, and is mostly based on heresay. I think the Snopeses contain more than Nick Adams. But truthfully, I've only read some stories, Intruder in the dust, Light in august, Sanctuary, Absalom! Absalom!, and am nearly finished The Sound and the Fury. From Hemmingway I've read some of these stories, Old Man and the Sea, The Sun also Rises, and For Whom the Bell Tolls. Not really enough to claim one guy was good and one was "bad."
Hemmingway's style turns me off... I feel like a big part of why teachers love him is that he is so declamatory. If students are going to be influenced by a writer, why not make it one that might make grading easy?
I understand writting like Faulkner takes a different kind of skill, but would think maliable minds would learn to adapt their voice from Faulkner. Although largely informal, there's a lot that could be taken as active in his writting. And though he may ramble, his words are rarely superfluous. A page description of the sound of a key turning definately has significance. And where else would one hear a similie comparing a cop in a dilapitated car to someone (not a woman) sweeping the floor.
Monday, February 19, 2007
Classic to modern
So! Here goes, with the Chekhov and the Poe comparison:
Chekhov's short stories indicate a shift into what has become the modern perspective by focusing on character development, regardless of events, and by making a plot only so far as it concerns the psyche of the characters. The fiction illumines the struggle to come to understanding, depicts the momentary aspect of life, and betrays the moralistic attitudes of previous writters. For Chekhov, people are wounded, terrible, and flawed to immense degrees, yet loveable and understandable.
With Poe, the good guy's the good guy, the bad guy's the antagonist, and the inconsiderate cur should have kept himself to himself. With such one-dimensional characters, it is not hard to understand the focus on forms such as detective stories, ghost stories, and the augury of science fiction. As is the case with the contemporary counterparts, the morals of such forms stand above the work itself: when we watch star trek, we know we should love Uhru and spock, shatner and (get this) chekhoff, all working together to triumph over terrible evils, despite their differences.
The humanitarian foci of chekhov tend to teach us, essentially, nothing about the world, and yet, at the same time, a great deal. We come to understand the human condition, the flawed nature of our pursuits, and our desires to understand this or that, or seek this or that. We are not told what is right and wrong; we are not told that such and such is crazy, but are asked to see him from his perspective--if this example makes sense...
Also, Mr. Chekhov likes to leave us wondering and betrays finality. Although the frame story was used by many an author, we are left feeling that Ivan could have told another story, wanted to hear another story, or we at least understand that, when we leave him, he and his buddies will live on, an idea that seems to have eluded Poe, with his monstrosity signaling a fall-down, drop-out, everything short of an "and-everyone-lived-(un)happily-ever-after" ending.
Chekhov took a picture; Poe liked his stories with a once upon a time. (I hope I haven't made it sound as though I don't care for Poe. There may be a little to much finality in my own words.)
Chekhov's short stories indicate a shift into what has become the modern perspective by focusing on character development, regardless of events, and by making a plot only so far as it concerns the psyche of the characters. The fiction illumines the struggle to come to understanding, depicts the momentary aspect of life, and betrays the moralistic attitudes of previous writters. For Chekhov, people are wounded, terrible, and flawed to immense degrees, yet loveable and understandable.
With Poe, the good guy's the good guy, the bad guy's the antagonist, and the inconsiderate cur should have kept himself to himself. With such one-dimensional characters, it is not hard to understand the focus on forms such as detective stories, ghost stories, and the augury of science fiction. As is the case with the contemporary counterparts, the morals of such forms stand above the work itself: when we watch star trek, we know we should love Uhru and spock, shatner and (get this) chekhoff, all working together to triumph over terrible evils, despite their differences.
The humanitarian foci of chekhov tend to teach us, essentially, nothing about the world, and yet, at the same time, a great deal. We come to understand the human condition, the flawed nature of our pursuits, and our desires to understand this or that, or seek this or that. We are not told what is right and wrong; we are not told that such and such is crazy, but are asked to see him from his perspective--if this example makes sense...
Also, Mr. Chekhov likes to leave us wondering and betrays finality. Although the frame story was used by many an author, we are left feeling that Ivan could have told another story, wanted to hear another story, or we at least understand that, when we leave him, he and his buddies will live on, an idea that seems to have eluded Poe, with his monstrosity signaling a fall-down, drop-out, everything short of an "and-everyone-lived-(un)happily-ever-after" ending.
Chekhov took a picture; Poe liked his stories with a once upon a time. (I hope I haven't made it sound as though I don't care for Poe. There may be a little to much finality in my own words.)
Sunday, February 11, 2007
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