Journal #7: Blood Wedding, Creative

Dear Journal ("Diary" sounds a little too sappy for me),

     The girl that I used to have a thing for is getting married tomorrow. Except I still might have feelings for her even though she's engaged and I'm married to her cousin. I don't even  understand why I'm still attracted to her- I don't even know her name! But I am. And you know what they say; you do crazy things when you're in love. I heard that one from Hercules.
     But anyway, after tomorrow, she's going to belong to some other guy. I haven't met him, but people have told me his mom is crazy. Apparently, his dad and brother were killed... Wait a second. My family... Oh. Now I know why I almost wasn't invited to the wedding. Well, this sucks. Especially since he's marrying my girl. I officially need to find a way to crash their wedding. I could bring Joan Rivers... Nah, too loud. Maybe I could put a King Cobra in the groom's tux and he'd die before he got to the alter!
That's a little sadistic though... Even for me.
     What if... What if I asked her to fun away with me? What would she say? But how could I go? Leaving behind my wife and child... Even though I truly feel no attraction toward my wife, how could I just turn away and desert her? And how am I to know if the bride still returns my affections? I must find out this above all other things if I am to take any sort of action to prevent the wedding. I will go to her tomorrow morning, before the ceremony. If she still loves me, then she will be as torn as I am, and might even decide to flee with me.

I must rest now- I need my beauty sleep. Maybe I'll wear red tomorrow... I've heard that women find men who wear red more attractive. Just a thought.

--Leonardo

Comments

Kyla:

I like how you accentuated the blindness versus sight idea, and expanded it so it became more like a theme than simply a motif. The connections you made between Wild Duck and Oedipus were insightful and made perfect sense. Your thought process was clear, and your analysis was wonderful (as usual!).

Kellsie:

I completely agree with your point of view here. I can see where you would think that in Oedipus there are few crucial stage directions, but in Wild Duck even the smallest detail on the stage is significant. Also, you spelt subtle wrong- "suddle"- in the second paragraph. Sorry, grammar freak.

Kylee:

Although Werle is cast in a bad light, is he necessarily the bad guy in the story? After all, he discouraged Gregers from telling Hjalmar the truth because Werle knew what the consequences might be. And is Ibsen really supporting defiance? Greger's defiance led to the utter destruction of a previously contented household and the death of a child. I don't really see Ibsen giving the green light for defiance through the way he wrote Wild Duck.

Journal #6: Wild Duck, Comparison

     In Wild Duck and Oedipus The King, Ibsen and Sophocles both use certain literary elements to create a heightened emotional tension during the climax of their plays. Both seems to use vivid imagery, hyperbole, and repetition during moments of emotional intensity to transmit this feeling to the play's viewers. In his writing, Sophocles uses the imagery of Jocasta's death and of Oedipus' blinding himself to increase the emotional response of those watching the play. He repeats words like "blind" and "agony" to emphasize the uncertainty of Oedipus' future and the pain that his experiences have caused him. Sophocles also uses a third party- the Messenger- to convey the gory fates of Jocasta and Oedipus. This lets the audience's imagination run wild. They can envision what happens in their minds as opposed to seeing it acted out on a stage. This makes both the death of Jocasta and the blinding of Oedipus much more personal to each individual person watching the play. In Sophocles' case, there is a conscious decision to avoid excessive imagery at this point in the play for fear of making the content distasteful.
     Ibsen too uses over exaggeration to get his point across, along with a strategical plot twist that, if the audience was paying attention, anyone could see coming. Unlike Sophocles, Ibsen has no problem with using imagery at the most violent part of his play. Hedvig's death is further accentuated by the other characters' lingering upon it. The loss of a daughter and pain of a father is too close to the audience's hearts not to make a lasting impact. Ibsen therefore uses the emotional nature of human beings to increase the relatability of his work. The repetition of Hjalmar and Gina's lamentations are intended to make the audience just as sorrowful as the characters in the play. They further imply that this child died in vain, as later expressed by the doctor and Gregers.

Journal #5: Wild Duck, Comparison

     In both Blood Wedding and Wild Duck, there is a notable difference between characters' behavior while in public and characters' behavior in their private life. In both cases, the main characters appear to be satisfied and cheerful while in the presence of others, but when alone with family members they appear discontented and unfulfilled.
     Ibsen writes his character Hjalmar in this way. When he is around only his daughter, wife, and father, Hjalmar often complains about the difficulty of his life. He outwardly expresses his discontent with his current life. He second guesses himself constantly, which suggests he is insecure, and does not assert his power as male-figure in the household. However, in front of guests and friends, Hjalmar is lively and in high spirits. He orders his family around, and emphasizes his happiness in conversation with others. There is a significant difference between Hjalmar's personality in public versus his personality in private.
     Lorca writes the Bride's character in a similar manner. When the audience first meets her, they assume that she is pleased with her suitor, and is excited to be wed. Viewers then begin to see a different side to the Bride. She is bitter, unhappy, and tense when alone or with her servants. The audience infers then that she does not actually wish to marry her soon-to-be husband. The Bride throws the audience for another loop when she tells the Bridegroom that she wants him to hold her and never let her go. Following that, she returns to her pessimistic self, and proceeds to run away with her brother-in-law. The Bride hides her true emotions in public to avoid criticism and gain approval. It seems that she is undergoing an internal conflict between what she wants, and what she believes is best for herself and her future.

Journal #4: Wild Duck, Discussion

Oedipus the King and Wild Duck

• The truth is revealed at the end of the play.
• Self-sacrifice (Jocasta vs Hedvig)
• Motif of blindness (Tiresias & Odeipus vs Hedvig and Werle)
• Some messed up plot involving the mother figures (Jocasta vs Gina)
• Truth only causes bitterness and unhappiness, and is the cause of death in both cases.
• The bringer of the truth is someone outside the family that is the audience's main focus. (Tiresias vs Gregers)
• Both of these plays were translated into English. (Norwegian vs Greek)
• The protagonists of theses plays are oblivious to a horrifying truth that eventually breaks up families and causes death
• The two characters that do not know of the lies within their circle of family and friends one male and one female in both plays

Journal #3: Oedipus, Creative

Dear Diary,

     My brother-in-law is a real jerk. He sent me to get this prophet so he could- and I quote- "find out who his parents are." What kind of guy doesn't know who his parents are? But since he's the king, I did as he told me. Once I got Tiresias, to come out of the cave he lives in (which took two hours, mind you), he said he was too frail to walk all the way to Thebes. So guess what I had to do. I carried the old man half the way there!
     And after I busted my butt to do what Oedipus said, he starts accusing me of plotting against him! What the heck! I don't even know where he gets half of his crazy conspiracy theories from. My sister, of course, intervened on my behalf, but that didn't get rid of Oedious' lingering suspicion that I was out to get him. And then we all find out the Oedipus is actually my nephew, and my sister kills herself. And the moron stabs his eyes with her hairpins. Yeah. Today was great.

Journal #2: Oedipus, Discussion

     A major theme in this play seems to be that "ignorance is bliss". Oedipus was a lucky guy; he was abandoned by his real parents only to be adopted by a different king and queen and be raised a prince anyways. What are the chances of that! After he flees his home for fear of killing his adopted father, He murders his real father and marries his mother, with whom he has kids with. Way to fulfil the prophecy anyways, Oedipus.
     My point is that he is completely happy until he becomes determined to discover where he actually came from. When he chose to uncover his past is when problems started to arise for him. Poor Oedipus finds out in that running away from his "parents" so that he wouldn't fulfill the prophecy, he actually ran into his real parents, thereby fulfilling the prophecy. First he finds out he killed his father. After that he realizes that he married his mother and had kids with her. And then he calls his kids a disgrace and says that nobody will ever want to marry them because he had them with his mother.
     This is all very confusing, but my point is that, without knowing the truth, Oedipus would have gone on to live a happy life with his wife/mother and his incest kids.

    

Journal #1: Odeipus, Creative

     I've known for a while that Thebes was a nuthouse. A lot of kooky people live there, and as soon as Creon came to my door this morning, I knew I was in for a treat. King Oedipus wants to see me? Oh goody! I was, of course, fully informed of this Oedipus character's background. I was the prophet who predicted his fall from grace in the first place.
     So as soon as I enter the city, I'm verbally attacked by Oedipus. This kid thinks he's all that just because he can see. It's ridiculous! Anyway, I tell him that I know all about his origins, but decide to make him work for the whole truth. About five minutes into the confrontation, he's totally livid! I was having an absolute blast until he threatened me. Not cool, man. Then I decided that this guy was definitely smoking something illegal, and probably in larger doses than recommended. I mean, I was practically handing him the truth on a silver platter and he still didn't get it! I got fed up really fast. I couldn't tell if he was playing dumb, or if he really wasn't following me.
     After around half an hour of harassment, I was finished. I told him- quite appropriately, I think- to "ask his mom." That stumped him. I really wanted to yell at him. "That's what you get for screwing around with prophecies, kid! You can't change your fate!" I didn't see his mom's suicide attempt coming though. Hey, not even the great Oracle of Delphi is perfect. I felt a little guilty after that, even though the dude had been cussing me out. Oh well. Look how far his wild accusations got him. Now he's just as blind as I am, but he doesn't have the benefit of seeing through the eyes of a god. Sucker.

Journal #3: Topic C

    In her novel The Handmaid's Tale, Margaret Atwood hints at what the consequences will be if the world does not embrace the feminist movement. If women continue to be objectified and are not appreciated for their true attributes, then society will mold itself around what women are used for, and women will simply become beings only used for having sex and making sandwiches. I can definitely see Atwood's vision coming true. It is all too realistic for me, to have the government dispatched like it is in the novel, to see all the new "temporary" government's attempt to control/ brainwash people to squelch rebellion. Her portrayal of religion as a tool used to force people into submission is genius, and I really can see a government potentially manipulating religion so it supports the new system. This actually reminds me of Islam... But I'm not going to be racist. :)

Journal #2: Topic B

     Alright, I'm going to go out on a limb here and analyze the Commander's violation of societal norms. At first glance, he seems like the type of guy that would stick to the rules-- later in the book we find out that he played a part in implementing this "temporary government." But then we start to see inconsistencies: small at first, but growing larger as the  novel progresses. First he's spotted by Offred outside her bedroom. Then he calls for a rendezvous with her, and they begin what become regular meetings at which they will play Scrabble and just talk. After the conclusion of each night spent together, the Commander would kiss her. This, of course, is completely against protocol, and it makes the reader wonder why someone who has it so good in this society would risk everything. Is it for intimacy with another person? Is it sympathy? Is it nostalgia? Then, he begins to give her things; beauty magazines, and then makeup and a costume, and they go to an underground 'nightclub' of sorts. I guess maybe it was all for intimacy-- he chooses to go there so he and Offred can have sex alone, without Serena Joy around to make things more awkward than they already are and to escape the constraints of the ceremony. The only person apart from Offred and the Commander who know is Nick- at first. Serena Joy eventually finds out. Whether or not the Commander is actually punished I do not know. I know only that Offred was taken away, be it by people who want to help or hurt her.

Journal #1: Topic A

     Just a short clarification before I begin my entry: My distopian novel is The Handmaid's Tail by Margaret Atwood. This entry will be covering the first third of the novel (pages 1-99), and I selected Topic A from the requirements list. The passage I chose to analyze is replicated below.


Passage: Pg 99

     "Is it so bad for him, that he'd take the risk of coming to my room at night? I think of the hanged men on the Wall. I can hardly stand up. I have to get away, back to the stairs before I dissolve entirely. His hand's on my shoulder now, held still, heavy, pressing down on me like warm lead. Is this what I would die for? I'm a coward. I hate the thought of pain.
     "He told me to," Nick says. "He wants to see you. In his office."
     "What do you mean?" I say. The Commander, it must be. See me? What does he mean by see? Hasn't he had enough of me?
     "Tomorrow," he says, just audible. In the dark parlor we move away from each other, slowly, as if pulled towards each other by a force, current, pulled apart by hands equally strong.
     I find the door, turn the knob, fingers on cool porcelain, open. It's all I can do."


Response:

     The chosen passage shows the effects of society on two individuals: Offred, a Handmaid, and Nick, a Guardian. These characters meets by chance in the living room of their household and a forbidden emotional exchange takes place between them. The nature of Offred and Nick's blooming relationship is outlawed because of the prospect of sex. In this society, the only function of sex is to reproduce- and such is done by unconventional means. If individuals form an emotional attachment to one another, they become a liability, and their lives are terminated. Each person has a role specific to them. there are Handmaids, Marthas, Guardians, Angels, eyes, Commanders, and Commanders' Wives, among others. Offred's only purpose in civilization is to bear the children of a Commander. This selection subtly references the punishment for any interaction she should have with Nick- being hung on the Wall. Offred and a fellow Handmaid passed by this Wall earlier in the novel. It is there that rebels are made an example of.

Journal #18: Final Thoughts

My New And Improved Thesis:
     I decided to change my thesis completely. I hated my previous one as it was far too obvious. I feel that this one is more insightful and can be supported through the text.

     In The Stranger, Albert Camus portrays Meursault as a distant figure who the reader misunderstands until the conclusion of the novel. He does this to demonstrate that in order to be truly happy, one must stop being who society expects them to be, and instead be who one truly is. Camus effectively conveys this theme through the intense imagery with which Meursault describes the physical world, the diction uses when Meursault speaks, and the motif of black, white, and red.

Rereading The Stranger:
     The second time through I noticed so many things I had overlooked in my first reading. I still don't like the book, but reading it again was certainly eye-opening. I like the fact that we got to read background information on Camus and the time period in which the novel was written- I think it greatly enhanced my understanding of the novel. It also helped me to see that Meursault is not as emotionless as I originally thought. This book is a classic because of the insight it provokes in those willing to delve deep enough to derive Camus' meaning. His unconventional approach to thought and existence lend themselves well to motif, diction, simile, parallelism, and so many more literary devices.

Jounal #17: Theme & Quotes

     There are parts of this theme that need reworded, or perhaps completely rephrased, but below is it in its roughest state.

Theme: Through his parallelism between Meursault's life and that of his mother, Camus demonstrates that the way in which one views both life and death only truly changes when survival is threatened.

• "Maman died today. Or yesterday maybe, I don't know." (3) -This mirrors later on the uncertainty of Meursault's own death while he ponders the thought in prison. The almost flippant manner in which he regards the death of his own mother is also reflected when he considers the thought of his own death.
• "While not an atheist, Maman had never in her life given thought to religion." (6) -Meursault too has no religious preference. He almost shuns the idea of believing in a God.
• "The man on my left, a small young man with delicate hands, wasn't saying anything, I noticed that he was across from the little old lady and that they were staring intently at each other." (76)
• "The young man and his mother were still staring at each other." (76)
• "The only oasis of silence was next to me where the small young man and the old woman were gazing at each other." (76-77)
• "The little old woman moved closer to the bars, and at the same moment a guard motioned to her son. He said, "Goodbye, Maman," and she reached between two bars to give him a long, slow little wave." (77)
• "Anyway, it was one of Maman's ideas, and she often repeated it, that after a while you could get used to anything." (77)
• "[...] Maman and I didn't expect anything from each other anymore, or from anyone else either, and that we had gotten used to our new lives." (88)
• "For the first time in a long time I thought about Maman. I felt as if I understood why at the end of her life she had taken a 'fiance,' why she had played at the beginning again. Even there, in that home where lives were fading out, evening was kind of wistful respite. So close to death, Maman must have felt free then and ready to live it all again. Nobody, nobody had to right to cry over her. And I felt ready to live it again too." (122)

Journal #16: Working on a Thesis

1. Is Camus attempting to say something about the way we live our lives through his characterization of Mersault, and the supposed carelessness he had for his own mother?
2. Does Camus hint at parallelism between Meursault's relationship with his mother and Salamano's relationship with his dog?
3. What is Camus' purpose of mentioning Maman's death frequently throughout the entire novel when Meursault seems to only vaguely care about it?
4. Is Camus' placement of the Arab nurse at the old people's home in Marengo meant to foreshadow something regarding Meursault's later confrontation?
5. What is Camus trying to achieve by mentioning that Maman wanted a religious burial (but in life never really committed to religion) and then depicting Meursault's refusal to accept the existence of God before his execution?
6. Does Camus suggest, through Meursault's reflection on his life, that we can only truly view our choices and our purpose in life when it is too late for it to matter anymore?  

Journal #15: Part Two

Hola.

• The very first thing I noticed about Part One vs Part Two was the abrupt and dramatic change that takes place. The first part of The Stranger is Meursault's life; how he lives his life to its not-fullest (because he's so apathetic it almost disgusts me). The second part is Meursault's life after he, ya know, commits MURDER- but this is all obvious. Is there something more to the drastic change that occurs in the book between the two parts?
• There was also the young man and his mother that Meursault takes note of during one of Marie's visits. It was a little strange, because I couldn't quite grasp what was actually going on during this particular scene; Camus describes so many things all at once. I did, however, manage to pick up on a few nuances that may be of some relevance. The mother was there to visit her son, I believe, and almost the entire time, they simply stare at each other in silence. Meursault describes it curiously;
• "The man on my left, a small young man with delicate hands, wasn't saying anything, I noticed that he was across from the little old lady and that they were staring intently at each other." (76)
• "The young man and his mother were still staring at each other." (76)
• "The only oasis of silence was next to me where the small young man and the old woman were gazing at each other." (76-77)
• "The little old woman moved closer to the bars, and at the same moment a guard motioned to her son. He said, "Goodbye, Maman," and she reached between two bars to give him a long, slow little wave." (77)
• I find Meursault's description peculiar because of the strong parallelism to his relationship with his own mother. It seemed, to me at least, that Meursault didn't have an especially strong connection with his mother. Look at how he acted when she died- but yet again, that may just be Meursault being his apathetic self. The part I find interesting is when the young man's mother leaves him imprisoned. Here's where the whole philosophical thing comes into play. Meursault's mother dies, and is therefore freed of the burdens of life. Meursault is left behind, still trapped in the world he cares nothing about. In a strange way, this connects with the concept of absurdism, and therefore existentialism- both of which Camus was very into. Interesting....

Esto es todo. Buenas noches.

Journal #14: Questions?

     I've got plenty of my own questions about this journal... What is it exactly that we are supposed to do? I'll do my best anyways. I think it had to do something with coming up with in-depth questions for chapter six. Come back Mrs. Wecker!

1. Why does Camus describe Masson's mannerisms so elaborately and then abandon them all together? Is this just because of Meursault's obsession with the physicality of both people and things? Is he incapable of looking any deeper?
2. Why does Camus portray Marie as such an unintelligent woman? She is often depicted as laughing or otherwise not understanding what is going on. We also receive very little dialogue from her. Coincidence?
3. Why does Meursault criticize others for drinking an smoking when he himself is guilty of doing the same? He seems very judgemental/ critical of others' actions, and yet fails to see faults in himself.
4. Why are there Arabs in France? It's a valid question. And why were Arabs selected to be the race that Raymond had a quarrel with? Why not another Parisian, or someone of another ethnicity? Is there a reason at all?
5. Why did Meursault return to the place where the Arabs were resting after Raymond had gone back to the house? What made him so inclined to keep walking "away from the sun" when the only way to escape the heat and light is to obtain some sort of shelter?
6. What is Camus' intent when referring to the "blades of light" prior to Meursault's confrontation with the remaining Arab? And does the Arab actually harm Meursault, or is it the light that is doing this to him? What is Meursault's reasoning when he chooses to pull the trigger?

Journal #13: Personal Philosophy

Suck it Up-ism

     We all deal with problems in different ways. Every time we finally overcome an issue, without exception another one comes along and makes us miserable again. The simple fact is, we live and we learn. Our problems and how we handle them make us who we are, be it for better or for worse.

1. Everybody has issues; nobody wants to hear about yours.
2. Things can get pretty suckish at times, but always remember what Katy Perry says: "After a hurricane comes a rainbow." (Ignore her whole "I kissed a girl" spiel.)
3. Contrary to popular belief, therapists can help occasionally. They serve as great punching bags.*
4. Being OCD has its benefits.
5. Sometimes, violence is the answer.
6. Just keep swimming.
7. Siblings are practice for when you get married. You end up fighting over who gets the last slice of cake, one wins, the other pouts, and you're best friends again two minutes later. Unless it's a custody issue. Then, you'll probably hate each other's guts.
8. Mr. Caro knows all.
9. Always look before you cross the street. It's important. Oregonians tend to forget that pedestrians have the right of way.
10. When in doubt, ask yourself, "What would Mr. Teschner do?" 

     I can speak from experience when I say that humans are far from perfect. I commit dozens of misdecisions on a daily basis, and have an ongoing personal dispute with impulse control. We inherently learn from our mistakes. It is one of the most important human qualities: the ablity to comprehend what is right and what is wrong. Sometimes, it isn't the easiest decision to make depending on the circumstances, but the choice that is selected is what defines us. Freaky, isn't it?

Journal #12: Translation

1. I personally prefer Ward's translation, which may only be because I read his version first. The translation done by Gilbert, though tremendously more eloquent than Ward's, is too heavy for me. The narration and dialogue seem to be bogged down by too many commas, colons, and semicolons. It gets very obnoxious to read after a while. There is also the fact that Gildbert's translation is a lot more formal than Ward's, which ages Meursault quite a bit in my eyes. Ward's edition of Camus' novel is very bland with a more removed main character that is extremely difficult to relate to, which I think is appropriate. Meursault is not a character that the reader necessarily needs to identify with. I actually think the book has more impact with fewer adjectives and metaphors because of  how focus Meursault seems to be on the physical world. His obsessions are harder to keep track of in Gilbert's translation because of the more complex wording used. The characterization of Mersault suffers when interpreted by Gilbert.
2. The Stranger fits best, in my opinion. The sharpness of the title is what draws your eyes to the book. It is mysterious and somewhat misleading, much like Meursault. When you take the literal definition of the word 'stranger', it means, "a person with whom one has no personal acquaintance." This is appropriate given Ward's translation. Meursault remains unknown to the reader, even until the conclusion of the novel. Camus as interpreted through Ward leaves a lot of room for guesswork in his literature, and I believe that this is what was intended. I enjoy when authors leave some things to the imagination. Gilbert's version was just too structured.

Journal #11: Tabbing The Stranger

     Alright, so now that we're pretty much done with Their Eyes Were Watching God, it's time to start on The Stranger. Yay. My favorite book ever. As far as tabbing goes for this novel, I plan on doing the following with my gorgeous multicolored sticky notes:

• Blue will be used to mark motifs and symbols used throughout the book
• Sleep
• Words having to do with time
• The number 2 or multiples of it
• Pink will be used to identify syntax and structure
• Rhetorical questions
• Loose/periodic sentences
• Complex/simple sentences
• Narration
• Verb tense
• Parallelism
• Microcosm
• Word choice
• Green will be used to show figurative language
• Simile & metaphor
• Imagery
• Yellow will be used to keep track of possible themes/ thematic elements
• Mersault's blatant indifference
• Mersault's odd obsession with the physical world yet his absence from the emotions that accompany it
• Purple will be used to mark quotes that will support any possible themes that come along

     And yet again, I may choose to use my other pretty multicolored sticky notes, in which case the following would hold true:

• Blue will be used to mark motifs and symbols used throughout the book (same as above)
• Orange will be used to identify syntax and structure (same as pink above)
• Green will be used to show figurative language (same as above)
• Yellow will be used to keep track of possible themes/ thematic elements (same as above)
• White will be used to mark quotes that will support any possible themes that come along (same as purple above)   

Cheers.

Journal #10: Theme

     I decided to switch up my theme from last night with one I came up with in class today. A few parts still need clarification, as they are a little too vague. The underlined portions of my theme (below) are the portions that, as dictated by Mrs. Wecker, need work. Feel free to make suggestions if any come to mind!

Theme: Through conforming to the expectations of others, one can forget one's own personality as a result of the desire to please those around them.

Supporting Quotes:

1. "'Janie, I reckon you better go fetch me dem old black gaiters. Dese tan shoes sets mah feet on fire. Plenty room in 'em, but they hurts regardless.' She got up without a word and went off for the shoes. A little war of defense for helpless things was going on inside her. People ought to have some regard for helpless things. She wanted to fight about it. 'But I hates disagreement and confusion, so Ah better not talk. It makes it hard tuh get along.'" (Hurston, pg 57)
• Hurston uses alliteration ("[...] without a word and went [...]") as well as an apostrophe here, as Janie is talking to no one in particular towards the end of this quote.
2. "Janie took the easy way away from a fuss. She didn't change her mind but she agreed with her mouth." (Hurson, pg 63)
• Hurston begins to portray Janie as submissive for the first time in the novel. It seems like organic imagery is used here.
3. "Times and scenes like that put Janie to thinking about the inside state of her marriage. Time came when she fought back with her tongue as best as she could, but it didn't do her any good. It just made Joe do more. He wanted her submission and he'd keep on fighting until he felt he had it. So gradually she pressed her teeth together and learned to hush." (Hurston, pg 71)
• Organic imagery is used again here. I like how Hurston describes Janie as 'fighting back with her tongue'... personification?
4. "The years took all the fight out of Janie's face. For a while she thought it was gone from her soul. No matter what Jody did, she said nothing. She had learned to talk some and leave some. She was a rut in the road. Plenty of life beneath the surface but it was kept beaten down by the wheels." (Hurson, pg 76)
• Both metaphor and visual imagery are at work here.
5. "'Maybe he ain't nothin',' she cautioned herself, 'but he is something in my mouth. He's got tuh be else Ah ain't got nothin' tuh live for. Ah'll lie and say he is. If Ah don't, life won't be nothin' but uh store and uh house." (Hurston, pg 76)
• There aren't really any obvious literary techniques here, but I like this quote because Janie is choosing to lie to herself rather than to admit defeat. It displays the theme I chose to work with while simultaneously showing that Janie truly is losing grip of her reality.

I commented on the following blogs: Jarrad Schulte, Travis Eurick, Kyla Padbury

Journal #9: Theme Pastiche

     Mrs. Rankin's second grade class had just broken up into their stations. Paulette, Chico, Luke, Jimmie, and Alexander sat at table group number four (also dubbed "The Mothership" by their crazy classmate James). They were each sharing their life aspirations. Paulette, insisting that ladies are always first, broke into a grin as she squealed her dream profession. "When I grow up, I wanna be a ballerina. With a tutu and everything!"
     "Ooooh, I'm gonna be migrant farm worker like mi papa. Migrant farm workers are nice, like mi papa. I'm nice too. I'm gonna travel the world and be all I can be as a migrant farm worker!" Chico enthused.
     Luke got really excited, as he knew exactly what he wanted to do with his life. "I'm gonna be a Jedi and stuff! And I'm gonna fight droids and save the galaxy and kill Darth Vader!"
     "I'm the Antichrist!" Jimmie exclaimed.
     Chico gasped. "You are migrant farm worker too?!"
     The other children exchanged puzzled looks, save Alexander, who coolly shared his future plans.  "When I grow up I am going to be a dictator of a third world country and possibly bring about the next world war. Or, if I choose to be more subtle, I could perhaps become a C.E.O. of a multinational corporation, then retire early, buy a south Pacific island, and spend my days relaxing on the beach and fanning myself with money."
     His stunned classmates didn't even get the chance to respond, because Mrs. Rankin was suddenly looming over them.  "Hello children," she said in her nasally voice. "How are we doing this morning?" All of them cringed, but Chico, oblivious as always, responded to his teacher's rhetorical question.
     "Hola, Mrs. Rankin. I am good."
     "My question did not require a response, Chico." Mrs. Rankin spat coldly. "Now, let's see how on-task you five have been. Luke, what did you share with your... friends?"
     Luke looked up at his teacher and froze. His mouth hung open slightly, and his eyes were wide with terror.
     "Well?"
     "I... I'm gonna b-b-be a J-J-J-Jedi." Luke stuttered, petrified.
     Mrs. Rankin curled her lip in contempt. "A Jedi? Really. Well, Luke, for saying such a ridiculous thing, you will stay inside at recess and erase the chalk board."
     "B-but, I-"
     "Don't make me give you a referral, Lucas!"
     Luke hung his head and left the table. The other kids knew where he was going: the Corner of Shame.
     "Paulette, what did you choose?"
     "I wanna be a ballerina with a tutu and a lee-tard."
     "Well, well, well. A dancer? Ha! That's never going to happen. You'll end up a useless stay-at-home mom, just like you own mother."
     Paulette burst into tears and ran to join Luke.
     "Who's next?"
     Jimmie, who had been sitting quietly since his outburst earlier began to twitch. Mrs. Rankin glared at him.
     "Jimmie, don't you even-"
     "I'm the Antichrist!!!!!"
     "Jimmie Wilson Rankin, I told you NEVER to say that in public! Principal's office. NOW. We'll be discussing this tonight, young man."
     So Jimmie left the room, quivering with adrenaline. He cackled madly as he swooped out the door, and Mrs. Rankin turned to Alexander.
     "I'm going to be dictator of a third world country and start the next world war. If that doesn't work out, my backup plan is to become a multimillionaire who manages a successful international organization."
     "I see. Now, you and your little third world country can spend the next two weeks in after school detention."
     "On the contrary, Mrs. Rankin, I am not obligated to do so. With all due respect, I am of far superior intelligence than any other student in this school, and should plan accordingly. Therefore, my goals are-"
     "Your opinion is irrelevant, Alexander! Three weeks. Two hours each day. Now go join your little mob of invalids."
     Alexander was stunned. He hadn't even given all of his contentions, and she had just cut him off. Well, now he knew why she couldn't get a better job. Because nobody in their right mind would hire her! He didn't need to worry about that though. He had all his bases covered. Alexander stayed where he was an pulled out his Blackberry Bold. He had barley begun to dile his father's number when Mrs. Rankin snatched the smart phone away.
     "THE REST OF THE YEAR, ALEXANDER. Two hours, after school, every day."
     Alexander, who was ever-composed, let out a moan of grief and began to sob hysterically as he shuffled over to those morons he called his friends.
     "Pobresito Alexander,"
     "Ah, I see you would like to share now, Chico?"
     "Uhhhh... No, gracias, Mrs. Rankin."
     "It is not an option, Chico."
     "I am going to be migrant farm worker como mi papa."
     Mrs. Rankin looked thrilled. "Finally! Someone who's realistic! This," she said to the rest of the class, "is what all of you should be like. Chico, well done."
     "Gracias, maestra. Chico is going to be migrant farm worker!"

•  Theme:  The way others view one's dreams can determine the means or even possibility of those dreams' fulfillment.
• I found this prevalent throughout the novel. As people tell Janie that her dreams are impossible, as they dismiss her and tell her that she is only a woman and will amount to nothing, she begins to doubt herself. She retreats, and curls up in a ball to protect herself, accepting her fate. Then, Tea Cake comes along, and she goes through a metamorphosis, back to the young Janie. This part I didn't show, but I chose children for this reason. The young and the young at heart never cease to dream.
• Stylistic Elements:
• I used dialect to portray Chico as a small immigrant boy who dreams of becoming the only tangible thing he can thing of: a migrant farm worker.
• Obviously, Hurston uses dialect throughout the novel, and for all of her characters. I chose to only use it for one character, but it parallels Hurston's writing nonetheless.
• Dialogue was used abundantly in this pastiche to characterize the six personalities present. The conversation between the students and the teacher develops all the characters and makes them more personable to the reader (except Mrs. Rankin).
• There is abundant dialogue in the novel, and I mimicked Hurston's apparent lack of speaker tags while still making it clear who is speaking.
• A caricature was used for both Mrs. Rankin and for Chico. Mrs. Rankin was the typical evil teacher while Chico was the stereotypical immigrant.
• Hurston sort of stereotypes all her characters in a way. They all seem to be the typical African American from that time period, so I thought it would be appropriate to use a few caricatures myself.
• I used the motif of the number six to tie in with Jimie being the Antichrist. All three parts to his name have six letters, there are six characters, Chico mentions being a migrant farm worker six times.
• This mimics Hurston's use of the number three- 3x2=6. Look how smart I am!!
• Situational irony is seen in the middle when it is revealed that Jimie is Mrs. Rankin's son and at the end where it is expected that Alexander will be praised, but instead it is Chico.
• This happens at the end of Janie's tale when she has to shoot Tea Cake. Although... It isn't much related to my story, is it?

Journal #8: Stylistic Attributes

"He turned and threw his hat at her feet. "If she don't throw it at me, Ah'll take a chance on comin' back," he announced, making gestures to indicate that he was hidden behind a post. She picked up the hat and threw it after him with a laugh. "Even if she had uh brick she couldn't hurt yuh wid it," he said to an invisible companion. "De lady can't throw." He gestured to his companion, stepped out from behind the imaginary lamp post, set his coat and hat and strolled back to where Janie was as if he had just come in the store." (Hurston, pg 98)

• This passage depicts Janie's first meeting Tea Cake, and the playful flirting that ensues shortly afterwards.

1.  The first thing I noticed about this passage was the tone. Hurston creates a playful feeling in this brief selection, and illustrates a sort of exuberance that readers have not previously seen from Janie. She almost acts girlish compared to the way she behaved before, as even when she was younger she didn't exhibit such thoughtless joy.
2. I then suspected that an apostrophe was present here as well. Tea Cake talks to an "invisible companion," which sort of matches the definition presented in class. I'm sort of confused though, because he makes a show of talking to someone who isn't there but it's for Janie's amusement. Nonetheless,  it reveals more of Tea Cake's airy personality and his blatant intoxication with life.
3. Just when I thought there was no more to this passage, I found signs of a motif. The circular pattern of the novel make an appearance. Hurston says that Tea Cake walked back to Janie, as if he had only just entered the shop, and he pretends they had not yet met. This seems like a section of the story had just looped around, but I am now noticing that this could be explained by chronology as well.

Journal #7: Pastiche

     Yet Nikki still failed to comprehend Pain. Pain, that sinister entity with no true concept of its own meaning, so powerful that it may break even the strongest man down into a crying infant. The deleterious one who lingers in those who have experienced too much heartache to banish him completely. Who could eradicate Pain, the eternal embodiment of suffering? He circles his target then crouches, ready at any moment to pounce upon his prey. Clings to those weaker than he, gazing intently, waiting for the precise second at which he will strike. Still patiently observing with narrowed eyes and clenched jaw. She anticipated the moment when she would hear his creaking footsteps on her stairs. She desperately needed reassurance and guidance too. Infelicitous Robert! This burden should not be his alone. She attempted to ease his anguish, but he dismissed her. It is difficult to appease those whose ache exists in the heart. His state might improve if only she could prove to him that he had not been abandoned.  He would recover some day. That was what he believed.  But Alejandro had told her otherwise, so she was aware. Regardless, if she wasn't, the following afternoon she would have discovered so, considering his rehabilitation specialist was bound to tell her anyways. Friends who had never before ventured to support her offered their condolences. Realization, that cold embrace, had finally taken hold.

     I tried to personify pain using as much imagery as possible. I wanted to be able to give the reader a clear picture of this noun, without need for guesswork. I unthinkingly used a similar situation to that is Hurston's writing, so the writings are similar in that way. I used phrasing and sentence structure similar to Hurston's, and modeled the metaphors I used after those found in the text.

Journal #6: Death

"Death, that strange being with the huge square toes who lived way in the West. The great one who lived in the straight house like a platform without sides to it, and without a roof. What need has Death for a cover, and what winds can blow against him? He stands in his high house that overlooks the world. Stands watchful and motionless all day with his sword drawn back, waiting for the messenger to bid him come. Been standing there before there was a where of a when or a then. She was liable to find a feather from his wings lying in her yard any day now. She was sad, and afraid too. Poor Jody! He ought not to have to wrassle in there by himself. She sent Sam in to suggest a visit, but Jody said No. These medical doctors wuz alright with the Godly sick, but they didn't know a thing about a case like his. He'd be alright just as soon as the two-headed man found what had been buried against him. He wasn't going to die at all. That was what he thought. But Sam told her different, so she knew. And then if he hadn't, the next morning she was bound to know, for people began to gather in the big yard under the palm and china-berry trees. People who would not have dared to foot the place before crept in and did not come to the house. Just squatted under the trees and waited. Rumor, that wingless bird, has shadowed over the town." (Hurston, pg 84)

• Trees continue to appear in this story. Hurston might be using them to convey a sense of structure in Janie's otherwise unstructured life.
• Birds have been referenced quite a bit as well; the prospect of flight and wings was introduced at the beginning of the novel and have continued. Now, feathers are introduced- a sign of the presence of a bird. Rumor is described as being a wingless bird (discussed more below).
• There is also the fact that Death is referred to as a man, which reiterates the importance of the social structure at that time, and the male dominated-world.
• The motif of the number three continues: Janie again voices three question words, though not in the form of a question.
• The fact that comparisons between light and dark are continuing to be made supports the thesis I wrote in Journal #5. What is dark is seen as bad; rumors and Death are both described as being dark or 'shadowing.'
• Hurston obviously personifies Death. She gives the illusion of Death being the master of all by placing him on a pedestal. He looks down upon the world, and cannot be hindered by any of the elements.
• Wind continues to appear as a motif, but is being used less frequently.
• The description of rumor is interesting. A rumor can blanket a population and can spread very fast, although not by the same means as a bird. I love how Hurston uses the shadow metaphor to alter the tone of the chapter.

I commented on the following students' blogs: Isabel Harger, Kylee Rosette, and Sean Sakaguchi

Journal #5: Thesis Statement

     Zora Neal Hurston uses the motif of light versus darkness to expose the underlying theme of discrimination and racism and how they effect the daily lives and thought processes of individuals. Her comparison of the two states, those of light and dark, emphasizes the overall impression of the widespread notion of white supremacy during the time period in which the novel takes place.

Journal #4: Examining Motifs

    Picking just three motifs is impossible. I really got into it after a while... It's sort of like a puzzle!

1. Flowers
• Flowers or words relating to them are the most obvious motif in this book, but I couldn't resist writing about them because they're so prevalent. The referencing really starts in chapter two on page 10 (I analyzed a passage from this page in my second journal; see this for examples). In chapters five and six an evident continuation of this motif can be seen beginning on the bottom of page 43.
• "It must have been the way Joe spoke out without giving her a chance to say anything at all that took the bloom off things." (Hurston, pg 43)
• "Had it right in the parlor with little springs of flowers painted all around the sides." (Hurston, pg 47)
• "The three girls hold the center of the stage till Daisy Blunt comes walking down the street in the moonlight." (Hurston, pg 67)
• "The bed was no longer a daisy-field for her and Joe to play in." (Hurston, pg 71)
• "She had no more blossomy openings dusting pollen over her man, neither any glistening young fruit where the petals used to be." (Hurston, pg 72)
2. Trees
• Trees are used constantly in this book. Hurston often appears to compare them both to Janie and to life itself. In chapters five and six, trees make many more appearances when not even necessary to the plot line.
• "Two men who were sitting on their shoulder blades under a huge live oaktree almost sat upright at the tone of his voice." (Hurston, pg 35)
• "[...] and being piled under the big live oak tree." (Hurston, pg 40)
• "'Taint no use in scufflin' over all dese stumps and roots in the dark." (Hurston, pg 44)
• "Starks piled fodder under the big tree near the porch [...]" (Hurston, pg 58)
• "Lum found him under the big tree on his rawbony back with all four feet up in the air." (Hurston, pg 59)
• "[...] some of the nearby trees were already peopled with the stoop-shouldered forms." (Hurston, pg 61)
• "They wanted to begin, but the Parson wasn't there, so a messenger was sent to the ruler in a tree where he sat." (Hurston, pg 61)
• "The Parson sat motionless in a dead pine tree about two miles off." (Hurston, pg 61)
3. Dark & Light/ Black & White
• This is one of the most important themes in the book and is my personal favorite. I particularly like the fourth example (below). It seems to embody the theme of the novel and the idea of supposed 'white supremecy' during that time period. This is also seen in my first example, where it becomes quite clear that what is white is not powerful, but better. Is it weird that analyzing this book is so thrilling to me?
• "And look at the way they painted it- a gloaty, sparkly white." (Hurston, pg 47)
• "It was bad enough for white people, but when one of your own color could be so different it put you on a wonder." (Hurston, 48)
• "'Janie, I reckon you better go fetch me dem old black gaiters. Dese tan shoes sets mah feet on fire.'" (Hurston, pg 57)
• "The flock had to wait the white-headed leader, but it was hard." (Hurston, pg 61)
• "'Ah aims tuh keep yuh in de dark all de time.'" (Hurston, pg 64)
• "It's negro hair, but it's got a kind of white flavor." (Hurston, pg 67)
4. Dreams
• This motif does not appear as much as the others I have listed, but it is certainly just as important. On the very first page of the novel, Hurston discusses dreams, and compares those of women to those of men. She specifically states that for women, "The dream is the truth". (Hurston, pg 1) When Hurston returns to this idea, it has undergone some startling alterations through Janie's interpretation. After living in Eatonville for a while, Janie and Joe grow apart. After Joe slaps her, Janie is stunned. On page 72, Hurston describes Janie's revelation: "It was her image of Jody tumbled down and shattered. But looking at it she saw that it never was the flesh and blood figure of her dreams. Just something she had grabbed to drape her dreams over." This is an application of that first statement made by Hurston about the dreams of women. Sometimes, women only imagine that they are living their dreams, and the lie becomes so convincing that they no longer have any need to pretend.

     I also found several other motifs, including the capitalization of the word "Time", birds and wings, the wind, fish, and the sun. But I'm too tired to write about those tonight.

Journal #3: The Harlem Renaissance

Step 1: Billie Holiday



     Billie Holiday was a jazz vocalist who grew up in Harlem, New York during the 1920s. Holiday had a great impact on the evolution of both jazz and pop music as a result of her unique vocal styling. She modeled her voice after instruments used in jazz music, and manipulated it accordingly. This unique effect set Holiday apart, and made her a success in the music industry. The song "Strange Fruit" was based off of a poem that conveyed themes condemning racism against African Americans, particularly the violent act of lynching favored in the South. "Strange Fruit" went on to become one of Holiday's greatest hits.

Step 2: Dialect

   I chose to do a Russian dialect because Robert Downey Jr. is part Russian-Jew. I'm just kidding- that's just an added bonus.

• Pronunciation
1. Both the "v" and "w" make the same sound; it's almost a mix of the two. When writing in this dialect, they are practically interchangeable.
2. All "th" combinations are pronounced as a "d" sound, and are therefore written that way.
3. The "u" makes the short "a" sound; in fact, all vowels are pronounced using the European style of speech with pure vowels: ah eh ee oh oo 
• Grammar
1. Russians who learn English as their second language usually speak what we like to call "Broken English". Most, if not all, sentences are incomplete. They tend to lack conjunctions or articles as a general rule.
2. Words with similar meanings may be used interchangeably. If an American were to be told that their house had burned down, they would be likely to say something to the effect of, "That's not good." A Russian, however would use "nice" in the place of "good."
3. Contractions are virtually nonexistent. Sometimes sentences are jumbled because of this.
• Vocabulary
1. Some words from the Russian language make their way into conversations and are substituted for our English version. For example, a Russian may say da for "yes", nyet for "no", or spaseeba for "please".
2. Skleroz is the Russian word used when one forgets something.
3. Nu i chort s toboy is the Russian equivalent of "whatever".

Step 3: Conversation



Svetlana's eyes scanned the room once more. "Gaspoja 'Oliday?" She had been waiting for the arrival of her American contact, Billie Holiday, who had yet to arrive. The Venetian was horribly smoky, and Svetlana longed to breath in the fresh air that laid just outside. Then she remembered that she was in Las Vegas. She was pulled out of her reverie by the sudden appearance of Ms. Holiday. "Gaspoja 'Oliday! It hiz been long time since last ve talk. Cahm, seet, spaseeba."

     "Svetlana, I've told you before to call me Billie." Her face was kind, but she spoke firmly.

     "Da, da. Gaspoja Beelee. Diz iz better, no?"

     "Much. I'm glad you agreed to meet with me tonight. I'm sorry it had to be here."

     "Nyet, diz iz fine. En Moskva, de vodkah shoopz so crahded dat dere no room foor de vodkah."



     "Oh, Svetlana," Billie laughed, "how I've missed you. Now, what news do you have of your homeland?"

     "De nooz I bring iz not happy. Stahlin has taken my coontry." Svetlana watched as Billie's face fell.

     "No. No, that can't be."

     "Da, it haz. Baht Gaspoja not woory. Svetlana haz plin. I move to 'ere ind git ovn... 'Ov do you say? De leetl 'ovzez?"



     "Apartments?"

     "Diz iz de vord! Nu i chort s toboy to Rahssia. 'Ere I git de martini."

     "So you won't be returning home?"

     "Diz I do noot knov."

     "Well, Svetlana, I have a concert to perform tonight. Would you like to be my guest of honor? We can talk more about this heavy topic later."

     "Da!"

     "Oh good. Maybe you can even sing with me." Billie smiled.

     "Ha! Crazy American. Only soong I knov en American Eengleez iz tvinkl tvinkl leetl stahr."

Step 4: View Another Student's Blog

   I looked at Kylee's, and it was brilliant. I left a comment there too.





Journal #2: Chapter 2 Analysis

     "It was a spring afternoon in West Florida. Janie had spent most of the day under a blossoming pear tree in the back-yard. She had been spending every minute that she could steal from her chores under that tree for the last three days. That was to say, ever since the first tiny bloom had opened. It had called her to come and gaze on a mystery. From barren brown stems to glistening leaf-buds to snowy virginity of bloom. It stirred her tremendously. How? Why?  It was like a flute song forgotten in another existence and remembered again. What? How? Why? This singing she heard that had nothing to do with her ears. The rose of the world was breathing out smell. It followed her through all her waking moments and caressed her in her sleep. It connected itself with other vaguely felt matters that had struck her outside observation and buried themselves in her flesh. Now they emerged and quested about her consciousness." (Hurston, pg 10)

1. Motif of the number three; Hurston talks about the "last three days," mentions three developmental steps of the blossoms on the tree, asks three questions, and Janie has three husbands throughout the novel.
2. The "singing" Janie heard "that had nothing to do with her ears" might be a moment of self-realization. She is beginning to understand the purpose of life and gain some insight into a deeper meaning regarding her purpose.
3. At the beginning of chapter two Hurston compares Janie's life to a tree, saying that life is "like a great tree in leaf with the things suffered, things enjoyed, things done and undone. Dawn and doom was in the branches." This tree metaphor is referenced again in the excerpt on page 10, and maybe goes into more detail as to how Janie's life resembles a tree. Hurston says, "From barren brown stems to glistening leaf-buds to snowy virginity of bloom.", perhaps referencing Janie's development during the story. With her first husband, Janie was young and naïve, and had barely gained any experiences of her own. When she eloped with Jodie, she has matured both emotionally and physically. The last stage, when Teacake is introduced, Janie has finally transformed into a full grown woman.
4. A simile is used to compare this blossoming of the tree- or the blossoming of Janie- to a "flute song" that has been long-forgotten. Perhaps this is suggesting the fact that Janie had been so absorbed in her sheltered childhood that she had forgotten that one day it would be necessary to grow up.
5. The portion of this passage discussing the "rose of the world" is quite interesting. The phrasing of that sentence is awkward and strange, and it took me a while to understand why Hurston wrote it that way. To me, this "rose" is Janie, and the "breathing out smell" is describing how as she grows she is giving off a perfume; this perfume may symbolise the effect that an individual (in this case Janie) has on the world, or those surrounding her. Just a thought.
6. There are quite a few words referencing growth; bloom, blossoming, bud...
7. There is some uncertainty as to what Hurston is actually getting at in the last few sentences here. It seems that she was being distant on purpose.
8. There is a copious use of figurative language and imagery (love).
9. There is alliteration- "barren brown stems"
10. The phrase, "it connected itself" immediately got me thinking of the discussion we had in class today about the circular pattern that Hurston seems to be following.

Journal #1: My Life Story

     If I could tell my life story to one person, I would probably choose... Robert Downey Jr., because he is my fiancé. We are deeply in love. Honestly though, I wouldn't even tell Robert everything. My best friend is the one I would confide in- the one I have already told my life story to. She knows everything about me and every though that crosses my mind. I feel no need to hide anything from her, or to in any way be someone that I am not. She cares enough about me to listen to my experiences and problems, and to share with me hers. We have reached the point at which we can be completely and totally honest with one another, and have established enough of a rapport that neither of us has to worry about the other betraying the trust we have placed in one another.
     
     I truly believe that my freshman year of high school is basically where my life actually began. Prior to my experiences at Tigard High, I hadn't truly grasped the concept of there being something bigger than myself. It's true, I was a very egocentric middle-schooler, but weren't we all?  My life truly changed that year because it was the first time since my early childhood that I actually took a chance, and decided to branch out and try different things- some of which were alien and uncomfortable to me. That year, I became a performer. I realized that I belong in front of people, and am relatively good at demanding their attention (I'll let you judge whether that is good or bad). It was then that I discovered what I want to do with my life, and how I want to go about achieving that dream. Now, I didn't realize until my sophomore year that Robert and I are soul mates, but with time comes wisdom, right?