"Interpreter of Maladies" by Jhumpa Lahiri
Lahiri depicts natural human selfishness with "Interpreter of Maladies". In the story, Mr. Kapasi, an Indian tour guide, accompanies the Das family as they travel around India and see many beautiful sights including sacred primates and a Hindu temple. Almost immediately, Kapasi observes the poor relationship between Mr. and Mrs. Das and begins to envision himself with his eldest female passenger. Kapasi acts selfishly, thinking not of how his actions could ruin the Das family and his own, but of how personally gratifying living with the young Mrs. Das would be. His motivation for admiring Mrs. Das, her recognition of his intellectual ability and the difficulty of his career, can be seen as selfish as well. Later in the novel, Mrs. Das acts even more self-centered than Kapasi's musings paint him out to be. She recalls a dark secret, "He's [Bobby] not Raj's son", to Mr. Kapasi, a complete stranger, and thus places an incredible burden on him (Lahiri). Should he inform Mr. Das of his wife's infidelity? Should he try to help Mrs. Das divorce her husband and move on with her life? Is any interference in the situation justifiable? All of these thoughts and more must have raced through Kapasi's head, but Mrs. Das was only concerned with how Kapasi could help her fix this "eight years . . . in pain" she had gotten herself into (Lahiri). These selfish human acts, centered around depreciated love and affection, that Lahiri depicts reinforce the need for selflessness in relating to others. If one wishes to experience long-lasting positive relationships, he must overcome his selfishness and instead behave selflessly in caring for others and maintaining his affection for them.
Wednesday, August 29, 2012
Dee's Struggle for an Identity
"Everyday Use" by Alice Walker
In "Everyday Use", Walker juxtaposes two groups of characters: the humble, caring duo of Maggie and Mama and the intellectually egotistical hipsters Dee (or Wangero) and Asalamalakim (or Hakim-a-barber). Throughout the story, Mama and Maggie care for their family, their home, and the memories made in it. Their affection is genuine and pure. Dee, however, after having left a life with Mama and Maggie for college and the outside world, values her deep African heritage over sentimentality toward her relatives. This concern for her far-reaching roots in African culture came from a social movement encouraging African Americans to embrace their true cultures to get revenge against white oppression. However, in joining this movement, Dee became even more of an arrogant hipster and lost sight of what truly matters: her family, Mama and Maggie. Accordingly, Mama and Dee come into conflict when Dee, overlooking all sentimental value these objects might hold, wants to take some things from around the house so that she can "think of something artistic to do" with them to promote her new movement and identity (Walker). Mama draws the line when Dee attempts to take two personally crafted quilts intended for Maggie simply because they are "priceless" representations of the African culture Dee is so engrossed with (Walker). Dee, or Wangero if going by her African name, has simply lost sight of what shaped her into who she is. Having refused to give the quilts to Dee, Mama embraces Maggie and watches as her other daughter departs. From this story, Walker emphasizes that to find one's true identity, he or she must not go searching for. One's identity can be found in one's childhood, family, upbringing, and sentimental memories. In her search to find herself, Dee lost sight of all of those things.
In "Everyday Use", Walker juxtaposes two groups of characters: the humble, caring duo of Maggie and Mama and the intellectually egotistical hipsters Dee (or Wangero) and Asalamalakim (or Hakim-a-barber). Throughout the story, Mama and Maggie care for their family, their home, and the memories made in it. Their affection is genuine and pure. Dee, however, after having left a life with Mama and Maggie for college and the outside world, values her deep African heritage over sentimentality toward her relatives. This concern for her far-reaching roots in African culture came from a social movement encouraging African Americans to embrace their true cultures to get revenge against white oppression. However, in joining this movement, Dee became even more of an arrogant hipster and lost sight of what truly matters: her family, Mama and Maggie. Accordingly, Mama and Dee come into conflict when Dee, overlooking all sentimental value these objects might hold, wants to take some things from around the house so that she can "think of something artistic to do" with them to promote her new movement and identity (Walker). Mama draws the line when Dee attempts to take two personally crafted quilts intended for Maggie simply because they are "priceless" representations of the African culture Dee is so engrossed with (Walker). Dee, or Wangero if going by her African name, has simply lost sight of what shaped her into who she is. Having refused to give the quilts to Dee, Mama embraces Maggie and watches as her other daughter departs. From this story, Walker emphasizes that to find one's true identity, he or she must not go searching for. One's identity can be found in one's childhood, family, upbringing, and sentimental memories. In her search to find herself, Dee lost sight of all of those things.
Don't Mess with Hazel
"Hazel Tells LaVerne" by Katharyn Howd Machan
Several key surface features of "Hazel Tells LaVerne" contribute to its relaxed, natural flow and allow one to truly listen to Hazel as she shares a story with LaVerne. First, the lack of any punctuation or capitilization immediately highlights the informal nature of the poem and sets a comfortable tone. Moreover, the intentional implementation of colloquialisms like "sohelpmegod" and misspellings like "hitsm" furter accentuate the relaxed tone and add an aspect of friendly dialogue to the poem (Machan). Also, the misspellings and informal phrases coincide with a southern American dialect, so one may assume Hazel originates from a southern State. Furthermore, the combination of Hazel's southern heritage with the fact that she works as a maid that cleans the "howard johnsons ladies room" leads to the conclusion that Hazel is black domestic helper living in the south. With that identity, Hazel manifests as a stereotypically serious, passionate, hot-headed southern black woman. Add the dialect incorporated into the poem, and one can almost imagine the comical, manerism filled conversation between Hazel and LaVerne. However, Hazel, the speaker in "Hazel Tells LaVerne", does not attempt to be funny; her comedy lies in her seriousness. For example, when the frog tells Hazel how she "can be a princess", she refuses his jest. Hazel knows she will never be a princess or anything of the sort. That hard-headed realist attitude plays into the aim of the poem: to promote realism over idealism.
Several key surface features of "Hazel Tells LaVerne" contribute to its relaxed, natural flow and allow one to truly listen to Hazel as she shares a story with LaVerne. First, the lack of any punctuation or capitilization immediately highlights the informal nature of the poem and sets a comfortable tone. Moreover, the intentional implementation of colloquialisms like "sohelpmegod" and misspellings like "hitsm" furter accentuate the relaxed tone and add an aspect of friendly dialogue to the poem (Machan). Also, the misspellings and informal phrases coincide with a southern American dialect, so one may assume Hazel originates from a southern State. Furthermore, the combination of Hazel's southern heritage with the fact that she works as a maid that cleans the "howard johnsons ladies room" leads to the conclusion that Hazel is black domestic helper living in the south. With that identity, Hazel manifests as a stereotypically serious, passionate, hot-headed southern black woman. Add the dialect incorporated into the poem, and one can almost imagine the comical, manerism filled conversation between Hazel and LaVerne. However, Hazel, the speaker in "Hazel Tells LaVerne", does not attempt to be funny; her comedy lies in her seriousness. For example, when the frog tells Hazel how she "can be a princess", she refuses his jest. Hazel knows she will never be a princess or anything of the sort. That hard-headed realist attitude plays into the aim of the poem: to promote realism over idealism.
Dreams are like.....
"Dreams Deferred" by Langston Hughes
In this poem, Hughes heavily employs similes to describe the types of dreams people may have. He also takes care to juxtapose a negative analogy with a positive one to express the duality of dreams; not all of them are pleasant. Hughes initial similes relate happy, quickly forgotten, fleeting dreams to "raisins in the sun" and bothersome dreams to "a sore" (Hughes). He goes on to compare nightmares to "rotten meat" and dreams of ecstasy to a "syrupy sweet" (Hughes). All of these similes utilize organic imagery which could emphasize the vitality and infinite possibility that dreams embody. Hughes' final simile, however, does not seem to address dreams quite so literally. To say a dream "sags like a heavy load" would be saying that it depresses a person and hinders his happiness (Hughes). As such, Hughes might be referring to dreams as ambitions that people hold onto. The heavy load would be a challenging ambition while the raisin, sore, rotten meat, and syrupy sweet would all represent passing desires, ambitions unrealized, ambitions proven impossible, and ambitions come to fruition, respectively. The ambiguity of Hughes' usage of dream and the similes he utilizes allow for his audience to interpret the poem in different ways. As such, the two techniques contribute significantly to the meaning of the work.
In this poem, Hughes heavily employs similes to describe the types of dreams people may have. He also takes care to juxtapose a negative analogy with a positive one to express the duality of dreams; not all of them are pleasant. Hughes initial similes relate happy, quickly forgotten, fleeting dreams to "raisins in the sun" and bothersome dreams to "a sore" (Hughes). He goes on to compare nightmares to "rotten meat" and dreams of ecstasy to a "syrupy sweet" (Hughes). All of these similes utilize organic imagery which could emphasize the vitality and infinite possibility that dreams embody. Hughes' final simile, however, does not seem to address dreams quite so literally. To say a dream "sags like a heavy load" would be saying that it depresses a person and hinders his happiness (Hughes). As such, Hughes might be referring to dreams as ambitions that people hold onto. The heavy load would be a challenging ambition while the raisin, sore, rotten meat, and syrupy sweet would all represent passing desires, ambitions unrealized, ambitions proven impossible, and ambitions come to fruition, respectively. The ambiguity of Hughes' usage of dream and the similes he utilizes allow for his audience to interpret the poem in different ways. As such, the two techniques contribute significantly to the meaning of the work.
Mr. Z and Irony
"Mr. Z" by M. Carl Holman
Throughout "Mr. Z", Holman describes a self-loathing individual that rejected his ethnicity because at an early age he learned that "his mother's skin was the sign of error," and he refused to be judged racially (Holman). As such, Mr. Z's entire life centered around disassociating himself with all things related to his race. He abandoned his people's culture, music, and food in favor of their superior "Anglo-Saxonized" counterparts (Holman). However, in doing so, Mr. Z inadvertently and quite ironically committed that crude act which he refused to fall victim to: judging someone or something based on his race or its associated race. Furthermore, Holman goes on to describe Z as being "careful whom he chose to kiss," further displaying his ironic, hypocritical tendency to judge based on race while spurning racism. The irony implemented by Holman provides a scolding tone to the poem. Through this tone, Holman calls for an end to all racial prejudices, even strange cases of prejudice against one's own race. Nevertheless, Holman's most powerful example of irony does not manifest until the final lines of the poem. Mr. Z, a man who vehemently opposed all aspects of his own ethnicity, dies after living completely immersed in what he believed to be a superior culture. To honor (or dishonor) this man, the writers of his obituary penned him the title, "One of the most distinguished members of his race," (Holman). Ironically, that which Mr. Z ran from so passionately, identification by race, was given to him post mortem. Therefore, the entire poem can be seen as decrying Z's behavior and satirizing those that behave as he does.
Throughout "Mr. Z", Holman describes a self-loathing individual that rejected his ethnicity because at an early age he learned that "his mother's skin was the sign of error," and he refused to be judged racially (Holman). As such, Mr. Z's entire life centered around disassociating himself with all things related to his race. He abandoned his people's culture, music, and food in favor of their superior "Anglo-Saxonized" counterparts (Holman). However, in doing so, Mr. Z inadvertently and quite ironically committed that crude act which he refused to fall victim to: judging someone or something based on his race or its associated race. Furthermore, Holman goes on to describe Z as being "careful whom he chose to kiss," further displaying his ironic, hypocritical tendency to judge based on race while spurning racism. The irony implemented by Holman provides a scolding tone to the poem. Through this tone, Holman calls for an end to all racial prejudices, even strange cases of prejudice against one's own race. Nevertheless, Holman's most powerful example of irony does not manifest until the final lines of the poem. Mr. Z, a man who vehemently opposed all aspects of his own ethnicity, dies after living completely immersed in what he believed to be a superior culture. To honor (or dishonor) this man, the writers of his obituary penned him the title, "One of the most distinguished members of his race," (Holman). Ironically, that which Mr. Z ran from so passionately, identification by race, was given to him post mortem. Therefore, the entire poem can be seen as decrying Z's behavior and satirizing those that behave as he does.
Sunday, August 19, 2012
Logic in Poetry? Thank God for Perrine!
Reading Perrine's take on the interpretation of poetry forced me to see the study of language in a new light. I had previously questioned quite often, as Perrine mentioned in his writing, why poems couldn't take on any number of equally correct meanings. After all, language arts had always been the subject explained to me as requiring abstract thought and diverse perspectives to fully understand its many solutions. Accordingly, I, someone obsessed with logic, order, and the linear, analytical thought processes that mathematics encourage, hated language class. However, Perrine argues that to interpret any poem correctly, one must combine logic with abstract thought in order to remove all of the outlandish, "farfetched" interpretations that people produce and identify the correct one. Logic in poetry? Thank God for Perrine! Knowing that some of the ridiculous interpretations out there can be logically refuted with Perrine's strategies makes me feel exponentially better about language arts. I can rest assured knowing that the understandings English professors teach actually have some method behind them. This method, Perrine's strategy, is actually fairly simple.
The gist of Perrine's method is this: explain the details without contradicting any explanation and don't assume any outside variables. Such a simple strategy provides for an easy understanding of poetry and I love Perrine for presenting it to me. Also, when I read Perrine's statement, "A poem - in fact, any pattern of words - defines an area of meaning, no more," I felt like I had an epiphany in studying poetry (Perrine 4). As long as multiple interpretations explain a poem's details without contradiction and reliance on outside assumptions, they can both be correct if the stay within the area of meaning defined by the poem. Therefore, language becomes like math. As in mathematics, a language student follows a logical process to form a poetic interpretation. Given that the student follows that process well and remains within the area defined by the poem, his interpretation must be correct. However, another's interpretation, produced in the same way, could also hold true. The only difference between the two subjects, language and math, lies in the number of acceptable answers. Language has become logical! Next comes the apocalypse.
The gist of Perrine's method is this: explain the details without contradicting any explanation and don't assume any outside variables. Such a simple strategy provides for an easy understanding of poetry and I love Perrine for presenting it to me. Also, when I read Perrine's statement, "A poem - in fact, any pattern of words - defines an area of meaning, no more," I felt like I had an epiphany in studying poetry (Perrine 4). As long as multiple interpretations explain a poem's details without contradiction and reliance on outside assumptions, they can both be correct if the stay within the area of meaning defined by the poem. Therefore, language becomes like math. As in mathematics, a language student follows a logical process to form a poetic interpretation. Given that the student follows that process well and remains within the area defined by the poem, his interpretation must be correct. However, another's interpretation, produced in the same way, could also hold true. The only difference between the two subjects, language and math, lies in the number of acceptable answers. Language has become logical! Next comes the apocalypse.
Thursday, August 9, 2012
The Great Gatsby, Chapter 9, Pages 171 - 180
The Great Gatsby by F. Scott Fitzgerald
Throughout the novel, through Nick's thoughts, words, and actions, Fitzgerald delivered a plethora of clever maxims conveying his adroit observations of life's general truths. I shared one those aphorisms on relationships in a previous blog and even went so far as to discuss it with everyone I encountered the day I read it. Fitzgerald's final observation, however, I cannot accept. In closing his novel, he makes an overwhelmingly pessimistic, generalization about humanity that, if true, would equate to our lives being desolate, hopeless, meaningless existences because we are inevitably doomed to failure. Fitzgerald writes, "So we beat on, boats against the current, borne back ceaselessly into the past," emphasizing the human tendency to "stretch out our arms further" in pursuit of an ideal, a goal, or a dream until "one fine morning" we find ourselves defeated (Fitzgerald 180). This accepted truth of Fitzgerald's angers me to no end! How can one live genuinely believing that despite any efforts he makes, success will forever elude him? Such a depressive resignation to failure is not human; hope for the future fuels our ambitions and desire to live. Living with the mindset embodied by Fitzgerald's closing words could not be considered living at all. Therefore, I offer a counter maxim, opposing thinking to challenge Fitzgerald's words. The secret to achieving success, experiencing happiness, and attaining goals lies in choosing to do so. Fitzgerald believes that success can only be found in the realization of all goals and dreams, an impossible feat, so success becomes unachievable. However, in choosing to live commensurate with one's ambitions and engaging in acts that will push one toward a goal, whether achieved or not, one CAN find success and happiness. I may have failed to explain myself correctly, so I offer this article Schopenhauer's Big Mistake to support my thoughts. The gist of my rambling is this: the journey toward success is success in itself.
Throughout the novel, through Nick's thoughts, words, and actions, Fitzgerald delivered a plethora of clever maxims conveying his adroit observations of life's general truths. I shared one those aphorisms on relationships in a previous blog and even went so far as to discuss it with everyone I encountered the day I read it. Fitzgerald's final observation, however, I cannot accept. In closing his novel, he makes an overwhelmingly pessimistic, generalization about humanity that, if true, would equate to our lives being desolate, hopeless, meaningless existences because we are inevitably doomed to failure. Fitzgerald writes, "So we beat on, boats against the current, borne back ceaselessly into the past," emphasizing the human tendency to "stretch out our arms further" in pursuit of an ideal, a goal, or a dream until "one fine morning" we find ourselves defeated (Fitzgerald 180). This accepted truth of Fitzgerald's angers me to no end! How can one live genuinely believing that despite any efforts he makes, success will forever elude him? Such a depressive resignation to failure is not human; hope for the future fuels our ambitions and desire to live. Living with the mindset embodied by Fitzgerald's closing words could not be considered living at all. Therefore, I offer a counter maxim, opposing thinking to challenge Fitzgerald's words. The secret to achieving success, experiencing happiness, and attaining goals lies in choosing to do so. Fitzgerald believes that success can only be found in the realization of all goals and dreams, an impossible feat, so success becomes unachievable. However, in choosing to live commensurate with one's ambitions and engaging in acts that will push one toward a goal, whether achieved or not, one CAN find success and happiness. I may have failed to explain myself correctly, so I offer this article Schopenhauer's Big Mistake to support my thoughts. The gist of my rambling is this: the journey toward success is success in itself.
The Great Gatsby, Chapter 9, Pages 163 - 170
The Great Gatsby by F. Scott Fitzgerald
In light of Gatsby's death and funeral preparations, a major shift in perspective occurs in the most prominent dynamic, round character, Nick Carraway. Earlier in the novel, Nick voiced his disapproval of Gatsby, disapproval that I did not share, because of his criminal activity or lack of compassion for Myrtle Wilson. Maybe Nick's distaste stemmed from some other source; I cannot really say because I did not understand it in the first place. However, upon realizing, when most people refuse to attend Gatsby's funeral, that he could be the only person offering Gatsby genuine affection, Nick "began to have a feeling of defiance, of scornful solidarity between Gatsby and me against them all" (Fitzgerald 165). Nick's indignation at the people surrounding Gatsby is completely justified. Gatsby offered all of them parties, entertainment, hospitality, altruistic care, sympathy, and compassion, but when it comes time to pay their respects to the great man, every single one of his guests chose to let him die alone. Not even Daisy could attend the funeral! The only man Nick successfully convinced of attending the funeral was a Mr. Henry C. Gatz, Gatsby's father. This develeopment allowed me to clear up confusion with an earlier section of Gatsby. James Gatz, the young reporter mentioned earlier in the book, was Jay Gatsby before he became the man he grew up to be. Gatsby's having a father, a father that displays great sorrow at seeing his perished son nonetheless, means that he does in fact have caring family members alive and well. Why did Gatsby lie about his family being dead and why have they been so out of touch? Just as Gatsby does not deserve to be abandoned in death, his family does not deserve to be abandoned in life.
In light of Gatsby's death and funeral preparations, a major shift in perspective occurs in the most prominent dynamic, round character, Nick Carraway. Earlier in the novel, Nick voiced his disapproval of Gatsby, disapproval that I did not share, because of his criminal activity or lack of compassion for Myrtle Wilson. Maybe Nick's distaste stemmed from some other source; I cannot really say because I did not understand it in the first place. However, upon realizing, when most people refuse to attend Gatsby's funeral, that he could be the only person offering Gatsby genuine affection, Nick "began to have a feeling of defiance, of scornful solidarity between Gatsby and me against them all" (Fitzgerald 165). Nick's indignation at the people surrounding Gatsby is completely justified. Gatsby offered all of them parties, entertainment, hospitality, altruistic care, sympathy, and compassion, but when it comes time to pay their respects to the great man, every single one of his guests chose to let him die alone. Not even Daisy could attend the funeral! The only man Nick successfully convinced of attending the funeral was a Mr. Henry C. Gatz, Gatsby's father. This develeopment allowed me to clear up confusion with an earlier section of Gatsby. James Gatz, the young reporter mentioned earlier in the book, was Jay Gatsby before he became the man he grew up to be. Gatsby's having a father, a father that displays great sorrow at seeing his perished son nonetheless, means that he does in fact have caring family members alive and well. Why did Gatsby lie about his family being dead and why have they been so out of touch? Just as Gatsby does not deserve to be abandoned in death, his family does not deserve to be abandoned in life.
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| Nick made a profound change in the way he viewed Gatsby. |
Wednesday, August 8, 2012
The Great Gatsby, Chapter 8, Pages 156 - 162
The Great Gatsby by F. Scott Fitzgerald
(MAJOR SPOILER)
My predictions have been vindicated; The Great Gatsby will end almost as as disappointingly as The House of Mirth did. Grieving over his wife's death, George Wilson set out to locate and kill the owner of a murderous yellow automobile. I understand George's motive of revenge, but I refuse to accept the state of mind Gatsby died in. Unsuspecting of his imminent demise, Gatsby relaxed in his pool and "shivered as he found what a grotesque thing a rose is" (Fitzgerald 161). Without Daisy's love, Gatsby has become utterly morose, crestfallen, and depressed to say the least. He died in sadness. I suppose Fitzgerald may have let the novel play out this way to show that, for Gatsby, a life without Daisy would be worse than death, but I maintain that he could have at least set Gatsby in an apathetic mood before ending his life. Furthermore, Wilson's blind killing of a man he never knew, a man he only suspected of killing his wife, infuriated me to no end, especially because he committed a coward's suicide afterward. Great work, George. The fiend that stole Myrtle lives happily with a wife of his own now, while a great, innocent man lies dead in his pool. The only redemption I could find in the ending of The Great Gatsby relies on Lily finding happiness with a changed Tom Buchanan and Nick marrying Jordan. Perhaps Nick could even have a child, juxtaposing new life with Gatsby's death? Give me something, Fitzgerald!
(MAJOR SPOILER)
My predictions have been vindicated; The Great Gatsby will end almost as as disappointingly as The House of Mirth did. Grieving over his wife's death, George Wilson set out to locate and kill the owner of a murderous yellow automobile. I understand George's motive of revenge, but I refuse to accept the state of mind Gatsby died in. Unsuspecting of his imminent demise, Gatsby relaxed in his pool and "shivered as he found what a grotesque thing a rose is" (Fitzgerald 161). Without Daisy's love, Gatsby has become utterly morose, crestfallen, and depressed to say the least. He died in sadness. I suppose Fitzgerald may have let the novel play out this way to show that, for Gatsby, a life without Daisy would be worse than death, but I maintain that he could have at least set Gatsby in an apathetic mood before ending his life. Furthermore, Wilson's blind killing of a man he never knew, a man he only suspected of killing his wife, infuriated me to no end, especially because he committed a coward's suicide afterward. Great work, George. The fiend that stole Myrtle lives happily with a wife of his own now, while a great, innocent man lies dead in his pool. The only redemption I could find in the ending of The Great Gatsby relies on Lily finding happiness with a changed Tom Buchanan and Nick marrying Jordan. Perhaps Nick could even have a child, juxtaposing new life with Gatsby's death? Give me something, Fitzgerald!
The Great Gatsby, Chapter 8, Pages 147 - 155
The Great Gatsby by F. Scott Fitzgerald
With chapter eight, Fitzgerald delves deep into the heart of an emotional, reminiscent, and despondent Gatsby. Nick recalls Gatsby's narration of how he first met Daisy and why he fell in love with her. I found Gatsby's reasoning for attraction to Daisy paralleling my own thinking in pursuing women. Gatsby loved Daisy because she possessed a uniqueness about her that made her exciting, interesting, and enjoyable to associate with. For Gatsby, "she was the first 'nice' girl he had ever known" (Fitzgerald 148). When Fitzgerald writes about Daisy's nicety, I believe he refers to her kindness, warm disposition, caring nature, and good-hearted personality. To find a woman with these characteristics AND that can carry on tantalizing conversations, which Daisy did with Gatsby, was not only considered rare in Gatsby's time, but today as well. Recognizing these qualities in Daisy and seeing their value, Gatsby earned my admiration and respect, but then secured it when he recounted to Nick my favorite scene in the novel. He described the scene as a cold, fall day during which "he sat with Daisy in his arms for a long, silent time" and, in that silence, felt more love and "communicated more profoundly" with Daisy than he had ever before (Fitzgerald 150). I want that. I have always wanted that and I understand the unique feeling of happiness that Gatsby drew from that experience. Nothing quite matches the warm, calming sensation of holding someone closely in a comfortable silence. Nick may have disapproved of Gatsby at times, but I applaud him. Win Daisy back, Jay.
With chapter eight, Fitzgerald delves deep into the heart of an emotional, reminiscent, and despondent Gatsby. Nick recalls Gatsby's narration of how he first met Daisy and why he fell in love with her. I found Gatsby's reasoning for attraction to Daisy paralleling my own thinking in pursuing women. Gatsby loved Daisy because she possessed a uniqueness about her that made her exciting, interesting, and enjoyable to associate with. For Gatsby, "she was the first 'nice' girl he had ever known" (Fitzgerald 148). When Fitzgerald writes about Daisy's nicety, I believe he refers to her kindness, warm disposition, caring nature, and good-hearted personality. To find a woman with these characteristics AND that can carry on tantalizing conversations, which Daisy did with Gatsby, was not only considered rare in Gatsby's time, but today as well. Recognizing these qualities in Daisy and seeing their value, Gatsby earned my admiration and respect, but then secured it when he recounted to Nick my favorite scene in the novel. He described the scene as a cold, fall day during which "he sat with Daisy in his arms for a long, silent time" and, in that silence, felt more love and "communicated more profoundly" with Daisy than he had ever before (Fitzgerald 150). I want that. I have always wanted that and I understand the unique feeling of happiness that Gatsby drew from that experience. Nothing quite matches the warm, calming sensation of holding someone closely in a comfortable silence. Nick may have disapproved of Gatsby at times, but I applaud him. Win Daisy back, Jay.
The Great Gatsby, Chapter 7, Pages 125 - 145
The Great Gatsby by F. Scott Fitzgerald
Unfortunately, The Great Gatsby will not have a happy, feel-good ending due in large part to Fitzgerald's BOMBARDMENT of negative plot twists! Daisy's love confuses her, Tom reveals Gatsby's criminal background, and Daisy becomes an accidental murderer, at Myrtle Wilson's expense no less?!?! Why must these novels end in chaos?!?! I will never know, but I digress. I would like to focus solely on Myrtle Wilson's death. Fitzgerald REALLY put some effort into making this twist interesting. First, Tom's stop at the Wilson gas station earlier in the chapter familiarized George Wilson with Jay Gatsby's yellow car, the car that would eventually obliterate his wife. Therefore, when George heard a description of the automobile liable for his wife's death, he immediately assumed Tom had committed the murder. Further, Fitzgerald positions Myrtle's death chronologically in the novel right after Tom's fallout with Daisy to not only juxtapose the two monumental losses Tom has incurred, but also to add emphasis to the dramatic irony of Tom's statement when he exclaims, upon approaching the death scene, "'Wreck! That's good. Wilson'll have a little business at last'" (Fitzgerald 137). Tom has no clue that he has just lost his mistress in addition to his relationship with Daisy. As if all of those details weren't enough to make Myrtle's passing significant, Fitzgerald chose to do us one better. Daisy, driving Gatsby's yellow car, disposes of her husband's mistress, accidentally of course. With so many twists, I am absolutely certain that chapter seven marks the climax, as well as a huge monkey wrench, in The Great Gatsby. Bring on the resolution, Fitzgerald. I can't wait to see what could possibly be in store next.
Unfortunately, The Great Gatsby will not have a happy, feel-good ending due in large part to Fitzgerald's BOMBARDMENT of negative plot twists! Daisy's love confuses her, Tom reveals Gatsby's criminal background, and Daisy becomes an accidental murderer, at Myrtle Wilson's expense no less?!?! Why must these novels end in chaos?!?! I will never know, but I digress. I would like to focus solely on Myrtle Wilson's death. Fitzgerald REALLY put some effort into making this twist interesting. First, Tom's stop at the Wilson gas station earlier in the chapter familiarized George Wilson with Jay Gatsby's yellow car, the car that would eventually obliterate his wife. Therefore, when George heard a description of the automobile liable for his wife's death, he immediately assumed Tom had committed the murder. Further, Fitzgerald positions Myrtle's death chronologically in the novel right after Tom's fallout with Daisy to not only juxtapose the two monumental losses Tom has incurred, but also to add emphasis to the dramatic irony of Tom's statement when he exclaims, upon approaching the death scene, "'Wreck! That's good. Wilson'll have a little business at last'" (Fitzgerald 137). Tom has no clue that he has just lost his mistress in addition to his relationship with Daisy. As if all of those details weren't enough to make Myrtle's passing significant, Fitzgerald chose to do us one better. Daisy, driving Gatsby's yellow car, disposes of her husband's mistress, accidentally of course. With so many twists, I am absolutely certain that chapter seven marks the climax, as well as a huge monkey wrench, in The Great Gatsby. Bring on the resolution, Fitzgerald. I can't wait to see what could possibly be in store next.
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| Rest in pieces Myrtle Wilson. :'( |
Tuesday, August 7, 2012
The Great Gatsby, Chapter 7, Pages 113 - 125
The Great Gatsby by F. Scott Fitzgerald
Fitzgerald sets chapter seven on a hot summer day, and, boy, does it get heated! Just about every extremity of feeling could be found in this section: anger, passion, sorrow, jealousy, and any other dramatic emotion thinkable. My favorite scene contributing to this rising action in Fitzgerald's plot involves Daisy, Gatsby, Jordan, and Nick lounging in a parlor at Daisy's house. After Daisy commands her husband Tom to make some drinks for her guests, "she got up and went over to Gatsby and pulled his face down, kissing him on the mouth" (Fitzgerald 116). Immediately, I thought of this clip from Will Ferrel's Anchorman.
Fitzgerald sets chapter seven on a hot summer day, and, boy, does it get heated! Just about every extremity of feeling could be found in this section: anger, passion, sorrow, jealousy, and any other dramatic emotion thinkable. My favorite scene contributing to this rising action in Fitzgerald's plot involves Daisy, Gatsby, Jordan, and Nick lounging in a parlor at Daisy's house. After Daisy commands her husband Tom to make some drinks for her guests, "she got up and went over to Gatsby and pulled his face down, kissing him on the mouth" (Fitzgerald 116). Immediately, I thought of this clip from Will Ferrel's Anchorman.
With that act of passion, Daisy not only threw ALL contemporary social convention out the window, but she proved to Gatsby that she does not care about Tom, fear Tom, or, most importantly, love him at all. Eventually Tom realizes the affair between Daisy and Gatsby and struggles to conceal incredible anger and jealousy. However, Fitzgerald juxtaposes a seemingly victimized Tom with an equally betrayed George Wilson to ensure that his reader maintains a negative perspective on Tom. George, who's recent learning of his wife's infidelity "had made him physically sick", loves his wife very much and thus suffers so strongly from her betrayal (Fitzgerald 124). In contrast, Tom reacts with the petty emotions of envy and hatred instead of heartbreak and sorrow. Accordingly, Tom's love for Daisy lacks the genuine purity that Mr. Wilson's love for Myrtle possesses. Furthermore, when Tom stopped by Wilson's shop with Nick and Jordan to get gas, Myrtle mistook Jordan for Tom's wife! With Daisy's utter devotion to Gatsby, Tom's escalating fury, and Myrtle's jealousy, the first half of chapter seven marks a turning point in The Great Gatsby. Hopefully the action doesn't fall as quickly as it has risen, because I'm definitely enjoying the easy-to-follow style and romantic intrigue that Fitzgerald incorporates so well into Gatsby.
The Great Gatsby, Chapter 6, Pages 97 - 111
The Great Gatsby by F. Scott Fitzgerald
The first half of chapter six confused me. Fitzgerald spent several pages introducing and developing reporter James Gatz, but then moved abruptly to discussin Gatsby's time with Dan Cody in his younger years. Gatz must play a prominent role later in the novel; otherwise, Fitzgerald wasted a lot of time creating and penning a meaningless character. Moving past my confusion with Gatz, I found Gatsby's story aboard the Tuolomee to be a clever characterization tool. Fitzgerald employs Dan Cody captaining the Tuolomee to depict Gatsby as a sober guardian and friend to Cody. As the novel progresses, Fitzgerald constantly adds to Gatsby's image as a virtuous, caring, lovestruck jack of all trades. Furthermore, I found Fitzgerald's transition out of the Tuolomee anecdote quite clever as well. He implied that a certain Ella Kaye may have been responsible for the death of Dan Cody when he wrote, "Ella Kaye came on board one night in Boston and a week later Dan Cody inhospitably died" (Fitzgerald 100). This implication did not strike me as ingenious, but rather Ella's name. In fabricating her name, Fitzgerald utilized pig latin and then distorted it subtly to mask his device. Perhaps I'm wrong, but Ella Kaye seems to bear close resemblance to Iller Kaye, which in pig latin means killer. Coincidence or not, I enjoyed Fitzgerald's wit in making a flat, static character a little more interesting.
The first half of chapter six confused me. Fitzgerald spent several pages introducing and developing reporter James Gatz, but then moved abruptly to discussin Gatsby's time with Dan Cody in his younger years. Gatz must play a prominent role later in the novel; otherwise, Fitzgerald wasted a lot of time creating and penning a meaningless character. Moving past my confusion with Gatz, I found Gatsby's story aboard the Tuolomee to be a clever characterization tool. Fitzgerald employs Dan Cody captaining the Tuolomee to depict Gatsby as a sober guardian and friend to Cody. As the novel progresses, Fitzgerald constantly adds to Gatsby's image as a virtuous, caring, lovestruck jack of all trades. Furthermore, I found Fitzgerald's transition out of the Tuolomee anecdote quite clever as well. He implied that a certain Ella Kaye may have been responsible for the death of Dan Cody when he wrote, "Ella Kaye came on board one night in Boston and a week later Dan Cody inhospitably died" (Fitzgerald 100). This implication did not strike me as ingenious, but rather Ella's name. In fabricating her name, Fitzgerald utilized pig latin and then distorted it subtly to mask his device. Perhaps I'm wrong, but Ella Kaye seems to bear close resemblance to Iller Kaye, which in pig latin means killer. Coincidence or not, I enjoyed Fitzgerald's wit in making a flat, static character a little more interesting.
Saturday, August 4, 2012
The Great Gatsby, Chapter 5, Pages 81 - 96
The Great Gatsby by F. Scott Fitzgerald
Chapter five brought some comic relief to the love fest that Gatsby has been so far. First, Gatsby's initial interactions with Daisy at Nick's were absolutely text book moves for middle school relationships. Put on a tough guy facade, act like she's uninteresting, throw up an apathetic posture, and the girl will love it! Wrong. Luckily, Gatsby realized the boyish nature of his behavior toward Daisy and decided to exchange immaturity for a candid expression of emotion. In response to Gatsby's catharsis, Daisy shed a multitude of joyous tears, conveying to Gatsby that she feels just as strongly toward him as he does toward her. Afterwards, Gatsby " . . .literally glowed; without a word or a gesture of exultation a new well-being radiated from him . . . " (Fitzgerald 89). Fortune favors the bold, Jay! What Gatsby did next can only be described as hysterical. He took Daisy and Nick on a comprehensive tour of his home which became quickly reminiscent of an episode of MTV's Cribs. Gatsby showed off his lavish gardens, clothing, and bedroom (a necessity in the popular TV series). Furthermore, Mr. Klipspringer just so happened to be wandering around Gatsby's estate during the tour just as most Cribs stars have an entourage enjoying their homes while a tour is conducted. Maybe I just have a strangely distorted perspective of this chapter, but I found it quite hilarious.
Chapter five brought some comic relief to the love fest that Gatsby has been so far. First, Gatsby's initial interactions with Daisy at Nick's were absolutely text book moves for middle school relationships. Put on a tough guy facade, act like she's uninteresting, throw up an apathetic posture, and the girl will love it! Wrong. Luckily, Gatsby realized the boyish nature of his behavior toward Daisy and decided to exchange immaturity for a candid expression of emotion. In response to Gatsby's catharsis, Daisy shed a multitude of joyous tears, conveying to Gatsby that she feels just as strongly toward him as he does toward her. Afterwards, Gatsby " . . .literally glowed; without a word or a gesture of exultation a new well-being radiated from him . . . " (Fitzgerald 89). Fortune favors the bold, Jay! What Gatsby did next can only be described as hysterical. He took Daisy and Nick on a comprehensive tour of his home which became quickly reminiscent of an episode of MTV's Cribs. Gatsby showed off his lavish gardens, clothing, and bedroom (a necessity in the popular TV series). Furthermore, Mr. Klipspringer just so happened to be wandering around Gatsby's estate during the tour just as most Cribs stars have an entourage enjoying their homes while a tour is conducted. Maybe I just have a strangely distorted perspective of this chapter, but I found it quite hilarious.
Friday, August 3, 2012
The Great Gatsby, Chapter 4, Pages 70 - 80
The Great Gatsby by F. Scott Fitzgerald
Jay Gatsby, the resolutely loyal hopeless romantic , desires for nothing more than a glimpse at his true love, Daisy Fay! Gatsby's GARGANTUAN request of Nick was merely for Mr. Carraway to facilitate a nostalgic reunion between the two former paramours. Jordan Baker conveys the favor to Nick when she says, "He [Gatsby] wants to know . . . if you'll invite Daisy to your house some afternoon and then let him come over" (Fitzgerald 78). Fitzgerald utilizes Baker through an anecdotal flashback to reveal the innermost emotions that fuel Gatsby's request. I expect more flashbacks and exposition from Fitzgerald as, by introducing the novel in light of a retrospective Nick Carraway, he leaves The Great Gatsby inclined to the implementation of such literary devices. Regardless, Jordan's reflections paint Gatsby as an incredibly caring, lovestruck young man that was torn from both his family and true love by tragedy and a cruel war. She also reveals that, after receiving a letter on her wedding day, presumably from Gatsby, Daisy broke down into tears and refused to go on with the wedding until the next day. Obviously, Daisy loves Gatsby as well. The major external conflict, of course, lies in Daisy's being wed to Tom Buchanan which makes any relationship between Gatsby and Daisy scandalous, immoral, and against both Daisy's and Gatsby's values. All the while, and quite sickeningly I might add, Tom mocks his wife's purity of heart and good-willed nature by philandering with Myrtle Wilson. Tom's abhorrent behavior identifies him as the likely antagonist in the novel which Nick will inevitably have to square off with. However, drawing inspiration from Jordan and a humbled Gatsby, Nick will be more than willing to face Tom.
Jay Gatsby, the resolutely loyal hopeless romantic , desires for nothing more than a glimpse at his true love, Daisy Fay! Gatsby's GARGANTUAN request of Nick was merely for Mr. Carraway to facilitate a nostalgic reunion between the two former paramours. Jordan Baker conveys the favor to Nick when she says, "He [Gatsby] wants to know . . . if you'll invite Daisy to your house some afternoon and then let him come over" (Fitzgerald 78). Fitzgerald utilizes Baker through an anecdotal flashback to reveal the innermost emotions that fuel Gatsby's request. I expect more flashbacks and exposition from Fitzgerald as, by introducing the novel in light of a retrospective Nick Carraway, he leaves The Great Gatsby inclined to the implementation of such literary devices. Regardless, Jordan's reflections paint Gatsby as an incredibly caring, lovestruck young man that was torn from both his family and true love by tragedy and a cruel war. She also reveals that, after receiving a letter on her wedding day, presumably from Gatsby, Daisy broke down into tears and refused to go on with the wedding until the next day. Obviously, Daisy loves Gatsby as well. The major external conflict, of course, lies in Daisy's being wed to Tom Buchanan which makes any relationship between Gatsby and Daisy scandalous, immoral, and against both Daisy's and Gatsby's values. All the while, and quite sickeningly I might add, Tom mocks his wife's purity of heart and good-willed nature by philandering with Myrtle Wilson. Tom's abhorrent behavior identifies him as the likely antagonist in the novel which Nick will inevitably have to square off with. However, drawing inspiration from Jordan and a humbled Gatsby, Nick will be more than willing to face Tom.
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| This image, while taken after the incorrect World War, embodies the affection between Jay Gatsby, the soldier, and Daisy Fay, the girl back home. |
Thursday, August 2, 2012
The Great Gatsby, Chapter 4, Pages 61 - 69
The Great Gatsby by F. Scott Fitzgerald
The beginning of chapter four provided much needed exposition on Gatsby's background and why he lives the way he does. First, Gatsby corroborates a couple of the rumors surrounding him by sharing stories and memorabilia with Nick concerning his Oxford days and involvement in the war. Secondly, Gatsby revealed to Nick that he has been plagued by a "sad thing that happened to me" in the past which resulted in the deaths of his family members but also in his inheriting a large fortune (Fitzgerald 67). Gatsby took advantage of the wealth initially to travel the world, living lavishly as he went in an attempt to drown out any sorrow that the sad thing brought about. However, Gatsby still was not content with his life and instead decided to spend his money on others. After recounting his abridged life story, Gatsby tells Nick that, at lunch, "I'm going to make a big request of you to-day," and that he'll learn just exactly what constituted the sad thing. All of this exposition, description of Gatsby's life, and requesting of Mr. Carraway comprises both rising action and a major turning point in the plot of The Great Gatsby. The main conflict, external or internal, will likely revolve around Gatsby's request of Nick and include a character recently introduced by Gatsby, Mr. Wolfsheim. As Rosedale, somewhat of a stock character in The House of Mirth, portrayed a stereotypically affluent Jewish businessman, so does Mr. Wolfsheim in The Great Gatsby. What business venture has Gatsby planned for Wolfsheim and Carraway?
The beginning of chapter four provided much needed exposition on Gatsby's background and why he lives the way he does. First, Gatsby corroborates a couple of the rumors surrounding him by sharing stories and memorabilia with Nick concerning his Oxford days and involvement in the war. Secondly, Gatsby revealed to Nick that he has been plagued by a "sad thing that happened to me" in the past which resulted in the deaths of his family members but also in his inheriting a large fortune (Fitzgerald 67). Gatsby took advantage of the wealth initially to travel the world, living lavishly as he went in an attempt to drown out any sorrow that the sad thing brought about. However, Gatsby still was not content with his life and instead decided to spend his money on others. After recounting his abridged life story, Gatsby tells Nick that, at lunch, "I'm going to make a big request of you to-day," and that he'll learn just exactly what constituted the sad thing. All of this exposition, description of Gatsby's life, and requesting of Mr. Carraway comprises both rising action and a major turning point in the plot of The Great Gatsby. The main conflict, external or internal, will likely revolve around Gatsby's request of Nick and include a character recently introduced by Gatsby, Mr. Wolfsheim. As Rosedale, somewhat of a stock character in The House of Mirth, portrayed a stereotypically affluent Jewish businessman, so does Mr. Wolfsheim in The Great Gatsby. What business venture has Gatsby planned for Wolfsheim and Carraway?
Wednesday, August 1, 2012
The Great Gatsby, Chapter 3, Pages 50 - 59
The Great Gatsby by F. Scott Fitzgerald
Before Gatsby's party ends, he calls Jordan Baker for a private conversation and apparently informs her on something incredible as she shows an overflow of excitement toward Nick once the conversation ceases. Fitzgerald closes the party with a slew of drunken blunders from Gatsby's guests which leaves his audience in the dark as to what Gatsby's exciting news could have been. Certainly, it will be very important later in the novel. The focal point, rather, of the second half of chapter three is Nick Carraway's desire for companionship and the consequent development of a romance between Jordan Baker and Nick. After his anecdote on Gatsby's extravaganza, Nick laments, "At the enchanted metropolitan twilight I felt a haunting loneliness sometimes . . ." implying that he yearns to have someone by his side (Fitzgerald 56). Jordan Baker seems the most prominent contender. Curiously, however, Fitzgerald, through Nick, reveals to his audience that Jordan is "incurably dishonest", the complete opposite of a relentlessly honest Nick (Fitzgerald 58). Thus, not only does Jordan become Nick's latest love interest, but his perfect foil character as well. As such, Jordan's character flaw marred my perception of her relationship with Nick. At first, I was excited for the possibility of love between the two. Now, such a relationship appears as if it might cause Nick more detriment than anything else, especially because he would be breaking a current long-distance relationship to pursue Jordan. Keep a close eye on Miss Baker, old sport, and be careful.
Before Gatsby's party ends, he calls Jordan Baker for a private conversation and apparently informs her on something incredible as she shows an overflow of excitement toward Nick once the conversation ceases. Fitzgerald closes the party with a slew of drunken blunders from Gatsby's guests which leaves his audience in the dark as to what Gatsby's exciting news could have been. Certainly, it will be very important later in the novel. The focal point, rather, of the second half of chapter three is Nick Carraway's desire for companionship and the consequent development of a romance between Jordan Baker and Nick. After his anecdote on Gatsby's extravaganza, Nick laments, "At the enchanted metropolitan twilight I felt a haunting loneliness sometimes . . ." implying that he yearns to have someone by his side (Fitzgerald 56). Jordan Baker seems the most prominent contender. Curiously, however, Fitzgerald, through Nick, reveals to his audience that Jordan is "incurably dishonest", the complete opposite of a relentlessly honest Nick (Fitzgerald 58). Thus, not only does Jordan become Nick's latest love interest, but his perfect foil character as well. As such, Jordan's character flaw marred my perception of her relationship with Nick. At first, I was excited for the possibility of love between the two. Now, such a relationship appears as if it might cause Nick more detriment than anything else, especially because he would be breaking a current long-distance relationship to pursue Jordan. Keep a close eye on Miss Baker, old sport, and be careful.
The Great Gatsby, Chapter 3, Pages 39 - 49
The Great Gatsby by F. Scott Fitzgerald
The first nine or ten pages of chapter three detail an extravagant party that Mr. Gatsby is throwing and Nick attending. Everything one could desire can be found at Gatsby's event: dinners, dancing, music, spirits, laughter, opportunity, libraries, and romantic mystery stemming from Gatsby himself. For all intents and purposes, Gatsby, by throwing such an amazing party and catering to each of his guest's needs, proves himself the ultimate host. Therefore, Gatsby's first words to Nick after revealing his true identity, "I thought you knew, old sport. I'm afraid I'm not a very good host," can be taken many ways: as jest, sarcasm, or genuine disappointment (Fitzgerald 48). Regardless, this sentence reveals a lot about the thus far distant Gatsby. First, he addresses Nick colloquially as "old sport", suggesting a warmness uncharacteristic of most well-to-do men (Fitzgerald 47). This catches Nick off-guard, leaving him contemplative as Gatsby flashes an inspiring smile his way. Nick realizes that this man will be much different than the high-society folks he is familiar with. Further, Gatsby undermines his obvious superiority in hosting by openly decrying his abilities. While he could possibly have been sarcastic, Gatsby's warmness toward Nick suggest that his remarks were sincere, expressing a unique humble nature about him. Finally, Gatsby's introduction, backdropped by the extravagant party, worldly library, diverse party guests, and many other signs of affluence, depicts him as The Most Interesting Man in the World. If any modern-day character could be drawn parallel to Gatsby, it would be this comical commercial star.
The first nine or ten pages of chapter three detail an extravagant party that Mr. Gatsby is throwing and Nick attending. Everything one could desire can be found at Gatsby's event: dinners, dancing, music, spirits, laughter, opportunity, libraries, and romantic mystery stemming from Gatsby himself. For all intents and purposes, Gatsby, by throwing such an amazing party and catering to each of his guest's needs, proves himself the ultimate host. Therefore, Gatsby's first words to Nick after revealing his true identity, "I thought you knew, old sport. I'm afraid I'm not a very good host," can be taken many ways: as jest, sarcasm, or genuine disappointment (Fitzgerald 48). Regardless, this sentence reveals a lot about the thus far distant Gatsby. First, he addresses Nick colloquially as "old sport", suggesting a warmness uncharacteristic of most well-to-do men (Fitzgerald 47). This catches Nick off-guard, leaving him contemplative as Gatsby flashes an inspiring smile his way. Nick realizes that this man will be much different than the high-society folks he is familiar with. Further, Gatsby undermines his obvious superiority in hosting by openly decrying his abilities. While he could possibly have been sarcastic, Gatsby's warmness toward Nick suggest that his remarks were sincere, expressing a unique humble nature about him. Finally, Gatsby's introduction, backdropped by the extravagant party, worldly library, diverse party guests, and many other signs of affluence, depicts him as The Most Interesting Man in the World. If any modern-day character could be drawn parallel to Gatsby, it would be this comical commercial star.
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| His mother has a tattoo that says "Son". |
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