Final post, and it’s already the day we go back to school. Wow. I felt like summer hasn’t even begun yet.
Anyway, the whole rest of the book just continued spiraling downward, into darkness. It was quite scary actually. There was so much death and abuse. One of the many things that stood out for me was how three fairly important characters died with the return of the White Soldier.
Another thing I thought was rather important was Yossarian’s reliving of Snowden’s death. It was mentioned in the book a great deal before, but now we really find out what happens.
I’m not sure what it all means, but…wow.
I feel like, I know what Heller was trying to tell his readers. I’m just not sure if everything I think is correct.
Anyway, I have to finish up a few things before school tomorrow.
JEBUS, we have school tomorrow!
Tuesday, August 17, 2010
Monday, August 16, 2010
Catch-22 (Ch.25-33)
So, I’ll just list a few things I thought while reading these chapters:
- When Yossarian and Dunbar were in the hospital and they decided to “pretend to be” two other men. This leads to an instance of situational irony, where Yossarian could have been sent home but wasn’t because of the identity mix up. My thoughts: “Sucks for him.”
- The whole ordeal with McWatt accidentally killing Kid Sampson by slicing him in half, I mean, it was just too random and vivid of a description to not mean anything.
- Orr never died, and then he suddenly disappears?
- Then came Doc Daneeka’s problem, where everyone thought he was dead because his name was down for being in McWatt’s plane (since McWatt crashed it into a mountain, killing himself). Why would Heller put this into the book? I couldn’t just have been for our entertaiment. I suppose he’s trying to tell us that the soldiers don’t really get to make their own decisions; it’s chosen for them. The government basically owns them.
- The letter to Doc Daneeka’s wife: it was hilarious. Maybe Heller was trying to say that the government/army doesn’t really care about the death of its men. I have no idea! I’m seriously trying here though.
- Also, I find that the book isn’t as funny anymore. I mean, it’s not as “light” as it used to be; it’s getting darker.
- When Yossarian and Dunbar were in the hospital and they decided to “pretend to be” two other men. This leads to an instance of situational irony, where Yossarian could have been sent home but wasn’t because of the identity mix up. My thoughts: “Sucks for him.”
- The whole ordeal with McWatt accidentally killing Kid Sampson by slicing him in half, I mean, it was just too random and vivid of a description to not mean anything.
- Orr never died, and then he suddenly disappears?
- Then came Doc Daneeka’s problem, where everyone thought he was dead because his name was down for being in McWatt’s plane (since McWatt crashed it into a mountain, killing himself). Why would Heller put this into the book? I couldn’t just have been for our entertaiment. I suppose he’s trying to tell us that the soldiers don’t really get to make their own decisions; it’s chosen for them. The government basically owns them.
- The letter to Doc Daneeka’s wife: it was hilarious. Maybe Heller was trying to say that the government/army doesn’t really care about the death of its men. I have no idea! I’m seriously trying here though.
- Also, I find that the book isn’t as funny anymore. I mean, it’s not as “light” as it used to be; it’s getting darker.
Catch-22 (Ch. 17-24)
The first thing that popped out to me about these few chapters was Atheism. I’m sure it’s one of the themes in this book; it seems almost inevitable. For one, there was the scene with Colonel Cathcart and the Chaplain, where Cathcart was telling him that he wanted to have prayers said before missions, however he wanted “to keep away from the subject of religion.” I find that hilarious, but with Heller makes it obvious that religion and the belief in “God” was iffy to talk about around soldiers. Also, I found it odd that the Chaplain’s assistant is an atheist.
With all this though, I would think that the soldiers would want God with them at all times. But at the same time, when you really think about it, you’d see why their belief in God would dissipate the longer they’re out fighting the war, whatnot with death around them.
Also, it’s almost as though the old man in the room full of prostitutes (with Yossarian, Nately, and Hungry Joe) was made to look like a God; though obviously, a corrupted God. He was sitting in a blue arm chair, with white hair, and a white shirt. To me, it kind of resembled God in a way, but I’m not yet sure.
I love how Heller makes some of his characters “most of them” sound like children sometimes. Like with Colonel Cathcart: he made him sound illiterate at one point (“Gimme eat…”) and also child-like with Colonel Korn (Cathcart is scared of him even though he his higher up in rank than Korn.) Heller did the same with Corporal Whitcomb, the Chaplain’s assistant, with him coming into and out of the Chaplain’s tent whining about how he never listened to him.
I found the whole scene odd with the family coming in to visit their son who was dead (I believe) and was replaced by Yossarian. First off, the parents didn’t even remember what their son looked like, nor did the brother. Though, they did keep calling him Gieseppe. I assume Heller was trying to make a point out of this, but I’m having trouble figuring out what exactly he wants us to take from it. Is it that the families basically forget their loved ones who are out fighting the war? I have a feeling that that’s part of it, but it’s not the exact answer. And also, what did the mother mean by “dress warm?”
The Soldier in White had his own chapter here as well. I found that the fact that he had weights to hold up his limbs made him look like a puppet; I assume this is to emphasize that soldiers are all the real prisoners of war.
Three more things I noticed:
-Plum Tomatoes
-Feather in Cap
-Black eyes
Well, that’s great. Now, what do they mean? I have no idea.
With all this though, I would think that the soldiers would want God with them at all times. But at the same time, when you really think about it, you’d see why their belief in God would dissipate the longer they’re out fighting the war, whatnot with death around them.
Also, it’s almost as though the old man in the room full of prostitutes (with Yossarian, Nately, and Hungry Joe) was made to look like a God; though obviously, a corrupted God. He was sitting in a blue arm chair, with white hair, and a white shirt. To me, it kind of resembled God in a way, but I’m not yet sure.
I love how Heller makes some of his characters “most of them” sound like children sometimes. Like with Colonel Cathcart: he made him sound illiterate at one point (“Gimme eat…”) and also child-like with Colonel Korn (Cathcart is scared of him even though he his higher up in rank than Korn.) Heller did the same with Corporal Whitcomb, the Chaplain’s assistant, with him coming into and out of the Chaplain’s tent whining about how he never listened to him.
I found the whole scene odd with the family coming in to visit their son who was dead (I believe) and was replaced by Yossarian. First off, the parents didn’t even remember what their son looked like, nor did the brother. Though, they did keep calling him Gieseppe. I assume Heller was trying to make a point out of this, but I’m having trouble figuring out what exactly he wants us to take from it. Is it that the families basically forget their loved ones who are out fighting the war? I have a feeling that that’s part of it, but it’s not the exact answer. And also, what did the mother mean by “dress warm?”
The Soldier in White had his own chapter here as well. I found that the fact that he had weights to hold up his limbs made him look like a puppet; I assume this is to emphasize that soldiers are all the real prisoners of war.
Three more things I noticed:
-Plum Tomatoes
-Feather in Cap
-Black eyes
Well, that’s great. Now, what do they mean? I have no idea.
Saturday, August 14, 2010
Catch-22 (Ch.10-16)
The book is growing on me now. In the beginning it was difficult to read; I thought it was one of those books that I would have to force myself to get through, but it’s actually quite good.
I suppose I’ll just list off a few things I noticed while reading:
- The description of Sergeant Towser: white blonde hair, white marshmellow teeth, and sunken cheeks. I forget which chapter this was from exactly, but I do remember there being (in the beginning of the chapter) a description about a white cloud. Then of course, in the beginning of the book, there was the Soldier in White. I’m trying to figure out if there’s a correlation, or if white is just an important color in the book. Once again, I feel like I have a few pieces, I just don’t know how to put them together!
- Mudd! It was interesting the way Heller described him as well: how he was an unknown soldier, how his clothes were left in Yossarian’s tent the same way he had left them there three months ago, the day he never arrived. Also, how he never had a chance and "had to be dead." I suppose Heller is telling people that no one ever thinks about the soldiers. There are so many that die in wars, but it doesn’t affect everyone (excluding family and friends) because we don’t know them. Or at least I think that’s what he’s trying to say. I hope I'm at least...somewhat right.
- Orr’s name. I’m not sure why, but it stood out for me.
- Captain Black and his Great Loyalty Oath: it reminded me of McCarthy, (McCarthyism), and how he basically convinced everyone that Communists were everywhere. He, at one point, even accused the U.S. Army of being Communists.
- The mushrooms! Heller described them as being lifeless bodies.
- Irony: it makes the book hilarious! I mean, it’s great because you can tell it’s done purposely, but it’s just so ridiculously funny. Ha, take for example when Yossarian moved the bomb line over Bologna hoping that it would mean they wouldn’t have to fly the mission. Mr. (intelligent) Black (in his intelligence tent) believed it. I’m sorry, I just thought it was funny :D
- Hungry Joe’s dreams: I mean, there was that one scene, with Huple’s cat, where he dreamt of how the cat was on his face, then he woke up and it was. Then there are his screaming night tremors. I find it odd that he has these terrible screaming fits, then he’s completely normal, (well, kind of), during the day. It’s obvious that he dreams of the reality of their situation; his screaming is what they all feel.
- The attack at Bologna: it was so vivid; it felt as though I was actually there, which I’m sure is what the author intended for us to feel.
- Major --- de Coverley: he has one blind eye. Also, this: “…the wall of officers before him parted like the Red Sea.” Definitely an allusion, but does it mean anything else?
I suppose I’ll just list off a few things I noticed while reading:
- The description of Sergeant Towser: white blonde hair, white marshmellow teeth, and sunken cheeks. I forget which chapter this was from exactly, but I do remember there being (in the beginning of the chapter) a description about a white cloud. Then of course, in the beginning of the book, there was the Soldier in White. I’m trying to figure out if there’s a correlation, or if white is just an important color in the book. Once again, I feel like I have a few pieces, I just don’t know how to put them together!
- Mudd! It was interesting the way Heller described him as well: how he was an unknown soldier, how his clothes were left in Yossarian’s tent the same way he had left them there three months ago, the day he never arrived. Also, how he never had a chance and "had to be dead." I suppose Heller is telling people that no one ever thinks about the soldiers. There are so many that die in wars, but it doesn’t affect everyone (excluding family and friends) because we don’t know them. Or at least I think that’s what he’s trying to say. I hope I'm at least...somewhat right.
- Orr’s name. I’m not sure why, but it stood out for me.
- Captain Black and his Great Loyalty Oath: it reminded me of McCarthy, (McCarthyism), and how he basically convinced everyone that Communists were everywhere. He, at one point, even accused the U.S. Army of being Communists.
- The mushrooms! Heller described them as being lifeless bodies.
- Irony: it makes the book hilarious! I mean, it’s great because you can tell it’s done purposely, but it’s just so ridiculously funny. Ha, take for example when Yossarian moved the bomb line over Bologna hoping that it would mean they wouldn’t have to fly the mission. Mr. (intelligent) Black (in his intelligence tent) believed it. I’m sorry, I just thought it was funny :D
- Hungry Joe’s dreams: I mean, there was that one scene, with Huple’s cat, where he dreamt of how the cat was on his face, then he woke up and it was. Then there are his screaming night tremors. I find it odd that he has these terrible screaming fits, then he’s completely normal, (well, kind of), during the day. It’s obvious that he dreams of the reality of their situation; his screaming is what they all feel.
- The attack at Bologna: it was so vivid; it felt as though I was actually there, which I’m sure is what the author intended for us to feel.
- Major --- de Coverley: he has one blind eye. Also, this: “…the wall of officers before him parted like the Red Sea.” Definitely an allusion, but does it mean anything else?
Thursday, August 12, 2010
Catch-22 (Ch.1-9)
When I first started reading, I have to admit I wasn’t sure what was going on. Well, actually, I’m not sure if I know what’s going on now as well and I think it might have something to do with how it’s all out of order; it keeps going back and forth, somewhat like What is the What except that book was easier to follow. Anyway, so far I find the situations, conversations, and whatever else, extremely funny. Most of it is clearly done on purpose though, almost as though the author were making fun of the situations.
I really like the main character, (or at least I think he’s the main character), Yossarian. Though, everyone thinks he’s crazy, and it seems as though they all dislike him. He seems fairly normal to me, especially since all he wants is to get away from the war and stay alive for as long as possible. I don’t really think analyzing all the characters would be a good thing to do here, because there would be too many, however they’re quite interesting. I like how the author gives them all different personalities.
Another thing I found interesting was the Soldier in White who appeared in the first few chapters. He was faceless, and his identity was anonymous. What does it mean though? I’m not sure if it means anything, but it just really stood out for me.
Also, I feel like there’s a lot of “doubling” in the book: 55, 22 (Catch-22), Major Major, Gus and Wes, the two C.I.D. men. Maybe Major Major, Gus, and Wes aren’t the right examples to use for this, but I still feel like there’s a sort of “doubles” theme in it. I’m not really sure how to explain it, nor am I sure if it actually means something, but I noticed it.
This is terrible. I feel like I always have the pieces spread out in front of me, but I can never put them together! Anyway, I hope to finish this book soon! After all, school starts in less than a week!
I really like the main character, (or at least I think he’s the main character), Yossarian. Though, everyone thinks he’s crazy, and it seems as though they all dislike him. He seems fairly normal to me, especially since all he wants is to get away from the war and stay alive for as long as possible. I don’t really think analyzing all the characters would be a good thing to do here, because there would be too many, however they’re quite interesting. I like how the author gives them all different personalities.
Another thing I found interesting was the Soldier in White who appeared in the first few chapters. He was faceless, and his identity was anonymous. What does it mean though? I’m not sure if it means anything, but it just really stood out for me.
Also, I feel like there’s a lot of “doubling” in the book: 55, 22 (Catch-22), Major Major, Gus and Wes, the two C.I.D. men. Maybe Major Major, Gus, and Wes aren’t the right examples to use for this, but I still feel like there’s a sort of “doubles” theme in it. I’m not really sure how to explain it, nor am I sure if it actually means something, but I noticed it.
This is terrible. I feel like I always have the pieces spread out in front of me, but I can never put them together! Anyway, I hope to finish this book soon! After all, school starts in less than a week!
Saturday, August 7, 2010
The Kite Runner (Ch.16-End)
I wanted to split the remaining part of the book in half, but when I started reading it yesterday, I just couldn’t put it down. Anyway, there were a few things that caught my attention and I think I’ll just list them:
-Wall of Ailing Corn: I think it represented Amir and Hassan’s friendship in a way. Or at least, for me that’s what it seemed like. When Rahim Khan was talking about how Hassan came and rebuilt it, I thought of Hassan wanting to see Amir again; to be friends with him again.
- The kites: the Taliban banned them. I assume that’s why the colors were “drained” from the book, and also, happiness was drained away from Afghanistan. I don’t know, I guess I just see things weirdly but to me it makes sense.
- The dream Amir had, where Hassan was blindfolded and Amir killed him. I thought it was great, (not in a literal sense because in all honesty it was a terrible dream to have), because Hassan couldn’t see his killer; it was Amir who had betrayed him, and Hassan didn’t know. He probably never will.
- When Farid told Amir that he basically was a tourist in his own country, I sort of agreed. I mean, when the author first described the house Amir lived in, I pictured a huge, beautiful house sitting in the middle of a poverty stricken town. It was almost as though Amir was isolated from the real Afghanistan.
-The fight with Assef: it was Amir finally sticking up for Hassan and “getting what he deserved” as well. Of course, Amir didn’t win the fight, (it was Sohrab who rescued him, just like Hassan had all those years ago), but with it came forgiveness, and that’s all that mattered.
- The scar: the one physical marking that separated Hassan from Amir was placed on Amir now. I’m not sure what it means exactly, but I know it’s significant to the story.
- Also, some time after the fight, when Amir and Sohrab entered the American embassy, they were hit by cold air. That’s not really the interesting part, it was the actual line in the book: “…the air-conditioning hit my face like a splash of ice water.” I feel myself going back to How to Read Literature like a Professor again; to the chapter on rebirth and baptism (it was baptism, right?) Was this one of those scenes? It seems like it.
I was screaming (in my head) with Amir when Sohrab had attempted suicide. I think I began reading a little faster at that point. But really, almost every scene in this book is unexpected and so intense. It reminded me a lot of What is the What, except this brought out a stronger emotional response from me, I think. I really enjoyed reading it!
And now, for the final book of the summer: Catch-22.
The reading begins…now.
-Wall of Ailing Corn: I think it represented Amir and Hassan’s friendship in a way. Or at least, for me that’s what it seemed like. When Rahim Khan was talking about how Hassan came and rebuilt it, I thought of Hassan wanting to see Amir again; to be friends with him again.
- The kites: the Taliban banned them. I assume that’s why the colors were “drained” from the book, and also, happiness was drained away from Afghanistan. I don’t know, I guess I just see things weirdly but to me it makes sense.
- The dream Amir had, where Hassan was blindfolded and Amir killed him. I thought it was great, (not in a literal sense because in all honesty it was a terrible dream to have), because Hassan couldn’t see his killer; it was Amir who had betrayed him, and Hassan didn’t know. He probably never will.
- When Farid told Amir that he basically was a tourist in his own country, I sort of agreed. I mean, when the author first described the house Amir lived in, I pictured a huge, beautiful house sitting in the middle of a poverty stricken town. It was almost as though Amir was isolated from the real Afghanistan.
-The fight with Assef: it was Amir finally sticking up for Hassan and “getting what he deserved” as well. Of course, Amir didn’t win the fight, (it was Sohrab who rescued him, just like Hassan had all those years ago), but with it came forgiveness, and that’s all that mattered.
- The scar: the one physical marking that separated Hassan from Amir was placed on Amir now. I’m not sure what it means exactly, but I know it’s significant to the story.
- Also, some time after the fight, when Amir and Sohrab entered the American embassy, they were hit by cold air. That’s not really the interesting part, it was the actual line in the book: “…the air-conditioning hit my face like a splash of ice water.” I feel myself going back to How to Read Literature like a Professor again; to the chapter on rebirth and baptism (it was baptism, right?) Was this one of those scenes? It seems like it.
I was screaming (in my head) with Amir when Sohrab had attempted suicide. I think I began reading a little faster at that point. But really, almost every scene in this book is unexpected and so intense. It reminded me a lot of What is the What, except this brought out a stronger emotional response from me, I think. I really enjoyed reading it!
And now, for the final book of the summer: Catch-22.
The reading begins…now.
Wednesday, August 4, 2010
The Kite Runner (Ch.11-15)
I feel like the relationship between Amir and his Baba has been getting better since they’ve moved to the U.S, and since they basically only have each other now. The bar scene was great, it really made me smile.
Also, I’m somewhat glad that Amir still feels guilt after all those years. However, I’m really hoping this book has a happy ending, even though, some of the best books hardly ever do.
America, land of the free. Valentino and Amir have similar feelings toward America. They both came here for freedom, a chance to start new (or actually, continue their lives,) and of course, to escape violence. They both started off with nothing in America as well (that’s the “start new” part of it.) The main difference between them is that Valentino lived in poverty in Marial Bai and Amir lived a rich life. They both came to America because of war and they both weren’t as happy as they used to be when they came here, but America gave them the freedom they needed. Though, they both got used to life here.
My parents and I felt the same, though it’s a story I don’t want to get into here. But, for all refugees, immigrants, etc., America means freedom…it’s the rest that doesn’t come easy.
Two things I noticed were the birth mark on Soraya’s jaw line and the bag of fruit that Jamila gave Amir (it was full of peaches and kiwis.) In a mini paragraph, Amir’s father takes the peaches and bites into one. A peach symbolizes…a woman, (well, more that just a woman, but I’ll leave it at ‘woman,’) so I’m assuming when Amir’s father takes a bite out of it, he means “go for Soraya.” That was embarrassing. I hope I’m not wrong...
Illnesses; a chapter in How To Read Literature Like A Professor! So, Jamila’s mom is slightly paralyzed in the face (I think it was just the face) because of a stroke that she had. I’m assuming the author did that not JUST because she had a stroke (since these characters are fictional) but also because there must be some sort of “paralysis” in her life. And there is! Her husband constantly tells her what to do and keeps her confined in a little space (not literally;) he “silences her song.” It’s not until her husband begins seeing that he isn’t the healthiest of the two that they begin to loosen up. Then of course, there’s Baba who gets diagnosed with cancer. Just like Tuberculosis, this disease causes the person to waste away slowly. Baba’s death made me so sad but I’m glad that it ended sort of happily; Amir and Soraya got married.
Also, this stuck out to me: emptiness. I’m not sure if this means anything, but I saw these two patterns. It was first mentioned when his father died, then when he found out that his wife couldn’t have a baby; everything was empty. I’m assuming it has to do with life. Maybe…life’s empty for him now?
I hope, by going to Rahim Khan, he’s able to fix this.
Also, I’m somewhat glad that Amir still feels guilt after all those years. However, I’m really hoping this book has a happy ending, even though, some of the best books hardly ever do.
America, land of the free. Valentino and Amir have similar feelings toward America. They both came here for freedom, a chance to start new (or actually, continue their lives,) and of course, to escape violence. They both started off with nothing in America as well (that’s the “start new” part of it.) The main difference between them is that Valentino lived in poverty in Marial Bai and Amir lived a rich life. They both came to America because of war and they both weren’t as happy as they used to be when they came here, but America gave them the freedom they needed. Though, they both got used to life here.
My parents and I felt the same, though it’s a story I don’t want to get into here. But, for all refugees, immigrants, etc., America means freedom…it’s the rest that doesn’t come easy.
Two things I noticed were the birth mark on Soraya’s jaw line and the bag of fruit that Jamila gave Amir (it was full of peaches and kiwis.) In a mini paragraph, Amir’s father takes the peaches and bites into one. A peach symbolizes…a woman, (well, more that just a woman, but I’ll leave it at ‘woman,’) so I’m assuming when Amir’s father takes a bite out of it, he means “go for Soraya.” That was embarrassing. I hope I’m not wrong...
Illnesses; a chapter in How To Read Literature Like A Professor! So, Jamila’s mom is slightly paralyzed in the face (I think it was just the face) because of a stroke that she had. I’m assuming the author did that not JUST because she had a stroke (since these characters are fictional) but also because there must be some sort of “paralysis” in her life. And there is! Her husband constantly tells her what to do and keeps her confined in a little space (not literally;) he “silences her song.” It’s not until her husband begins seeing that he isn’t the healthiest of the two that they begin to loosen up. Then of course, there’s Baba who gets diagnosed with cancer. Just like Tuberculosis, this disease causes the person to waste away slowly. Baba’s death made me so sad but I’m glad that it ended sort of happily; Amir and Soraya got married.
Also, this stuck out to me: emptiness. I’m not sure if this means anything, but I saw these two patterns. It was first mentioned when his father died, then when he found out that his wife couldn’t have a baby; everything was empty. I’m assuming it has to do with life. Maybe…life’s empty for him now?
I hope, by going to Rahim Khan, he’s able to fix this.
Tuesday, August 3, 2010
The Kite Runner (Ch.6-10)
So much for 'tomorrow' again. I seriously need to stop saying that if I'm not going to post that day! But anyway...
Kites have come back and I’m starting to see what it might symbolize now: perhaps happiness, innocence, freedom? I’m not sure, but I hope I’m getting close.
I also like the way the author described winter as happy, warm, (which is the way I usually see it; but then again, I live in California where it doesn’t snow,) but usually in books, it’s used as a kind of obstacle (it’s cold, death is part of it, etc.) And in the end, something did die: Hassan and Amir’s friendship.
Though, something more died in Hassan.
“I had a feeling I was looking at two faces, the one I knew, the one that was my first memory, and another, a second face, this one lurking just beneath the surface.” I’ve been trying to figure this quote out in the book. Or, once again, maybe it’s all that it’s supposed to mean, that Amir doesn’t know the real Hassan. Or maybe I’m just wrong. However, I did find the quote interesting.
Hassan is what Amir wants to be. He’s jealous of him and can’t accept the fact that he will never be Hassan.
Now, the rape. I WANT TO SCREAM!!! I wanted to put the book down after reading that part, and then I did put the book down…after reading the part where Amir places the money and watch underneath Hassan’s bed. Hassan looks up to Amir the way Amir looks up to his father, so how could he have LET him get raped!? He sacrificed himself for Amir and his stupid kite. The lamb IS Hassan; he has been sacrificed just as the lamb had; oh and it’s crooked black ears are his cleft-lip/scar. I found that oddly interesting.
The question is, what was being sacrificed? I’m still figuring it out.
Oh, I loved the imagery (that's the correct term, right?) here: when the author is talking about dry, hot summers, then quickly span around to thunder and rain as Hassan and Ali were about to leave.
Also, he uses two metals in the book: gold and silver (he used aluminum as well, but I think the gold and silver stick out more. I forget if he used bronze.) I’m not sure if this means anything either.
Amir and his Baba are leaving their wealth; they’ve become nobody, like everyone else. Before, colors splashed about everywhere on the pages. They’ve slowly begun draining out after Hassan got raped, and now everything is desolate and gray.
Kites have come back and I’m starting to see what it might symbolize now: perhaps happiness, innocence, freedom? I’m not sure, but I hope I’m getting close.
I also like the way the author described winter as happy, warm, (which is the way I usually see it; but then again, I live in California where it doesn’t snow,) but usually in books, it’s used as a kind of obstacle (it’s cold, death is part of it, etc.) And in the end, something did die: Hassan and Amir’s friendship.
Though, something more died in Hassan.
“I had a feeling I was looking at two faces, the one I knew, the one that was my first memory, and another, a second face, this one lurking just beneath the surface.” I’ve been trying to figure this quote out in the book. Or, once again, maybe it’s all that it’s supposed to mean, that Amir doesn’t know the real Hassan. Or maybe I’m just wrong. However, I did find the quote interesting.
Hassan is what Amir wants to be. He’s jealous of him and can’t accept the fact that he will never be Hassan.
Now, the rape. I WANT TO SCREAM!!! I wanted to put the book down after reading that part, and then I did put the book down…after reading the part where Amir places the money and watch underneath Hassan’s bed. Hassan looks up to Amir the way Amir looks up to his father, so how could he have LET him get raped!? He sacrificed himself for Amir and his stupid kite. The lamb IS Hassan; he has been sacrificed just as the lamb had; oh and it’s crooked black ears are his cleft-lip/scar. I found that oddly interesting.
The question is, what was being sacrificed? I’m still figuring it out.
Oh, I loved the imagery (that's the correct term, right?) here: when the author is talking about dry, hot summers, then quickly span around to thunder and rain as Hassan and Ali were about to leave.
Also, he uses two metals in the book: gold and silver (he used aluminum as well, but I think the gold and silver stick out more. I forget if he used bronze.) I’m not sure if this means anything either.
Amir and his Baba are leaving their wealth; they’ve become nobody, like everyone else. Before, colors splashed about everywhere on the pages. They’ve slowly begun draining out after Hassan got raped, and now everything is desolate and gray.
Sunday, August 1, 2010
The Kite Runner (Ch.1-5)
After reading these first five chapters (especially the first because it left me questioning a few things,) I’d like to know what the kites mean or symbolize. I’m sure they’re going to pop up in the book again since…it is called the Kite Runner.
Also, I remember from How to Read Literature like a Professor that the author places a mark on their character for a reason, so why did Hosseini place the cleft-lip on Hassan? And then he takes it off, leaving nothing but a “faint scar.” The only thing I can make of it now is that the cleft-lip made Hassan look different from Amir and probably most of the other boys. And Hassan is already pretty different since he is Hazara, so maybe this is supposed to make him look the same? I’m not sure!
The relationship between Hassan and Amir is slightly off; it’s like, they ARE friends, but then they’re not. Then again, Hassan IS a servant. Amir is cruel to him though: he plays pranks on him, makes fun of him, etc. I’m not sure if their friendship will last.
Amir and his Baba have a pretty weird relationship going on as well. This will probably have some significance later on in the story, I’ll just have to keep reading and find out. An example, though, is when Amir wrote a story and was thrilled about showing it to his dad, but his dad just looking at him “through the cloud of smoke.” This quote makes the relationship between the two THAT much more obvious. The father isn’t close with his son; he doesn’t understand his son’s intentions. They’re not clear to him. I also caught onto the way Amir describes his father: his laughter was like “a truck engine revving up…” and his snoring is “like a growling truck engine.” I guess those are just there to help us see that Baba is a pretty tough person; someone you shouldn’t mess with.
The book is pretty good so far. The way it’s written doesn’t make it seem like it’s dragging on and on; it makes me want to read more! Which I definitely will do :) (and sort of have to do.)
Also, I remember from How to Read Literature like a Professor that the author places a mark on their character for a reason, so why did Hosseini place the cleft-lip on Hassan? And then he takes it off, leaving nothing but a “faint scar.” The only thing I can make of it now is that the cleft-lip made Hassan look different from Amir and probably most of the other boys. And Hassan is already pretty different since he is Hazara, so maybe this is supposed to make him look the same? I’m not sure!
The relationship between Hassan and Amir is slightly off; it’s like, they ARE friends, but then they’re not. Then again, Hassan IS a servant. Amir is cruel to him though: he plays pranks on him, makes fun of him, etc. I’m not sure if their friendship will last.
Amir and his Baba have a pretty weird relationship going on as well. This will probably have some significance later on in the story, I’ll just have to keep reading and find out. An example, though, is when Amir wrote a story and was thrilled about showing it to his dad, but his dad just looking at him “through the cloud of smoke.” This quote makes the relationship between the two THAT much more obvious. The father isn’t close with his son; he doesn’t understand his son’s intentions. They’re not clear to him. I also caught onto the way Amir describes his father: his laughter was like “a truck engine revving up…” and his snoring is “like a growling truck engine.” I guess those are just there to help us see that Baba is a pretty tough person; someone you shouldn’t mess with.
The book is pretty good so far. The way it’s written doesn’t make it seem like it’s dragging on and on; it makes me want to read more! Which I definitely will do :) (and sort of have to do.)
Thursday, July 29, 2010
What is the What (Ch.19 to End)
Third and final post today; it goes back to normal tomorrow...hopefully.
So, we come across the What again, and I'm now more certain than ever, that the What will never be explained in this book. I'm not sure what the What is myself but I'm sure it's negative. Or at least, I think it's negative.
A bit later on in the book, Mayen Ngor told Ackak (Valentino) that the seeds they were planting in the ground with the other boys would be potential food, just as they, the boys, could be potential soldiers. I'm not sure if that even makes sense, but I hope it does. Just as the seeds turn into plants, the boys turn into men capable of fighting, but most end up dying.
Ah, and I noticed these colors as the fighting at Gilo River started: green, white, black, brown, and red. Green, white, black, and red are the colors of the Sudanese flag. Is this relevant at all? I hope so. It's ironic that the author would mention these colors though, in the middle of an extremely bloody fight.
I really took notice of the imagery that was described next: "The rain did this to the suffering people of Pochalla, especially the boys who had no mothers: they broke under the force of the rain, they melted back into the Earth." It's beautiful, but depressing. Why didn't Valentino break? I suppose it was because he still believed his parents were alive.
Oh, and another scene: when Achor Achor was saying it'd be better to just die quicker, and when Valentino agreed, the description was amazing. The red walls of the shelter (evil, blood, etc.,) the fire dimming, (the warmth was leaving,) and finally darkness consumed them and their breath got cold, almost as if they were dying...or were dead.
Then, reality. Valentino came back to his apartment, where he used to be comfortable and felt at home, but suddenly he felt unwanted, alone, like a stranger in his own home. It's been polluted and he does not want to be there anymore.
Then we're back into story-mode, and the part where that Kenyan man ripped the mask off Valentino's face really caught my attention. I supposed he wanted to lead a new life, start fresh and hide all the scars, but the man told him that the mask "doesn't fit" him. Perhaps he was meant to tell his story; to continue his life as opposed to starting fresh.
I WAS SO HAPPY WHEN HE FOUND OUT HIS PARENTS WERE ALIVE!!! It was finally a scene that actually made me happy (well, other than the few scenes that made me smile a bit, like Madame Zero.)
And I finished the book. There was another thing that left me confused: what did that falling sun mean at the end?
So, we come across the What again, and I'm now more certain than ever, that the What will never be explained in this book. I'm not sure what the What is myself but I'm sure it's negative. Or at least, I think it's negative.
A bit later on in the book, Mayen Ngor told Ackak (Valentino) that the seeds they were planting in the ground with the other boys would be potential food, just as they, the boys, could be potential soldiers. I'm not sure if that even makes sense, but I hope it does. Just as the seeds turn into plants, the boys turn into men capable of fighting, but most end up dying.
Ah, and I noticed these colors as the fighting at Gilo River started: green, white, black, brown, and red. Green, white, black, and red are the colors of the Sudanese flag. Is this relevant at all? I hope so. It's ironic that the author would mention these colors though, in the middle of an extremely bloody fight.
I really took notice of the imagery that was described next: "The rain did this to the suffering people of Pochalla, especially the boys who had no mothers: they broke under the force of the rain, they melted back into the Earth." It's beautiful, but depressing. Why didn't Valentino break? I suppose it was because he still believed his parents were alive.
Oh, and another scene: when Achor Achor was saying it'd be better to just die quicker, and when Valentino agreed, the description was amazing. The red walls of the shelter (evil, blood, etc.,) the fire dimming, (the warmth was leaving,) and finally darkness consumed them and their breath got cold, almost as if they were dying...or were dead.
Then, reality. Valentino came back to his apartment, where he used to be comfortable and felt at home, but suddenly he felt unwanted, alone, like a stranger in his own home. It's been polluted and he does not want to be there anymore.
Then we're back into story-mode, and the part where that Kenyan man ripped the mask off Valentino's face really caught my attention. I supposed he wanted to lead a new life, start fresh and hide all the scars, but the man told him that the mask "doesn't fit" him. Perhaps he was meant to tell his story; to continue his life as opposed to starting fresh.
I WAS SO HAPPY WHEN HE FOUND OUT HIS PARENTS WERE ALIVE!!! It was finally a scene that actually made me happy (well, other than the few scenes that made me smile a bit, like Madame Zero.)
And I finished the book. There was another thing that left me confused: what did that falling sun mean at the end?
What is the What (Ch.15-18)
Second post of the day. I'm really sorry. I would've posted an entry up once a day, but I was focused on finishing the book and returning it.
I couldn't help but feel immense sadness for Valentino, (how often will I use that term for this book?) especially after the robbery when the police officer didn't do anything to help him and Achor Achor. All she did was call it a complaint, whatever that means, and go off. Valentino feels extreme pain, but I'm sure it's not just physical that he's talking about.
And then Julian!!! At the doctors! Is this all related to racism? It seems as though just because he's different, (it doesn't matter if the skin tone is the same as other African Americans,) he is being alienated, excluded. I'm sure most of the other Lost Boys feel the same way, and it makes me mad! I wish the people he's "telling" his story to would actually be able to hear it. I think this is another good time to say that I love the way this book was written. I hope all those people picked up his book and read it.
Valentino has lost his innocence; for a boy that young to see all that violence and death, it's definitely inevitable for him to lose it. However, when he's playing with the local boys in Ethiopia, it seems that, for a while, he is a kid again, and it makes me happy...until he steps on the dead man's head that is. It killed the moment.
Another thing I noticed was the trees: again, the author's use of personification amazes me. He makes the trees alive: they "shield" people from the sun. But I remember that the description was more than that, it was amazing, I just can't remember the exact words. Curse the person who put a hold on the book :c
Also, I couldn't help but notice the author's use of colors: he throws around blue, yellow, red, brown, green, black, and white, but I'm not sure what they mean. Yellow is the one that stood out to me most (whatnot with the mother's dress, the sun, and yellow eyes.) I'm not sure what the sun means: it's either good or bad, but as of now, it's bad because the heat is killing off boys. As for the yellow eyes, there's no other thing that that could symbolize other than sickness and death. However, the mother's dress makes this color a happy and warm one. The blue shows up with that dog and the sky...I'm not sure what it means though. Black has a negative connotation as well (ash, smoke, guns, night, bombs, etc.)
Now, I forget who in the book told him this but: "You have the power to make people see." And honestly, I think he does. After finishing this book, he made me see, (obviously not symbols or anything I should've been paying attention to,) but he opened up my mind.
I couldn't help but feel immense sadness for Valentino, (how often will I use that term for this book?) especially after the robbery when the police officer didn't do anything to help him and Achor Achor. All she did was call it a complaint, whatever that means, and go off. Valentino feels extreme pain, but I'm sure it's not just physical that he's talking about.
And then Julian!!! At the doctors! Is this all related to racism? It seems as though just because he's different, (it doesn't matter if the skin tone is the same as other African Americans,) he is being alienated, excluded. I'm sure most of the other Lost Boys feel the same way, and it makes me mad! I wish the people he's "telling" his story to would actually be able to hear it. I think this is another good time to say that I love the way this book was written. I hope all those people picked up his book and read it.
Valentino has lost his innocence; for a boy that young to see all that violence and death, it's definitely inevitable for him to lose it. However, when he's playing with the local boys in Ethiopia, it seems that, for a while, he is a kid again, and it makes me happy...until he steps on the dead man's head that is. It killed the moment.
Another thing I noticed was the trees: again, the author's use of personification amazes me. He makes the trees alive: they "shield" people from the sun. But I remember that the description was more than that, it was amazing, I just can't remember the exact words. Curse the person who put a hold on the book :c
Also, I couldn't help but notice the author's use of colors: he throws around blue, yellow, red, brown, green, black, and white, but I'm not sure what they mean. Yellow is the one that stood out to me most (whatnot with the mother's dress, the sun, and yellow eyes.) I'm not sure what the sun means: it's either good or bad, but as of now, it's bad because the heat is killing off boys. As for the yellow eyes, there's no other thing that that could symbolize other than sickness and death. However, the mother's dress makes this color a happy and warm one. The blue shows up with that dog and the sky...I'm not sure what it means though. Black has a negative connotation as well (ash, smoke, guns, night, bombs, etc.)
Now, I forget who in the book told him this but: "You have the power to make people see." And honestly, I think he does. After finishing this book, he made me see, (obviously not symbols or anything I should've been paying attention to,) but he opened up my mind.
What is the What (Ch.10 to Second Book)
So I'm back again, and I have no idea how to start this. I'm not even a writer, but here I sit at my laptop with writers block. I guess I'll just list a few things that stood out to me or things that just left me confused. Oh and my entries are going to be extremely choppy now because I had to finish the book and return it to the library quickly. I wrote some notes down so two more will be posted up today.
When Valentino was explaining how the Arabs used the Sudanese (specifically the Dinka and Nuer) for slavery and told people that they were giving them "better lives," it reminded me of how the white southerners in America (when slavery thrived here,) used to say that they were "saving" the slaves by giving them better lives than the ones they led in Africa.
Now a little further on, this pops up: "You have no ears for me." Maybe it's all that it means, but I feel as though it isn't. Perhaps it had something to do with racism...but I'm just not sure. Ahhh, confusion! I find it difficult looking for symbolism in this book. I get so engrossed by the story that I overlook the little details I probably should be paying attention to. I'm certain that I missed more than a few things. This will probably happen when I start the other books. The only way for me to look for symbols, allusions, etc., is to read the book for the story first, then go back and reread it, this time reading carefully.
Oh boy, I'll need a lot of practice. Perhaps now I'll try and read more carefully.
On page 146, Valentino dreams of his mother. This page made me sad but the author's use of descriptive words made it beautiful. I love how he goes from warmth and happiness to a dark coldness, showing it only through words; if only I could write like that. Also, right now it makes me sad that he feels so alone in the world; no one's coming to help him. But probably all the Lost Boys and Girls feel this way; they feel broken: "No suit could be made to give us the illusion of ease and comfort in this world."
The resurrection of William...it was an odd term to use, but I really liked it. Perhaps it has more meaning. Also, Dut somewhat reminds me of Noah. I know that in the story, it rained for a while, but God never intended to kill off people...just destroy sin. Dut led the boys away from the madness, but could not shield them from rain. The rain in this story does not destroy sin though; it kills off innocent people. I have no idea what I'm saying though, I'm just trying to make sense of this.
Another thing that popped up again was the bicycle. To me, it kind of represents freedom in a way. Last time, Valentino was not able to ride the bike, but with the weird man he was. He got up and rode it for a while...before he fell that is. So, he's close to freedom, but not just yet?
As they walk to Ethiopia, they see a dead soldier and to me it symbolizes lost hope: the walk was for nothing, the war is for nothing, their country would never be free, and Valentino slows down. Later his good friend William K dies, and it brings Valentino down even more. Then on top of that, Ethiopia isn't what it seems to be; however, he's finally safe, and he can rest for the time being.
When Valentino was explaining how the Arabs used the Sudanese (specifically the Dinka and Nuer) for slavery and told people that they were giving them "better lives," it reminded me of how the white southerners in America (when slavery thrived here,) used to say that they were "saving" the slaves by giving them better lives than the ones they led in Africa.
Now a little further on, this pops up: "You have no ears for me." Maybe it's all that it means, but I feel as though it isn't. Perhaps it had something to do with racism...but I'm just not sure. Ahhh, confusion! I find it difficult looking for symbolism in this book. I get so engrossed by the story that I overlook the little details I probably should be paying attention to. I'm certain that I missed more than a few things. This will probably happen when I start the other books. The only way for me to look for symbols, allusions, etc., is to read the book for the story first, then go back and reread it, this time reading carefully.
Oh boy, I'll need a lot of practice. Perhaps now I'll try and read more carefully.
On page 146, Valentino dreams of his mother. This page made me sad but the author's use of descriptive words made it beautiful. I love how he goes from warmth and happiness to a dark coldness, showing it only through words; if only I could write like that. Also, right now it makes me sad that he feels so alone in the world; no one's coming to help him. But probably all the Lost Boys and Girls feel this way; they feel broken: "No suit could be made to give us the illusion of ease and comfort in this world."
The resurrection of William...it was an odd term to use, but I really liked it. Perhaps it has more meaning. Also, Dut somewhat reminds me of Noah. I know that in the story, it rained for a while, but God never intended to kill off people...just destroy sin. Dut led the boys away from the madness, but could not shield them from rain. The rain in this story does not destroy sin though; it kills off innocent people. I have no idea what I'm saying though, I'm just trying to make sense of this.
Another thing that popped up again was the bicycle. To me, it kind of represents freedom in a way. Last time, Valentino was not able to ride the bike, but with the weird man he was. He got up and rode it for a while...before he fell that is. So, he's close to freedom, but not just yet?
As they walk to Ethiopia, they see a dead soldier and to me it symbolizes lost hope: the walk was for nothing, the war is for nothing, their country would never be free, and Valentino slows down. Later his good friend William K dies, and it brings Valentino down even more. Then on top of that, Ethiopia isn't what it seems to be; however, he's finally safe, and he can rest for the time being.
Monday, July 26, 2010
What is the What (6-10)
Ah, back again. I was supposed to post this yesterday, but I didn't have it written out, I only had notes. Soo, here it is!
He begins "telling" his story to Michael (TV Boy) and I found it funny, and completely ironic, that he says "Michael is the name of the man who brought war to Marial Bai." I guess it's meant to be ironic, but it makes me wonder if TV Boy Michael is as bad as the robbers who left him there. I hope that he isn't; so far it seems as though he isn't, even though he drops a phone book on Valentino's head.
And then the dinner scene (food scene! unity? maybe not.) When Valentino and his father were having dinner with the other Arab men one night, there was tension throughout the whole dinner; almost as though a bomb was going to go off. And then the bomb did go off, and it was chaos for a few pages (though honestly, after that point, the whole story goes crazy because his life is absolutely terrifying.)
Now, one thing that's been standing out to me is the yellow dress of the mother. I'm not sure if it means anything, but I think it might. We're first introduced to it when Valentino explains his mother, and how he can see his mother coming from a distance because of her yellow dress. Yellow is a warm color, and one that symbolizes happiness and hope (I looked this up, I hope that's alright,) but at the same time can symbolize sickness, or something not pure. When we're first introduced to his mother and the dress, their life is fine, the war hasn't reached them yet. But later we're introduced to that same dress, and the mother wearing it, fleeing from danger.
A few things I really like about the novel so far:
- It's entirely in Valentino's voice even though Eggers wrote it.
- When he switches between "reality" and "story-mode," the change is crazy. It's almost as though Valentino is pulling you into the story with him, into that moment of time in his life.
- The author's use of personification is amazing as well. It adds onto the descriptions and makes the story even more real in my mind: "My own breathing was too loud, every breath a great wind, a falling tree."
And then we're introduced to the What. What is the What? I'm not too sure, and I have the biggest feeling that that question will remain unanswered in this book. Perhaps it'll be left for us to decide what it is.
He begins "telling" his story to Michael (TV Boy) and I found it funny, and completely ironic, that he says "Michael is the name of the man who brought war to Marial Bai." I guess it's meant to be ironic, but it makes me wonder if TV Boy Michael is as bad as the robbers who left him there. I hope that he isn't; so far it seems as though he isn't, even though he drops a phone book on Valentino's head.
And then the dinner scene (food scene! unity? maybe not.) When Valentino and his father were having dinner with the other Arab men one night, there was tension throughout the whole dinner; almost as though a bomb was going to go off. And then the bomb did go off, and it was chaos for a few pages (though honestly, after that point, the whole story goes crazy because his life is absolutely terrifying.)
Now, one thing that's been standing out to me is the yellow dress of the mother. I'm not sure if it means anything, but I think it might. We're first introduced to it when Valentino explains his mother, and how he can see his mother coming from a distance because of her yellow dress. Yellow is a warm color, and one that symbolizes happiness and hope (I looked this up, I hope that's alright,) but at the same time can symbolize sickness, or something not pure. When we're first introduced to his mother and the dress, their life is fine, the war hasn't reached them yet. But later we're introduced to that same dress, and the mother wearing it, fleeing from danger.
A few things I really like about the novel so far:
- It's entirely in Valentino's voice even though Eggers wrote it.
- When he switches between "reality" and "story-mode," the change is crazy. It's almost as though Valentino is pulling you into the story with him, into that moment of time in his life.
- The author's use of personification is amazing as well. It adds onto the descriptions and makes the story even more real in my mind: "My own breathing was too loud, every breath a great wind, a falling tree."
And then we're introduced to the What. What is the What? I'm not too sure, and I have the biggest feeling that that question will remain unanswered in this book. Perhaps it'll be left for us to decide what it is.
Sunday, July 25, 2010
What is the What (Ch.1-5)
I've finally begun reading What is the What and so far so good (I really need to step it up though.) But anyway, the first thing I noticed when I began reading was the simplicity of the author's language and the short sentences. I'm not sure if this means something or not (I doubt it does,) but I do like it.
While reading through these first five chapters, one continuous thought ran through my head and it made me sad knowing that this isn't JUST a story but a life-story. Anyway, Valentino comes to America, the land of the free, with loads of opportunity for success, etc., but ends up finding out (along with the rest of the Lost Boys) that it's not at all what it's built up to be. Numerous amounts of people emigrate here hoping for freedom, a fresh start (or continuation), and most of all, a better and more successful life. Of course, most of the time people do get their freedom here, however the fresh start and better life come with years of work; hard work.
However, he and all the other Lost Boys come here hoping for those things, but find out just how hard it is to start from the beginning, which Valentino says, most did not want to do; they wanted to continue from where they left off.
And just when he's growing accustomed to this life, (he began going to college and got a few jobs, etc.,) he's put into a situation showing the hidden side of America, the robbery, and begins reminiscing on the days of when he was escaping Sudan. It's really quite ironic that he comes to America, the land of free, then ends up being robbed and restrained in his own home, feeling the same way he did when he was trying to escape FOR freedom.
Then this quote pops out at me: "...I hear the laughter bursting from (the TV) and it's the saddest sound I have heard since arriving in this country." Obviously, irony leaks from this: laughter + being tied up and robbed = not fun times. It made me sad reading it.
Also, I'm not sure if these two things are important, but his explanation of the bike ("absolutely new, polished to a gleam, magnificent,") and Amath (how she had the only mirror in town, nice clothes, jewelry, etc.,) seemed pretty important to me. It reminded me, once again, of America. How, as a boy, he only dreamed of having such things...found them beautiful. But here he is now, in America, not seeing the beauty of it. The image of going from "rags to riches" is deceiving and Valentino sees that.
I hope I made some sense. I just sort of...rambled, like I did in the other ones. Now, I have to continue reading! So far, I'm liking this book.
While reading through these first five chapters, one continuous thought ran through my head and it made me sad knowing that this isn't JUST a story but a life-story. Anyway, Valentino comes to America, the land of the free, with loads of opportunity for success, etc., but ends up finding out (along with the rest of the Lost Boys) that it's not at all what it's built up to be. Numerous amounts of people emigrate here hoping for freedom, a fresh start (or continuation), and most of all, a better and more successful life. Of course, most of the time people do get their freedom here, however the fresh start and better life come with years of work; hard work.
However, he and all the other Lost Boys come here hoping for those things, but find out just how hard it is to start from the beginning, which Valentino says, most did not want to do; they wanted to continue from where they left off.
And just when he's growing accustomed to this life, (he began going to college and got a few jobs, etc.,) he's put into a situation showing the hidden side of America, the robbery, and begins reminiscing on the days of when he was escaping Sudan. It's really quite ironic that he comes to America, the land of free, then ends up being robbed and restrained in his own home, feeling the same way he did when he was trying to escape FOR freedom.
Then this quote pops out at me: "...I hear the laughter bursting from (the TV) and it's the saddest sound I have heard since arriving in this country." Obviously, irony leaks from this: laughter + being tied up and robbed = not fun times. It made me sad reading it.
Also, I'm not sure if these two things are important, but his explanation of the bike ("absolutely new, polished to a gleam, magnificent,") and Amath (how she had the only mirror in town, nice clothes, jewelry, etc.,) seemed pretty important to me. It reminded me, once again, of America. How, as a boy, he only dreamed of having such things...found them beautiful. But here he is now, in America, not seeing the beauty of it. The image of going from "rags to riches" is deceiving and Valentino sees that.
I hope I made some sense. I just sort of...rambled, like I did in the other ones. Now, I have to continue reading! So far, I'm liking this book.
Tuesday, July 20, 2010
How to Read Literature like a Professor (Ch.21-27)
For some reason I always feel like I'm repeating myself in these blogs; it makes things boring to read in my opinion. But anyway, I'm going to finish the book and will continue reading What is the What tomorrow or the day after.
Chapter twenty-one: While reading this chapter, I thought about what physical descriptions of characters really mean. They can either add onto the personality of that character (like when the author mentions how Shakespeare gave Richard III scoliosis; it matched his twisted mind) or give insight to that character's life, revealing another clue to help us figure them out.
Since he told us to, I'll try figuring out Harry Potter's scar (after all, I am a Harry Potter nerd.) I've never really thought about why exactly a scar was left as opposed to something else (i.e. missing limb or, I don't know, a change in eye color.) Now obviously, we know that the scar signifies a relationship between Voldemort and Harry, and was a result of Voldemort's failed attempt at killing him. Also, scars usually are a result of something happening to a person (falling, fighting, etc.) Maybe the scar was placed on Harry's head to foreshadow all the violence yet to come. Or also, since scars are the result of something acting violently upon another person or thing, Rowling might have placed it there to remind us, (this is in Harry’s case and as a sort of “moral lesson” to the readers,) that we must be careful about our actions, since with every cause there has to be an effect; some of them being, well, not so good. Voldemort's curse backfired and left a scar on Harry making him the "Chosen One." In return his parents were murdered and a part of Voldemort's powers was transferred over to him. But we can't forget that the choices Harry makes later are good, and those good choices help him in the end. I may be onto something here!!!
...or it might have been another complete failure. Eh, once again, I tried.
Now, chapter twenty-two. Hmm, I was first introduced to "blindness" not in a book, but in the movie Hercules (2005). In it, a man named Tiresias was blinded during a Harvest Festival, then later, he turned into a prophet. I mean, it wasn't that hard to figure out, even then, that Tiresias "saw" more than the other characters; he can't literally see, but Tiresias can "see.” So I guess I knew what the author was going for with this chapter.
A music reference! Haha, I agree with the author here (though it doesn’t really have anything to do with English or literature.) I never understood any of the Bach that I played; I only played his inventions and one sinfonia. Maybe they were only meant for technical purposes. I have no idea, but I don’t understand them. Now, music from the Romantic and Contemporary periods, that’s a different story [:
Onward to chapter twenty-three! It was informative and made perfect sense when he explained it. I probably wouldn’t have caught onto any of those details if I were to have read any of the books he mentioned. So, if an author mentions that a character dies any sort of death that has to do with the heart, I’ll remember that it must have been something more.
The next chapter I thought was extremely informative, and really helpful for me. I honestly never would've thought an illness would have metaphorical/symbolic meaning, or for it to be picturesque. I always found it...dark, especially the ones where death was inevitable. I mean, I don't really know what else to say about this chapter except that it was informative and interesting to read.
Chapter twenty-five: I solemnly swear that I will not read with my eyes. (Not literally of course.) But no, really, it's important not to; I mean, why else would Foster have included a whole chapter about it? We don't have to actually accept the values of culture. What we do need to do is accept that the book wasn't written in our time period, understand the history behind it, and read it through the character's eyes to understand to fully comprehend it. I'll remember this for next year.
TWO MORE CHAPTERS! Though I must say, that last one looks pretty long.
Anyway, chapter twenty-six! Irony, I love it almost as much as I love sarcasm. They're somewhat similar though, if you think about it. And they're especially similar if you think about it this way: "irony doesn't work for everyone," the same way sarcasm doesn't work for everyone. But this chapter isn't about sarcasm so, anyway...I agree with the author that irony isn't for everyone (like the Muslim's response to Rushdie's The Satanic Verses.) This chapter was like the last two, informative and interesting to read.
It doesn't really work when I say that particular chapters are informative, (I'm getting tired of using that word,) when this whole book is.
I'm going to have to post the last paragraph for the last chapter later because my internet is losing connection for some odd reason. Really, it's IRONIC that it's acting this way now, when I'm finally finishing the book. Thanks AT&T.
Well, I finished the last chapter yesterday and forgot to post my thoughts on it.
So I read the story, and understood what we basically should have gotten from it.
But then came the Persephone bit. Ohh myy, I definitely didn't get that. And the birds!!! Flight!!! I mean, I noticed the "butterfly" bit and when Laura had to "skim over the lawn," but I didn't put all the pieces together.
Chapter twenty-one: While reading this chapter, I thought about what physical descriptions of characters really mean. They can either add onto the personality of that character (like when the author mentions how Shakespeare gave Richard III scoliosis; it matched his twisted mind) or give insight to that character's life, revealing another clue to help us figure them out.
Since he told us to, I'll try figuring out Harry Potter's scar (after all, I am a Harry Potter nerd.) I've never really thought about why exactly a scar was left as opposed to something else (i.e. missing limb or, I don't know, a change in eye color.) Now obviously, we know that the scar signifies a relationship between Voldemort and Harry, and was a result of Voldemort's failed attempt at killing him. Also, scars usually are a result of something happening to a person (falling, fighting, etc.) Maybe the scar was placed on Harry's head to foreshadow all the violence yet to come. Or also, since scars are the result of something acting violently upon another person or thing, Rowling might have placed it there to remind us, (this is in Harry’s case and as a sort of “moral lesson” to the readers,) that we must be careful about our actions, since with every cause there has to be an effect; some of them being, well, not so good. Voldemort's curse backfired and left a scar on Harry making him the "Chosen One." In return his parents were murdered and a part of Voldemort's powers was transferred over to him. But we can't forget that the choices Harry makes later are good, and those good choices help him in the end. I may be onto something here!!!
...or it might have been another complete failure. Eh, once again, I tried.
Now, chapter twenty-two. Hmm, I was first introduced to "blindness" not in a book, but in the movie Hercules (2005). In it, a man named Tiresias was blinded during a Harvest Festival, then later, he turned into a prophet. I mean, it wasn't that hard to figure out, even then, that Tiresias "saw" more than the other characters; he can't literally see, but Tiresias can "see.” So I guess I knew what the author was going for with this chapter.
A music reference! Haha, I agree with the author here (though it doesn’t really have anything to do with English or literature.) I never understood any of the Bach that I played; I only played his inventions and one sinfonia. Maybe they were only meant for technical purposes. I have no idea, but I don’t understand them. Now, music from the Romantic and Contemporary periods, that’s a different story [:
Onward to chapter twenty-three! It was informative and made perfect sense when he explained it. I probably wouldn’t have caught onto any of those details if I were to have read any of the books he mentioned. So, if an author mentions that a character dies any sort of death that has to do with the heart, I’ll remember that it must have been something more.
The next chapter I thought was extremely informative, and really helpful for me. I honestly never would've thought an illness would have metaphorical/symbolic meaning, or for it to be picturesque. I always found it...dark, especially the ones where death was inevitable. I mean, I don't really know what else to say about this chapter except that it was informative and interesting to read.
Chapter twenty-five: I solemnly swear that I will not read with my eyes. (Not literally of course.) But no, really, it's important not to; I mean, why else would Foster have included a whole chapter about it? We don't have to actually accept the values of culture. What we do need to do is accept that the book wasn't written in our time period, understand the history behind it, and read it through the character's eyes to understand to fully comprehend it. I'll remember this for next year.
TWO MORE CHAPTERS! Though I must say, that last one looks pretty long.
Anyway, chapter twenty-six! Irony, I love it almost as much as I love sarcasm. They're somewhat similar though, if you think about it. And they're especially similar if you think about it this way: "irony doesn't work for everyone," the same way sarcasm doesn't work for everyone. But this chapter isn't about sarcasm so, anyway...I agree with the author that irony isn't for everyone (like the Muslim's response to Rushdie's The Satanic Verses.) This chapter was like the last two, informative and interesting to read.
It doesn't really work when I say that particular chapters are informative, (I'm getting tired of using that word,) when this whole book is.
I'm going to have to post the last paragraph for the last chapter later because my internet is losing connection for some odd reason. Really, it's IRONIC that it's acting this way now, when I'm finally finishing the book. Thanks AT&T.
Well, I finished the last chapter yesterday and forgot to post my thoughts on it.
So I read the story, and understood what we basically should have gotten from it.
But then came the Persephone bit. Ohh myy, I definitely didn't get that. And the birds!!! Flight!!! I mean, I noticed the "butterfly" bit and when Laura had to "skim over the lawn," but I didn't put all the pieces together.
Monday, July 19, 2010
How to Read Literature like a Professor (Ch.19-Interlude)
So much for "tomorrow" eh? Well anyway, I hope this post will be better than my last; if it gets too long, I'll cut it in half.
So, chapter nineteen. After you know that just about everything an author puts in his/her book is important and there for a reason, you pretty much assume that geography is one of those things. I assume it is, I just have a pretty hard time figuring out why it's important. Or better yet, what it is about the geography that makes it important to the story. And as I was reading I read over this quote, then read it again, and now that I think about it, it makes more sense to me: "Geography in literature...can be revelatory of virtually any element in the work. Theme? Sure. Symbol? No problem. Plot? Without a doubt." Geography definitely sets the mood of the story or novel (though, I assume it sometimes changes in a novel, right?) I also find it interesting that geography also has a role in character development and can be considered a character by itself, like when the author explained how the American soldiers attacked the tiny village out of anger and fear of possibly not being able to conquer the larger geography. Ah, mental note: "when writers send characters south, it's so they can run amok."
I couldn't help but add this in here: HA! So THAT'S what the leopard's death in the beginning of "The Snow's of Kilimanjaro" symbolized.
Anyway, on to chapter twenty! It's nice knowing about something that he talks about; well, at least I think it's nice. I found the part about seasons being important in early mythology to be very interesting, for I didn't know this. I'll be sure to keep what he says about seasons in mind while I read.
A World Wide Web of writing. Geez. But it's true. You can't really disagree with the author here, because everything does essentially come from stories, books, poems, etc., of the past. It's mind-blowing just thinking about it, but it makes perfect sense. I could only imagine how difficult it is for writers to write something but at the same time keep it authentic. I guess it's impossible. Wait, no, it is impossible. I need some sleep.
Reading this interlude and writing about it made me think of a picture:
This was a pretty choppy entry :/
Tomorrow I hope to finish this book and continue What is the What.
I need to start the other books! I'm taking too long with this one, haha.
So, chapter nineteen. After you know that just about everything an author puts in his/her book is important and there for a reason, you pretty much assume that geography is one of those things. I assume it is, I just have a pretty hard time figuring out why it's important. Or better yet, what it is about the geography that makes it important to the story. And as I was reading I read over this quote, then read it again, and now that I think about it, it makes more sense to me: "Geography in literature...can be revelatory of virtually any element in the work. Theme? Sure. Symbol? No problem. Plot? Without a doubt." Geography definitely sets the mood of the story or novel (though, I assume it sometimes changes in a novel, right?) I also find it interesting that geography also has a role in character development and can be considered a character by itself, like when the author explained how the American soldiers attacked the tiny village out of anger and fear of possibly not being able to conquer the larger geography. Ah, mental note: "when writers send characters south, it's so they can run amok."
I couldn't help but add this in here: HA! So THAT'S what the leopard's death in the beginning of "The Snow's of Kilimanjaro" symbolized.
Anyway, on to chapter twenty! It's nice knowing about something that he talks about; well, at least I think it's nice. I found the part about seasons being important in early mythology to be very interesting, for I didn't know this. I'll be sure to keep what he says about seasons in mind while I read.
A World Wide Web of writing. Geez. But it's true. You can't really disagree with the author here, because everything does essentially come from stories, books, poems, etc., of the past. It's mind-blowing just thinking about it, but it makes perfect sense. I could only imagine how difficult it is for writers to write something but at the same time keep it authentic. I guess it's impossible. Wait, no, it is impossible. I need some sleep.
Reading this interlude and writing about it made me think of a picture:
This was a pretty choppy entry :/
Tomorrow I hope to finish this book and continue What is the What.
I need to start the other books! I'm taking too long with this one, haha.
Saturday, July 17, 2010
How to Read Literature like a Professor (Ch. 16-18)
I managed to read two chapters on the bus today. It was actually really annoying, I mean the bus ride, but that's completely off topic. Anyway, the two chapters were...interesting. No really. I actually smiled a good few times; I hope no one looked at me all weird.
It's all about sex...except sex. I mean, even the titles! Okay, so as I said, these two chapters were interesting. It makes me somewhat paranoid though. I mean, the fact that there are probably sex scenes that I overlooked while reading books because they were "disguised," if that's the correct term. Regardless, they were both informative. I never would've thought that a rolling landscape would have been a symbol for a sexual...thing. Or a bowl! (It does make sense though, after the author explains how the woman didn't want her boyfriend, or was it her husband?, to put his keys in it.) I did know, however, that authors were limited to what they could and couldn't write back in the days, even though it didn't stop most from writing what they wanted to write. They were the Sex Pistols of their days (though they weren't musicians); rebelling and causing chaos. Okay, maybe not. But they WERE rebels LIKE the Sex Pistols. Funny I should mention the Sex Pistols while typing this up. Oh, I also found this bit highly informative: sex scenes aren't just about sex. They have meaning: "sacrifice, submission, rebellion, etc."
Chapter eighteen: wow, well from now on I'll definitely pay attention to water scenes in novels. This is another one of those chapters that I need to bookmark and reread. I never would've thought that by going into water, whether it be in a dangerous way or not, and coming back up, the character may have been reborn in a sense. Or even drowning on purpose: it could symbolize entering a new life. I find that...awesome.
This was a pretty...nonproductive day. Sadly, I didn't read the seven chapters I had planned to. The entry was shorter though!
Tomorrow should be better.
Wait, no, I mean later today.
It's all about sex...except sex. I mean, even the titles! Okay, so as I said, these two chapters were interesting. It makes me somewhat paranoid though. I mean, the fact that there are probably sex scenes that I overlooked while reading books because they were "disguised," if that's the correct term. Regardless, they were both informative. I never would've thought that a rolling landscape would have been a symbol for a sexual...thing. Or a bowl! (It does make sense though, after the author explains how the woman didn't want her boyfriend, or was it her husband?, to put his keys in it.) I did know, however, that authors were limited to what they could and couldn't write back in the days, even though it didn't stop most from writing what they wanted to write. They were the Sex Pistols of their days (though they weren't musicians); rebelling and causing chaos. Okay, maybe not. But they WERE rebels LIKE the Sex Pistols. Funny I should mention the Sex Pistols while typing this up. Oh, I also found this bit highly informative: sex scenes aren't just about sex. They have meaning: "sacrifice, submission, rebellion, etc."
Chapter eighteen: wow, well from now on I'll definitely pay attention to water scenes in novels. This is another one of those chapters that I need to bookmark and reread. I never would've thought that by going into water, whether it be in a dangerous way or not, and coming back up, the character may have been reborn in a sense. Or even drowning on purpose: it could symbolize entering a new life. I find that...awesome.
This was a pretty...nonproductive day. Sadly, I didn't read the seven chapters I had planned to. The entry was shorter though!
Tomorrow should be better.
Wait, no, I mean later today.
Friday, July 16, 2010
How to Read Literature like a Professor (Ch.11-15)
You know, I just realized something. Instead of making my posts shorter which I had trouble doing, considering my last post was slightly longer than my first, I could just break them up. After all, twenty posts isn't the set limit, right? I think I might just do that, after this post that is.
Well, after that pretty pathetic epiphany, (if it can even be called an epiphany...I don't think it can) I think I'll start blogging. Hurrah! I feel (somewhat) productive!
So, chapter eleven; it ties in with the last two (if you count the interlude as a chapter.) But yeah, it's a continuation of the theme "authors put things in their book(s) for a reason," including things like violence. If it wasn't for last year, I'm referring to my English class last year, I would still be completely oblivious to this fact. However, I obviously still find it difficult to "spot the mushrooms." But now I'll definitely be aware of scenes of violence in books and think about what it is that the author was trying to represent.
Symbols! Another thing I have trouble with sometimes is figuring out if something in a book is a symbol and if it is, what it means. Chapter twelve helped me with that. And also, I was taught something new: that symbols aren't just objects and images, but also events and actions. I really like that the author isn't giving his opinion on what exactly any particular symbol he mentions stands for; he's just sort of...guiding us, in a way, as opposed to telling us, even though most of the symbols he's talked about in this chapter come from books I'm not familiar with.
Interesting, interesting. I've always loved Charles Dickens' A Christmas Carol but never really new the "actual" story, so to speak. I mean, I've always known there was a moral: that money can't buy happiness and that in the end family and friends are everything (or something like that), but I never thought it was written for a political purpose; perhaps I should begin doing some research about books or stories before I read them. But really, how would you know to research something like that? I certainly wouldn't. But I'll be on the lookout for "hints and clues" in between the lines of texts from now on ;)
I also found it pretty awesome that some of Poe's works are more than dismal stories; they actually have political meaning behind their darkness. In all honesty though, I prefer reading his stuff just for the story, not really to analyze it. Also, I found this quote to be intriguing: "...political and social considerations often find their way onto the page in some guise, even when the result doesn't look terribly 'political.'"
Chapter fourteen is a chapter I paid close attention to as well; it was both extremely informative (because I'm terrible with spotting allusions, let alone biblical ones,) and very interesting. I definitely agree with Foster: when it comes to reading literature, you have to know something about the Old and New Testaments. I don't know anything about religion, or Christ, or anything. I'm agnostic, this is why I have to memorize that list and keep all those ideas in mind while reading.
Ah finally, chapter fifteen! (it literally took me the whole day to get here; I found it difficult to stay focused today.) And the author mentions the word "epiphany" in it. I feel...psychic!
No? Okay. Anyway, flight means freedom, in most cases, and that I can agree with; it's actually pretty obvious in most novels, though I still probably wouldn't have picked up on it without a general knowledge of symbols, etc., and I'm glad I have that knowledge now. Anyway, I really liked the example the author gave about the woman with wings who was confined to a limited amount of space: situational irony (I think.) It made me think about the idea of flying in literature even more. This chapter also made me remember "I Know Why The Caged Bird Sings" by Maya Angelou: "The caged bird sings with a fearful trill of things unknown but longed for still and his tune is heard on the distant hill for the caged bird sings of freedom."
Well, after that pretty pathetic epiphany, (if it can even be called an epiphany...I don't think it can) I think I'll start blogging. Hurrah! I feel (somewhat) productive!
So, chapter eleven; it ties in with the last two (if you count the interlude as a chapter.) But yeah, it's a continuation of the theme "authors put things in their book(s) for a reason," including things like violence. If it wasn't for last year, I'm referring to my English class last year, I would still be completely oblivious to this fact. However, I obviously still find it difficult to "spot the mushrooms." But now I'll definitely be aware of scenes of violence in books and think about what it is that the author was trying to represent.
Symbols! Another thing I have trouble with sometimes is figuring out if something in a book is a symbol and if it is, what it means. Chapter twelve helped me with that. And also, I was taught something new: that symbols aren't just objects and images, but also events and actions. I really like that the author isn't giving his opinion on what exactly any particular symbol he mentions stands for; he's just sort of...guiding us, in a way, as opposed to telling us, even though most of the symbols he's talked about in this chapter come from books I'm not familiar with.
Interesting, interesting. I've always loved Charles Dickens' A Christmas Carol but never really new the "actual" story, so to speak. I mean, I've always known there was a moral: that money can't buy happiness and that in the end family and friends are everything (or something like that), but I never thought it was written for a political purpose; perhaps I should begin doing some research about books or stories before I read them. But really, how would you know to research something like that? I certainly wouldn't. But I'll be on the lookout for "hints and clues" in between the lines of texts from now on ;)
I also found it pretty awesome that some of Poe's works are more than dismal stories; they actually have political meaning behind their darkness. In all honesty though, I prefer reading his stuff just for the story, not really to analyze it. Also, I found this quote to be intriguing: "...political and social considerations often find their way onto the page in some guise, even when the result doesn't look terribly 'political.'"
Chapter fourteen is a chapter I paid close attention to as well; it was both extremely informative (because I'm terrible with spotting allusions, let alone biblical ones,) and very interesting. I definitely agree with Foster: when it comes to reading literature, you have to know something about the Old and New Testaments. I don't know anything about religion, or Christ, or anything. I'm agnostic, this is why I have to memorize that list and keep all those ideas in mind while reading.
Ah finally, chapter fifteen! (it literally took me the whole day to get here; I found it difficult to stay focused today.) And the author mentions the word "epiphany" in it. I feel...psychic!
No? Okay. Anyway, flight means freedom, in most cases, and that I can agree with; it's actually pretty obvious in most novels, though I still probably wouldn't have picked up on it without a general knowledge of symbols, etc., and I'm glad I have that knowledge now. Anyway, I really liked the example the author gave about the woman with wings who was confined to a limited amount of space: situational irony (I think.) It made me think about the idea of flying in literature even more. This chapter also made me remember "I Know Why The Caged Bird Sings" by Maya Angelou: "The caged bird sings with a fearful trill of things unknown but longed for still and his tune is heard on the distant hill for the caged bird sings of freedom."
Wednesday, July 14, 2010
How to Read Literature like a Professor (Ch. 6-10)
Ah, back again! I think I might have gone a bit overboard with that last post; I ramble too much. Hopefully this one will be shorter...(hopefully). So I've decided to do what I did in the last post, read the chapter, then type up some thoughts or what have you. Yeah, I didn't stay true to my word, no reading was done last night. BUT I'll read now :]
This chapter ties in with chapter five about allusions, references, and intertextuality. I think I'm going to have to stop saying that "this chapter is definitely going to help me next year," because I have the strangest feeling that they all are. Anyway, Shakespeare! I wish I could read more of his plays, they're all so interesting. I like this chapter because Shakespeare's works really are used a lot in other writers' works. Hopefully in AP Lit we'll be introduced to more patterns to help us spot allusions to Shakespeare since I highly doubt we'll spend the whole year going over all his plays. Besides, I don't think a year would be enough, if it were all his plays that we'd be going over.
I've only begun reading chapter seven, and I'm curious. The Catcher in the Rye, by J.D. Salinger, is a coming of age novel, or bildungsroman (thanks again Mrs. Panosian!) But I remember that the main character, Holden Caulfield, is determined to be the protector of the innocent. He said that the only job he wanted was to stand in a field and catch children to prevent them from falling over a ledge, but really, to prevent them from loosing their innocence (hence the title, Catcher in the Rye.) And because Caulfield had already experienced the loss of innocence in his own life, since this is a coming of age novel, was that a biblical reference?
Oy, I really don't know. Talk about rambling.
Anyway, I really paid attention to this chapter since I'm not too familiar with biblical allusions or references. But I remember in The Great Gatsby, Jay Gatsby, before he dies, walks to the pool with the floaty mattress on his back, symbolizing the crucifixion of Jesus, (a biblical allusion.) However, Gatsby's death also symbolizes the time period itself; everything and everyone looked fine on the outside, but were breaking apart if looked at closely. Fitzgerald used this allusion "to illustrate a disparity or disruption."
It was really helpful. I might just go back and reread it after I'm done just to make sure I understand it.
Now, chapter eight. Fairy-tales! Once again, it relates back to chapters five, six, and seven, where newer works borrow from older ones. I'll keep in mind that it's not just allusions to Shakespeare or the Bible that are important, but also the fact that some newer works include references to our favorite childhood stories (mine being Snow White even though she was one of the more, for lack of a better word, slow, princesses. There probably is a better word, but I couldn't think of one.)
The Greeks, chapter nine. So I paid a great deal of attention to this chapter as well because I don't really know too much about Greek mythology; let's just say my english classes in freshman and sophmore year didn't really cover it. A quote sort of stuck out to me: "Homer gives us four great struggles of the human being: with nature, with the divine, with other humans, and with ourselves." I believe it was Mrs. Panosian that mentioned this to our class, though I don't remember what the lesson was about. Anyway, I think it's something I ought to remember; or at least, I hope it is.
Finally, chapter ten! Among the many things I remember from my English class last year is that the author puts things in his/her book for a reason; they're not there just because they thought they'd sound pretty, or smart, or...I don't know. But they're there for a reason. Including things like weather, which this chapter just so happens to be about. For instance, I remember starting off eleventh grade English with Eudora Welty's "A Worn Path" with Mrs. Panosian saying that snow symbolized death in a way (it's cold, plants stop growing, trees are bare, etc.,) and it posed as an obstacle for Phoenix (the main character.) Welty obviously did this purposely.
Oh wait, there's an interlude. Eh, might as well read it.
And I'm glad I did! I mean, seriously, do most of these authors really intend to use allusions, symbols, references, etc., or not? I guess it's only the authors who will ever know; to everyone else, it's open to interpretation. The same thing can be said about music. It's the composer who knows what they wanted to bring out with their piece, but everyone learning it after them has a different interpretation; they have a different "story" playing out in their minds as they play. Well, who knows, it might even be similar. But the point is that it's open to interpretation.
Thomas Foster is right: writers put a great amount of time into writing their novels, stories, poems, etc., and the fact that they're able to finish and bring in related information at the same time is amazing.
(I don't think this post was any shorter. Once again, I'm sorry!)
This chapter ties in with chapter five about allusions, references, and intertextuality. I think I'm going to have to stop saying that "this chapter is definitely going to help me next year," because I have the strangest feeling that they all are. Anyway, Shakespeare! I wish I could read more of his plays, they're all so interesting. I like this chapter because Shakespeare's works really are used a lot in other writers' works. Hopefully in AP Lit we'll be introduced to more patterns to help us spot allusions to Shakespeare since I highly doubt we'll spend the whole year going over all his plays. Besides, I don't think a year would be enough, if it were all his plays that we'd be going over.
I've only begun reading chapter seven, and I'm curious. The Catcher in the Rye, by J.D. Salinger, is a coming of age novel, or bildungsroman (thanks again Mrs. Panosian!) But I remember that the main character, Holden Caulfield, is determined to be the protector of the innocent. He said that the only job he wanted was to stand in a field and catch children to prevent them from falling over a ledge, but really, to prevent them from loosing their innocence (hence the title, Catcher in the Rye.) And because Caulfield had already experienced the loss of innocence in his own life, since this is a coming of age novel, was that a biblical reference?
Oy, I really don't know. Talk about rambling.
Anyway, I really paid attention to this chapter since I'm not too familiar with biblical allusions or references. But I remember in The Great Gatsby, Jay Gatsby, before he dies, walks to the pool with the floaty mattress on his back, symbolizing the crucifixion of Jesus, (a biblical allusion.) However, Gatsby's death also symbolizes the time period itself; everything and everyone looked fine on the outside, but were breaking apart if looked at closely. Fitzgerald used this allusion "to illustrate a disparity or disruption."
It was really helpful. I might just go back and reread it after I'm done just to make sure I understand it.
Now, chapter eight. Fairy-tales! Once again, it relates back to chapters five, six, and seven, where newer works borrow from older ones. I'll keep in mind that it's not just allusions to Shakespeare or the Bible that are important, but also the fact that some newer works include references to our favorite childhood stories (mine being Snow White even though she was one of the more, for lack of a better word, slow, princesses. There probably is a better word, but I couldn't think of one.)
The Greeks, chapter nine. So I paid a great deal of attention to this chapter as well because I don't really know too much about Greek mythology; let's just say my english classes in freshman and sophmore year didn't really cover it. A quote sort of stuck out to me: "Homer gives us four great struggles of the human being: with nature, with the divine, with other humans, and with ourselves." I believe it was Mrs. Panosian that mentioned this to our class, though I don't remember what the lesson was about. Anyway, I think it's something I ought to remember; or at least, I hope it is.
Finally, chapter ten! Among the many things I remember from my English class last year is that the author puts things in his/her book for a reason; they're not there just because they thought they'd sound pretty, or smart, or...I don't know. But they're there for a reason. Including things like weather, which this chapter just so happens to be about. For instance, I remember starting off eleventh grade English with Eudora Welty's "A Worn Path" with Mrs. Panosian saying that snow symbolized death in a way (it's cold, plants stop growing, trees are bare, etc.,) and it posed as an obstacle for Phoenix (the main character.) Welty obviously did this purposely.
Oh wait, there's an interlude. Eh, might as well read it.
And I'm glad I did! I mean, seriously, do most of these authors really intend to use allusions, symbols, references, etc., or not? I guess it's only the authors who will ever know; to everyone else, it's open to interpretation. The same thing can be said about music. It's the composer who knows what they wanted to bring out with their piece, but everyone learning it after them has a different interpretation; they have a different "story" playing out in their minds as they play. Well, who knows, it might even be similar. But the point is that it's open to interpretation.
Thomas Foster is right: writers put a great amount of time into writing their novels, stories, poems, etc., and the fact that they're able to finish and bring in related information at the same time is amazing.
(I don't think this post was any shorter. Once again, I'm sorry!)
Tuesday, July 13, 2010
How to Read Literature like a Professor (Ch. 1-5)
Oh my, this should be interesting, spilling out my thoughts onto this blog; I hope no one else reads this except you Ms. Sobrero (or Mrs. Panosian). Anyway, I've FINALLY started (I'd like to apologize for it being so late). I began reading What is the What, but then reread the Summer Reading Assignment paper for AP Lit and saw that it was How to Read Literature Like A Professor that I should have started reading first (*face to palm*); thank you Jason for letting me borrow your copy [:
Now, let's jump right into this, shall we? Right, okay, so I've only read the first chapter and the first thing I notice about it is the author's voice; it's brilliant. I love how it's not written in monotone, therefore making it that much more interesting to read. A friend of mine, Swaaliha, told me it wasn't in monotone (I didn't believe her) but I see now that it really isn't. With that being said, I'm going back to reading, and, well, the academic part of this blog.
The author begins by writing about journeys and how the "stated goal" isn't really the point of the task, and my thoughts were: "Wow! I actually caught onto something while reading those fairy-tales in elementary school." The stated goal is hardly ever the real point of the character's quest; it's what he/she learns in the end; definitely something to keep in mind when reading short stories or novels. Actually, this summer assignment is somewhat like a quest; we all need to finish these books, but really it's preparation for the AP Lit class (and exam) that this is helping us with.
Interesting comparison or a complete fail? I think that it was a failure...but hey, I tried.
As for the second chapter, I find it interesting that food = unity. I used to completely ignore all the "meal scenes" in novels, you know, skimming over them thinking "Okay, great, they're eating." But I never realized they were put there purposely to symbolize either union between friends and family, or an entire school (i.e Harry Potter :D). They're there to show that all the characters have something in common. Wait, most meal scenes show unity; sometimes there's a disturbance that ruins the meal, (the author mentions this as well,) which shows a lack of unity. Interesting indeed.
Vampires, chapter three: One of the things I will remember for the class is that Victorian writers transformed "taboo subjects and issues" of their time period "into other forms." I'm not sure if we're going to be reading many works written by Victorian writers, but it might be useful to keep the thought in mind for other novels or poems that we'll be reading as well. Also I found this interesting: the fact that a vampire, or any other creepy "monster" of some sorts, is present when there is a weakening of one character by another; that they suck the life out of them, figuratively speaking of course. It's definitely a great thing to keep in mind. Oh and, thank you Mrs. Panosian for stressing the importance of a character's name and how it could give insight to the character before actually beginning to read the story (I thought of this after reading the passage where the author talked about Winterbourne and Daisy). By the way, I enjoyed this chapter. Maybe it's because of my strange obsession with vampire stories. Definitely not Twilight; Anne Rice is more like it [:
On to chapter four! First thought: "Wow...all that from a poem?" And then I remembered what class I'm reading this book and doing this blog for; I'm nervous all over again. But anyway, this chapter was helpful, and will be especially when we begin reading sonnets, or any poem for that matter. He goes over the structure of sonnets and why form is important. Not every sonnet is the same. If they were, "that would be boring."
As I started reading chapter five, it reminded me of the literary term "allusions;" they're important, that's for sure. But it also ties in with the author's point in writing this chapter: that there's only ever one story. New novels, poems, stories, etc., are all derived from one single story. They've just been borrowing from other works, then adding onto it.
I honestly want to begin finding the mushrooms on my own, but it's so hard!
First post done, 19 more to go.
For some odd reason I feel like Julie Powell.
Well anyway, to end this entry on a less, err, strange note, I've enjoyed the book thus far and will continue reading tonight. New blog entries tomorrow! Oh and, I'm sorry if this post was long. I'm not sure if that's a good or bad thing. I'll try making the next one shorter though!
Au Revoir!
(Now I really feel like Julie)
Now, let's jump right into this, shall we? Right, okay, so I've only read the first chapter and the first thing I notice about it is the author's voice; it's brilliant. I love how it's not written in monotone, therefore making it that much more interesting to read. A friend of mine, Swaaliha, told me it wasn't in monotone (I didn't believe her) but I see now that it really isn't. With that being said, I'm going back to reading, and, well, the academic part of this blog.
The author begins by writing about journeys and how the "stated goal" isn't really the point of the task, and my thoughts were: "Wow! I actually caught onto something while reading those fairy-tales in elementary school." The stated goal is hardly ever the real point of the character's quest; it's what he/she learns in the end; definitely something to keep in mind when reading short stories or novels. Actually, this summer assignment is somewhat like a quest; we all need to finish these books, but really it's preparation for the AP Lit class (and exam) that this is helping us with.
Interesting comparison or a complete fail? I think that it was a failure...but hey, I tried.
As for the second chapter, I find it interesting that food = unity. I used to completely ignore all the "meal scenes" in novels, you know, skimming over them thinking "Okay, great, they're eating." But I never realized they were put there purposely to symbolize either union between friends and family, or an entire school (i.e Harry Potter :D). They're there to show that all the characters have something in common. Wait, most meal scenes show unity; sometimes there's a disturbance that ruins the meal, (the author mentions this as well,) which shows a lack of unity. Interesting indeed.
Vampires, chapter three: One of the things I will remember for the class is that Victorian writers transformed "taboo subjects and issues" of their time period "into other forms." I'm not sure if we're going to be reading many works written by Victorian writers, but it might be useful to keep the thought in mind for other novels or poems that we'll be reading as well. Also I found this interesting: the fact that a vampire, or any other creepy "monster" of some sorts, is present when there is a weakening of one character by another; that they suck the life out of them, figuratively speaking of course. It's definitely a great thing to keep in mind. Oh and, thank you Mrs. Panosian for stressing the importance of a character's name and how it could give insight to the character before actually beginning to read the story (I thought of this after reading the passage where the author talked about Winterbourne and Daisy). By the way, I enjoyed this chapter. Maybe it's because of my strange obsession with vampire stories. Definitely not Twilight; Anne Rice is more like it [:
On to chapter four! First thought: "Wow...all that from a poem?" And then I remembered what class I'm reading this book and doing this blog for; I'm nervous all over again. But anyway, this chapter was helpful, and will be especially when we begin reading sonnets, or any poem for that matter. He goes over the structure of sonnets and why form is important. Not every sonnet is the same. If they were, "that would be boring."
As I started reading chapter five, it reminded me of the literary term "allusions;" they're important, that's for sure. But it also ties in with the author's point in writing this chapter: that there's only ever one story. New novels, poems, stories, etc., are all derived from one single story. They've just been borrowing from other works, then adding onto it.
I honestly want to begin finding the mushrooms on my own, but it's so hard!
First post done, 19 more to go.
For some odd reason I feel like Julie Powell.
Well anyway, to end this entry on a less, err, strange note, I've enjoyed the book thus far and will continue reading tonight. New blog entries tomorrow! Oh and, I'm sorry if this post was long. I'm not sure if that's a good or bad thing. I'll try making the next one shorter though!
Au Revoir!
(Now I really feel like Julie)
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