For this last weblog, we are supposed to talk about what we liked or disliked about using these posting for class.
I really liked posting blogs for class just because I usually only get to the deeper understanding of a piece of literature after we have read it, discussed it in class I have given myself some time afterward to think about a little. Often, I have these “revelations” about stories or poems not immediately after reading them, but after the class is over and the discussion has finished (yes, I know, that probably means I’m a little slow). Posting the weblogs gave me a little chance to let the readings stew in my mind until I decided what I wanted to say about them.
This semester, I also took English 309—contemporary women poets—which was taught so that we only attended classes on Tuesdays and Thursdays every three weeks. The other two weeks we were required to submit online responses to poems through email. For the class evaluation, I actually recommended that the instructor use a system similar to the weblogs, because I felt that if, instead of emailing our responses to the instructor, we posted them in a way that the other students in the class could read them it might make up for the discussion that is lost by having class so rarely.
A regret I have is that, as the semester got further away from me than I expected, I didn’t read or comment on the other students’ weblogs as much as I would have liked to. Every week, I would be busy and plan to comment on someone else’s bog the next week. Inevitably, the next week became the next and so on, until I realized that we are done posting and there is not a next week. Also, though it was not required to take such an outstanding effort to be creative with these blogs, I would have liked it better had I done something extraordinary and unique with my blog instead of simply discussing topics.
Thursday, April 19, 2007
Friday, April 13, 2007
Weblog 10
After Dr. Campbell talked about some of the history of the Ghost Dance and of the pictures taken of Wounded Knee, I was interested to know more of the Ghost Dance movement. I did a little research and found a site on MSNBC.com where they have historical information of the Ghost Dance and they presented some of the ritual songs, specifically from the Sioux tribe, which we read about.
The following is a sequence of Sioux Ghost Dance Songs of Promise, Thanks and Fulfillment:
THE FATHER COMES SINGING
There is the father coming,
There is the father coming.
The father says this as he comes,
The father says this as he comes,
"You shall live," he says as he comes,
"You shall live," 'he says as he comes.
HE PROMISES REUNION
The father says so-Eyayó !
The father says so-Eyayó !
The father says so.
The father says so.
You shall see your grandfather-Eyayó !
You shall see your grandfather-Eyayó !
The father says so,
The father says so,
You shall see your kindred-Eyayó !
You shall see your kindred-Eyayó !
The father says so,
The father says so.
PEACE AND TRUTH WILL RETURN
My son, let me grasp your hand,
My son, let me grasp your hand,
Says the father,
Says the father.
You shall live,
You shall live,
Says the father,
Says the father.
I bring you a pipe,
I bring you a pipe,
Says the father,
Says the father.
By means of it you shall live,
By means of It you shall live,
Says the father,
Says the father.
MEN WILL LIVE AS THEY SHOULD
I love my children - Ye'ye' !
I love my children - Ye'ye'!
You shall grow to be a notion - Ye'ye'!
You shall grow to be a nation - Ye'ye'l
Says the father, says the father,
Haye'ye' Eyayo'yo'! Haye'ye' Eyayo'yo!
THE LAND VALL BE FRUITFUL AGAIN
This is to be my work - Yo'yoyo'!
This is to be my work- Yo'yoyo'!
All that grows upon the earth is mine - Yo'yoyo' !
All that grows upon the earth is mine - Yo'yoyo' !
Says the father - Yo'yoyo'!
Says the father - Yo'yoyo'!
Eya Yo'yoyo'!
Eya Yo'yoyo' !
MY GREAT GIFTS ARE LIFE AND PEACE
It is I who make these sacred things,
Says the father, says the father.
It is I who make the sacred shirt,
Says the father, Says the father.
It is I who made the pipe.
Says the father, says the father,
THE POWER OF THE FATHER IS AWESOME
You see what I can do - Ye'yeye'!
You see what I can do - Ye'yeye' !
You see them, you see them,
Ha'eye'ya heyeye! Ha'eye'ya he'yeye!
Songs of the Kiowa and Paiute tribes can also be found here:
http://www.msnbc.com/onair/msnbc/timeandagain/archive/wknee/ghostsongs.asp
The site also has newspaper articles and telegrams related to the Battle at Wounded Knee. I found it pretty interesting to see what was actually being said during the time period it was taking place rather than what is said about it today.
This is a description of Big Foot in death, in relation to the picture we’ve seen in class:
Carl Smith
Chicago Inter-Ocean
Jan. 7, 1891
“Big Foot lay in a sort of solitary dignity … He was dressed in fairly good civilian clothing, his head being tied up in a scarf. He had underwear of wool and his general appearance was that of a fairly prosperous personage. He was shot through and through, and if he ever knew what hurt him, appearances dissembled very much. A wandering photographer propped the old man up, and as he lay there defenseless his portrait was taken … He was however spared the customary adjuration to look pleasant.”
Some of what was written describing the Native Americans and the battle was absolutely horrendous, i.e. the “Indian problem.”
Orders to Colonel James. W. Forsyth By Command of General Nelson Miles
Dec. 28,1890
"Disarm the Indians. Take every precaution to prevent their escape. If they choose to fight, destroy them."
President Andrew Jackson
Annual message to Congress, Dec. 7, 1835
"All preceding experiments for improvement of the Indians have failed. It seems now to be an established fact that they cannot live in contact with a civilized community and prosper ... "
President Chester A. Arthur
First Annual message to Congress, Dec, 6, 1881
" … We have to deal with the appalling fact that though thousands of lives have been sacrificed and hundreds of millions of dollars expended in the attempt to solve the Indian problem, it has until within the past few years seemed scarcely nearer a solution than it was half a century ago. ... "
Not all of these documents show the “White Man’s” point of view.
Letter from Sitting Bull requesting pass to visit Pine Ridge, as dictated to nephew, Andrew Fox
Dec. 11,1890
To the Major in Indian Office
"I want to write a few lines to let you know something. I have had a meeting with my Indians today, and I am writing to tell you our thoughts.
God made both the white race and the Red race, and gave them minds and hearts to both. Then the white race gained a high place over the Indians. However, today our Father is helping us Indians — that is what we believe.
And so I think this way. I wish no one to come with guns or knives to interfere with my prayers. All we are doing is praying for life and to learn how to do good ...
When you visited my camp you gave me good words about our prayers, but then you took your good words back again. And so I will let you know something. I got to go to [Pine Ridge] Agency and know this Pray [take part in the dance]: so I let you know that ... I want answer back soon."
Lastly, some hallowing words about the aftermath.
The inscription of the Wounded Knee Monument at Fort Riley reads:
"To the soldiers who were killed in battle with Sioux Indians at Wounded Knee and Drexel Mission, South Dakota, December 29 and 30, 1890. Erected as a tribute of affection by their comrades of the Medical Department and Seventh Cavalry, U.S. Army, A.D. 1893."
In 1903, Joseph Horn Cloud, with help from friends and relatives, erected this monument at the site of the mass grave at Wounded Knee:
"Big Foot was a great Chief of the Sioux Indians. He often said I will stand in peace till my last day comes. He did many good and brave deeds for the white man and the Red Man. Many innocent women and children who knew no wrong died here."
More of these documents can be found here:
http://www.msnbc.com/onair/msnbc/timeandagain/archive/wknee/telegrams.asp
I think that most of us in class agreed that there is a degree of exploitation in the way that these pieces of history are sometimes portrayed and I found it helpful to examine actual evidence instead of someone’s potentially skewed or biased views on the topic.
Thursday, April 5, 2007
Weblog 9
Précis Assignment
Showalter, Elaine. “Tradition and the Female Talent: The Awakening as a Solitary Book.” New Essays on The Awakening. Ed. Wendy Martin. Cambridge University Press: Cambridge, 1988. 33-55.
In this essay, Elaine Showalter discusses Kate Chopin’s novel, The Awakening, in the context of literary traditions and movements prevalent among female writers during the late nineteenth century. Showalter presents a study as much of Chopin herself as of her novel. Beginning with some of Chopin’s influences, such as Maupassant, and then exploring the history of the women writers proceeding Chopin, the author argues that though she admired these writers, she did not try to conform to their standards of writing (35). Showalter continuously makes the comparison that, just as Edna in The Awakening stood alone in the novel, Chopin stood alone rejecting to write under any literary traditions. Though she is often labeled as a local colorist, the author argues that The Awakening is not an example of local color fiction because Chopin does not express “nostalgia” for the past (42). Likewise, despite the common elements between the novel and other pieces written by females during this time, such as the ideas of the conflict between art and love, close relationships between women—the “Boston marriage”—and the “literary domesticity” of the sentimentalist novel, Showalter presents the suicide at the end of the book as a way for Chopin to present these themes but resist deciding between any of them (34-39). Because Chopin associated with New Fiction, a movement that experimented with female sexuality, the author writes that Chopin’s novel was often included among others in “the overworked field of sex fiction” rather than being noted for its innovation (40). Finally the author suggests that The Awakening, which lost its place in literature due to its revolutionary ideas and the risks taken by Chopin, should be replaced and given the attention it deserved and be considered as part of the evolution of women’s fiction (34, 54-55).
This article, though interesting, did not seem to present a focused argument. Rather than choosing one topic to discuss in depth, the author scratched the surface of many points worth consideration. For example, the essay included many comparisons between the life of Edna in The Awakening and the artistic style of Chopin. The author seems to suggest that this was a way for Chopin to express herself as a “solitary” figure through her writing (33). This could have been especially insightful, but Showalter fails to explain this creative idea any further. Another example is that Showalter alternates between evaluating Chopin’s personal involvement within literary circles and the novel’s adherence to literary tradition without showing the connection between the two or explaining why she chose not to simply focus on one aspect over the other. Also, one of the author’s main arguments is that Chopin’s work was extremely revolutionary in the way that it cannot be categorized under any specific literary movement. However, Showalter only in rare instances, such as her explanation of New Fiction, gives readers examples of the claims that The Awakening is, in fact, labeled under these traditions. Had she presented specific instances of what she feels are these misconception, readers would have been better able to understand exactly what she was refuting. This essay could be considered appealing to read out of personal interest, but is not particularly helpful as a research aid.
Showalter, Elaine. “Tradition and the Female Talent: The Awakening as a Solitary Book.” New Essays on The Awakening. Ed. Wendy Martin. Cambridge University Press: Cambridge, 1988. 33-55.
In this essay, Elaine Showalter discusses Kate Chopin’s novel, The Awakening, in the context of literary traditions and movements prevalent among female writers during the late nineteenth century. Showalter presents a study as much of Chopin herself as of her novel. Beginning with some of Chopin’s influences, such as Maupassant, and then exploring the history of the women writers proceeding Chopin, the author argues that though she admired these writers, she did not try to conform to their standards of writing (35). Showalter continuously makes the comparison that, just as Edna in The Awakening stood alone in the novel, Chopin stood alone rejecting to write under any literary traditions. Though she is often labeled as a local colorist, the author argues that The Awakening is not an example of local color fiction because Chopin does not express “nostalgia” for the past (42). Likewise, despite the common elements between the novel and other pieces written by females during this time, such as the ideas of the conflict between art and love, close relationships between women—the “Boston marriage”—and the “literary domesticity” of the sentimentalist novel, Showalter presents the suicide at the end of the book as a way for Chopin to present these themes but resist deciding between any of them (34-39). Because Chopin associated with New Fiction, a movement that experimented with female sexuality, the author writes that Chopin’s novel was often included among others in “the overworked field of sex fiction” rather than being noted for its innovation (40). Finally the author suggests that The Awakening, which lost its place in literature due to its revolutionary ideas and the risks taken by Chopin, should be replaced and given the attention it deserved and be considered as part of the evolution of women’s fiction (34, 54-55).
This article, though interesting, did not seem to present a focused argument. Rather than choosing one topic to discuss in depth, the author scratched the surface of many points worth consideration. For example, the essay included many comparisons between the life of Edna in The Awakening and the artistic style of Chopin. The author seems to suggest that this was a way for Chopin to express herself as a “solitary” figure through her writing (33). This could have been especially insightful, but Showalter fails to explain this creative idea any further. Another example is that Showalter alternates between evaluating Chopin’s personal involvement within literary circles and the novel’s adherence to literary tradition without showing the connection between the two or explaining why she chose not to simply focus on one aspect over the other. Also, one of the author’s main arguments is that Chopin’s work was extremely revolutionary in the way that it cannot be categorized under any specific literary movement. However, Showalter only in rare instances, such as her explanation of New Fiction, gives readers examples of the claims that The Awakening is, in fact, labeled under these traditions. Had she presented specific instances of what she feels are these misconception, readers would have been better able to understand exactly what she was refuting. This essay could be considered appealing to read out of personal interest, but is not particularly helpful as a research aid.
Thursday, March 29, 2007
Weblog 8
“We picture the world as thick with conquering and elate humanity, but here, with the bugles of the tempest pealing, it was hard to imagine a peopled earth. One viewed the existence of man then as a marvel, and conceded a glamour of wonder to these lice which were caused to cling to a whirling, fire-smote, ice-locked, disease-stricken, space-lost bulb. The conceit of man was explained by this storm to be the very engine of life (943).”
I chose to talk about this quote from “The Blue Hotel” because I felt that it really shows Crane’s attitude and opinions of naturalism. Just in the first sentence Crane is letting his audience know that there are big differences between what “we picture” and what he believes is true about the relationship between earth and humanity. Though we see ourselves to be the ones in power, or as Crane writes, the ones “conquering,” the presence of the storm is demonstrating the strength of nature as opposed to that of man. I doubt that there are very many terms worse than “lice” with which to describe mankind. Firstly, lice are often associated (no matter true or false) with unsanitary, substandard conditions, as Crane implies by using terms like “disease-stricken.” Secondly, lice are invaders of a place that does not belong to them and are an extreme annoyance. Lice will essentially cling somewhere they can feed and infest, and will only survive in that place until someone decides to wash them out. Just thinking logically about what lice are makes it pretty disturbing to think of ourselves this way. Comparing humans living on the earth to lice clinging to someone’s scalp is a really harsh way to express the insignificance of life when compared to the universe. The last line of this quote basically says that we have driven our lives this far only because of our own self-importance. The only reason we are significant is because we think we are significant.
Views like these could easily make the argument that nothing anyone does matters, so people should do whatever they please. Obviously this also argues against the existence of a higher power. I wonder if Crane, along with other naturalists, angered a lot of people when these very extreme views were portrayed through their writing.
I also wonder how these views affected the way Crane looked at pursuing activities in his own life. It seems to be a “Life’s a B**** and then you die” standpoint to survival.
I chose to talk about this quote from “The Blue Hotel” because I felt that it really shows Crane’s attitude and opinions of naturalism. Just in the first sentence Crane is letting his audience know that there are big differences between what “we picture” and what he believes is true about the relationship between earth and humanity. Though we see ourselves to be the ones in power, or as Crane writes, the ones “conquering,” the presence of the storm is demonstrating the strength of nature as opposed to that of man. I doubt that there are very many terms worse than “lice” with which to describe mankind. Firstly, lice are often associated (no matter true or false) with unsanitary, substandard conditions, as Crane implies by using terms like “disease-stricken.” Secondly, lice are invaders of a place that does not belong to them and are an extreme annoyance. Lice will essentially cling somewhere they can feed and infest, and will only survive in that place until someone decides to wash them out. Just thinking logically about what lice are makes it pretty disturbing to think of ourselves this way. Comparing humans living on the earth to lice clinging to someone’s scalp is a really harsh way to express the insignificance of life when compared to the universe. The last line of this quote basically says that we have driven our lives this far only because of our own self-importance. The only reason we are significant is because we think we are significant.
Views like these could easily make the argument that nothing anyone does matters, so people should do whatever they please. Obviously this also argues against the existence of a higher power. I wonder if Crane, along with other naturalists, angered a lot of people when these very extreme views were portrayed through their writing.
I also wonder how these views affected the way Crane looked at pursuing activities in his own life. It seems to be a “Life’s a B**** and then you die” standpoint to survival.
Thursday, March 22, 2007
Weblog 7
After listening to the groups today in class, and hearing what they had to say about “The Passing of Grandison” I mulled it over a little more at home and realized that I reacted somewhat differently to the story. The group suggested that Grandison had his escape planned from the moment his master offered to send him up north with Dick. I thought that this was unrealistic, because it was probably above Grandison’s ability. I do not mean that he was not smart enough to have devised this plan, because he shows everyone his true colors when he outsmarts them in the end. I only mean that I was under the impression that Grandison was being sincere in his loyalty as he made his claims to love his master and have no notions of being a free man. I took this more as a man who had spent so many years in such a dehumanizing position that he had lost his touch with reality outside the plantation and also with his own independence.
I saw this as sort of similar to the Stockholm syndrome we see in kidnapping cases when a victim is forced to solely rely on the captor for his or her basic needs to be met and therefore eventually forms a loving bond with the same person who is hurting them. This could have easily applied to Grandison as he became most likely would have become more brainwashed while living in the plantation, grateful for every ounce of attention given to him by the one person who controlled his food and other necessities. He may have truly agreed with his master because he no longer had trust in his own strength and capabilities to succeed as a free soul.
When I read this story, I felt that it was more likely that Grandison was forced into freedom by Dick rather than that he had been plotting to leave the entire time. To explain this we can look at the many chances that he was given to escape and did not. He was eventually on his own in Canada, but he could not have been specifically waiting to cross the border because he had no knowledge that Dick would resort to traveling there. I felt that although he was abandoned instead of entering into freedom by choice, once he experienced it, he was able to see the life outside of the realm of the plantation, and that is when he decided to return, and trick his master to bring his family away with him.
I saw this as sort of similar to the Stockholm syndrome we see in kidnapping cases when a victim is forced to solely rely on the captor for his or her basic needs to be met and therefore eventually forms a loving bond with the same person who is hurting them. This could have easily applied to Grandison as he became most likely would have become more brainwashed while living in the plantation, grateful for every ounce of attention given to him by the one person who controlled his food and other necessities. He may have truly agreed with his master because he no longer had trust in his own strength and capabilities to succeed as a free soul.
When I read this story, I felt that it was more likely that Grandison was forced into freedom by Dick rather than that he had been plotting to leave the entire time. To explain this we can look at the many chances that he was given to escape and did not. He was eventually on his own in Canada, but he could not have been specifically waiting to cross the border because he had no knowledge that Dick would resort to traveling there. I felt that although he was abandoned instead of entering into freedom by choice, once he experienced it, he was able to see the life outside of the realm of the plantation, and that is when he decided to return, and trick his master to bring his family away with him.
Thursday, March 8, 2007
Extra Weblog
We ran out of time in class today before anyone had a chance to say much about poor Joanna who lived alone on Shell Heap Island. I have been thinking about it since reading it and considering it quite a bit this afternoon, mostly because it was the story that affected me the most. Jewett spent such a considerable amount of time telling a story of a woman who was as strong willed as the others in the story when it came to making her own choices and doing what she wanted to do, but she was pretty much the only one who seemed so tragic for doing so. I couldn’t decide if she was sort of a hero standing up for what she believed in or just a sad woman who went crazy.
I think that this can be related to Elizabeth Ammons’ ideas of the strong female relationships and community in Country of the Pointed Firs while the men are portrayed as very isolated characters. Dr. Campbell concluded in class that Joanna had isolated herself by choice, much as the men like Captain Littlepage and Elijah Tilley had. However, I feel the important difference between the story we get of these men and the one that we are told about Joanna is not necessarily their own seclusion, but the reaction of the townspeople of Dunnet Landing. With Captain Littlepage, we get the sense that the other residents are content in letting him live alone with his books and his spoiled mind. The same happens with Elijah and we see it when the narrator tells Mrs. Todd that she has visited him and her hostess’ response is that she no longer likes to see him because he either talks of his dead wife the entire time or not at all.
When it comes to Joanna, who so obviously wanted to be left alone, the people of the town tried not to let her seclude herself as the others had done. They visited her without invitation, they sent her gifts and packages and many attended her funeral when she passed. We also get the scene when the narrator visits Shell Heap Island on her own and sees that the path is still worn leading to Joanna’s grave. People seemed to have accepted the “hermitage” of the men, but continue to even visit a lone woman on her island long after her death.
I think that this can be related to Elizabeth Ammons’ ideas of the strong female relationships and community in Country of the Pointed Firs while the men are portrayed as very isolated characters. Dr. Campbell concluded in class that Joanna had isolated herself by choice, much as the men like Captain Littlepage and Elijah Tilley had. However, I feel the important difference between the story we get of these men and the one that we are told about Joanna is not necessarily their own seclusion, but the reaction of the townspeople of Dunnet Landing. With Captain Littlepage, we get the sense that the other residents are content in letting him live alone with his books and his spoiled mind. The same happens with Elijah and we see it when the narrator tells Mrs. Todd that she has visited him and her hostess’ response is that she no longer likes to see him because he either talks of his dead wife the entire time or not at all.
When it comes to Joanna, who so obviously wanted to be left alone, the people of the town tried not to let her seclude herself as the others had done. They visited her without invitation, they sent her gifts and packages and many attended her funeral when she passed. We also get the scene when the narrator visits Shell Heap Island on her own and sees that the path is still worn leading to Joanna’s grave. People seemed to have accepted the “hermitage” of the men, but continue to even visit a lone woman on her island long after her death.
Thursday, March 1, 2007
Weblog 6
I was glad that the group who discussed “The Vine-Leaf” brought up the different layers of narration in the story. I was impressed by the way Mena did this and how it made for such an enjoyable story. First we have the narrator telling the entire story, then the doctor telling the story of the mysterious patient and lastly, the Marques telling the story of the artist’s death. I really felt like this was a very creative story telling device. The thing that struck me the most was the differences between the narrator’s voice and tone and the doctor’s. The narrator of the story is very funny, for instance, the family secrets that the doctor keeps in his furry hat. The doctor is not as funny as he is arrogant; he reminds me of someone who would laugh at his own jokes. Reading the humorous beginning, I was expecting a much lighter story than we actually were given and I felt that the shock of it really threw me into the mystery. I liked it, I just can’t figure out why Mena would have chosen such a funny narrator for a story like this.
Also, after reading Chopin’s “At the ‘Cadian Ball” and “The Storm” I really felt as though there were some striking similarities between Calixta and Daisy Miller. I think that both of these stories try to represent class and culture differences through the tales of innocent (or maybe not-so-innocent) foreign girls. While Daisy is an American in Europe, Calixta is of Spanish (Cuban?) decent and living in Louisiana. Both girls are described as being looked down upon because of their uniqueness and flirtatiousness. Obviously, both girls in the stories are liked by the men and despised by the women. We have instances of high status men who fall for the “low culture” girls and end up getting burned. Although James never gives his readers a final answer to whether Daisy was innocent or not, his version seems a little less absolute than Chopin’s. We see in “The Storm” that Calixta ultimately does prove herself to be impure in the eyes of the reader. Daisy never does this and it seems to put a more positive spin on her character than on Calixta’s. It is hard to tell though, because knowing Chopin’s work, she does not necessarily see adultery as a bad thing, while her readers probably do, and so she may not be presenting the affair between Calixta and Alcee in the way that she means to.
Also, after reading Chopin’s “At the ‘Cadian Ball” and “The Storm” I really felt as though there were some striking similarities between Calixta and Daisy Miller. I think that both of these stories try to represent class and culture differences through the tales of innocent (or maybe not-so-innocent) foreign girls. While Daisy is an American in Europe, Calixta is of Spanish (Cuban?) decent and living in Louisiana. Both girls are described as being looked down upon because of their uniqueness and flirtatiousness. Obviously, both girls in the stories are liked by the men and despised by the women. We have instances of high status men who fall for the “low culture” girls and end up getting burned. Although James never gives his readers a final answer to whether Daisy was innocent or not, his version seems a little less absolute than Chopin’s. We see in “The Storm” that Calixta ultimately does prove herself to be impure in the eyes of the reader. Daisy never does this and it seems to put a more positive spin on her character than on Calixta’s. It is hard to tell though, because knowing Chopin’s work, she does not necessarily see adultery as a bad thing, while her readers probably do, and so she may not be presenting the affair between Calixta and Alcee in the way that she means to.
Thursday, February 22, 2007
Weblog 5
After reading the three Mary Wilkins Freeman stories that were assigned for class, I really wasn't sure what to write in my blog. I was going to wait and hope that something in our discussion of them in class sparked my interest and led me to what I would post, like it usually does, but we did not really talk about them today, so I ended up looking a little into Freeman's history and life story.
Something I found pretty interesting in our anthology book was the fact that the man Freeman married, after only a few years together, turned to drinking and became such a horrible alcoholic that he had to be institutionalized. I feel like this makes sense in context of her stories we've read where the men are portrayed as less than great. Freeman continues to put the control of the situations in the hands of her women characters and I can't help but wonder if this has something to do with trying to be in power during her true to life situations where men may not have granted this to her.
I also felt it was interesting to see how much distaste was show towards alcohal in the stories, namely "Old Woman Magoun." The men who the grandmother is attempting to save her granddaughter from were described as drunkards and it is clear how the grandmother feels about this. Is this maybe a reflection of the way that Freeman personally felt about drinking?
Lastly, I'm not sure how I responded to the characters in these stories beside that of Sarah Penn in "The Revolt of Mother." I thought that she was a brave and creative character who deserved the position of heroism that Freeman gave to her. The other women Freeman introduced to us in these stories didn't thrill me. I felt that Louisa in "A New England Nun" was a bland girl who was scared to make changes and take chances. And then we have Old Woman Magoun who lets her sweet grandaughter die becuase of her own prejudices and beliefs. I personally felt that these characters distracted from the idea of women being in control just becasue they were not the types of women I would prefer to see with power.
Something I found pretty interesting in our anthology book was the fact that the man Freeman married, after only a few years together, turned to drinking and became such a horrible alcoholic that he had to be institutionalized. I feel like this makes sense in context of her stories we've read where the men are portrayed as less than great. Freeman continues to put the control of the situations in the hands of her women characters and I can't help but wonder if this has something to do with trying to be in power during her true to life situations where men may not have granted this to her.
I also felt it was interesting to see how much distaste was show towards alcohal in the stories, namely "Old Woman Magoun." The men who the grandmother is attempting to save her granddaughter from were described as drunkards and it is clear how the grandmother feels about this. Is this maybe a reflection of the way that Freeman personally felt about drinking?
Lastly, I'm not sure how I responded to the characters in these stories beside that of Sarah Penn in "The Revolt of Mother." I thought that she was a brave and creative character who deserved the position of heroism that Freeman gave to her. The other women Freeman introduced to us in these stories didn't thrill me. I felt that Louisa in "A New England Nun" was a bland girl who was scared to make changes and take chances. And then we have Old Woman Magoun who lets her sweet grandaughter die becuase of her own prejudices and beliefs. I personally felt that these characters distracted from the idea of women being in control just becasue they were not the types of women I would prefer to see with power.
Thursday, February 8, 2007
Weblog 4
A couple people today brought up the fact that Twain wrote Fennimore Cooper’s Literary Offenses after Cooper had already died and was not able to offend himself, especially when some of the claims Twain made about his stories were stretching the truth pretty far. I feel like this reflects more on Twain as a person than it does on Cooper as a writer. Though I have liked Twain since beginning this class (the only other piece of his work I’ve read prior to English 481 was A Connecticut Yankee In King Arthur’s Court and I really didn’t like it too terribly much) this latest one was my least favorite. That isn’t to say that it wasn’t funny, because I was laughing as hard as I could at certain parts. I just don’t connect much with someone who takes to critiquing other people’s work like Twain did in Fennimore Cooper. Dr. Campbell acknowledged in class that no one approached any of Twains pieces as harshly as he did Coopers, so maybe he didn’t know what it would feel like. I’m sure there are people who do not feel fondly about Twain, but they are not picking his writing apart and masking it under humor.
I feel at some point the war between these ‘labels’ of literature, like the war between realism and romanticism, takes away from the art. I’m not so sure how important it is to try and classify a piece a literature or to analyze what makes it fit under which genre or something James wrote is better than something Hawthorne wrote. At some point, maybe these critics were paying to much attention to fighting about the ‘isms’ and not enough time just letting people chose what they like to read without insulting the writers.
I feel at some point the war between these ‘labels’ of literature, like the war between realism and romanticism, takes away from the art. I’m not so sure how important it is to try and classify a piece a literature or to analyze what makes it fit under which genre or something James wrote is better than something Hawthorne wrote. At some point, maybe these critics were paying to much attention to fighting about the ‘isms’ and not enough time just letting people chose what they like to read without insulting the writers.
Thursday, February 1, 2007
Weblog 3
So, in class today, there was quite a bit of discussion (and maybe even some disagreement) about Daisy’s character in James’ “Daisy Miller: A Study” character in James’ “Daisy Miller: A Study.” There were some of us who felt that Daisy was simply an innocent, naïve young girl and others who thought she was, well, not so innocent. I was leaning toward her just not understanding the things she was doing, but then—as a group pointed out in class today—she ignored everyone who tried to explain it to her. Then, I honestly came to the conclusion that maybe James was trying to confuse his readers as much as Winterbourne was confused about Daisy’s integrity.
On the handout Dr. Campbell gave us in class, there is a quote from James himself who says “ Poor little Daisy Miller was, as I understand her, above all things innocent. It was not to make or scandal, or because she took pleasure in a scandal, that she went on with Giovanelli. She never took the measure really of the scandal she produced, and had no means of doing so: she was too ignorant, too irreflective, too little versed in the proportions of things. She was a flirt, a perfectly superficial and unmalicious one…I did not mean to suggest that she was playing off Giovanelli against Winterbourne—for she was too innocent for that.”
If James himself intended to write Daisy as an innocent character who is simply “ignorant” of the commotion she causes, then I guess we have to believe him. I just figure that he could have done a little better in helping imply that to his readers. Or maybe Winterbourne’s ideal of Daisy is reflected in him somehow; in the way that he cares about this character and will always see her as innocent. Then again, he said “as I understand her” and he might not even understand her better than any of us do.
My last question about this reading, which I will post for Dr. Campbell’s response is: What is the meaning behind the second part of the story’s title, “A Study”?
On the handout Dr. Campbell gave us in class, there is a quote from James himself who says “ Poor little Daisy Miller was, as I understand her, above all things innocent. It was not to make or scandal, or because she took pleasure in a scandal, that she went on with Giovanelli. She never took the measure really of the scandal she produced, and had no means of doing so: she was too ignorant, too irreflective, too little versed in the proportions of things. She was a flirt, a perfectly superficial and unmalicious one…I did not mean to suggest that she was playing off Giovanelli against Winterbourne—for she was too innocent for that.”
If James himself intended to write Daisy as an innocent character who is simply “ignorant” of the commotion she causes, then I guess we have to believe him. I just figure that he could have done a little better in helping imply that to his readers. Or maybe Winterbourne’s ideal of Daisy is reflected in him somehow; in the way that he cares about this character and will always see her as innocent. Then again, he said “as I understand her” and he might not even understand her better than any of us do.
My last question about this reading, which I will post for Dr. Campbell’s response is: What is the meaning behind the second part of the story’s title, “A Study”?
Thursday, January 25, 2007
Weblog 2
I do not have much experience reading anything by Mark Twain, and I enjoying reading something that can be meaningful and funny at the same time. However, the short stories that have really interested me this week in class were “The Outcasts of Poker Flats” and “Under the Lion’s Paw” which were unbelievably and utterly tragic.
With Harte’s story, I don’t want to go too far with the poker metaphors but I started to try and see if it might go deeper than we discussed in class today. I think that when Mr. Oakhurst signed his own ‘epitaph’ as having a ‘streak of bad luck’ it probably applied to more characters in the story than just him. Obviously, none of them were lucky if they were being banished from their town, but that isn’t what I mean. I thought that, in the end, when Piney and the Duchess die together, Harte was using them as mirrors of each other—one as a sweet virgin and one as a prostitute—maybe to show how different life can end up when you are dealt a better hand to play with.
I have no interpretation for “Under the Lion’s Paw” simply because it depressed me so much after reading it. I had trouble getting at the underlying meaning, not because it was a bad story, but just because Garland evoked so much sympathy in me for his characters. For this blog, I tried to find an actual law that would support what Butler did to Haskins and his family in the story, but when I searched I could only find today’s laws that are more lenient toward the tenant than they must have been when the story took place. I’d be curious to see if anyone else in class wondered the same thing and if they found anything out about it.
With Harte’s story, I don’t want to go too far with the poker metaphors but I started to try and see if it might go deeper than we discussed in class today. I think that when Mr. Oakhurst signed his own ‘epitaph’ as having a ‘streak of bad luck’ it probably applied to more characters in the story than just him. Obviously, none of them were lucky if they were being banished from their town, but that isn’t what I mean. I thought that, in the end, when Piney and the Duchess die together, Harte was using them as mirrors of each other—one as a sweet virgin and one as a prostitute—maybe to show how different life can end up when you are dealt a better hand to play with.
I have no interpretation for “Under the Lion’s Paw” simply because it depressed me so much after reading it. I had trouble getting at the underlying meaning, not because it was a bad story, but just because Garland evoked so much sympathy in me for his characters. For this blog, I tried to find an actual law that would support what Butler did to Haskins and his family in the story, but when I searched I could only find today’s laws that are more lenient toward the tenant than they must have been when the story took place. I’d be curious to see if anyone else in class wondered the same thing and if they found anything out about it.
Thursday, January 18, 2007
Weblog 1
This was a question posed in class that was touched on, but not really answered in detail, so after taking it home and thinking about it, I decided to address in my weblog. Dr. Campbell asked about the ways that were used in talking about death in the Louisa May Alcott stories and in Whitman’s “Drum-Taps”.
Going back over the two stories, I saw quite a few places where Alcott writes about death, relating it to sleep. One of the most obvious places she does this is in “Hospital Sketches” chapter three in the very last sentence when the narrator describes leaving the patients at the end of the day “where rest, the sweetest, made our pillows soft, while Night and Nature took our places, filling that great house of pain with the healing miracles of Sleep, and his diviner brother, Death” (8). Another place in “Hospital Sketches” where Alcott uses sleep as a reference to death is when the nurse refers to a dead soldier as “the quiet sleeper” (6). In “The Brothers” this happens again, when Miss Dane is watching over Ned, the rebel soldier, in his sleep, waiting for him to either live or die. She says, “Sleep, the healer, had descended to save or take him gently away” (588).
Comparing Alcott’s and Whitman’s references to death, I feel that Whitman gives his readers a much more honest perspective of what he was seeing while dressing the wounds and encountering death than we get from the nurses in “Hospital Sketches” and “The Brothers”. In “Drum-Taps” Whitman does not shy away from telling us which men had life threatening illnesses and what those illness exactly were, when all Alcott writes about the characters in her stories that are close to death is that they are asleep.
It was brought up in class that Alcott used a writing style that was more straightforward when Whitman’s writing seems wordy and harder to understand. I just thought it was interesting that even though Alcott uses an honest tone with everything else in the stories, she sugar-coats death while dying seems to be one of the only things that Whitman doesn’t dress up with flowery language in “Drum-Taps”.
Going back over the two stories, I saw quite a few places where Alcott writes about death, relating it to sleep. One of the most obvious places she does this is in “Hospital Sketches” chapter three in the very last sentence when the narrator describes leaving the patients at the end of the day “where rest, the sweetest, made our pillows soft, while Night and Nature took our places, filling that great house of pain with the healing miracles of Sleep, and his diviner brother, Death” (8). Another place in “Hospital Sketches” where Alcott uses sleep as a reference to death is when the nurse refers to a dead soldier as “the quiet sleeper” (6). In “The Brothers” this happens again, when Miss Dane is watching over Ned, the rebel soldier, in his sleep, waiting for him to either live or die. She says, “Sleep, the healer, had descended to save or take him gently away” (588).
Comparing Alcott’s and Whitman’s references to death, I feel that Whitman gives his readers a much more honest perspective of what he was seeing while dressing the wounds and encountering death than we get from the nurses in “Hospital Sketches” and “The Brothers”. In “Drum-Taps” Whitman does not shy away from telling us which men had life threatening illnesses and what those illness exactly were, when all Alcott writes about the characters in her stories that are close to death is that they are asleep.
It was brought up in class that Alcott used a writing style that was more straightforward when Whitman’s writing seems wordy and harder to understand. I just thought it was interesting that even though Alcott uses an honest tone with everything else in the stories, she sugar-coats death while dying seems to be one of the only things that Whitman doesn’t dress up with flowery language in “Drum-Taps”.
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