The Things They Carried Resources

Feel free to create your own post and/or add comments to this post. I'm looking forward to our discussion on Monday and Tuesday.
-AP

Interview with Tim O'Brien

Metonymy and Ellipses in The Things They Carried

Alice Walker and "Zora"

I'm sorry for not posting earlier! I just got home from the meet and was hoping (in vain) that someone would have posted for me (I guess it was silly to think that someone might read my mind!)

What is Walker's argument? How does she make it? What kind of appeal does she use? Why? Is it effective? Who is her audience? Don't feel obligated to answer all of this... what I am hoping this discussion will become is essentially: what is Walker saying and how, why and who is she saying it to?

Level 2 Question: p 50-100

How does Huston employ personification? What does she personify?

Level 3 Question: p 50-100

How do the two ceremonies we’ve seen so far (Janie’s marriage to Starks, the death of the mule) function both figuratively and literally in the novel?

Level 1 Question: p 50-100

Other than herself what are these “helpless things” Janie wants to fight for?

Synthesizing Modernist Art: Modernism in Fiction, Poetry, Essays and Visual Art

In A Moveable Feast, Hemingway mentions his relationships with F Scott Fitzgerald, Gertrude Stein, Ezra Pound, Ford Madox Ford and the work of Matisse and Picasso. Examine the ways in which Hemingway's art is influenced by his colleagues. You may want to do some quick, informal research on the names and pieces Hemingway mentions if you are not familiar with them already.

Literary Modernism: Form and Content in A Moveable Feast

In what ways do you see the conventions of literary Modernism employed in A Moveable Feast? Think about the prologue, about Hemingway's diction throughout the novel, and about his treatment of the "lost generation" of which he is considered a prominent member. In what ways are the themes commonly associated with Modernism suited to Modernist style? In what ways are they not? This question asks you to consider form and content individually with the objective of moving toward a discussion of the way the two work in tandem.

Discussion Test (continuation)

Hey everyone! Since Ms. Parrish can't get internet access at the track meet, she has asked me to post the blog. So in class, just before the bell rang, Emma had asked a question...

What is the force that ties the characters to the town and make them incapable of ever truly leaving?

FUGUE!!!!!!!!! in THE HEART IS A LONELY HUNTER....and I'm talking about the emotions :)

Okay hey there guys! So I am a tad late...oops :) Anyways for those of you crazies who are still up stalking the blog site... I have some questions for you that are sure to keep you pondering :) Lolz...just kidding I just wanted to have a funny introduction...even though it's probably only making me laugh at the moment. Anyways let's get down to business...

In Fuller's essay, she expresses the effect that fugue plays in the novel on the setting and the emotions. As seen in Kaare's response, each chapter in part 1 begins with a description of the setting and demonstrates the fugue in the novel.

Fuller writes, "Thus, from the outset of the novel through its concluding treatment of the surviving four character in isolated chapters in part three, McCullers, as Richard Cook suggests, 'preserves the separateness of each person even as she holds them together in a LONELY community of suspicion and misunderstanding'" (Fuller, 2)

I think that the reoccurring theme that corresponds with the fugue expressed in the novel, is a lonesome emotion. It's a pretty direct concept due to the fact that the title of the novel is, 'THE HEART IS A LONELY HUNTER,' however it's also evident throughout the novel as well. For example,

"The sun felt like a hot piece of iron pressing down on his head. The town seemed more lonesome than any place he had ever known. the stillness of the street gave him a strange feeling. when he had been drunk the place had seemed violent and riotous. And now it was as though everything had come to a sudden, static halt" (McCuller 59).

Basically, I wanted to incorporate Kaare's question in with my blog post. Kaare proposed the question, whether fugue blends the characters together or highlights them.

Instead, I was wondering if the fugue of the lonesomeness in the novel directly affects the dignity of the character expressing their emotions. Do you think that the fugue has a strong influence on not only the character's emotions but also their self-esteem and their dignity?

"Because of the insolence of all the white race he was afraid to lose his dignity in friendliness" (McCuller 85).

Is My Computer Broken or...

does the color keep changing?

Language and Responsibility: The Failure of Discourse in Carson McCuller’s The Heart Is a Lonely Hunter

While I really enjoyed the essay and I think it added another dimension to my reading of the text and makes me want to read on faster, I am left a little bit confused as well. It’s a nice essay but I think its going to take me some more time to mull it over in order to feel like I understand it better. Here are my disjointed thoughts and feeling on it as of now:

When Bradshaw is explaining the totalizing tendencies of the characters in the novel, he says: “Each individual, in private visits with Singer, had totalized him to such an extent that it is only possible for them to identify him as an extension of their individual Self” and I’m left wondering if he is suggesting that all people natural tendency to totalize others into understandable levels, or just the characters in this novel who are plagued with loneliness as a result of their isolating totalization of Singer. In other words, is Bradshaw arguing that people who succumb to totalizing another into an extension of the Self are bound to become lonely and isolated? Moreover, how does the concept of the Face fit into Bradshaw’s argument? He says, “For Levinas the face is not a material representation of the Other’s presence; instead it represents integral difference between the Self and the Other which cannot be conceptualized. Rather than identify this difference as physical Levinas suggests this relationship depends upon a recognition of the Face- a deeper, more essential manifestation of the Other’s difference from the Self.” If every Other has a face that demands discourse, is it the Other who is suffering, or the Self? I’m confused..

Apart from all of my confusion, I loved the way the author went into detailed analysis of each character and how his in-depth discussion ended in a conclusion of the “hierarchical relationship” of Singer ‘s dependence on Antonopoulos and the other’s dependence on Singer. But if all of the characters, including Singer, look to totalize someone who cannot respond to them, maybe Bradshaw’s message (or McCullers!) lies in the destructive tendencies influenced by language. If language didn’t exist for Singer to have a one-sided conversation with Antonopoulos, and for the others to have a one-sided conversation with Singer, then maybe their tendency to totalize the Other would lessen and the terrible loneliness would therefore lessen or be gone entirely. So maybe the argument is against language?

And I'm sorry this is a few minutes late, I got a little excited with that last bit

Fugue and Counterpoint--Does contrapuntal writing really have its place in literature?

"The Conventions of Counterpoint and Fugue" conducts a close analysis of The Heart is a Lonely Hunter and makes accurate, insightful comparisons between the form of the novel and the form of a standard contrapuntal piece. Fuller leads a relatively basic but, as George pointed out, strong argument, clearly defining what is meant by "counterpoint" and "fugue" in the conventional sense then demonstrating with textual evidence how it applies in the less conventional sense: to literature.

My post about this article may be, perhaps, straying a bit too far from the specifics of Fuller's argument but the more I think about McCuller's use of contrapuntal form in a novel which conveys such deep, abstract feelings, the more skepticism I have for this technique's place in literature. I am not at all arguing that McCullers is unsuccessful or even careless in her choice to use strict musical form in order to embellish the content of her novel. Rather, my skepticism is based off the criticisms that many successors of Bach and Mozart who were practitioners of contrapuntal writing--specifically fugue--suffered from. We know that Beethoven amongst Mozart plays an important role in this novel; Mick is touched greatly by the "Eroica Symphony" and hears Mozart in her head all day and night. What is important to know, however, is that Beethoven (in his third period) was criticized for his usage of contrapuntal writing such as fugue (which is present in the "Eroica Symphony" though he was not criticised for this) and variations on themes (the "Diabelli Variations", specifically) which Mozart was greatly known for doing. By this point in the early 19th century fugue, variation, and other strict contrapuntal techniques were associated with connotations of dry academicism and even amateurism; this was the beginning of the Romantic movement in Europe. During this time the usage of music in literature was not uncommon. The application of musical motifs to characters in various novels and as a re-occurring symbol is a technique commonly used by Goethe, one of the most well-known German Romantics. The idea of combining music and literature was far more abstract in this period and the usage of such strict form as McCullers uses would be contrary to the Romantic style of the time. What I am trying to say is that perhaps McCullers's use of musical form (though I am perfectly aware that she is not a Romantic writer) may work in successfully shaping the content of the novel and embellishing certain parts, though I am led to wonder if such strict musical form depletes the amount of expressionism--an aspect I see as vital considering that the feelings of loneliness and disconnect with the world are imensely abstract, too abstract to shape into the form of a fugue--in the novel.

The Paradox of the Need for Privacy and the Need for Understanding

In the article, the author states “McCullers was only 21 when she wrote this book, but she was too mature to condemn abstractions either, although it is a rather abstract, paradoxical conflict that she is primarily concerned with…”(1). I may be reading too deeply into this but what right does the author have to say this statement? Aren’t the more mature more likely to condemn abstractions? Is it not the human condition to organize whatever we cannot clearly define? Isn’t it the human condition to fear what we do not know? Is it not the “more mature” that are more likely to follow these human conditions and the young to embrace the abstract because they are not yet fully conscious of society and the world around them? How can the author say that McCullers can write this book when she “was only 21” because she was “too mature to condemn abstractions” when I personally believe her age is exactly what allowed her to write this book, not because she was too mature, but rather because, like Mick, her life is not clearly defined, which as a result gives her the ability to write about this paradox she is beginning to realize she lives among? Which brings me to another point that I believe the author misinterprets… He states “The portrait of Mick is complete” when I believe although we have so far witnessed Mick’s life more thoroughly than the rest of the cast of characters she remains somewhat ambiguous to the reader. I’m not sure what makes me say this but that’s why I would like to put it up for discussion.
I know that was long and sort of confusing but basically I have questions on the way the author chooses to word his ideas and would like to see if there are those who disagree or agree with me. I’m not saying that I disagree with what he is saying, the very opposite actually, but I do not agree with the way he chooses to word some of his ideas.
SO first of all, do you believe that the author is right when he states that although she “was only 21 when she wrote this book, she was too mature to condemn abstractions either”? Why and why not? And do you also believe that the author is right to say that “The portrait of Mick is complete”? Although we have not fully read the text I believe that there is this mystery about her that leaves her portrait incomplete… HELP ME because I am thoroughly confusing myself. Thank youu :)

The Paradox of the Need for Privacy and the Need for Understanding

One part of this article that interested me is when Madden brings up monomania. Madden writes, "Copeland, obsessed with the one true purpose, and Blount, obsessed with the gospel of social reform, are both subject to monomania, and it is in this light that we see them" (1). I think that almost all of the characters have some sort of deep rooted obsession. For instance- Mick's monomania is music, Antonapolous' deals with food, and Portia's is similar to Jake's. At first I thought that these obsessions were the cause of the desire for solitude, especially in Mick's case. If Mick was always engrossed in music, it would be difficult for her to spare much time for being with people who did not love it as much as she did. But this is not necessarily true, because the characters do not shut themselves inside the "rooms" of their minds simply to focus on their obsessions. Like all humans, they have a longing for solitude which conflicts with their need for understanding. "More than any of the other characters, Mick needs solitude, privacy." (2). Is it possible that the characters use their monomanias as an excuse to retreat into themselves? Are their obsessions a way to attain privacy without feeling lonely? It seems as though Mick finds comfort in music. Could this be because the music feels so familiar, or because it is an escape, or distraction, from the people around her who don't understand?

The Paradox of the Need for Privacy and the Need for Understanding

After reading and discussing “The Paradox of the Need for Privacy and the Need for Understanding”, I wonder whether a perfect balance of privacy and understanding is ever possible. The article provides various instances of characters from the novel either achieving solely privacy or understanding, and struggling with this imbalance. Madden claims Copeland and Blount “try to subliminate their personal frustrations into public causes and their manner of fighting for these causes further intensifies their neuroses by alienating the very people they wish to convince; this increases their own loneliness, and the poison of narcissism festers in their spirits”.

Because characters such as Copeland and Blount are caught up in their desire for one “true purpose”, they fail to fulfill their need of understanding and compassion by others, in fear others will not understand. People find comfort in talking to Singer, because he does not respond, or disagree. By speaking to Singer, characters attempt to fulfill their need for human understanding, yet do not have to worry about possible rejection or alienation.

Madden proposes that individuals fighting for a cause to be understood are alienated, yet given unintentional privacy by pushing away others. People who conform to society are accepted, but are they truly understood if they change themselves to fit in? The article seems to display a pessimistic view regarding a balance between privacy and understanding, as the author believes it can not be attained.

Fugue and Conterpoint

"While critics in general note the frequent direct references to music in her works, most of them focus on the way music functions as a "minor symbol" and as an "extended correlative" or mirror of theme and character. Few critics, however, have examined music's role as "architectural framework.""

~ Janice Fuller in "The Conventions of Counterpoint and Fugue in The Heart is a Lonely Hunter"

Music is generally thought of as being composed mainly of lyrics and techno beats, but there is much more to musical conventions than what is commonly heard in popular music. Rather, as we have seen in The Heart is a Lonely Hunter, musical conventions can be used to send a message, to convey the tone and meaning of a work. In fact, these aspects of music can be as important, or even more important than the words themselves.

As we have seen, though each character in the novel is dealing with loneliness and the "insurmountable isolation of human beings," this theme really comes together with the musical structure of the novel in which each character's voice is intermingled with the rest, echoing the same sentiments and ideals. Their individual problems and concerns are alternately amplified and deafened by those around them.

To what extend do lyrics, that is the words associated with the music (in this case the text of the novel), play a role, and are the conventions behind them more important?

Black and White Christs in Carson McCullers's "The Heart is a Lonely Hunter"

At a first glance, the title of the article would tend to suggest that the conflict of "Black and White Christs", would be a racial tension rather then what it is translated to in Laurie Champion's explanation. Rather then the color pertaining to ethnic strain, the black and white correspond (in my opinion) to a positive or a negative, very similar to the dark/light conflict in The Scarlet Letter. Though it is unfathomable for any believer to see Christ as a negative, Champion explicates that the death of certain characters is unnatural, and there for a negative. While Christs death benefited society, the death or downfall of some characters in The Heart is a Lonely Hunter doesn't benefit anyone , which in her opinion, is the exact opposite of Christ. "As Mary asserts, 'the 'protagonists' disbelief in god and from the symbolic...collapse of god (Antonapoulos) and Christ (Singer) is McCullers's strong implicator that god and Christianity are non-existent' (28-29)".

This isn't to say that racial tension isn't an aspect of her argument, because in fact it is the basis of it, but i feel like there is more here then that...I cant figure out a way to explain the connection between racial tension and Christ without disagreeing with myself.

Language and Responsibility: The Failure of Discourse in Carson McCuller's The Heart Is A Lonely Hunter

Maggie, (and anyone else who has read this article please comment), here are my questions after reading it for the 2nd time. I almost think that the second time around confused me more, but I have zoned in on what specifically does not make sense right now.
Mostly, I am confused about the explanations that start off the essay. When Levinas's concept is applied to the characters in the book, I think it's fascinating and makes complete sense, adds a new dimension to the story. For whatever reason I don't feel like I've been able to fully grasp his theory of psychology when it is standing alone and not in terms of the book (perhaps you would think it should be the other way around).

"The self naturally reduces, or totalizes the Other into digestible concepts- concepts which can be used by the self to construct a distorted identity from a complex existance"---
This confuses me. Does this mean that the Self cannot ever percieve the Other without "digesting" it first? As if we are not comfortable with things until we can develop a personal perception of them, or a "concept" that is digestible to us as individuals? And what does he mean by a concept? Is there an example of that? And "Form a "complex existance"-- as in we form percepteions and these then complicate our existance? Thinking of it this way makes sense in terms of the "Face" concept I think, for example this sentence- "The relation with the face can surely be dominated by perception"...

But then this "Face" also confuses me- "the basis for the Other's resistance to the Self's totalizing tendencies"- so the face is the broad then, or what we comprehend before we form perception, and then the Other is a perception of a specific thing or person- as it is tainted by the way we percieve it and therefore becomes "totalized"?

Here- "Face which demands discourse as a means to escape the reductictive tendencies of the self"- I think that he is relating Reducing to Digesting, right? But why does this then "demand discourse"?

I also don't understand this line, direct from Levinas: "The saying is a way of greeting the Other, but to greet the Other is already to answer for him"
---There are so many examples in the text of what Levinas goes on to describe- "It is difficult to be silent in someone's prescense...It is necessary to speak of something, of the rain and fine weather, no matter what, but to speak, to respond to him and already to answer for him" ...I just don't understand this automatic "answer for him" part of it.

"as Self uses discourse to create a relationship with the Other, meaning is constantly deferred, forcing the Self to totalize...." I don't understand why the meaning is necessarily "deferred" by this in the relationship between the Self and the Other.

I'm sorry, I realize that this is way too much to hash out on the blog. We can talk about them later better, but it seems that I am just confused mainly about the larger ideas in the essay: the difference between the Face and the Other (as we tried to tackle it in class) and how the relationship with the self is different in each.

Privacy and Understanding

In Madden's, essay, he seems to break down the stereotypes that are places on The Heart is a Lonely Hunter and speak to the way in which McCullers' characters "hungers for human understanding while simultaneously desiring an inviolable society." He claims that The Heart is a Lonely Hunter "could hardly be more universal" and that "It is not a realistic novel about the modern South, nor is it, despote cetrain critics or whatever McCullers' original intention may have been, a political polemic against capitalism and racism." I'm not sure if I agree with this last point, because I think there are many instances through Part 1 and Part 2 that help to prove that her novel IS a political polemic against capitalism and racism. So, I my question is a) if the Heart is a Lonely Hunter is in fact an attack on capitalism and racism (intentionally or not) and b) why Madden is so assertive when he makes this point in the introduction of his essay, and does not directly reconcile his assertion by the end of the essay. Why was it included? What does it have to do with the paradox of privacy and understanding?

Fugue and Counterpoint in THiaLH

In her essay, "The Conventions of Counterpoint and Fugue," Janice Fuller uses The Heart is a Lonely Hunter as the basis for her argument that Carson McCullers' works retain a constant presence of the two.

Fugue is a collection of melodies in one specific piece, while counterpoint is a term used to describe how each melody balances off of the other and manages to repeat itself. We see how this correlates to THiaLH through the recurring jumps between each character as they interact with each other and embrace their feelings of loneliness and struggle to exist in their society. However, Fuller tries to emphasize the actual importance of music within the novel, denouncing those who only note the "frequent direct references" to music in the novel and how it only functions as a "minor symbol," by making note of how music relates to each and every one of the characters, and saying that these direct references to music abound, "...Willie's harmonica tunes, the music from Biff's mandolin, the mechanical music of the flying-jinny, and the 'singing moan' of Doctor Copeland's voice," as well as the classical music Mick "enjoys in the dark," (Fuller 1). In order to realize the importance of the music, we first have to look at music at a term of its own. Instead of seeing it as pleasant mixture of rhythms and melodies, it's important for us to see it as the efforts of the musicians who make it to make themselves heard to the world, and to make the world see what they think and feel.

My question is this: how do the characters of the THiaLH try to communicate with others in the novel, what exactly are they trying to say, and how do the personal struggles of each character relate to one another?

The Paradox of the Need for Privacy and the Need for Understanding

After reading the article on Paradox and the Need for Privacy and the Need for Understanding, I was left wondering, why do people change and how does time affect this change?

Because I wasn't in class today, I was left to figure out the meaning of the article on my own, so this might be completely wrong...but, I think that Madden's argument can be found in the line, " everyone hungers for human understanding while simultaneously desiring an inviolable privacy" (Madden 1). Throughout the article, I found that Madden suggests that individuality is less present as one grows older, and therefore, it sounded as if he was saying that one conforms to society as time goes on. This is certainly true for Mick as a character. Being a preteen (where we are right now anyways) she is on the path of self discovery, and wants her own voice to be heard. This is seen when she writes in chalk on the walls of the new home in town, and in the way that she dresses. According to the article, she is forced into a rapid maturity because of certain choices that she has made. Mick is shown at three different stages in the article: as a preteen, as an teenager, and then suddenly as a woman. I think the fact that McCuller chooses to demonstrate her at these different ages definitely supports the argument that Madden is making-Mick decides to be a part of society and act like a "normal" girl after her "sexual awakening". Previously she enjoyed the loneliness when she acted and dressed like a boy, but at the same time she wanted to tell someone about the loves that she had experienced. Mick's change over time supports the argument that over time people change and so does their character and personality.

Also, I was thinking that the fact that McCullers decides to use so many interconnected characters definitely demonstrates the idea of dependence on others during personal discovery...throwing that out there!

Fugue and Counterpoint

"This book is planned according to a definite and balanced design. The form is contrapuntal throughout. Like a voice in a fugue each one of the main characters is an entirety in himself - but his personality takes on a new richness when contrasted and woven in with the other characters in the book."

-- McCullers (quoted by Fuller in "The Conventions of Fugue and Counterpoint")

It's difficult to doubt the musical influence of McCuller's novel - Mick's greatest weakness is the classical music on the radio; the first character's name is "Singer"; "She started on the same tune and said the same thing over and over..." (McCullers, 50); the list goes on.

Similarly, the presence of counterpoint and fugue is hard to ignore - the book's characters tell their stories in a very similar, repeating manner, much as a musical fugue repeats its components to create a new piece that is harmonically sound.

Take, for example, the fact that each chapter in part I begins with a description of the specific time of day: "On a black sultry night in early summer Biff Brennon stood...(13); "the sun woke Mick early..." (33); "late in the afternoon Jake Blount awoke...(53)". Similarly, in part II, each chapter (thus far) begins with a description of the season - "this summer was different..." (97) and "by October the days were blue and cool" (121)

Still, my question is whether or not these elements of counterpoint and fugue allow each character to "take on new richness" or blend them all into one. On the one hand, the similar yet different manners in which the characters act contrast to highlight each of their differences. Yet, on the other hand, much like a musical fugue, each individual part refrains from being it's own piece and begins to blend together in a conforming manner. Do the characters conform or stand out as a result of McCuller's musical composition?

The Paradox of the Need for Privacy and the Need for Understanding

After reading and analyzing the article "The paradox of the need for privacy and the need for understanding" the question that i was left with was, in human nature, does this paradox change over time?

It is within human nature to desire privacy, individuality and self alienation to an extent, while still wishing to be connected with and accepted by society through mutual understandings from one human being to another. This was the basis of the article, however Madden also included much detail regarding age and growing older. Mick is young (at the point we are at in the novel), however the article reveals that with age she changes. Madden states, "We see her in various situations, reacting variously, exhibiting in her own eccentric way all the characteristics of an adolescent girl trying to achieve womanhood, but fearing to succeed." I feel that this fear of age, yet still desirable growth in age is reflective of the paradox Madden is addressing in his article. Later he says again, "In growing up, he (Bill) has failed her." I felt that Madden was suggesting that as one grows older this paradox deteriorates and becomes less important. Perhaps individuality grows less vital to a person with age? 

I suppose, as I stated before, what i am wondering is if Madden is trying to portray, or indirectly exhibit, that the paradox of the need for privacy and that for understanding shifts, or becomes less powerful, significant or influential over time. 

The Paradox of the Need for Privacy and the Need for Understanding - Does the author refute his own argument?

Today in class we decided collectively that the setence "everyone hungers for human understanding while simultaneously desiring an inviolable privacy'' (1), was most likely the author's thesis in this article. It essentially, as we already said, restated the title and stated what Madden was going to say in the following pages.

As we spoke of paradox we began to discuss this idea that many of the characters go to Singer to talk to - more for their own benefit than Singer's. Madden even says that the Doctor Copeland " was more at peace when he could talk to the uncomprehending deaf-mute, Singer. " (6).

Perhaps it is just me, but it seems like Madden is refuting his own idea. In the beginning Madden said that everyone hungers for human understanding, yet towards the end explains that Copeland prefered it when he talked to someone who didn't understand. Doesn't this evidence seem to contradict his own idea?

JD Salinger: Obituaries, Discussions, etc.

In the day since Salinger's death, there has already been a lot of speculation about what will happen to the alleged safe full of manuscripts, the rights for a Catcher in the Rye movie, and Salinger's decision to live in solitude for the last five decades of his life.

Amidst all of this, I have noticed a surprising amount being written about the impact that his fiction, not just Catcher, but predominantly that novel, had on students, teachers, and readers in general.

Below are some of the more interesting links I found.

New York Times "Taking a Walk Through Salinger's New York":

The New Yorker's homage to Salinger, including links to all 13 of the stories he originally published there (two of which, "Franny" and "Zooey" later became a novel)

The Huffington Post created a forum for people to blog about Salinger, his work, etc. The forum poses and addresses the questions "How did "Catcher in the Rye" change your life? Where were you the first time you read "A Perfect Day For Bananafish?" Who did you fall more in love with: Franny or Zooey?" It requires a log in but other projects like this that I've seen on the Huffington Post have been really interesting.

And finally, from The Onion (a satirical newspaper)...Bunch of Phonies Mourn JD Salinger
Feel free to comment on our blog as well.

Animal Farm by George Orwell

"Animal Farm" is a very peculiar, yet engaging book, and while it seems to be a story of fantasy, being based around a farm run by animals, its message is one to carry on into our own society. The story centers on a farm known as the Manor Farm, which is run by an evil and cruel man known as Mr. Jones. He mistreats the animals day in and day out, frequently getting drunk and forgetting to feed them. In the barn, the patriarch of the animals is a prize boar referred to as the Major, and he is slowly nearing his death. He decides to spread his acquired knowledge and wisdom with the farm, telling them of a time when there will be a revolution, and the animals will rule the farm and rid themselves of the humans who do nothing except cause them problems. The Major dies soon after, and the animals prepare for the revolution, only to find that it occurs sooner than expected. This leaves the manor in charge of the pigs, especially the two leaders named Snowball and Napoleon, who work to improve life on the farm and increase the standard of living. They create animalism, a new philosophy that includes seven commandments, one of which says that "All animals are equal". However, as life on the farm goes on, there are unexpected twists and turns that affect its inhabitants drastically, and tension brings about some surprising new developments...

The novel itself was written as an allegory to the Russian Revolution and the Soviet Union as a whole, as the plot and characters correlate to certain people and events of the period. However, it is really a critique on all society. It portrays a very important message, that equality will never be a realistic possibility, because while all may be equal, some may "be more equal than others". Also, it shows what happens when one individual gets too much power. The initial intentions may be good, but greed is inevitable, and the power will eventually turn them into the very thing they detest the most. It was also very interesting to see how Orwell used the idea of rewriting the past in this novel. This was a prevalent notion in his other novel, "1984", but it was shown in "Animal Farm" as well. Orwell demonstrated how using terror as a weapon, it is possible even for the past to be revised to match the present, a notion that he seemingly feels to be a huge factor in totalitarianism. Individuals can be convinced that their memories are false, as long as they are threatened, and Orwell clearly finds this point to be significant.

Overall, "Animal Farm", like "1984", is a critique on government, and also in a way a warning to the consequences of becoming mad with power.

Under the Dome

http://www.amazon.com/Under-Dome-Novel-Stephen-King/dp/1439148503/ref=sr_1_1?ie=UTF8&s=books&qid=1262660665&sr=1-1

Stephen King's Under the Dome is novel that deals with how the inhabitants of a small town in Maine try to survive after a mysterious, impenetrable dome unexplainably appears over it, blocking them off from the rest of the world. Though they can still communicate with outsiders via phones and internet, nothing can be done for their safety as citizens begin to strive for power and do anything it takes to stay alive.

The novel deals with humanity as a whole and how we define ourselves as human beings by showing the survival efforts that the people of the fictional Chester's Mill make and how all of them are justified in their own way, simply because each person is just trying to continue his or her own existence. Certain characters hold grudges from before the dome incident against other characters and then battle those same characters since they now see their enemies as legitimate threat to their own survival. Meanwhile, seemingly good people ally themselves with more evil characters when they see that those evil characters hold more power and it would be much safer to be on their side. But it isn't only that, for the main characters soon begin to see themselves as the victims of some cruel, unknown game and believe that the dome was put forth only as a form of torment, much like a group of young children would torment a small animal for fun. Once this realization is made, the novel demonstrates the paradox of being human: we're still animals and are no different from any other species. Like a colony of ants being set aflame by a magnifying glass, in our moments of helplessness most of us will do whatever it takes to survive and abandon all concern for anyone else. Through a few main characters that do end up being selfless and try to help others, King shows that in order to be human in the mental sense, we have to let go of all of our survival instincts and take the time to help those who can't survive. Otherwise, we're just like any other animal.

The Interrogative Mood by Padgett Powell

Ahh I'm sorry this is so late!!
Wow? Is this an absolutely wonderful book? Do I recommend that everyone read it? Yes?
Alright, so although The Interrogative Mood is not a quality piece of literature, it is most definitely worth reading. When I heard about this novel I was more curious than anything, simply because I had never encountered a novel comprised entirely of questions. I was not expecting the mind-opening experience it provided.
Powell's questions are not organized in any way other than when certain questions branch off into related questions or dig deeper into the original thought. Some questions are completely random and ridiculous, while some are incredibly insightful and make you feel especially alive even before you have attempted to answer them. One of my favorite ridiculous questions is "How do you stand in relation to the potato?" (Powell, 1). Then "Do you like it when people sing "Happy Birthday" to you?" (130). The previous question is one of many that made me feel a little more connected with the rest of society, because if the answer was an obvious "yes", Powell would not have asked the question, which means that I am not the only person who feels awkward when people sing them "Happy Birthday". Then there are the questions that most readers could easily write an entire essay on. A few examples are "Do you realize that people move on steadily, even arguably bravely, unto the end, stunned and more stunned, numbed and more numbed, by what has happened to them and not happened to them?" (28) and "How did we go so wrong? Wasn't there a day on earth when not every sould was possessed of his or her own petty political and personal-identity agenda?" (18). Many questions throughout the novel force the reader to truly think, and also to make confusion their friend: "Is there enough time left? Does it matter that I do not specify for what? Was there ever enough time? Was there once too much? Does the notion of "enough time" actually make any sense? Does it suggest we had things to do and could not do them for reasons other than that we were incompetents? Did we have things to do? Things better done than not? Thus, important things? Are there important things? Are we as a species rolling together the great dungball of the importantly done into itself and making thereby a better world for the dungball rollers to follow us?" (12). I found myself failing to find the answers to many of these questions, and I realized that being aware of questions you can't answer is rewarding in itself.
The Interrogative Mood also contains allusions to literature we have read, thus deepening understanding of the texts it refers to. The introduction is an excerpt from Walt Whitman's "Song of Myself", one questions asks "Is a body catching a body coming through the rye regarded a good thing or a bad thing?" (7), and another asks "Would you like to go to Pondicherry?" (57). Powell may or may not have been referring to Life Of Pi with that last question, however that was the only reason I could think of for making a trip to Pondicherry.
Although it is nothing like the literature we deal with in school, the questions that make up The Interrogative Mood cause you to question everything from yourself to your beliefs to your society. I highly recommend this novel.

Hateship, Friendship, Courtship, LOveship, Marriage by Alice Munro

Although the continuous changing of characters, stories and times may be less appealing and confusing to others, I loved Hateship, Friendship, Courtship, Loveship, Mariage by Alice Munro. Each chapter consists of a completely new story, a new main character, a women, and is taken place in a new time period then the previous. All of the stories have similar stories though, all about life, the dificulties like death and illness, mariage problems and states of sheer confusion. The fact that every chapter has new characters, new issues and problems than the last, and flops between present and past within its own story makes the book more complicated, but enjoyable. While reading i could relax and get into the book, but also had to think, and keep my mind going in order to keep up the newest women, the newest affair, death or illness.

Mimosa

Amazon Link: http://www.amazon.com/Mimosa-True-Story-Amy-Charmichael/dp/087508821X/ref=sr_1_3?ie=UTF8&s=books&qid=1262655476&sr=8-3

Over December break, I chose to read the book Mimosa. The book is written by a missionary - Amy Charmichael, and it discusses the true story of an Indian girl who chooses to defy the social standard and beliefs and begins to live a Christian life style.
I made a concious decision to read this book, even knowing that it was, perhaps, not the best 'literature.' While this could be interpretated as 'slackerish', that was not my intention. Not only was I interested in the topic, but I actually made a purposeful decision to read a book that was not as involved literature-wise as a means to compare and better understand the difference between 'literature' and 'writing'. In doing so I was able to come to better understanding what constitues a literary work.
Going off in that direction. I think its interesting to note that the book is not like any other memoir or novel I had previously read. While it was a true story it had a certain element of 'dream' in it, a sort of poetic stream of conciousness feel. The reader is neither introduced to the characters nor surroundings - but rather they are expected to gain an understanding as the events occur. In a sense, it is as if you picked up someone's diary and began to read it.
In terms of literary analysis, the book is not compleely empty. In fact, the thing that perhaps suprised me the most about this book was its parallel to our previous unit. Looking back it should have been more obvious from the beginning - the book speaks of a Christian girl in a non- Christian nation. Yet it dealt with something even slighly deeper than that. It spoke, in a sense, of her inner reconciliation. It dealt with the struggle she had - whether it was in fact, worth, the effort and time for her to go against the standards of society. I believe some of these themes came up in previous books we read, but weren't directly addressed in the same direct way - perhaps again because of the literary style.
It also addresses something that we perhaps didn't discuss as much - the idea that the struggle between the individual and society is not only timeless (as Larissa and I mentioned in our project) but also cross-cultural. In other words, many of us in 21st century USA deal with the same conflicts as Mimosa does in 20th century India. Not only do we struggle inwardly coming to terms with our own decisions, but outwardly as we suffer either praise or punishment for our own actions.
Other ideas and themes such as guilt and fear are evident in the text, as one would expect from a book which deals with struggle. However, it is also filled with provision, joy, and loyalty that comes with the reward of defiance of society. (It is evident in almost all the texts we read that to defience of society is praised).
Overall, while Amy Charmichael sometimes leaves the reader a little lost (as it occassionally lacks elaboration), I overall thoroughly enjoyed the book.

The Road by Cormac McCarthy

Amazon Link:  http://www.amazon.com/Road-Movie-Tie-Vintage-International/dp/0307476308/ref=sr_1_1?ie=UTF8&s=books&qid=1262648309&sr=8-1

Although there were aspects of the novel that i did not particularly love, overall The Road by Cormc McCarthy was enjoyable and compelling to read. As Ms. Parrish and i somewhat talked about in class today, the sentence structure is extremely simple, although the language itself is poetic and beautiful and uses unique, complex word-choice. This, i suppose, is what i did not like about the book. Sometimes i felt the short and abrupt sentences took away from the beauty of the writing itself. Then again, i think this was a deliberate choice by McCarthy as it went hand in hand with the idea being grappled with throughout the novel regarding love, hope and desperation and their ability (or inability, depending how you see it) to coexist. 

I loved the ideas and questions that the novel posed however. Because the story is of the long physical journey of a boy and his father towards the south, following a road, in search of something better, people like them, there is both a sense of hope as well as desperation which can be felt throughout the story. This gave it both a sense of optimism but also a depressing feeling of hopelessness. This father and son are building a bond, love and trust in one another as they move on towards the end of their journey and suffer through starvation, freezing temperatures and many more hardships along the way. I love depressing books, so maybe that is why it appealed so much to me, but i felt that the sadness engulfed in the happiness made the story extremely emotional and relatable. 

One paradox i just wanted to address from the novel once again is that of hope and desperation. The book made me question, does hope evolve from desperation? or desperation from loss of hope?... The entire novel the pair are searching for the light at the end of the tunnel, or the southern coast at the end of their road, yet on multiple occasions each of the two spoke of wishing for death and the appeal that death had as opposed to trudging on through the snow to the unknown. It was as if they wished for death, a stop to their heard journey, yet perhaps death was the light at the end of the tunnel, or the final desired destination and they were simply unaware of that. "Nobody wants to be here and nobody wants to leave."..."People were always getting ready for tomorrow. I didnt believe in that. Tomorrow wasnt getting ready for them. It didnt even know they were there." Both of these quotes, i feel, show the central message of ambiguity between hope and despair grappled with in this novel. 

Olive Kitteridge

Amazon link: http://www.amazon.com/Olive-Kitteridge-Fiction-Elizabeth-Strout/dp/0812971833/ref=sr_1_1?ie=UTF8&s=books&qid=1262640407&sr=8-1

Because Ms. Parrish also posted about this book, I will try to add to what was already said and not be repetitive. I liked reading Olive Kitteridge because of the complexity and realness of the characters. I agree that Strout uses subtle, and often beautiful language which makes the novel enjoyable. However, I also agree that the town of Crosby, serves as simply a setting. The foundation of the novel that connects the vast population of characters together is Olive, who is linked to each character somehow. The novel is comprised of thirteen different stories, and honestly, the majority of characters besides Olive and her family were interchangeable in my mind. If the purpose is to focus on how Olive pulls the inhabitants of Crosby together, I feel it would be more effective for Strout to describe about four or five of the different people in depth, so we could at least remember them all. I agree that the structure of the novel is unclear, and still question the purpose of the multiple stories of families within Crosby, if Crosby is not central to the novel. Why not focus on solely people that were close to Olive, regardless of where they lived?

Although Olive is a gruff, cranky old school teacher, and most are either are afraid of her or hold a grudge against her, I found myself sympathizing with Olive throughout the novel. She pushes many people away, and suffers from this. She is truly a complex character, and I don't know if I am supposed to understand her, or if Strout wanted to leave her identity open for interpretation. However, I do know that she is capapble of being a heartfelt person. I would recommend this book solely because Olive's story is interesting and complex, but I cannot say that I enjoyed the content of the novel where she wasn't closely connected to the character's lives.

Catch-22

Amazon Link: http://www.amazon.com/Catch-22-Joseph-Heller/dp/0684833395

Catch 22 by Joseph Heller based on the second half of World War II. It actually took me quite a while to get into the plot, because it involves a lot of military terms and tactics that I had to look up so that I could understand what exactly I was reading about. However, once I reached about the halfway point of the book, I really started to enjoy it, and I would definitely recommend it to others in our class.

The book is told from different points of view, and this made it a little confusing to read. The majority of the plot is told from the view of Yossarian, the main character. I really didn't like Yossarian at first because he was so odd, but I found that he is actually a very entertaining character to read about. Yossarian is afraid of dying, and he believes that dying in a war fighting for your country is just about the worst way to die. The text is in third person, and it's almost satirical- I found myself laughing out loud a few times at what I was reading. Heller describes the war in a seemingly light mannerin the first part of the book, but in the second half, he reveals the terrors and hardships of war. There is rape, murder, a great number of deaths everyday, and of course the terrible feeling that you are going to die everyday, not to mention the fact that your friends and comrades are dying daily. By the end of the book, Yossarion refuses to fly anymore missions, because he is upset by the death of one of his dear friends. He is then forced to face a court appearance, or simply be sent home with honorable mention. What he decides to do is interesting indeed, and crucial to understanding the morals issued throughout the novel.

Then of course there is the Catch. Catch-22 that is. The Catch-22 is mentioned a few times throughout the book, and each time it is described differently-of course this leads to confusion. It is ultimately a law of paradox and circular reasoning- if a victim is found being illogical, they can be punished for it. The first time it is mentioned, Yossarian (looking for a way out of a bombing) declares that he is insane, but is told that according to Catch-22 he is actually sane by saying that, because of course he would want to save himself from going out on a mission. the second time it states that it is illegal to read-and where is this law found? Why in the writing of the Catch of course! which would involves reading. The last time the Catch is mentioned, it is defined as a law that states that anything a soldier can't prevent the enemy from doing is allowed. What to think of all of this...

I think that overall, the book was a great read and really interesting, but you definitely have to have patience when you're starting it-it will get better! A note on the author's craft- I thought that the telling from different points of view, but yet from one outsider's view was really clever and it certainly made the plot more interesting, even if it was more confusing at the same time. The flashbacks that Heller included helped to explain events that he mentioned previously in the text, and each chapter is titled with either the name of a person, a battle, or a place that is involved in the plot. There are so many different characters that it's at time hard to keep track of them, but they all certainly add to the different levels of what was going on in the text.

p.s. keep in mind that when you are a man in the army, about to die, you are going to be craving sex, apparently all of the time...that's involved a lot in the text (which I didn't know when I picked it out!) The whores in Rome are important characters, even though they sound unimportant. But they are...

The Secret Life of Bees

For my outside reading assignment for December break, I chose to read 'The Secret Life of Bees" written by Sue Monk Kidd. The book was a phenomenal pick and I am guessing that several of you have already read it, because it has been on the New York Bestseller's list for a substantial amount of time.

With its complex arguments and conflicts, "The Secret Life of Bees" demonstrates the burdened lifestyle young Lily Owens, must encounter each and every day. At age four years old, Lily Owens kills her mother in an accidental shooting. Throughout the novel, we experience Lily's journey as she searches for love and compassion that was lost along with her mothers' life. Interestingly enough, the only compassion Lily finds is when she is with her African caretaker Rosaleen and when she runs away from her father with Rosaleen and comes across three African women who are bee keepers and live in a pink house. Lily is forced to make a decision between being loved while shunned because she is a white girl living in a house full of African women, or return home to her father where happiness ceases to exist.

Throughout the novel, Lily finds comfort and strength through religion and bees. Kidd uses these small insects that usually represent fear and panic and instead demonstrates the support these tiny creatures hold for Lily.

http://www.amazon.com/Secret-Life-Bees-Monk-Kidd/dp/0143114557/ref=sr_1_1?ie=UTF8&s=books&qid=1262562782&sr=8-1

Sherlock Holmes

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The Adventures of Sherlock Holmes
Sherlock Holmes: The Movie

Holmes never said, “Elementary, my dear Watson”.

The name “Sherlock Holmes” has become one of the most recognizable names in all of history, ranking up there with “Shakespeare”, transcending the name of a single person to become an honored title, withstanding the test of time. There are myriad books, stories, and even movies that deal with the revered detective, so “reading Sherlock Holmes” turned out to be a difficult task. At last, I settled upon a book that presented 12 of Sir Doyle’s stories (the original Adventures):

1. A Scandal in Bohemia
2. The Red-Headed League
3. A Case of Identity
4. The Boscombe Valley Mystery
5. The Five Orange Pips
6. The Man with the Twisted Lip
7. The Adventure of the Blue Carbuncle
8. The Adventure of the Speckled Band
9. The Adventure of the Engineer's Thumb
10. The Adventure of the Noble Bachelor
11. The Adventure of the Beryl Coronet
12. The Adventure of the Copper Beeches

Each of these stories is told by an aging Watson, looking back on his notes for each respective case and detailing how his partner managed to solve each and every case using little else but his lens and his brain. The art lies in the way that Doyle manages to challenge the reader – almost taunting us. He warns us to not speed read, or else Holmes will once again show us up. Whether it is something as seemingly trivial as a cane knocking against the pavement (Red-Headed League), or something as blatantly obvious as a hanging rope (Speckled Band), Doyle has the gift to present to the reader all of the details, yet still leave us in the dark.

Ultimately, what Doyle accomplishes is revolutionary – teaching incompetent detectives and people a thing or two about crime and even life itself. Don’t rush through just for the sake of getting through, lest you be bested by others more careful and introspective. This is definitely recommended for anyone who likes to live life in the fast lane as a guide to slowing down and still living an exciting life and is a necessity for those aspiring to be crime detectives.

Also, a note on Holmes' character: it seems that society has been all too kind to Sherlock Holmes. He was truly a jerk and a druggie, albeit an intelligent one. Whether he be "alternating from week to week between cocaine and ambition", or his speaking in condescending manners to Watson.

An American Childhood- Annie Dillard

An American Childhood is Annie Dillard's memoir of growing up in Pittsburgh in the 1950's. I read this book because I had been rampant in thought and engrossed and emotionally invested in Catcher and its themes, and had loved the discussion- I didn't feel ready and simply did not want to leave Catcher in the dust. Here I found a novel that promised a complete and reliable account of growing up (she explores every phase- beginning at 5 and ending when she is getting ready to leave Pittsburgh at 17) that was sure to touch on Catcher ideas ( becoming awake, truth, illusion, leaving childhood etc.) and also come from a truly remarkable and insightful voice, as Annie Dillard's work has always seemed to me.

Dillard tells the story of her childhood "interior life" through a sharp and observant lens that combines her childhood personality and perspective of the time with ominous insight that comes from looking back as an adult. The experiences she recalls are perhaps universal and unremarkable in terms of what childhood is (filling the gaping holes of boredom with imagination: inventing games and ideas, playing in the woods, being with friends, being alone, reading and learning and exploring that knowledge in the real world- She was more intelligent than I am now in many ways at only 9 years old, reading books about insects and birds and rocks and butterflies and adventuring to explore them in the real world, identify them, collect them, explain them as an expert...) but she somehow takes the ordinary and turns all of her experiences into remarkable comments on life. Ultimately, (although it may sound cheesy or cliche) I think the novel celebrates just living life, curiosity, and the wonders of the world- what life has to offer- how we perceive those possibilities as we are young and when we become older, what nature and history and the world can be, the vastness of exploration. She is close to concluding the novel when she writes, "And still I break up through the skin of awareness a thousand times a day" (250). The novel begins when she is 5 and bewildered and entranced by life, and I think it ends in the same way.

I love this book and I know I will revisit it frequently. I do think it is the kind of novel that you can read again and again and at different times discover something new and extraordinary in every read (I feel that I have only absorbed a mere fraction of the books depth in this week), or just purely enjoy it every time, if only to put it down marveling at Annie Dillard as an author herself. While the childhood stories she tells may seem light and unremarkable, the ideas and the insight that come with them seemed to me as profound and heavy, and at times I had to put it down in order to really absorb what she was saying and consider what I thought of it. If anything, her prose give you everything to think about.

Annie Dillard's language in this book is so beautiful and spirited that I found myself reading slower and slower as I went. Her story is the "American Childhood" and I think that most everyone will see a piece of their childhood reflected in hers, or a piece of her anywhere from innocence to adolescence inherent in themselves. The New York Times comments on this book, Annie Dillard is one of those people who seem to be more fully alive than most of us, more nearly wide awake than a human being generally gets to be". This is exactly what the book is like. If nothing else, I would genuinely want to read any and every book that entails being told a story from a like perspective.

Amazon Link: http://www.amazon.com/American-Childhood-Annie-Dillard/dp/0060915188

The Unbearable Lightness of Being by Milan Kundera

Amazon link: http://www.amazon.com/Unbearable-Lightness-Being-Milan-Kundera/dp/0060932139

I thought about how I would summarize the novel but I decided that it was pretty much impossible to really give this novel a summary, so I’ll just tell you the fundamentals of the story and just trust that you understand. Basically it is about these four people and their tangled, intricate relationships with one another in a time where the world is fighting against each other. However, through these four characters Kundera portrays his philosophy of life. Thus, the novel becomes not very plot based but more involved in the workings of the mind and society—especially in the ideas of lightness and weight.
The thing that ultimately prompted me to choose this novel was its title. It just seemed so poetical and almost dream-like that I couldn’t resist. Thankfully, the rest of the text followed the title perfectly. Kundera is able to craft a novel on the basis of beautiful, yet horrifying dreams and thoughts, and trigger many emotions and explain many phenomena through his use of striking language.
My one complaint of this novel would be that Kundera is too forward with his interpretations of his characters. I can see how Kundera is exploring his characters and philosophies whilst writing the novel and that his statements of what each action means is just him trying to find the answers himself but, I wish that not all his interpretations would be in the text but rather subtly inserted so that it can be left up for interpretation.
The novel was very thought-provoking and ultimately I believe that Kundera creates a novel that I look at as a masterpiece. I would not however recommend this to everyone. One who reads this novel I believe has to be patient since it is not very plot oriented but rather more focused on the complex ideas of the individual and society. Kundera contradicts the traditional, clear, organized form of a novel and instead crafts a book that acts almost as a record of the stream of consciousness for four characters, with the occasional statement by the author (which reminds us that these characters are rather a continuation of the thoughts that are in his mind).

The Green Mile (from Greg)

Greg's account was not working so I'm posting it for him:


Amazon Link
http://www.amazon.com/Green-Mile-Six-Box-Set/dp/0451933028/ref=pd_rhf_p_t_1

The Green Mile By Stephen King

With a mix or brutal tragedy and sophisticated details, The Green Mile by Stephen King will remain one of my favorite books of all time. Set on "death row" in a 1930's prison (Cold Mountain Penitentiary), the story depicts both the miraculous and tragic events that surround one man, John Coffey, one of the rows temporary residents. The story told by Paul Edgecomb, the wings head honcho prison guard, who is reflecting on it some decades later from his own "death row". While the story will undoubtedly stretch your most innermost beliefs, it will do so in a way that is both memorable and emotional. You will be attached both emotionally and physically from cover to cover and beyond.

Another notable aspect of the story is the fact that it deals entirely with the conflicts between individuals and society, as well as individuals with themselves. I suppose that this story is as much a tool of education as it is a tool to provoke thought. Like in Mrs. Parrish's book, the characters were, for the most part, very realistic (you'll understand the "for the most part", after you've read it). One character in particular, Percy Whitmore, is the most dislikable human being I have ever been forced to acknowledge. This is the same for his counterpart, Brad Dolan, who is easily as dislikable if not more so in the end of the story. John Coffey on the other hand, couldn't be more likeable and human despite his gifts. What are these? You ask. You will just have to read to find out.

Treatise On Harmony by Jean-Philippe Rameau

Amazon Link: http://www.amazon.com/Treatise-Harmony-Jean-Philippe-Rameau/dp/0486224619/ref=sr_1_1?ie=UTF8&s=books&qid=1262553110&sr=8-1

As any student of musical composition will tell you, Rameau's Treatise On Harmony is one of thee most important books in the history and development of Western Music. The Treatise was originally published in 1722, during the late Baroque era in which galant-like--chordal (homophonic) melodies that worked to better distinguish the harmonic structure of a piece--pieces were beginning to be introduced. What made Rameau's first Treatise so significant during this period was his introduction of concepts such as that the triad is the most fundamental element in harmony, all melody is rooted in harmony (although this is not to be taken too seriously as Rameau makes it clear that this rule is based more on musical expression rather than the practice of composition), the tonic chord and the dominant chord are necessities in functional, tonal harmony, and chordal inversion in chordal succession that would become the basis of harmonic structure and theory for the next two hundred years.

The Treatise is separated into four books; the first contains mathematical explanations and "proof" of the concepts that Rameau goes on to explain in the other books. The second book is by far the most important and controversial as it explains many of the concepts I previously mentioned and serves as the basis for all tonal harmony. Book Three takes what was explained in previous books and demonstrates how to use such techniques in the practical method of composition. The last book is merely (and I do mean "merely") a practical guide to accompaniment on the harpsichord or organ which contains chapters such as "On how to find Chords on the Keyboard" and then some discussion on reading a figured bass.

The translation from French to English by Philip Gossett makes this book palatable seeing that Rameau's prose is dense, contains errors in syntax and is repetitious and disorganized. Gossett, without taking too much liberty over Rameau's language, makes most of the Treatise easy to understand given that one understands the concepts being explained. However, the first book is extremely difficult to comprehend, even in translation. Acknowledging that this is a result of Rameau's lack of ability to articulate the concepts, Gossett provides a section in the Translator's Introduction in which he explains the fundamentals of Rameau's mathematics and although he himself admits that "In several cases I have not been completely satisfied that I have understood Rameau's meaning, even after consultation with other scholars", I found Gossett's explanation of the basis of Rameau's mathematics to been incredibly helpful (and I'm awful at math so take my word that the math is really only elementary level algebra). Gossett provides his own notes as well as Rameau's notes from the originally included supplementary that prove to be extremely helpful in understanding the text as a whole. Despite the lack of organization of the text--which is accountable to Gossett's own discretion as not to stray too far from the original form of the text--I truly believe that this is the best translation available.

If you are interested in this book, however, I must warn you that it is not a great source to learn compositional techniques and theory from. I would never suggest this book to a beginner; even though the third book provides an adequate explanation of basic theory and voice-leading, I would argue not only that some of Rameau's theories are blatantly false (such as his modal theories and theories concerning the ninth chord) because of the lack of experience with those theories at the time, but that learning theory and composition is not the purpose for this book (not in this time period at least). Rather, one should read this book with at least a basic knowledge of Guidonean and later Medieval music--history and theory--and should have a firm understanding of modern compositional theory as not to be confused by Rameau's arguments. If one has such knowledge, this book's historical significance is more than clear and invites multiple re-readings in an attempt to truly understand the basis of Rameau's theoretical genius. I know I will be forever returning to this text.

Olive Kitteridge by Elizabeth Strout

Amazon link

I had been meaning to read Olive Kitteridge for a long time. It is a novel comprised of inter-connected short stories that all concern, at least indirectly, Olive Kitteridge, a somewhat gruff, aging (by the end of the novel retired) middle school math teacher. The novel reminded me a bit of Sherwood Anderson's Winesberg, Ohio in that the town itself is perhaps as much of a character as it is a setting.

I think that what Strout does with the town and with Olive, the only character to appear in each story, is interesting, but I'm a little bit wary of the structure of the novel and the potential it has to be gimicky. I found myself wondering how, if at all, the novel was better served being told in short stories through a variety of limited-3rd person points of view. If Strout's aim was to make the novel about the town (rather than, say, about Olive) or about the process of aging, settling, redefining expectations in old age, then the stories could potentially reveal things that a more traditional narrative couldn't. On reading the novel once, however, I am not convinced that the town of Crosby IS central to the novel in any way other than as the setting.

Ultimately, the characters were subtle and felt real (especially Olive who I found realistically unlikeable) but to me the tone was also a bit sanctimonious. Whether this was deliberate in the author's attempt to make every aspect of the text (including language, perhaps) sharpen our understanding of Olive was not clear to me. I would not put this on the top of a list for all of you, though I absolutely found the writing itself to be clean, thoughtful, even beautiful at times.

Ellen Foster

Amazon link: www.amazon.com/Ellen-Foster-Kaye-Gibbons/

Ellen Foster is a book written by Kaye Gibbons and involves a young girl named Ellen whos mother dies and father is an abusive alcoholic. Once her father dies, Ellen is orphaned and is tossed from foster home to foster home, while she is hoping to achieve a new beginning and new identity. This book is similar to The Catcher in the Rye in many ways- through diction, word choice, plot and personal voice, Ellen is very similar to Holden. Gibbons' novel explores many complexities of Ellen's character but articulates them in a way that makes the audience believe these thoughts and emoitions are coming from an eleven year old girl. Overall, this book was enjoyable, and I would reccommend it to others in our class. Having read Catcher in the Rye prior to this book, I was able to make many connections and similarities that I would have otherwise overlooked.

-Kara