Lit/Prof
"Spring"--Charles Simic
This poem by Charles Simic is representative of Foster’s ideas of seasons and how they affect literature. According to his beliefs (and many other people) whenever we think of spring we think of new life and peace, summer as romance, fall as harvest and tiresome and winter as death. This approach to the seasons is common in literature; whenever a story is set in the summertime there is a chance that it will involve some romance and if it is based in the winter there may be a hint of dismay. Authors stick to what is known by all readers instead of trying to persuade them to change their beliefs, but this is not to say there has never been a new beginning of life in the middle of autumn.
“Spring” starts out with exactly what the title is all about: what most people think when they say spring. The snow is melting, the birds are getting ready for a change in weather, and life is once again starting (the older women outside). The women hanging up the shirt on the line is symbolic of a fresh new start which is often a characteristic of spring. Then the poem continues with how the woman’s dress is lifted off of her and all she can do is laugh. This emotion is very expressive of spring, this easiness and virtue that can only be explained by the beginning of a new and lively season.
The way I interpret the poem is that the snow melting and the women’s dress rising off of her are both symbols of taking off all the layers of winter, shedding the gruesome film of the season past and opening the earth for a new beginning. I also think that the lifting of the dress could be interpreted differently. The night dress could directly represent winter itself, by her walking out in her nightdress and it merely being taken off of her it is like she is stripped of winter. It is the world’s way of saying that winter is over in an indirect context.
This chapter proves that season can alter the entire mood of a story and can transform a poem about a man’s visual into a representation of spring.
Wednesday, June 30, 2010
Interlude:One Story
Foster's Ideas
“One of our great storytellers, country singer Willie Nelson, was sitting around one day just noodling on the guitar, improvising melodies he’d never written down, never heard in quite those forms. His companion, a nonmusician whose name I forget, asked him how he could come up with all those tunes. ““They’re all around us,” old Willie said. “You just reach up and pick them out of the air.”” Stories are like that, too. That one story that has been going on forever is all around us. We- as reader or writers, tellers or listeners- understand each other, we share knowledge of the structures of our myths, we comprehend the logic of symbols, largely because we have access to the same swirl of story. We have only to reach out into the air and pluck a piece of it.” (pg 192)
In this chapter Foster goes back to a previous idea mentioned in the book about all literature and stories being compiled into one story. This idea of one story and intertextuality is the focus of this chapter as he goes more in depth about how in some way or another everything connects.
In this chapter Foster acknowledges the fact that from a young age readers can relate one piece of literature to another. This is the same for writers. Like most of us they grew up reading poetry and reading fairy tales and famous short stories, so when it comes time to writing they have to block this remembrance in order to be somewhat original. Sometimes this is a subconscious action that is fairly easy for writers to do but other times they consciously have to push things out of their memory in order for their own original ideas to burst through. In this way Foster explains that because writers (and all of us for that matter) are prone to recall the events that are familiar or common to them an overlap in ideas is inevitable.
In this quote he continues to back up his idea of “one story” by relating it to music. Literature and music have a lot in common: every song in one way or another is connected. Whether it be through lyrics or rhyme or rhythm in some way or another they all intertwine. Nelson makes a good point by stating that all the tunes are out there it’s just how you interpret them that changes from song to song. The same with literature: all the subjects and topics and characters are out there its just how the author chooses to portray his or her picture that changes each novel, poem, fairy tale, and short story.
“One of our great storytellers, country singer Willie Nelson, was sitting around one day just noodling on the guitar, improvising melodies he’d never written down, never heard in quite those forms. His companion, a nonmusician whose name I forget, asked him how he could come up with all those tunes. ““They’re all around us,” old Willie said. “You just reach up and pick them out of the air.”” Stories are like that, too. That one story that has been going on forever is all around us. We- as reader or writers, tellers or listeners- understand each other, we share knowledge of the structures of our myths, we comprehend the logic of symbols, largely because we have access to the same swirl of story. We have only to reach out into the air and pluck a piece of it.” (pg 192)
In this chapter Foster goes back to a previous idea mentioned in the book about all literature and stories being compiled into one story. This idea of one story and intertextuality is the focus of this chapter as he goes more in depth about how in some way or another everything connects.
In this chapter Foster acknowledges the fact that from a young age readers can relate one piece of literature to another. This is the same for writers. Like most of us they grew up reading poetry and reading fairy tales and famous short stories, so when it comes time to writing they have to block this remembrance in order to be somewhat original. Sometimes this is a subconscious action that is fairly easy for writers to do but other times they consciously have to push things out of their memory in order for their own original ideas to burst through. In this way Foster explains that because writers (and all of us for that matter) are prone to recall the events that are familiar or common to them an overlap in ideas is inevitable.
In this quote he continues to back up his idea of “one story” by relating it to music. Literature and music have a lot in common: every song in one way or another is connected. Whether it be through lyrics or rhyme or rhythm in some way or another they all intertwine. Nelson makes a good point by stating that all the tunes are out there it’s just how you interpret them that changes from song to song. The same with literature: all the subjects and topics and characters are out there its just how the author chooses to portray his or her picture that changes each novel, poem, fairy tale, and short story.
Chapter 19:Geography
Foster's Ideas
“First, think about what there is down low or up high. Low: swamps, crowds, fog, darkness, fields, heat, unpleasantness, people, life, death. High: snow, ice, purity, thin air, clear views, isolation, life, death. Some of these, you will notice, appear on both lists, and you can make either environment work for you if you’re a real writer. Like Hemingway. In “The Snow of Kilimanjaro” (1936) he contrasts the leopard, dead and preserved snow on the peak, with the writer dying of gangrene down on the plain. The leopard’s death is clean, cold, pure, while the writer’s death is ugly, unpleasant, horrible. The final result may be the same, but one is so much less wholesome than the other.” (pg 173/74)
This passage from the book uses many descriptive words to describe location. By giving numerous examples of both high and low Foster stresses the significance of geography in a book and proves why they are of key importance. While low and high represent physical location it also can mean emotion or feeling. Foster proves that emotion can be involved with his examples such as “life”, “death”, and “unpleasantness.” While this is a generalization of these words it helps for the reader to interpret what the author intended when he talks about geography.
In “The Snow of Kilimanjaro”, Hemingway shows a contrast between two deaths with the use of both emotion and location. The leopard’s death is high, which is associated with cold (snow peak) and pure because he is softly covered by a snow blanket. The writer’s death however, is low which is associated with unpleasantness and the fact that the cause of death was gangrene makes the experience even more repulsive. This is a good example of how location is significant in literature and that the terms that Foster listed as a reference for low and high is known by all authors.
I think this idea of geography will further my understanding of literature. This just proves that sometimes the plot is more significant than perceived. There is a reason behind every story line and a reason behind every location that the author chooses.
In “The Scarlet Letter”, geography plays a vital role in how the novel is distinguished. The book takes places in a New England colony where the government and people were often seen as corrupt. This location allows for interpretation of the place as a whole instead of just the actions by the characters. A different location might suggest different appeals or a change in character personality and may alter the importance of the novel.
Foster proves in this chapter that geography helps to set the tone of the book and may alter the results. A murder in Virginia during the Great Depression may be different than a murder in South Carolina during the same time period. He also proves that geography can be more than just a certain location, it can be up or down or in this case high or low.
“First, think about what there is down low or up high. Low: swamps, crowds, fog, darkness, fields, heat, unpleasantness, people, life, death. High: snow, ice, purity, thin air, clear views, isolation, life, death. Some of these, you will notice, appear on both lists, and you can make either environment work for you if you’re a real writer. Like Hemingway. In “The Snow of Kilimanjaro” (1936) he contrasts the leopard, dead and preserved snow on the peak, with the writer dying of gangrene down on the plain. The leopard’s death is clean, cold, pure, while the writer’s death is ugly, unpleasant, horrible. The final result may be the same, but one is so much less wholesome than the other.” (pg 173/74)
This passage from the book uses many descriptive words to describe location. By giving numerous examples of both high and low Foster stresses the significance of geography in a book and proves why they are of key importance. While low and high represent physical location it also can mean emotion or feeling. Foster proves that emotion can be involved with his examples such as “life”, “death”, and “unpleasantness.” While this is a generalization of these words it helps for the reader to interpret what the author intended when he talks about geography.
In “The Snow of Kilimanjaro”, Hemingway shows a contrast between two deaths with the use of both emotion and location. The leopard’s death is high, which is associated with cold (snow peak) and pure because he is softly covered by a snow blanket. The writer’s death however, is low which is associated with unpleasantness and the fact that the cause of death was gangrene makes the experience even more repulsive. This is a good example of how location is significant in literature and that the terms that Foster listed as a reference for low and high is known by all authors.
I think this idea of geography will further my understanding of literature. This just proves that sometimes the plot is more significant than perceived. There is a reason behind every story line and a reason behind every location that the author chooses.
In “The Scarlet Letter”, geography plays a vital role in how the novel is distinguished. The book takes places in a New England colony where the government and people were often seen as corrupt. This location allows for interpretation of the place as a whole instead of just the actions by the characters. A different location might suggest different appeals or a change in character personality and may alter the importance of the novel.
Foster proves in this chapter that geography helps to set the tone of the book and may alter the results. A murder in Virginia during the Great Depression may be different than a murder in South Carolina during the same time period. He also proves that geography can be more than just a certain location, it can be up or down or in this case high or low.
Chapter 18:Baptism
Foster's Ideas
“It’s a little like Tolstoy says at the beginning of Anna Karenina about families: All happy families are the same, but every unhappy one has its own story. The rebirths/baptisms have a lot of common threads, but every drowning is serving its own purpose: character revelation, thematic development of violence or failure or guilt, plot complication and denouement.” (pg 161)
This quote says a lot about this chapter and how Foster interprets a reader’s action when it comes to drowning versus baptism. He makes it clear that although the only difference between baptism and drowning is whether or not “she comes up” the intentions behind the actions are far from alike.
In this chapter he introduces baptism as something beyond the religious realm and gives a whole new perspective of the meaning of water in literature. Even if character steps in a puddle of water it can be symbolic for something. Writers often times use water as a symbol of cleansing the spirit or body or as a way for the character to start life anew: hence rebirth or baptism. While stepping in a puddle may not be as life altering as almost drowning it represents a stepping stone to the ultimate change, like in the novel Song of Solomon.
In this chapter though, he doesn’t focus on baptism as much as he does death and drowning. Sometimes the unpleasant events that take place in a story play a more significant role than the joyous ones. Drowning can signify the ending of a conflict, the beginning of internal conflict, self inflicted from guilt, or other things but the action is not as significant as the response to the action. That’s why he phrased the quote the way he did when you think of rebirth you may think of a new life, new beginning, hope, desire, all generally similar ideas, but when you think of drowning there are many scenarios that may change your opinions. While rebirth is change for the better drowning could be: a good thing, a bad thing, an accident, the best thing, an accidental thing, or an action done on purpose. Just like “unhappy families”, drowning raises many questions and sometimes the reason or answer to the problem is uncertain.
Foster tries to prove to the reader that sometimes the most significant events are the ones we can’t explain, the ones that need no explanation. Dysfunctional families are more complex than functional ones just as drowning is more inexplicable than baptism.
“It’s a little like Tolstoy says at the beginning of Anna Karenina about families: All happy families are the same, but every unhappy one has its own story. The rebirths/baptisms have a lot of common threads, but every drowning is serving its own purpose: character revelation, thematic development of violence or failure or guilt, plot complication and denouement.” (pg 161)
This quote says a lot about this chapter and how Foster interprets a reader’s action when it comes to drowning versus baptism. He makes it clear that although the only difference between baptism and drowning is whether or not “she comes up” the intentions behind the actions are far from alike.
In this chapter he introduces baptism as something beyond the religious realm and gives a whole new perspective of the meaning of water in literature. Even if character steps in a puddle of water it can be symbolic for something. Writers often times use water as a symbol of cleansing the spirit or body or as a way for the character to start life anew: hence rebirth or baptism. While stepping in a puddle may not be as life altering as almost drowning it represents a stepping stone to the ultimate change, like in the novel Song of Solomon.
In this chapter though, he doesn’t focus on baptism as much as he does death and drowning. Sometimes the unpleasant events that take place in a story play a more significant role than the joyous ones. Drowning can signify the ending of a conflict, the beginning of internal conflict, self inflicted from guilt, or other things but the action is not as significant as the response to the action. That’s why he phrased the quote the way he did when you think of rebirth you may think of a new life, new beginning, hope, desire, all generally similar ideas, but when you think of drowning there are many scenarios that may change your opinions. While rebirth is change for the better drowning could be: a good thing, a bad thing, an accident, the best thing, an accidental thing, or an action done on purpose. Just like “unhappy families”, drowning raises many questions and sometimes the reason or answer to the problem is uncertain.
Foster tries to prove to the reader that sometimes the most significant events are the ones we can’t explain, the ones that need no explanation. Dysfunctional families are more complex than functional ones just as drowning is more inexplicable than baptism.
Thursday, June 24, 2010
Chapter 12: Symbolism
"Here’s the problem with symbols: people expect them to mean something. Not just any something, but one something in particular. Exactly. Maximum. You know what? It doesn’t work like that. Oh sure, there are some symbols that work straightforwardly: a white flag mean, I give up, don’t shoot. Or it means, We come in peace. See? Even in fairly clear-cut case we can’t pin down a single meaning, although they’re pretty close. So some symbols do have a relatively limited range of meanings, but in general a symbol can’t be reduced to standing for only one thing."
Foster explains here a common misconception with symbols, people rely on the fact that a symbol always means one thing, but this is not the case. In everyday life people see what we call symbols like rainbows after it rains or a white flag (which is mentioned in the text) and assume that they can connect the meaning of those symbols to symbols in general. But symbols in literature differ greatly from what we see in everyday life. In novels or short stories authors use symbols to explain things without coming out and saying it. This is a way to allow the audience to bond with the author because they make a personal connection with the book. A symbol in writing is unique because, like suggested by Foster; it can be perceived in many different ways depending on a person.
Once again the Scarlet Letter is a great book to refer to when speaking of symbols. From as simplistic as the letter A on her chest to how her daughter’s attitude is reflective of her bad decisions making the punishment so much harder. The book is filled with religious symbols and little details that make when understood make the book so much more enjoyable.
Sometimes symbols in writing are not noticed by the reader because they cannot relate to a topic or may feel a different way. Other times when a symbol is spotted it can fluctuate from person to person because of experience or knowledge gained in everyday life.
While there are sometimes when a symbol is interpreted different ways by the reader there are also times when a symbol is interpreted different ways by the writing. Symbols can have multiple purposes and the author may be flexible to how it is interpreted. Foster stresses in this chapter (and others) while symbols play a significant role in text if readers do not catch on to these inside relations that the literature may still be enjoy or understood without it. While comprehending the main objective of the author is imperative some could read without analyzing and still appreciate the meaning of the text.
Foster tries to make a point that while outside of literature symbols can stand for one and only one thing, when reading a text the way the reader interprets something can vary. Don’t read a book to get the same out of it as everyone else, read a book to make connections that someone else has yet to make.
Foster explains here a common misconception with symbols, people rely on the fact that a symbol always means one thing, but this is not the case. In everyday life people see what we call symbols like rainbows after it rains or a white flag (which is mentioned in the text) and assume that they can connect the meaning of those symbols to symbols in general. But symbols in literature differ greatly from what we see in everyday life. In novels or short stories authors use symbols to explain things without coming out and saying it. This is a way to allow the audience to bond with the author because they make a personal connection with the book. A symbol in writing is unique because, like suggested by Foster; it can be perceived in many different ways depending on a person.
Once again the Scarlet Letter is a great book to refer to when speaking of symbols. From as simplistic as the letter A on her chest to how her daughter’s attitude is reflective of her bad decisions making the punishment so much harder. The book is filled with religious symbols and little details that make when understood make the book so much more enjoyable.
Sometimes symbols in writing are not noticed by the reader because they cannot relate to a topic or may feel a different way. Other times when a symbol is spotted it can fluctuate from person to person because of experience or knowledge gained in everyday life.
While there are sometimes when a symbol is interpreted different ways by the reader there are also times when a symbol is interpreted different ways by the writing. Symbols can have multiple purposes and the author may be flexible to how it is interpreted. Foster stresses in this chapter (and others) while symbols play a significant role in text if readers do not catch on to these inside relations that the literature may still be enjoy or understood without it. While comprehending the main objective of the author is imperative some could read without analyzing and still appreciate the meaning of the text.
Foster tries to make a point that while outside of literature symbols can stand for one and only one thing, when reading a text the way the reader interprets something can vary. Don’t read a book to get the same out of it as everyone else, read a book to make connections that someone else has yet to make.
Chapter 11: Violence
Foster's Ideas
"It's nearly impossible to generalize about the meaning of violence, except that there are generally more than one, and its range of possibilities is far larger than something like rain or snow. Authors rarely introduce violence straightforwardly, to perform only its one appointed task, so we ask questions...The answers may have to do with physchological dilemma, with spiritual crises, with historical or social or political concerns. Almost never, though, are they cut-and-paste, but they do exist, and if you put your mind to it, you can usually come up with some possibilities."
In this chapter Foster helps readers to further analyze why an author would use violence in a piece of literature. Sometimes authors use violence to prove a point, to get rid of a character, to cause a problem, to solve a problem, or to further a pattern of violent writing. Often times violence is the answer in literature for writers when they want a shift: whether it be shift of tone or a shift in the climax.
As a reader we should question violence in literature by asking questions about why the author would want a character dead or why they chose this method over that one. By confronting these questions we get a better knowledge of what the author was trying to prove and we can better connect with the actuality of the characters.
One book that comes to mind when I think of violence is "The Great Gatsby". From the death of Myrtle to the death of Gatsby, as a reader you begin to question why Fitzgerald would eliminate one of his main characters so near to the end of the book. But the sudden death of Gatsby is a way for Fitzgerald to end the complex relationship shared by Daisy and Gatsby. Also, the series of events helps to support the hidden theme of the book which is about the corrupt American life during the time period.
Another author that is famous for his use of violence is Shakespeare. Many of his plays focus around the use of violence but sometimes the reasoning behind his use of violence is unknown. Without it his playwrights and stories would not hold the same dramatic effect on the reader as they do now.
This quote from Foster proves that sometimes violence isn't even explainable by the authors. But most of the time if we as readers look at the series of events and context then we may be able to decipher the explanation behind the use of violence.
"It's nearly impossible to generalize about the meaning of violence, except that there are generally more than one, and its range of possibilities is far larger than something like rain or snow. Authors rarely introduce violence straightforwardly, to perform only its one appointed task, so we ask questions...The answers may have to do with physchological dilemma, with spiritual crises, with historical or social or political concerns. Almost never, though, are they cut-and-paste, but they do exist, and if you put your mind to it, you can usually come up with some possibilities."
In this chapter Foster helps readers to further analyze why an author would use violence in a piece of literature. Sometimes authors use violence to prove a point, to get rid of a character, to cause a problem, to solve a problem, or to further a pattern of violent writing. Often times violence is the answer in literature for writers when they want a shift: whether it be shift of tone or a shift in the climax.
As a reader we should question violence in literature by asking questions about why the author would want a character dead or why they chose this method over that one. By confronting these questions we get a better knowledge of what the author was trying to prove and we can better connect with the actuality of the characters.
One book that comes to mind when I think of violence is "The Great Gatsby". From the death of Myrtle to the death of Gatsby, as a reader you begin to question why Fitzgerald would eliminate one of his main characters so near to the end of the book. But the sudden death of Gatsby is a way for Fitzgerald to end the complex relationship shared by Daisy and Gatsby. Also, the series of events helps to support the hidden theme of the book which is about the corrupt American life during the time period.
Another author that is famous for his use of violence is Shakespeare. Many of his plays focus around the use of violence but sometimes the reasoning behind his use of violence is unknown. Without it his playwrights and stories would not hold the same dramatic effect on the reader as they do now.
This quote from Foster proves that sometimes violence isn't even explainable by the authors. But most of the time if we as readers look at the series of events and context then we may be able to decipher the explanation behind the use of violence.
Wednesday, June 23, 2010
Chapter 9: Greek Myths
Lit/Prof
"Landscape With the Fall of Icarus"
Foster starts out this chapter by stating that myth is a word that is commonly misinterpreted. Whenever we think of myths we think of Greece and Rome and gods and goddesses. But instead he establishes that recent subjects of discussion such as Shakespeare, the Bible, and fairy tales are all considered myths. But back to Greek mythology he talks about how that is the most universal description of a myth and evidence is everywhere, from the names of schools to the names of cities we will always have a little bit of Greek mythology in the United States.
This poem is about the Greek myth of Icarus who is a young boy who is defiant towards his father which results in his death at sea. Both this poem and Musee des Beaux Arts is an interpretation of a picture that was created about this myth.
William’s approach of the poem is much like the approach of the artist who captured the portrait. The artist’s main intention was not to have all eyes on Icarus plunging into the water, instead he wants to capture the landscape and in turn have the main event be seen in the corner of the eye. William takes a nonchalant position when writing the poem by (much like the artist) trying to point out the beautiful landscape. Maybe William believes that Icarus gets too much attention for his death scene and instead tries to capture what is going on around him. Or instead maybe he feels that by drawing the attention away from Icarus and then throwing him into the poem at the last minute will have a greater impact on the reader. Instead of the normal approach of having the main focus of a poem decided early on, he (much like the picture) has Icarus as almost an after thought, something he should mention before the poem ends.
"Landscape With the Fall of Icarus"
Foster starts out this chapter by stating that myth is a word that is commonly misinterpreted. Whenever we think of myths we think of Greece and Rome and gods and goddesses. But instead he establishes that recent subjects of discussion such as Shakespeare, the Bible, and fairy tales are all considered myths. But back to Greek mythology he talks about how that is the most universal description of a myth and evidence is everywhere, from the names of schools to the names of cities we will always have a little bit of Greek mythology in the United States.
This poem is about the Greek myth of Icarus who is a young boy who is defiant towards his father which results in his death at sea. Both this poem and Musee des Beaux Arts is an interpretation of a picture that was created about this myth.
William’s approach of the poem is much like the approach of the artist who captured the portrait. The artist’s main intention was not to have all eyes on Icarus plunging into the water, instead he wants to capture the landscape and in turn have the main event be seen in the corner of the eye. William takes a nonchalant position when writing the poem by (much like the artist) trying to point out the beautiful landscape. Maybe William believes that Icarus gets too much attention for his death scene and instead tries to capture what is going on around him. Or instead maybe he feels that by drawing the attention away from Icarus and then throwing him into the poem at the last minute will have a greater impact on the reader. Instead of the normal approach of having the main focus of a poem decided early on, he (much like the picture) has Icarus as almost an after thought, something he should mention before the poem ends.
Chapter 8: Fairy Tales
Lit/Prof
"Once Upon A Time" --Nadine Gordimer
Foster establishes that authors use fairy tales because they are one of the most common stories to all people. In this chapter Hansel and Gretel particularly is picked as a common ground for fairy tales. While most people think of fairy tales as magical adventures and happily ever afters Gordimer proves that fairy tales don't necesarily have to be warm and inviting. In "Once Upon A Time" Gordimer begins with her connection with fairy tales and how she was unwilling to write a children's book. It is interesting that she chose the topic she did due to personal experience and fear.
This short story was effective in showing a different view of childhood stories. This less than cheery tale shows the diversity in writing and how authors can have different perspective when they think of fairy tales. Gordimer's story not only address a different option for fairy tales but it also address a problem in everyday society. If we look at this as materialistic objects instead of security we see that sometimes people in our society focus on obtaining the latest version of technology that they don't realize that their obsession is hurting them. While they may feel that staying up to date is the best thing in order to thrive it is evident that their fixation is controlling their life.
In Gordimer's story she proves that sometimes people try so hard not to let something bad happen that they are eventually the cause of it. The happy couple tries so hard to keep all the bad out that they don't realize how much harm they are actually doing. They are so worried about personal safety that their hazardous equipment is the thing that actually hurts them (son) in the long run.
This story is quite ironic because as the family tried to protect itself it actually hurt itself. In the same manner someone wished for Gordimer to write a children's story which resulted in a story that a child should not hear. I think the moral that Gordimer is trying to teach through the writing of this story and the response to the anonymous request is that you shouldn't try to hard, because it will hurt you in the long run. While this story is far from appropriate for children she did what she was requested of by writing a fairy tale with a "happily ever after."
"Once Upon A Time" --Nadine Gordimer
Foster establishes that authors use fairy tales because they are one of the most common stories to all people. In this chapter Hansel and Gretel particularly is picked as a common ground for fairy tales. While most people think of fairy tales as magical adventures and happily ever afters Gordimer proves that fairy tales don't necesarily have to be warm and inviting. In "Once Upon A Time" Gordimer begins with her connection with fairy tales and how she was unwilling to write a children's book. It is interesting that she chose the topic she did due to personal experience and fear.
This short story was effective in showing a different view of childhood stories. This less than cheery tale shows the diversity in writing and how authors can have different perspective when they think of fairy tales. Gordimer's story not only address a different option for fairy tales but it also address a problem in everyday society. If we look at this as materialistic objects instead of security we see that sometimes people in our society focus on obtaining the latest version of technology that they don't realize that their obsession is hurting them. While they may feel that staying up to date is the best thing in order to thrive it is evident that their fixation is controlling their life.
In Gordimer's story she proves that sometimes people try so hard not to let something bad happen that they are eventually the cause of it. The happy couple tries so hard to keep all the bad out that they don't realize how much harm they are actually doing. They are so worried about personal safety that their hazardous equipment is the thing that actually hurts them (son) in the long run.
This story is quite ironic because as the family tried to protect itself it actually hurt itself. In the same manner someone wished for Gordimer to write a children's story which resulted in a story that a child should not hear. I think the moral that Gordimer is trying to teach through the writing of this story and the response to the anonymous request is that you shouldn't try to hard, because it will hurt you in the long run. While this story is far from appropriate for children she did what she was requested of by writing a fairy tale with a "happily ever after."
Chapter 7: The Bible
Foster's Ideas
"Still, there was something happening there-a kind of resonance, a sense that there's something meaningful beyond the simple meaning of the words. Peter Frampton says that E major is the great rock chord; all you have to do to set off pandemonium in a concert is to stand onstage alone and strike a big, fat, full E major. Everybody in the arena knows what that chord promises. That sensation happens in reading, too. When I feel that resonance, that "fat chord" that feels heavy yet sparkles with promise or portent, it almost always means the phrase, or whatever, is borrowed from somewhere else and promises special significance. More often than not,...that somewhere is the Bible." (pg 55)
This quote is Foster's way of helping readers spot biblical allusions by referring to them as a musical chord. By doing so he creates a mood that says anything taken from the Bible is distinguishable because it sparkles with promise. This statement is more recognizable in the older days when religion was a key priority but now as he states further on in the chapter the Bible is used for many different reasons, not just quotes. Writers use the Bible for names, character personalities, stories, and titles. People no longer make as strong of a connection with the Bible as before, instead, much like Shakespeare it is another piece of literature for an author to refer to for crediblity when writing.
This quote proves that when Foster reads something that is unworldly he immediately thinks of the Bible. He wants to prove that when people quote from the Bible it is because it is too powerful to reclaim from any other literature, the writer wants the reader to specifically link an event or character to what they worship. The Scarlet Letter is an example of literature that alludes to the Bible. The whole story is about an unfaithful woman who has to wear her adultery on her sleeve. By referring to God throughout the story the reader gets a sense of "promise" that this is about more than the letter A.
This chapter proves the significance of the Bible in literature. Whether it's simply for a title or a theme for a whole book biblical allusions play a crucial role in how literature is interpreted. People react to the Bible differently than they react to other literature. In a way it is a higher authoritative power than what is written in present or past because they have no reason to deny it.
"Still, there was something happening there-a kind of resonance, a sense that there's something meaningful beyond the simple meaning of the words. Peter Frampton says that E major is the great rock chord; all you have to do to set off pandemonium in a concert is to stand onstage alone and strike a big, fat, full E major. Everybody in the arena knows what that chord promises. That sensation happens in reading, too. When I feel that resonance, that "fat chord" that feels heavy yet sparkles with promise or portent, it almost always means the phrase, or whatever, is borrowed from somewhere else and promises special significance. More often than not,...that somewhere is the Bible." (pg 55)
This quote is Foster's way of helping readers spot biblical allusions by referring to them as a musical chord. By doing so he creates a mood that says anything taken from the Bible is distinguishable because it sparkles with promise. This statement is more recognizable in the older days when religion was a key priority but now as he states further on in the chapter the Bible is used for many different reasons, not just quotes. Writers use the Bible for names, character personalities, stories, and titles. People no longer make as strong of a connection with the Bible as before, instead, much like Shakespeare it is another piece of literature for an author to refer to for crediblity when writing.
This quote proves that when Foster reads something that is unworldly he immediately thinks of the Bible. He wants to prove that when people quote from the Bible it is because it is too powerful to reclaim from any other literature, the writer wants the reader to specifically link an event or character to what they worship. The Scarlet Letter is an example of literature that alludes to the Bible. The whole story is about an unfaithful woman who has to wear her adultery on her sleeve. By referring to God throughout the story the reader gets a sense of "promise" that this is about more than the letter A.
This chapter proves the significance of the Bible in literature. Whether it's simply for a title or a theme for a whole book biblical allusions play a crucial role in how literature is interpreted. People react to the Bible differently than they react to other literature. In a way it is a higher authoritative power than what is written in present or past because they have no reason to deny it.
Chapter 5: Intertextuality
Foster's Ideas
"Part of pattern recognition is talent, but a whole lot of it is practice: if you read enough thought, you begin to see patterns, archetypes, recurrences. And as with those pictures among the dots, it's a matter of learning to look. Not just to look but where to look, and how to look. Literature, as the great Canadian critic Northrop Frye observed, grows out of other literature; we should not be surprised to find, then, that it also looks like other literature. As you read, it may pay to remember this: there's no such thing as a wholly original work of literature." (pg 29)
This last sentence characterizes the intentions behind the next four chapters in the book. Foster proves to the reader that literature stems off older literature. He starts by talking about Shakespeare and how authors use his works for credibility and a connection that most readers can make. He then continues on to talk about biblical aspects of literature as well as fairy tales and myths. By bringing into perspective the multiple choices an author has for "outside information" he shows that literature is all interconnected. Sometimes authors start out with original ideas and use an example from another text as a different perspective but other times authors go into writing with the purpose of altering a well known story so that the reader may see the events differently.
This quote from the text fits in perfectly with Foster's idea of intertextuality. He believes that every time a new piece of writing is read it is entered into (as Foster would say) a "barrel of eels." In this aspect everything is connected, so that every piece of literature in some way or another has something in common.
Foster furthers his discussion by saying that all of literature is part of "one story." He is saying that everything that has ever been read, or written, or told combines to create what we know as literature. Although it may seem like every book is different, between personal connections and intertextuality they are more alike than first recognized.
The quote that was taken from the text can be inferred as saying whenever you read a book remember all the books you have read before it and all of the books you will read after it because in some way or another they are related. If a reader can remember this tip then it may help to make more personal connections with the text or other texts to come. This not only helps readers to remember certain characters or quotes from other books but it may also help establish the writer's tone with connection to others. If two stories share a similar story line then (a) one author may have used the other book for credibility or (b) they may share similar writing styles and approach internal conflict or resolutions within a novel the same way.
His idea of intertextuality gives the reader a better understanding of literature as a whole instead of individual novels or writings.
"Part of pattern recognition is talent, but a whole lot of it is practice: if you read enough thought, you begin to see patterns, archetypes, recurrences. And as with those pictures among the dots, it's a matter of learning to look. Not just to look but where to look, and how to look. Literature, as the great Canadian critic Northrop Frye observed, grows out of other literature; we should not be surprised to find, then, that it also looks like other literature. As you read, it may pay to remember this: there's no such thing as a wholly original work of literature." (pg 29)
This last sentence characterizes the intentions behind the next four chapters in the book. Foster proves to the reader that literature stems off older literature. He starts by talking about Shakespeare and how authors use his works for credibility and a connection that most readers can make. He then continues on to talk about biblical aspects of literature as well as fairy tales and myths. By bringing into perspective the multiple choices an author has for "outside information" he shows that literature is all interconnected. Sometimes authors start out with original ideas and use an example from another text as a different perspective but other times authors go into writing with the purpose of altering a well known story so that the reader may see the events differently.
This quote from the text fits in perfectly with Foster's idea of intertextuality. He believes that every time a new piece of writing is read it is entered into (as Foster would say) a "barrel of eels." In this aspect everything is connected, so that every piece of literature in some way or another has something in common.
Foster furthers his discussion by saying that all of literature is part of "one story." He is saying that everything that has ever been read, or written, or told combines to create what we know as literature. Although it may seem like every book is different, between personal connections and intertextuality they are more alike than first recognized.
The quote that was taken from the text can be inferred as saying whenever you read a book remember all the books you have read before it and all of the books you will read after it because in some way or another they are related. If a reader can remember this tip then it may help to make more personal connections with the text or other texts to come. This not only helps readers to remember certain characters or quotes from other books but it may also help establish the writer's tone with connection to others. If two stories share a similar story line then (a) one author may have used the other book for credibility or (b) they may share similar writing styles and approach internal conflict or resolutions within a novel the same way.
His idea of intertextuality gives the reader a better understanding of literature as a whole instead of individual novels or writings.
Chapter 2: Acts of Communion
Lit/Prof
"Cathedral" --Raymond Carver
In this chapter of the book Foster talks about communion as something more than asking for forgiveness in religion. Foster says that authors use communion to represent food shared by a group of people in order to establish some significance of the meal. In the "Cathedral" a man tells about his experience with his wife's long time friend who happens to be a blind man. Like many other people who are not accustomed to different individuals he frowned upon the idea of a blind man spending time in his own home. Not only did he feel this would be uncomfortable because he had never met a blind man but some jealousy was present because his wife had worked for the blind man and after he had touched her face she wrote a poem about it.
His opinions of the man first start to change when he offers him a drink. The blind man says he wants scotch with a little bit of water and the man feels a sense of connection with him by saying "I knew it." This helped him realize that although this man lives a vastly different life from his both can still enjoy the same drink in the same way. Foster explains this in his book when referring to this short story saying that Carver does this to allow the narrator to get over his serious hang-ups with people that are different.
Then when the couple and the blind man sit down to enjoy their meal there is a change in tone. The narrator no longer talks about the blind man and him separately, instead, he uses the word WE when referring to how they were eating. This is his way of realizing another connection that the blind man and he share, food and hunger. This change in emotion shows a new respect for the blind man and the line that follows also has high significance. "We never looked back" this short little portion taken out of this story shows the changes made during and after the sharing of the meal, the narrator no longer frowns upon the blind man's presence, instead he considers him a welcome guest in his house.
As the night continues the narrator tries to make to blind man as comfortable as possible and shows his change in character when he offers him a smoke. Then, when they are watching the television show about cathedrals he does everything he can to be considerate of the fact that the blind man has no idea what one looks like. He even goes as far as drawing a cathedral with him. At the end when the blind man tells the narrator to close his eyes and finish the drawing I feel that this is symbolic of the narrator trying to be in the blind man's shoes. Not only has he accepted his way of life but he feels passionate enough to try to comprehend what the poor man has to deal with.
In the end this short story is a prime example about how communion is more than a religious encounter. It can be about people with familiar or in this case different beliefs joining for a common cause. In this story the narrator realizes (through food and beverages) that he and the blind man share more than what is first perceived and is willing to look past his own ways of life to see things in a different light.
"Cathedral" --Raymond Carver
In this chapter of the book Foster talks about communion as something more than asking for forgiveness in religion. Foster says that authors use communion to represent food shared by a group of people in order to establish some significance of the meal. In the "Cathedral" a man tells about his experience with his wife's long time friend who happens to be a blind man. Like many other people who are not accustomed to different individuals he frowned upon the idea of a blind man spending time in his own home. Not only did he feel this would be uncomfortable because he had never met a blind man but some jealousy was present because his wife had worked for the blind man and after he had touched her face she wrote a poem about it.
His opinions of the man first start to change when he offers him a drink. The blind man says he wants scotch with a little bit of water and the man feels a sense of connection with him by saying "I knew it." This helped him realize that although this man lives a vastly different life from his both can still enjoy the same drink in the same way. Foster explains this in his book when referring to this short story saying that Carver does this to allow the narrator to get over his serious hang-ups with people that are different.
Then when the couple and the blind man sit down to enjoy their meal there is a change in tone. The narrator no longer talks about the blind man and him separately, instead, he uses the word WE when referring to how they were eating. This is his way of realizing another connection that the blind man and he share, food and hunger. This change in emotion shows a new respect for the blind man and the line that follows also has high significance. "We never looked back" this short little portion taken out of this story shows the changes made during and after the sharing of the meal, the narrator no longer frowns upon the blind man's presence, instead he considers him a welcome guest in his house.
As the night continues the narrator tries to make to blind man as comfortable as possible and shows his change in character when he offers him a smoke. Then, when they are watching the television show about cathedrals he does everything he can to be considerate of the fact that the blind man has no idea what one looks like. He even goes as far as drawing a cathedral with him. At the end when the blind man tells the narrator to close his eyes and finish the drawing I feel that this is symbolic of the narrator trying to be in the blind man's shoes. Not only has he accepted his way of life but he feels passionate enough to try to comprehend what the poor man has to deal with.
In the end this short story is a prime example about how communion is more than a religious encounter. It can be about people with familiar or in this case different beliefs joining for a common cause. In this story the narrator realizes (through food and beverages) that he and the blind man share more than what is first perceived and is willing to look past his own ways of life to see things in a different light.
Chapter 1: Every Trip is a Quest
Lit/Prof
"What It Means to Say Phoenix, Arizona" --Sherman Alexie
This short story by Sherman Alexie includes many elements that are present in the first chapter of "How to Read Literature Like a Professor" which focuses on the parts of a quest. Foster focuses on five central components that make up a quest: quester, place to go, reason for going there, challenges and trials on the way, and the real reason for going there. In the story "What it Means to Say Phoenix, Arizona" the main character, Victor is the established "quester" when he accepts his mission to retrieve his father's belongings after his passing from Arizona. His goal is soon challenged when he realizes he has little money and his tribe is unwilling to pay for transportation due to the economic depletion. After considering many different options a villager by the name of Thomas Builds-The-Fire offers to spare him some money, but in return he wishes to travel with him. Victor feels uneasy about this decision because the two men used to be companion as children but Thomas's story telling became too much for Victor to handle and they were no longer on speaking terms But Victor accepts the offer and they go to Phoenix and collect his father's ashes and a few personal belonging. One peculiar event that the travelers encounter is the "drought" of animals on their way back to the reservation.
In a way this event is a symbol of Thomas's loneliness. He is a loner and is not accepted by anyone else in his tribe because of his continuation to tell stories that no one is interested in. As soon as he takes over to drive, the only animal that they see dies. Their response is also very interesting, saying that he must have committed suicide. This event helps Victor realize what Thomas is going through, he has no one and could eventually (much like the rabbit) be unable to stand it. When Victor states he is willing to drive as a sign of giving a hand to Thomas, not because he doesn't want to drive but as a symbol that someone will be there to help him. This event is one of the most important in the whole story; it establishes the true meaning behind the quest. Victor did not simply go to collect an old truck and his father's ashes; instead he was there to show Thomas that even though they are no longer friends he is not willing to see him suffer.
This trip symbolizes a changing relationship between Victor and Thomas, although Victor knows that when they are back in the reservation they will never again become friends this is alright with Thomas because of the connection they made on the trip, he knows he can let go. After the trip they have a similar understanding and respect for each other, this is evident when they are talking about what to do with their share of the ashes.
Overall this story illustrates the main points of a quest established by Foster in his book but it also proves that in some cases the intentions of a quest may change along the way. In a story the author may have a journey for the protagonist to go on but the depth of the story may lie within the lesson learned along the way.
"What It Means to Say Phoenix, Arizona" --Sherman Alexie
This short story by Sherman Alexie includes many elements that are present in the first chapter of "How to Read Literature Like a Professor" which focuses on the parts of a quest. Foster focuses on five central components that make up a quest: quester, place to go, reason for going there, challenges and trials on the way, and the real reason for going there. In the story "What it Means to Say Phoenix, Arizona" the main character, Victor is the established "quester" when he accepts his mission to retrieve his father's belongings after his passing from Arizona. His goal is soon challenged when he realizes he has little money and his tribe is unwilling to pay for transportation due to the economic depletion. After considering many different options a villager by the name of Thomas Builds-The-Fire offers to spare him some money, but in return he wishes to travel with him. Victor feels uneasy about this decision because the two men used to be companion as children but Thomas's story telling became too much for Victor to handle and they were no longer on speaking terms But Victor accepts the offer and they go to Phoenix and collect his father's ashes and a few personal belonging. One peculiar event that the travelers encounter is the "drought" of animals on their way back to the reservation.
In a way this event is a symbol of Thomas's loneliness. He is a loner and is not accepted by anyone else in his tribe because of his continuation to tell stories that no one is interested in. As soon as he takes over to drive, the only animal that they see dies. Their response is also very interesting, saying that he must have committed suicide. This event helps Victor realize what Thomas is going through, he has no one and could eventually (much like the rabbit) be unable to stand it. When Victor states he is willing to drive as a sign of giving a hand to Thomas, not because he doesn't want to drive but as a symbol that someone will be there to help him. This event is one of the most important in the whole story; it establishes the true meaning behind the quest. Victor did not simply go to collect an old truck and his father's ashes; instead he was there to show Thomas that even though they are no longer friends he is not willing to see him suffer.
This trip symbolizes a changing relationship between Victor and Thomas, although Victor knows that when they are back in the reservation they will never again become friends this is alright with Thomas because of the connection they made on the trip, he knows he can let go. After the trip they have a similar understanding and respect for each other, this is evident when they are talking about what to do with their share of the ashes.
Overall this story illustrates the main points of a quest established by Foster in his book but it also proves that in some cases the intentions of a quest may change along the way. In a story the author may have a journey for the protagonist to go on but the depth of the story may lie within the lesson learned along the way.
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