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.
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