"Mr. Z"
M. Carl Holman
Throughout the poem, Holman criticizes and satirizes the life of Mr. Z who constantly attempted to abandon his African American heritage.
First of all, Mr. Z was described as rejected things typically associated with black culture. Mr. Z even "Disclaimed kinship with jazz and spirituals" (Holman). Even though jazz enjoyed popularity among various races including whites, Mr. Z avoided it simply because of its pertinence to the black community. Moreover, Mr. Z avoided certain foods like low quality pork and cornbread only because those foods were typically eaten by African Americans. Even when he was choosing a wife, his desire to assimilate to white society led him to choose a woman who had abandoned all stereotypes of her Jewish ancestry. Because of his superficial prejudices, Mr. Z chose a life devoid of pleasures such as jazz, cornbread, and a diverse wife.
The greatest satire comes in the last irony. After Mr. Z's death, consistent with his life style, his wife grieved only subtly. In fact, only one aspect fired her up. In his obituary, when his ethnic race was mentioned, even though he was described as "one of the most distinguished members of his race", his wife was angry enough to kill.
Wednesday, August 29, 2012
Identity Unit: 4 (Lahiri)
"Interpreter of Maladies"
Jhumpa Lahiri
In this story, Mr. Kapasi, working as a tour guide, struggles with the idea of his other occupation: interpreting the many languages of India for a young doctor. Specifically, Mr. Kapasi's internal conflict comes in the form of desiring a role that offers more returns.
First of all, Mr. Kapasi seemed to be unsatisfied with having to work as an interpreter in a doctor's office. As a child studying the languages of Western Europe, Mr. Kapasi envisioned a life of serving as mediator between conflicting parties. Travelling the world and knowing the magnitude of his accomplishments enticed him the most. Mr. Kapasi's dreams were noted by stating, "He had dreamed of being an interpreter for diplomats and dignitaries, resolving conflicts between people and nations, settling disputes of which he alone could understand both sides" (Lahiri). After life got in the way of his aspirations, the desire to offer solutions vanished. In the doctor's office, he could not offer solutions to the patients; he could only relay the problems and prescriptions. However, until he met the Das family, he could not accept his role as interpreter rather than mediator.
Like in his early life, Mr. Kapasi developed ambitious dreams regarding Mrs. Das. He would be able to entertain her with stories and save her from her unhappy life. Unfortunately, Mrs. Das had a problem Mr. Kapasi could not remedy; because of her crushing guilt resulting from conceiving one of her sons with another man, Mrs. Das sought a solution from Mr. Kapasi. He could do nothing but suggest that she tell the truth. When she disregarded this suggestion, Mr. Kapasi could do nothing for her.
With the escaping address paper, Mr. Kapasi had to let go the delusion that he could be the source of cures. In his failure with Mrs. Das, Mr. Kapasi had to accept that his role in life as a bridge to the destination rather than the destination.
Jhumpa Lahiri
In this story, Mr. Kapasi, working as a tour guide, struggles with the idea of his other occupation: interpreting the many languages of India for a young doctor. Specifically, Mr. Kapasi's internal conflict comes in the form of desiring a role that offers more returns.
First of all, Mr. Kapasi seemed to be unsatisfied with having to work as an interpreter in a doctor's office. As a child studying the languages of Western Europe, Mr. Kapasi envisioned a life of serving as mediator between conflicting parties. Travelling the world and knowing the magnitude of his accomplishments enticed him the most. Mr. Kapasi's dreams were noted by stating, "He had dreamed of being an interpreter for diplomats and dignitaries, resolving conflicts between people and nations, settling disputes of which he alone could understand both sides" (Lahiri). After life got in the way of his aspirations, the desire to offer solutions vanished. In the doctor's office, he could not offer solutions to the patients; he could only relay the problems and prescriptions. However, until he met the Das family, he could not accept his role as interpreter rather than mediator.
Like in his early life, Mr. Kapasi developed ambitious dreams regarding Mrs. Das. He would be able to entertain her with stories and save her from her unhappy life. Unfortunately, Mrs. Das had a problem Mr. Kapasi could not remedy; because of her crushing guilt resulting from conceiving one of her sons with another man, Mrs. Das sought a solution from Mr. Kapasi. He could do nothing but suggest that she tell the truth. When she disregarded this suggestion, Mr. Kapasi could do nothing for her.
With the escaping address paper, Mr. Kapasi had to let go the delusion that he could be the source of cures. In his failure with Mrs. Das, Mr. Kapasi had to accept that his role in life as a bridge to the destination rather than the destination.
Identity Unit: 3 (Walker)
"Everyday Use"
Alice Walker
In this story, the search for identity takes two forms. One form is exhibited by Dee and consists of preservation of family legacy. The other form is exhibited by Maggie and consists of preservation of current family ties. The validity of both forms is determined by the characterizations of Dee and Maggie.
Walker describes Dee mainly through indirect characterization by describing her past and present actions. Before the time frame of the story, Dee had often expressed her disapproval of the dingy conditions of her life. She had even neglected to show sorrow for the burning of the house she despised. Furthermore, she developed an insatiable desire for style. She returned to her mother and Maggie as "Wangero" with a blindingly bright dress and a motive to retrieve her grandmother's quilts. However, she did not wish to stave off the cold. Instead, she planned to display her embrace of African American history and rejection of Anglo-Saxon oppression. Dee's mother mentioned that, "She was determined to stare down any disaster in her efforts" (Walker). Above all, Dee wished to display flashiness and escape signs of poverty. Ironically, by planning to display rather than use her grandmother's quilts, Wangero embraced the flashiness of Anglo-Saxon society and rejected the practicality of African American society.
On the other hand, the last thing Maggie wishes to do is draw attention to herself. When the house burned down, the flames left Maggie with several large scars that severely tainted her self image. Throughout the entire story, she says very few words and clings to her mother. In fact, Maggie was envious of the privilege Dee experienced throughout her whole life. While Dee was off buying stylish dresses and sunglasses to accompany her new identity free of white oppression, Maggie was with her mother making the best of what her family had made. Maggie, above all else, was dependent on her family.
In the end, Maggie's appreciation for the utility of what her family has given her triumphed over Wangero's desire to make a statement out of her family's history.
Alice Walker
In this story, the search for identity takes two forms. One form is exhibited by Dee and consists of preservation of family legacy. The other form is exhibited by Maggie and consists of preservation of current family ties. The validity of both forms is determined by the characterizations of Dee and Maggie.
Walker describes Dee mainly through indirect characterization by describing her past and present actions. Before the time frame of the story, Dee had often expressed her disapproval of the dingy conditions of her life. She had even neglected to show sorrow for the burning of the house she despised. Furthermore, she developed an insatiable desire for style. She returned to her mother and Maggie as "Wangero" with a blindingly bright dress and a motive to retrieve her grandmother's quilts. However, she did not wish to stave off the cold. Instead, she planned to display her embrace of African American history and rejection of Anglo-Saxon oppression. Dee's mother mentioned that, "She was determined to stare down any disaster in her efforts" (Walker). Above all, Dee wished to display flashiness and escape signs of poverty. Ironically, by planning to display rather than use her grandmother's quilts, Wangero embraced the flashiness of Anglo-Saxon society and rejected the practicality of African American society.
On the other hand, the last thing Maggie wishes to do is draw attention to herself. When the house burned down, the flames left Maggie with several large scars that severely tainted her self image. Throughout the entire story, she says very few words and clings to her mother. In fact, Maggie was envious of the privilege Dee experienced throughout her whole life. While Dee was off buying stylish dresses and sunglasses to accompany her new identity free of white oppression, Maggie was with her mother making the best of what her family had made. Maggie, above all else, was dependent on her family.
In the end, Maggie's appreciation for the utility of what her family has given her triumphed over Wangero's desire to make a statement out of her family's history.
Identity Unit: 2 (Hughes)
"A Dream Deferred"
Langston Hughes
This poem is composed almost entirely of rhetorical questions. Most obviously, an impact of the rhetorical questions is that, instead of providing a theory, the poem searches for a conclusion. To open the investigation, Hughes asks, "What happens to a dream deferred?" (Hughes). Afterward, Hughes refrains from convincing the reader of any of his suppositions. Instead, he seeks an answer from the reader.
Through a succession of six analogies (five questions and one guess), Hughes develops a general idea and then questions it. In the first four similes, he composes the degrading of valuable objects. Before that raisin dried in the sun, it was a grape; before that sore developed, it was smooth skin; before the meat spoiled, it was a potential steak; before that sweet crusted, it was a delightful treat. However, Hughes then shifts focus from an item with lost beauty to inhibiting luggage that may or may not still retain its value.
Still, Hughes leaves the reader with a question proposing that an abandoned dream might explode. Even though explosions typically cause great destruction and harm, a new element of direct action is provided. If the explosion causes destruction, unlike in the other analogies, a new energy would be taken causing direct outcomes. If the explosion is an explosion of initiative, then the effect of the abandoned dream is positive.
Throughout the poem, Hughes journeys with the reader to discover the effect of dreams deferred. Both progress through the idea that such dreams degrade and inhibit. However, Hughes ends the poem with the suggestion that, even when one deserts a dream, the dream will still directly impact the person for better or worse.
Langston Hughes
This poem is composed almost entirely of rhetorical questions. Most obviously, an impact of the rhetorical questions is that, instead of providing a theory, the poem searches for a conclusion. To open the investigation, Hughes asks, "What happens to a dream deferred?" (Hughes). Afterward, Hughes refrains from convincing the reader of any of his suppositions. Instead, he seeks an answer from the reader.
Through a succession of six analogies (five questions and one guess), Hughes develops a general idea and then questions it. In the first four similes, he composes the degrading of valuable objects. Before that raisin dried in the sun, it was a grape; before that sore developed, it was smooth skin; before the meat spoiled, it was a potential steak; before that sweet crusted, it was a delightful treat. However, Hughes then shifts focus from an item with lost beauty to inhibiting luggage that may or may not still retain its value.
Still, Hughes leaves the reader with a question proposing that an abandoned dream might explode. Even though explosions typically cause great destruction and harm, a new element of direct action is provided. If the explosion causes destruction, unlike in the other analogies, a new energy would be taken causing direct outcomes. If the explosion is an explosion of initiative, then the effect of the abandoned dream is positive.
Throughout the poem, Hughes journeys with the reader to discover the effect of dreams deferred. Both progress through the idea that such dreams degrade and inhibit. However, Hughes ends the poem with the suggestion that, even when one deserts a dream, the dream will still directly impact the person for better or worse.
Monday, August 27, 2012
Identity Unit: 1 (Machan)
"Hazel Tells LaVerne"
Katharyn Howd Machan
One would have to be blind not to notice that this poem is written informally. Even though not a single letter is capitalized, not a single apostrophe signifies a contraction, and there is a total lack of punctuation, the colloquialisms and usage of the vernacular play an integral role in giving meaning to the poem.
Most significantly, the use of colloquialisms and the vernacular serve to characterize LaVerne. Because she is cleaning out a bathroom at Howard Johnson's, the reader can safely presume that she is a member of the lower classes. This presumption is further strengthened by this prevalence of informality, vernacular, and general incorrectness. While a more educated person would have said "must have", LaVerne says, "when all of a sudden up pops this frog musta come from the sewer" (Machan). This use of the vernacular and colloquialisms paints LaVerne as someone in an unfavorable position in society unable to move upward based on her education.
This indirect characterization through informal writing points out an important dichotomy. When the frog promises her a life as a proper princess, she responds with a grammatically incorrect insult. What this points out is that, because of her position in society, LaVerne is unable to take promises of a better life seriously. More specifically, she views fairy-tale endings as ludicrous. To a person who does not even know how to form a grammatically correct sentence, a life at the upper end of society where people must speak correctly is as unattainable as a talking frog.
Katharyn Howd Machan
One would have to be blind not to notice that this poem is written informally. Even though not a single letter is capitalized, not a single apostrophe signifies a contraction, and there is a total lack of punctuation, the colloquialisms and usage of the vernacular play an integral role in giving meaning to the poem.
Most significantly, the use of colloquialisms and the vernacular serve to characterize LaVerne. Because she is cleaning out a bathroom at Howard Johnson's, the reader can safely presume that she is a member of the lower classes. This presumption is further strengthened by this prevalence of informality, vernacular, and general incorrectness. While a more educated person would have said "must have", LaVerne says, "when all of a sudden up pops this frog musta come from the sewer" (Machan). This use of the vernacular and colloquialisms paints LaVerne as someone in an unfavorable position in society unable to move upward based on her education.
This indirect characterization through informal writing points out an important dichotomy. When the frog promises her a life as a proper princess, she responds with a grammatically incorrect insult. What this points out is that, because of her position in society, LaVerne is unable to take promises of a better life seriously. More specifically, she views fairy-tale endings as ludicrous. To a person who does not even know how to form a grammatically correct sentence, a life at the upper end of society where people must speak correctly is as unattainable as a talking frog.
Sunday, August 19, 2012
Poets are like people who play chess with you then half-way through say you're playing checkers.
Poetry and I have a rocky relationship, and I doubt many in my class can say differently. It's no wonder Mr. Walters decided to pretend that section of the test never happened. So, what is so difficult about poetry? Judging from this article, I have determined, that in my case, I have been looking at poetry incorrectly. Up until this point, I have been studying poems as if all poems were like William Blake's poem. I always immediately thought "allegory" when the word was really "poem". For instance, after reading Emily Dickinson's poem, I couldn't rid myself of the idea that the poem had to be groundbreaking and represent humanity or the universe as a whole. I saw the word "wharf" and thought "trade". Aha! She's pointing out the beauty of human cooperation! But, now that I have read Perrine's theories, a simple sunset makes much more sense. Now, I observe (or will observe: I didn't read any poems in the five minutes between reading the article and starting this post) poems as a detective instead of a philosopher.
I can lay out a plan of attack for poems, but I highly doubt success is guaranteed. Perrine described poems as a court case; perhaps to understand poems we must be lawyers who usually can't pass the Bar after one day of studying. Nevertheless, I have to change something. What made the most sense in this article was the discussion of details. If our theories can't account for every deliberate detail in the poem, then our theories are not in line with the poet's intentions. For every color, image, object, and stanza, I will start to list ideas. Whether those annotations are a possible symbol or a connotation, I will be able to find patterns in each aspect of the poem that will reduce the chance of making assumptions and ignoring a detail. However, a difficulty will remain: maybe I will not know where to start. How am I supposed to know to associate ships of purple with clouds when I have never seen a purple cloud and I am not aware that people tend to describe clouds as sailing? How am I supposed to know Whitman's weapons were actual weapons while Melville's spears were stars? My plan to analyze every detail will likely prove useful, but I doubt poetry will ever be anything other than a guessing game for me.
I can lay out a plan of attack for poems, but I highly doubt success is guaranteed. Perrine described poems as a court case; perhaps to understand poems we must be lawyers who usually can't pass the Bar after one day of studying. Nevertheless, I have to change something. What made the most sense in this article was the discussion of details. If our theories can't account for every deliberate detail in the poem, then our theories are not in line with the poet's intentions. For every color, image, object, and stanza, I will start to list ideas. Whether those annotations are a possible symbol or a connotation, I will be able to find patterns in each aspect of the poem that will reduce the chance of making assumptions and ignoring a detail. However, a difficulty will remain: maybe I will not know where to start. How am I supposed to know to associate ships of purple with clouds when I have never seen a purple cloud and I am not aware that people tend to describe clouds as sailing? How am I supposed to know Whitman's weapons were actual weapons while Melville's spears were stars? My plan to analyze every detail will likely prove useful, but I doubt poetry will ever be anything other than a guessing game for me.
Wednesday, August 8, 2012
It is just the beginning: Pages 171-180 (The Great Gatsby)
The Great Gatsby
F. Scott Fitzgerald
Once again, it's judgment time.
I very much enjoyed the novel and not only because it was only 180 pages. Specifically I appreciated the symbolism and the theme of abandonment.
More so than Wharton, Fitzgerald relies quite heavily on symbolism. While most of the symbols represent life as a whole, one of my favorites was the bay. Now, the bay is one of the many symbols that represents life, but it stands out because it ties into the last sentence of the novel: "So we beat on, boats against the current, borne back ceaselessly into the past" (Fitzgerald, 180). Water is a common symbol for life in many cultures, including Christianity. However, Fitzgerald uses it to point out a less refreshing tendency of people. The bay was the one physical obstacle separating Gatsby from his goal, Daisy. In a larger sense, their lives, things they could not change, separated them. Nevertheless, as all people tend to do, Gatsby constantly tried to cross that barrier and attempted to go back to a time when he and Daisy were together. But the currents of time would not allow that. I enjoy this symbolism so much because it reminds me that I'm not the only one who wants to challenge the currents.
The main reason I enjoyed the theme of abandonment so much is that Fitzgerald was so consistent and dedicated to it. From the story of Nick's dog that ran away to Tom's affair with Myrtle to the ungrateful guests who leave Gatsby without a word to the sudden deaths of Myrtle and Gatsby to the lack of attendees at Gatsby's funeral, the story is saturated with characters who desert the story suddenly. In that realm where everyone was simply searching for a good time or personal validation and would leave after achieving their goals, no one could be trusted to do anything except better himself. Fitzgerald offers a simple solution to those who find themselves stuck in a world of materialistic egoists in what Nick finally does and what I wish I could have the courage to do if I should ever find myself in that place: leave.
F. Scott Fitzgerald
Once again, it's judgment time.
I very much enjoyed the novel and not only because it was only 180 pages. Specifically I appreciated the symbolism and the theme of abandonment.
More so than Wharton, Fitzgerald relies quite heavily on symbolism. While most of the symbols represent life as a whole, one of my favorites was the bay. Now, the bay is one of the many symbols that represents life, but it stands out because it ties into the last sentence of the novel: "So we beat on, boats against the current, borne back ceaselessly into the past" (Fitzgerald, 180). Water is a common symbol for life in many cultures, including Christianity. However, Fitzgerald uses it to point out a less refreshing tendency of people. The bay was the one physical obstacle separating Gatsby from his goal, Daisy. In a larger sense, their lives, things they could not change, separated them. Nevertheless, as all people tend to do, Gatsby constantly tried to cross that barrier and attempted to go back to a time when he and Daisy were together. But the currents of time would not allow that. I enjoy this symbolism so much because it reminds me that I'm not the only one who wants to challenge the currents.
The main reason I enjoyed the theme of abandonment so much is that Fitzgerald was so consistent and dedicated to it. From the story of Nick's dog that ran away to Tom's affair with Myrtle to the ungrateful guests who leave Gatsby without a word to the sudden deaths of Myrtle and Gatsby to the lack of attendees at Gatsby's funeral, the story is saturated with characters who desert the story suddenly. In that realm where everyone was simply searching for a good time or personal validation and would leave after achieving their goals, no one could be trusted to do anything except better himself. Fitzgerald offers a simple solution to those who find themselves stuck in a world of materialistic egoists in what Nick finally does and what I wish I could have the courage to do if I should ever find myself in that place: leave.
Oh my: Pages 169-170 (The Great Gatsby)
The Great Gatsby
F. Scott Fitzgerald
To say the least, a lot happened in this section. Like in the real world, when these tragedies occur, sense is an extremely difficult relief to find. I had a lot of theories and random thoughts while reading this section. Therefore, this post will essentially be my attempt to find meaning in this tragedy.
First, I decided to tie in the murder of Gatsby and suicide of Wilson to the overall tragic nature of the upper class. The reason Wilson shot Gatsby was because Wilson believed Gatsby was both her lover and murderer. The reason Wilson found Gatsby was because he was able to track down Gatsby's yellow car which is a famous symbol for his extravagant lifestyle and the car that killed his wife. Therefore, I suppose that Fitzgerald claims that materialistic life often restrains and even takes life. Myrtle's desire to escape her impoverished life led her to run to what she thought was Tom's car which led to her death which led Wilson to kill Gatsby and himself.
However, Gatsby had absolutely nothing to do with Myrtle, so why was he the one to take the blame?
I believe that Fitzgerald chose to kill off Gatsby in order to demonstrate the wide range of people who suffer from the search for wealth. As he was innocent in the case of Myrtle's death, he was also (sort of) innocent when it came to his quest for wealth. His reasons for pursuing wealth were two-fold: to invalidate the attacks on his status from his early life and to win Daisy's heart. Nevertheless, he affiliated himself with the wrong crowd. Wolfsheim, Gatsby's closest business partner, is no stranger to the deaths of associates and seems to be surrounded by shady characters: "But when I'd shouted 'hello' several times in vain, an argument broke out behind a partition, and presently a lovely Jewess appeared at an interior door and scrutinized me with black hostile eyes" (Fitzgerald, 170). While Gatsby himself had pure intentions, his decisions in pursuing his intentions directly led him to danger and indirectly led him to his death.
Another message I contemplated in this section was that the tragedies of wealth are not limited in the slightest to the wealthy. Just like the accounts of the butlers and servants toiling to prepare Gatsby's party, Wilson had been exploited. Tom's refusal to accept that his life had slowed down and Myrtle's refusal to accept that she would not be pampered like her new dog utterly destroyed Wilson. Any idea that he could provide anything for her wife was challenged by the knowledge of her affair and shattered by her death. Even though the shortcomings of wealth often tax the wealthy, they more often than not bankrupt those who bear no blame.
F. Scott Fitzgerald
To say the least, a lot happened in this section. Like in the real world, when these tragedies occur, sense is an extremely difficult relief to find. I had a lot of theories and random thoughts while reading this section. Therefore, this post will essentially be my attempt to find meaning in this tragedy.
First, I decided to tie in the murder of Gatsby and suicide of Wilson to the overall tragic nature of the upper class. The reason Wilson shot Gatsby was because Wilson believed Gatsby was both her lover and murderer. The reason Wilson found Gatsby was because he was able to track down Gatsby's yellow car which is a famous symbol for his extravagant lifestyle and the car that killed his wife. Therefore, I suppose that Fitzgerald claims that materialistic life often restrains and even takes life. Myrtle's desire to escape her impoverished life led her to run to what she thought was Tom's car which led to her death which led Wilson to kill Gatsby and himself.
However, Gatsby had absolutely nothing to do with Myrtle, so why was he the one to take the blame?
I believe that Fitzgerald chose to kill off Gatsby in order to demonstrate the wide range of people who suffer from the search for wealth. As he was innocent in the case of Myrtle's death, he was also (sort of) innocent when it came to his quest for wealth. His reasons for pursuing wealth were two-fold: to invalidate the attacks on his status from his early life and to win Daisy's heart. Nevertheless, he affiliated himself with the wrong crowd. Wolfsheim, Gatsby's closest business partner, is no stranger to the deaths of associates and seems to be surrounded by shady characters: "But when I'd shouted 'hello' several times in vain, an argument broke out behind a partition, and presently a lovely Jewess appeared at an interior door and scrutinized me with black hostile eyes" (Fitzgerald, 170). While Gatsby himself had pure intentions, his decisions in pursuing his intentions directly led him to danger and indirectly led him to his death.
Another message I contemplated in this section was that the tragedies of wealth are not limited in the slightest to the wealthy. Just like the accounts of the butlers and servants toiling to prepare Gatsby's party, Wilson had been exploited. Tom's refusal to accept that his life had slowed down and Myrtle's refusal to accept that she would not be pampered like her new dog utterly destroyed Wilson. Any idea that he could provide anything for her wife was challenged by the knowledge of her affair and shattered by her death. Even though the shortcomings of wealth often tax the wealthy, they more often than not bankrupt those who bear no blame.
The Storyteller: Pages 147-158 (The Great Gatsby)
The Great Gatsby
F. Scott Fitzgerald
As anyone who has read at least a page of this novel knows by now, the story is narrated in the first person by Nick Carraway. For whatever reasons Fitzgerald chose Nick to narrate the novel, a result of that choice was that the reader got a glimpse into the inner conflicts of the wealthy characters and that those glimpses came from a character who is most likely in a financial standing that is similar to the reader's.
By choosing Nick to narrate the novel, Fitzgerald allowed the reader the opportunity to view the other characters in an intuitive and understanding manner because Nick himself has a unique quality of understanding. Even though Gatsby tended to hide his plans with stoic silence at his parties, Nick is able to pick up on what Gatsby wants. For instance, Nick notes, "He was clutching at some last hope and I couldn't bear to shake him free" (Fitzgerald, 148). This social intuition of the narrator allows the reader to pick up on the dichotomy between wealth and happiness. The reader sees how the wealthy feign happiness like anyone can, but he also understands how truly unhappy and conflicted the wealthy are vicariously through Nick's empathy.
Fitzgerald could have chosen a wealthy character to be the narrator, but he purposefully relegated Nick to a modest income. The relegation created a tie between Nick and the reader who, even at the time, was more likely to be in the middle rather than upper class. As a result, Nick's perspective as an outsider looking in on the upper class shenanigans is more appealing. In other novels about the shortcomings of wealth narrated in the third person (let's say The House of Mirth), the reader feels little obligation to view the story of wealthy tragedy as a tragedy. In The House of Mirth, the middle and lower class readers view things objectively and place much of the blame on Lily. However, in The Great Gatsby, the narrator's empathy easily becomes the reader's empathy. Fitzgerald's message that everyone, regardless of social status, requires acceptance and companionship goes unmarred by the reader's resentment.
F. Scott Fitzgerald
As anyone who has read at least a page of this novel knows by now, the story is narrated in the first person by Nick Carraway. For whatever reasons Fitzgerald chose Nick to narrate the novel, a result of that choice was that the reader got a glimpse into the inner conflicts of the wealthy characters and that those glimpses came from a character who is most likely in a financial standing that is similar to the reader's.
By choosing Nick to narrate the novel, Fitzgerald allowed the reader the opportunity to view the other characters in an intuitive and understanding manner because Nick himself has a unique quality of understanding. Even though Gatsby tended to hide his plans with stoic silence at his parties, Nick is able to pick up on what Gatsby wants. For instance, Nick notes, "He was clutching at some last hope and I couldn't bear to shake him free" (Fitzgerald, 148). This social intuition of the narrator allows the reader to pick up on the dichotomy between wealth and happiness. The reader sees how the wealthy feign happiness like anyone can, but he also understands how truly unhappy and conflicted the wealthy are vicariously through Nick's empathy.
Fitzgerald could have chosen a wealthy character to be the narrator, but he purposefully relegated Nick to a modest income. The relegation created a tie between Nick and the reader who, even at the time, was more likely to be in the middle rather than upper class. As a result, Nick's perspective as an outsider looking in on the upper class shenanigans is more appealing. In other novels about the shortcomings of wealth narrated in the third person (let's say The House of Mirth), the reader feels little obligation to view the story of wealthy tragedy as a tragedy. In The House of Mirth, the middle and lower class readers view things objectively and place much of the blame on Lily. However, in The Great Gatsby, the narrator's empathy easily becomes the reader's empathy. Fitzgerald's message that everyone, regardless of social status, requires acceptance and companionship goes unmarred by the reader's resentment.
Tuesday, August 7, 2012
Er. Mah. Gerd: Pages 133-146 (The Great Gatsby)
The Great Gatsby
F. Scott Fitzgerald
The chaos of this section surround the seemingly most innocuous character: Daisy. Starting with the confrontation in the hotel room from the last section, Daisy experienced a profound change in character that was forced by the struggle over her future and resulted in disaster.
Previously, Daisy was like a... daisy! Like a daisy, Nick always recognized a delicate beauty. She typically acted rather passive and peaceful. At times, she almost seemed whimsical and distant-minded. Most of all, she always seemed blissfully ignorant of the fact that her husband was cheating on her. However, we learn that she was fully aware of her husband's lacking fidelity. During the hotel room scene, she started to take more accountability for her marriage and challenged Tom on his dedication to her. But Tom's oppressive behavior managed to dampen her dedication to Gatsby: "Her frightened eyes told that whatever intentions, whatever courage she had had, were definitely gone" (Fitzgerald, 135). Yet Daisy deviated from her passivity and decided to drive Gatsby's yellow car (a symbol for his materialistic lifestyle).
Where Daisy's new-found confidence turns tragic is on the road after she leaves the hotel. On the way home from New York, Daisy hit and killed Myrtle Wilson, her husband's mistress. Because of the objectifying of Daisy by Gatsby and Tom, Daisy's simple innocence had been lost, forever marred by her hasty desire to lead her own life separate from Tom. More than that, this yellow car, the symbol of wealth in both color and cost, has been the harbinger of this loss. Daisy's shift from an innocent flower to a domineering fugitive paints the upper-class life as a destroyer. Not only does it come back literally to kill Myrtle, but it ruins Daisy's life which will always be defined by this lapse of judgment whether planned or accidental.
Whom do I blame for Myrtle's death?
This guy!
F. Scott Fitzgerald
The chaos of this section surround the seemingly most innocuous character: Daisy. Starting with the confrontation in the hotel room from the last section, Daisy experienced a profound change in character that was forced by the struggle over her future and resulted in disaster.
Previously, Daisy was like a... daisy! Like a daisy, Nick always recognized a delicate beauty. She typically acted rather passive and peaceful. At times, she almost seemed whimsical and distant-minded. Most of all, she always seemed blissfully ignorant of the fact that her husband was cheating on her. However, we learn that she was fully aware of her husband's lacking fidelity. During the hotel room scene, she started to take more accountability for her marriage and challenged Tom on his dedication to her. But Tom's oppressive behavior managed to dampen her dedication to Gatsby: "Her frightened eyes told that whatever intentions, whatever courage she had had, were definitely gone" (Fitzgerald, 135). Yet Daisy deviated from her passivity and decided to drive Gatsby's yellow car (a symbol for his materialistic lifestyle).
Where Daisy's new-found confidence turns tragic is on the road after she leaves the hotel. On the way home from New York, Daisy hit and killed Myrtle Wilson, her husband's mistress. Because of the objectifying of Daisy by Gatsby and Tom, Daisy's simple innocence had been lost, forever marred by her hasty desire to lead her own life separate from Tom. More than that, this yellow car, the symbol of wealth in both color and cost, has been the harbinger of this loss. Daisy's shift from an innocent flower to a domineering fugitive paints the upper-class life as a destroyer. Not only does it come back literally to kill Myrtle, but it ruins Daisy's life which will always be defined by this lapse of judgment whether planned or accidental.
Whom do I blame for Myrtle's death?
This guy!
Monday, August 6, 2012
Let me get the popcorn: Pages 121-132 (The Great Gatsby)
The Great Gatsby
F. Scott Fitzgerald
I know what you're all thinking: "a second post so soon? Is this Christmas?" Please, contain your enthusiasm.
Anyhow, this section of the novel brings us to (what I think is) the climax. That potential confrontation preceded by the unbearable heat has come to fruition in a New York hotel room*. Even though the climax offers a juicy scene for the reader, its true significance comes from the virtue of revealing the inner machinations of the characters' minds.
After Tom had delivered Nick and Jordan and Gatsby had delivered Daisy to the hotel in New York (read: after Daisy had decided to live her life with Gatsby), Tom and Gatsby threw out all subtlety and argued over who should get Daisy. Tom argued that Daisy loves him despite his infidelity while Gatsby argues that Daisy never loved Tom; Gatsby was simply too poor to marry Daisy five years prior. Even though Gatsby seems to be correct, unlike all of Gatsby's and Tom's previous accomplishments, there is no complete victory in this argument: "' Oh, you want too much!' she cried to Gatsby. 'I love you now- isn't that enough? I can't help what's past.' She began to sob helplessly. 'I did love him once- but I loved you too" (Fitzgerald, 132). Gatsby may be correct in claiming that Daisy does not love Tom, he cannot say simply that she never loved him; she had been married to Tom for years and had had a child with him.
The oversimplification by both Tom and Gatsby signifies both men's oversights. To Gatsby, Daisy had represented freedom from poverty and anxiety toward all women. As he had miraculously escaped his impoverished life on a yacht, Gatsby sought to snag Daisy for his own in a glorious display of his own potential. Similarly, Tom simply wants to hold on to his wife as proof that his last football game in college was not his last hurrah, that his life is not zipping past him like Gatsby and Daisy did as he was getting gas at his mistress' residence, that there is hope for redemption after his mistress leaves for Chicago. Neither men want Daisy because of her qualities alone. Nick still seems to be the only one who notices Daisy's beauty and lovely voice.
Even though victory is not certain for anyone in this climactic clash, as in seeing a comment number above 100 on an angst-filled Facebook status, one thing is certain:
this is gonna be good.
*At this point I sang New York Minute for a good five minutes. Scratch that. A great five minutes.
F. Scott Fitzgerald
I know what you're all thinking: "a second post so soon? Is this Christmas?" Please, contain your enthusiasm.
Anyhow, this section of the novel brings us to (what I think is) the climax. That potential confrontation preceded by the unbearable heat has come to fruition in a New York hotel room*. Even though the climax offers a juicy scene for the reader, its true significance comes from the virtue of revealing the inner machinations of the characters' minds.
After Tom had delivered Nick and Jordan and Gatsby had delivered Daisy to the hotel in New York (read: after Daisy had decided to live her life with Gatsby), Tom and Gatsby threw out all subtlety and argued over who should get Daisy. Tom argued that Daisy loves him despite his infidelity while Gatsby argues that Daisy never loved Tom; Gatsby was simply too poor to marry Daisy five years prior. Even though Gatsby seems to be correct, unlike all of Gatsby's and Tom's previous accomplishments, there is no complete victory in this argument: "' Oh, you want too much!' she cried to Gatsby. 'I love you now- isn't that enough? I can't help what's past.' She began to sob helplessly. 'I did love him once- but I loved you too" (Fitzgerald, 132). Gatsby may be correct in claiming that Daisy does not love Tom, he cannot say simply that she never loved him; she had been married to Tom for years and had had a child with him.
The oversimplification by both Tom and Gatsby signifies both men's oversights. To Gatsby, Daisy had represented freedom from poverty and anxiety toward all women. As he had miraculously escaped his impoverished life on a yacht, Gatsby sought to snag Daisy for his own in a glorious display of his own potential. Similarly, Tom simply wants to hold on to his wife as proof that his last football game in college was not his last hurrah, that his life is not zipping past him like Gatsby and Daisy did as he was getting gas at his mistress' residence, that there is hope for redemption after his mistress leaves for Chicago. Neither men want Daisy because of her qualities alone. Nick still seems to be the only one who notices Daisy's beauty and lovely voice.
Even though victory is not certain for anyone in this climactic clash, as in seeing a comment number above 100 on an angst-filled Facebook status, one thing is certain:
this is gonna be good.
*At this point I sang New York Minute for a good five minutes. Scratch that. A great five minutes.
*Mysterious hand motions*: Pages 109-120 (The Great Gatsby)
The Great Gatsby
F. Scott Fitzgerald
This section relies mainly on the utilization of foreshadowing to warn the reader of unfortunate events to come. While the suspicion at the end of the chapter that Gatsby might only love Daisy for her access to family wealth leaves the reader worrying for his future, the weather at the beginning of the next chapter and an awkward encounter hint at a more immediate tragedy.
After Gatsby's party, Daisy and Gatsby created a mutual relationship which ironically established a mutual lack of fidelity between Daisy and Tom. However, this did not stop Daisy from inviting Gatsby, Nick, and Jordan to the Buchanan house. The reader knows that the occasion will be less than pleasant from the very start of the sweltering day. The heat seemed to be inescapable. On the train, Nick observes that a woman near him is not only uncomfortable, but in distress from the heat. Even when he arrives at his cousin's house, the women remained stationary on the couch, pinned down by the temperature. The reader surely expects that some tense situation is sure to come because of Daisy's and Tom's extramarital romances. As everyone was sweating on the morning of the rendezvous, the characters of the story will be sweating from nerves because of a confrontation among the interlopers. Also, the universal suffering and suffocation of the heat signifies that this eventual confrontation will oppress more than those directly involved in the affairs.
Another portent of tragedies to come emerges when a woman on a train, because of the oppressive heat, drops her money. Nick defends himself by saying, "I picked it up with a weary bend and handed it back to her, holding it at arm's length and by the extreme tip of the corners to indicate that I had no designs upon it- but every one near by, including the woman, suspected me just the same" (Fitzgerald, 115). This scene suggests that, in the upcoming scourge already foreshadowed, Nick will attempt to intervene according to his character, but others will accuse him of trying to capitalize on the struggles of others. Even though his intentions will be pure, the suspicion already evinced by social status will take precedent over his desires to alleviate the situation.
Not only does foreshadowing hint at upcoming confrontations, it reminds the reader of the ever-present cause of those confrontations: money.
Foreshadow...
F. Scott Fitzgerald
This section relies mainly on the utilization of foreshadowing to warn the reader of unfortunate events to come. While the suspicion at the end of the chapter that Gatsby might only love Daisy for her access to family wealth leaves the reader worrying for his future, the weather at the beginning of the next chapter and an awkward encounter hint at a more immediate tragedy.
After Gatsby's party, Daisy and Gatsby created a mutual relationship which ironically established a mutual lack of fidelity between Daisy and Tom. However, this did not stop Daisy from inviting Gatsby, Nick, and Jordan to the Buchanan house. The reader knows that the occasion will be less than pleasant from the very start of the sweltering day. The heat seemed to be inescapable. On the train, Nick observes that a woman near him is not only uncomfortable, but in distress from the heat. Even when he arrives at his cousin's house, the women remained stationary on the couch, pinned down by the temperature. The reader surely expects that some tense situation is sure to come because of Daisy's and Tom's extramarital romances. As everyone was sweating on the morning of the rendezvous, the characters of the story will be sweating from nerves because of a confrontation among the interlopers. Also, the universal suffering and suffocation of the heat signifies that this eventual confrontation will oppress more than those directly involved in the affairs.
Another portent of tragedies to come emerges when a woman on a train, because of the oppressive heat, drops her money. Nick defends himself by saying, "I picked it up with a weary bend and handed it back to her, holding it at arm's length and by the extreme tip of the corners to indicate that I had no designs upon it- but every one near by, including the woman, suspected me just the same" (Fitzgerald, 115). This scene suggests that, in the upcoming scourge already foreshadowed, Nick will attempt to intervene according to his character, but others will accuse him of trying to capitalize on the struggles of others. Even though his intentions will be pure, the suspicion already evinced by social status will take precedent over his desires to alleviate the situation.
Not only does foreshadowing hint at upcoming confrontations, it reminds the reader of the ever-present cause of those confrontations: money.
Foreshadow...
Sunday, August 5, 2012
One of these characters is like the others: Pages 97-108 (The Great Gatsby)
The Great Gatsby
F. Scott Fitzgerald
Grab your champagne glasses and uninvited friends: there's another Gatsby party. But this one has a twist. For the first time, the Buchanans are in attendance. The party for the reader comes from the fact that this story allows for a comparison between Nick and his cousin Daisy, two of the few characters in the novel who are portrayed in a mostly positive way.
The main point of similarity between Nick and Daisy comes from their attitudes toward the guests at the party. Both characters generally disapprove of the wild behavior of the guests and their egotistical reasons for coming. Like Nick at that first party of the novel, Daisy soberly observes with disapproval the total lack of order brought on by alcohol. At their table, Daisy asks a woman if she is feeling well and receives drunken mumbling and stories of the doctor dumping her head in a pool as an antidote. To Daisy, with her simple outlook on life, the idea of a party with people looking so miserable and inept doctors is borderline idiotic and being in that kind of a party is borderline miserable. Nick also observed the lack of logical thought in the car accident after his first Gatsby party. The strongest similarity between Nick and Daisy comes from their disgust at the fact that most of the guests at Gatsby's party were not invited. To both of them, it shows a lack of consideration for Gatsby on the guests' parts and egotistical searches for a fun few superficial hours.
Despite their shared disapproval of Gatsby's parties, one key difference emerges after the party. Nick observes that, "She saw something awful in the very simplicity she failed to understand" (Fitzgerald, 107). Although Nick looks down upon the parties Gatsby throws, he does not feel so strongly about the situation. Because he is so used to observing the inner struggles of people, he can see more than the arrogance and egotism of the guests. Daisy's simplistic judgments might come between her and Gatsby who seeks to impress the former with such superficial displays.
F. Scott Fitzgerald
Grab your champagne glasses and uninvited friends: there's another Gatsby party. But this one has a twist. For the first time, the Buchanans are in attendance. The party for the reader comes from the fact that this story allows for a comparison between Nick and his cousin Daisy, two of the few characters in the novel who are portrayed in a mostly positive way.
The main point of similarity between Nick and Daisy comes from their attitudes toward the guests at the party. Both characters generally disapprove of the wild behavior of the guests and their egotistical reasons for coming. Like Nick at that first party of the novel, Daisy soberly observes with disapproval the total lack of order brought on by alcohol. At their table, Daisy asks a woman if she is feeling well and receives drunken mumbling and stories of the doctor dumping her head in a pool as an antidote. To Daisy, with her simple outlook on life, the idea of a party with people looking so miserable and inept doctors is borderline idiotic and being in that kind of a party is borderline miserable. Nick also observed the lack of logical thought in the car accident after his first Gatsby party. The strongest similarity between Nick and Daisy comes from their disgust at the fact that most of the guests at Gatsby's party were not invited. To both of them, it shows a lack of consideration for Gatsby on the guests' parts and egotistical searches for a fun few superficial hours.
Despite their shared disapproval of Gatsby's parties, one key difference emerges after the party. Nick observes that, "She saw something awful in the very simplicity she failed to understand" (Fitzgerald, 107). Although Nick looks down upon the parties Gatsby throws, he does not feel so strongly about the situation. Because he is so used to observing the inner struggles of people, he can see more than the arrogance and egotism of the guests. Daisy's simplistic judgments might come between her and Gatsby who seeks to impress the former with such superficial displays.
Pretty Colors: Pages 85-96 (The Great Gatsby)
The Great Gatsby
F. Scott Fitzgerald
Uncharacteristically, during this section, there is comparatively little dialogue. However, Fitzgerald fills this vacuum with a style that includes detailed imagery to develop a mood that varies from tense to relieved as does the mood of the interactions among Nick, Gatsby, and Daisy on the day of the arranged tea party.
The imagery begins with the weather. Before Daisy arrived, it had been raining for most of the day. As a result, when Daisy pulled up in her car through the bare trees, the yard, despite Gatsby's planning, was filled with puddles, the trees were a dismal sight, and the sky was still dreary with a chance for more rain. Still, the unpleasant atmosphere penetrated Nick's house as well. The initial lack of conversation portrayed everyone's uneasiness. Understandably, Gatsby in particular felt the need to feign calmness: "Gatsby, his hands still in his pockets was reclining against the mantelpiece in a strained counterfeit of perfect ease, even of boredom" (Fitzgerald, 86). Even though Gatsby desired that every little detail put Daisy at ease so that he could impress her, every detail from the weather to the lawn to the placement of his hands to the dynamics of the conversation served to ensure the opposite. In fact, the mood shifts when Gatsby ceases to try to impress Daisy with details that are not his.
While bare trees greeted Daisy to Nick's home, colorful flowers greeted her to Gatsby's home. Gatsby led Nick and Daisy on a tour of his home which had undergone no special preparations for Lily's arrival but still contained the most beautiful rooms and libraries. However, the most significant detail of his house that evinced the strongest response from Daisy came from his humble bedroom which contained little more than a bed, a wardrobe, a bathroom, and a dull gold toilet set. While the splendor of the rest of his house enabled Gatsby to rest assured that Daisy was enjoying what she was seeing as many have before, his bedroom had previously only been for him to see. Consequently, his bedroom represented Gatsby's true character without any affectations designed to ingratiate himself to anyone. Luckily for Gatsby, Daisy responded to his shirts, which represent his character in a larger sense, by saying she had never seen something so beautiful in her own life.
The progression of the moods of this section.
F. Scott Fitzgerald
Uncharacteristically, during this section, there is comparatively little dialogue. However, Fitzgerald fills this vacuum with a style that includes detailed imagery to develop a mood that varies from tense to relieved as does the mood of the interactions among Nick, Gatsby, and Daisy on the day of the arranged tea party.
The imagery begins with the weather. Before Daisy arrived, it had been raining for most of the day. As a result, when Daisy pulled up in her car through the bare trees, the yard, despite Gatsby's planning, was filled with puddles, the trees were a dismal sight, and the sky was still dreary with a chance for more rain. Still, the unpleasant atmosphere penetrated Nick's house as well. The initial lack of conversation portrayed everyone's uneasiness. Understandably, Gatsby in particular felt the need to feign calmness: "Gatsby, his hands still in his pockets was reclining against the mantelpiece in a strained counterfeit of perfect ease, even of boredom" (Fitzgerald, 86). Even though Gatsby desired that every little detail put Daisy at ease so that he could impress her, every detail from the weather to the lawn to the placement of his hands to the dynamics of the conversation served to ensure the opposite. In fact, the mood shifts when Gatsby ceases to try to impress Daisy with details that are not his.
While bare trees greeted Daisy to Nick's home, colorful flowers greeted her to Gatsby's home. Gatsby led Nick and Daisy on a tour of his home which had undergone no special preparations for Lily's arrival but still contained the most beautiful rooms and libraries. However, the most significant detail of his house that evinced the strongest response from Daisy came from his humble bedroom which contained little more than a bed, a wardrobe, a bathroom, and a dull gold toilet set. While the splendor of the rest of his house enabled Gatsby to rest assured that Daisy was enjoying what she was seeing as many have before, his bedroom had previously only been for him to see. Consequently, his bedroom represented Gatsby's true character without any affectations designed to ingratiate himself to anyone. Luckily for Gatsby, Daisy responded to his shirts, which represent his character in a larger sense, by saying she had never seen something so beautiful in her own life.
The progression of the moods of this section.
Friday, August 3, 2012
Hello? Is anyone there?: Pages 73-84 (The Great Gatsby)
The Great Gatsby
F. Scott Fitzgerald.
I am currently approaching the middle of the novel, so I should probably know the answer to one rather major question: what is the point of this novel? So far, I have noticed the development of two major themes: rejection and the fleetingness of life.
From the very beginning of the novel, people were being rejected or abandoned; Nick's dog, Tom's affair, and, now, Gatsby's missed opportunity with Daisy. We learn in this section that nearly every single thing Gatsby has done in his life has been to impress Daisy including his buying the house on the bay across from the Buchanans' house. Now, he plans on luring Daisy near his house through Nick. Because he is so afraid of being rejected for being a burden, he asks Jordan Baker to ask Nick and refuses to ask anything more from Nick after she asks him. "'What day would suit you?' he corrected me quickly. 'I don't want to put you to any trouble, you see'" (Fitzgerald, 82). By not being assertive or bold, Gatsby has squandered much of his life planning for some future instead of achieving it. By contrast, Nick threw caution to the wind and asked Jordan to dinner. This contrast serves to warn the reader against the fear of rejection that keeps people from living their lives.
Another theme of the novel is the brevity of life. When Nick returns to his house late at night, Gatsby suggests going to Coney Island and going for a swim. His suggestions are reminiscent of children not wanting to go to sleep. Without even realizing it, Gatsby has allowed his life to pass him by. Even though he is quite old, he hasn't completely grown up; he still deals with his crushes like a middle-schooler with messengers and passive-aggressive subterfuge. Fitzgerald uses Gatsby's shortcomings to convey lessons he views as ignored by his time: there is more to life than being accepted by others and everyone must seize life before it zips by like a bootlegger.
I found this.
F. Scott Fitzgerald.
I am currently approaching the middle of the novel, so I should probably know the answer to one rather major question: what is the point of this novel? So far, I have noticed the development of two major themes: rejection and the fleetingness of life.
From the very beginning of the novel, people were being rejected or abandoned; Nick's dog, Tom's affair, and, now, Gatsby's missed opportunity with Daisy. We learn in this section that nearly every single thing Gatsby has done in his life has been to impress Daisy including his buying the house on the bay across from the Buchanans' house. Now, he plans on luring Daisy near his house through Nick. Because he is so afraid of being rejected for being a burden, he asks Jordan Baker to ask Nick and refuses to ask anything more from Nick after she asks him. "'What day would suit you?' he corrected me quickly. 'I don't want to put you to any trouble, you see'" (Fitzgerald, 82). By not being assertive or bold, Gatsby has squandered much of his life planning for some future instead of achieving it. By contrast, Nick threw caution to the wind and asked Jordan to dinner. This contrast serves to warn the reader against the fear of rejection that keeps people from living their lives.
Another theme of the novel is the brevity of life. When Nick returns to his house late at night, Gatsby suggests going to Coney Island and going for a swim. His suggestions are reminiscent of children not wanting to go to sleep. Without even realizing it, Gatsby has allowed his life to pass him by. Even though he is quite old, he hasn't completely grown up; he still deals with his crushes like a middle-schooler with messengers and passive-aggressive subterfuge. Fitzgerald uses Gatsby's shortcomings to convey lessons he views as ignored by his time: there is more to life than being accepted by others and everyone must seize life before it zips by like a bootlegger.
I found this.
Thursday, August 2, 2012
Who cares about them? I do!: Pages 61-72 (The Great Gatsby)
The Great Gatsby
F. Scott Fitzgerald
In this dialogue-based section, minor characters carry much of the significance. Specifically, the hordes of former party guests and Gatsby's acquaintance Wolfsheim because apparently it was impossible to get a novel published before 1950 without a shady-looking Jewish minor character.
I know, right?
After the summer of parties, Nick bothered to write down every guest he noticed there. While this action suggests that Nick is much more observant than the guests themselves, the sheer number and lack of distinction between the names almost makes all of the guests seem like one ill-informed monolith. Almost all of the guests seem to have impulsive (and plain wrong) theories about Gatsby. "'He's a bootlegger,; said the young ladies, moving somewhere between his cocktails and his flowers. 'One time he killed a man who had found out that he was nephew to Von Hindenburg and second cousin to the devil'" (Fitzgerald, 61). As I have mentioned before, among this group of people, logic has been long forgotten.
In addition, nothing any of the guests say is ever a personal conviction; if it has to do with someone at Gatsby's parties, it's always that this person They tells them everything the guests need to know especially when discussing who is pretending to be whose husband or wife. These almost interchangeable characters form a being that seems to be wrongly driving a wedge between Nick and Gatsby based on nationalistic propaganda.
As in The House of Mirth, a shrewd Jewish businessman seems to signify how not to attain wealth. Throughout the lunch, Wolfsheim treated Nick quite rudely by randomly switching his attention away from Nick and treating Nick with a degree of indignation. Even though Gatsby randomly abandons Nick to make a phone call as well, the way Gatsby pales in comparison to Wolfsheim's shrewdness shows the reader that Gatsby's disconcerting habits result from bad influences rather than character flaws. Moreover, Wolfsheim's anecdote about his friend who was gunned down at lunch foretells not only the tragic end to his way of life, but the tragic life itself. If even a relaxing lunch can be tainted by the quest for good business, there is little living to begin with. Wolfsheim represents a life completely consumed by the quest to build the "American Dream": financial success.
F. Scott Fitzgerald
In this dialogue-based section, minor characters carry much of the significance. Specifically, the hordes of former party guests and Gatsby's acquaintance Wolfsheim because apparently it was impossible to get a novel published before 1950 without a shady-looking Jewish minor character.
I know, right?
After the summer of parties, Nick bothered to write down every guest he noticed there. While this action suggests that Nick is much more observant than the guests themselves, the sheer number and lack of distinction between the names almost makes all of the guests seem like one ill-informed monolith. Almost all of the guests seem to have impulsive (and plain wrong) theories about Gatsby. "'He's a bootlegger,; said the young ladies, moving somewhere between his cocktails and his flowers. 'One time he killed a man who had found out that he was nephew to Von Hindenburg and second cousin to the devil'" (Fitzgerald, 61). As I have mentioned before, among this group of people, logic has been long forgotten.
In addition, nothing any of the guests say is ever a personal conviction; if it has to do with someone at Gatsby's parties, it's always that this person They tells them everything the guests need to know especially when discussing who is pretending to be whose husband or wife. These almost interchangeable characters form a being that seems to be wrongly driving a wedge between Nick and Gatsby based on nationalistic propaganda.
As in The House of Mirth, a shrewd Jewish businessman seems to signify how not to attain wealth. Throughout the lunch, Wolfsheim treated Nick quite rudely by randomly switching his attention away from Nick and treating Nick with a degree of indignation. Even though Gatsby randomly abandons Nick to make a phone call as well, the way Gatsby pales in comparison to Wolfsheim's shrewdness shows the reader that Gatsby's disconcerting habits result from bad influences rather than character flaws. Moreover, Wolfsheim's anecdote about his friend who was gunned down at lunch foretells not only the tragic end to his way of life, but the tragic life itself. If even a relaxing lunch can be tainted by the quest for good business, there is little living to begin with. Wolfsheim represents a life completely consumed by the quest to build the "American Dream": financial success.
Wednesday, August 1, 2012
Symbols are getting tired; let's change the phrase to "sit for": Pages 49-60 (The Great Gatsby)
The Great Gatsby
F. Scott Fitzgerald
This part of the story, which revolves around Nick's first Gatsby Party, a sort of allegory forms. Specifically, alcohol and cars, two of the most stereotypical icons of the decade, bear Fitzgerald's critiques on his society.
What's a party without alcohol? Nick Caraway would probably answer that question with the word "sane". In fact, alcohol seems to symbolize an abandon of reason and logic. A famous singer in attendance "had drunk a quantity of champagne, and during the course of her song she had decided, ineptly, that everything was very, very sad- she was not only singing, she was weeping too" (Fitzgerald, 51). Tying in with the theme of distortion, alcohol, most likely drunk to fit in, skews perceptions. In the case of the singer, a song that should have been uplifting and entertaining, had a tragic representation: all because of alcohol. The only people who retained a logical view of things were those who refrained from becoming drunk: Nick, Gatsby, and Jordan. Alcohol's role as a symbol of abandon of reason suggests that any future heartache will be partly due to skewed perspectives.
Luckily for my permanent record, I am not out of ideas, professor (he's always the professor).
The alcohol symbolism spills over into another symbolism: cars.
Shut up! That was good imagery!
While alcohol symbolizes an abandon of reason, automobiles symbolize the direction of life, which, as everyone in our enlightened times knows, is very susceptible to the abandon of reason caused by alcohol. As Gatsby's party ends, the drunken guests attempt to drive away. Unsurprisingly, one of the cars ends up without a wheel, and the driver has no idea why the car stopped. This gala of stupidity signifies the common outcome when people embrace this lifestyle of non sequiturs instead of observing from the sidelines like Nick: ending up with your life in a ditch and having no idea how it got there.
F. Scott Fitzgerald
This part of the story, which revolves around Nick's first Gatsby Party, a sort of allegory forms. Specifically, alcohol and cars, two of the most stereotypical icons of the decade, bear Fitzgerald's critiques on his society.
What's a party without alcohol? Nick Caraway would probably answer that question with the word "sane". In fact, alcohol seems to symbolize an abandon of reason and logic. A famous singer in attendance "had drunk a quantity of champagne, and during the course of her song she had decided, ineptly, that everything was very, very sad- she was not only singing, she was weeping too" (Fitzgerald, 51). Tying in with the theme of distortion, alcohol, most likely drunk to fit in, skews perceptions. In the case of the singer, a song that should have been uplifting and entertaining, had a tragic representation: all because of alcohol. The only people who retained a logical view of things were those who refrained from becoming drunk: Nick, Gatsby, and Jordan. Alcohol's role as a symbol of abandon of reason suggests that any future heartache will be partly due to skewed perspectives.
Luckily for my permanent record, I am not out of ideas, professor (he's always the professor).
The alcohol symbolism spills over into another symbolism: cars.
Shut up! That was good imagery!
While alcohol symbolizes an abandon of reason, automobiles symbolize the direction of life, which, as everyone in our enlightened times knows, is very susceptible to the abandon of reason caused by alcohol. As Gatsby's party ends, the drunken guests attempt to drive away. Unsurprisingly, one of the cars ends up without a wheel, and the driver has no idea why the car stopped. This gala of stupidity signifies the common outcome when people embrace this lifestyle of non sequiturs instead of observing from the sidelines like Nick: ending up with your life in a ditch and having no idea how it got there.
Subscribe to:
Posts (Atom)