Response 5

I kissed him goodbye and walked out of the diner….should I have turned back? Did I try everything to change his mind to just let me take him home?

These questions plagued my thoughts day and night. Was this what I deserved for doubting our relationship. Deep down, I knew Tim deserved better. He should be with someone who didn’t constantly ask themselves “What If?”. Its amazing how just two little words can hold so much power over someone. I finally had to accept that he wasn’t walking through the door tonight; that he wouldn’t wake up and have breakfast with me in our little nook.

At first it was hard not to continually question myself. It did get easier as time passed. My outlook didn’t match the harsh winter anymore, it slowly awakened like new spring flowers. I met someone. He was very handsome, and easy to talk to. At first, we just chatted. I was nervous to tell him about my real life; about those days I chased my husband around the countryside, relying on a phone call to find him. Our attraction grew into something more and I was shocked when he asked me to Paris. I felt guilty at first for leaving. What if Tim called? What if he needed me and I wasn’t there. I doubted he would call, but there was still a lingering hope. A hope that never fades, but lasts deep down in your soul. I finally accepted Tim’s proposal to move on, and I decided to venture out on my own.

I was nervous the whole flight over, but I couldn’t wait to explore and experience something new. It had been so long since the spotlight was on me. So long since I did not have to worry about everyone else. Paris was gorgeous; truly the city of love. We toured the monuments and museums by day, and walked the streets by night. I was mesmerized by the lights and beauty of it all. It was almost like you could forget all your troubles; leave them in your suitcase and enjoy what the city had to offer.

Happiness can only last so long, and I felt like my journey to Neverland was over. I woke up the third night from a horrible nightmare. I could hear his voice calling my name…Jane…Jane; just begging for help. It felt so real, hearing my name. I felt sick to my stomach. Was I such a horrible person for leaving my husband? and leading someone else on, to such an extent that we take a romantic getaway? The rest of the vacation, I tried to will myself to not think of Tim. I couldn’t help it though; every time we turned the corner, I felt an imaginative relief that the man walking down the street was Tim. That I had found him and could take him home. It was only after running up and approaching the fourth man that I knew I had to return. I had to get back, because I knew deep down that Tim loved me. I was banana, and I knew I had to be home for when he returned.

 

Hypertext Fiction?

Paul Lefarge’s article on Hypertext Fiction questions why it never gained popularity especially with the new improvements in technology in the past 10 years. “And then … nothing happened.” Lefarge makes the argument that it was supposed to be the next big thing, but isn’t even recognized on wikipedia after 2001. iPads, Nooks, eReaders have all made the literary world more accessible and portable to our fast-paced society.

Being a child of the 90’s, I wasn’t old enough to fully appreciate hypertext fiction but after this week’s assignment I have a new outlook. I found Caitlin Fisher’s work very confusing. I believe she was trying to put more effort into the aesthetic view of the novella rather than the narrative. Fisher’s These Waves of Girls puts the reader in control of how the story is presented. It was a very interesting way for a book, but I felt like there was too much going on.

People read books because they are interested, and the new eReaders have only made those books more accessible. Our generation is all about an object’s convenience. Hypertext probably never had a future because people got lost in what was going on instead of putting attention on the author’s work. Although some believe that “the author is dead” but I believe if that we were really true, books would not be published anymore. Sure, authors have played into the popular culture with writing with movies in mind, but their audience is constantly changing. It is imperative for an author to evolve with their followers.

American Literature redefined response

Tuesday’s class focused on our opinions of defining American Literature. I was asked to consider where I classified, The Unnamed, the novel I chose for an essay assignment. For inspiration, I took a trip to Barnes & Noble.

It was interesting to look around the shelves and see how they classified books. Combing through the shelves I recognized some titles, and felt others were out of place. For example, should we consider a work including werewolves or zombies science fiction even if it is set in the 1700s and makes many historical references.

Then I started to wonder what makes “contemporary literature” contemporary? According to dictionary.com, contemporary is defined as- of the present time; modern. With this in mind, why does our contemporary literature span hundreds of years? I believe contemporary literature is written with a certain audience in mind. Most readers will be able to empathize with the same emotion, or have similar experiences to be able to relate to the protagonist. A novel is considered contemporary according to the time it was written. The generation before us considers authors like Stephen King and Ernest Hemingway their contemporary, while our generation will view J.K. Rowling and James Patterson our contemporary.

I own a kindle and shop on Amazon regularly. I am a major fan of the algorithm the website uses to show the other books people have purchased along with the one you’re viewing. I feel like this would be helpful in real life. I believe literature should be categorized as follows:

• subject matter-overall plot
• characters- mythical creatures, soliders, girl living next door, etc.
• time period
• regional/location

Placing The Unnamed became a problem for me. It’s synopsis details a medical mystery that leaves a man wandering the country, a prisoner to his own body. Most would think the solution is simple: science fiction, which is exactly what I thought too before reading it. After I was finished, I realized the story is ultimately about the loyalty and determination of a man and wife faced with abnormal life situations. So, then do I consider it a romance? Novels are grouped together but every now and then one story will stump the classification; there will always be an outlier to solutions presented. Today’s novel assortment works for most, with books grouped into popular categories because most readers will pick up a book relatable to one of their favorites. This thought process explains the similarity between modern fiction plots. Where there is a vampire, there will be a lovestruck girl. Where there are clues left behind, there is a mystery waiting to be unraveled. Modern fiction has played into a universality of themes, making it easier to sort most novels.

N. Scott Momaday

I chose to blog about Momaday’s From the Way to Rainy Mountain, one of our readings for this week. Momaday’s story begins with narrator remembering his grandmother who has just recently passed. It is interesting how his memories correlate with specific locations. From the Way to Rainy Mountain definitely has multiple storyworlds existing within the plot or metalepsis. The author has created a flashback of fond memories of his grandmother that also include flashback to his events his ancestors witnessed or experienced; an “inception-like” flashback within a flashback. Although there is a choppy break with this narrative because it is not the whole story, you can tell that he later weaves in his ancestors narratives and myths, stories that would be recited and passed down from memory. The narrator ultimately seems to deal with his sorrow by comparing  his loss to the same loss his ancestors, the Kiowas, felt when they realized their culture was dying out, metaphorically speaking.

N. Scott Momaday presents his narrative with a main focus on the reference and expressive modes. His draws the readers into his (and his ancestors) sense of loss, a universal emotion everyone can empathize with. Locations and landmarks play a major role with his feelings, and also showcase the importance of the natural world to Native American Indians.

Barthes & Gass

Is American Literature repetitive? Do we recycle and refashion the same themes and story lines over and over again?

Both authors seem to touch on this notion of American Literature being produced for popular culture. For example, I can admit that I fell into the Harry Potter and Twilight hype. I loved the books when they came out and couldn’t wait to see how they would turn out on the big screen. It is sad to admit that I was thoroughly disappointed. Both series seemed to have add-ins that would draw the crowds and omitted what I thought were crucial characters or events. These authors have critiqued modern writing to only have satisfied the masses.

I believe Barthes said it best: “No new break seems to have occurred since, and it can be said that, in a way, we have been involved in repetition for the past hundred years.” He continues to explain that even though the author has ownership over the text, it is up to the reader’s interpretation or perception to give it meaning. This meaning is not confined to a specific answer; it has plurality in meaning.

Gass’s manifesto is similar to Barthes opinion in that most recent literature has been created with other media in mind. Could this be turned into something else? Would this make a good film or play? Then, comes the question of whether or not you add to the literature version of the story with those questions in mind. Does popular culture play a part in the writing process?; does it warrant a giant explosion in a contemporary post-modern work?

Looking back on the literature we have read in this class, I believe there is a clear break between those previous works and literature being produced today. Most story lines do seem to be recycled, with the tiniest changes made here or there. I also believe that every generation will have their popular stories and media. The true question is: should these two interact? Should authors consider marketing towards the majority of the population that has jumped on the technology bandwagon or create a great literary work regardless how many millions it could make in the box office if the rights were bought? Does modern literature lack originality? If so, is it the death of the author?

Cambridge & Unnamed

During Tuesday’s class we reviewed the Cambridge readings involving storyworlds. Cambridge defines these as not only representations within time, but space as well. Storyworlds are important when discussing the narrative discourse of a story or novel. What is being expressed through the narration, but also what is the narrator trying to get across?

The easiest way to picture this is to think about your novel as a movie. The different scenes coexisting would be considered different “storyworlds”. For example, we’ll use the show “House”. The scenes switch back and forth between characters or actions to continue the plot. These scenes come together though in the conclusion to unravel the mysterious illness.

Joshua Ferris’s novel The Unnamed has several of these storyworlds. Tim, the main character struggles with this unknown disease that causes him to walk for miles on end randomly. While the narrator is explaining his journey to come to terms with this, there are also scenes going on involving a high profile case he’s involved in. The medical profession is brought into this with doctors and procedures named throughout the story too. Although many different things on going on, the main focus is the undying loyalty between Tim and his wife, Jane. She may have doubts and question their marriage times, but she will always be there to stand by his side in sickness and in health.

 

Unnamed

The Unnamed by Joshua Ferris tells the story of a guilt-ridden man that is driven to walk until his body tells him to stop. He could walk to the end of the driveway or end up 500 miles from home. It could happen at any time- eating breakfast, talking to a coworker, taking out the trash…when “it” comes, he walks. The main character seems to lose hope since he has contacted doctors around the world looking for a cure.

• So far, I find the story’s POV interesting (3rd point)-gives just enough information about the characters to keep you hooked
• story switches between present and flashbacks of previous “it” encounters
• metaphors for “going down the rabbit hole”, “body as machines”, “consequence of technology”
• imagery of weather matching city monuments
• moral theme- vows = binding, must fulfill any/all obligation
• modes: references to places around world, setting-NY; nothing expressive yet

 

Novel Selection

I chose to write my second essay about The Unnamed by Joshua Ferris. I was able to narrow it down to this selection because a.) it was one of the more recent novels and b.) after looking it up on Amazon-it caught my attention enough to download the first chapter.

From what I’ve read so far, the plot isn’t 100% original but it is interesting how simple his writing seems to be. The 3rd person viewpoint also adds in a twist along with the medical dialogue. The story seems to be split in two: his life and the illness. It definitely has captured my attention so far, but I can’t quite figure out why. Intriguing plot, simple language, interesting perspective, separate dialogues?

Response 4: Modes of Poetry

During class recently we have focused on analyzing the multiple modes of poetry with a wide range of authors. Generally, we refer to three modes: narrative, reference, and expression-which can be divided into direct and indirect. Usually when taking an indepth look into poetry, most spend time on the narrative mode; putting an emphasis on the story expressed. We have taken a detour from this and looked at what authors are trying to express through references and their use of lyrical language and metaphors. Carl Sandberg’s Grass, though short, adds a new outlook on expression with his use of language to portray experienced perception. He pays particular attention to nature and uses metaphors to transform his fields of grass into blankets for the dead. Sandberg makes several references to past battlefields which take his concept and make it a universal idea; that time and space have no affect because everything always returns to nature. His poem sets itself apart from others because it does not rely on the narrative mode to express an idea, concept, or feeling. Yes, there is a narrative. There were wars with casualties. There is a train with a conductor and passengers, but Sandberg allows his language to communicate instead of a plotline.

Frank O’Hara’s The Day Lady Died does rely on the narrative and reference modes but he takes on a different approach with his indirect style which is completely different from the more structured poets who came before him. O’Hara was part of the “Make it New” movement and decided he would entice readers not with his elaborate use of language but with an easy flow to his writing. His style is very indirect, almost conversation-like, but he is still able to snapshots of his expressions across. The Day Lady Died uses narrative to take us through O’Hara’s actions on a Friday in New York in 1959. He uses multiple references to places around the city to allow the reader to transport themselves into the path he walked.

Even though both authors operate using different styles and techniques, both use the same frequencies for aesthetic expression: image, emotion, and story. Both poems evoke specific images whether through metaphor or description. They also both use distinct stories to awaken reader’s emotions. Sandberg is in favor of the less is more technique allowing the reader to picture the general idea but with specific details depending on the reader. O’Hara seems to pack on the details because his particular surroundings and references are important to the content of the poem.

 

 

 

 

 

 

 

 

(Right: field of grass, left: 6th Ave. NY) Both images are important to the poems because these are either specific details mentioned or pictures imagined that are crucial to their narratives. Both rely on aesthetics of the location to express the authors’ ideas and concepts. These photographs are what Hirshfield would consider images to the reader and evoke the atmosphere necessary for the interpretation of the poems.

 

 

Poet’s “movements”

After class today I started thinking about the differences between the poets we’ve read about in class. Even though it seems each author or group of authors specialized on putting their own twists on things, they did pay respects so to speak to the great poets before them.

• Imagism-clarity of expression through the use of precise visual images
• Crane is seen as one of the masters of this movement. His “Brooklyn Bridge” takes us through New York creating brief moments seen through his eyes
• “Make it new”-Poets like O’Hara and Ashbery put their own spin with a new informal, indirect way of addressing others; their poems become almost conversation-like full of personal references and experiences
• “Beats”-mentored by those from the “Make it New” movement, poets Ginsberg and Kerouac mash multiple modes together with stylistic references to past movements

I’ve realized that poetry is never set in stone. It will always be changing and evolving based on what is popular with modern culture. Authors take on new perspectives and transform them into insightful expressions.