tag:blogger.com,1999:blog-17658452601421602132023-06-20T06:21:20.855-07:00Travel LiteratureDr. June Ellishttp://www.blogger.com/profile/01401428856944751970noreply@blogger.comBlogger55125tag:blogger.com,1999:blog-1765845260142160213.post-64724993010406864492015-05-05T14:05:00.001-07:002015-05-05T14:05:11.769-07:00Final Exam! Happy summer Everyone!
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<br />
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Elesa
Knowles<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Dr.
Juniper Ellis<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Travel
Literature <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">May
5, 2015<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">The
Loyola Honor Code governs the exam, like all work in this course.<span style="mso-spacerun: yes;"> </span>Before you take the exam <b>please sign the
Honor Code pledge</b>.<span style="mso-spacerun: yes;"> </span>Cut and paste the
following statement at the beginning of your exam:<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">I attest, in keeping with
the Loyola Honor Code, that all work on the exam is my own; I am writing it
right now without reference to any pre-existing notes, books, or electronic
resources.<span style="mso-spacerun: yes;"> </span>Signed, </span></b><span style="font-family: "Times New Roman";">[Elesa Knowles]<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">How
does a traveler find healing or reconciliation, no matter what the
circumstances?<span style="mso-spacerun: yes;"> </span>And what does that tell
you about the traveler and the circumstances?<span style="mso-spacerun: yes;">
</span>Discuss all works since the mid-semester exam, and include literary
form.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Despair is contagious is the belief
of many a people who endure hardship, forcible change, and immerse prejudice in
the early and late 20<sup>th</sup> century. In the era of Post-Colonialism, a
collection of people and bodies of land have emerged from out of the shadows of
their colonizer’s influence and beliefs. Although the acts of oppression have
passed, the despair induced from inheriting a legacy of violence and
self-loathing exists. In awesome turn of events, this despair brings about the
greatest hope in the present and future. A traveler who voyages through despair
to discover hope is similar to how many authors and narrator find healing and
reconciliation regardless of the circumstances in many stories of tattoo,
Oceania, and Caribbean literature. This progressive pattern shows the universal
spirit to live and thrive on Earth as well as not merely to survive and mourn
eternally on earth. This pattern can be highlighted in particular in the texts
of Wendt’s “The Cross of Soot”, Danticat’s “Kirk? Krak?” and Spiegelman’s “Maus
II”. This pattern of hope springing out of despair through the means of travel
can be seen echoed throughout Hauo’fa “Our Sea of Islands”, Wendt’s “Tattauting
the Post-Colonial Body, O’ Connor’s “Parker’s Back”, and Kerouac’s “On the
Road”. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>A boy travels into a prison system
and literally is confronted and befriends despair in the forms of human chained
for murder and rape. This eight-year-old amidst the chaos is treated well by
the men who do not take advantage of his ignorance. One of the prisoners
regardless of being imprisoned chooses to define his circumstances through own
skin. He is a tattooist. When the boy asks him for a tattoo of a star, he
decides to mark the child with this optimist symbol of a star, a fleeting yet
intense light on the hand, to convey their new founded friendship. His parents
summon the boy; thus, the tattoo remains unfinished. Most of the prisoners see
this act as a marker of their relationship. A prisoner and a child would have a
dis-connect, but when they try to create something together it ends up a
disaster. When the boy’s mothers see the tattoo, her reaction is a beautiful
disaster. The unfinished light star is the outline of a cross. In the context
of Judean-Christian, the cross a unifying symbol of life over death. A boy
leapt into a prison of despair and climbed under the gate into his unlocked
home with hope tattooed upon his hand for all to see. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>In Danticat’s works, one story of a
mother and wife’s response to despair is “A Wall of Fire’. His husband and
father commits suicide in the Haitian community publicly by filling up a hot
air balloon and jumping out in front of his son. His son’s play was highlighting
the hypocrisy of the current regime in Haitian nation in particular its
relative freedom amidst the violence of the Dominican Republic and Haiti. In
spite of being proud of his son’s accomplishments, the fathers sees his own
son’s educational success not as an extension of himself but rather his son’s
success in a limited sphere as his own failure as a man and provider. He then
takes his son’s lines from the play literally and decides to die in fires
rather taste freedom. His wife’s response was to protect his son but she does
not abandon or disown his husband’s body. She maturely asks his son to come
with her to reclaim the body. In addition, she could have pretended she did not
know him and grieve privately. Instead of avoiding the despair of the
situation, she confronts it and seeks the hope of letting her husband’s life
not a single act define him. She tells the police and hospital official to let
him have his eyes open because he always wanted to be looking at the sky. She
acknowledges his despair that consumed her husband but is not absorbed into it.
She walks through her own home that has become the jury and executer of her
husband and travels to the place of understanding as the healer seeing the hope
admits the chaos. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Spiegelman’s “Maus II” sees the
despair traveling from family member to family member. Art, the son, asks his
father about the most despair-inducing event of the early 20<sup>th</sup>
century and sees oblivious resistance. The father in spite of having his wife
commit suicide, after her brother who was a Holocaust survivor dies of natural
causes, continues to witness the Holocaust for his son who is stained by the
despair of the past. The father in his means of speech and interview sees hope.
Even in the car rides to the Shop Rite he sees the hanging bodies of the girls
from the camp, he still smiles and jokes over 50 cents over Special K cereal.
He does not focus on his past and even stops his son from poking too much. In
the comic cut away scenes, he focuses on his love of his wife and not once
brings up her suicide as an excuse for not enjoying the world he lives in the
United States. He could have focused on the Nazis that tortured him or the
people who disowned him during the war, but he focuses on facts and being
re-uniting with his family. He celebrates the world and he remembers seeking
letters to his wife, receiving letter from his wife and rejoicing, and his
final memory conveyed to his son is that of re-uniting with his wife. The last
page is father and mother being side by side unified through the hope of their
son created after the despair of the war to preserve this legacy to create a
beautiful not a disastrous world after the Holocaust. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The literary motif of hope through travel is
highlighted through the perspective of the narrators. The narrators in all the
stories chose to focus on the positive and see the forcible travel or
restricted circumstances induced by war, poverty, and systematic oppression. The
travelling in the mind is chosen while the physical travel is enforced upon
them. Likewise in Hauo’fa “Our Sea of Islands”, the narrator could have viewed
the insulting logic of little islands in the sea as simply diminutive. He could
have been consumed by the hatred and despaired over the forced illogic of the
rhetoric of Eurocentric powers. In instead, he utilized his environment
rhetoric and transformed it into a great critique and praise of Oceania’s
legacy of hope and courage in the context of entire world not just Europe. He
did this so well that this article’s hope triumphing over despairing insults
travelled all the way to Baltimore in North America in the Unite States, which
is an impressive feat for “non-influential islands in the sea”. <span style="mso-spacerun: yes;"> </span>In Wendt’s “Tattooing the Post-Colonial Body”,
challenges the rhetoric of tattoos of being modern graffiti and being
rebellious. The narrator focuses on the positive communal culture of tattooing
opposed to the trendy representation. <span style="mso-spacerun: yes;"> </span>The
narrator does allow the Samoan literature legacy to be forgotten in O’ Connor’s
“Parker’s Back” or Kerouac’s “On the Road” texts. O’ Connor invokes the
communal Judea-Christian context of Jesus’s eyes and travelling on a person’s
skin. However in O’Connor’s context the unifying aspect is not understood by
the wife of Parker compared to boy’s mother in Wendt’s “Cross of Soot”. Even in
American road trip word surfing format of Kerouac, the narrator seeks hope in
the intoxicating pattern of travel. This chosen travel in spite of it being
engrossed in drugs, sex with random partners, and violence is for the hope of
adventure and understanding. Most narrators did not choose their circumstances
but choose how they react thus their travel resulted in healing or
reconciliation with the exception of the narrator of “On the Road”. Despair is
contagious; on the other hand, with help of travel internally or personal
decisions, hope is contagious in most of all circumstances that absorbs most of
despair of any singular event. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<!--EndFragment-->Elesa Knowleshttp://www.blogger.com/profile/15347655710608539718noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-39338869354105153002015-04-07T12:54:00.001-07:002015-04-07T12:54:20.356-07:00An Author's Responsibility<div class="MsoNormal">
Brendan O’Brien<o:p></o:p></div>
<div class="MsoNormal">
EN 385<o:p></o:p></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Maus II</i> Post<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>The
Holocaust is undoubtedly one of the most significant acts of prejudice and
atrocity in human history. Many authors, writers, and survivors have attempted
to capture the horror of this event through their works. Books like Eli
Wiesel’s <i style="mso-bidi-font-style: normal;">Night </i>and the film <i style="mso-bidi-font-style: normal;">Schindler’s List </i>have both given first
hand accounts of the daily struggles of the Jewish people as they lived
throughout this nightmare. Art Spiegelman’s <i style="mso-bidi-font-style: normal;">Maus
II</i> in many ways does the same as the aforementioned works, but furthermore,
his graphic novel is about the act of framing these horrific events in a way
that the average reader can pick up his book and relate to them. <o:p></o:p></div>
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<span style="mso-tab-count: 1;"> </span>The
entire book is filled with stories that are difficult to read and almost
impossible to imagine. But perhaps one of the most upsetting scenes in the book
is Vladek’s racism directed towards the hitchhiker. Francoise is considerate
and does the good deed of stopping and giving the man a ride, but Vladek
immediately expresses his outrage once the man gets out. He exclaims, “I had
the whole time to watch out that this shvarster doesn’t steal us the groceries
from the back seat!” (Spiegelman 99). Art the narrator is quick to denounce
this racism and points out that Vladek is talking of the man in the same manner
in which the Nazis regarded the Jews. It is difficult to sympathize with
Vladek’s character due to his constant complaints and this instance of racism.
It is also difficult to reconcile how he could be so prejudiced when he himself
experienced prejudice at its worst. Spiegelman could be suggesting that one, it
is important to recognize that everyday regular people who had flaws and their
own prejudices were the victims of the Holocaust; and two, that racism, sexism,
prejudice, etc. are naturally part of the human condition. For Spiegelman, it
is important to leave no detail out of his depiction of the Holocaust. Like the
role of the tattoo artist or the Pacific cultural author, it is his duty to
depict the Jewish tradition in every aspect possible, even if it reveals some
negative attributes. Writing a book like this, and especially any form of
travel literature, requires the author to abandon all biases and approach a
topic, culture, or event from every angle possible. <o:p></o:p></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-1355511888218251522015-04-07T08:25:00.000-07:002015-04-07T08:25:02.697-07:00Maus II<div class="MsoNormal" style="line-height: 200%;">
Molly Erlanger<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
Dr. Ellis<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
EN 385D<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
7 April 2015<o:p></o:p></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
Maus
II Analysis<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>The
<i style="mso-bidi-font-style: normal;">Maus</i> series by Art Spiegelman tells
the story of one man trying to recapture the story of his father’s experience
during the Holocaust. <i style="mso-bidi-font-style: normal;">Maus II </i>details
Vladek’s time spent in the concentration camps, and how he was able to survive.
The narration bounces back and forth between World War II and the Holocaust and
modern day, when Vladek is reflecting on his experiences and recounting them to
his son. This split in narration provides an interesting twist to the story, in
that the reader is given both Vladek’s personal account and memories from the
Holocaust, as well as Art’s perception of how Vladek is telling the story.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Memory
is an incredibly interesting thing to consider. Multiple times in the story,
Art interjects while Vladek is talking to bring up some sort of secondhand
account that he had read recently concerning the Holocaust. He tries to fill in
gaps for his father, such as when Art claims, “I just read about the camp
orchestra that played as you marched out the gate” to which Vladek replies, “I
remember only marching, not any orchestras…from the gate guards took us over to
the workshop. How could it be there an orchestra?” While Art insists there was
an orchestra, Vladek comments, “At the gate I heard only guards shouting”
(Spiegelman 54). It is easy to consider that every Holocaust victim and
survivor essentially went through the same thing, but memory does not work like
that. All people perceive things differently, and their stories are made that
much more personal by what their memory chooses to notice and recall for them.
For Vladek, whether there was an orchestra or not in the moment was not
important to him as he was in the middle of fighting for his life. For Art,
however, looking back on something that he did not experience directly, he can
easily take this account and allow it to shape how he tells the story of the
Holocaust.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Recounting
the events of the Holocaust is no easy feat, especially for Art. In certain
ways, perhaps it is seen as his duty since he is Jewish and his parents went
through the concentration camps. However, his memory of the event is twisted by
all of the different versions he has heard. It makes it increasingly difficult
to make sense of a horrible event that was never meant to make sense in the
first place. In this way, I think Spiegelman utilizing the form of a graphic
novel and his animal metaphor is his way of trying to deal with telling a very
difficult story. There are some things that are too horrible for words to
describe, and sometimes drawings and visual depictions need to step in.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>It
is easy to allow our own perceptions of people to cloud our judgment of the
stories they tell, which I think is why Spiegelman includes the parts when he
was trying to record his father’s story in the 1970s. Having not actually gone
through the Holocaust, Art sometimes has a lot of trouble understanding why his
father is the way that he is. His frustration with his father is apparent, but
in comparing the way he acts in the 70s with what he dealt with during the
Holocaust, it is easier for the reader to see the bigger picture. Instead of
being frustrated with this man, we instead see what the horrors of war can do
to a person’s character and the lasting effects it can have on the way they
live their daily life.<o:p></o:p></div>
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<span style="mso-tab-count: 1;"> </span>People
affected by tragedies have these sorts of biases all the time; there are plenty
of Americans who lived through 9/11 that will get very nervous if they see
someone that looks like they are Middle Eastern on their flight. My father, who
worked in downtown Manhattan at the time, has a very different story to tell
from that day than I do. All of our stories are colored by our personal
perceptions, and it seems important to share these in an effort to get a full
understanding of any tragedy. The memories of people who actually experienced
such things are the most important of all; secondary sources sometimes word
things to make it more literary or easier to swallow for readers. Telling a
story the way that someone actually experienced it, though sometimes hard to
hear, is important because it could possibly help prevent atrocities in the
future. Stories of tragedies shouldn’t be swept under the rug, because then
people will never really appreciate the full extent of what occurred. <o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10958243384361564200noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-67467306281393865402015-04-07T06:49:00.003-07:002015-04-07T06:49:57.111-07:00A Taste of Tragedy
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<!--StartFragment-->
<br />
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Dana
Stubel<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Maus
II Travel Blog<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">A Taste of Tragedy<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>At one point in the graphic novel, <i style="mso-bidi-font-style: normal;">Maus II, </i>by Art Spiegelman, Art’s
therapist attempts to describe the horrors of Auschwitz to Art by saying, “What
Auschwitz felt like? Hmm… How can I explain?... BOO!... It felt a little like
that. But ALWAYS! From the moment you got to the gate until the very end” (46).
Much like Art, we are unable to truly grasp what it would be like to be in the
Holocaust. Even though Vladek gives us vivid descriptions of the atrocities
that he and his family members and friends faced, we are not completely able to
transport ourselves to that time and place because the travesties that occurred
are too unimaginable. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Even though Art tries to understand
his father’s past and current life through hearing his stories about the
Holocaust, he can never fully travel into his father’s shoes because he is from
a completely different lifestyle. For example, when Art juxtaposes events in
his life to events in his father’s we are able to see the stark contrast
between them. Spiegelman says, “In May 1987 Francoise and I are expecting a
baby… Between May 16, 1944 and May 24, 1944 over 100,000 Hungarian Jews were
gassed in Auschwitz. In September 1986, after 8 years of work the first part of
MAUS was published…In May 1968, my mother killed herself” (41). Art knows the
tragic facts of his father’s life, but still must live in the present moment
and deal with his own problems. He struggles with his newfound fame, the media,
and his father. Art also says, “no matter what I accomplish, it doesn’t seem
like much compared to surviving Auschwitz” (44). At this point, Art is
depressed and feeling unfulfilled, but it is understandable that he feels that
whatever he does will never compare to his father’s amazing tale of survival.
The two men are on completely different playing fields and as much as Art tries
to understand and capture the feelings of his father from the Holocaust, it can
never truly be accomplished. Vladek’s descriptions of the beatings, deaths,
work, and people he encountered while in Auschwitz give a chilling picture of
what it would be like to be a prisoner in Auschwitz, but it is only a small
taste of what it would actually be like, since we are able to remove ourselves
from the book. It seems that the events of the Holocaust are simply too horrid
for a human to understand unless he or she was actually there.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02559845043813522527noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-25507141915067956062015-04-07T05:05:00.002-07:002015-04-07T05:05:21.892-07:00A 'Snap' of History<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Valentina
Viscardi<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">7 April 2015<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Travel
Literature<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">A 'Snap' of History<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>I love going home for holiday
breaks.<span style="mso-spacerun: yes;"> </span>I look forward to entering my
home and reacquainting myself with all the family photos I haven’t looked at, in
what feels like years.<span style="mso-spacerun: yes;"> </span>Every time, I
take a new set of older and maturing eyes, I find something different to notice
about it.<span style="mso-spacerun: yes;"> </span>For instance, I see
resemblance between my mother and her grand parents.<span style="mso-spacerun: yes;"> </span>I look into the eyes of my Nanny and see <i style="mso-bidi-font-style: normal;">my</i> round blue eyes looking back.<span style="mso-spacerun: yes;"> </span>Although generations apart, we are connected
through that little 2x2 picture that is proudly displayed in my mother’s china
cabinet.<span style="mso-spacerun: yes;"> </span>Even if I can’t recreate the
memory that is captured in that particular photograph, my mom or my grandmother
take great pleasure in detailing the moment in time.<span style="mso-spacerun: yes;"> </span>It is how our history lives on, one picture
at a time, one story at a time.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Similarly in Art Spiegelman’s <i style="mso-bidi-font-style: normal;">MAUS II,</i> the use of photos and comics
portrays the relationship of the author and his father as well as his father
and mother’s survival account of Aushchwitz.<span style="mso-spacerun: yes;">
</span>Spiegelman’s retelling of his Father’s story is artfully crafted into a
comic book, in which he utilizes the technique of <i style="mso-bidi-font-style: normal;">breaking the frame</i>, in order to connect his story of his father, to
himself today, as well as with us as readers.<span style="mso-spacerun: yes;">
</span>This becomes apparent on page 114 through page 115 of the text.<span style="mso-spacerun: yes;"> </span>Notice on these pages, Spiegelman is going
through his family’s photos.<span style="mso-spacerun: yes;"> </span>But, these
photos are not confined to the frame, they seep out and become the background
to the entire page.<span style="mso-spacerun: yes;"> </span>To add, on page 134,
Spiegelman includes a real authentic photo of his father that is quite drastic
to his cartooned, mice version of his family.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Admit the retelling of his mother
and father’s story in Aushchwitz, Spiegelman struggles to identify with his
family.<span style="mso-spacerun: yes;"> </span>He recalls the photo of his
deceased brother that hung in his parent’s bedroom, “They didn’t talk about
Richieu, but that photo was a kind of reproach.<span style="mso-spacerun: yes;">
</span>He’d have become a doctor and married a wealthy Jewish girl…the creep”
(15).<span style="mso-spacerun: yes;"> </span>From this line, it can be
understood that Spiegelman doesn’t feel like he belongs to the family for he
lacks their common denominator—the Holocaust.<span style="mso-spacerun: yes;">
</span>In a way, Spiegelman is jealous of their experience at the very
beginning of the comic.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Spiegelman, like myself, tries to
place himself within his own family history.<span style="mso-spacerun: yes;">
</span>He paints himself at his desk wearing a mouse mask with a human body in
order to try to recreate the feeling his parents and brother went through
(41).<span style="mso-spacerun: yes;"> </span>In a similar manner, I always
manage to ask my grandmother, to tell me how I am similar to my grandfather I
have never met.<span style="mso-spacerun: yes;"> </span>I try so desperately to
imagine his voice, or ask my grandma if I do any thing to mirror his quirkiness.<span style="mso-spacerun: yes;"> </span>Apparently I walk like him (a peppy sort of
walk).<span style="mso-spacerun: yes;"> </span>Thus photos are able not only to
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from generation and generation. <o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/06271092664776570374noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-50237474146005281502015-04-04T17:49:00.002-07:002015-04-04T17:49:36.536-07:00Maus II: the Difference of Prejudice and Discrimination
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<br />
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Elesa
Knowles <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Dr.
Juniper Ellis <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Travel
Literature <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">April
4, 2015<o:p></o:p></span></div>
<div align="center" class="MsoNoSpacing" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">“Art Spiegelman’s <i style="mso-bidi-font-style: normal;">MAUS II</i> and EEK’s Prejudice not Discrimination”<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman";">Maus</span></i><span style="font-family: "Times New Roman";"> contains an ironic scene of neo-racism
with the narrator’s father discriminating against an African American
hitchhiker. The Jewish rat character Father sees the African American canine
character and reacts negatively. The Father says, “A Hitch-hiker? And-oy-It’s a
colored guy, a SHVARTSER! PUSH QUICK ON THE GAS!” (Spiegelman 98). The fact
that he is a Holocaust survivor of very racist Nazi genocide and does not see
himself as racist is awfully humorous. In the same car with the narrator’s
wife, narrator, and himself, he says in Polish negative comments. He says, “I
just can’t believe it! There’s a SHVARTSER sitting in here!” Considering Jews
were banned from riding in the same cars, trains, pools, and school trolleys,
it is even stranger that he would treat someone else in the same nasty manner
and even go as far to accuse an individual of stealing due to his or her
ethnicity (Para 99). Francoise, the narrator’s wife, echoes the modern
audience’s reaction to this hypocrisy. She tells him, “That’s outrageous! How
can you, of all people be such a racist! You talk about blacks the way the
Nazis talked about the Jews” (99). However, the father who does not see the
parallel of discrimination counters her argument. He responds, “I thought
really, you are more smart than this, Francoise…It’s not even to compare, the
Shvartsers and the Jews!” (99). The modern notions of every minority groups
being unified against a singular, dominant majority is very misleading.
Although the father’s attitude is unjust, his commentary that societal prejudice
as well as discrimination is totally different things is unfortunately true
because of human bias.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">When I return to school, I encounter an
old friend of mine. We were friends since freshmen year and spent the past two
years full of happy moments and academic, political rallies. I thought we had a
lot in common because we both felt strongly about defending and empathizing
with people marginalized by society. As a member of a group now federally
defined as Persons with Emotional Disturbance, I passionately advocate at every
rally and boycott businesses that did not serve the LGBT community. I wrote
poetry about the humanity of my anxiety and depression filled population. We
attended every CCSJ event and community partnerships workshops. I honestly
thought we were making a difference and the world would come to see people like
us as not as lesser beings but functioning individuals. But I was wrong. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">After my undiagnosed genetic anxiety came
to re-surface, she comforted me. Then two weeks passed. I didn’t realize at the
time that empathy has a timeline. She became verbally abusive towards me and
was apathy towards my wailing and sleepless night. She told me to “Shut up cuz
she was working on a paper”…and even when I fell over and could not get up, she
walked around me and went to watch movies with her two other friends in the
same room. “I liked it better when you were not retarded…cannot you just stop….
you’re making everyone sick…. No wonder your boyfriend broke up with you….
people die all the time you’re overacting…there are real people who suffer in
the world, so quit exaggerating…. you’re born in the middle-class society and
attending college how come you’re complaining about your circumstance” Needless
to say, when I left for medical leave, we both were relieved to rid of each
other. I saw her again for multiple times on campus and she was handing out
pamphlet for the CCSJ’s be aware of homelessness and LGBT community, and
walking on the Quad “Hands up, Don’t Shoot!”. With my health returned I was
unrecognizable, she smiled at me and handed me something for CCSJ’s social
justice something or other not realizing I was a member of group she
discriminated against hiding in plain view. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">The father shows that not all minority
groups are united fronts. He shows that every individual is comparable of
prejudice, which is judging a person’s character based on their appearance or
ethnicity; however, he also evidences that not all people who are prejudice
discriminate, which means to take deliberate action based on one’s belief
against another group. In other words, all people are somewhat prejudice based
on their diverse backgrounds, but not all people discriminate and commit acts
of violence against people whom they fear or mistrust.<span style="mso-spacerun: yes;"> </span>The father responds, “I thought really, you
are more smart than this, Francoise…It’s not even to compare, the Shvartsers
and the Jews!” (99). The attitude he shows towards, “The Shvartsers” was
prejudice, but he did not action beyond verbal which no active discrimination
took place in the narrator’s car. Francoise believes prejudice and
discrimination that took place in the Holocaust were interchangeable. In
reality that is not accurate, rather it is the post-war view of idealizing the
survivors as perfect moral persons instead of regular humans with the normal
prejudices. It is true that the prejudice and fear of the Jews became the
foundation of Hitler’s final solution, which became the active act of violent
discrimination against the Jews. <span style="mso-spacerun: yes;"> </span>The
attitude that the Nazis showed towards the “Jews” was active discrimination.
The father may be political incorrect in 21<sup>st</sup> century’s context;
however, he is political correct in the 20<sup>th</sup>century’s World War II
context. Similarly, my old friend is now politically correct defending certain
groups based on her experiences. She has positive experiences with other
demographics and can carry that prejudice towards my demographic of emotional
disturbance as long as she does not actively discriminate against others or me
with my difference. To have her actively assault me would be discrimination,
but for her to omit me is simply prejudice. Like Francoise, I recognize I
cannot change others’ minds but I can live mine with less judgment and live of
a life in spite of my prejudice and choose not to discriminate. <o:p></o:p></span></div>
<div align="center" class="MsoNoSpacing" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">Works Cited<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; margin-left: .5in; text-indent: -.5in;">
<span style="color: #262626; font-family: "Times New Roman";">Spiegelman,
Art. "And Here My Troubles Began..." <i>MAUS II: A Survivor's Tale</i>.
New York: Pantheon, 1992. Print.</span><span style="font-family: "Times New Roman";"><o:p></o:p></span></div>
<!--EndFragment-->Elesa Knowleshttp://www.blogger.com/profile/15347655710608539718noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-21501002416569123092015-03-31T13:45:00.001-07:002015-03-31T13:45:43.034-07:00The Story of Women<div class="MsoNormal">
Brendan O’Brien<o:p></o:p></div>
<div class="MsoNormal">
Travel Literature<o:p></o:p></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Krik? Krak!</i> Post<o:p></o:p></div>
<div class="MsoNormal">
3/31/15<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">Krik? Krak! </i>by Edwidge Danticat tells
the story of several different generations of Haitian women and their
struggles. Unspeakable and horrible things happen to almost all of the women as
they try to survive in a sexist country run by a ruthless police force and
dictator. I was struggling to find the connectedness between all of the stories
but Danticat waits until the Epilogue to reveal her final point: that the
stories of these women, and all women, matter. She talks of her mother’s
disappointment in her decision to become a writer. Her mother thinks it is too
dangerous and that she should stick to household duties like the rest of the
women in her family and in Haiti. But Danticat notes, “It was their whispers
that pushed you, their murmurs over pots sizzling in your head. A thousand
women urging you to speak through the blunt tip of your pencil. Kitchen poets,
you call them. Ghosts like burnished branches on a flame tree” (Danticat 222). Danticat
hears her mother and aunts complaining in the kitchen and stressing over the
lives. As she grows older, Danticat inherits the same fears and worries as the
women in her family but more importantly, she feels the overwhelming desire to
write about them. <i style="mso-bidi-font-style: normal;">Krik? Krak! </i>is not
a story about Danticat or her life but about the lives of any women and her
main point in the story is that these women and their lives matter. She takes
up the mantle and speaks for all of the women of Haiti to fight against their oppression.
<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>This
is a common theme throughout all of travel literature. We have seen it a few
times before earlier in this semester in the likes of Hau’ofa and Wendt as they
attempt to create a Pacific literary culture and identity. Literature is one of
the main ways in which those who are oppressed or misunderstood can reach out
and touch virtually anyone. <o:p></o:p></div>
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<span style="mso-tab-count: 1;"> </span>Women
have made great strides in Western culture in terms of rights in the last
century. While there is certainly still inequality in terms of pay and job
opportunity, they are no longer considered lesser citizens by the majority of
men in Western society. However, this is not the case throughout the entire
world. There is the obvious example of women in the Middle East and specially
in territories controlled by the ISIL group. These men and religious leaders
forcefully subjugate women and take advantage of them. They are not equal in
any sense of the word and like the Haitian women Danticat writes about, they
too need a voice to help fight for their rights. Even a less noticeable level,
throughout my travels in Thailand and Indonesia I noticed that any time I was
with a group of women the men or women who interacted with us would always solely
talk to and look at me. There are many cultures in which women still do not
have the freedoms that many Western women have and literature is crucial to
understanding this. By reading stories such as <i style="mso-bidi-font-style: normal;">Krik? Krak! </i>readers gain insight into the plight of women and come
to fully understand the relevance of their story. <o:p></o:p></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-54799718940221115832015-03-31T08:31:00.001-07:002015-03-31T08:31:29.468-07:00Krik? Krak!<div class="MsoNormal" style="line-height: 200%;">
Molly Erlanger<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
Dr. Ellis<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
EN 385D<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
31 March 2015<o:p></o:p></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
Krik?
Krak!<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Edwidge
Danticat’s <i style="mso-bidi-font-style: normal;">Krik? Krak!</i> details many
stories about the different ways in which Haitian women have suffered and been
forced to persevere in all sorts of situations. Though in different times and
places, each woman deals with immense hardships brought about by a country that
is constantly in turmoil. Each story tells of a struggle that not everybody can
fully understand. There are stories of unspeakable horrors, such as a pregnant
woman escaping across a river while her own mother is killed on the other side.
In the case of Lamort, the readers are given an example of a girl who has been
taught not to look into the eyes of the soldiers, because she knows this will
ultimately get her hurt. They are all limited in their actions and choices, not
only because they are women but because they are Haitian.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>There
are multiple instances in the stories in which the privilege of being American
is acknowledged, whether it is outright or not. The very first story shows that
for many, it was better for them to die at sea while trying to make it to
America than stay in their country. Even in “The Missing Peace,” Emilie thinks
that having an American passport on her will protect her from the savagery of
some of the soldiers.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>The
moment that struck me the most was in the beginning of “Caroline’s Wedding,”
when Ma essentially equates having a passport to being American. Grace and her
mother are so excited that she had finally been granted citizenship, and is
eligible for an American passport. Freedom is a basic American right, but I
think sometimes we forget how much freedom we actually have. We are free to
leave our houses at night without fear that someone might try to shoot us. Most
of us can sleep at night without fear that some soldier might break into our
home and beat us. More than any of this, we are free to travel outside of our
country and know that we will be welcomed back. We have much more freedom to
take charge of our own lives. An American passport symbolized protection and
freedom to move about for Emilie because these are the rights we are granted as
American citizens.<o:p></o:p></div>
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<!--EndFragment--><br />
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Though
I am aware of these rights, I think sometimes it is easy to take them for
granted when that is all I have ever known. Thankfully, I have never known
oppression and tragedy in the ways that these Haitian women have. Last year,
while living in the UK, I was stopped at the border once and questioned
endlessly about my reason for being there. They wanted proof of the university
I was attending, my classes, and even went so far as to inquire how much money
I had in my bank account. I was furious, as I almost missed my connecting
flight back to Newcastle, and could not understand why they would waste so much
time when I was clearly just a student. My program director later told me that
they have had a bad problem with asylum seekers in the UK, trying to sneak into
the country on student visas with US passports in order to escape their
oppressive home nations and find work. Some of these refugees adopt these
personas because they know the privilege that comes with the status of an
American student. As Americans, we tend to travel for the cultural experience. We
get bored of our American lives and want to see something different. Meanwhile,
there are plenty of people out there who are either trapped in their own
countries or being barred from entering ours. <o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10958243384361564200noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-37688038709800429622015-03-31T07:17:00.003-07:002015-03-31T07:17:42.264-07:00The Resurrection and Kindling of the Feminine Spirit<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Valentina
Viscardi<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">31 March 2015<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">EN 385: Travel
Literature <o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman";">Krik? Krak! </span></i><span style="font-family: "Times New Roman";">Danticat<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman";">The
Resurrection and Kindling of the Feminine Spirit<o:p></o:p></span></i></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>“When you write, it’s like braiding
your hair.<span style="mso-spacerun: yes;"> </span>Taking a handful of coarse
unruly strands and attempting to bring them unit” (Danticat 20).<span style="mso-spacerun: yes;"> </span>This quote is taken from the end of the
collection of short stories that comprises the novel, <i style="mso-bidi-font-style: normal;">Krik? Krat!</i> by Danticat, in which despair of Haitians, mother
daughter relationships and the power of women are illustrated.<span style="mso-spacerun: yes;"> </span>Danticat artistically focuses in on the
feminine condition in Haiti, in which some of her characters in the isolated
short stories seem to overlap, the “unruly stands” of hair she is attempting to
connect.<span style="mso-spacerun: yes;"> </span>Her attempt to weave these
women’s stories together mirrors that of Christ’s suffering and resurrection,
especially in chapter, “Nineteen Thirty-Seven”.<span style="mso-spacerun: yes;">
</span>In her portrayal of Manman as the Christ figure, we are exposed to the
persecution of kindness and hope.<span style="mso-spacerun: yes;"> </span>It is
in this chapter that all women are united, and never alone.<span style="mso-spacerun: yes;"> </span>It is through this discovery that hope never
dies, and the feminine spirit is worshiped and maintained for generations to
venerate.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>The imagery of Manman’s public
humiliation is a powerful connection to Christ’s suffering.<span style="mso-spacerun: yes;"> </span>It is in this moment that she is, “was like a
snake, someone with no bones in her body” (39).<span style="mso-spacerun: yes;">
</span>Her undeserved punishment stems from being selfless and watching over a
friend’s colic baby.<span style="mso-spacerun: yes;"> </span>Throughout the
chapter, Manman is painted as anything but human.<span style="mso-spacerun: yes;"> </span>The guards of the prison seem to elevate her
womanhood by attributing her with almighty powers and yet, at the same time,
devaluing her womanhood.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>The Guard’s uncertainty in the
method in which they treat Manman is indicative of the power that women hold.<span style="mso-spacerun: yes;"> </span>She and the other women are feared because of
the rumored assaults on the spirits of children.<span style="mso-spacerun: yes;"> </span>So:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in;">
<span style="font-family: "Times New Roman"; font-size: 10.0pt; line-height: 200%;">The
guards shaved her head every week.<span style="mso-spacerun: yes;"> </span>And
before the women went to sleep, the guards made them throw tin cups of cold
water at one another so that their bodies would not be able to muster up enough
heat to grow those wings made of flames, fly away in the middle of the night,
slip into the slumber of innocent children and steal their breath” (37-38).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>In attempting to transform the women
into men, the guards are fearful of the nature of women.<span style="mso-spacerun: yes;"> </span>They attempt to shave the hair that is meant
to be braided so that the woman can look in the mirror and, “remember thinking
while braiding<span style="mso-spacerun: yes;"> </span>[her] hair that [she]
looks a lot like her mother. [Her] mother who looked like [her] grandmother and
her grandmother before her” (219).<span style="mso-spacerun: yes;"> </span>In
essence, the guards are trying to obliterate the beautiful bond between a
mother and a daughter.<span style="mso-spacerun: yes;"> </span>More than that,
they are trying to erase history.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">It is interesting that the daughter of
this section through her recollections proves the opposite of her mother’s
perceived nature.<span style="mso-spacerun: yes;"> </span>While the manipulation
of the Madonna can be seen as a form of witchcraft, she is instilling hope into
her daughters mind, as well as the other women by encouraging them that the
connection between women is never far from reach.<span style="mso-spacerun: yes;"> </span>Manman consoles her daughter that she will
always have the Madonna to console her, even if no flesh is present.<span style="mso-spacerun: yes;"> </span>Thus, it is through believing in the spirit,
that the daughter will find comfort.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">Despite the pain and suffering that
Manman withstands, she remains hopeful throughout her entire treatment and
sentence.<span style="mso-spacerun: yes;"> </span>She embraces her, “flight”,
telling her daughter that she isn’t treated badly—even though she is
malnourished and brutally beaten to death.<span style="mso-spacerun: yes;">
</span>Manman’s daughter’s epiphany is when she realizes:<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in;">
<span style="font-family: "Times New Roman"; font-size: 10.0pt; line-height: 200%;">“We
came from the bottom of that river where the blood never stops flowing, where
my mother’s dive toward life—her swim among all those bodies slaughtered in
flight—gave her those wings of flames.<span style="mso-spacerun: yes;">
</span>The river was the place where it had all begun” (41).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Her
mother held on to hope.<span style="mso-spacerun: yes;"> </span>Her mother
watched her own mother die in the river that her and Manman and her daughter
morn every year, remembering and venerating her legacy, bravery, and hope for
better conditions for her daughter and future daughters to live on
through.<span style="mso-spacerun: yes;"> </span>Manman’s daughter concludes, “We
were all daughters of that river, which had taken our mothers from us.<span style="mso-spacerun: yes;"> </span>Our mothers were the ashes and we were the
light” (41).<span style="mso-spacerun: yes;"> </span>It is in this moment that
Manman’s daughter realizes that she is not the only daughter of Manman, but
part of a community in which all her Haitian mothers and sisters are related
not only through their suffering, but their undying hope.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>This hope and dedication to the
women in their lives is the braid that keeps them together.<span style="mso-spacerun: yes;"> </span>Manman’s story is carried through the
generations in the chapter titled, “Caroline’s Wedding.”<span style="mso-spacerun: yes;"> </span>Manman’s daughter continues to mourn the
river where her mother rose victoriously out of the blood stained waters,
“glow[ing] red when she came out” (49).<span style="mso-spacerun: yes;">
</span>The novel comes to full circle with the beginning of the book, when the
young woman who jumped off the boat with her stillborn baby is mentioned during
the prayer service.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>The Haitian women in this collection
of short stories are feared by the guards because their hope is undying.<span style="mso-spacerun: yes;"> </span>Despite their suffering and their pain, they
look upward toward their, “flights” and wish it upon each successive
generation.<span style="mso-spacerun: yes;"> </span>More than that, these women
are the scribes of history.<span style="mso-spacerun: yes;"> </span>Through
their connections with their daughters and their riddles that demand attention
and curiosity, they maintain their culture.<span style="mso-spacerun: yes;">
</span>When the Guards attempt to masculinize the women in the novel, they hope
to make them like the other men throughout the novel.<span style="mso-spacerun: yes;"> </span>Most notably, the girl’s father in “Children
of the Sea”, who allows his neighbor to be inhumanely attacked by the militant
group.<span style="mso-spacerun: yes;"> </span>It is his wife, and the girls
mother who says, “you cannot let them kill somebody just because you are
afraid” (17).<span style="mso-spacerun: yes;"> </span>In the same manner, Lili,
the mother of the little Guy who is so thrilled when her boy emulates a
revolutionary leader because she embraces rebellion and change for what is
right to her people and to her roots.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Thus, the women in <i style="mso-bidi-font-style: normal;">Krik? Krak!</i> are the backbone to Haitian
society.<span style="mso-spacerun: yes;"> </span>Their ability to hope through
the darkest times and carry the weight of Haitian history on their hearts puts
them at a level above humanity.<span style="mso-spacerun: yes;">
</span>Reiterating the saying of Danticat, “When you write, it’s like braiding
your hair.<span style="mso-spacerun: yes;"> </span>Taking a handful of coarse
unruly strands and attempting to bring them unit” (20).<span style="mso-spacerun: yes;"> </span>These women are the hands that unify their
culture, in which no soul is insignificant.<span style="mso-spacerun: yes;">
</span>Their endless hope mirrors the life of Christ, but instead of calling
out to the Father, they call out to their universal mother(s), who lives
through strands of hair on their heads, and their traditional riddles embedded
in their memories.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/06271092664776570374noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-55791354153300027792015-03-31T06:08:00.004-07:002015-03-31T06:08:45.498-07:00Recognition through Travel Lit
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: Calibri;">Francesca Baldini</span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: Calibri;">EN 385</span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">Krik? Krak! </i>Centers
around the various stories of Haitian women. While each story remains unique,
there are commonalities between all of them. The opening story<span style="mso-spacerun: yes;"> </span>“Children of the Sea”, relates the story of
two young lovers who write letters to each other that will never be seen. <span style="mso-spacerun: yes;"> </span>To me, the unanswered letters reminded me of
the way a traveler records her travels in a diary or a journal, typically with
no intended audience. The need to document one’s experience seems particularly relevant
throughout <i style="mso-bidi-font-style: normal;">Krik? Krak!. </i>In the very
beginning, the speaker explains “I also know there are timeless waters, endless
seas, and lots of people in this world whose names don’t matter to anyone but
themselves” (Danticat 3). The purpose of literature, especially travel
literature, is to inform someone else about one’s culture or vice versa.
Traveling calls forth our own need to document our experiences as well as our
strong need for recognition. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Throughout <i style="mso-bidi-font-style: normal;">Krik?
Krak!, </i>many characters seek recognition. For instance, in “Between the
Pools and the Gardenias”, Marie seeks recognition through the dead baby she
finds. Although this seems very different from the kind of acknowledgement our
two nameless narrators seek through their letters, the longing is still the
same. Travel literature in general asks readers to find some part of themselves
in the characters they read about. After all, isn’t the purpose of traveling
and travel literature to bring people together? This novel does an excellent
job of illustrating several very different stories that all center around the strong
need to be recognized and acknowledged. Even in “Night Women”, the main character
finds approval or acceptance through her various clients. Although these
stories seem different in terms of content, the theme remains similar. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Relating this to my own experiences with travel, I have
always indulged in the differences between people. For instance, it is
endlessly entertaining to ask my English flatmates what words they use for
various items, even though all I’m doing is highlighting a difference between
us. However, when traveling, it is always comforting to recognize something familiar
to home. Travel literature asks us instead to find recognition among people
rather than places. In this novel, readers are asked to find relationships between the various characters presented, which is similar to the role of a traveler in a foreign place. Instead of seeking the differences between cultures and people, travel authors seek to bring forth the way all humans are related. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 200%;"></span> </div>
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 10pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 200%;"><o:p></o:p></span> </div>
Anonymoushttp://www.blogger.com/profile/03069706201205666932noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-50882167157696753462015-03-30T17:50:00.001-07:002015-03-30T17:50:32.390-07:00Krik? Krak! Blog
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<br />
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Dana
Stubel<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Dr.
Ellis<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">EN
385 D<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">30
March 2015<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Throughout Edwidge Danticat’s novel,
<i style="mso-bidi-font-style: normal;">Krik? Krak!,</i>, the story travels
through different places, time, and characters.<span style="mso-spacerun: yes;">
</span>However, one thing that remains unchanged is the theme of the strength
of women. Although the sections, “Children of the Sea”, and “Caroline’s Wedding”
have completely different settings, the female characters all encounter
hardships which they bravely endure.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>In the section, “Children of the
Sea”, the reader is forced to travel to a place with unimaginable violence,
heartbreak, and sadness. We travel from a corrupt and extremely violent 20<sup>th</sup>
century Haiti, to an endless and dangerous sea. Three women, the female
narrator, Manman, and Celianne, are all in terrible situations, yet hold
strong. The female narrator in Haiti writes letters to her lost beloved, even
though she can be killed if they are found, stands up to her father, and is
forced to leave her home. Likewise, the strength of her mother, Manman, can be
seen when she wants to save Madan Roger. Manman tells her husband, “you cannot
let them kill somebody just because you are afraid” (17). Her husband disagrees
and forces her to stay in hiding. We also travel with Celianne on the boat trip
towards desired, but unachieved, freedom. We learn that fifteen-year old
Celianne had gone through abominable situations in Haiti, such as rape and
beating, and was pregnant. Instead of giving up hope, she leaves Haiti, and the
male narrator comments, “I don’t know how she takes it” (10). Even when
Celianne has a stillborn baby, she refuses to give the baby up. However, as
circumstances get even more dire, she throws the baby and herself overboard.
This should not be seen as a sign of weakness. Celianne had endured unthinkable
travesties, and her decision to kill herself shows the love for her child. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Contrastingly, “Caroline’s Wedding”
takes place in Brooklyn, where there may not be as much political instability
and violence as in Haiti, but the women face other types of adversity.
Caroline’s mother must deal with her daughter marrying someone that she does
not approve of, Caroline must deal with leaving home and her mother’s
disapproval, and Grace must be the backbone for both of them. Although the
women are encountering more emotional pain than physical pain, like the women
in “Children of the Sea”, they all suffer, and finally come to peace with their
struggles. For Ma, Caroline, and Grace, the resolution of their issues is
marked by making bone soup and keeping Caroline’s bed in the apartment (215).
All of their strength is tested, and they prove that they are capable of moving
on with life. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>All of the women in <i style="mso-bidi-font-style: normal;">Krik? Krak!</i> experience unthinkable
situations that are mostly foreign to us. However, even in today’s modern
American society, women continuously show their bravery and strength. I see the
strength of a woman every Monday at Tunbridge Charter School. The teacher I work
with in the self-contained classroom is one of the strongest women I have ever
met. She must deal with eight learning disabled boys, who are all at different
grade levels, have behavior issues, and difficult home lives, all while being
pregnant. Although it is clear that her students love and respect her, they
still act out and get easily distracted. However, Mrs. Embry’s patience never
wavers, and she always manages to calmly get the students back on track. I am
always amazed by her level-headedness and forbearance, even though she is
exhausted and stressed. When I ask her how she does it, she explained to me
that she knows that most of the students have a much more difficult life than
she does, so it would not seem right to always be yelling at them. She
“travels” into their shoes and reasons that her classroom may be their one
place of solstice, so she would like to make it as comfortable as possible for
them. From my observations throughout the semester, it is obvious that Mrs.
Embry and the students have a great rapport, and that the class feels more like
a community. This is chiefly due to Mrs. Embry’s strength and patience, even
through hectic and difficult times. Much like the women in <i style="mso-bidi-font-style: normal;">Krik? Krak!, </i>she experiences hardships, but she does not let them
hinder her.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02559845043813522527noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-55680840003608459012015-03-28T14:05:00.001-07:002015-03-28T14:05:24.850-07:00Edwidge Danticat’s “Children of the Sea” and Elesa’s Children of the Class<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Elesa
Knowles <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Dr.
Juniper Ellis <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Travel
Literature <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">March
28, 2015<o:p></o:p></span></div>
<div align="center" class="MsoNoSpacing" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">Edwidge Danticat’s “Children of the Sea”
and Elesa’s Children of the Class<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">In Danticat’s “Krik? Krak?”, there is the
story of Celianne, a Haitian refugee as she gives birth to her child as well as
gives birth to the ideal of endurance and strength to the young narrator. The
character Celianne loathes how she is travelling to the United States on a raft
for escape instead of economic betterment to the United States through an
airplane. The narrator states, “Celianne is holding her baby tight against her
chest. She just cannot seem to let herself throw the [child] into the ocean” (p
23). The mode of travel is detestable but the destination of the United States
and safety is highly desirable. In addition to security, she wanted a new start
for herself and her child born of an atrocity and her mother’s self-inflicted
wounds. The narrator states, “Afterwards, the soldiers tied up Lionel and their
mother, then they took turns raping Celianne” (23).<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Like
the origin of her child, she hated the means of receiving her child but loves
and accepts her child as the ultimate destination. The narrator states, “The
same night, Celianne cut her face with a razor so no one would know who she
was. Then as the facial scars were healing, she started throwing up and getting
rashes. Next thing she knew, she was getting big” (24).<span style="mso-spacerun: yes;"> </span>The unwanted pregnancy results in the
treasured child whom Celianne does not loathe but whose origin she repulses. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">At Patterson High School, I had three
Cuban American students at my reading table. Their names were Yasmin, Grierson,
and Pablo. They seemed hesitant at first to communicate or even look at me and
the other Loyola University tutor. They decided to utilize their common bond:
Spanish language. They begin making jokes and mocking how political charged
their homework readings were about legal immigrants. They were also discussing
how stupid they felt reading <i style="mso-bidi-font-style: normal;">To Kill a
Mocking Bird</i> and how learning about this random community does make them
learn the English language quicker. What they did not realize is that I
understood everything they were saying and was laughing hysterically. They
looked at me shocked and asked, “Ustedes hablas espanol?” I responded, “Si, lo
siento mi vocabulario es muy pequena porque tengo dos anos de lengua en la
escuela” Pablo who is the most vocal of the students responded in slow paced
English. “Woah, you took the effort to learn my language that’s cool” With all
the regality of Southern gentlemen around a lovely lady, they patiently
finished their packets on immigrants in United States and wrote how they felt <i style="mso-bidi-font-style: normal;">To Kill a Mockingbird’s </i>Scout should
have responded to Boo Radley’s notes in the tree. They went from using language
to ignore me to using language to include me. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Afterwards they invited me to play
“Four in Row” which I literally had not played in years. Yasmin, Grierson,
Pablo, and I took turns playing the winner of each round. I won several times.
They realized they could not use Spanish to have advantage so they started
simply speaking to each other in English. “Su posicion….no wrong position”. I
think they started to realize speaking in English is not as terrifying as once
they once thought and even if they mess up on a vocal grammar mistake no
English speaker would taunt them. I first thought they were all brothers but it
turns out only Grierson and Pablo are brothers. Yasmin is simply Cuban but
bonds with the two brothers because of that. This game reminds them of dominos
which apparently a lot of Cubans guys like to play. They say it makes them feel
like mucho men. They looked very sad when I had to leave. Yasmin told me I
could be their “Baja Hermana” and bring them snacks. I felt a little gender
stereotyped but I told him I would be happy to play with them again as long as
he finished his homework. He agreed. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Similarly, Celianne cannot balance
where in United States is her true place. The text states, “She found out about
the boat [ to United States] and she got on. She is fifteen” (24). Considering
most of my high school students were around fifteen or sixteen, I was shocked about
Celianne’s response not to get rid of her child. Watching her brother being
forced at gunpoint to rape their mother and then have soldiers multiply gang
rape her to the point of conception is so traumatic. For her to take the first
step forward and disguise her face through scarring so she could have a new
identity and proceed to travel to the United States undocumented. To even
refuse to kill the child born of an atrocity but treasure the child to the
point of not wanting to throw her baby’s body overboard after death shows
unbelievable endurance. She does resent her child’s existence and proceeds to
follow it as a child-mother to heaven in the sea. The narrator states, “They [mother
and dead child] went together like two bottles beneath a waterfall…the sea in
the spot is like the sharks that live there. They have no mercy” (26). She
willingly gave her life for her child, the strength and miracle left behind of
the chaos. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>I found it funny to think about how
Pablo was shocked how I put effort into learning into learning Spanish. He’s
taking the effort to learn American English in an afterschool program.
According to one-hour translation.com, half the population of Europe is
bilingual. Thirty-five percent of the population of Canada and twenty percent
of the population of the USA are bilingual. Some why an American who has a
conversational knowledge of Spanish considered going above and beyond what is
expected. Spanish and English are the dominant languages on the Western
Hemisphere but apparently English is needed to thieve in this country and thus
the emphasis and importance is placed on this language. I wonder if immigrants
think Americans are lucky or arrogant for only speaking one language. If most
of the world is bilingual, then is it strange for a country’s citizens to be isolated
and for newcomers to learn our isolated language and leave the original
language or custom behind. I hope Pablo, Grierson, and Yasmin find a balance
between retaining language and culture of a more familiar world and
assimilating to be part of a new world not loathing the how circumstance
brought them to this country. <span style="mso-spacerun: yes;"> </span>I hope
they find the strength to appreciate and even like Celianne to protect what is
left behind; their new lives as Cuban Americans in this country. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div align="center" class="MsoNoSpacing" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">Works Cited<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #262626; font-family: "Times New Roman";">Danticat, Edwidge. "Children of the Sea." <i>Krik?
Krak?</i> New York: Random House, 1995. Print.</span><span style="font-family: "Times New Roman";"><o:p></o:p></span></div>
<!--EndFragment-->Elesa Knowleshttp://www.blogger.com/profile/15347655710608539718noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-75151733705498237722015-03-24T09:30:00.002-07:002015-03-24T09:30:18.749-07:00Travel Abuse<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Of
all the novels we have discussed so far this semester <i style="mso-bidi-font-style: normal;">On the Road </i>by Jack Kerouac is perhaps the one that deals most
heavily with literal travel. The plot follows the exploits of the narrator,
Jack Paradise, as he travels back and forth across the country; often with his
friend Dean. Dean is easily the more eccentric and flighty of the two men and
his carefree attitude often gets him into trouble with the law and women. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>At
first read, I thought <i style="mso-bidi-font-style: normal;">On the Road </i>was
the ultimate tribute to travel. Sal is a likable character that is not pinned
down by any city or family and he seems to have no real home. He splits the
majority of his time between Manhattan, Denver, and San Francisco not truly
fitting in anywhere but thriving on the road performing various odd jobs.
However, as the novel progressed, it became increasingly clear to me that there
is such a thing as ‘too much travel.’ Sal is constantly looking for a quiet
girl to settle down with while Dean is constantly looking a way out of a new
relationship. Dean spends his time avoiding his responsibilities as a husband
and father and Sal finally recognizes this once Dean abandons him in Mexico City.
Coupled with Dean’s skirting of responsibilities is his very obvious mental deterioration.
By the end of the novel Sal notes that Dean is practically incoherent. When Sal
questions Dean about his life with Camille, Dean replies that they will be
together forever. Sal presses further, “’And Inez?’ ‘I – I – I want her to come
back to Frisco with me live other side of town – don’t you think? Don’t know
why I came.’ Later he said in a sudden moment of gaping wonder, ‘Well and yes,
of course, I wanted to see your sweet girl and you – glad of you – love you as
ever.’” (Kerouac 307 – 308). Dean can barely remember why he has travelled all
the way to New York, let alone articulate a coherent thought to Sal and Lauren.
Furthermore, he is conflicted by Camille and Inez and he believes that he can
combine both of his lives with these women into one life in San Francisco. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>I
was trying to make sense of the ending of this novel. At first, I thought that
Dean’s brain had essentially been fried by his obsessive drug use and
constantly on the go personality. But then I attempted to think about it in
terms of travel. Both Sal and Dean lack a true sense of a home but Dean also
has several women and children that are his responsibilities. In essence, he
has multiple families and multiple potential homes across the country. Instead
of settling anywhere he chooses to constantly be on the move. The result of
this constant travel is that it dilutes any sense of identity Dean has because
he constantly leaves parts of himself behind in places. <o:p></o:p></div>
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<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>I’m
not sure if Kerouac intended to convey this message about travel and I’m
hesitant to label travel as a negative experience. Rather than exemplifying
travel as a learning and growing experience, <i style="mso-bidi-font-style: normal;">On the Road </i>is an abuse of travel. Dean simply uses travel as a
means of escape. The further he runs from his problems the more his identity is
lost. Rather than travelling to learn more about himself and others, Dean uses
travel to flee himself and those who want something from him. Travelling is one
of the many drugs that Dean takes to escape reality and in the end of the novel
he hast lost touch with his friends, himself, and his own mind. <o:p></o:p></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-19515917382947728022015-03-24T08:35:00.001-07:002015-03-24T08:35:16.061-07:00On the Road<div class="MsoNormal" style="line-height: 200%;">
Molly Erlanger<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
Dr. Ellis<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
EN 385D<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
24 March 2015<o:p></o:p></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
On
the Road<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Kerouac’s
<i style="mso-bidi-font-style: normal;">On the Road</i> details Sal Paradise’s
multiple cross-country road trips with his friend Dean Moriarity. From the very
beginning, the way that Sal speaks about America seems to suggest that he is
not only traveling to see new places, but to discover new parts of himself. The
type of travel encountered in this book is both physical as well as internal.
Very quickly, there is a sense that America not only represents opportunity and
a chance to move about for Sal, but also that his vision of America may in fact
mirror his vision of himself. After World War II, America was very much coming
into its own as a powerful and vibrant country that other powers around the
world should pay attention to. There is a sense that Sal wants to be perceived
in the same way, on a personal level.<o:p></o:p></div>
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<span style="mso-tab-count: 1;"> </span>At
many times, Sal’s sense of identity takes on geographic tones. In the beginning
of his very first journey across America, Sal has a moment in which this
becomes very clear:<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: 67.7pt; margin-right: 1.0in; margin-top: 0in;">
I woke up as the sun was reddening;
and that was the one distinct time in my life, the strangest moment of all,
when I didn’t know who I was – I was far away from home, haunted and tired with
travel, in a cheap hotel room I’d never seen…I wasn’t scared; I was just
somebody else, some stranger, and my whole life was a haunted life, the life of
a ghost. I was halfway across America, at the dividing line between the East of
my youth and the West of my future… (Kerouac 15).<o:p></o:p></div>
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<br /></div>
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In this scene,
there is a sense that Sal equates himself to America. He is essentially chasing
the American dream, and he is using the people of America to learn more about
himself. New places open up new parts of himself that he wasn’t accessing when
he was living with his aunt. By forcing himself to travel without any real
plans, see new cities and meet new people, and confront the reality of a lot of
these cities in America, he is able to satisfy the part of himself that was
dissatisfied in the end. His multiple journeys not only allow him to see new
places, but to discover new parts of himself that mirror the energetic and
rapidly growing country that he lives in. His restlessness and desire to see what else is out there highlights a more general American mindset in the late 1940s and into the 1950s. It could be said that America was really at a defining moment in its history, proving itself as a force to be reckoned with in World War II. Now it just had to prove that it could remain such a formidable power in the world. These sorts of sentiments ring true for people in their twenties, who are only just starting to figure themselves out and prove to the world that they can handle being adults and all the responsibilities that entails. The American dream and mindset at this time not only mirrors Sal's sense of identity, but the general sense of identity of all young people trying to find themselves.<o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/10958243384361564200noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-77557802604493084762015-03-24T08:19:00.002-07:002015-03-24T08:19:21.847-07:00Spontaneous Prose
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<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">Spontaneity
is the Spice of Travel<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">As
I read Jack Kerouac’s <i style="mso-bidi-font-style: normal;">On the Road</i>, I
was most struck by his style of writing. He literally writes whatever he is
thinking, but still manages to tell an organized, though frenzied, story. When
I researched his writing, I found that he created the term “spontaneous prose”
to refer to his style and was just one of the many ways he rejected the common
conventions of not only literature, but also society. His new and engaging
style of writing has captivated millions of readers, inspired the “Beat
Generation”, and portrayed the greater theme of self-exploration and
identification through spontaneous travel. The “spontaneous prose” functions in
a two-fold way in that it shows the spontaneity of travel, but also gives us an
unfiltered look into Sal’s inner workings.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Kerouac
immediately throws us into his, or Sal’s, state of mind. He briefly tells us
about his divorce and serious illness, but then his journey to the West begins
(1-3). This fast paced nature of the introduction shows the spontaneity of
Sal’s and Dean’s travel, which became a characteristic of “Beat culture”. The
reader also feels a sense of Sal’s and Dean’s instantaneous friendship, since
Dean is immediately introduced an Sal refers to him as “some long-lost
brother”, who he idolizes as the epitome of the West (7). However, just as
quickly as Sal enters a place or meets a new person, he spontaneously leaves
when it does not meet his expectations. Sal constantly says things are
“breaking down”, such as when he leaves San Francisco to go back to New York. He
says, “it was the end; I wanted to get out” (178). The short, blunt nature of
this sentence greatly contrasts with Kerouac’s normal verbosity, but shows the
spontaneity and definitiveness with which he makes his travel decisions, since
he goes home the next morning. The impulsive nature of Sal leaves us
breathless, but also makes us feel fully aware of the journey that Sal is
experiencing.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>By being completely in Sal’s head, the reader
is totally engaged in travelling with Sal and discovering who he really is. In
one of Kerouac’s prime examples of spontaneous prose, we get a true insight
into Sal’s identity. Sal says, “I shambled after as I’ve been doing all my life
after people who interest me, because the only people for me are the mad ones,
the ones who are mad to live, mad to talk, mad to be saved…but burn, burn, burn
like fabulous yellow roman candles” (5-6). Although this long, run-on sentence
is complicated, the main message shows Sal’s realization that he wants to be
with people who have a passion for life and travel, even if it’s considered
“mad”.<span style="mso-spacerun: yes;"> </span>However, at the beginning of the
novel, Sal does not know who he truly is and is seeking to find his passion.
When he is making one of his earliest trips to Des Moines, he gives a rambling
description about his identity crisis, and saying “I didn’t know who I was”
(15). However, his interpretation of himself, his home, and places previously
travelled is altered as he encounters new places and people. He provides
rambling descriptions of his experiences, but does it in a way that builds up
excitement and reveals his self-exploration. For example, instead of simply
listing the foods he sees in San Francisco, he launches into a page-long vivid
description of Market Street that totally engages the reader’s five senses
(173-174). He ends it by saying, “that’s my ah-dream of San Francisco”, and we
again see how Sal is becoming more self-aware of his desires and expectations through
travel (174). Sal finally encounters a place that most fully meets his
expectations when he goes to Mexico City. It is in Mexico City in which Sal and
Dean idealize everything from the Mexican cops to their wild night at the
whorehouse, in long and complicated descriptions. However, Sal also describes
his moment of clarity and self-identity, even if he is in a feverish state. He
says, “I knew that I had a lived a whole life and many others in the poor
atomistic husk of my flesh, and I had all the dreams” (301). Through this
stream of consciousness, we see that Sal is becoming more aware of himself and
all that he has experienced. After this, he is happy to return home and settle
down since he has finally found himself on the road. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Kerouac’s
style of writing is not only innovative and unique, but also lends itself to
the greater themes of his work. Through his spontaneous prose, the reader is
taken on a world-wind journey and is fully in tune with Sal’s steps towards
self-identification. <o:p></o:p></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02559845043813522527noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-86922841342873857292015-03-24T08:18:00.003-07:002015-03-24T08:18:46.303-07:00On the Road Presentation
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";">Jack Kerouac<o:p></o:p></span></u></b></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 150%; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">1922-1969<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">grew up in Lowell, Massachusetts but
moved to New York at age 17 to attend Columbia University<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">dropped out of Columbia, worked odd
jobs, and then joined the Marines in 1943<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">he returned to NY where he befriended
Neal Cassidy, Allen Ginsberg, and William Burroughs<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">Cassidy and Kerouac took several
cross-country road trips to Chicago, LA, Denver, and Mexico City<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 150%; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">Published <i style="mso-bidi-font-style: normal;">On the Road</i> in 1957 and it became an instant classic<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 150%; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">Accredited with starting the “Beat
Generation” of literature<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman"; font-size: 14.0pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">Discussion Questions<o:p></o:p></span></u></b></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">1. Dean is constantly deserting Sal,
yet Sal always forgives him. Marylou comments to Sal, “Dean will leave you out
in the cold any time it’s in his interest” (170). Why is Dean always leaving?
Is Sal foolish for keeping him as a friend? How would you describe Dean and
Sal’s friendship? <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">2. As Sal travels across America, he
says he was at the “dividing line between the East of my youth and the West of
my future” (15). Throughout the novel, we see Sal’s views and expectations of
the East coast versus West coast. What are Sal’s views of his home and what are
his expectations of the new places he visits, such as Chicago, Denver,
California and Mexico? How does travel change them? <span style="mso-spacerun: yes;"> </span>Do any of the places that Sal and Dean visit
actually meet their expectations?<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">3. We encounter several female
characters such as Camille, Marylou, Galatea, and Terry. How can the women be
characterized? Describe the attitudes of Sal and Dean towards the women. Are
there any “healthy” relationships in <i style="mso-bidi-font-style: normal;">On
the Road? <o:p></o:p></i></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">4. Kerouac had been discharged from the
Marines because he had “schizoid tendencies”. Within the first page of the
novel, Sal admits from recently recovering from a serious illness. We also see
several examples of Sal conducting strange behavior, such as when he imagines
himself in 1750 England when walking down Market Street in San Francisco (172).
Since Sal is a representation of Kerouac, who was known for his depression and
probable mental illness, is Sal a reliable narrator? Are there any
inconsistencies in his narration? How does Sal’s narration affect our
interpretation of the characters and stories?<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">5. <i style="mso-bidi-font-style: normal;">On
the Road</i> has commonly been called the <i style="mso-bidi-font-style: normal;">Huckleberry
Finn</i> of the 20<sup>th</sup> century. Both represent youths going on a quest
of identity through travel, whether it be by road or Mississippi River. How
does Sal change along the road? Does he find identity? What is Kerouac saying
about the affect of travel on youths? <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">6. <i style="mso-bidi-font-style: normal;">On
the Road </i>is a hallmark work of the “Beat Generation” and has garnered a
“cult” following. The “Beat” culture came about post-World War II and was
characterized by a rejection of conventional standards, a rejection of materialism,
illegal drug use, sex, and explicit portrayals of the human condition. We have
seen some of these themes in other works, such as<i style="mso-bidi-font-style: normal;"> Tales of the Tikongs </i>and <i style="mso-bidi-font-style: normal;">Black
Rainbow</i>. How are these themes represented differently in the works? What is
different about Kerouac’s style of writing from past works? What aspects of <i style="mso-bidi-font-style: normal;">On the Road</i> makes it have a “cult”
following? <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">7. In one of Dean’s ramblings he asks
Sal, “what’s your road, man?- holyboy road, madman road, rainbow road, guppy
road, any road. It’s an anywhere road for anybody anyhow” (251). What “road” do
you think Dean and Sal ultimately choose? Do you think we can simply choose a
road like Dean alludes to?<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">8. It is rumored that Kerouac crafted <i style="mso-bidi-font-style: normal;">On the Road </i>over a three-week period on
a single scroll of paper that was 120 feet long. Kerouac termed his style of
writing as “spontaneous prose” and rejected the idea of revision because it
detracted from the ability to capture the true feeling of a moment (Asher, 2). An
example of this stream of consciousness is in chapter 1 when Sal talks about
the “mad people” (5). <span style="mso-spacerun: yes;"> </span>However, <i style="mso-bidi-font-style: normal;">On the Road, </i>is not simply a mash-up of
thoughts, since the novel is divided into five parts and tells a cohesive story.
How does the “spontaneous prose” form of writing relate to the type of travel
he experiences? What does the reader gain from this style of writing? Why do
you think Kerouac organizes the novel in the way that he does? What is similar
and/or different in each part? <o:p></o:p></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02559845043813522527noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-49090802029397872222015-03-24T06:44:00.003-07:002015-04-29T10:58:27.150-07:00The Madness of the American Dream<div class="MsoNormal">
Valentina Viscardi</div>
<div class="MsoNormal">
Travel Literature</div>
<div class="MsoNormal">
Dr. Ellis</div>
<div class="MsoNormal">
24 March 2015</div>
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The Madness of the
American Dream</div>
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<span style="mso-tab-count: 1;"> </span>The
American Dream will have your heart palpitating out of your chest.<span style="mso-spacerun: yes;"> </span>Either it’s the dream or the copious amounts
of coffee you will need to fulfill those wild imaginative dreams.<span style="mso-spacerun: yes;"> </span>That’s the beauty of America.<span style="mso-spacerun: yes;"> </span>Your wildest dreams aren’t confined to
leather bound books or the class you were born into.<span style="mso-spacerun: yes;"> </span>The country from one end to the other is
everyone’s own personal canvas.<span style="mso-spacerun: yes;"> </span>You can
paint yourself however, wherever, and with whoever you desire.<span style="mso-spacerun: yes;"> </span>You can be a millionaire, a pauper, a
musician, and rags to riches story, a nobody, a somebody.<span style="mso-spacerun: yes;"> </span>As the narrator, Sal, in Jack Kerouac’s
novel, <i style="mso-bidi-font-style: normal;">On the Road</i>, contests, “The
one distinct time in my life, the strangers moment of all, when I didn’t know
who I was—I was far away from home, haunted and tired with travel. . . “
(15).<span style="mso-spacerun: yes;"> </span>At this moment in the text, Sal is
exposed to the great American canvas and realizes how invigorating travel is.</div>
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<span style="mso-spacerun: yes;"> </span>The possibilities are endless in the country
and this whole American dream jumbles and scrambles every mind to live on
impulse.<span style="mso-spacerun: yes;"> </span>The crazy thing about America,
is that you are allowed to be a maniac. Sal describes that he, “saw God in the
sky in the form of huge gold sunburning clouds. . . [he] was more interested in
some old rotted covered wagon” (181).<span style="mso-spacerun: yes;">
</span>The madness drives your ambition, and your hunger to accomplish all that
encompasses the term, “the dream.”<span style="mso-spacerun: yes;"> </span>The
even crazier thing?<span style="mso-spacerun: yes;"> </span>You actually believe
you can search for that “it” and find it.<span style="mso-spacerun: yes;">
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<span style="mso-tab-count: 1;"> </span>Dean
Moriarty in Jack Kerouac’s, <i style="mso-bidi-font-style: normal;">On the Road</i>,
is the epitome of the American Dream.<span style="mso-spacerun: yes;"> </span>He
wildly chases careers of all sorts, striving to explore ever centimeter of the
United States with unbounded excitement.<span style="mso-spacerun: yes;">
</span>This excitement is exemplified when Dean tells Sal, the narrator his
aspirations to be like Rollo Greb.<span style="mso-spacerun: yes;"> </span>He
exclaims:</div>
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<span style="font-size: 10.0pt;">“ ‘
That Rollo Greb is the greatest, most wonderful of all.<span style="mso-spacerun: yes;"> </span>That’s what I was trying to tell you—that’s
what I want to be.<span style="mso-spacerun: yes;"> </span>I want to be like
him.<span style="mso-spacerun: yes;"> </span>He’s never hung-up, he goes every
direction, he lets it all out, he knows time, he has nothing to do but rock
back and forth.<span style="mso-spacerun: yes;"> </span>Man, he’s the end!<span style="mso-spacerun: yes;"> </span>You see, if you go like him all the time
you’ll finally get it.’ “ (127).<o:p></o:p></span></div>
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But, what is that “it” that Dean
yearns for?<span style="mso-spacerun: yes;"> </span>It is so vague, much like
Dean himself.<span style="mso-spacerun: yes;"> </span>Thus, travel for Dean, and
Americans as a whole is more of an emotional high, than a matter of making to
miles count, or learning about a particular culture.<span style="mso-spacerun: yes;"> </span>In America, everyone is connected by this
“it.”<span style="mso-spacerun: yes;"> </span>Americans don’t have direction,
but passion—the “it” The narrator explains that in his first trek across the
country.<span style="mso-spacerun: yes;"> </span>What is in it for the cars to
pick up the hitchhikers?<span style="mso-spacerun: yes;"> </span>A story?<span style="mso-spacerun: yes;"> </span>A laugh?<span style="mso-spacerun: yes;">
</span>The band of brothers that drives the narrator in the back of their
pickup have nothing to gain, but rather, share their excitement for
travel.<span style="mso-spacerun: yes;"> </span>But, where are they going?<span style="mso-spacerun: yes;"> </span>Do we ever find out?<span style="mso-spacerun: yes;"> </span>American travel is much different than the
rest of the world.<span style="mso-spacerun: yes;"> </span>Its miles are charted
in the ranks of excitement.<span style="mso-spacerun: yes;"> </span>There are no
boundaries in American travel.<span style="mso-spacerun: yes;"> </span>The
entire country will use you for a hit off of that manic high that travel
elicits.<span style="mso-spacerun: yes;"> </span>There are no brakes on the
American travel train.<span style="mso-spacerun: yes;"> </span>It keeps going on
indefinitely, “the mad dream—grabbing, taking, giving, sighing, dying, just so
they could be buried in those awful cemetery cities behind Long Island City”
(107).<span style="mso-spacerun: yes;"> </span>Sal and Dean attempt to live the
American dream.<span style="mso-spacerun: yes;"> </span>They rough ride the US
in every possible attempt to avoid responsibility and the inevitable end.<span style="mso-spacerun: yes;"> </span>Only in America, you can do that.<span style="mso-spacerun: yes;"> </span></div>
Anonymoushttp://www.blogger.com/profile/06271092664776570374noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-40317407149030721482015-03-24T06:29:00.001-07:002015-03-24T06:29:20.938-07:00Hitchhiking
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman","serif";">Francesca
Baldini<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman","serif";">EN 385<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman","serif";"><o:p> </o:p></span></div>
<br />
<div align="center" class="MsoNormal" style="margin: 0in 0in 0pt; text-align: center;">
<u><span style="font-family: "Times New Roman","serif";">On The Road <o:p></o:p></span></u></div>
<br />
<div align="center" class="MsoNormal" style="margin: 0in 0in 0pt; text-align: center;">
<span style="font-family: "Times New Roman","serif";"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman","serif";"><o:p> </o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman","serif";"><span style="mso-tab-count: 1;"> </span>Throughout <i style="mso-bidi-font-style: normal;">On the Road, </i>readers are confronted with several modes of travel,
both literal and physical.<span style="mso-spacerun: yes;"> </span>One recurrent
type of travel is hitchhiking. This style of travel is particularly fascinating
because it involves individual travel that remains dependent on another person.
Immediately, readers are thrown into Sal’s journey to Denver. As a 21<sup>st</sup>
century reader, hitchhiking seems completely implausible and removed from our
current styles of travel. In order to be a successful hitchhiker, one is
dependent on another person. This type of travel is entirely different from any
other in that it is individual and yet so dependent on another person. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman","serif";"><span style="mso-tab-count: 1;"> </span>Sal begins his journey to Denver by
hitchhiking, a type of travel that creates a bond between two complete
strangers. The connection made between both parties the journey itself however,
the connection also remains mutual—both people involved need something from the
other. While hitchhiking can be seen as unsafe, in the beginning, it is clear
that Sal offers something to those that pick him up each time. Sometimes the
driver just wants company and other times, with the mother in the beginning,
the driver would like someone’s help with their journey. While travel is so related
to making a connection, hitchhiking connects people together only through their
journey itself, which is still similar to modern day travel but different in
the sense that typically only two people are involved. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman","serif";"><span style="mso-tab-count: 1;"> </span>One aspect that stood out to me was
the fact that Sal struggled sometimes to make conversation with those that pick
him up. This ties back to one of the recurrent themes in <i style="mso-bidi-font-style: normal;">On the Road,</i> which suggests that expansive land breed’s loneliness
or wholeness. <i style="mso-bidi-font-style: normal;">On the Road </i>grapples
with ideas of what America means. Although Sal goes back and forth with his own
notions, readers are also asked to question what this massive amount of land
means. Are there connections between people across the country? Or do we remain
isolated in our own environments? As a teacher, these questions seem so related
to the way we connect with students. Many students seem distant, not in terms
of geography but in terms of relatedness. How do we reach students that seem to
be too far away? <i style="mso-bidi-font-style: normal;">On the Road </i>makes me
question whether or not hitchhiking can exist in the real world, or even in
teaching. I think as long as the relationship between teacher and student
remains one where both people can learn something from the other, that form of
travel can exist and we can meet halfway so to speak. However, there are
instances, like in <i style="mso-bidi-font-style: normal;">On the Road </i>where
the relationship is too forced and both people feel uncomfortable. I do like
the idea of involved travel in teaching and journeying to meet students
wherever they may be. <a href="https://www.blogger.com/null" name="_GoBack"></a><o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/03069706201205666932noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-84407360413183505542015-03-22T19:11:00.001-07:002015-03-22T19:11:35.651-07:00“On the Road to Understanding: Kerouac and Gateway School”
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<br />
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Elesa
Knowles <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Dr.
Juniper Ellis<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">Travel
Literature <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";">March
22, 2015<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">“On the Road to Understanding: Kerouac
and Gateway School”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 21.0pt;">
<span style="font-family: "Times New Roman";">Sal Paradise begins his American Road
trip as an aimless wander seeking purpose. However, Sal’s intentions get
misunderstood from the attractive Terry. She misunderstands his role as a male
hippie as that of sexually exploitative delinquent. “Don’t stand there and tell
me that six-foot redhead ain’t a madame, ‘cause I know a madame when I hear
one, and you, you’re just a pimp like all the rest I meet, everyone’s pimp”
(Kerouac 84).<span style="mso-spacerun: yes;"> </span>Sal, after recently
getting divorced, travels with his intellectual and substance-using friends
only to be debased because his status as a white, college age male with a young
Mexican woman. Sal states, “ ‘Terry, listen to me and understand, I’m not a
pimp.’ An hour ago I’d thought she was a hustler. How sad it was” (84). The
misunderstanding and prejudice is mutual. Both thought the other one was trying
to exploit the other one. Sal thinks she wanted his money; whiles, Terry thinks
he wanted her sexual, reproductive organs. Sal sees the tragic in this modern,
jazz era of free love combined with mistrust. <span style="mso-spacerun: yes;"> </span>Sal goes onto to describe the scene. He
states, “Our minds, with their store of madness had diverged. O gruesome life,
how I moaned and pleaded, then I got mad and realized I was pleading with a
dumb Mexican wrench and I told her so” (85). Sal frustrated at the situation
takes his anger out on Terry, whom he has reduced her to the otherness label of
“Mexican wrench” that mirrors his detested label of “pimp”. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 21.0pt;">
<span style="font-family: "Times New Roman";">As a student teacher at Gateway School
for children with communication disorders, I work in Room Z that has 6
students, who are between the ages of 10-12. The one student “Y”, who needs
one-on-one teaching, is also the student who smiles the most. He tries the
hardest to participate. He cannot connect the symbolic meaning of words to
images, but rather he simply repeats whatever the teacher and I say. When
prompted, he expresses this pattern of echolalia. For example, we were doing
the morning announcement and answering the question on the board that required
“Y” and I to write the date and month on a worksheet. He kept interchangeably
reversing “Monday” and “March”. When he insisted he could not do it, I prompted
“Y” with syllables. I asked politely, “ ‘Y’ what day start with “Mon”
[…]”.<span style="mso-spacerun: yes;"> </span>From there, he replied, “Monday!
Monday means School! I laughed and told him, “See what you can do it! Great
job!” He seemed very content and was rewarded by one of the teachers with
class, incentive gold. The main teacher later informed me that twelve-year-old
year “Y” cannot read. I immediately felt awful. I tried to force an answer out
of him and he got frustrated and even deliberately told me he could do not it.
I attribute his not answering the question as a lack of effort not an absence
of ability before the teacher informed me otherwise. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 21.0pt;">
<span style="font-family: "Times New Roman";">Similarly, Sal and Terry had both made
assumption without considering the other person’s purpose for journeying. They
judge each other’s intentions and assume rather than observed what truly was
there. As a result, both had a moment of discrimination and otherness. When
both recognize their mistake they come together and Sal can see Terry’s story
etched into her body structure. Sal states, “I saw her poor belly where there
was a Caesarian scar; her hips were so narrow she couldn’t bear a child without
getting gashed open. Her legs were like little sticks” (Kerouac 85). Although
it ends up as a sexual embrace, Sal see this embrace and recognition of her
vulnerability and limitation as part of Terry’s reality not his own imagination
of what he fears she is. Terry is a mother whose body bore too heavy a weight,
yet manage to give birth through her enduring stick like body. Like Sal, I came
to recognize “Y”’s potential after observing and listening to views that were
not my own projected onto him. The teacher told me, “ “Y” can recognize
letters, but cannot connect them or structure them into full words” His
handwriting is illegible and most of the worksheets on his desk had been
scribbled through. The teacher also revealed, “That if they were to formally
classify “Y” ‘s grade level it would be 1<sup>st</sup> grade”. Considering he
mainly utilizes gesturing, body language, and repetition to participate in the
classroom with an teaching aid”, I am guessing student “Y” has some
intellectual disability accompanied by a lower functioning ability on the
Autism Spectrum. Through dropping my preconception, I began to see “Y” for who
he was, not what I what I thought that his role as a student should be. Like
Sal and Terry, I, “found the closest and most delicious thing in life together”,
which is understanding one another, in a day’s journey to Gateway School.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center; text-indent: 21.0pt;">
<span style="font-family: "Times New Roman";">Works Cited<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 20.9pt; text-indent: -20.9pt;">
<span style="color: #262626; font-family: "Times New Roman";">Kerouac, Jack. <i>On
the Road</i>. London: Penguin, 1976. 84-85. Print.</span><span style="font-family: "Times New Roman";"><o:p></o:p></span></div>
<!--EndFragment-->Elesa Knowleshttp://www.blogger.com/profile/15347655710608539718noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-14082847404930244752015-03-17T08:35:00.004-07:002015-03-17T08:35:45.087-07:00O'Connor & Ellis<div class="MsoNormal" style="line-height: 200%;">
Molly Erlanger<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
Dr. Ellis<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
EN 385<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
17 March 2015<o:p></o:p></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
O’Connor
& Ellis<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>In
reading O’Connor’s “Parker’s Back,” it was interesting to consider the process
by which Parker comes to get all of his tattoos. Though he is moved to begin
getting tattoos at first by a man at a fair that seems to inspire some sort of
inspiration in him, the rest do not come about in the same way. In the story,
it is described, “a huge dissatisfaction would come over him and he would go
off and find another tattooist and have another space filled up” (O’Connor
428). For Parker, it seems that he is using tattooing as a way to fill some
part of him that is missing. He has plenty of tattoos that were acquired abroad
in a variety of fashions, and yet they do not seem to symbolize much to him beyond
filling a blank space. It is only when he is once again moved to get a tattoo,
after a traumatic experience, that we see any sort of emotion brought out of
him by his tattoos. It appears as though the tattoo he gets on his back means
something very important to him, and he is frustrated when his wife does not
understand what he sees.<o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>This
idea can be translated into the tradition of Pacific tatau as well. O’Connell
received a tattoo in the Pacific that “gave him his life and made him fully
human” (Ellis 1). However, upon returning to New York, he was seen completely
as an outsider for the marks on his body. Though O’Connell’s tattoos were more
extreme, this experience pretty much sums up the way in which Western culture
judges tattoos. American culture generally dictates that anyone who has a
tattoo is a bit rough around the edges; either that, or they decided to get the
tattoo in a moment of drunkenness or acted too rashly. We are told that going
into a job interview with a visible tattoo could potentially hurt our chances
of getting hired. These sorts of perceptions are in place mainly because many
people do get tattoos for no real reason. They are willing to mark their skins
permanently without giving much thought to what they are actually doing. This is
the prevailing attitude towards tattoos in our culture. Where tattoo aims to
create a sense of community in Pacific culture, tattoos in American culture
tend to alienate individuals.<o:p></o:p></div>
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<span style="mso-tab-count: 1;"> </span>Pacific
tatau is meant to serve as a reminder of culture and history, as well as a
reminder that the recipient has survived a pretty intense amount of pain in
order to receive the tattoo. My uncle is guilty of having some pretty silly
tattoos; most noticeably, he has a tattoo of Tigger on his right arm. My mother
was absolutely furious with him when he finally showed it to her. However, on
his left arm is a much more interesting tattoo. It is one that he got late
September of 2001; it depicts both an American flag and an Irish flag, with 9/11/2001
written underneath them. My uncle is a former NYPD officer, and was working in
Manhattan on September 11<sup>th</sup> when the Twin Towers came down. He lost
a lot of buddies that day, and though he rarely likes to talk about his
experience, he was quick to get a tattoo to commemorate his friends. It’s a
painful reminder to him, but even my mother can understand that it’s an
important reminder that he needed in the years before his retirement to
continue doing the work that he loved despite all the destruction he had seen.
The Irish flag is there to symbolize our family’s heritage as well as his
friends’, and as he described it to me once, it’s a way to symbolize the deeper
connection they all had with one another. Tattoos get dismissed very easily in
our society, but I think it’s important to remember that some have a very
important story behind them. In this way, there seem to be more links between
Western and Pacific tattoo than one might initially think. <o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/10958243384361564200noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-10045907326114595442015-03-17T07:37:00.001-07:002015-03-17T07:37:08.571-07:00Opposites Don't Always Attract
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<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";">Opposites
Don’t Always Attract<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>It
is fascinating to think that a single stimulus can create an entire spectrum of
reactions. Flannery O’Connor’s short story, “Parker’s Back,” and Juniper
Ellis’, <i style="mso-bidi-font-style: normal;">Tattooing the World</i>, both
illustrate how tattoo can either be accepted and encouraged, or feared and even
hated. Parker cherishes his tattoos and thinks they give him an identity, while
his wife thoroughly detests them. Likewise, James O’Connell’s tatau gives him
acceptance into the Oceanic community, yet in America his tattoos cause women
to flee from him. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>“Parker’s
Back” shows the breakdown of a marriage that is most directly caused by
completely opposing mindsets of Parker and his wife, but is shown through their
disagreement over tattoos. Parker’s wife, Sarah Ruth, is religious, serious,
and plain. Parker, on the other hand, is an ex-member of the Navy, not
religious, and heavily tattooed. The two are completely wrong for each other,
and Parker wonders if “she had married him because she meant to save him”
(O’Connor, 425).<span style="mso-spacerun: yes;"> </span>Their stark differences
come to a head when Parker gets a tattoo of God on his back. Parker has an
epiphany and thinks that this tattoo will please his wife, but Sarah Ruth has a
completely adverse reaction to it and actually beats Parker. These conflicting
views of the tattoo symbolize the incompatible beliefs of the husband and wife,
and show how these discordant beliefs lead to the breakdown of the marriage. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">Tattooing the World</i> also describes how one
man’s body art spurs acceptance into a community, but also spurs great
confusion and fear. James O’Connell’s story of being tattooed in the Pacific
Islands and then travelling to America depicts how one idea can have such
disparate reactions among different cultures. In the Pacific Islands, “the
traditional patterns gave him his life”, but in New York, he is considered a
freak marvel (Ellis, 1).<span style="mso-spacerun: yes;"> </span>Although in
both contexts the tattoos give O’Connell an identity, these identities are
vastly different. This is because the community-based Pacific Island culture
itself is starkly different from the more conservative and individualized
American culture. Like when Parker’s wife rejects Parker’s new beloved tattoo,
O’Connell’s tattoos act as both “an index of inclusion and exclusion” in
different cultures (Ellis, 49). <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>At
my service learning in the self-contained class at Tunbridge, I thought about
how the children with learning disabilities also can cause quite different
reactions in people. Unlike tattoos, which people usually freely choose to get,
the students in my class did not choose to have their disabilities. However,
since they are considered “different” from the typical population, various
people perceive them differently. For example, my teacher and I treat the
children with respect, and admire their uniqueness. However, I have seen other
professionals treat the children as if they are infants, and attempt to make
them “normal”. Like Parker and O’Connell’s tattoos, the disorders of the
children mark them as different and somewhat define their identity as a
“disabled” child. However, also like the tattoos, the disorders of the child do
not completely make them who they are. In comparison to Parker’s wife and the
New Yorkers, people who fear or have adverse reactions to the students are in
an ignorant and confused mindset. They reject foreign or atypical things
because they do not conform to their preconceived notions of “normal”. Much
like the Pacific Islanders and Parker, my teacher and I accept the differences
of the children and try not to let the labels of “disordered” affect our view
of them as whole individuals. Although the children may be different, they are
still a great part of the Tunbridge community and should be appreciated rather
than feared. <o:p></o:p></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02559845043813522527noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-56226876228618465432015-03-16T21:01:00.001-07:002015-03-16T21:05:56.738-07:00You got a Tattoo the Week Before Prom??<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Valentina
Viscardi<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Travel
Literature<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">17 March 2015<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">Appearances and Tattoos <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">My best friend got tatted up the week
before our senior prom.<span style="mso-spacerun: yes;"> </span>It came as a
total shock that I could not understand.<span style="mso-spacerun: yes;"> Of all times, she just had to choose the highlight and culmination of our high school career. </span>We used to joke that, “Our bodies are Ferrari’s, would you put a sticker
on it?”<span style="mso-spacerun: yes;"> </span>Both coming from extremely
conservative families, it took a long time for me to understand how Stephanie
used her tattoos to tell her own story.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Growing up, Stephanie was the shy
girl with a sketchbook.<span style="mso-spacerun: yes;"> </span>She would draw
everything and anything.<span style="mso-spacerun: yes;"> </span>For a young
adult, she has faced, unfortunately, far more heartbreaks then any young girl should.<span style="mso-spacerun: yes;"> </span>From sickness, to deaths, to the inevitable,
“I don’t fit in,” she faced it all.<span style="mso-spacerun: yes;"> </span>But,
despite all her adversaries, she continued to draw her emotions.<span style="mso-spacerun: yes;"> </span>And that week before prom, she wanted to
leave high school with a bang—she decided to make her body the canvas of her
story.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>From that moment on, she
changed.<span style="mso-spacerun: yes;"> </span>She embraced a new sense of
confidence, no longer afraid about what everyone else thought.<span style="mso-spacerun: yes;"> </span>The snakes on her shoulders sink their venom
to create her version of the Ying and Yang.<span style="mso-spacerun: yes;">
</span>Accompanying the image is a scroll wrapped around her left leg detailing
strength, courage, and most importantly, a blank space or two, to fill in the
blanks to her future.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>In Juniper Ellis’ novel, <i style="mso-bidi-font-style: normal;">Tattooing the World</i>, it is written that
the, “ tattoo is an analogue for language and transforms those who bear the
signifier” (14). Stephanie found her voice through her sketchbook, and
expressed it via her tattoos. The ink projected her voice and gave her a reason
to speak up, to come out of her shell and overall be comfortable with and in
her own body.<span style="mso-spacerun: yes;"> </span>She is the artist, the
bearer and interpreter of her ink.<span style="mso-spacerun: yes;"> Her drawings are brought to life through the ink that seeps into her skin, bleeding out her identity with extraordinary color and symbolism. </span>Thus,
tattooing as related to Stephanie, helped navigate her identity to be shown,
physically, mentally and emotionally.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/06271092664776570374noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-41586676436617291992015-03-16T20:28:00.002-07:002015-03-16T20:28:37.263-07:00Tattoo Exchange <div class="MsoNormal">
Francesca Baldini</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
The Tattoo Exchange </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Upon
reading <i style="mso-bidi-font-style: normal;">Tattooing the World and</i>
“Paker’s Back”, I cannot help but relate the experience of tattoo and travel to
another novel I’ve read. John Irving’s <i style="mso-bidi-font-style: normal;">Until
I Find You </i>centers on a young man who does not know who his father is, but
knows he is covered in tattoos. The father moves from city to city meeting with
the best tattoo artists as he covers his body in intricate designs. The novel
imbeds the notion and travel into tattoo and makes the two almost synonymous.
Like Jack O’Connell, the father in Irving’s novel tattoos mean something
different to both the artist and the tattooed. The similarities between author
and tattoo artist remain relevant to all these texts. <o:p></o:p></div>
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<span style="mso-tab-count: 1;"> </span>One
aspect of O’Connor’s story that ties into the importance of tattooing is the
idea that O.E. Parker refuses to acknowledge his real name and only does so
with his wife, Sarah. This is a significant departure from the tattoo culture
we have seen thus far, where the one receiving the tattoo does so in search for
identity or through a coming-of-age ceremony. The fact that Parker continues to
get tattoos because he becomes so quickly dissatisfied with the previous one
shows the divide between Western and non-Western tattooing. For Parker, the
tattoo process has little to do with identity and more to do with aesthetics.
However, it is also important to note that Parker might be involved in a search
for his true identity through the endless need for a new tattoo. In the
Pacific, tattoos are much more complex and hold a much deeper meaning than most
in the western world. For instance, “recognizing that tattoo does not
correspond to a single meaning or even a single category of identity creates
much richer and more nuanced understandings of tattoo, as of human sexuality and
the psyche” (Ellis 29). Understanding that the process of tattooing is just as
important as the tattoo itself adds to the idea that a tattoo does not have a
singular meaning. <o:p></o:p></div>
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<span style="mso-tab-count: 1;"> </span>While
comparing both <i style="mso-bidi-font-style: normal;">Tattooing the World </i>and
“Parker’s Back” it is also worth noting the inspiration involved with tattoos.
For example, Parker becomes infatuated with tattoos after seeing a fully inked
man at a fair, which highlights the strong connection between tattoo and
travel. However, in the Pacific, tattoos are not necessarily inspired by random
sightings but rather, encouraged and deeply imbedded in their culture. The fact
that Obadiah has his first encounter with tattoos at a fair shows the way in
which tattoos travel the world and inspire. Just as Jack O’Connell brought the
Pacific notion of tattoos to America, modern tattoos still inspire others. <o:p></o:p></div>
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<span style="mso-tab-count: 1;"> </span>Although
I do not personally have any tattoos, my roommate has several. For her, the
tattoos both represent a significant belief but are also aesthetically
pleasing. In terms of timing, her tattoos were all spontaneous and not
necessarily tied to a single event. One thing that was really interesting
though is that when she received her most recent (quite large) arm tattoo, I
was able to go with her to the parlor. As she lay there being tattooed, the
artist was just as interested in the meaning behind the tattoo as he was giving
her the perfect representation of her ideas. In the same way, the Pacific
culture creates a strong bond between the artist and the art. I like how the
process of tattoo becomes an exchange, like the artist is offering his/her
talent in exchange for the story the person receiving the tattoo has to tell.
This makes the process spiritual and connected for both parties involved. Also,
it relates to the idea of travel in that both the foreigner and the native have
something to learn from each other and even from the act of travel alone. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/03069706201205666932noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-81258163045285627832015-03-15T11:02:00.001-07:002015-03-15T11:02:16.266-07:00Parker and Ben's Backs!
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<div class="MsoNormal" style="line-height: 200%;">
<span style="color: #1c1c1c; font-family: "Times New Roman";">Elesa Knowles <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="color: #1c1c1c; font-family: "Times New Roman";">Dr. Juniper Ellis <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="color: #1c1c1c; font-family: "Times New Roman";">Travel Literature Class <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="color: #1c1c1c; font-family: "Times New Roman";">March 11, 2015<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span style="color: #1c1c1c; font-family: "Times New Roman";">Enduring Reminders: Get off
of Parker and Ben’s Back!<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="color: #1c1c1c; font-family: "Times New Roman";">Flannery O’Connor’s
protagonist does not see the link between tattoo and meaningful expression. He
seems to think of it as an accessory to fill the space of his skin. “He
[Parker] did not care much what the subject was as long as it was
colorful…Parker would be satisfied with each tattoo for about a month, then
something about it that attracted him would wear off” (Para 428). A tattoo’s
significance was meant to be a permanent symbol of one’s genealogy and social
presence. His lackluster attitude towards his tattoos clashes with Samoan’s tattoo
philosophy sacredness. His tattoos tends to be disjointed and unconnected. An
eagle on a canon, anchors, tigers, heart with his mother’s name on it, hawks,
cobras, panther, Queen Elizabeth II, and Phillip have no overlapping theme;
thus, Parker even finds them unsatisfactory and repulsive. “Whenever there was
a decent-sized mirror available, he would get in front of it and study it
overall look. The effect was not one of intricate arabesque of colors but of
something haphazard and botched”<span style="mso-spacerun: yes;"> </span>(p
428). <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="color: #1c1c1c; font-family: "Times New Roman";">It isn’t till he suffers a
life-threatening trauma; he decides to fill the blank space on his back.</span><span style="font-family: "Times New Roman";"> Saved from a burning tractor, Parker
decides on a tattoo of Christ on his back. His choice is large fully for his
wife a very Christian woman. His choice is one of both vulnerable and
willingness to be with his love. His back is the one area not tattooed or can
be seen; therefore, the intimacy and dedication for the symbol is sacred. The
narrator claims, “The front of Parker was completely covered but there were no
tattoos on his back. He had no desire for one anywhere he could not readily see
it himself” (p 429). To utilize his final blank space for Jesus shows his
attempt at receiving Grace for both himself and his wife who he is attempting
to change for.<span style="mso-spacerun: yes;"> </span><span style="color: #1c1c1c;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">Similarly a Ju-Jitsu friend Ben Bat
experiences a life threatening experience that prompts him to re-crave an image
upon his back. In addition, the tattoo is a confrontation of life and death and
for the changing relationship to his loved one as well. His tattoo is the
Batman symbol, black and red outline with sharp jaded strokes etched into his upper
back. It took a year to complete. I meekly under the impression of my friend’s
hero lust of Batman assumed he got the tattoo to show his dream of becoming
Batman. He dashed that notion quickly. He told me it encompassed all of his
life from youth to childhood as the symbol of his childhood, which ended with
his father’s death in his sophomore year of college. Intrigued I asked him the
two reasons why he felt they were symbols of the past instead of the future. He
explained to me that first, the memorial for his father who was everything
Batman could never be, and second, the symbol of attachment and earthy value to
life after experiencing death. The void of life with all the potential of what
could be or should have been are nothing but illusions and in order to confront
that void of nihilism, he decided to consciously fill the void in a space that
control his spinal cord, brain, and could not see yet sense. That is why he chooses
to fill the blank space on his back. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">Like Parker, Ben Bat sees connection among
life, death, and tattooing. The tattoo is his awareness to keep on living. A
physical enduring tribute to another and a reminder that life is transient,
impermanent, and non-chronological. Life is a void, a space, and with our mind
and body we fill that space. Unlike Parker, Ben sees the importance of a singular
tattoo and the emphasis of not seeking the approval of others, but rather
defining the acceptance of himself. Parker mourns as his wife misunderstands
and kicks him out of his home. Ben already through his tattoo has made his home
in the universe. Through his back, his skin shouts, “Back off! For I am aware
of the void and I will fill it before it consumes me whole!” <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div align="center" class="MsoNoSpacing" style="line-height: 200%; text-align: center;">
<span style="font-family: "Times New Roman";">Works Cited<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in; text-indent: -.5in;">
<span style="color: #262626; font-family: "Times New Roman";">O'Connor, Flannery.
"Parker's Back." <i>Everything That Rises Must Coverage</i>. New
York: Signet Classic, 1965. 425-442. Print.</span><span style="font-family: "Times New Roman";"> <o:p></o:p></span></div>
<!--EndFragment-->Elesa Knowleshttp://www.blogger.com/profile/15347655710608539718noreply@blogger.com0tag:blogger.com,1999:blog-1765845260142160213.post-36221360031091892082015-03-15T09:34:00.001-07:002015-03-15T09:34:48.208-07:00Parker's Back Presentation
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Abadi MT Condensed Extra Bold"; font-size: 28.0pt; mso-bidi-font-family: "Times New Roman";">“Parker’s Back”-Flannery O’Conner Tattooing the World-
Juniper Ellis<o:p></o:p></span></b></div>
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<br /></div>
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<span style="color: #1c1c1c; font-family: "Times New Roman";">Flannery
O’Connor <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpFirst" style="margin-left: 40.05pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #1c1c1c; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman";">Born March 25, 1925 in Savannah, Georgia – August 3, 1964 (Age
39) in Milledgeville, Baldwin County, Georgia, US <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 40.05pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #1c1c1c; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman";">Novelist, short story writer, essayist <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 40.05pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #1c1c1c; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman";">Writing Period1946-1965<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 40.05pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #1c1c1c; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman";">Genre writer of Southern Gothic <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 40.05pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #1c1c1c; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman";">Literary Movement member of Christian Realism<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 40.05pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #1c1c1c; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman";">Subject Interest include Morality, Catholicism, grace, and
Transcendence <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 40.05pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #1c1c1c; font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>Most well-known pieces
are <i style="mso-bidi-font-style: normal;">Wise Blood, The Violent Bear it Away,
A Good Man is Hard to Find, Everything that Rises must Converge </i><o:p></o:p></span></div>
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<br /></div>
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<br /></div>
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<span style="color: #1c1c1c; font-family: "Times New Roman";">Discussion
Questions <o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #1c1c1c; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman";">Parker explains that his tattoo is the link between his wife and
him initially meeting. Parker showcases his tattoo in a form of courtship with
a Western image of masculinity (Flannery Para 427). How does this differ from
Ellis’s Chapter 1 “<i style="mso-bidi-font-style: normal;">Tatau and Malu</i>”
and its purpose in courtship and gender roles? <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #1c1c1c; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman";">“He stay in the Navy for five years and seemed a natural part of
the grey mechanical ship, except for his eyes, which […] reflected the immerse spaces
around him as if they were a microcosm of the mysterious sea […] Everywhere he
went he picked up more tattoos” (Para 428). Does Parker’s career as a sailor
explain his fascination with the traveling or Oceania tattoo culture? <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="color: #1c1c1c; font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="color: #1c1c1c; font-family: "Times New Roman";">“He did not care much what the subject was as long as it was
colorful…Parker would be satisfied with each tattoo for about a month, then
something about it that attracted him would wear off” (Para 428). Does the tattoos’
insignificance clash with Samoan’s tattoo philosophy of genealogy and
sacredness?<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman";">Saved
from a burning tractor, Parker decides on a tattoo of Christ on his back. His
interaction with his tattooist is depicted as comical. “The artist agreed. Any
one stupid enough to want a Christ on his back, he reasoned, would be just as
likely as not to change his mind the next minute, but once the work was begun
he could hardly do so” (Para 436) How does this account showcase the
differences between a tattooist in America and a tattooist in Oceania
collaborating to create tattoos with the person being tattooed? <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman";">Similarly
Queequeg from <i style="mso-bidi-font-style: normal;">Moby Dick</i> experiences a
life threatening experience that prompts him to re-crave his image upon wood.
“After Quequeg recovers from his own life-threatening fever, he carves portions
of his tattoo into his coffin, copying the designs into the wood that will form
Ishmael’s lifebuoy” (Ellis p 61). Is there connection among life, death, and
tattooing? <o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Times New Roman";">“White
men who chose to acquire the marks necessary to gain standing in the Pacific
often returned to their homelands only to emphasize the necessity and deny the
choice behind their tattoo” (Ellis p 155). When someone tattoos outside the
context of Oceania culture is it cultural appropriation, a political contract
of loyalty, or a fashion trend of the unknown?<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">Works Cited<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="color: #1c1c1c;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-indent: -.5in;">
<span style="color: #262626; font-family: "Times New Roman";">Ellis, Juniper. <i>Pacific
Designs in Print and Skin: Tattooing the World</i>. New York: Colombia U, 2008.
Print.</span><span style="font-family: "Times New Roman";"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoFootnoteText" style="margin-left: .5in; text-indent: -.5in;">
<span style="font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span><span style="color: #1c1c1c;">Gooch, Brad. <i>Flannery: A Life of Flannery O'Connor</i>,
2010. Print. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in; text-indent: -.5in;">
<span style="color: #262626; font-family: "Times New Roman";">O'Connor, Flannery.
"Parker's Back." <i>Everything That Rises Must Coverage</i>. New
York: Signet Classic, 1965. 425-442. Print.</span><span style="font-family: "Times New Roman";"> <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";"><a href="http://upload.wikimedia.org/wikipedia/commons/2/29/Irezumi_Tattoo.jpg">http://upload.wikimedia.org/wikipedia/commons/2/29/Irezumi_Tattoo.jpg</a><o:p></o:p></span></div>
<!--EndFragment-->Elesa Knowleshttp://www.blogger.com/profile/15347655710608539718noreply@blogger.com0