12/4/08
William Gibson’s Neuromancer is an extremely interesting book for me because I have never been a fan of technoculture. Gibson portrays a world that is post-apocalyptic and is completely dominated by technology. The characters in Neuromancer are difficult to distinguish as human or cyborg, which does not matter because strides in technology have blended man with machine. I liked Neuromancer because Gibson tends to be somewhat anti-technology and believes that technology will not stop progressing until we all end up enslaved by it. I relate to Gibson in the sense that I oppose some technology because it often distracts us, but I think that technological innovation helps us in the long run. Obviously not by allowing students to text-message during an exam, but medical break-throughs to extend human life are undoubtedly beneficial. Technology will only go so far as the people who engineer it, and therefore I do not think we will ever become enslaved by it despite our dependency.
In the ten pages that make up chapter eight in Neuromancer, Gibson describes the counter-movement away from technology with the colony of Zion. Zion is a Rastafarian settlement in space that was founded by construction workers who refused to return to earth after building Freeside. It is composed of orbiting metal and discarded systems, which the founders of Zion constructed into a space station. The main characters, Molly and Case, go to Zion in order to practice working in an anti-gravity environment for their employer Armitage (Gibson, 103). While there Case meets the stations surviving two founders, who explain their movement away from earth, or as they call it, Babylon.
After initially reading chapter eight, I was somewhat confused by what Gibson was trying to portray with what is described as a junk space station founded by Rastafarians. The first thing that jumped out at me when I read it was the use of the word Zion. The Biblical meaning of Zion is the land of Israel, where God has his chosen people. In the Rastafarian movement; however, Zion represents Africa, or more specifically, Ethiopia (Rastafari Movement, par.1). In Neuromancer, Ethiopia is replaced by a space station in which the inhabitants practice Rastafarianism by smoking marijuana, adorning dreadlocks, and listening to reggae music. Another characteristic that Gibson uses in his novel is the Rastafarian use of the word Babylon. Babylon is used to describe the evil of the western world in Rastafarianism and likewise evil in the technological world of Neuromancer (Rastafari Movement, par.1).
With the understanding of Rastafarianism in the community at Zion, one can clearly see Gibson’s opposition to advanced forms of technology. The community at Zion is Gibson’s way of showing that it is possible to escape technology, but not to stop it. The Rastafarians do not fight technology or try to do anything to stop it; instead, they isolate themselves from it. Gibson even shows that people cannot completely escape technology because even though the Rastafarians are separated from Babylon, technology is present in their lives because Zion itself is a space station. The Rastafarians at Zion are very similar to the Amish in the sense that they isolate themselves from technology. Like the Rastafarians the Amish oppose technology, but they do not act to destroy technology.
By using Jean Baudrillard’s argument that signs have taken place over things, Gibson’s Zion takes on a new meaning (European Graduate School, par.3). Babylon, the technological world, is the same as the western world in Rastafarianism. According to Baudrillard’s argument, the western world is imperialistic and destroys natural environments and all things primitive (European Graduate School, par.7). Similarly, in Gibson’s Neuromancer, the technological world destroys all that is primitive, including the way we see individuals separate from computer programs. In Gibson’s world it is difficult to discern who is actually in the flesh and who is a computer program. The point is it does not matter because technology has already destroyed the way we perceive the world. In the same way, Baudrillard links his argument to Nietzsche’s “death of god,” Gibson has linked technology to the death of mankind (European Graduate School, par.2). As in the Bible, God created mankind, and mankind killed God with science; in Gibson’s world mankind created technology and technology is the death of mankind.
The Rastafarians view the western world, or technological world, as evil and the destroyer of all that is good in the world (Rastafari Movement, par.1). In Neuromancer the Rastafarians build Zion in order to escape the technological world because it is the destroyer of mankind. Like Baudrillard contends, all attempts to reverse technology and return to a more primitive state only speed up the process of technological innovation (European Graduate School, par. 7). This is the point Gibson makes when he shows that the Rastafarians are only able to isolate themselves from technology, not stop its progression. Gibson even demonstrates that they are only able to isolate themselves to a certain point. The visitation of Zion by Case and his comrades proves that even while isolating themselves from technology, the Rastafarians are still exposed to it. The fact that they isolate themselves in a space station only further cements Gibson’s argument.
The Rastafarians at Zion remind me of a book by John Christopher, The White Mountains. Like Neuromancer, this novel is set in a post-apocalyptic world; however, this world is completely devoid of most technology. The only remaining technologies are the tripods, which are the transportation for the aliens that control the earth. At the age of fourteen, there is a “capping” ceremony, in which the aliens take humans into the tripods in order to cap them with wire mesh on the tops of their heads (Christopher, p.12). Once capped the humans are unquestioning, uncreative, and believe the tripods to be their saviors (Christopher, p.34). The main character, Will Parker, and his cousin Henry are uncomfortable with the idea of losing their creativity and decide to run away (Christopher, 40). They follow a vagrant who has not been capped and he tells them about a resistance movement against the tripods (Christopher, p.36). The resistance movement is focused mainly in the White Mountains, which are the present day French Alps and one of the only places the tripods cannot go (Christopher, 36). Throughout the book, Will and Henry journey to the White Mountains and finally are able to join the resistance movement at the end of the book.
This novel reminds me of Neuromancer because like the Rastafarians escaping the technology of Babylon, Will escapes the alien technology that has enslaved mankind. The main difference is that Will does not use technology like Zion to escape from technology. Instead, Will journeys to the White Mountains in order to rebel against alien technology to not only regain free will, but human technology. Gibson and Christopher both show that technology is inescapable because the Rastafarians use the technology that is Zion to isolate themselves, and Will escapes the technology of the aliens only to unleash human technology upon the world once again.
One thing that interested me in the comparison between Neuromancer and The White Mountains was that in Neuromancer the A.I. of Wintermute and Neuromancer fused and became more powerful. Potentially the A.I. could control Gibson’s world due to its heavy dependence on technology, similar to how the tripods control Christopher’s world due to a lack of it. Gibson shows us that technology has the potential to enslave us and dominate every aspect of our lives, and Christopher portrays a world in which it does. Unlike Gibson, Christopher shows us that it is possible to triumph over technology, like the human resistance did over the alien technology, but shows us that another form of technology, in this case human, will take its place.
While looking at the two novels side by side, I could not help but notice humans being turned into machines. In Neuromancer it is much more obvious with Molly’s performance upgrades to her body to make her quicker, see better, and have what is described as claws in her hands. In chapter eight Peter Riviera has the ability to project holographic images into the minds of people around him (Gibson, 105). Case watches as a scorpion crawls across Riviera’s arm and then plunges its stinger into his flesh (Gibson, 105). As soon as it does this, the image disappears, and it is Riviera sticking a syringe of some sort of drug into his arm (Gibson, 105). Like the cyborgs in Neuromancer, people in The White Mountains are capped by the alien overlords at the age of fourteen, losing all free will and creativity, turning them into machines. Will and the resistance movement desire their free will and a clear mind to escape alien enslavement, while characters in Neuromancer, like Case, rely heavily on drugs to escape their world.
After reading Neuromancer I stumbled across an article in the Wall Street Journal called “Google Answers the iPhone.” The article describes a new handheld, do-it-all phone in the same class as the iPhone, the G1 (Walter, par.1). The new phone has the ability to do e-mail, take pictures, listen to music, surf the web, and of course you can use it as a phone too (Walter, par.2). The thing that amazed me the most was on a commercial I saw on television hyping the new phone. The phone has the ability to take a picture of a barcode on a piece of merchandise and find the cheapest place to buy it. The thing that strikes me about this article is that it brings about Gibson’s premonitions about technology. Not Gibson’s foresight on a do-it-all phone, but the way in which technology is progressing. The production of the G1 has essentially created an “arms” race in the handheld computer market. This seems harmless enough because these companies are just producing what people want; however, I think Gibson would agree with me when I ask the question, “Where does it stop?”
Mankind is at a point in civilization where we have become extremely dependent on technology. I am not trying to say that the smart phones are going to be the downfall of human civilization as we know it, but that technology is such a huge part of our life that it is not necessarily a good thing. Not to seem overly dramatic, but the way in which companies like Google and Apple are producing new and innovative technological devices is quite similar to the arms race between the United States and the former Soviet Union. Each major computer engineering company is going to enter the handheld computer market at an attempt to produce the best phone. It is similar to the way that the United States and Soviet Union competed to produce the best weaponry, military, and basically everything else. These companies will continue to produce new and innovative technology until they flood the market and move onto something else. In Gibson’s view technology will continue to be built upon until one company wins and gains control, similar to zaibatsus (Gibson, 37). Even after the companies and corporations achieve control, technology will still continue onwards.
As Jean Baudrillard contends, any attempt to reverse the progress of technology only makes its innovation move forward at a faster rate (European Graduate School, par. 8). Realizing this, Gibson demonstrates in his novel the Rastafarians’ attempt to isolate themselves from technology by building Zion. I am somewhat skeptical if it is even possible to isolate oneself from technology. Thoreau hid out in the woods for two years, but even he went to town on the weekends. Will in The White Mountains escaped alien technology by going to the Alps, but he was then exposed to lost human technology. I can choose to avoid the iPhone or the G1, but someone talking on the phone next to me could be using it. It seems that a person’s best attempts to avoid technology only bring them closer to it. Technology is driven by a capitalistic economy, and what is new and interesting always gets support. The iPhone and the G1 will gain support and then become obsolete when something better comes out.
After reading Gibson’s portrayal of the Rastafarians and Zion, I wonder about a person’s ability to isolate themselves from technology. Someone can choose not to use technology, but that still does not change the fact that they come in contact with technology. Throughout history there has been a counter movement for every movement, but it does not keep the movement from happening. It seems nearly impossible to isolate a person from technology especially when we live in a world that is so dependent upon it. I am not suggesting that everyone should embrace technology and support its advance unquestioningly, but trying to stop it is counterproductive. Will technology destroy mankind? Only time will tell.
Thursday, December 4, 2008
Thursday, November 20, 2008
Gaitskill's Human Veronica
11/20/08
In her novel Veronica, Gaitskill does an excellent job portraying the characters humanity. In the novel Alison is in her fifties, but she constantly reflects on her early life as a model. Although Gaitskill uses the flashbacks a way to describe Alison's relationship with Veronica, I cannot help but think she makes a great point about people. People often romanticize and embellsih their past and make it seem better than their present. Despite the fact that Alison was taken advantage of as a model in Paris, she constantly thinks about her life there and wishes she could go back. This is especially apparent when she sees her colleague on the cover of a magazine and wishes it was her. It seems to me that Alison does what most people do, including myself. Even if their life is going smoothly, they long for good times they had in the past. It is not until the present becomes the past that they can really appreciate their lives.
In her novel Veronica, Gaitskill does an excellent job portraying the characters humanity. In the novel Alison is in her fifties, but she constantly reflects on her early life as a model. Although Gaitskill uses the flashbacks a way to describe Alison's relationship with Veronica, I cannot help but think she makes a great point about people. People often romanticize and embellsih their past and make it seem better than their present. Despite the fact that Alison was taken advantage of as a model in Paris, she constantly thinks about her life there and wishes she could go back. This is especially apparent when she sees her colleague on the cover of a magazine and wishes it was her. It seems to me that Alison does what most people do, including myself. Even if their life is going smoothly, they long for good times they had in the past. It is not until the present becomes the past that they can really appreciate their lives.
Thursday, November 13, 2008
Veronica
11/13/08
In the novel Veronica, Gaitskill appears to focus less on an actual plot but instead on the friendship between the main character Alison and her now deceased friend Veronica. Although I have only read a few chapters into the book I realize that Alison and Veronica were good friends, but I question the nature of their friendship. Alison talks a lot about how she is no longer a model and has Hepatitis and a lousy arm, but says she is thankful that she does not have a young, attractive friend who says she just needs to love herself. Now that Alison is no longer so focused on herself as being a model and has health problems, she undoubtedly feels bad for patronising Veronica during her struggle with AIDS. It seems to me that Gaitskill portrays Alison doing what seems typical of attractive, egotistical people; having friends around who are ugly or have problems so that they can make themselves feel less shallow. Unfortunately, most people, attractive or not, have a habit of keeping people around who have in their minds "problems" so that they can feel better about themselves. The reason Alison thinks about Veronica so much is that she is now in Veronica's shoes and probably wishes she would have been a better friend.
In the novel Veronica, Gaitskill appears to focus less on an actual plot but instead on the friendship between the main character Alison and her now deceased friend Veronica. Although I have only read a few chapters into the book I realize that Alison and Veronica were good friends, but I question the nature of their friendship. Alison talks a lot about how she is no longer a model and has Hepatitis and a lousy arm, but says she is thankful that she does not have a young, attractive friend who says she just needs to love herself. Now that Alison is no longer so focused on herself as being a model and has health problems, she undoubtedly feels bad for patronising Veronica during her struggle with AIDS. It seems to me that Gaitskill portrays Alison doing what seems typical of attractive, egotistical people; having friends around who are ugly or have problems so that they can make themselves feel less shallow. Unfortunately, most people, attractive or not, have a habit of keeping people around who have in their minds "problems" so that they can feel better about themselves. The reason Alison thinks about Veronica so much is that she is now in Veronica's shoes and probably wishes she would have been a better friend.
Thursday, November 6, 2008
Is it all Cyborgs?
11/6/08
Neuromancer
In Neuromancer, portrays a world almost entirely dependent on technology. In this world humans like Molly are turned into cyborgs with advancements to increase their speed, agility, and strength. Although Gibson shows us a world of characters more machine than man, it seems that his world still remains so human. Despite technological advances people like Case continue to abuse substances, prostitutes or "puppets" continue earning a living through selling themselves, and people continue to go out and party. Although technology has evolved prostitution so the "puppets" do not remember anything, human lust has apparently not changed. Gibson's novel demonstrates that although technology is supposed to make our lives better, that does not always happen; obviously demonstrated by Gubson' gray sky. The main point is that even with advances in technology, human nature remains the same, good or bad.
Neuromancer
In Neuromancer, portrays a world almost entirely dependent on technology. In this world humans like Molly are turned into cyborgs with advancements to increase their speed, agility, and strength. Although Gibson shows us a world of characters more machine than man, it seems that his world still remains so human. Despite technological advances people like Case continue to abuse substances, prostitutes or "puppets" continue earning a living through selling themselves, and people continue to go out and party. Although technology has evolved prostitution so the "puppets" do not remember anything, human lust has apparently not changed. Gibson's novel demonstrates that although technology is supposed to make our lives better, that does not always happen; obviously demonstrated by Gubson' gray sky. The main point is that even with advances in technology, human nature remains the same, good or bad.
Thursday, October 30, 2008
Gibson's Premonition
Neuromancer
10/30/08
In the novel Neuromancer, Gibson portrays a society that appears entirely dependent on technology. Initially I thought there was no way possible our own society could reach such a level of technological dependence. As I continued to read this novel; however, I realized that Gibson appears to indeed be correct. In Neuromancer computer hackers are referred to as cyberspace cowboys, giving hackers an identity associated with being tough, hard-working, and iconic to our culture. Initially I did not make much of this connection, but when one of my friends complained about having to shut off a videogame because he was going to lose all of his work it hit me. Our own culture considers beating virtual levels on a computer the same as work. In all seriousness you really cannot consider playing a videogame work, its enjoyment. If you win a round of Halo 3, what do you have to show for it? Although hacking is considered "work" in many circles it does not appear to me that we should put hackers on the same iconic pedestal as our rough and tumble cowboy. Alas I fear that I am a minority with this opinion and that Gibson is correct in calling hackers cyberspace cowboys because it appears my own generation will replace the iconic cowboy with the Halo 3 champion.
10/30/08
In the novel Neuromancer, Gibson portrays a society that appears entirely dependent on technology. Initially I thought there was no way possible our own society could reach such a level of technological dependence. As I continued to read this novel; however, I realized that Gibson appears to indeed be correct. In Neuromancer computer hackers are referred to as cyberspace cowboys, giving hackers an identity associated with being tough, hard-working, and iconic to our culture. Initially I did not make much of this connection, but when one of my friends complained about having to shut off a videogame because he was going to lose all of his work it hit me. Our own culture considers beating virtual levels on a computer the same as work. In all seriousness you really cannot consider playing a videogame work, its enjoyment. If you win a round of Halo 3, what do you have to show for it? Although hacking is considered "work" in many circles it does not appear to me that we should put hackers on the same iconic pedestal as our rough and tumble cowboy. Alas I fear that I am a minority with this opinion and that Gibson is correct in calling hackers cyberspace cowboys because it appears my own generation will replace the iconic cowboy with the Halo 3 champion.
Thursday, October 23, 2008
Questions About Kindred
8/23/08
Towards the end of the novel Kindred, I had some questions that went unanswered. In the text Dana appears to help Rufus when he has malaria and Tom Weylin is an old man. In this part of the novel Dana threatens Tom Weylin by telling him she will not continue to help his son if he mistreats her. My question is, what brought about this change in Dana during this conversation with Tom. Despite his age he could have still had Dana punished or killed, she did not know yet if her lineage was safe, and she did not know if she could return to her own time if Rufus was dead. Butler seems to play this threat out as a bluff on Dana's part, but why bother making it to a man who could have her killed. Not only does this seem out of character, but it is rather stupid for someone as intelligent as Dana. Another thing that bothered me was Butler's inconsistency with Dana's travel through space. At the end of the book Dana loses her arm in the past because Rufus held on to her as she went back to her own time. My question is, how could she lose an arm when she could transport objects through time and space in her denim bag. Is it because Rufus was dead and Butler did not want to write about Dana coming back home with a corpse? The only reason I can see Butler making this inconsistency for would be to demonstrate how horrible a time period Dana was coming back from.
Towards the end of the novel Kindred, I had some questions that went unanswered. In the text Dana appears to help Rufus when he has malaria and Tom Weylin is an old man. In this part of the novel Dana threatens Tom Weylin by telling him she will not continue to help his son if he mistreats her. My question is, what brought about this change in Dana during this conversation with Tom. Despite his age he could have still had Dana punished or killed, she did not know yet if her lineage was safe, and she did not know if she could return to her own time if Rufus was dead. Butler seems to play this threat out as a bluff on Dana's part, but why bother making it to a man who could have her killed. Not only does this seem out of character, but it is rather stupid for someone as intelligent as Dana. Another thing that bothered me was Butler's inconsistency with Dana's travel through space. At the end of the book Dana loses her arm in the past because Rufus held on to her as she went back to her own time. My question is, how could she lose an arm when she could transport objects through time and space in her denim bag. Is it because Rufus was dead and Butler did not want to write about Dana coming back home with a corpse? The only reason I can see Butler making this inconsistency for would be to demonstrate how horrible a time period Dana was coming back from.
Thursday, October 16, 2008
Time Travel in Kindred
10/16/08
Kindred
In Kindred, Butler breaks away from the typical time travel story. Similar to many time travel stories, Dana travels back in time to somehow aid in the making of history. For example, in the novel, A Conneticut Yankee in King Arthur's Court, Hank travels back in time to help King Arthur protect Camelot. Like Hank, Dana is set back in time, but only to help a racist, white ancestor whenever he is in trouble. The difference between the two, is that at the end of Twain's book Hank is considered a hero and everyone at Camelot praises him as such. Dana, on the other hand, does not get any praise for her actions, and is instead beaten, whipped, and treated like a slave by the father of the boy she saves repeatedly. Butler seems to want us to see depsite the fact Dana helped Rufus, slavery and racism in the antebellum South is much too powerful to overcome. This is idea is much in contrast from Twain's novel, although a comedy, which allows a modern man to blend into a fifth century society. It seems that Butler wants us to see the reality in time travel and that modern citizens would have a difficult time adjusting to living only a century ago, especially a black woman. Butler shows us that despite numerous attempts to change the past and be a "hero", a person sent into a time of oppression would continue to be punished.
Kindred
In Kindred, Butler breaks away from the typical time travel story. Similar to many time travel stories, Dana travels back in time to somehow aid in the making of history. For example, in the novel, A Conneticut Yankee in King Arthur's Court, Hank travels back in time to help King Arthur protect Camelot. Like Hank, Dana is set back in time, but only to help a racist, white ancestor whenever he is in trouble. The difference between the two, is that at the end of Twain's book Hank is considered a hero and everyone at Camelot praises him as such. Dana, on the other hand, does not get any praise for her actions, and is instead beaten, whipped, and treated like a slave by the father of the boy she saves repeatedly. Butler seems to want us to see depsite the fact Dana helped Rufus, slavery and racism in the antebellum South is much too powerful to overcome. This is idea is much in contrast from Twain's novel, although a comedy, which allows a modern man to blend into a fifth century society. It seems that Butler wants us to see the reality in time travel and that modern citizens would have a difficult time adjusting to living only a century ago, especially a black woman. Butler shows us that despite numerous attempts to change the past and be a "hero", a person sent into a time of oppression would continue to be punished.
Thursday, October 9, 2008
Reading Stage of Development
10/9/08
Blog Analysis
Before the beginning of this semester my choice of literature was mainly classical literature such as Dickens, Verne, Wells, and many other authors that most people think are “dusty”. The writing styles of these authors can be somewhat dull, but what drew me to these novels were the stories that they told. The stories they tell are the foundation on which so much popular culture stands whether that be television, movies, or other books. Although I began reading more modern novels in the middle of high school such as One Flew over the Cuckoo’s Nest, my main choice of literature were the classics. My style of reading has somewhat evolved around my choice of literature and I do not think that I analyze the texts as much as I should. I do consider historical elements in older novels, but I never really try to analyze classic novels on their ability to challenge gender. I think my reading ability is quite developed but I think I fall somewhere between relating text to other texts and relating text to world.
My stage of reading development seems to really depend on what I am reading or why I am reading. If I am reading for school purposes I tend to delve deeper into the text and look for meaning; however, while reading for enjoyment purposes I sometimes take the story just at face value. One example that stands out for relating text to world was in my A.P. Literature class in high school. We were given poems to analyze and write our thoughts about them. I was given Seamus Heaney’s “Blackberry-Picking”. At face value the poem seems to recount Seamus picking blackberries and him getting cut by thorns and getting stained with juice. At the end of the poem, the narrator tells of how they picked too many and they spoiled. Just by reading the poem one would gather a very confused account of picking blackberries without any real meaning; however, I realized that Seamus, obviously of Irish descent, was probably Christian. In the poem he talked about thickened wine and summer’s blood which relate to Christ’s blood at the Last Supper. In addition, Heaney’s description of getting pricked by thorns relates to Christ’s crown of thorns when he died on the cross. With a second analysis of the poem, one can really understand the religious influence Heaney has in his writing. Besides for the Christian impact on this poem, there were several other themes one could gather from this poem such as mankind’s greed; however, I will not elaborate on them now. The point is, while reading this poem I did not relate this poem to myself or to other text, but rather the religious influence in the text.
Reading for enjoyment I may not had made this connection because I am not being judged on my reading. For example, one of my favorite books, Frankenstein, was ruined in a literary analysis class I took in high school. We analyzed the book through lenses of historical criticism and feminist criticism which allowed me to see the book in a different light; however, my original interpretation was destroyed. I am not trying to say that people should not analyze books, but I think that writing is an art form that is understood in different ways. I originally liked Frankenstein because of how it related to scientific experiments being performed today, but after analyzing it through other lenses the book is nowhere near as entertaining for me. In the case of Heaney’s poem and Frankenstein, my reading is definitely text - world; however, judging by my blog entries I feel it is best to label my reading as text - other texts.
The reason I chose text – other texts to describe my reading development is because although I have text to world tendencies, I seem to relate texts to other texts in my blogs. For example, in my most recent blog, “Gender Barriers in Brokeback Mountain”, I simply relate Butler’s idea of children being indoctrinated into gender roles to the Thanksgiving scene in the film. In this scene, L.D. pushes to let his grandson watch football during dinner so that he will “grow up to be a man”. As I mention in the blog, Butler would recognize this scene as a child being forced into a gender role; boys watch football. I feel that this entry is clearly a stage of text to text because all I do is realize Butler’s idea within the film without ever really coming up with any great idea on my own. In another blog, I discuss the character Falmouth in You Don’t Love Me Yet, and demonstrate how he exemplifies postmodernism. He himself is a postmodern art form because he has a shaved head and wears a suit even though he is surrounded by people wearing t-shirts. In addition, he strives to do art that really has no purpose because it can only be viewed for a short time by him; the Aparty is really only art to Falmouth. Again, this blog is simply text to text because I relate Falmouth to David Lodge’s article “Breaking the Frame” and his definition of postmodernism. Therefore according to these two blogs, it seems to me that my reading development is still is in the text to other text stage of reading development.
The question is how do I move on from simply relating texts to other texts? I think that I have not only the potential, but also have realized ability to truly relate text to world issues because I do it already in my writing and analyzing of certain works such as Heaney’s poem. The main problem I have is that I do it infrequently and inconsistently especially when you compare my analysis of Blackberry-Picking to my blog entries. My thought is that I must focus less on the story itself when I read a novel and consciously think about the time period in which it was written and what the author may have been thinking about when they were writing their work. In addition, I think that when I compare text to other text I should consider what those other texts that I am familiar with relate to in terms of social discourse. In this manner I should be able to draw conclusions about how a new work relates to the world while still be able to focus on the text itself.
Before I began this semester I think my reading skills were fairly well developed, but not as analytical as perhaps is necessary when reading certain texts. When reading a contemporary novel, often times there is much more going on than in a classical piece of literature. In the classic novel there are indeed underlying themes that relate to the time period in which it was written; however, in a contemporary piece the reader is now faced with issues that define gender and question our social foundations. In the past, I have spent most of my time reading classical literature that did not focus on such issues and realize that when reading different genres I will need to address them. Obviously this will take time to adjust to a different style of reading and questioning, but I think that if I follow the strategies I have come up with I should be able to move to new stage of reading development.
Blog Analysis
Before the beginning of this semester my choice of literature was mainly classical literature such as Dickens, Verne, Wells, and many other authors that most people think are “dusty”. The writing styles of these authors can be somewhat dull, but what drew me to these novels were the stories that they told. The stories they tell are the foundation on which so much popular culture stands whether that be television, movies, or other books. Although I began reading more modern novels in the middle of high school such as One Flew over the Cuckoo’s Nest, my main choice of literature were the classics. My style of reading has somewhat evolved around my choice of literature and I do not think that I analyze the texts as much as I should. I do consider historical elements in older novels, but I never really try to analyze classic novels on their ability to challenge gender. I think my reading ability is quite developed but I think I fall somewhere between relating text to other texts and relating text to world.
My stage of reading development seems to really depend on what I am reading or why I am reading. If I am reading for school purposes I tend to delve deeper into the text and look for meaning; however, while reading for enjoyment purposes I sometimes take the story just at face value. One example that stands out for relating text to world was in my A.P. Literature class in high school. We were given poems to analyze and write our thoughts about them. I was given Seamus Heaney’s “Blackberry-Picking”. At face value the poem seems to recount Seamus picking blackberries and him getting cut by thorns and getting stained with juice. At the end of the poem, the narrator tells of how they picked too many and they spoiled. Just by reading the poem one would gather a very confused account of picking blackberries without any real meaning; however, I realized that Seamus, obviously of Irish descent, was probably Christian. In the poem he talked about thickened wine and summer’s blood which relate to Christ’s blood at the Last Supper. In addition, Heaney’s description of getting pricked by thorns relates to Christ’s crown of thorns when he died on the cross. With a second analysis of the poem, one can really understand the religious influence Heaney has in his writing. Besides for the Christian impact on this poem, there were several other themes one could gather from this poem such as mankind’s greed; however, I will not elaborate on them now. The point is, while reading this poem I did not relate this poem to myself or to other text, but rather the religious influence in the text.
Reading for enjoyment I may not had made this connection because I am not being judged on my reading. For example, one of my favorite books, Frankenstein, was ruined in a literary analysis class I took in high school. We analyzed the book through lenses of historical criticism and feminist criticism which allowed me to see the book in a different light; however, my original interpretation was destroyed. I am not trying to say that people should not analyze books, but I think that writing is an art form that is understood in different ways. I originally liked Frankenstein because of how it related to scientific experiments being performed today, but after analyzing it through other lenses the book is nowhere near as entertaining for me. In the case of Heaney’s poem and Frankenstein, my reading is definitely text - world; however, judging by my blog entries I feel it is best to label my reading as text - other texts.
The reason I chose text – other texts to describe my reading development is because although I have text to world tendencies, I seem to relate texts to other texts in my blogs. For example, in my most recent blog, “Gender Barriers in Brokeback Mountain”, I simply relate Butler’s idea of children being indoctrinated into gender roles to the Thanksgiving scene in the film. In this scene, L.D. pushes to let his grandson watch football during dinner so that he will “grow up to be a man”. As I mention in the blog, Butler would recognize this scene as a child being forced into a gender role; boys watch football. I feel that this entry is clearly a stage of text to text because all I do is realize Butler’s idea within the film without ever really coming up with any great idea on my own. In another blog, I discuss the character Falmouth in You Don’t Love Me Yet, and demonstrate how he exemplifies postmodernism. He himself is a postmodern art form because he has a shaved head and wears a suit even though he is surrounded by people wearing t-shirts. In addition, he strives to do art that really has no purpose because it can only be viewed for a short time by him; the Aparty is really only art to Falmouth. Again, this blog is simply text to text because I relate Falmouth to David Lodge’s article “Breaking the Frame” and his definition of postmodernism. Therefore according to these two blogs, it seems to me that my reading development is still is in the text to other text stage of reading development.
The question is how do I move on from simply relating texts to other texts? I think that I have not only the potential, but also have realized ability to truly relate text to world issues because I do it already in my writing and analyzing of certain works such as Heaney’s poem. The main problem I have is that I do it infrequently and inconsistently especially when you compare my analysis of Blackberry-Picking to my blog entries. My thought is that I must focus less on the story itself when I read a novel and consciously think about the time period in which it was written and what the author may have been thinking about when they were writing their work. In addition, I think that when I compare text to other text I should consider what those other texts that I am familiar with relate to in terms of social discourse. In this manner I should be able to draw conclusions about how a new work relates to the world while still be able to focus on the text itself.
Before I began this semester I think my reading skills were fairly well developed, but not as analytical as perhaps is necessary when reading certain texts. When reading a contemporary novel, often times there is much more going on than in a classical piece of literature. In the classic novel there are indeed underlying themes that relate to the time period in which it was written; however, in a contemporary piece the reader is now faced with issues that define gender and question our social foundations. In the past, I have spent most of my time reading classical literature that did not focus on such issues and realize that when reading different genres I will need to address them. Obviously this will take time to adjust to a different style of reading and questioning, but I think that if I follow the strategies I have come up with I should be able to move to new stage of reading development.
Thursday, October 2, 2008
Gender Barriers in Brokeback Mountain
10/2/08
Judith Butler and film Brokeback Mountain
After reading Butler's article and how children are indoctrinated into their gender roles, one scene in Brokeback Mountain really seemed to jump out at me. In this scene, Jack is hosting Thanksgiving at his home with his in-laws as his guests. When dinner is served, Jack is preparing to carve the turkey until L.D. steps in to usurp Jack's role as head of the household. At the same time Bobby is watching football on the television while Lureen tells him to turn off the game and eat his dinner. After Jack turns off the television, L.D. walks over to the television and turns the game back on for Bobby to watch. L.D. tells Lureen that this will make him grow up to be a man as if that by somehow watching sports will make him more masculine than a child who has no interest in sports. According to Butler, Bobby would learn from this that watching football would make him a man, rather than being courteous to his mother as Jack exhibits by turning off the television. After L.D. says this Jack is somewhat angered by the fact that L.D. indirectly suggested that he was not a man, and he gets up once again to turn off the televsion. At this point Jack turning off the television is not merely a matter of teaching Bobby to be gracious to his mother, but rather to prove to L.D. that he is in fact a man despite his secret homosexuality. Jack's masculinity is proven to L.D. when L.D. gets up to turn the television back on and Jack yells, "sit down you old son of a bitch," and then takes his place carving the turkey. Jack does not feel that his son should be taught by someone as ignorant as his grandpa and must want Bobby to grow up in his own way. I am not saying that Jack wants his son to become homosexual, but rather that he wants Bobby to become his own person and not have to hide who he is like Jack does.
Judith Butler and film Brokeback Mountain
After reading Butler's article and how children are indoctrinated into their gender roles, one scene in Brokeback Mountain really seemed to jump out at me. In this scene, Jack is hosting Thanksgiving at his home with his in-laws as his guests. When dinner is served, Jack is preparing to carve the turkey until L.D. steps in to usurp Jack's role as head of the household. At the same time Bobby is watching football on the television while Lureen tells him to turn off the game and eat his dinner. After Jack turns off the television, L.D. walks over to the television and turns the game back on for Bobby to watch. L.D. tells Lureen that this will make him grow up to be a man as if that by somehow watching sports will make him more masculine than a child who has no interest in sports. According to Butler, Bobby would learn from this that watching football would make him a man, rather than being courteous to his mother as Jack exhibits by turning off the television. After L.D. says this Jack is somewhat angered by the fact that L.D. indirectly suggested that he was not a man, and he gets up once again to turn off the televsion. At this point Jack turning off the television is not merely a matter of teaching Bobby to be gracious to his mother, but rather to prove to L.D. that he is in fact a man despite his secret homosexuality. Jack's masculinity is proven to L.D. when L.D. gets up to turn the television back on and Jack yells, "sit down you old son of a bitch," and then takes his place carving the turkey. Jack does not feel that his son should be taught by someone as ignorant as his grandpa and must want Bobby to grow up in his own way. I am not saying that Jack wants his son to become homosexual, but rather that he wants Bobby to become his own person and not have to hide who he is like Jack does.
Thursday, September 25, 2008
"You Don't Love Me Yet" Screenplay
9/25/08
Pages 51-62
In the screenplay we wrote for the novel, You Don't Love Me Yet, we covered the scene where Lucinda and Denise discover the kangaroo in Matthew's apartment. While writing this screenplay, I realized the enormous task Hollywood screenwriters must endure while adapting novels into films. In our scene of the kangaroo, there is little dialogue between the characters because Lucinda and Denise are attempting to sneak into Matthew's apartment without being heard. Fortunately for us as writers, they are both drunk, allowing us to add dialogue when needed to paint a picture of the scene without creating a confused mess of narration and dialogue in our adaptation. The dialogue itself was realitively simple because the characters do not have extraordinary diction and from reading the rest of the book we were able to determine what they could very well have said in the situation. For example, in the novel Lethem describes Denise and Lucinda drinking beer and then yearning for something stronger. In our version we skip the unneccesary dialogue and have Denise come out and say, "lets get shitfaced." This is all that is necessary to show the reader what is happening because during a film we could easily see that they are both getting drunk. Throughout our screenplay we take similar steps to cut down on the amount of words, but use language that the characters would use and that we ourselves may use in similar circumstances.
Pages 51-62
In the screenplay we wrote for the novel, You Don't Love Me Yet, we covered the scene where Lucinda and Denise discover the kangaroo in Matthew's apartment. While writing this screenplay, I realized the enormous task Hollywood screenwriters must endure while adapting novels into films. In our scene of the kangaroo, there is little dialogue between the characters because Lucinda and Denise are attempting to sneak into Matthew's apartment without being heard. Fortunately for us as writers, they are both drunk, allowing us to add dialogue when needed to paint a picture of the scene without creating a confused mess of narration and dialogue in our adaptation. The dialogue itself was realitively simple because the characters do not have extraordinary diction and from reading the rest of the book we were able to determine what they could very well have said in the situation. For example, in the novel Lethem describes Denise and Lucinda drinking beer and then yearning for something stronger. In our version we skip the unneccesary dialogue and have Denise come out and say, "lets get shitfaced." This is all that is necessary to show the reader what is happening because during a film we could easily see that they are both getting drunk. Throughout our screenplay we take similar steps to cut down on the amount of words, but use language that the characters would use and that we ourselves may use in similar circumstances.
Thursday, September 18, 2008
Postmodernism in "You Don't Love Me Yet"
9/18/08
You Don't Love Me Yet
In Lethem's novel, You Don't Love Me Yet, the character Falmouth is a very interesting character. The thing that strikes me about Falmouth is that he constantly strives to do art that seems to have no purpose whatsoever. For example, Falmouth's Aparty was intended to have guests dancing to their own music while a band played silently and Falmouth was to only tease the guests with food. If it is a work of art it is nothing anyone can really explain or admire, the only one it could be considered art for is Falmouth. The Aparty is like a postmodernist novel, with Falmouth as its author. Although Falmouth wanted a work of art rather than a party, a normal social gathering would have allowed the guests to eat and interact to the same music while dancing. Falmouth instead disrupts the linearity of the party by not serving food to the guests and separating them from each other in what would have otherwise been a social setting. Another example of Falmouth supposed "art" is the complaint telephone line. This complaint line itself embodies the characteristics of postmodernism in the sense that it serves no purpose to Falmouth in the story, but it allows Lethem the ability to connect Lucinda with Carl and draw him into the story. After Lucinda and Carl are brought together, Falmouth discontinues the complaint line and turns his attention to other things.
You Don't Love Me Yet
In Lethem's novel, You Don't Love Me Yet, the character Falmouth is a very interesting character. The thing that strikes me about Falmouth is that he constantly strives to do art that seems to have no purpose whatsoever. For example, Falmouth's Aparty was intended to have guests dancing to their own music while a band played silently and Falmouth was to only tease the guests with food. If it is a work of art it is nothing anyone can really explain or admire, the only one it could be considered art for is Falmouth. The Aparty is like a postmodernist novel, with Falmouth as its author. Although Falmouth wanted a work of art rather than a party, a normal social gathering would have allowed the guests to eat and interact to the same music while dancing. Falmouth instead disrupts the linearity of the party by not serving food to the guests and separating them from each other in what would have otherwise been a social setting. Another example of Falmouth supposed "art" is the complaint telephone line. This complaint line itself embodies the characteristics of postmodernism in the sense that it serves no purpose to Falmouth in the story, but it allows Lethem the ability to connect Lucinda with Carl and draw him into the story. After Lucinda and Carl are brought together, Falmouth discontinues the complaint line and turns his attention to other things.
Thursday, September 11, 2008
Pop Culture vs. High Culture in Pulp Fiction
9/11/08
"Popular Culture and High Culture Collide" and Pulp Fiction
In the film Pulp Fiction, Tarantino surrounds us with familar pop culture, yet seems to include very subtle aspects of high culture. In the film, Marcellus' men, Vincent and Jules appear to be the stereotypical mobsters. We first see them in black suits very typical in mobster films such as The Godfather; however, both men are adorned with narrow black ties reminiscent of the Beatles. In addition, Jules' hair appears straight out of the 70s, seemingly overdone with wild sideburns. Furthermore, Vincent appears with shoulder length hair similar to the style of the 80s, but has been greased similar to that of the 30s mobster. The film itslef is composed of three parts, similar to the classic style of the symphony and many of the scenes that include blood and gore are done way over the top to represent the classic slasher film. In addition to pop culture, the film exudes a sense of postmodernism with the film lacking a linear direction. One of the characters, Butch, represents the postmodern hero; lacking virtue, yet ends up helping his enemy in his time of need.
"Popular Culture and High Culture Collide" and Pulp Fiction
In the film Pulp Fiction, Tarantino surrounds us with familar pop culture, yet seems to include very subtle aspects of high culture. In the film, Marcellus' men, Vincent and Jules appear to be the stereotypical mobsters. We first see them in black suits very typical in mobster films such as The Godfather; however, both men are adorned with narrow black ties reminiscent of the Beatles. In addition, Jules' hair appears straight out of the 70s, seemingly overdone with wild sideburns. Furthermore, Vincent appears with shoulder length hair similar to the style of the 80s, but has been greased similar to that of the 30s mobster. The film itslef is composed of three parts, similar to the classic style of the symphony and many of the scenes that include blood and gore are done way over the top to represent the classic slasher film. In addition to pop culture, the film exudes a sense of postmodernism with the film lacking a linear direction. One of the characters, Butch, represents the postmodern hero; lacking virtue, yet ends up helping his enemy in his time of need.
Thursday, September 4, 2008
Metafiction: City of Glass
9/4/08
City of Glass p.78-81
In this section of City of Glass, we are revealed the true genius of Peter Stillman and the true person that is Henry Dark. The second time Quinn approaches Stillman he tells him his name is Henry Dark. Stillman tells him that Henry Dark was a character he made up for a book. This tells us that the pamphlet Stillman used in his "research" was not a lost manuscript, but in fact a document that Stillman wrote himself. This was done as Stillman explains to express ideas that we too controversial; however, the invention of Henry Dark allowed Stillman to gain credibilty and seem more plausible in his experiment on his son. Stillman's reasoning for Henry Dark is the initials H.D. or Humpty Dumpty, the purest human being. This reference to Through the Looking Glass allows the author to make Stillman appear clever, yet mad. It also appears to relate to the title of Auster's book City of Glass a story that many ways parallels Carrol's book with many events taking place to what seems to be no end.
City of Glass p.78-81
In this section of City of Glass, we are revealed the true genius of Peter Stillman and the true person that is Henry Dark. The second time Quinn approaches Stillman he tells him his name is Henry Dark. Stillman tells him that Henry Dark was a character he made up for a book. This tells us that the pamphlet Stillman used in his "research" was not a lost manuscript, but in fact a document that Stillman wrote himself. This was done as Stillman explains to express ideas that we too controversial; however, the invention of Henry Dark allowed Stillman to gain credibilty and seem more plausible in his experiment on his son. Stillman's reasoning for Henry Dark is the initials H.D. or Humpty Dumpty, the purest human being. This reference to Through the Looking Glass allows the author to make Stillman appear clever, yet mad. It also appears to relate to the title of Auster's book City of Glass a story that many ways parallels Carrol's book with many events taking place to what seems to be no end.
Thursday, August 28, 2008
Postmodernism in Moulin Rouge
8/28/08
Moulin Rouge and "Breaking the Frame"
In the film Moulin Rouge, director Baz Luhrman portrays the main character Christen writing the story. Throughout the film Christen narrates the film which continually flashes back and forth from him telling the story to him living the story. Through this continual breaking of the film's stream of consciousness, we as the audience are constantly reminded of the inevitable death of Chrsiten's love, Satine. As David Lodge suggests from the article "Breaking the Frame", this interuption breaks us out of our focus on the movie and reminds us the direction in which the film is going. In addition to the flashbacks to the story's author, Luhrmann makes use of modern day songs in order to detach the film from the year in which it was set, 1900. This seems rather odd due to the fact that Luhrmann went through all the trouble of creating a 1900 Paris, yet took the film in a direction that included music from a different era.
Moulin Rouge and "Breaking the Frame"
In the film Moulin Rouge, director Baz Luhrman portrays the main character Christen writing the story. Throughout the film Christen narrates the film which continually flashes back and forth from him telling the story to him living the story. Through this continual breaking of the film's stream of consciousness, we as the audience are constantly reminded of the inevitable death of Chrsiten's love, Satine. As David Lodge suggests from the article "Breaking the Frame", this interuption breaks us out of our focus on the movie and reminds us the direction in which the film is going. In addition to the flashbacks to the story's author, Luhrmann makes use of modern day songs in order to detach the film from the year in which it was set, 1900. This seems rather odd due to the fact that Luhrmann went through all the trouble of creating a 1900 Paris, yet took the film in a direction that included music from a different era.
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