I don't know if this theme makes much sense to you guys, but its a shot :). I might want to try this for my Pastiche.
Throughout the last two chapters of TEWWG, Hurston strongly expresses the theme of learning to love through experience.
In chapter 19, Janie tells the Docotor about her love for Tea Cake. "Docotr, Ah loves him fit tuh kill. Tell me anything tuh do and Ah'll do it." (Hurston 177) Earlier in the novel, Janie doesn't give a cahoot about any of her "lovers" (Joe/Logan). They were pressured marriages and she didn't wish to be with them. After those marriages, she had an idea of what she wanted through lack of provision. When Tea Cake comes along, Janie sees her life with him. Her love has grown from being coddled by Tea Cake without giving anything back, to, "[doing] anything" for him. Hurston suggests through this passage, that experience can be the first love or the third love, but it takes learning through experience to achieve that state.
Another passage that highlights the theme of learning love through experience is in chapter 20. Janie tells Phoeby the story of Tea Cake and then discloses that the towns folk can speak all they want. "Two things everybody's got tuh do fuh theyselves. They got tuh go tuh God, and theyg ot tuh find out about livin' fuh theyselves." (Hurston 192) Here, Janie shares her life in one phrase: They got tuh find out about livin' fuh theyselves."; Janie's life has been about finding not only herself, but also how to love. Earlier, Janie had followed Nanny's rules for love: Marry, gain property, be happy, love. She then grows through experience with Joe and Tea Cake. Once they are both gone, she is reminiscent, reflecting upon the events that led to her ever growing and constant love for Tea Cake. Hurston has Janie got through the marriages to show that lasting love is learned.
Plot Diagram:
Kaela lives with her older sister, who is widowed.
Her sister gives her insight into finding a soulmate, not without heartache.
She meets a gangster that offers her all the things she didn't have growing up as a poor little sister. She is abused and neglected. A casino owner with a white suit charms his way into her heart and marries her away from the gangster and into his hometown. She decides that she doesn't want someone who will abuse her. As years go on, the casino owner beings to ignore her and actually makes her become a waitress at his casino. She is angered at the domineering position that her husband is taking. One gambler, who arrives just before closing time, strikes up conversation. He learns that she is not living a full life. They elope once the casino owner flies off to Hawaii for a meeting. Kaela now understands what she has been missing in life; a true relationship with no consuming dependencies. Kaela and the gambler go on a boating trip. After an earthquake and whirlpool engulfs their boat, they are separated in the ocean. She lands on shore and sees his body washed up several hundred feet away, where he lies in death. She realizes that she truly loved this man and would have done anything for him. She grows old.
Sunday, September 27, 2009
Saturday, September 26, 2009
Journal 8
The hurricane had just ripped through the village. "As far as the eye could reach, water and wind playing upon it in fury" (Hurston 165). Hurston uses setting to mirror Janie's life in relationships and storms, because much of Janie's realtionships can be seen as surrounded by "Water and wind . . . in fury". Hurston's setting creates a setup to Janie's revelation of "bein' dead from the standin' still and tryin' tuh laugh." (167) The standing still is what Janie initially wants to do during the storm, but that would have led to death. In her other relationships, Janie stood still, and accepted her fate as a wife to Joe or Logan. However, she decides to move between each one and finds life. Then, with Tea Cake, she continues to move, as represented in Hurston's storm. Hurston intends the reader to see that the storm is the physical realization of the test that Joe, Logan, and Tea Cake must go through, only this time, Tea Cake managed to keep Janie.
This was signed off by you, Mrs. Wecker, on Friday, sept 25.
This was signed off by you, Mrs. Wecker, on Friday, sept 25.
Tuesday, September 22, 2009
Journal 7 Pastiche
The day of the baseball game, Janie is left at the store when a mysterious man named Tea Cake arrives to charm her to her feet. Janie had set a latest time of 6:00 PM, but when Tea Cake arrives, she ignores her own deadline and allows him to stay until the other men arrive back from the game. Janie offered her hospitality and Tea Cake "took a seat and made talk and laughter witht he rest until closing time" (Hurston 89). Janie's acceptance of another affectionate man in her life reveals her willingness to move on officially from Joe's death. This is the moment that will decide the town's gossip for the next while. But, because nobody was around to provide their own bias towards Tea Cake, Janie chose him out of her own independent decision. This is her growth of character because she can ignore or disregard societal expectations.
However, had Janie turned Tea Cake away when he first arrived or even at the original closing time of 6:00 PM, Janie's future would be both much different and similar to what is presented in the novel.
Pastiche: Janie turns Tea Cake away out of her cynical views of life.
"Good evenin' Mis' Starks," he said with a sly grin on his face. An enigmatic spark was present in his eyes.
Janie hesitated, remembering Joe despite her own protests. She erased any creases in her apron. "Good evenin', sir." A dream floated before her, blowing away in the wind with any hopes of life.A visible flicker of doubt bolted across Janie's face.
"Oh, Ah don't mean no hurtin' to yuh. I wuz lookin' inter some smokin' tobacco'. Got any camels?"
She slid open the drawer and handed him a pack. She threw a glance at the clock showing hands near six, pointing towards the man's deep bronze hide. The light reflected off of his skin and showed beads of sweat in the heat. My, he is somethin' tuh look at. "Ah gotta close up soon, why don't you an' you'se tobacco git on out an' let me finish my duties."
"Dun' worry 'bout me, lak Ah said, I dun' wanna harm yuh," he saide, leaning on the counter with his elbows. He glimpsed the checkerboard by the chair behind Janie. "Aftuh you'se is done heah, wanna play checkers?" he said, breaking Joe's customs with one question.
"Ah'm no fool, and if this is your way of teasin' me, den you can jus' hurry on out faster, Mr. . . what did yuh say yuh name wuz?"
"Didn't think Ah would be needin' it heah. I kin see Ah'm not exactly wanted 'round heah, so you'se can skip mah short name. Yuh see, I offen come across as sweet, so Ah git called Tea Cake fuh short. But you kin skip dat and call me Woods. Mah name is Vergible Woods."]
This man sho' is lak de rest of 'em, playin' up their names tuh sound more than they are. Putting out a hightone, Janie said, "Mr. Woods, mah store is closed. G'night."
Janie spied the shadow of Tea Cake melt into the darkness as the light faded into the porch lamps and the other towns people returned from the day. She felt the regret and dreams well up and punish the middle of her throat.
Men walked past the shop and saw her gazing towards the man they all walked by. "You just remembuh Joe an' do yuh sad thing. Let me take care uh you'se store an' trouble," Hezekiah said.
However, had Janie turned Tea Cake away when he first arrived or even at the original closing time of 6:00 PM, Janie's future would be both much different and similar to what is presented in the novel.
Pastiche: Janie turns Tea Cake away out of her cynical views of life.
"Good evenin' Mis' Starks," he said with a sly grin on his face. An enigmatic spark was present in his eyes.
Janie hesitated, remembering Joe despite her own protests. She erased any creases in her apron. "Good evenin', sir." A dream floated before her, blowing away in the wind with any hopes of life.A visible flicker of doubt bolted across Janie's face.
"Oh, Ah don't mean no hurtin' to yuh. I wuz lookin' inter some smokin' tobacco'. Got any camels?"
She slid open the drawer and handed him a pack. She threw a glance at the clock showing hands near six, pointing towards the man's deep bronze hide. The light reflected off of his skin and showed beads of sweat in the heat. My, he is somethin' tuh look at. "Ah gotta close up soon, why don't you an' you'se tobacco git on out an' let me finish my duties."
"Dun' worry 'bout me, lak Ah said, I dun' wanna harm yuh," he saide, leaning on the counter with his elbows. He glimpsed the checkerboard by the chair behind Janie. "Aftuh you'se is done heah, wanna play checkers?" he said, breaking Joe's customs with one question.
"Ah'm no fool, and if this is your way of teasin' me, den you can jus' hurry on out faster, Mr. . . what did yuh say yuh name wuz?"
"Didn't think Ah would be needin' it heah. I kin see Ah'm not exactly wanted 'round heah, so you'se can skip mah short name. Yuh see, I offen come across as sweet, so Ah git called Tea Cake fuh short. But you kin skip dat and call me Woods. Mah name is Vergible Woods."]
This man sho' is lak de rest of 'em, playin' up their names tuh sound more than they are. Putting out a hightone, Janie said, "Mr. Woods, mah store is closed. G'night."
Janie spied the shadow of Tea Cake melt into the darkness as the light faded into the porch lamps and the other towns people returned from the day. She felt the regret and dreams well up and punish the middle of her throat.
Men walked past the shop and saw her gazing towards the man they all walked by. "You just remembuh Joe an' do yuh sad thing. Let me take care uh you'se store an' trouble," Hezekiah said.
Monday, September 21, 2009
Journal 6 TEWWG
Janie is thinking about Tea Cake and all the things related to him, when she is visited by a demon of sorts. "In the cool of the afternoon the fiend from hell specially sent to lovers arrived at Janie's ear. Doubt." (108) Allusions to sacred things are common in Hurtson's writing, and here, Hurston uses the allusion of a "demon" to show the plight of Janie's situation. This is an allusion to the trouble that all religious people face: questioning of faith. However, Hurston changes it and applies it to love. By raising this "question", Hurston shows that Janie is not exactly certain in the solidity of her relationship with Tea Cake. This "Doubt" is the kind that kills things at the root. Any misinformation can through a lover's doubt into separation. By these means, Hurston creates a personal conflict that Janie must face; should she trust in another man?
Tea Cake and Janie are discussing their opinions of each other on the porch in the dark, and Janie begins to question their relationship. "He's just saying anything for the time being, feelin he's got me so I'll b'lieve him. The next thought buried her under tons of cold futility." (105) Hurston's uses a shift in Point of View in this passage. Originally, Hurston writes in third person limited, but she switches suddenly to first person. These are thoughts that Janie is thinking, and Hurtson switches Point of View to show us that she is truly trying to believe these thoughts. This is also Hurston's way of telling us the story without telling us the story. This random interjection of different point of views shows the staggered feeling that Janie has in her real life. Then the quote switches back to third person limited, showing her return to reality.
Phoeby is on her way to confront Janie about allt he rumors that have been started around her and Tea Cake. "Stopped and talked a little with everyone she met, turned aside momentarily to pause at a porch or two -- going straight by walking crooked" (112). Hurston uses an oxymoron to better clarify the image of Phoeby's plan. First, Phoeby decides to talk to Janie. Hurston draws attention to the fact that Phoeby doesn't want to raise suspicion, so she has a set destination, but must make many detours, thus the "crooked" path taken to a single destination. Hurston's small insight into Phoeby, Janie's "bosom friend", through an oxymoron, further separates Phoeby and Janie from the Townsfolk by creating a wall of opinion between them.
"All the next day in the house and store she thought resisting thoughts about Tea Cake." (pg. 106) Paradox
"So they had lemonade too." (102) Syntax --b/c of the contrast between the long descriptive sentences to the short one.
"But oh, what wouldn't I give to be twelve years younger so I could b'lieve him!" (105)Repetition of the idea of age.
"Nobody else on earth kin hold uh candle tuh you, baby. You got de keys to de kingdom." (109) Pick up line of the century. :)
Tea Cake and Janie are discussing their opinions of each other on the porch in the dark, and Janie begins to question their relationship. "He's just saying anything for the time being, feelin he's got me so I'll b'lieve him. The next thought buried her under tons of cold futility." (105) Hurston's uses a shift in Point of View in this passage. Originally, Hurston writes in third person limited, but she switches suddenly to first person. These are thoughts that Janie is thinking, and Hurtson switches Point of View to show us that she is truly trying to believe these thoughts. This is also Hurston's way of telling us the story without telling us the story. This random interjection of different point of views shows the staggered feeling that Janie has in her real life. Then the quote switches back to third person limited, showing her return to reality.
Phoeby is on her way to confront Janie about allt he rumors that have been started around her and Tea Cake. "Stopped and talked a little with everyone she met, turned aside momentarily to pause at a porch or two -- going straight by walking crooked" (112). Hurston uses an oxymoron to better clarify the image of Phoeby's plan. First, Phoeby decides to talk to Janie. Hurston draws attention to the fact that Phoeby doesn't want to raise suspicion, so she has a set destination, but must make many detours, thus the "crooked" path taken to a single destination. Hurston's small insight into Phoeby, Janie's "bosom friend", through an oxymoron, further separates Phoeby and Janie from the Townsfolk by creating a wall of opinion between them.
"All the next day in the house and store she thought resisting thoughts about Tea Cake." (pg. 106) Paradox
"So they had lemonade too." (102) Syntax --b/c of the contrast between the long descriptive sentences to the short one.
"But oh, what wouldn't I give to be twelve years younger so I could b'lieve him!" (105)Repetition of the idea of age.
"Nobody else on earth kin hold uh candle tuh you, baby. You got de keys to de kingdom." (109) Pick up line of the century. :)
Journal 5 TEWWG
AGH! I woke up and remembered I have to put this on the blog instead of on paper. Sorry if there are many errors w/ my grammar and spelling.
In the introduction of chapter nine in TEWWG, Hurtson exhibits her honed awareness and manipulation of language. Right after Joe's funeral, Hurston uses Janie to show syntax, word choice, tone, and sound devices; "It was like a wall of stone and steel. The funeral was going on outside. All things concerning death and burial were said and done. Finish. End. Nevermore. Darkness. Deep hole. Dissolution. Eternity. Weeping and wailing outside. Inside the expensive black folds were resurrection and life. She did not reach outside for anything, nor did the things of death reach inside to disturb her calm. She sent her face to Joe's funeral, and herself went rollicking with the springtime across the world." (Pg 88)
This is one of Hurston's best examples of use of syntax in TEWWG. At first, she uses complete sentences with a definite structure: Noun does an action, with description words. "It [Janie's face] was like a wall of stone and steel" (88). On the other side was the funeral. Hurston uses complete sentences to show the reader that the outside world is in order. Things are falling into place. People die, people mourn. However, Hurston starkly contrasts the outside world with Janie's inner turmoil. The short, stinging words appear in one word phrases. They bite with succinctness. "Finish. End. Nevermore. Darkness. Deep hole. Dissolution. Eternity. Weeping and wailing outside." (88) Hurston interrupts the logical, flowing thought of Janie at the funeral to show the real struggle that Janie is facing. Every period between every phrase puts an "Eternity" between the words. They create uncomfortable gaps that explains Janie's conflicts better than complete sentences would.
Then, toward the end of the thoughts, Hurston once agains returns to whole sentences with great descriptions. Janie quickly turns from short sinister thoughts to "rollicking witht he springtime across the world." (88) By pivoting so quickly on the emotions, Hurtson's usage of syntax effectively represents how easily Janie got over Joe's death.
Through word choice, Hurston give the reader a clearer view of the intangible things that Janie is going through. "Finish", "End", "Nevermore", "Dissolution", "Darkness", "Eternity", and "Deep hole" are all intangible, death related things. Janie is clearly thinking about death as her husband has just passed away, but Hurston's word choice identifies what Janie is contemplating. Each word is also a noun. Hurston never uses "Finished" or "Ended" because putting them into nouns creates more immediate feelings. Then she juxtapositions these morose and grievous words to fulfilling words such as "resurrection and life" and "rollicking with the springtime across the world." (88) This sudden juxtaposition shows Janie's reluctance to linger on deathly thoughts. Everything dull and lifeless that was connected to Joe is now replaced with a carefree "skip" through the world.
At first, Hurston's tone is abysmal, but then it evolves to a tone of "resurrection". Overall, however, Hurston's single tone in this passage is one of enlightenment. To achieve enlightenment, one must suffer through a period of confusion. Once that confusion is resolved, then the end is achieved. This "enlightenment" give the reader and Janie a revelation. As a reader, we have already known that Janie was a free woman, who shouldn't be held back by "Darkness" and "Dissolution", whereas Janie now sees that that wasn't the way to live. She is enlightened with new information about herself.
Once again, Hurston juxtapositions two things in this passage to create the proper image. The words of gloom (finish, end, nevermore, darkness, deap hole, etc) is juxtapositioned to Janie's arrival into reality. Hurston uses a harsh "s" sound to create discord. "FiniSH" and DarkneSS" and "DiSSolution" use the "s" sound. Hurston also uses the next phrase, "Weeping and wailing outside." (88) The "W" sound creates an impassion mindset, almost ignorant. Other words that jump to mind are "what, why, where, when, . . ." These words, when continuously repeated, cause the listener to ignore what is being said. Hurston is using this sound to show us that Janie is ignoring the "weeping and wailing." This transition between the sound devices also show Janie's transition back into reality.
In the introduction of chapter nine in TEWWG, Hurtson exhibits her honed awareness and manipulation of language. Right after Joe's funeral, Hurston uses Janie to show syntax, word choice, tone, and sound devices; "It was like a wall of stone and steel. The funeral was going on outside. All things concerning death and burial were said and done. Finish. End. Nevermore. Darkness. Deep hole. Dissolution. Eternity. Weeping and wailing outside. Inside the expensive black folds were resurrection and life. She did not reach outside for anything, nor did the things of death reach inside to disturb her calm. She sent her face to Joe's funeral, and herself went rollicking with the springtime across the world." (Pg 88)
This is one of Hurston's best examples of use of syntax in TEWWG. At first, she uses complete sentences with a definite structure: Noun does an action, with description words. "It [Janie's face] was like a wall of stone and steel" (88). On the other side was the funeral. Hurston uses complete sentences to show the reader that the outside world is in order. Things are falling into place. People die, people mourn. However, Hurston starkly contrasts the outside world with Janie's inner turmoil. The short, stinging words appear in one word phrases. They bite with succinctness. "Finish. End. Nevermore. Darkness. Deep hole. Dissolution. Eternity. Weeping and wailing outside." (88) Hurston interrupts the logical, flowing thought of Janie at the funeral to show the real struggle that Janie is facing. Every period between every phrase puts an "Eternity" between the words. They create uncomfortable gaps that explains Janie's conflicts better than complete sentences would.
Then, toward the end of the thoughts, Hurston once agains returns to whole sentences with great descriptions. Janie quickly turns from short sinister thoughts to "rollicking witht he springtime across the world." (88) By pivoting so quickly on the emotions, Hurtson's usage of syntax effectively represents how easily Janie got over Joe's death.
Through word choice, Hurston give the reader a clearer view of the intangible things that Janie is going through. "Finish", "End", "Nevermore", "Dissolution", "Darkness", "Eternity", and "Deep hole" are all intangible, death related things. Janie is clearly thinking about death as her husband has just passed away, but Hurston's word choice identifies what Janie is contemplating. Each word is also a noun. Hurston never uses "Finished" or "Ended" because putting them into nouns creates more immediate feelings. Then she juxtapositions these morose and grievous words to fulfilling words such as "resurrection and life" and "rollicking with the springtime across the world." (88) This sudden juxtaposition shows Janie's reluctance to linger on deathly thoughts. Everything dull and lifeless that was connected to Joe is now replaced with a carefree "skip" through the world.
At first, Hurston's tone is abysmal, but then it evolves to a tone of "resurrection". Overall, however, Hurston's single tone in this passage is one of enlightenment. To achieve enlightenment, one must suffer through a period of confusion. Once that confusion is resolved, then the end is achieved. This "enlightenment" give the reader and Janie a revelation. As a reader, we have already known that Janie was a free woman, who shouldn't be held back by "Darkness" and "Dissolution", whereas Janie now sees that that wasn't the way to live. She is enlightened with new information about herself.
Once again, Hurston juxtapositions two things in this passage to create the proper image. The words of gloom (finish, end, nevermore, darkness, deap hole, etc) is juxtapositioned to Janie's arrival into reality. Hurston uses a harsh "s" sound to create discord. "FiniSH" and DarkneSS" and "DiSSolution" use the "s" sound. Hurston also uses the next phrase, "Weeping and wailing outside." (88) The "W" sound creates an impassion mindset, almost ignorant. Other words that jump to mind are "what, why, where, when, . . ." These words, when continuously repeated, cause the listener to ignore what is being said. Hurston is using this sound to show us that Janie is ignoring the "weeping and wailing." This transition between the sound devices also show Janie's transition back into reality.
Thursday, September 17, 2009
Journal 4: Pastiche
Then Pearl started to speculate about Friendship. Friendship, the chipped mirror with multiple faces that resides in the gambling house adjacent to the Church. A mendacious monster that discovered and lived in the Ravine, and one with no bottom. Why would Friendship require anything but an eternal hole, and what man can climb away from him? Crouches vigilantly for almost no time and all time ready with his barbed net, tightening his hold when one attempts escape. Inhabiting the crevice since the light and the dark and the air touched upon his skin. She was bound to discover a fang from one of His mouths piercing into his thigh as soon as he opened his eyes. He was wounded and lonely. Adamant Jay! He needs tuh remember his old ways. Ever since he pulled away from her, he wuz a different man. She asked Harry to convince Josh to allow a meeting before he died, but Jay resisted any confrontation with his past. All these people, tryin' tuh reclaim their stake on his life, but they didn't know how tuh go bout' meeting him. He had no desire to fix broken relationships, that he had no reason to make amends. He believed this with every ounce of his soul. However, Pearl heard from Harry that that was not so, so she persisted. So, if he didn't heal any relationships, she would inevitably know, since old friends of Jay would be just outside of his home, huddled together in the rain splattering the cracked concrete patio by the shaded window of his room. Old pals that would never have tried this hard to meet him crowded into the place and stayed just away from the unlocked door. Only stood in the rain and wondered. Discord, the jaws of Eris, clamped down upon the people.
Journal 3
Quote 1: "The fact that the thought pictures were always crayon enlargements of life made it even nicer to listen to." (Pg 51)
Janie, after observing people talk in the store, comments on their thoughts and conversations. "The fact that the thought pictures were always crayon enlargements of life made it even nicer to listen to." (pg 51) In this quote, Hurston uses the metaphor of comparing thoughts of people to crayon drawings (of life). Hurston's metaphor clarifies the purity of the folks' speeches and conversations because "Crayon enlargements" are usually very basic, easily read or distinguished, and very textured. By comparing crayons to the thoughts, or ideas of people Hurtson separates the character of Janie from the rest of the towns people, perhaps foreshadowing further conflicts of opinion due to difference of character later on in the novel.
Quote 2: "Hambo said, ' Yo wife is uh born orator, Starks. Us never knowed dat befo'." (Pg 58)
After Janie had praised Joe for his rescue of the mule, the townsfolk praised Janie for her use of words. "Hambo said, 'Yo wife is uh born orator, Starks. Us never knowed dat befo'." (Pg 58) This is use of Irony because of Janie's past life as the town's subject of gossip. By using a towns person instead of the narrator to reveal this irony, Hurston can use the dialect of the people to contrast Janie to "Past Janie" with the same setting, because it is better to compare two things or people when everything else is almost the same. This reveals Janie's growth of character.
Quote 3 (Imagery): "'dat mule so skinny till de women is usin' his ribbones fuh uh rubboard, and hanging things out on his back bones tuh dry." (Pg 52)
Quote 4 (Personification): "How he pushed open Lindsay's kitchen door and . . . fought until they made coffer for his breakfast; . . . he got tired of listening to Redmond's long-winded prayer, and went inside the Baptist church and broke up the meeting." (Pg 59)
Quote 5 (Motif/symbol): "'Folkses, de sun is goin down. De 'sun-maker brings it up in de mornin', and de Sun-maker sends it tuh bed at night. Us poor weak humans can't do nothin' tuh hurry it up nor to slow it down." (pg 45)
Note to Mrs. Wecker:
I showed you the journal today before class, and you signed off your initials at the bottom. :)
Janie, after observing people talk in the store, comments on their thoughts and conversations. "The fact that the thought pictures were always crayon enlargements of life made it even nicer to listen to." (pg 51) In this quote, Hurston uses the metaphor of comparing thoughts of people to crayon drawings (of life). Hurston's metaphor clarifies the purity of the folks' speeches and conversations because "Crayon enlargements" are usually very basic, easily read or distinguished, and very textured. By comparing crayons to the thoughts, or ideas of people Hurtson separates the character of Janie from the rest of the towns people, perhaps foreshadowing further conflicts of opinion due to difference of character later on in the novel.
Quote 2: "Hambo said, ' Yo wife is uh born orator, Starks. Us never knowed dat befo'." (Pg 58)
After Janie had praised Joe for his rescue of the mule, the townsfolk praised Janie for her use of words. "Hambo said, 'Yo wife is uh born orator, Starks. Us never knowed dat befo'." (Pg 58) This is use of Irony because of Janie's past life as the town's subject of gossip. By using a towns person instead of the narrator to reveal this irony, Hurston can use the dialect of the people to contrast Janie to "Past Janie" with the same setting, because it is better to compare two things or people when everything else is almost the same. This reveals Janie's growth of character.
Quote 3 (Imagery): "'dat mule so skinny till de women is usin' his ribbones fuh uh rubboard, and hanging things out on his back bones tuh dry." (Pg 52)
Quote 4 (Personification): "How he pushed open Lindsay's kitchen door and . . . fought until they made coffer for his breakfast; . . . he got tired of listening to Redmond's long-winded prayer, and went inside the Baptist church and broke up the meeting." (Pg 59)
Quote 5 (Motif/symbol): "'Folkses, de sun is goin down. De 'sun-maker brings it up in de mornin', and de Sun-maker sends it tuh bed at night. Us poor weak humans can't do nothin' tuh hurry it up nor to slow it down." (pg 45)
Note to Mrs. Wecker:
I showed you the journal today before class, and you signed off your initials at the bottom. :)
Tuesday, September 15, 2009
Journal 2
Grandma's Sermon:
Tuhday, Ah come heah wid de same past as yuh befow me. Ah wuz beatin an' broken. So 'uv all yuh fella women. We bin made inta spitting cups fo' de white men an' even ow own menfolks. Ah'll be knowin yuh dun have tuh take it. But we ahw...we ahw...Dat is why Ah ast de Lawd fo' guidin' fo' us 'omen. Lawd, let us recognize the rights dat we know we deserve. Give us Strength tuh takup ow own lives. Yuh, Lawd, gone done me an' mah fellow girls all yuh must do, thruh yow mussy.
It is ow time to take up wut the Lawd gave us tuh do. We mus' stand up an' brush off owselves. Stand up an' stay standin'.
Tuhday, Ah come heah wid de same past as yuh befow me. Ah wuz beatin an' broken. So 'uv all yuh fella women. We bin made inta spitting cups fo' de white men an' even ow own menfolks. Ah'll be knowin yuh dun have tuh take it. But we ahw...we ahw...Dat is why Ah ast de Lawd fo' guidin' fo' us 'omen. Lawd, let us recognize the rights dat we know we deserve. Give us Strength tuh takup ow own lives. Yuh, Lawd, gone done me an' mah fellow girls all yuh must do, thruh yow mussy.
It is ow time to take up wut the Lawd gave us tuh do. We mus' stand up an' brush off owselves. Stand up an' stay standin'.
Defunctional Printer!
Ugh! My printer isn't working, so I'm posting my outline revision here. The format is going to be all wonky. I'm going to try and also print it out at school, but libraries are closed, so we'll see how that goes.
Justin Kim
Mrs. Wecker
IB Junior English
14 September 2009
Outline for Stalking Assignment
I)Introduction
A)Attention getter: Studies and research today shows that much of the country's population suffers from psychological disorders. Whereas many adults do not show outward signs, many children do. However, a large portion of these cases can be traced to difficult childhood experiences instead of neurological disorders.
B)Thesis: Although the Asian boy shows many outward signs of social acceptance, he is revealed, through his excessive gesticulation during speaking, insecure body language, and reactions to others, to be having difficulties fitting into a social life.
II)Body
A)Topic 1: Excessive gestures during speaking
The boy hesitates to speak, but when he does speak, a subtle effort to compensate for his general lack of participation is noticed.
a)He puts in the least amount of effort in the games as the other boys, almost always intentionally. This shows a “why care when it won't work” attitude
Along with the gestures is a loud voice.
a)Makes it seem like he is putting forward a picture he wishes others to see
B)Topic 2: Insecure body language
He is always standing a little farther away from everyone than anyone else is.
a)Shows an unwillingness to be “with the group” because he is ALWAYS standing farther away.
b)Shows his inability to become part of the group
He holds his wrists and hands at a locked position
a)Holding any body part at a locked position is a sign of discomfort, either physically or mentally. This one just happens to be a physical manifestation of his discomfort in being in an open setting with people who can judge him.
He crosses his arms often.
a)His crossed arms create a barrier between him and the rest of the world, allowing him to view the ongoing events with a self-perceived feeling of immunity to the events.
He shrugs his shoulders a lot.
a)This deflects attention from him, showing an unwillingness to cooperate or give information.
C)Topic 3: Reactions to others
Always the last to participate.
a) Shows he is indifferent to a win or a loss, but he still wishes to play.
When someone asks him to do something, he does it without question.
a) The boy's reactions to the other boys' efforts to include him in their games or activities show, paradoxically, a want and a distaste to be included.
III)Conclusion
A)Restate introduction with thesis:A simple observation of a child's behavior can reveal that he is experiencing trouble in life, and that his or her insecurities are nothing more than unresolved problems within the child's life. The boy's ineptness at fitting into a social life is apparent through his body language, speech gestures, and outward reactions to his surroundings.
Journal 1
Hey, I'm sorry for posting so late in the night, but I just got back from my PYP rehearsal about an hour and a half ago (commitment), and English wasn't the first assignment I started working on. Here is my Journal 1:
Janie strikes me as a woman who has deep struggles with who she is and who she wishes to think she is. Janie, "had come back from burying the dead", and was instantly met with criticism and jealousy on the part of the other townspeople. The men lust after her and the women gossip. These opinions outside of her family do not have any affect on her, but the things that her nanny says cause Janie to reconsider where she is going and if she has any idea what she is going to do with her life. Her nanny asks Janie to get married: "Janie, youse uh 'oman, now, so- . . . Ah wants to see you married right away" (pg 12). Janie replies by stating that she doesn't think of herself as "no real 'oman yet". Janie doesn't know where she is in life. Also, "Nanny's words made Janie's kiss across the gatepost seem like a manure pile after a rain." This shows that Janie was raised in a home with straight morals and dislikes the thought of not meeting those morals. Janie's careful consideration of Nanny's words (The fact that she felt the way she does when she imagines the kiss as a manure pile: sinful, disappointing, etc) exhibits a loyalty that she has with people close to her.
The narrator has the perspective of seeing all the actions of the characters in third person, but he/she seems to know the thoughts of Janie only. She(assuming the narrator is female), still manages to describe the other characters very descriptively through imagery, metaphors, and diction. The narrator shows that all the people of this community have the same colloquialisms ( 'oman, Ah, mout, betcha, lak, etc). Because of this all encompassing feeling of knowledge (knowledge of Janie's thoughts, all the characters' actions, etc) except for the thoughts of others, the idea that Janie must be followed is given by the Narrator.
Just a thought:
In the passage "they made burning statements with questions, and killing tools out of laughs. it was mass cruelty. A mood come alive. Words walking without masters; walking altogether like harmony in a song", the narrator describes the actions of the townspeople, even going so far as directly telling us that "a mood [had] come alive". The narrator also uses Irony(?) by saying "Words walking without masters". The words of the townspeople are are being said under no rule, no restraints, and no constraints. However, the words are being presented by the narrator, contradicting the earlier statement. Maybe this means that, through the language of the story and the position of the narrator, Hurtson will reveal reasons for a future disorderliness? (Just a thought )
Janie strikes me as a woman who has deep struggles with who she is and who she wishes to think she is. Janie, "had come back from burying the dead", and was instantly met with criticism and jealousy on the part of the other townspeople. The men lust after her and the women gossip. These opinions outside of her family do not have any affect on her, but the things that her nanny says cause Janie to reconsider where she is going and if she has any idea what she is going to do with her life. Her nanny asks Janie to get married: "Janie, youse uh 'oman, now, so- . . . Ah wants to see you married right away" (pg 12). Janie replies by stating that she doesn't think of herself as "no real 'oman yet". Janie doesn't know where she is in life. Also, "Nanny's words made Janie's kiss across the gatepost seem like a manure pile after a rain." This shows that Janie was raised in a home with straight morals and dislikes the thought of not meeting those morals. Janie's careful consideration of Nanny's words (The fact that she felt the way she does when she imagines the kiss as a manure pile: sinful, disappointing, etc) exhibits a loyalty that she has with people close to her.
The narrator has the perspective of seeing all the actions of the characters in third person, but he/she seems to know the thoughts of Janie only. She(assuming the narrator is female), still manages to describe the other characters very descriptively through imagery, metaphors, and diction. The narrator shows that all the people of this community have the same colloquialisms ( 'oman, Ah, mout, betcha, lak, etc). Because of this all encompassing feeling of knowledge (knowledge of Janie's thoughts, all the characters' actions, etc) except for the thoughts of others, the idea that Janie must be followed is given by the Narrator.
Just a thought:
In the passage "they made burning statements with questions, and killing tools out of laughs. it was mass cruelty. A mood come alive. Words walking without masters; walking altogether like harmony in a song", the narrator describes the actions of the townspeople, even going so far as directly telling us that "a mood [had] come alive". The narrator also uses Irony(?) by saying "Words walking without masters". The words of the townspeople are are being said under no rule, no restraints, and no constraints. However, the words are being presented by the narrator, contradicting the earlier statement. Maybe this means that, through the language of the story and the position of the narrator, Hurtson will reveal reasons for a future disorderliness? (Just a thought )
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