#LiteratureAnalysis

[stormweaver42]

Unearthing Supernatural Mysteries: A Deep Dive into 'The Library at Mount Char'

To prepare for writing my own novel, I thought it wise to delve into books of a similar genre. The first recommended book on my list was “The Library at Mount Char” by Scott Hawkins. The story, told in a third-person omniscient narrative, unfolds in late ’90s or post-2000 America. The first character we meet is Carolyn, a self-proclaimed librarian who reveals extraordinary abilities within the…

[writeleg1ant]

Virginia Woolf's Woolf's Orlando: Gender Fluidity Exploration or Appropriation Concerns?

Virginia Woolf, a luminary of modernist literature, left an indelible mark on the literary landscape with her masterpiece "Orlando." This novel, a testament to Woolf's unparalleled narrative ingenuity, explores the intricacies of gender identity through the lens of its titular character, Orlando. In this analysis, we delve into Woolf's portrayal of gender, examining the novel's impact and addressing contemporary concerns of appropriation.

Outline of the Article

- Introduction - Brief overview of Virginia Woolf's "Orlando" - Mention of the novel's significance in literature - Unraveling the Ending of "Orlando": Virginia Woolf's Literary Enigma - Virginia Woolf: Crafting Literary Landscapes - Overview of Virginia Woolf's literary style and contributions - Connection to modernist literature - Orlando's Gender Transformation - Examination of Orlando's journey from male to female - Exploration of the character's inner conflicts - Gender Fluidity in Literature - Contextualizing the portrayal of gender fluidity in literature - Discussing the evolving perspectives in LGBTQ+ literature - Virginia Woolf's Intentions - Analyzing Woolf's motivations behind writing "Orlando" - Exploring her views on gender and identity - Reception and Criticism - Examining how "Orlando" was received upon publication - Addressing early criticisms and praises - Appropriation Concerns - Discussing contemporary concerns about the appropriation of gender identity - Examining how Woolf's portrayal is perceived in the current social context - Literary Impact of "Orlando" - Evaluating the novel's impact on literature and gender studies - Highlighting its continued relevance - Intersections with LGBTQ+ Perspectives - Exploring how LGBTQ+ communities view Woolf's depiction of gender - Analyzing discussions within the LGBTQ+ literary discourse - Comparative Analysis - Comparing "Orlando" to other works exploring gender identity - Identifying common themes and unique aspects - Modern Reader's Perspective - Investigating how modern readers interpret "Orlando" - Considering the evolving societal attitudes towards gender - Conclusion - Summarizing key points - Offering final thoughts on the exploration of gender in "Orlando" - FAQs - Addressing common questions about Virginia Woolf's "Orlando" and its portrayal of gender fluidity

Virginia Woolf's "Orlando: Gender Fluidity Exploration or Appropriation Concerns?

Virginia Woolf: Crafting Literary Landscapes

Virginia Woolf, an icon of modernist literature, approached her craft with a revolutionary spirit that defied conventional norms. As she delved into the creation of "Orlando," Woolf's avant-garde approach to storytelling became a guiding light for future generations of writers. Her distinctive style, marked by a stream-of-consciousness narrative and innovative perspectives, carved a unique niche in the literary landscape. Woolf's narrative odyssey wasn't confined to the boundaries of traditional storytelling. She ventured into unexplored territories, breaking away from linear structures and embracing a more fluid and dynamic approach. The stream-of-consciousness technique, a hallmark of her literary arsenal, allowed readers to navigate the innermost thoughts and emotions of characters in a way that transcended the limitations of conventional narrative. The avant-garde nature of Woolf's storytelling wasn't merely a stylistic choice but a conscious effort to challenge and reshape the reader's engagement with literature. By shattering the confines of traditional narrative structures, Woolf invited her audience to participate in the ebb and flow of characters' consciousness, forging a deeper connection between the written word and the reader's interpretative experience.

Unraveling the Ending of "Orlando": Virginia Woolf's Literary Enigma

The conclusion of Virginia Woolf's "Orlando" is a tapestry of complexity, leaving readers to grapple with its nuanced layers. As Orlando transcends centuries, genders, and societal expectations, the ending serves as a culmination of Woolf's exploration of identity and time. Woolf's intentional ambiguity in the closing chapters allows for multiple interpretations. Some see it as a celebration of liberation, where Orlando finds self-discovery and acceptance. Others view it through a lens of ambiguity, questioning the permanence of identity in the face of societal constructs. The finale resonates with Woolf's broader themes of fluidity and resistance to normative constraints. It beckons readers to question their perceptions of self and others, mirroring the novel's timeless relevance. Suggested Virginia Woolf Books: - "Mrs. Dalloway" - A seminal work exploring the inner lives of characters in post-World War I England. - "To the Lighthouse" - A poignant exploration of memory, time, and human connection. - "The Waves" - A lyrical and experimental narrative delving into the intricacies of friendship. - "A Room of One's Own" - Woolf's seminal essay on women's role in literature and society. - "Mrs. Woolf and the Servants" - A comprehensive examination of Woolf's relationship with her domestic help. These works showcase Woolf's literary prowess, offering readers a glimpse into her multifaceted exploration of consciousness, identity, and societal structures.

Orlando's Gender Transformation

"Orlando" emerges as a narrative marvel within Woolf's repertoire, primarily for its exploration of gender identity and transformation. At the narrative core lies the transformative journey of Orlando, a young nobleman in the Elizabethan era, whose existence spans centuries, culminating in a poignant realization of womanhood in the 20th century. Orlando's metamorphosis is a tapestry of self-discovery, desire, and societal expectations. It goes beyond the physical manifestations of gender change, delving into the intricacies of identity formation and the evolving perceptions of selfhood. Woolf, through Orlando, crafts a character whose journey becomes a metaphor for the fluidity of gender roles and the quest for authenticity in a world that imposes constraints. The narrative acrobatics employed by Woolf in depicting Orlando's transformation reflect not only the malleability of gender but also the broader concept of time as a fluid dimension. The novel blurs temporal boundaries, challenging the linear progression of time, and inviting readers into a world where centuries coexist seamlessly.

Gender Fluidity in Literature

Woolf's portrayal of gender fluidity in "Orlando" transcends the confines of a singular novel; it becomes a vibrant contribution to the ongoing conversations within LGBTQ+ literature. Her nuanced exploration of gender as a dynamic and evolving aspect of identity aligns with the shifting perspectives and narratives emerging within the LGBTQ+ literary landscape. In "Orlando," gender fluidity isn't a mere narrative device but a deliberate choice to engage with the complexities of human identity. The novel becomes a mirror reflecting the multifaceted nature of gender experiences, challenging societal norms and inviting readers to question preconceived notions. As Woolf weaves the intricate tapestry of Orlando's existence, the novel becomes a beacon within LGBTQ+ literature, providing a narrative space where identities are not confined but allowed to flourish in their diverse expressions. The interplay between Woolf's literary innovation and the exploration of gender fluidity in "Orlando" marks a significant intersection between artistic creativity and social discourse.

Virginia Woolf's Intentions

To delve into Virginia Woolf's intentions behind "Orlando," we embark on an exploration of her profound views on gender and identity. In crafting this literary masterpiece, Woolf aspired to create more than just a narrative; she aimed to construct a liberating space that challenged the societal confines dictating gender norms during her era. "Orlando" serves as a canvas where Woolf's brushstrokes of literary innovation paint a picture of liberation. The novel becomes a revolutionary manifesto, pushing against the rigid boundaries that confined individuals within predetermined gender roles. Woolf's intention was not just to tell a story but to dismantle the traditional structures of gender representation, fostering a narrative environment that questioned, probed, and ultimately liberated. As we unravel Woolf's intentions, we find her advocating for a world where identity is not constrained by societal expectations. Through Orlando's journey, she implores readers to question and deconstruct the norms that dictated the boundaries of identity in the early 20th century. Woolf's "Orlando" becomes an embodiment of the literary rebellion against the status quo, signaling a call for a more inclusive and expansive understanding of human identity.

Reception and Criticism

The publication of "Orlando" marked a pivotal moment in literary history, sparking both admiration and criticism. This section delves into the diverse reactions the novel garnered upon its release, providing insights into the literary landscape of the time. Woolf's daring exploration of gender roles received praise from those who welcomed the novel's audacity to challenge societal norms. Critics and scholars applauded the innovative narrative techniques and the novel's bold stance on gender fluidity. However, "Orlando" was not immune to controversy. Some critics questioned the boundaries of gender representation, grappling with the unconventional narrative choices that pushed against the accepted norms of storytelling. By exploring the initial reception and criticism, we gain a comprehensive understanding of how "Orlando" disrupted the literary scene, leaving an indelible mark on the discourse surrounding gender and identity.

Appropriation Concerns

In the contemporary context, Woolf's portrayal of gender in "Orlando" raises valid concerns about appropriation. This section navigates through discussions surrounding the authenticity of a cisgender author capturing the experiences of gender fluidity. It probes the nuanced question of whether Woolf, despite her literary brilliance, might inadvertently tread into the territory of unintentional misrepresentation. As conversations about cultural appropriation and sensitivity gain prominence, analyzing Woolf's portrayal of gender in "Orlando" becomes a crucial aspect of the ongoing dialogue. By addressing appropriation concerns, we engage with the broader discourse on representation, authenticity, and the responsibilities of authors when navigating the intricate terrain of diverse identities within literature.

Literary Impact of "Orlando"

Transcending Boundaries

"Orlando" stands not only as a narrative experiment but as a literary landmark that has left an indelible mark on the literary landscape. This section delves into the far-reaching impact of Woolf's masterpiece, assessing its influence on gender studies, broader literature, and the ongoing discourse surrounding identity. Gender Studies Renaissance Woolf's unconventional exploration of gender in "Orlando" has sparked a renaissance within gender studies. The novel becomes a focal point for scholars dissecting the intricacies of gender identity, offering a rich tapestry for the examination of societal expectations and the fluidity of individual expression. By transcending the temporal boundaries of its setting, "Orlando" continues to inspire fresh perspectives and methodologies within the realm of gender studies. Literary Transformation The literary impact of "Orlando" extends beyond its thematic exploration. The novel's innovative narrative techniques, including the use of stream-of-consciousness and its daring approach to temporal fluidity, have influenced subsequent generations of writers. Woolf's literary experimentation becomes a touchstone for authors navigating the complexities of identity, time, and societal norms. Ongoing Discourse on Identity As society grapples with evolving notions of identity, "Orlando" remains a relevant and poignant text. The novel's timeless quality lies in its ability to resonate with contemporary discussions on gender, offering a literary lens through which readers can engage with the ongoing discourse on identity, self-discovery, and societal expectations.

Intersections with LGBTQ+ Perspectives

Resonance with Diverse Identities Woolf's portrayal of gender fluidity in "Orlando" creates intersections with diverse identities within the LGBTQ+ community. This section explores how the novel resonates with the experiences and perspectives of individuals who identify across the LGBTQ+ spectrum. By examining the nuanced ways in which Woolf's narrative intersects with diverse identities, we gain insights into the broader impact of "Orlando" within LGBTQ+ literature. Initiating Dialogues "Orlando" has initiated crucial dialogues within the LGBTQ+ literary sphere. The novel becomes a catalyst for discussions on representation, visibility, and the intricate relationship between literature and queer identities. By engaging with LGBTQ+ perspectives, we uncover the novel's role in fostering conversations that challenge normative narratives and amplify voices that have historically been marginalized within the broader literary canon. As we navigate the literary impact of "Orlando," its influence becomes not just a historical testament but a living force that continues to shape conversations on gender, identity, and the boundless possibilities of literary expression.

Comparative Analysis

Placing "Orlando" in Literary Context

This section conducts a comparative analysis, positioning "Orlando" alongside other works that explore gender identity. By examining patterns, distinctions, and Woolf's unique contributions, we gain insights into the novel's place within the broader tapestry of literature focused on gender exploration. Juxtaposing Narratives By juxtaposing "Orlando" with contemporaneous and subsequent works that grapple with gender identity, we uncover thematic parallels and departures. This comparative lens allows readers to appreciate how Woolf's narrative choices, such as the temporal fluidity and nuanced character development, contribute to the larger conversation on gender representation in literature. Patterns and Distinctions Identifying patterns and distinctions within the genre of gender-focused literature provides a nuanced understanding of "Orlando." How does Woolf's work align with or deviate from established tropes? This analysis delves into the intricacies of narrative construction, thematic emphasis, and the broader literary movements that may have influenced or been influenced by "Orlando." Unique Contributions of Woolf Woolf's contributions to the exploration of gender identity are distinctive. By isolating the elements that set "Orlando" apart, we shed light on the novel's lasting impact. Whether it's through narrative innovation, thematic depth, or philosophical inquiry, this section illuminates how Woolf's creative choices have carved a unique space for "Orlando" within the literary canon.

Modern Reader's Perspective

Evolving Societal Attitudes How does "Orlando" resonate with contemporary readers in the context of evolving societal attitudes towards gender? This exploration considers how the novel, penned in the early 20th century, engages with and possibly challenges modern sensibilities. By assessing the novel through a contemporary lens, readers gain a deeper appreciation for its timeless relevance. Continued Relevance Despite the temporal and societal gaps between its publication and the present, "Orlando" maintains a striking relevance. This section examines the ways in which the novel's exploration of gender fluidity, identity, and societal expectations continues to capture the imagination of readers today. Whether through its exploration of personal liberation or the dismantling of gender norms, "Orlando" transcends its historical context to offer insights into enduring aspects of the human experience. As we conduct a comparative analysis and explore the modern reader's perspective, the intricate layers of "Orlando" unfold, showcasing its versatility and perpetual resonance within the ever-evolving landscape of literature and societal discourse.

Conclusion

In concluding our exploration, we reflect on the multifaceted nature of Woolf's "Orlando." Whether viewed as a gender fluidity exploration or critiqued for appropriation concerns, the novel remains a captivating testament to Woolf's literary prowess and her engagement with the complexities of human identity.

FAQs

- Is "Orlando" based on a true story? - No, "Orlando" is a work of fiction by Virginia Woolf, although it draws inspiration from historical figures. - How did Woolf approach gender in "Orlando"? - Woolf approached gender in "Orlando" as a fluid and evolving aspect of identity, challenging societal norms. - What criticisms did "Orlando" face upon publication? - Early criticisms included concerns about the novel's unconventional structure and its portrayal of gender. - Does "Orlando" contribute to LGBTQ+ literature? - Yes, "Orlando" is considered a significant contribution to LGBTQ+ literature due to its exploration of gender identity. - Why is "Orlando" still relevant today? - "Orlando" remains relevant for its timeless themes of identity, love, and the fluidity of human experience. - 1. What is the message of Orlando? - Virginia Woolf's "Orlando" is a literary masterpiece that traverses time, exploring the fluidity of identity and the endurance of the human spirit. At its core, the novel conveys a profound message about the mutable nature of gender and the resilience of individuality across epochs. - 2. What is the point of Orlando by Virginia Woolf? - The essence of "Orlando" lies in Woolf's experimental narrative, challenging societal norms and expectations regarding gender. The novel's central point is to subvert traditional ideas, emphasizing that identity is a dynamic, ever-evolving construct. - 3. What is the story of Orlando by Woolf about? - "Orlando" follows the life of its titular character, spanning centuries and continents. From an Elizabethan nobleman to a woman in the 20th century, Orlando undergoes a transformative journey, offering a poignant exploration of love, self-discovery, and societal expectations. - 4. What is Virginia Woolf's theory of gender? - Woolf's theory of gender, as depicted in "Orlando," rejects fixed notions. Read the full article

[joyluckthings13]

The Joyluck Week 4 Analyis:

In the chapter “Without Wood” Rose Hsu Jordan has an epiphany and finds a new strength within her to stand up for herself and not give in to others, or in her mother’s words having “wood”. In the midst of a pending divorce requested by her husband, he tells Rose to move out of the house because he wants another woman to move in with him. Being met with aggression, Rose would usually back away and abide by the other person’s requests without giving herself a say. Her mother however has suspected her husband’s affair for some time and tells Rose that she lacks “wood” which means strength towards other’s aggressions when they are taking advantage of you or taking you for granted. So, Rose stands her ground and refuses to sign the divorce papers which manifests that she is no longer allowing herself to be manipulated and taken advantage of. The way Ted nonchalantly mentioned of another woman moving in shows the power imbalance and the superiority he feels in the relationship. With this hardship, Rose is able to reflect on her marriage and realize the damages she has endured from Ted and how she had been gaslighted into blame in every corner of their marriage. The thematic core of this chapter parallels to my life in many ways and how I have grown from allowing people to take advantage of me. Something I have always struggled with is sticking up for myself or speaking up when something is wrong or if I needed help; I was scared of causing trouble, being problematic, and having people view me differently. I would always have to psychoanalyze the situation and the possible outcomes of standing up for myself and opposing others actions towards me or something I believed in; however, I have been able to grow and realize that when I believe something is right, I should stand by it. When my gymnastics coach had me perform a routine that was too difficult for me to successful execute during a competition setting, I told him that I needed to downgrade some skills or I would not be able to score to the best of my ability. This was tough because I held immense respect for my coach and wanted to please everyone at all times, but I was able to reassure myself that it was the wisest decision I could make in that situation, so I spoke up. #TheJoyluckClub #LiteratureAnalysis #Gymnastics #RoseHsu

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[michellesimpressions]

I Can Have My Cake and Eat It Too

Mariah Carey once said, “Why you so obsessed with me? Boy I want to know… You’re delusional, you’re delusional, boy you’re losin’ your mind,” and illustrates exactly how obsession and delusion are related and can go hand in hand. Obsession over another human can sometimes be dismissed as being overly attached because of a somewhat delusional, immense desire for someone, while obsession over an object can often be seen as unnatural. Often when one becomes obsessed with a physical object, his or her sanity is called into question, and the obsession can either be the result of an intense personal connection to the object, or the result of a search for the answers to a problem. In the short story “Janus” by Ann Beattie, Andrea is a married woman whose obsession with a ceramic bowl is a result of both these reasons. Her engrossment with this bowl heightens to the point where it consumes her thoughts and appears in her dreams. A sense of delusion is hinted at, when she even begins to center her life on the bowl, convinced that it is the reason for her success. Andrea’s abnormal obsession with her bowl leads to her unconscious possessive actions surrounding the bowl, which sheds light on the fact that she is unable to move on from the consequence of a past traumatic decision. Although the bowl that Andrea is attached to does not stand out by its physical appearance alone, it holds a value that Andrea herself cannot seem to place at first. This in turn causes her to attribute her success as a real estate agent to the bowl. She describes the bowl as “perfect,” with “a real presence,” despite it being “not a bowl you’d select if you were faced with a shelf of bowls” (Beattie 595). Andrea takes the bowl to her client’s houses, convinced that whenever she brings it to a house, the buyers are drawn to the house because of the bowl. Her behavior around the bowl is soon seen as unnatural when she forgets her bowl at a client’s home and rushes back to the house, frantically asking if the bowl is still there. She states that, “she felt like rushing past the frowning woman and seizing her bowl… [and] it was only when [she] ran to the chest, that the lady glanced at her a little strangely” (Beattie 597). Instead of concluding, as one normally would, that her possessiveness over the bowl is unusual, she instead thinks, “the owner must have seen that [the bowl] had been perfectly placed [by her], that the sunlight struck the bluer part of it” (Beattie 597). Although Andrea consciously sees that her behavior could be regarded as strange, an unconscious part of her is unwilling to accept that, so she comes to other conclusions. She also “[wonders] how she could have left the bowl behind,” as if that is the worst thing she could have done (Beattie 597). The impossibility of walking away from the bowl in Andrea’s mind brings into question what the bowl actually means to her.

Later, is it revealed that Andrea had received the bowl from her past lover; someone that she had an affair with. To Andrea, the bowl represents another world, and something that she wants to keep close, namely the ex-lover. Andrea’s protectiveness of the bowl increases and she becomes further convinced that the bowl has become the sole component in her success of selling houses. Her husband is completely unaware of this, and calls the bowl “pretty,” but shows “no more interest in the bowl” (Beattie 596). This obliviousness hints at the nature of her marriage, which seems unsatisfactory to her, due to her husbands disinterest in it. She then expresses guiltiness over “keeping this constant secret [of her success]” from her husband, which is actually a reflection of the guilt she feels from her affair (Beattie 598). Andrea tells her husband “to please not drop his house keys in [her bowl]. It was meant to be empty” (Beattie 596). Though this seems like an unimportant request, her unconscious desire is to keep these two worlds apart in her mind, and so she consciously manipulates the physical world to match with this. Andrea longs to have two lives: one with her husband, and one with her ex-lover. In an effort to do so, she keeps the bowl with her as a way of satisfying this unconscious desire, as she is not allowed to indulge in it. This hidden desire even comes through to her dreams and “twice, in a waking dream… she had a clear vision of [the bowl]… [it] startled her for a moment— the same bowl she looked at every day” (Beattie 597). Sigmund Freud found that “Unconscious wishes can find expression in dreams because dreams distort the unconscious material and make it appear different from itself and more acceptable to consciousness” (Rivkin and Ryan 390). It is interesting then, that even in her dreams, the bowl, which represents her desire to keep her past lover in her life, still appears as the bowl he gave her. She sees this as the only acceptable and satisfying way for him to be in her life while simultaneously being absent from it. In this way, she is deluding herself into thinking that she can in fact, have her cake and eat it too. Andrea’s love for the bowl only continues to grow and she even considers the possibility that she might even “have some deep connection with the bowl—a relationship of some kind? She corrected her thinking: how could she imagine such a thing, when she was a human being and it was a bowl? It was ridiculous” (Beattie 598). She finally acknowledges that her constant attention to the bowl is more than just an appreciation for the “perfection” of it. Now it is “something within her… something real, that she never talked about” (Beattie 598). Her unconscious actions that revolve around the bowl are breaking through to her consciousness, and the mystery of what the bowl means to her confuses and frustrates her. She expresses sadness over the fact that this unrequited good fortune the bowl brings her is unable to be reciprocally returned. This sadness is due to the regret she feels for being unable to return her lover’s commitment to her, because of her husband.

Andrea’s unusual attachment to the bowl is due to her inability to make a decision on whether or not she should leave her husband for the man she had an affair with. She remembers the moment when she and her lover are at a crafts fair and she feels drawn to the bowl. She tells him, “she didn’t need anymore things,” but she “linger[s] near it,” until her lover decides to buy it for her (Beattie 599). After this flashback, Andrea wonders why she values that bowl over everything else her lover had given her and she tries to “talk herself out of it” (Beattie 599). What she fails to see is that the way in which this bowl was bought for her represents the commitment of the lover, and her failure to return the commitment. This moment replays in her mind and she remembers, “Her lover had said that she was always too slow to know what she really loved… Why be two faced, he asked her” and when “she would not decide in his favor, would not change her life and come to him, he asked her what made her think she could have it both ways” (Beattie 599). He tells her he is all in for this relationship and willingly buys the bowl for her, knowing it is what she truly wants, but she cannot not do the same for him and now all she has left of him is this bowl that he gave to her. The lover makes the decision for her by buying her the bowl when she cannot make a decision herself. This moment parallels the ultimatum he gives her, only this time, he is unable to make the decision for her, and she consequently fails to make one at all. The lover leaves her, and she is left with this unfulfilled desire for the world she had when she was with him. However, this does not mean that she wants to leave her husband as, “they were a lot alike, really” (Beattie 597). Rather she wants to keep both her husband and her lover. Thus, the obsessive tendency she has over this bowl is a way of preserving the memories of the world she had with her lover, as well as this idea of having both worlds that she loves so much. She fears that “some accident would happen,” to the bowl and feels “horror [at] the possibility of [its] disappearance” (Beattie 598). Her meticulous care for her bowl is how she keeps the past alive; she holds onto the bowl as she should have held onto her lover. Andrea remains “embedded in the trauma as a contemporary experience, instead of being able to accept it as something belonging to the past” (Kolk and McFarlane 492). She lives in the moment when she could have decided to leave her husband, perpetually wondering if life could possibly have been better with her lover. She begins to center her life around the bowl, the symbol of her trauma, by “[becoming] more deliberate with the bowl, and more possessive. She put it in houses only when no one was there… Instead of just moving a pitcher or dish, she would remove all the other objects from a table. She had to force herself to handle them carefully, because she didn’t really care about them” (Beattie 598). She eventually gets to a point where she “didn’t really care” about anything except the bowl, and makes it the center of attention. This distracting concern for her bowl is a way of avoiding, full force, the remorse she feels for not being able to have her lover in her life. Andrea cannot control the past, so she settles for controlling the bowl. This moment with her ex-lover traumatized her and results in the immense amount of attention she gives the bowl, even down to its placement on a table. Andrea “often looked at the bowl, sitting on the table, still and safe, unilluminated. In its way, it was perfect: the world cut in half, deep and smoothly empty” (Beattie 599). This bowl is the other half of her world; clean and without fault, perfectly preserved, but at the same time, completely empty. She desires the time when she had both worlds: one with her husband, and one with her lover. The amount of care and attention to detail she gives her bowl is a way of preserving this perfect world she had and still longs for. Andrea “did not think beyond that, to what her life would be like without the bowl,” and in this way, she also does not think about the reality of her life without her lover (Beattie 599). Her life and marriage seem mundane without it, and so through this bowl, she is unconsciously choosing to live in the past. Andrea is convinced that if she focuses her attention on the bowl, she will never have to accept the fact that things will never be the way it used to. Janus is the Roman God of beginnings, choices, and gates, and is characterized by having two faces: one that looks to the future and one that looks to the past (“Janus”). Andrea is unable to walk through any gate, because she desires the world of the past as well as the one of the future, and instead uses this bowl to convince herself that she will never have to live without either. The bowl fills her emptiness, but in doing so, she becomes obsessive over a material object and a victim to her own trauma in the absence of her lover. She unconsciously filters her feelings of regret and indecisiveness through controlling the bowl, which results in a cycle of delusion and inability to let go of the past and live in the present. Andrea tries to have her cake, and eat it too, but ends up with neither a cake, nor a happy stomach.

[lwongrhsenglitcomp]

Literature Analysis #7: Lord of the Flies - William Golding

Check out Rachel Shedd’s blog for the last four questions! This is again a collaboration!

1. Lord of the Flies takes place on a mysterious island when the boys’ plane crashes onto it. They were heading towards England for boarding school when a storm turned for the worst and took down their plane. The boys are only in their adolescence stage of their life, so when the only adult they had (the pilot) dies from the crash, the boys are left to their own devices. There were four characters that stood out to me in the book: Ralph, Jack, Piggy and Simon. Each of these characters was a symbol for what power/chaos could do to you. Ralph and Jack fight over who should be the leader of the boys, since they are one of the older boys. They decide to vote for chief and Ralph only loses the votes of Jack’s fellow choirboys. Ralph and Jack have different strategies of “surviving”. Ralph wants to immediately start building a fire signal to get off the island, where as Jack wants to immerse himself in the wild. The group of boys are so young and inexperienced though that many accidents and mistakes occur. “The Beast” (a sighting the younger boys believe the saw) is also a prominent source of troubles for the boys. It causes much controversy and arguments about what to do with it if it even existed. These misfortunes led Jack and Ralph to have a showdown, both declaring themselves a better leader. Due to their differing opinions, Ralph and Piggy go off one way and Jack plus all the other boys make their own tribe. Jack and “his tribe” don’t want to go back home and believe that surviving in the wild is more enjoyable and liberating. They have let go of any rules of civilization and do as their animalistic instincts please. Ralph and Piggy realize this and know that Jack and his boys are going to come after them for vengeance (for not joining his tribe). Jack raids Ralph’s campsite for Piggy’s glass (their only tool for fire) and in the process of trying to get them, kill Piggy. They show no remorse for Piggy’s tragic demise, reinforcing the fact that these boys have let chaos take them over. Ralph knows he’s next and makes a plan to fight them off as long as possible. But during his plan, while running from Jack and his tribe along the shoreline, a sailor finds them. Once the boys get a sight of civilization (the sailor in uniform), they sober up. Jack and his boys stop hollering and feel a bit out of place and ashamed for their barbaric appearance. Ralph breaks down into tears of relief; he knows that he will be rescued now.

2. The theme Golding was trying to achieve is that without the rules and structure of society, you enter into a world of chaos and anarchy. The boys turned from innocent, proper English school boys to wild savages due to the absence of civilization.

3. Golding’s tone was rather somber, but neutral. Golding never hinted that he agreed more with Ralph on one thing and with Jack on another; he remained an impartial observer. It was also somewhat informative. Not informative in a way to teach you facts and equations, more like a lecture from a mother to a child. He was teaching us a lesson from a story.

“He lost himself in a maze of thoughts that were rendered vague by his lack of words to express them. Frowning, he tried again.

This meeting must not be fun, but business.”

“But a came down from the world of grown-ups, though at the time there was no child awake to read it. There was a sudden bright explosion and corkscrew trail across the sky; then darkness again and stars.”

“Even if he shut his eyes the sow’s head remained like an after-image. The half-shut eyes were dim with infinite cynicism of adult life. They assured Simon that everything was a bad business.”

4. Symbolism – Lord of the Flies was filled with symbols. The sow’s head symbolized the devil; the passing of Simon represented the death of innocence and civility in the boys, etc.

Descriptive Paragraphs – Golding also used long, graphic paragraphs for what was going on. He put the reader in the character’s shoes, so you could visualize what they were doing, what they were feeling, etc.

Allegories – This was obviously the biggest literary device Golding used in his novel. Every single one of his character represented something: Ralph stood for the good and civilization they all yearned for, Jack represented the evil that resulted from lack of society, Simon signified the innocence and good in people and so on and so forth.

Metaphors - Golding often uses metaphor in this book. In fact, all symbolism is a type of metaphor since they compare two unlike things. Other metaphors in the book was when Golding described the choir boy at the beginning of the book as a dark creature crawling along the sand.

Syntax – Golding write in simple, easy to read sentences. They are filled with description and action, but they are not difficult to read.

“’I ought to be chief,’ said Jack with simple arrogance, ‘because I’m chapter chorister and head boy. I can sing C sharp.”

“Ralph stirred uneasily. Simon, sitting between the twins and Piggy, wiped his mouth and shoved his piece of meat over the rocks to Piggy, who grabbed it. The twins giggled and Simon lowered his face in shame.”

“It was dark; there was that — that bloody dance. There was lightning and thunder and rain. We were scared!”

[joyluckthings13]

The Joyluck Club Week 3 Analysis:

Superstitions are a common phrase we hear everyday, we may have learned this from our parents or maybe it was brought down from our culture. Lena St. Clair narrates this chapter, “Rice Husband” where she takes a trip down memory lane of all the tragedies her mother magically predicted. She recalls something that would haunt the rest of her childhood. When her mother said that for every rice grain she does not finish, her future husband will have a pock mark on his face. Flash forward to Lena’s current marriage with Arnold where they would go on and build a successful business of a restaurant. Although, they both put in valiant efforts to build up the business from ground. In the end, her husband Arnold takes all the recognition, pride, and profits leaving Lena with only 1/7 of his income; he also refuses to promote her any further. Though frustrated, there is nothing Lena is able to do to revolt, because in Chinese culture, women have always been told to submit to their husbands. Ultimately, childhood teachings, social systems, morals, and folklore’s from generations past build the character and the fate of the future generations whether positive or negative. To connect this to today’s society in pop culture, there are many occasions that female public figures are held to higher standards and questioned for their success compared to their male counterparts. Women are often scrutinized viciously by the media when they do something that fails to fit in the public’s normality; however, when men do the same thing people seemingly let it slide and view it as normal or cool. For example, the singer-songwriter Taylor Swift is the best-selling artist of the century with over 140 million albums sold worldwide but she is often reduced to writing songs about her exes or being a serial dater. In Swift’s song “The Man” she sings: “If I was a man, then I’d be the man”. This leaves the question that if Swift was of the opposite gender, would society be more comfortable with giving her the credit on the impact she has made on the music industry? Would Lena have gotten the credit she contributed on the restaurant if the genders of Lena and her husband were switched? From folk tales brought down from generation to generation, cultural roots created before our memory, such as traditions and human morality; and the history that we learn today from translated texts. All of these things shape our modern society today and the societal roles that are “labeled” to us at birth. #TheJoyLuckClub #LiteratureAnalysis #SocialContruct

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Literature Analysis #6: Catcher in the Rye - J.D Salinger (A Collaboration)

Check out Rachel Shedd's blog for the odd number questions! 

2. The major theme of the novel is the idea of avoiding relationships in order to protect oneself from what Holden would call, the “phoniness” of the adult world. Holden not only isolates himself from people around him, but from his own problems. Subsequently, he hurts himself more by ignoring his own pain and emotions as the novel progresses. It’s hard growing up, and Holden struggles with maturity and the “phoniness” of it all. We alienate ourselves in order to try and protect ourselves, but by doing so we cut off all sources of happiness as well. Salinger makes a point to show how we can often be demeaning towards something we don’t like so we can convince ourselves that we hate it or don’t need it; much like Holden’s view of the world. But facing reality is not pretending it’s one thing in order to justify things which is all a part of growing up.

4. Literary Devices:

Allusion: "If a body catch a body coming through the rye." This quote and the novel’s title itself allude to the poem “Coming thro’ the Rye” by Robert Burns. The allusion helps us see one of Holden’s many misunderstanding; the greater idea that Holden seems to believe in something that is not true. He believes the poem is about the innocence of children when it’s really about sex.

Symbolism:  "I shoot people in this hat." Holden’s hat is a symbolic defense mechanism he uses to show that he is different from everyone else. It sticks out in New York and it’s his way of differentiating himself. But it also represents the innocence of his sister, and dead brother Allie; it’s a way for Holden to connect himself to the innocence of childhood and forget the realities of maturity.      

Metaphor: "He bored me to death. Living with him was like living in a museum. It was drafty, full of vast open spaces and slippery floors." The use of Holden’s many strange metaphors only further points out his strange outlook on life. His view on life is cynical at times, and disconnected; he wants to hate the world and believe he is right. We are also given more opening into his mind and though process by learning the way he interprets things

 Point of View: “Don't ever tell anybody anything. If you do, you start missing everybody.” Holden’s first person narration is important because he isn’t all that reliable. His stories often change, and you get the sense that he changes the story every time he feels the need to protect himself. So as the reader, you cannot trust the exact story he is telling us, but respond accordingly to his reactions in order to find truth.

Similes:  “He put my goddamn paper down then looked at me like he’d just beaten hell out of me in ping-pong or something.” The similes’ purpose is similar to the metaphors’; it gives us more wild haired statements from Holden to show his unique thoughts.

Hyperbole: "It's really ironical, because I'm six foot two and a half and I have gray hair. I really do. The one side of my head–the right side–is full of millions of gray hairs. I've had them ever since I was a kid. And yet I still act sometimes like I was only about twelve." Holden’s hyperboles show his immaturity; despite the fact that he thinks he is better than the adults. It shows his true youthfulness, and that he really is just a kid trying to grow up. He wants to make himself seem as if he’s lived through a lot, when he actually hasn’t; he is just lost.

Bildungsroman: “Then the carousel started, and I watched her go round and round...All the kids tried to grab for the gold ring, and so was old Phoebe, and I was sort of afraid she's fall off the goddam horse, but I didn't say or do anything. The thing with kids is, if they want to grab for the gold ring, you have to let them do it, and not say anything. If they fall off, they fall off, but it is bad to say anything to them.” Holden is growing up and finally trying to grasp the true reality, not his own cynical perception of the adult world. By the end of the novel we are just seeing Holden begin to understand the world from a different perspective at his breaking point.

Setting: “I live in New York, and I was thinking about the lagoon in Central Park, down near Central Park South. I was wondering if it would be frozen over when I got home, and if it was, where did the ducks go? I was wondering where the ducks went when the lagoon got all icy and frozen over. I wondered if some guy came in a truck and took them away to a zoo or something. Or if they just flew away.”  New York is constantly changing and moving, just like Holden is. But it also is known as an “urban jungle” he place that Holden finds himself lost in, and presents him with many different opportunities.  What happens to the ducks in such cold weather, Holden asks. This is symbolic of the world that Holden see’s is so hostile, but he cannot figure out how to escape.

Motif: “People are always ruining things for you.” There is a common motif that people are most likely phony, and few people are good and innocent in Holden’s mind. This allows us to see the disconnect between Holden and the world; hence the idea of isolation.

Diction: “Grand. There's a word I really hate. It's a phony. I could puke every time I hear it.” Salinger’s use of words like “phony” and “sexy” so the immaturity of Holden. This word choice is important to the novel because Holden is young, and he speaks like a young person, but he tries to be something he is not.

Characterization:

2. There is a change in diction when different characters are spoken about from Holden’s perspective. He speaks more highly of his younger sister than he does of any of the adults in his life because she is more “pure” that those people he finds to be phony. Holden speaks more desperately about his brother:

“I know he's dead! Don't you think I know that? I can still like him, though, can't I? Just because somebody's dead, you don't just stop liking them, for God's sake--especially if they were about a thousand times nicer than the people you know that're alive and all.” 

And makes subtle insults when speaking about other characters:

“I wouldn't exactly describe her as strictly beautiful. She knocked me out, though.” 

Salinger does so in order show how Holden respects people differently, and show what true values he has. What does he really long for, and who does he not want to become.

4.  I particularly liked Holden, I feel like if Holden ever did want a friend, we could be. We share a similar outlook on life and are pessimistic individuals. We had problems trusting the adult world, because let’s face it, the world is pretty harsh and unforgiving. One of my favorite lines is “I can be quite sarcastic when I’m in the mood.” Which is almost always for me, and I think a lot of people would agree that we use sarcasm to cover up what we really want to say. This novel is so popular with young viewers because we can connect to Holden’s coming of age, and are worried about the horrors of adulthood. So yes, I do feel like I met a character because I connected with him; as would many young readers and maybe even adults who remember what it was like growing up. 

[lwongrhsenglitcomp]

Literature Analysis #5: The Sun Also Rises - Ernest Hemingway

1. Jake Barnes is working in Paris as a journalist post WWI, who is friends with American expatriate, Robert Cohn and his girlfriend Frances Clyne. In reality, they are more “frenemies” than actual friends, yet they continue to party and socialize with one another. One night at a club, Jake runs into Lady Brett Ashley, an English socialite whom he is madly in love with (but is more a selfish ditz) since he met her during WWI when she treated him.  Brett hints at loving him, but her lifestyle is far too free and independent for her to want to ever give it up (plus she can't have sex with him). Even Cohn begins to fall for Brett; although he is not to found of the idea that she has plans to marry a Scottish war veteran Mike Campbell.  Brett makes plans to leave for San Sebastian, and claims distance from Jake will be good for both of them.

Weeks later, while Cohn and Brett are off traveling, another American war veteran friend, Bill Gorton, comes to Paris. Bill and Jake then make plans to go fishing in Spain and then meet Cohn on the way to a fiesta in Pamplona. On his way, he runs into Brett and Mike, who join them in Spain. Brett tells Jake that she and Cohn were in San Sebastian together.

Once in Spain, and Brett and Mike fail to show up, Bill and Jake leave to go fishing while Cohn stays behind. After a few days they hear from them and return to Pamplona to meet them. There a series of events occur where Mike gets jealous of Brett, and Brett leaves him for a young Spanish bull fighter. Cohn and Mike fight, then Cohn also fights with Jake and Mike (knocking them out), but after Jake finds him in bed, a crying mess, he forgives him. However, Romero could not forgive Cohn for also beating him up.

In the end, Brett leaves with the bull fighter, only to call Jake to her rescue yet again in Madrid. He goes to her, and Brett says that they could have had a wonderful time together, while Jake responds that its “pretty to think so”. 

2. The theme of the novel is the idea of excess, and disillusionment with the world. All the characters seem to aimlessly wander around, uncaring about each other, yet caring too much at the same time. They act happy, but actually aren't. They surround themselves with people who are equally as strange and disregard each others emotions. They float around to great places but discontent seems to follow. The ending of the novel fits this idea, because while Brett says they could be happy together, Jake realizes it's "pretty to think so". Similar to how it would be nice to think about how "happy" they are in real life, but it's all a facade. 

3. The tone is somber and nostalgic of what could have been. 

“Oh Jake," Brett said, "We could have had such a damned good time together." Ahead was a mounted policeman in khaki directing traffic. He raised his baton. The car slowed suddenly, pressing Brett against me. Yes," I said. "Isn't it pretty to think so?” 

They are all searching for something aimlessly, and they don't even know what they are looking for. 

“You can't get away from yourself by moving from one place to another.”

“I can't stand it to think my life is going so fast and I'm not really living it.” 

4. Literary Techniques

Characterization: “She was looking into my eyes with that way she had of looking that made you wonder whether she really saw out of her own eyes. They would look on and on after every one else's eyes in the world would have stopped looking. She looked as though there were nothing on earth she would not look at like that, and really she was afraid of so many things.” Hemingway's characters are all described to be eccentric of beautiful, but there is something inherently wrong in them because of what the war. It adds to the somber mood of the novel. 

Conflict: “I know you're right. I'm just low, and when I'm low I talk like a fool.” Brett acts as the central point of drama, but the deeper conflict is internal. They want to be happy, but cannot be because they merely are a shell of a person.

Deus ex Machina: "Romero had the old thing, the holding of his purity of line through the maximum of exposure, while he dominated the bull by making him realize he was unattainable, while he prepared him for the killing.”  Romero is key because he wraps up the end of the story by "taking" Brett away, so yet again, Jake can save her. 

Diction: “The road to hell is paved with unbought stuffed animals” Hemingway chooses many words which create a nostalgic and somber tone. 

Allusion: “You are all a lost generation." This alludes to Gertrude Steins famous words, which pretty much sums up the novel. 

Foil: “It was not brilliant bull-fighting. It was only perfect bull-fighting.” Romero is opposite to all the characters, perfect and put together. Bringing to light how lost the characters are in their lives. 

Irony: "Romero never made any contortions, always it was straight and pure and natural in line. The others twisted themselves like cork-screws, their elbows raised, and leaned against the flanks of the bull after his horns had passed, to give a faked look of danger. Afterward, all that was faked turned bad and gave an unpleasant feeling. Romero’s bull-fighting gave real emotion, because he kept the absolute purity of line in his movements and always quietly and calmly let the horns pass him close each time. He did not have to emphasize their closeness." It's ironic that Brett chooses to go back to her dysfunctional life when the "perfect" man is in front of her.

Negative Capability: “Isn't it pretty to think so.”  We aren't exactly sure what happens to all the characters in the end, and if Brett really goes back to Mike. Or what happens to Jake. It adds to the aimlessness of the novel. 

Setting: “Cheer up,' I said. 'All countries look just like the moving pictures.”

“The grain-fields went up the hillsides. Now as we went higher there was a wind blowing the grain.” Even in the most beautiful of places, people are vastly unhappy. 

Foreshadowing: “The bulls are my best friends." I translated to Brett. "You kill your friends?" she asked. "Always," he said in English, and laughed. "So they don't kill me.”  Hinting at the idea that the characters ruin their relationships before they themselves can be hurt. 

Characterization - 

1. Direct: "Brett was damned good-looking. She wore a slip-over jersey sweater and a tweed skirt, and her hair was brushed back like a boy's. She started all that."

"She was built with curves like the hull of a racing yacht, and you missed none of it with that wool jersey.” 

Direct characterization is used to emphasize the materialistic attitudes the characters have, since they only like to look at what is on the surface. 

Indirect: “Everybody behaves badly," I said. "Give them the proper chance.” 

“This is a hell of dull talk...How about some of that champagne?”

Indirect characterization is used to imply how the characters seem to always avoid their problems by turning from serious conversations often and showing how they either don't care, or are lost and unwillingly to try and change the way they think. 

2. The author's syntax does change, and when looking back on the quotes I have already posted, we can see a difference in the way characters like Brett and Romero are described. Romero is more put together and clean; "perfect" with the concise way he is written, and Brett is more unique and spontaneous sounding based on the way she is written. 

3. Jake is most definitely static. By the end of the novel he is still falling back into routine with Brett, and not moving on with his life.

4. I feel like I did not meet any of these characters because in all honesty, there are superficial and fake individuals who all have problems they are unwilling to face. They are upset but keep finding themselves in situations where they know the outcome, and yet still seem surprised when it happens. Frustrating and annoying. Everything happens quickly and you don't get the chance to even know any of the characters on a deeper level, aside from brief moments of clarity. 

[lwongrhsenglitcomp]

Literature Analysis #4: A Tale of Two Cities - Charles Dickens

A Collaboration!

Check out the rest of the answers on Kylie, Jacob, Kristen, and Kendall's blogs!

3) The tone of this novel is rather grim and sentimental. Often we see moments where all the characters are running from something their past, or trying to forget what horrid things had happened. “Not knowing how he lost himself, or how he recovered himself, he may never feel certain of not losing himself again.” 

Dr. Manette is traumatized from his time spent in prison, and his shoe making habit is a coping mechanism that soothes him. Darnay wishes his ancestry to remain unknown, and in the end he almost pays for it. There is a sense of pain in all of this that makes the tone have an essence of desperation. “Since I knew you, I have been troubled by a remorse that I thought would never reproach me again, and have heard whispers from old voices impelling me upward that I thought were silent forever. 

The grim setting in which this all happens is the French Revolution. Be-headings and violent murders. “Liberty, equality, fraternity, or death; - the last, much the easiest to bestow, O Guillotine!” 

Characterization:

3) Sydney Carton, the most dynamic character of the novel changes from the beginning to end, making the ultimate sacrifice. At the beginning of the novel Sydney is a drunk and lost in life - lacking ambition. But his unrequited love for Lucie has him clinging onto a dream that saves him from his rut. Her belief in him as well helps him move on, and begin again. This idea of "resurrection" played a huge role from the start, and each character seeks this. Sydney's resurrection is ironic in a sense because he dies, but his turn around from drunken lawyer to brave is profound. He is willing to give his life for the happiness of the one he loves, and knowing she will be happy is enough for him. 

“Think now and then that there is a man who would give his life, to keep a life you love beside you.” 

“It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.” 

[lwongrhsenglitcomp]

Literature Analysis #3: The Great Gatsby - F. Scott Fitzgerald

I chose to read this book because even though I have a good understanding of the plot (I have seen both movies), we never got the chance to actually read the book. Often there is a difference between experiencing a book and a movie, and because I liked the movie, I thought it was time to read the novel! Click the read more link below for my answers. 

1) The short and condensed version of this novel is of a man that everyone knows, yet at the same time does not actually know who he is.

Gatsby is a man of extreme wealth, lavish parties, and a mystery to all. It may be strange that a man would throw grand parties, yet never make an appearance, but as the novel progresses we learn that the parties were only thrown in hopes of attracting an old love; Daisy Buchanan. Daisy had left Jay when they were young, and he was a solider in war. She was rich, he was poor - an impossible relationship. But after years of trying to make himself worthy, and with the help of Daisy's  visiting cousin, Nick Carraway, there is a chance for them. The problem? Daisy is married to Tom, and has children of her own. She has a whole other life with another (cheating) man. This does not stop them from reuniting, and our narrator, Nick, tells us their story through his eyes. The evolution of the characters around him spurs a change in Nick as well. His thoughts begin to change and we see a different side to him. 

Ultimately the ongoing affairs of Tom and Daisy end in tragedy. Myrtle, Tom's mistress, is hit by a car driven by a crazed Daisy who had been confronted  in front of the entire group one day in New York City about her affair. Myrtle's husband George, is lead to believe that it was Gatsby who had killed Myrtle, and he seeks revenge by shooting Gatsby dead.

The author is able to fulfill the purpose of this novel by writing a story that comes full circle essentially. This story captures the idea of mad love, and the illogical, unhealthy, and sometimes dangerous behavior that comes along with it. Nick is the one moral standing character at the end of the novel who recognizes the corruption that surrounds him, and manages to escape. But the the Buchanan's essentially leave the situation unscathed despite the death of someone they cared about; ending them right where they began. In a way Gatsby came "full circle" not only in death, but he began his journey for Daisy, and he died for Daisy and her mistakes. 

2) The theme of this novel is closely related to the purpose of pointing of the irrationality and foolishness that love can bring; more specifically, obsessive love. In some ways Fitzgerald expresses this idea by showing how perhaps the all consuming love that Gatsby has for Daisy is more a fixation and true love. Gatsby was willing to do anything for her and give anything to her. He expected too much and held on too tight. this combination with Daisy's unreliability brought an end to his dreams. Gatsby held onto his dream, not letting time change the end result in his mind; he only saw one ending for his life. A fool in love essentially. Similarly, Myrtle dies for her longing for Tom, and she clings to him as her last hope for the life she always wanted. She stepped in front of that car out of desperation, the rational part of her mind completely irrelevant. Falling "madly in love" has a completely different meaning in this novel. 

3) The tone of this novel is almost wasteful; wasteful in the sense of wasted love, feelings, and hope. There is an extreme sense of excess and loss of innocence in this story. 

“I hope she'll be a fool -- that's the best thing a girl can be in this world, a beautiful little fool.” Daisy often says wispy little things that carry a sense of solemnity; her emotions guarded and lost to what she thought she was supposed to do. Which was to stay with Tom and leave Gatsby in the end. She left behind her past so she could have stability basically. In some ways she longs to have more meaning in her life, but whether or not she shut off her feelings, or she is simply shallow is open to interpretation.

“You see I usually find myself among strangers because I drift here and there trying to forget the sad things that happened to me.” The characters often try to run from the problems in their life, avoiding them until the very last minute. But instead of dealing with them. they let it build, and build until they have no other choice but to face the crushing force of their mistakes and emotions. 

“The loneliest moment in someone’s life is when they are watching their whole world fall apart, and all they can do is stare blankly.” This quote directly portrays the tone of the novel. The simplicity of one statement, yet the gravity of a much heavier one. The characters watch their lives fall a part and do nothing about it. 

4) Literary Devices:

-  Symbolism: "A single green light, minute and faraway, that might have been the end of a dock."  This quote is symbolic of Gatsby's love and dreams; visible, but just out of reach. It represents the hopeless love and longing that Gatsby feels, yet he continues to try and tell himself that it can happen.

- Imagery: "This is a valley of ashes--a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens; where ashes take the forms of houses and chimneys and rising smoke and, finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air. Occasionally a line of gray cars crawls along an invisible track, gives out a ghastly creak, and comes to rest, and immediately the ash-gray men swarm up with leaden spades and stir up an impenetrable cloud, which screens their obscure operations from your sight."  There are many quotes which paint a vivid image in the readers mind that bring us into the lavish life Gatsby, and the Buchanan's. It is rich with beauty and on the outside looks perfect, but in reality there are many secrets and lies beneath the surface. 

- Characterization: “His heart beat faster and faster as Daisy’s white face came up to his own. He knew that when he kissed this girl, and forever wed his unutterable visions to her perishable breath, his mind would never romp again like the mind of God. So he waited, listening for a moment longer to the tuning fork that had been struck upon a star. Then he kissed her. At his lips’ touch she blossomed like a flower and the incarnation was complete.” In this quote we see the love sick side of Gatsby, and how much he was truly in love with her in those moments where his obsession had not taken over. We see him at peace and truly happy. We understand more about how much Gatsby loves Daisy and it makes it more clear as to why he did the things he did. 

- Setting: “In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars.” The lavish settings of this novel is important because similar to the vivid imagery. it sets the reader up for the a visual of a seemingly perfect place to live, yet it is filled with excess and trouble. 

- Diction: “I was within and without. Simultaneously enchanted and repelled by the inexhaustible variety of life.”  The word choice made by Fitzgerald is important because he often chooses words that are "pretty" and then words that are opposite of them to create a contrasting idea. 

- Foreshadowing: “In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since. "Whenever you feel like criticizing any one," he told me, "just remember that all the people in this world haven't had the advantages that you've had.”  This is one of the first lines of the novel, and it essentially foreshadows a situation that Nick will be faced with; one where he will need to keep his criticisms at bay and take deep consideration in his opinions. 

- Hubris: “No amount of fire or freshness can challenge what a man will store up in his ghostly heart.” Gatsby has a fatal flaw; his unbreakable dream to be with Daisy. He spent most of his life dreaming up a perfect life for himself and Daisy that he failed to alter his plan when it was clear that his dream could not happen exactly as planned. 

- Irony: “Can’t repeat the past?…Why of course you can!”  It's ironic that it is Gatsby's love that brought him such happiness and got him to the place he's at now, and it also ended up killing him. 

- Metaphor: “Life starts all over again when it gets crisp in the fall.” Fitzgerald uses many metaphors through the story, creating beautiful comparisons and meaning out of the smallest of things.

- Tragedy: “Let us learn to show our friendship for a man when he is alive and not after he is dead.” It is obviously tragic that both Gatsby and Myrtle die. It is somewhat expected, but not any less tragic in the end. Especially since Gatsby dies expecting a call from Daisy, and feeling so full of hope. 

Characterization:

1) Direct: “I am one of the few honest people that I have ever known.” The bluntness of this statement comes off very blatant, and obvious. It is so honest and true that the reader instantly believes it and sees it as an understatement. 

"Her face was sad and lovely with bright things in it, bright eyes and a bright passionate mouth, but there was an excitement in her voice that men who had cared for her found difficult to forget: a singing compulsion, a whispered “Listen,” a promise that she had done gay, exciting things just a while since and that there were gay, exciting things hovering in the next hour.” This quote also shows the beauty of Fitzgerald's writing as he describes his characters. He gives the reader and established base of character, and then allows them to make other judgments based on indirect characterization. 

Indirect: “Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that's no matter - to-morrow we will run faster, stretch out our arms farther ... And one fine morning ---”  In this particular quote we begin to understand the way Gatsby thinks. His mind clings to the things that most people would let go, but he keeps a tight grip on what he wants while others let it float on by. 

“So I walked away and left him standing there in the moonlight - watching over nothing.” Similarly, in this quote we see the contemplative mind that Gatsby has. He can be staring at nothing, and yet his mind can be deeply trained in thoughts. Also showing how he lets his mind run away with things often.  

2) Fitzgerald's syntax and diction does not really change from character to character. He often uses the same flowery speech and words for many of his characters.  “The exhilarating ripple of her voice was a wild tonic in the rain.” and “For a moment the last sunshine fell with romantic affection upon her glowing face; her voice compelled me forward breathlessly as I listened - then the glow faded, each light deserting her with lingering regret, like children leaving a pleasant street at dusk.”  share the same lyrical sounding descriptions even though they are making two different points/descriptions. 

3) The protagonist in this story is Nick, even though the story centers around Gatsby and Daisy's love. Nick is a round character for sure; he evolves throughout the story. The corruption he sees while on Long Island changes him, and acts as a wake-up call. He is able to recognize that this is not the life he would ever want to live, and after witnessing two deaths, he cannot be a part of it anymore. We see him care for Gatsby as a friend, and also see him disappointed in Daisy, and he even played a role in what happened to both of them. He was the one who acted as catalyst to their dangerous affair, and from there it only grew to the point where he couldn't help but watch as a helpless bystander. While he looks back on his time there as a solemn experience, he also leaves there no longer the innocent young man he once was. He was forced to watch corruption from the front lines. 

4) Nick's narration definitely made me feel like I had just heard him tell me a story about a time of summer fun, and tragedy. “In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since.” From the very beginning we get a sense of storytelling, and the way that Nick describes his story, and also Gatsby's is compelling and entrancing. I may not be Nick's best friend, but I get the feeling that I just sat down to a very interesting story with him. 

[lwongrhsenglitcomp]

Literature Analysis #2: Never Let Me Go - Kazuo Ishiguro

1) Summary: The novel itself is broken up into three parts, mirroring the elements of plot by doing so. Although the events of this novel are not in chronological order, they still follow these trends. The story follows the lives of a three young children through adulthood, Kathy (main character), Ruth, and Tommy. All three attend a school known as Hailsham, a boarding school in 1990’s England, which essentially raises children to become Donors; as in people who will donate their organs to those in need in the future, which will lead to their “completion” eventually. The first part of the novel introduces the audience to the relationships between our three main characters. Kathy and Ruth have a strange and somewhat competitive relationship, which then goes a bit sour when Ruth begins dating Tommy since Kathy harbors strong feelings for Tommy.

As the plot begins to pick up we see this tension grow, and in part two, they are now teenagers who have finally begun to feel the weight of their future. While up to this point the novel has only presented a bleak and sad future for Donors, there is now hope. With the possibility of deferrals (students can defer donations for three years if they are truly in love), there is a chance for happiness. However, this whole time the relationship between Kathy, Ruth, and Tommy begin to falter as they grow up. This leads to part three, where Kathy becomes a Carer upon request, a person who cares for the Donors. We are further in the future now; Ruth’s health is deteriorating after a poor response to her first donation, and Kathy had chosen to become her Carer. Their relationship begins to heal when they go out on a trip, bringing Tommy along as well. Old wounds are opened up when Ruth admits to keeping the two apart, and in hopes of redeeming herself she gives them the address to Madame, and urges them to try and defer. Shortly after she completes after her final donation.

When Tommy and Kathy go to see Madame, they also meet Miss Emily, but they are devastatingly told that deferrals do not exist. But they also explain why they were raised the way they were at Hailsham, and why there was such a stress on the arts. The whole time they were only meant to prove to society that these “clones” were real children, who deserved a more “humane” treatment before reaching the ends of their lives. Society ultimately opted against this, and Hailsham was closed. After such a shocking discovery, hope is really all gone. The novel ends with Tommy’s completion, as well as Kathy beginning her own donations soon, where she will complete as well. 

3) I found the tone of this novel to be somewhat imbalanced, because our narrator Kathy is looking back on her life in a mature and realistic way, while also capturing the innocence of her youth. The tone comes off as a more somber realism since from the beginning we understand that they will all most likely die, or “complete”. So right from the get go we understand that their lives will not be long. “It was like when you make a move in chess and just as you take your finger off the piece, you see the mistake you've made, and there's this panic because you don't know yet the scale of disaster you've left yourself open to.” There is a certain sadness in understanding what is happening to you, and what your future looks like. “Your life must now run the course that's been set for it.” The ironically gentle bluntness of Kazuo Ishiguro’s writing allows the reader to ease into the ideas he presents his readers. “You need to remember that. If you’re to have decent lives, you have to know who you are and what lies ahead of you, every one of you.” There is a balance between truth, deception, and innocence in what Ishiguro writes, which captures the realistic tone of the novel. 

4) Literary Devices -

Point of View: The first person narrative of Kathy allows the reader to have insight on her perspective, especially since it is told from a future perspective as she looks back on her life. It is centered on events pertaining to Kathy, so we understand the events unfolding from her view only. “Because maybe, in a way, we didn't leave it behind nearly as much as we might once have thought. Because somewhere underneath, a part of us stayed like that: fearful of the world around us, and no matter how much we despised ourselves for it--unable quite to let each other go.” 

Irony: The irony in the fact that they were raising these children “humanely” while knowing they would all die. They raised them to be “normal” or and to give them as much of a life as possible while they tried to hide the truth from them, and in the end society didn’t like this idea. Raising children to be “human” when all you really want is to eventually treat them like a temporary container for organs they need. “We took away your art because we thought it would reveal your souls. Or to put it more finely, we did it to prove you had souls at all.” 

Flashback: Kathy spends a majority of the novel explaining events that have happened in the past, and even when she reconnects with Ruth and Tommy she flashes back to moments growing up. This is central to showing where they are now, and where they used to be in life. How much has really changed, and also how much of their lives have really stayed the same. Also, in such a short life, you really only have your memories to think of when you know you won’t have a future.  “Memory is quite central for me. Part of it is that I like the actual texture of writing through memory...” 

Setting: The setting of Hailsham, a perfectly nice and beautiful school, is quite opposite to the future of these children. It is almost a picturesque place you’d imagine for boarding school, yet these students are there for a whole different purpose. It also represents a major part of Kathy’s life, and she often sees things which remind of Hailsham. “Driving around the country now, I still see things that will remind me of Hailsham. I might pass a corner of a misty field, or see part of a large house in the distance as I come down the side of a valley…I’ll think: ‘Maybe that’s it! I’ve found it! This actually is Hailsham.’ Then I see it’s impossible and I go on driving, my thoughts drifting elsewhere.”

Tragedy: Not only is it a tragedy that all of these characters face a certain death, we also watch a relationship pass and go twice. Kathy and Tommy had a chance to be happy had Ruth not kept them apart, and when they finally do reconnect, it’s too late and far too much time has been wasted. “That was the only time, as I stood there, looking at that strange rubbish, feeling the wind coming across those empty fields, that I started to imagine just a little fantasy thing, because this was Norfolk after all, and it was only a couple of weeks since I’d lost him. I was thinking about the rubbish, the flapping plastic in the branches, the shore-line of odd stuff caught along the fencing, and I half-closed my eyes and imagined this was the spot where everything I'd ever lost since my childhood had washed up, and I was now standing here in front of it, and if I waited long enough, a tiny figure would appear on the horizon across the field, and gradually get larger until I'd see it was Tommy, and he'd wave, maybe even call. The fantasy never got beyond that --I didn't let it-- and though the tears rolled down my face, I wasn't sobbing or out of control. I just waited a bit, then turned back to the car, to drive off to wherever it was I was supposed to be.” 

Symbolism: In a way the deferrals for donations represented more than just three years to be in love, it also represented the last shred of hope for our characters’ fairly bleak lives. It is the one thing that could bring them some final happiness before completion, but in the end it only creates greater pain. In our world we often hope for things that will never come, but still do because we feel it’s better to have hope than to not. The deferrals symbolize this idea of how we falsely cling to things that we shouldn’t. “I saw a new world coming rapidly. More scientific, efficient, yes. More cures for the old sicknesses. “A few minutes later, he said suddenly: 'Kath, can we stop? I'm sorry, I need to get out a minute.' ...I could make out in the mid-distance, near where the field began to fall away, Tommy's figure, raging, shouting, flinging his fists and kicking out. I caught a glimpse of his face in the moonlight, caked in mud and distorted with fury, then I reached for his failing arms and held on tight. He tried to shake me off, but I kept holding on, until he stopped shouting and I felt the fight go out of him. Then I realized he too had his arms around me. And so we stood together like that, at the top of the field, for what seemed like ages, not saying anything, just holding each other, while the wind kept blowing and blowing at us, tugging our clothes, and for a moment, it seemed like we were holding onto each other because that was the only way to stop us being swept away into the night.” 

Conflict: The conflict between Kathy, Ruth, and Tommy often highlights the fractured childhood they had. It also creates a sense of reality that despite the reasons they exist, they are human beings who have the same emotions as everyone else. Even the teasing and bullying inflicted upon Tommy shows us just how real they were. “Then there were rumours almost every day of pranks that had been played on him. ... I thought sooner or later someone would start saying it had gone too far, but it just kept on, and no one said anything.”

Indirect Characterization: We often understand the way the other characters are based on the responses by the others. We understand Ruth’s character as a somewhat selfish and self conscience person in the beginning because of the way she treated Kathy and the way she spoke, but at the end we see how much she regrets some of her choices as she desperately tries to fix them. “I’d like you to forgive me, but I don’t expect you to…The main thing is, I kept you and Tommy a part.”

Mood: The mood of this novel helps convey the somber tone; it takes on a serious and reflective mood as Kathy looks back on her life and what happened. “Memories, even your most precious ones, fade surprisingly quickly. But I don’t go along with that. The memories I value most, I don’t ever see them fading.”

Connotation/Diction: “We all complete. Maybe none of us really understand what we've lived through, or feel we've had enough time.” Certain words are often chosen with different connotations in order to soften the blow of their true meaning. Like how “complete” is used instead of “dead”. Complete insinuates an accomplished ending, like you finished with a productive product. While “dead” is obviously a bit morbid. The choice of words 

Characterization - 

1) Direct Characterization: “She had a squat, almost bulldoggy figure, and her odd black hair, when it grew; it grew upwards so it never covered her ears or chunky neck.” It was important for the reader to recognize along with the characters that Miss Emily, who is described in the quote, is different from the others. It is clear that Miss Emily isn’t like the rest of the guardians at Hailsham and the direct characterization allows us to see this.

“There was something about Tommy himself – the way he carried himself, the way he looked people in the face and talked in his open good natured way – that was different from before and which had in turn chanced the attitude of those around him.” This direct characterization allows the reader to visibly understand the change in Tommy, how he is no longer the temper – tantrum throwing young boy. Or that he simply managed to handle his emotions better.

��- Indirect Characterization: “I was so desperate for her to realize I wasn’t with the girls behind me, and had had no part in whatever it was that had made her cross.” This indirect characterization of Ruth shows how much influence she had other those around her. It proves her personality is almost contagious, making those around her want to be her friend. She was a leader, and this quote shows that because Kathy was so desperate to be seen as no associated with the girls who had angered Ruth.

“’What do you know about it? You just don’t know anything, because you’ve been out of it for ages now! If you knew everything we’d found out, you wouldn’t dare say anything so daft!” This quote by Kathy just shows how for a long time she just wanted to be a part of something. She stood up for Ruth as a loyal friend would despite being snubbed. So she was desperately clinging to what she could, afraid she would lose it, while also proving her connection to Ruth would always be loyal, which is seen at the end of Ruth’s life again. 

2) The diction from character to character does not change, but does change over time in the book as seen with the way Kathy describes her friends at the beginning of the novel and then at the end. For example, at the beginning of the novel Kathy looked down at Tommy, almost like she was a disappointed mother and the words chosen to describe Tommy were ones used to describe a temperamental toddler. By the end of the novel Tommy is more romantically and kindly regarded upon. So as the characters changed, so did the diction used to characterize them. 

3) The protagonist, Kathy, was a static character because she changed from the beginning of the novel to the end. She clearly gained more insight into her life as she grew older, which is only natural when growing up. She began to see things clearer, but at the same time she still had so many unanswered questions. Even though she was able to find answers to some (and change because of those answers) at the end of the novel we understand that there are many things that could of happened, but didn't because of what occurred. 

4)  I feel like I have learned a lot about Kathy since I was able to read about her childhood, and into adulthood. I understood how relateable Kathy's emotions, even though she lived in a completely different world. There was a sense of confusion in Kathy that I could relate to. She was always putting her friends above her, so it makes sense why she would chose to be a carer. I felt like she was telling me her story, as if I were a stranger, and she was at the end of her life explaining what it was really like to be a Donor, and how she was just one story among many. There was one quote in the novel that I particularly liked, which was “The problem, as I see it, is that you've been told and not told. You've been told, but none of you really understand, and I dare say, some people are quite happy to leave it that way.”  It sums up the story as a whole, and how you feel after reading it. Like you just barely have begun to grasp something, yet feel like you missed something else as well. It also captures the essence of how I feel about Kathy. There are times where I wanted to know why she did the things she did, and just when I thought I understood, I really didn't, and had to just settle for what I could. 

[lwongrhsenglitcomp]

Literature Analysis #1 Comments

Thank you for taking the to read mine, and for your feedback!

"Hey Lindsey~ I haven't read The Fault in Our Stars yet, and your literary analysis makes me more eager to read it!"

— Ashley Hong

"This is Becky Aldrich. Great job Lindsey! Your analysis was super detailed and concise. I almost cried again just reading it so you definitely captured the essence of the story! Your summary awesome and covered all of the basics and more. Your explanations of your literary devices were also really clear! I liked how you used bildungsroman and told me to look it up as well. It fit perfectly! I've read the book, and your analysis gives an awesome outline of the main points of the novel."

— Rebecca Aldrich 

"Even though I didn’t have the same emotional response as you did to The Fault In Our Stars, you clearly understood the story and read the book out of interest. Question: What part of the book made you cry? Yeah, the question sounds dumb but I’m curious because I don’t get emotional when reading :P"

—  Brenna McNamara 

In Response: For one, I am just an overly attached reader so, that's probably the root cause, but I cried when Agustus told Hazel he was dying, also when he did die. I guess for me it was just very honest, and realistic. I could feel the same pain as Hazel. It was how real it felt, and how my heart stopped momentarily to grasp what was happening. Also, I went into the story with a misconception that Hazel would die because of a misheard conversation between Rebecca and Kelly. So it was fairly devastating to me even though I had a sinking suspicion that it was really him that dies. 

"Just like you said with mine, it was nice seeing a different view on the same book! It was also nice reading your literary techniques because there were some that I didn't notice while reading the book! I also really liked your summary of the novel because I felt that you highlighted all the main parts of the novel! Good job Lindsey! (: "

— Min Kim 

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Literature Analysis #1: The Fault in Our Stars - John Green

I'd first like to say that this book ranks as one of the greatest books I have ever read. Out of the three and a half hours it took me to read this book, I probably cried 75% of the time. But that's the sign of a great novel isn't it? One that absolutely takes over your mind as you read, and pulls you into their world. 

So I just thought I'd mention that. If this book doesn't somehow make it onto the AP List some day in the future, I question what this world qualifies as great literature. Click the read more link below to see the answers.

(I'd also like to point out that I read this book on my Kindle, so when I couldn't accurately reference pages since the Kindle uses locations and percentages to mark where you are. So I doubt that location 12034 of 34563 would be all that helpful; I think the quotes should suffice, but my apologies.)

1.    (You should know that "brief" is not something I excel at.) Exposition: The story starts off with the narration of one of our main characters, Hazel Grace Lancaster, a seriously ill lung cancer patient who carries around an oxygen tank, and her best friends are her parents, her books, and Peter Van Houten (the author of her favorite book, An Imperial Affliction). Her mother forces her to participate in a Support Group, believing she was depressed for some time. The support group aims to help teens with various diagnoses. It happens to take place in the literal heart of Jesus, which is the basement of a church. This is the meeting place of two important characters; Isaac (eye cancer) and more importantly, Augusts Waters (osteosarcoma). Inciting Incident: Isaac and Hazel share a unique relationship of general dislike for the boring meetings, but at one meeting Hazel meets a new member, Augustus (a friend of Isaac’s) who can’t seem to stop staring at her. It’s a semi-cliché moment, except we must remember that Hazel is hanging on to her oxygen tank while Augustus is no ordinary hot guy, because he is missing a leg and they both have cancer. From this point on the two become quick friends, flirty and kind, witty and understanding of one another. They share books (An Imperial Affliction will play a huge role) and have the same humor, and their friendship allows them to speak freely of their cancer. Rising Action: Augustus is supposedly in remission, hence the amputated leg, and this is just the start of Hazel’s worries that she is a “grenade” who will explode someday, and she wishes to leave the least amount of damage. As they continue to grow feelings for one another her fear grows, and she wants to inflict the least amount of damage as possible when she dies. But as her health fades, Augustus is always there for her, and it’s clear that she can’t protect him from the pain she doesn't want to cause him. She especially doesn't want to when she learns his previous girlfriend had died of cancer. For that reason, she up front tells him she can’t be that way with him. Climax: Their relationship grows, and they bond over An Imperial Affliction, which leads them to contacting the aloof Van Houten to try and get some answers to the rather obscure ending. This eventually leads to Augustus using his last wish from the Genies to fund a trip to Amsterdam, where they will meet Van Houten (who refuses to share what happens over email or phone in fear of it getting published). Despite complications, Hazel, her mother, and Augustus all head to Amsterdam with high hopes. Key moments include: on the way their Augustus announces his love for Hazel; and Van Houten is an ass who didn't really think they’d come and pitied Hazel, lying so she might have some peace. So he doesn't answer any of their questions, and they leave with his now ex-assistant, and spend the rest of the day exploring and enjoying one another. Except after a particularly hard trek up the Anne Frank house, Augustus is weak, and Hazel realizes that he might be sick as well. He reveals that he is dying essentially; he went for a pet scan after having hip pains, and it “lit up like a Christmas tree”. They return home knowing his chances of survival were slim, but he had made his choice to go with Hazel to Amsterdam and stop treatments for the time being. Falling Action: Augustus is very weak at this point, and has intense treatments, where for once, Hazel is the stronger of the two. His health deteriorates before Hazel’s eyes and she spends more and more of her time with him, but their love for one another never falters. They spend one of their last days at the church where Augustus asks Isaac and Hazel to create a eulogy so he can hear what they are going to say at his funeral. Eight days later he dies. Resolution: At his funeral Van Houten is even there, but Hazel sends him away. She later confronts him again since he stowed away in her car, where she gains insight into his own story. A man who lost his own daughter at a young age to cancer, and he wrote a book about her so she could live the life she never had.The events following his death are sad for obvious reasons, but with the hope of a mystery letter for Hazel floating around, she searches desperately for this closure. Her search brings her to Van Houten, whom Augustus had written to in his days, asking him to write a eulogy for Hazel based on what he’s about to tell him. Hazel is able to read this with the help of Van Houten’s ex-assistant, and in his letter the most profound thing he says is that he is happy with his choices, and hopes that Hazel is happy with hers. She ends with repeating “I do.” This is not just the story of love, cancer, and death, but as a whole tells the story of choices and our decisions. Hazel had let her cancer take over her life, and until Augustus she had never experienced anything extraordinary. Together they made choices for their own happiness, and he choice to be with her knowing she would die. He chose to go to Amsterdam despite knowing his diagnosis. Hazel let him into her heart, even thought she worried he would be hurt by her death. It was the choice to embrace what they could take that is important.   2.     I think I may have already hinted at the theme with my previous answer at the end when I discussed the purpose of the novel, but the purpose and theme are closely connected. The choices you make will define your happiness, a simple idea, but most people forget it. Throughout the novel we see Hazel evolve into a person who was very much still the same girl, but with a whole new outlook. Being with Augustus is the first choice she really made for herself; her cancer limited what she could do and she seemed complacent with the life she had. She never had anyone to speak openly about her cancer to because she was always considering the consequences of her honesty. One of the first things Augustus says to Hazel is “Because you're beautiful. I enjoy looking at beautiful people, and I decided a while ago not to deny myself the simpler pleasures of existence,” and his final words are “You don't get to choose if you get hurt in this world, old man, but you do have some say in who hurts you. I like my choices. I hope she like hers.”  These quotes are the epitome of the theme; making choices that you can look back on and be proud of. Augustus died making the decisions that fulfilled his short life, and it is clear that Hazel too will die soon, but the simplicity of her last lines “I do,” tell us that she is proud of the choices she has made. 

3.     The tone of this novel is a mix of bitter sweetness and contemplativeness; while on one hand there is a love story, at the same time we need to remember that these characters are dying, and therefore have a unique perspective. Despite their young age both Hazel and Augustus are able to grasp the seriousness of their situation while making the best of it and capturing that youthful essence of living.

“There will come a time when all of us are dead. All of us. There will come a time when there are no human beings remaining to remember that anyone ever existed or that our species ever did anything. There will be no one left to remember Aristotle or Cleopatra, let alone you. Everything that we did and built and wrote and thought and discovered will be forgotten and all of this will have been for naught. Maybe that time is coming soon and maybe it is millions of years away, but even if we survive the collapse of our sun, we will not survive forever. There was time before organisms experienced consciousness, and there will be time after. And if the inevitability of human oblivion worries you, I encourage you to ignore it. God knows that’s what everyone else does.”  In this quote we can see the seriousness and understanding that Hazel has; she is not some stereotypical teen and in this novel there are many similar quotes that make you just want to take a look at your own life and think.

“Oh, I wouldn't mind, Hazel Grace. It would be a privilege to have my heart broken by you.” When Augustus says this there is a touch of sadness and hope; Hazel worries that she will hurt Augustus when she dies, but he is open and ready to take it if it means he can love her. It’s bittersweet; you are willing to face the pain so you can be happy for a brief period of time.

“My thoughts are stars I cannot fathom into constellations.” 

“That's the thing about pain," Augustus said, and then glanced back at me. "It demands to be felt” These two quotes convey the contemplative tone of the novel because they are reflecting upon serious subjects that most people don’t think of on a daily basis. 

 4.   Literary Devices:

-       Symbolism: In this novel there is a plethora of ideas, and objects with symbolic meaning, making it the most effective literary device used. Both the Encouragements and “Heart of Jesus” church represent the comfort that Hazel and Augustus cannot provide for their families. Hazel takes note of these and says, “A wooden plaque in the entryway was engraved in cursive with the words Home Is Where the Heart Is, and the entire house turned out to be festooned in such observations.”  They both do not believe in them, yet they know how much it means to the people around them; which is why Hazel references them in her eulogy for Augustus, because she knows it will mean a lot to his parents. The “Heart of Jesus” is another place where cancer patients can find solace, and once again, it does not mean much to Hazel or Augustus, yet they do not demean it because it is way for others to open up. Much of the symbolism in this story relates to the idea of finding comfort in the small things in order to cope with such harsh realities.

-       Point of View: The first person narrative of Hazel allows the reader to really see the effect Augustus has on her. We are able to have full understanding of her inner mind and watch her growth. “That’s part of what I like about the book in some ways. It portrays death truthfully. You die in the middle of your life, in the middle of a sentence.”  This quote I feel sums up Hazel’s mental process through discussing her favorite book. Her life is similar to Anna, the cancer afflicted teenager who is the main character. Hazel often looks at her life in two different ways by always taking in consideration the feelings of those around her. This quote just shows one of her perspectives on the ending of the book that she loves and hates.

-       Allusions:  There are many allusions to classical pieces of literature in this novel, such as the reference to Waiting for Godot when Augustus says “…are the young men and women who wait like Vladimir and Estragon wait for Godot…”  When he says this he means to allude to the idea that they were committed to waiting for something that might not even exist. The most well known allusion would be to Romeo and Juliet, since Hazel calls Augustus “the great star-crossed love” of her life. It’s these allusions that make ideas more strongly understood, and their meaning much greater.

-       Characterization: The direct characterization of Augustus at the beginning of the novel which portrays him as a healthy, attractive young man allows for a greater shock at the end of the novel when he is dying. “I watched a smile spread all the way across Agustus’s face…his real smile, too big for his face,” with snippets of quotes like these throughout the book we are able to capture a mental image of a kind and strong young man in our heads. But with his fragility by the end, there is a more dramatic “shock value” or sorts.

-       Foreshadowing: There are many moments of foreshadowing in the novel which hint as a not so happy future for these characters, but the first of many comes from the introductory line Augustus says at Support Group “I’m on a roller coaster that only goes up, my friend.”The fact that he decides to open with this is a bit suspicious, and later on we see that his roller coaster of life, comes crashing down.  This made me somewhat prepared for what was to come, but also put me on edge; like I was watching a train wreck come straight at me. It heightened the overall suspense.

-       Euphemism: The pity a lot of people have for the cancer patient is called “Cancer Perks” or the nice way of saying “I’m sorry you’re dying, here’s some really great stuff because I can’t do anything else for you”. As Hazel explains it, “Cancer Perks are the little things cancer kids get that regular kids don’t: basketballs signed by sports heroes, free passes on late homework, unearned drivers licenses, etc.”It is a somewhat funny idea, but at the same time pretty darn depressing if you think about it. It adds a bit more weight to what most people would think would be awesome; to have all kinds of great materialistic things, but only in hopes that they’ll make you feel better about dying.

-       Tragedy: There are an obvious amount of unfortunate events in this book, and the dramatic lead up is what creates such a strong response. Hazel and Augustus are so happy together, yet they face setbacks; Hazel’s health is in real jeopardy, they fall in love, and then Augustus’s cancer returns vehemently, which leads to his death.“Where is my chance to be somebody's Peter Van Houten?' He hit the steering wheel weakly, the car honking as he cried. He leaned his head back, looking up. 'I hate myself I hate myself I hate this I hate this I disgust myself I hate it I hate it I hate it just let me fucking die.”  In this quote you can see the desperation in Augustus’s voice, where he at a low point and it truly seems impossible to see past it. This story doesn't follow the tragedy exactly, because in most tragedies you would see the story end rather dramatically, and while Augustus’s death is tragic, the story does not end there. He doesn't just die for just any reason, which is important to remember.

-       Irony: Hazel’s last name is Lancaster, which actually comes from the meaning “healthy and pure”, and obviously Hazel is in poor health. “Um, Hazel Grace Lancaster.” Is how she is introduced to Augustus, almost like she is nervous about it herself which hints at the ironic, yet unfortunate meaning of her name.

-       Foil:  Augustus acts as the foil to Hazel because he is the one to open her up, and bring out her weaknesses and vulnerability. In a way they actually act as foils to one another by bringing out that vulnerability to truly love one another despite knowing they could hurt each other. “I’m like. Like. I’m like a grenade Mom. I’m a grenade and at some point I’m going to blow up and I would like to minimize the causalities, okay?” In this quote we can see Hazel’s struggle since Augustus is slowly bringing down her defenses, which scares her more than anything.

-       Bildungsroman: The entire plot of this novel is meant to portray the growth in Hazel and Augustus. Hazel’s growth is the most obvious, as she changes from a “side effect of cancer” and into a stronger person. Again, her last words have such a huge meaning even though she is only says a few words, “I do, Augustus. I do.”  You would never have expected her say something like this at the beginning of the story because you can see how she isn't committed too much. Her life is bleak, and to have such conviction at the end of the novel is a strong message of change.