A Summary: Tara Wallace's "Getting the Whole Truth in Pride and Prejudice."

         Wallace begins her review with an acknowledgement of the novel's serene conclusion. The reader is satisfied with the results; however, Wallace points out that as readers, we never receive the whole truth of the tale--certain elements within the story, although small, remain mysteries past the book's end. These elements put forth by Wallace are characters' reticence, ambiguity, and self-assurance; traits that when applied within the story affect the way in which we readers understand the tale. Examples of this provided are Mrs. Bennett's apparent "win" over Darcy and the Gardiner's departure from home during the holidays. These times of indeterminancy highlight how readers of Austen's world must be inquisitive and hard-working to understand the facts behind her "untrustworthy talkers."Moreover, it is the readers job to discover the truth.

         Wallace’s review also examines how silence, an aspect of the novel, hides the truth. It seems that it’s not only Austen’s characters inconclusive commentary but also the silences that occupy certain situations that drive us to our own conclusions. These silences are arguably significant because of the character emotions that they overshadow. Yet, the underlying emotion that defines such silences is not explicitly defined for the reader: silence becomes another textual component that the reader must analyze in order to understand the story.

         I agree with Wallace about the responsibility placed upon the Austen reader; however, I am not sure if this idea is worthy of its own deep analysis merely because the idea is not surprising. Although I have little experience with Austen, I see her literary style as one with plenty of assumption space. This space, as Wallace pointed out, exists in both the bias/vague commentary of Austen’s characters as well as the social situations—full of silences—that are left open to our interpretation. Perhaps it is this style that makes Austen so enjoyable; she never provides the reader with the whole truth as she sees it, but lets us assume what we will to make the story apply or fit to our own personal standards.

The Reasons for Lust

I'm curious to learn more about lust for the same reasons that I initially chose the word: it's provocative and mysterious. I know so little about it; its origins; its involvement in mythology. The word seems to have a long history, yet I know little of it. It's something that's kept under the covers because of its sexual, explicit, even seductive nature. Its mystery makes the word more than just a definition for me right now. It's an era, a feeling, a thought process? Things I don't know yet. It's a thought process really, for me at least. Everything can or does pertain to lust. Because of this, I am excited to research the word; I was even excited when I found a new source in the library this afternoon. It's the frame of mind in which I am currently living, is this a good or bad thing? No one knows...

Mary Shelley's Monstrous Eve- Sandra M. Gilbert and Susan Gubar: A Review

1. Shelley's work represents "Femaleness." The novel is a work of Romanticism that is itself a "female fantasy" mainly because was caught up in a flurry of sexuality when she was writing.

2. Shelley was influenced by her family's literary history even though she had little time with them. Her studies of her parents' own work inspired her own style and novel.

3. Shelley herself is embodied in her characters--Victor and the creature--as each is trying to understand their presence in a "fallen" world. However, her characters have not fallen from Heaven to Earth but from Earth to Hell.

4. Victor is Adam, Satan and EVE. Eve is the one who gave birth to sin; Victor's, like Eve's, curiousity brought him out of Eden.

5. The creature represents Eve through isolation and alienation. Her and his fate rely on the acceptance of others. It is Eve who is seen as the "dirty" version of man, the evil human embodiment, and is an outcast compared to the fate of Adam and other beings.

Gawain and a God

            Sir Gawain and the Green Knight is an Old English tale that defines what a "hero" was at the time of its creation and is a basis for which a "hero" can be determined today. Gawain is a man of honor and loyalty in King Arthur's Camelot court, one who puts others before himself--these fundamentals of Gawain's character hold true unto today's heroes, including perhaps the most wide spread of all, Jesus Christ. In secular analysis of Jesus' identity the similarities between Gawain and Jesus' heroic nature are prominent. Jesus, like Gawain, offers himself up for the sake of others and is the key figure in various myths and a sense of mysticism shrouds him. Yet, it is the responsibility and courage with which he acts, the vulnerability he displays, and the regret he harbors in the end that prove Gawain and Jesus' heroism to be so similar and thus, basic in their statuses as heroes.
           Responsibility and courage are the foundations on which Gawain as well as Jesus act. Both traits are required when heroes are forced to make the right decision as the right choice is the hard decision to make. Gawain exemplifies this reality when following through with the Green Knight's challenge. Moreover, before Gawain's departure there lies the possibility of his not maintaining what he promised; he could chose not to seek the Green Chapel or flee Camelot itself. However, Gawain is guided by the chivalrous principles of the era and thus carries out his challenge with duty and courage. His departing words to Camelot, "'Why should I tarry?' / And he smiled with tranquil eye; / 'In destinies sad or merry, / True men can but try,'" (Norton 126) display his reverence for his duty to his King as well as to the challenge he faces. His words show that Gawain is not confident in his ability to survive the Green Knight yet, Gawain understands it is his responsibility and there is no easy way out. Jesus handles his own predicament in a similar, heroic manner. This challenge of Jesus' is his crucification. Jesus is aware of the circumstances that lie ahead, but he does not attempt to escape or fight his fate. Instead, he makes the choice to remain and die, against his own human desire to live, because he understands it is his responsibility, a consequence of his actions, and one he must face with valor. Jesus and Gawain are strikingly similar in this way; both men face a life-threatening challenge with a sense of obligation and bravery, but there is more to their heroic characters than these foundations.
             Gawain and Jesus express vulnerability throughout their challenging times, adding to their similarities and embodiments of heroism. Gawain's vulnerability is expressed through his relationship with the Green Knight's wife. Regardless of the agreement made between the disguised Green Knight and Gawain, Gawain engages in informal meetings with this "gay lady" (Norton 139) and receives a green girdle that he hides from the disguised Knight. This failure of Gawain's to maintain his side of the agreement  and give the king his wife's girdle exemplifies his vulnerability at the time. He seems to be aware of this fault when he "prays to be taught / To lead a better life and lift up his mind / [...] and ask the Lord's mercy," (Norton 152). Gawain knows he made a mistake; however, it is this mistake that saves his life--the girdle is magical. Still, the reality that the typically honorable Gawain failed to uphold a promise exhibits this hero's vulnerability. Jesus is another hero that demonstrates vulnerability, yet in a different way than Gawain. Jesus is recognized as a God-like man, but that does not excuse him from human consequences: he is vulnerable to the criticism and cruelty with which he is treated. This vulnerability, although not personal as Gawain's, shows an error in the hero's armor that he cannot control and that hurts him in the end. Jesus is not liked by all and is subordinate to the law and thus is executed; Gawain is fearful of his seemingly imminent death and thus lies to his host. Both heroes' vulnerability contain elements out of their control. Furthermore, they exemplify how all, even the heroes, make mistakes and cannot please everyone; it is a similarity between the two that is both critical to their characters' as well as is important for the definition of a "hero."
            Gawain and Jesus continue to be similar in that they both harbor some regret after their act of heroism is done. Gawain's regret is a result of his vulnerability, the fact that he is not entirely truthful with his host, the Knight. For his dishonor in not keeping his agreement, the Green Knight is able to inflict a small gash on Gawain's neck, a mark Gawain is disgraced to bare. He describes the blemish as "'the sign of sore loss that [he] ha[s] suffered there / For the cowardice and coveting that [he] came to there, / This is the badge of false faith that [he] was found in there, / And [he] must bear it on [his] body till [he] breathe [his] last,'" (Norton 165). Gawain is disappointed in himself for his dishonorable deed; however, Camelot is merely thankful for Gawain's safe return. Gawain is the only one who regrets and hence, makes himself suffer. In retrospect, Gawain's regret is unwarranted as his situation at the time required such an dishonorable fault to be made: he either lies to his host King or to his host Queen. Therefore, perhaps Gawain's regret is uncalled for, just as the court of Camelot acts as it is. Gawain's regret is completely selfish; meanwhile, the regret Jesus harbors is much less personal. Jesus' regret is that of those whom he died for, a vague group of individuals indeed. That his regret is for others is a common thought, but it is important to ponder his potential personal regret, regret of self-sacrifice. It is clear Gawain regrets elements of his quest by the end of his tale, however Jesus' remorse is nebulous. Does he regret self-sacrifice? If yes, what is the real purpose of his resurrection, to live again, if only for a little while by his own means? Jesus' regret is more than just remorse, it is a mystery. Regret is an element of human nature, one that not even heroes are immune to but rather defined by. Gawain regrets his disloyalty and Jesus his untimely death; both heroes recognize their lives' imperfections and form a remorse that shapes their character.
           Sir Gawain and the Green Knight epitomize heroism of the story's era as well as lay the foundation for which a hero is defined today. The basic traits of Gawain that do this are those that are similar to Jesus' heroic character: responsibility and courage, vulnerability, and regret. Both Gawain and Jesus face their imminent deaths but mystically live to see another day. Yet, it is more than their mysterious abilities that defines them as heroes but their characters as described. They are very different men but the same in the most basic sense, allowing them to fit under the same word definition: hero.

Why It Is She

Why are everyday objects, like boats, languages and countries, referred to in the feminine?

The precise reason is lost in history; however, there are theories as to why these references came to be.
Let us study these theories in relation to boats:

1. Traditionally, boats are given a female name; the name of an important woman in the owner's life.

2. Boats were once dedicated to goddesses.

3. In most Indo-European languages, the word for "ship" is feminine. (Old English)

Today, the femininity granted to ships is less than it once was as modern day English does not have much to do with grammatical gender.

It is my belief that languages are referred to as females due to their Old English/Indo-European backgrounds. What are other likely possibilities?

A Summer Within A Tale of Two Cities

Charles Dickens's notorious novel was the source of my excitement and despair this summer. It was not my first trial with the book, as I read a child edition when I was younger, but my first competent analysis of it. My past experience with the story was a significant reason why I decided to retrace those steps through the summer assignment. Moreover, I wanted to know the story better as the end was the only element I could recall and the love story was one I felt I ought to read, or re-read, at some point in my life.
                    A Tale of Two Cities being my first Dickens experience I have a narrow-minded opinion of his storytelling abilities. These opinions are mostly positive. The intricacy with which Dickens wove his characters was unexpected; the novel began with a seemingly distant set of characters that resultantly came together to affect each other in unanticipated ways. Dickens progression of each of these characters was so detail oriented he must have known the direction each would take and thus, intertwined these character strands to apply each character's actions to the others. An example being Madame Defarge, whose original nonchalance grew into dangerous and powerful deeds that would punish those her husband had once helped. Dickens also used the characters to carry the story from various perspectives, regardless of who or where they were, the story continued on the same timeline guided by his different characters in different situations.
                   His excellence in storytelling continues with his unexpected, satisfying conclusion. In the midst of perilous Paris the story's center characters, Lucy and Doctor Manette, came away safe and content, but only after the sacrifice of a near stranger. Carton's decision to impersonate Lucy's husband and die for their happiness remained a vague plan until the book's end. Carton's own emotions towards Lucy and his dire devotion only shown threw as the reader put the pieces of Carton's plan together. This happy-with-a-price ending is original to Dickens and an unanticipated result that although may leave the reader in tears, grants them satisfaction which every good story possesses.
                  Dickens's ideas behind the text are another element of the novel that flatter his storytelling abilities. The tale pushes the reader to think, specifically the conclusion. The reality that a friend could do as much as die for your happiness and love you more than their own comfort, unbeknownst to you, shakes the minds of all that put Dickens down. He has made me realize that their is no way to measure love or know it to be true through words or evident deeds, only actions--the secret and private ones--can measure what love is. Although love is a major topic within the story, Dickens offers other ideas behind his text, ideas such as human barbarianism, cruelty, and animal instinct. The novel comes to be Dickens's own statement on humanity: how the French Revolution, as an example, destroyed the human facade of civility to reveal the dark truth of beastliness that lies mere years of hardship under our surface. These ideas to ponder are provided throughout the novel and manifest Dickens's exemplary storytelling abilities.
                Dickens's Tale is an exemplary work of excellent storytelling due to his incorporation of detailed characters and plot, unanticipated and satisfactory conclusion, and the philosophical ideas that lay behind the text.

My Memorable Books

1. To a God Unknown, John Steinbeck. I read this book last year for our English III independent project because the concept of religion and "god" interest me. The story line isn't anything special, but the idea of what religion is in the book made me think. I would consider it one of my favorites.
2. Stranger in a Strange Land, Robert Heinlein. This is the book that got me into science fiction literature. First of all, in my opinion Heinlein is a genius. Secondly, the out of this world plot and the manipulation of religion entertained me and made me think.
3. The House of Mirth, Edith Warton. This is my example of excellent storytelling! So it is no surprise that is also one of my memorable books.
4. Brave New World, Aldous Huxley. One of my summer reading books, I knew I would like it because of its utopian theme. But, once again, I liked it even more because of how Huxley played with religion. I'm still thinking about it, whether Huxley wanted to say religion is ridiculous ( how "Ford" is the new "God") or a saving grace (how John committed suicide, is he now a martyr?).
5. Miss Rumphius, Barbara Cooney. This children's story was one of my favorites when I was little and its theme has always stayed with me (Every where you go in life, make it a bit better). I think it's why I am as motivated as I am today.
6. The Five People You Meet in Heaven, Mitch Albom. I have reread this book at least five times. It's one of my all time favorites. We learn about Eddie in a backwards way, starting at his death then exploring the concept of an afterlife.