Thursday:
Discuss "Texts" by Ursula LeGuin, "The School" Donald Bathelme, and Raymond Carver's "Are These Actual Miles"
Ursula LeGuin on the decline of reading:
harpers.org/archive/2008/02/0081907
Article about donald Bathelme and "The School":
ronosaurusrex.com/metablog/2010/08/14/preface-to-an-introduction-to-donald-barthelme-and-the-school/
About "Are These Actual Miles?"
www.mdbell.com/blog/2011/5/7/ssm-2011-are-these-actual-miles-by-raymond-carver-reviewed-b.html
HOMEWORK: Read Bradbury and Malamud
Thursday, February 9, 2012
Tuesday, February 7, 2012
Fever
To help you understand "Fever":
Reviewers of Fever also single out the title story, noting its uniqueness, its range, and its message. Susan Fromberg Schaeffer, writing for The New York Times, calls ‘‘Fever’’ ‘‘almost majestic in its evocation of the goodness and evil of the human heart.’’ She further notes the peculiar perspective used by Wideman in this collection, which she expresses as ‘‘not quite human but godlike, not limited by the conventions of ordinary storytelling.’’ She finds that ‘‘Fever’’ makes use of this style of storytelling successfully, culminating in ‘‘an almost unbearably anguished meditation on human nature in plague time, the power and sadness of the story are enormous, its vision triumphant.’’
Wideman’s career can be characterized by his search for new ways to explore themes and ideas and to express the African-American experience. ‘‘Fever’’ is a boldly experimental work, one that floats back and forth between time periods and narrators and thus defies easy labeling or analysis. Randall Kenan of The Nation forthrightly deals with Wideman’s slipping back and forth in time; he presents his own reasoning: ‘‘It is as if Wideman is again playing games with us, forcing us to see the past and the present as one; how we are affected by what has gone before, not only in our thinking but in our acting and in our soul-deep believing.’’ Despite the story’s elusive nature and Wideman’s claims to Rosen that the story ‘‘shouldn’t be tied to any historical period,’’ reviewers note his evocation of a specific period in American history. Other reviewers comment on the way Wideman collapses time to present a composite picture of a certain place and mindset. Cara Hood writing for the Voice Literary Supplement claims that present-day Philadelphia emerges as the protagonist of the story.
Reviewers do not overlook the significance of Wideman’s message in examining his style. Herbert Mitgang in the New York Times finds that even after reading the story, he is left with the knowledge of Wideman’s search for ‘‘some sort of universality’’ to the human condition. Some reviewers, however, do not care for the way in which Wideman attempts to get his message to readers. For instance, Clarence Major of the Washington Post believes ‘‘Fever’’ to be the most ambitious if not the most artistically successful story of the collection. Mitgang recognizes the importance of what Wideman is saying when he writes that Wideman’s ‘‘voice as a modern black writer with something to report comes through.’’ Despite this praise, Mitgang does not believe that the rest of the stories are successful, asserting in his review of the collection that they add nothing to Wideman’s reputation as a writer.
In Wideman’s extensive and accomplished body of work, ‘‘Fever’’ occupies only a small spot. Yet, if it accomplishes nothing more, it demonstrates Wideman’s careful exploration of relationships among people and the effects that these relationships have on society. Wideman’s interest in the issues he raises in ‘‘Fever’’—including racial relations, communication, personal freedom, and violence— is seen in the works that he has written later in his career. Philadelphia Fire picks up the final section of the story in its fictionalization of the 1985 MOVE bombing. The Cattle Killing explores the devastating effects of racial prejudice on the African Americans who remained behind in Philadelphia during the 1793 yellow fever epidemic in greater detail. The body of Wideman’s work strengthens Robert Bones’ assertion, made in 1978, that Wideman is ‘‘perhaps the most gifted black novelist of his generation.’’
Reviewers of Fever also single out the title story, noting its uniqueness, its range, and its message. Susan Fromberg Schaeffer, writing for The New York Times, calls ‘‘Fever’’ ‘‘almost majestic in its evocation of the goodness and evil of the human heart.’’ She further notes the peculiar perspective used by Wideman in this collection, which she expresses as ‘‘not quite human but godlike, not limited by the conventions of ordinary storytelling.’’ She finds that ‘‘Fever’’ makes use of this style of storytelling successfully, culminating in ‘‘an almost unbearably anguished meditation on human nature in plague time, the power and sadness of the story are enormous, its vision triumphant.’’
Wideman’s career can be characterized by his search for new ways to explore themes and ideas and to express the African-American experience. ‘‘Fever’’ is a boldly experimental work, one that floats back and forth between time periods and narrators and thus defies easy labeling or analysis. Randall Kenan of The Nation forthrightly deals with Wideman’s slipping back and forth in time; he presents his own reasoning: ‘‘It is as if Wideman is again playing games with us, forcing us to see the past and the present as one; how we are affected by what has gone before, not only in our thinking but in our acting and in our soul-deep believing.’’ Despite the story’s elusive nature and Wideman’s claims to Rosen that the story ‘‘shouldn’t be tied to any historical period,’’ reviewers note his evocation of a specific period in American history. Other reviewers comment on the way Wideman collapses time to present a composite picture of a certain place and mindset. Cara Hood writing for the Voice Literary Supplement claims that present-day Philadelphia emerges as the protagonist of the story.
Reviewers do not overlook the significance of Wideman’s message in examining his style. Herbert Mitgang in the New York Times finds that even after reading the story, he is left with the knowledge of Wideman’s search for ‘‘some sort of universality’’ to the human condition. Some reviewers, however, do not care for the way in which Wideman attempts to get his message to readers. For instance, Clarence Major of the Washington Post believes ‘‘Fever’’ to be the most ambitious if not the most artistically successful story of the collection. Mitgang recognizes the importance of what Wideman is saying when he writes that Wideman’s ‘‘voice as a modern black writer with something to report comes through.’’ Despite this praise, Mitgang does not believe that the rest of the stories are successful, asserting in his review of the collection that they add nothing to Wideman’s reputation as a writer.
In Wideman’s extensive and accomplished body of work, ‘‘Fever’’ occupies only a small spot. Yet, if it accomplishes nothing more, it demonstrates Wideman’s careful exploration of relationships among people and the effects that these relationships have on society. Wideman’s interest in the issues he raises in ‘‘Fever’’—including racial relations, communication, personal freedom, and violence— is seen in the works that he has written later in his career. Philadelphia Fire picks up the final section of the story in its fictionalization of the 1985 MOVE bombing. The Cattle Killing explores the devastating effects of racial prejudice on the African Americans who remained behind in Philadelphia during the 1793 yellow fever epidemic in greater detail. The body of Wideman’s work strengthens Robert Bones’ assertion, made in 1978, that Wideman is ‘‘perhaps the most gifted black novelist of his generation.’’
Source: Short Stories for Students, ©2012 Gale Cengage. All Rights Reserved. Full copyright.
Friday, February 3, 2012
The Shawl Themes
The Shawl" is noteworthy because of its scrupulous control of its
limited point of view, with the point-of-view character being the mother
of a starving infant during the Holocaust. There is nothing in the
story about the political conditions in Germany’s Third Reich, which
developed a policy of mass extermination of Jews; yet, within just a few
pages, the story provides an inside view of the horror as it affected
those who were the victims of this unspeakable policy. The story
requires great attention, for the details are not described objectively
but rather appear as they have been filtered through the suffering eyes
and mind of the major figure, Rosa.
Survival
Underlying Ozick's story is the theme of survival. Rosa struggles with this constantly. During the march to the concentration camp, Rosa struggles over whether or not she should pass Magda to an onlooker, possibly ensuring her child's survival. Rosa decides against this, however, realizing that she would risk her own life in doing so and could not guarantee Magda's safety. Rosa chooses survival in the moment for both of them, rather than probable death for herself and uncertainty for her child. As Rosa struggles over what to do about Magda, Stella longs to be Magda: a baby rocked and sleeping in her mother's arms. Rosa also thinks that the starving Stella gazes at Magda as if she wishes to eat the child. Magda, though far too young to have any knowledge of what is happening to and around her, gives up screaming and quietly sucks on the shawl.
Life in the camp is a constant battle for survival. Rosa, apparently caring more about Magda's survival than her own. gives most of her food to her child. Stella, caring mostly about her own survival, gives no food to Magda. Magda herself turns to the shawl for comfort: it is her "baby, her pet, her little sister"; when she needs to be still—and stillness is necessary to her survival—she sucks on a corner of it.
Halfway through the story, Stella takes Magda's shawl because she is cold. It is, perhaps, the only one of her afflictions that she can do anything about. There is no food to ease her hunger, and there is nothing she can do to escape from the camp; but Magda's shawl might ease her cold. This, too, is a form of reaching for survival. Stella has chosen to bring what small comfort she can to herself, ignoring the potential cost to Magda and Rosa.
Magda, knowing no better, leaves the barracks in her search for the shawl. Again, Rosa has to make a choice about her survival. If she runs to Magda, they will both be killed. If she does nothing, Magda will be killed. The only solution she can think of, however slim, is to get the shawl to Magda before she is discovered by the camp's guards. She runs for the shawl and returns to the square with it, but she is too late. A soldier carries Magda away toward the electric fence at the other side of the camp. Rosa watches her baby fly through the air, hit the fence and die, then fall to the ground. Again, there are choices. If she goes to Magda, she will be shot; if she screams, she will be shot. Rosa chooses survival, using the shawl to mute her scream.
Motherhood and Nurturing
Closely linked to the theme of survival are issues of motherhood and nurturing. Throughout "The Shawl," Stella longs to be nurtured. On the march, she longs to be a baby, comforted by her mother's arms. In the camp, she longs for food, sometimes causing Rosa to think that she is "waiting for Magda to die so she could put her teeth into the little thighs.'' She takes the only bit of nurturing she can find: warmth from Magda's shawl.
The issues of motherhood are more complex. Because she is a mother, Rosa cannot think only of herself, as Stella does. Each decision must be weighed. What is the possible benefit to her? To Magda? What are the possible costs? With each decision, Rosa must decide whether it is in her best interest to sacrifice herself, her baby, or both of them.
Prejudice and Tolerance
Issues of prejudice and tolerance are also raised in "The Shawl." Rosa, Stella, Magda, and the others are imprisoned or killed in concentration camps simply because they are Jewish. Prejudice exists on then- part too—at least on the part of Stella. Looking at Magda's yellow hair and blue eyes, she says "Aryan," in a voice that makes Rosa think she has said, "Let us devour her."
The issue of tolerance is raised in the camp itself. Rosa and Magda are not alone in the barracks they occupy. The other occupants are aware of Magda's existence and of Rosa's deception. In the camp, "a place without pity," they cannot know what might happen to them if Magda is discovered in the barracks. Yet no one reports her presence.
Betrayal
Rosa constantly fears that Stella—or someone else—will kill Magda to eat her. While this does not happen, it is Stella's betrayal that costs Magda her life and Rosa her child. "The Shawl'' points to one reason for this kind of betrayal: the inhuman treatment Stella has received has made her pitiless. "The cold went into her heart," the narrator says. "Rosa saw that Stella's heart was cold."
Survival
Underlying Ozick's story is the theme of survival. Rosa struggles with this constantly. During the march to the concentration camp, Rosa struggles over whether or not she should pass Magda to an onlooker, possibly ensuring her child's survival. Rosa decides against this, however, realizing that she would risk her own life in doing so and could not guarantee Magda's safety. Rosa chooses survival in the moment for both of them, rather than probable death for herself and uncertainty for her child. As Rosa struggles over what to do about Magda, Stella longs to be Magda: a baby rocked and sleeping in her mother's arms. Rosa also thinks that the starving Stella gazes at Magda as if she wishes to eat the child. Magda, though far too young to have any knowledge of what is happening to and around her, gives up screaming and quietly sucks on the shawl.
Life in the camp is a constant battle for survival. Rosa, apparently caring more about Magda's survival than her own. gives most of her food to her child. Stella, caring mostly about her own survival, gives no food to Magda. Magda herself turns to the shawl for comfort: it is her "baby, her pet, her little sister"; when she needs to be still—and stillness is necessary to her survival—she sucks on a corner of it.
Halfway through the story, Stella takes Magda's shawl because she is cold. It is, perhaps, the only one of her afflictions that she can do anything about. There is no food to ease her hunger, and there is nothing she can do to escape from the camp; but Magda's shawl might ease her cold. This, too, is a form of reaching for survival. Stella has chosen to bring what small comfort she can to herself, ignoring the potential cost to Magda and Rosa.
Magda, knowing no better, leaves the barracks in her search for the shawl. Again, Rosa has to make a choice about her survival. If she runs to Magda, they will both be killed. If she does nothing, Magda will be killed. The only solution she can think of, however slim, is to get the shawl to Magda before she is discovered by the camp's guards. She runs for the shawl and returns to the square with it, but she is too late. A soldier carries Magda away toward the electric fence at the other side of the camp. Rosa watches her baby fly through the air, hit the fence and die, then fall to the ground. Again, there are choices. If she goes to Magda, she will be shot; if she screams, she will be shot. Rosa chooses survival, using the shawl to mute her scream.
Motherhood and Nurturing
Closely linked to the theme of survival are issues of motherhood and nurturing. Throughout "The Shawl," Stella longs to be nurtured. On the march, she longs to be a baby, comforted by her mother's arms. In the camp, she longs for food, sometimes causing Rosa to think that she is "waiting for Magda to die so she could put her teeth into the little thighs.'' She takes the only bit of nurturing she can find: warmth from Magda's shawl.
The issues of motherhood are more complex. Because she is a mother, Rosa cannot think only of herself, as Stella does. Each decision must be weighed. What is the possible benefit to her? To Magda? What are the possible costs? With each decision, Rosa must decide whether it is in her best interest to sacrifice herself, her baby, or both of them.
Prejudice and Tolerance
Issues of prejudice and tolerance are also raised in "The Shawl." Rosa, Stella, Magda, and the others are imprisoned or killed in concentration camps simply because they are Jewish. Prejudice exists on then- part too—at least on the part of Stella. Looking at Magda's yellow hair and blue eyes, she says "Aryan," in a voice that makes Rosa think she has said, "Let us devour her."
The issue of tolerance is raised in the camp itself. Rosa and Magda are not alone in the barracks they occupy. The other occupants are aware of Magda's existence and of Rosa's deception. In the camp, "a place without pity," they cannot know what might happen to them if Magda is discovered in the barracks. Yet no one reports her presence.
Betrayal
Rosa constantly fears that Stella—or someone else—will kill Magda to eat her. While this does not happen, it is Stella's betrayal that costs Magda her life and Rosa her child. "The Shawl'' points to one reason for this kind of betrayal: the inhuman treatment Stella has received has made her pitiless. "The cold went into her heart," the narrator says. "Rosa saw that Stella's heart was cold."
Wednesday, February 1, 2012
Hunters in the Snow
Answer in
complete sentences and use text-based references (page numbers and/or quotes) to support your answers.
1. Contrast
the culture of hunting as you know it and the culture of hunting as Wolff
presents it. What point do you think Wolff is by making by creating this
contrast?
2. What do Tub's overeating and Frank's
interest in the babysitter have to do with the way they treat Kenny after he
has been shot? How are the
three men characterized and contrasted from each other? What do they share?
3. Describe the TONE of “Hunters in the Snow”. What would you say is the THEME?
4. The final plot twist in
"Hunters in the Snow" comes in the last two sentences of the story.
Here the narrator speaks directly to the reader, giving us
information the characters don’t know. How is this an appropriate conclusion to
the story? What final statement is being made about the characters? Is it ironic?
HOMEWORK: Read Wideman's "Fever" for Friday
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