Category: Literature

  • Journal Entry 4

    Instructions

    Respond to all four prompts below after reading ALL assigned texts above.

    Remember, if more than one text is assigned, you only need to annotate each text in Prompt #1. After the first Prompt, you can engage with any text you wish for Prompts 2-4.

    Any submissions containing AI-generated text will receive an automatic 0.

    Journal Entries should be a college-level paragraph in length, or a minimum of about 300+ words in total (as in the amount of text including all prompts combined) to meet expectation. Heres a guide to help you visualize what different paragraph lengths look like:

    As a reminder, the prompts below are intended to get you engaging with the text in ways that are interesting to you. Besides an accurate summary, dont worry about whether or not your responses are right or wrong. Instead, focus on justifying and explaining your personal reading, interpretation, and associations.

    And, as always, remember longer submissions qualify for bonus points!

    1.) begin by annotating the assigned text (or texts). It will be extremely helpful to take notes as you read, even if you simply highlight, underline, or write down/type lines or sections that stand out.

    Provide a beat-by-beat breakdown of the most significant events for someone who hasnt read this text before (no need to get into extraneous detail if you dont want to). Feel free to write in your own voice! (i.e., This total jerk named Pete decided he was going to beat up a bunch of kids, and so…) What are the most significant parts of this reading from beginning to end in your own words? (Extra help with annotation: )

    2.) What associations do you make with this text? What does it make you think about? Do any personal experiences come to mind? Do any of the characters remind you of people you know and/or characters and/or scenes from other stories? Or does this reading make you think about other books, shows, movies, or scenes from other media? What about any world events, places, or important figures (both historical and/or contemporary)? Why do you think you’re making these associations?

    *If no associations come to mind, cite a specific scene, moment, character, and/or section that stands out to you. What is it about the writing, style, language, and/or substance of this section that captured your attention? Do you think this was intentional on the authors part? Why or why not?

    3.) What is the purpose of this text, and why do you think so? What moral, lesson, insight, philosophy, and/or thesis do you think the author is exploring? Or what value is there in this reading? Explain your reasoning for this conclusion. Cite 1-3 lines that support this conclusion or are noteworthy in some way, and why?

    4.) What is your personal reaction or evaluation to this reading, the characters, specific scenes, the writing style, and so on? Is it engaging? Interesting? Awesome? Confusing? Stupid? Moving? Upsetting? Good? Bad? Why or why not?

    Reading for assignment: https://twain.lib.virginia.edu/projects/price/frog.htm

  • Pointed Essay 1

    POINTED ESSAY 1: Realism and Naturalism

    Respond to at least 3 prompts below. Feel free to mix and match and/or even suggest your own analysis or interpretation to critically pursue. Final Pointed Essay drafts should to be at least 2+ pages in length.

    Remember to LABEL the prompts that you respond to as well (i.e. 1A, 1B, etc.)

    1. Maggie: Girl of the Streets

    Analysis

    1. How does Stephen Crane use irony and realism to critique traditional Romantic metaphors? How does Crane use words like knight, champion, and gladiator in a way that changes the way we typically perceive these metaphors? Use at least one quote from the text to support your analysis.
    2. A major symbol in Maggie is the firetruck and Jimmies complete obsession with it. Explain how the author uses the fire truck to show us into Jimmies psyche. What does the firetruck mean to him? Why does he worship it so much? What does he see in the firetruck and how does that relate to what he sees in himself and the man he wants to be? Use at least one quote from the text explain how it connects to Jimmies perception of the firetruck. Use at least one quote from the text to support your analysis.
    3. Power and dominance was a central theme to more characters than just Jimmy provide a similar analysis of Pete, Nell, Mary (Maggies mother), or other characters and explain how the character represents power and dominance. Remember that not all power is physical. Use at least one quote from the text to support your analysis.

    Creative

    1. Consider a modern symbol to replace this fire truck. What might the contemporary working-class street brawler worship in its place? What would make a man (or woman) worship this symbol? As the firetruck is described rampaging down the street in the novella, write a scene in which a man or woman witnesses this symbol in all its glory.

    2. White Fang

    1. Throughout the first three chapters of White Fang, Jack London presents us with several Naturalist symbols which are interrelated (or even at odds with one another).

    Choose from the following pairs of symbols (however many you want), explain their significance or meaning, and how they interrelate to one another. Are these symbols in opposition (against each other)? Or are they working in tandem (do they reinforce one another)? Or maybe both? Use a quote from the text to support your analysis of how the symbols relate (make sure to explain how the quote relates to your analysis). You can also mix and match these symbols, or address each individually. Use at least one quote from the text to support your analysis.

    The Wild (remember, capital W) and man

    The Wild and the Wolves

    Man and dog

    Dog and wolf

    Man and fire

    Wolf and fire

    The Wild and wolves

    1. In what ways does the prologue (first three chapters) to White Fang represent Man vs. Nature? Who or what is ultimately the strongest and why? In what ways do humans defy nature in this story? What is it that separates man from beast? Or is there really a separation at all? Why is it that the Wild wants to destroy man so badly? Use at least one quote from the text to support your analysis. How has this relationship changed with technology? How do you think Jack London would respond to smart phones, GPS, social media, etc. Have we finally defeated the Wild? Can we defeat it or are we just delaying the inevitable? Why or why not?

    3. The Yellow Wall-Paper

    1. One of the central gothic concepts in this story is the ab-human or the person between states of human and inhuman (monster or beast). As in this story, the ab-human is often a metaphor for deeper and darker psychological struggles. Explain how the narrators various states of humanity (or lack thereof) reflect her inner, psychological struggles. Use at least one quote from the text to support your analysis.
    2. Compare and contrast the narrators transformation with other ab-human creatures (werewolf, vampire, zombie, Jekyll and Hyde, etc.). How do the psychological struggles of these other ab-humans parallel and/or differ with that of the narrators (i.e. if the narrators transformation is a metaphor for women in society, how might it compare to the metaphor of a werewolf)?
    3. Using one or all of the central themes of American Gothicism: isolated environment, secrecy, monsters, and the inability of the rational to triumph over irrational (or how madness/insanity overshadows sanity), explain how this story meets the criteria of a gothic narrative. In what ways does madness overcome sanity in the story? How does the narrators condition defy or challenge Johns perception of illness? Who are the monsters here, and what do they represent? Use at least one quote from the text to support your analysis.

    Research

    1. Just like the rest cure was super unhelpful in addressing the narrators mental illness, we as a society dont have the best track record with diagnosing and treating psychological disorders throughout history. From conversion therapy to institutionalizing women who disobeyed their husbands, there are a plethora of examples that illustrate how a lack of understanding and empathy has led to harm in the field of psychotherapy.

    Research a mental illness (or what was considered a mental illness) in the past (or present) and compare the diagnosis and treatment with that of the author. Use at least one quote from the text and the source you locate to support your analysis.

    Build your own prompt! Have an idea for a cool analysis or paper you dont see up top? Run it by me and see if it could work! Make sure you email or speak to me first (if we havent already spoken in class) Id love to hear your ideas of how you can find Truth in the texts.

    Some recap!

    Literary realism

    Realism is a literary movement that developed in the middle of the 19th century in France and then spread like wildfire throughout the rest of Europe, all the way to Russia, and then overseas to the US.

    Realism, as you might guess by its title, is all about portraying real life. Realist writers write about regular folksbored housewives, petty government officials, poor spinsters, poor teenagersliving ordinary lives. Let’s face it: most of us don’t live crazy exciting lives, after all. What Realist writers are really good at doing is showing us how even ordinary lives are meaningful, andhelloalways full of drama.

    Some of these writers were reacting against the movement, which often stressed nature over culture, the solitary individual against society. Realist writers, unlike the Romantics, like to focus on groups of people. They give us the big picture: a panorama of a village, a city, or a society. And because Realism is about giving us the big picture, it tends to be associated with the novel genre, which is huge and flexible. Most of the famous Realistslike Tolstoy and Dickenswere novelists, who wrote pretty gigantic works.

    Realism as a movement with a capital “R” ended sometime around the turn of the century, but the techniques of Realism have lived on. Lots of novels written today are written in straightforward language about contemporary issues, for example. Hey, who can resist the soap operas of daily life, all packaged up as a 500-page slice-of-life novel?

    Ever get curious about the lives of people you don’t know? Like, what’s up with those neighbors of yours who scream at each other all the time? And what about that cute boy in biology class, who never says a word to anyone? Does he have friends? And what about that woman you see laughing to herself every day on the subway platform? Is she crazy? Or just crazy happy?

    Strangers are fascinating. We know that they’re like us, but we also know that they’re different from us. They’ve got their own little dramas, dilemmas, crises, hang-ups. We’re always interested in hearing about why that woman left her husband, or why that guy ended up an alcoholic, or why that kid ran away from home.

    This is why Realist literature is so great. Reading it is like peeping through a keyhole into the lives of others: these may be ordinary lives, but like ours they’re full of drama. After all, who doesn’t have family drama, or boyfriend or girlfriend drama, or frenemy drama? When you read Realist literature, you don’t just learn about other people, you also learn a whole lot about yourself.

    Naturalism

    It refers instead to the harshest nature you can think of. Death Valley. Pompeii. Antarctica, minus the penguins. Greenland, in January. The middle of the Pacific Ocean, on a raft, with no water.

    Get ready for a hailstorm/firestorm/Superstorm/snowstorm/worst-kind-of-weather-storm-you-can-imagine of bleakness. Get ready for a polar vortex of sorrow. This hurricane’s name is Naturalism and it’s going to blow your home to smithereens and make you an orphan and you’re going to have to become a beggar.

    Short version: Naturalism is depressing.

    Ugh. Who even thought up Naturalism?

    The literary movement Naturalismwhich first spread in France beginning in the 1860sdeveloped partly in response to some big scientific discoveries that were being made about the natural world at the time.

    We’ve all heard of a guy called . He was the scientist who pointed out that not only are we descended from apes (cue thousands of Victorians saying “Yikes!”) but also that all species develop as a result of a natural process called evolution.

    Well, Darwin’s ideas not only made a big splash in the scientific world, they also made a big splash in the literary world. The earliest Naturalist writersamong them the French writer mile Zola, who is considered to be the “father” of Naturalismwere very interested in Darwin’s discoveries. You know, because they’re freakin’ fascinating.

    These writers sought to apply Darwin’s ideas to the study of society and human nature. In the Naturalist fiction of this school of writers, characters are depicted as products of their social environment, in the same way that animal species, in Darwin’s theories, are a product of their natural environment. In addition, these writers liked to explore “Darwinist” themes such survival and heredity… but within the context of human society.

    Naturalist writers studied and wrote about society as if it were a big, bad jungle. Who survives in this jungle? Who dies? Why? Why do tigers have stripes, anyway? In what ways does environment determine human nature? Should we fear all the frogs that have pretty markings, or are only some of them poisonous? And do we have any power to fight the pressures of our environment?

    These are just some of the big questions that the Naturalists tacklenot including the tiger and frog questions unfortunatelyand they tackle them brilliantly, eloquently and, oh yeah, super depressingly.

    Reading for assignment:

    Maggie a girl of the streets: https://www.gutenberg.org/files/447/447-h/447-h.htm

    White Fang ch 1-3: https://americanliterature.com/author/jack-london/book/white-fang/chapter-1

  • Poetry Analysis

    This is the poem: The Negro Speaks Of River by Langston Hughes.

    Here is the link for the poem:

    PLEASE LOOK AT THE PDFS I PROVIDED. IT HAS THE INSTRUCTIONS AND SLIDES THAT TELL YOU WHAT TO DO. NO AI. This analysis would be heavily graded on thesis statement, evidence, analysis.

    THE ONLY SOURCE IS THE POEM.

    This is a Different part like a draft. Can you have this done before Sunday 11:59pm please?

    This assignment will help you prepare for the Poetry Essay and will allow me to give you feedback on your ideas prior to writing the essay. Please make sure to review the Poetry Analysis Essay Assignment Sheet (located in LU 3) before beginning this assignment.

    In a Word Document, answer the following brainstorming questions in preparation for the Poetry Essay:

    1. Which poem(s) did you select to analyze for the Poetry Essay and why? Note: Please do not choose more than two poems to analyze.
    2. What will your thesis statement be for the Poetry Essay?
    3. Example template to use: In the (Name of Literary work) by (Author name) ____, ____, and ___ help to develop the theme of _____.
    4. Example: In the poem “Stopping by Woods on a Snowy Evening, Robert Frost uses symbolism, tone, and repetition to convey the theme of persevering against suicidal thoughts.
    5. Be sure to refer to the Writing a Literary Analysis Essay PowerPoint for guidance.
    6. What will be the topic sentence for your first body paragraph?
    7. Remember: a topic sentence should indicate the main point of that body paragraph.
    8. Example: One way that Frost conveys this theme is through the use of symbolism.
    9. Be sure to refer to the Writing a Literary Analysis Essay PowerPoint for guidance.
    10. What will be the topic sentence for your second body paragraph?
    11. What will be the topic sentence for your third body paragraph?

    Submit your responses as a Word Document or PDF file attachment. This does not have to be in MLA format.

    Attached Files (PDF/DOCX): Literary Analysis Guide (1).pdf, Writing a Literary Analysis Essay (2).pdf, Poetry Essay Directions.pdf

    Note: Content extraction from these files is restricted, please review them manually.

  • Discussion: Your Ideas for the Individual Paper

    What do you plan to write your Individual Paper on? In at least 150 words, tell me what topic you are addressing and what two or three literary works you will use to support this topic. What will you say about the topic; in other words, what is your projected thesis? Include commentary on how this topic relates to your chosen profession and/or your major, in other words the source of your interest in the topic.

    Note: You do not have to include the secondary (non-literary) sources here, but you should be conducting research on that by this point.

    Here: Canonical Babbling in Peed Oink

    ENG 203 Literature and Medicine

    Individual Paper Assignment

    750 words minimum; not more than 1500 words

    between 4 and 8 sources (primary and secondary)

    APA style documentation

    This is an assignment that you will work on independently, not as part of a team. Leading

    up to submission, you will present (1) a proposal to me for approval and (2) post about

    your topic in the discussion forum, to share with classmates.

    Directions for the Individual Paper Assignment

    This should be a paper that sheds light on the connection between a medical issue and

    two or three works of literature. (I mean short stories, plays, or poems.) The idea is to

    write about a current medical issue from the list you’ve been provided by demonstrating

    how that medical issue has been depicted in two or three works of literature, and what

    importance you draw from that depiction.

    These works of literature can be anything contained in our assigned course readings or

    anything in On Doctoring, but at least one should be something I recommend on the list of

    topics. NOTE: Your paper will be a better paper if you choose a combination of short story

    and poem; in other words, choose a story and two or three poems, or a poem and two

    stories.

    In addition to the two or three works of literature, your paper should also be supported by

    two or three non-literary (i.e., medical) sources. These sources should contain information

    that helps you clarify the medical issue you are writing about.

    A suggested organization of your paper would look like this:

    I. Introduction to the medical issue and a thesis that clarifies your “take” on how it is

    depicted in two or three works.

    II. Explanation of this medical issue that informs the reader about it enough to follow your

    ideas about its depiction in the literature. (In other words, don’t spend pages and pages

    writing about a disease or condition; devote two or three paragraphs to the issue.) In this

    section, you should draw upon any sources of information about the disease (or condition).

    III. Demonstration of how this medical issue is treated in one work. This section would

    contain at least two quotations from that work that help you show how the medical issue is

    depicted.

    IV. Demonstration of how this medical issue is treated in a second work. This section would

    contain at least two quotations from that work that help you show how the medical issue is

    depicted.

    V. Demonstration of how this medical issue is treated in a third work (if you’re doing

    three). This section would contain at least two quotations from that work that help you

    show how the medical issue is depicted.

    VI. A conclusion that restates your thesis in fresh language by saying something about the

    significance of these literary works’ power to shed light on the medical issue.

    Note

    Your paper will be deemed exceptionally good if you are able to demonstrate the

    connectedness of your ideas through (1) meaningful transitions between

    sections/paragraphs, and (2) smart, intelligent organization of the body.

    What do you plan to write your Individual Paper on? In at least 150 words, tell me what topic you are addressing and what two or three literary works you will use to support this topic. What will you say about the topic; in other words, what is your projected thesis? Include commentary on how this topic relates to your chosen profession and/or your major, in other words the source of your interest in the topic.

    Note: You do not have to include the secondary (non-literary) sources here, but you should be conducting research on that by this point.

    Attached Files (PDF/DOCX): Moore Face Time (1).pdf, _People Like That_ (Moore) (1).pdf, Mukand First Payment.docx

    Note: Content extraction from these files is restricted, please review them manually.

  • Discussion post

    Learning Goal: I’m working on a management discussion question and need the explanation and answer to help me learn.

    This discussion involves selecting one type of business and comparing and contrasting three different forms of establishing the business; as a new venture, purchase of an existing business, purchasing a franchise of the business. For example, if you decide to enter into the hamburger business, I want you to compare and contrast all elements of the business plan for establishing a new hamburger business, purchasing an existing hamburger business (you need to find an existing business of this type for sale online) and the purchase of a hamburger franchise business. Take into consideration the following: 1) the brand of the franchise, 2) the demand for the product/service being sold, 3) the cost of the franchise, 4) the franchise requirements such as initial capital, 5) training offered, 6) track record of the franchise, 7) the commissions you are expected to pay the franchise (typically this is a percent of sales), and 8) the amount of marketing performed by the franchise. Please note that this is not a comprehensive list of considerations; your grade will be determined by the level of detail in your analysis. The objective of this homework is twofold: 1) to make you more aware of the pros and cons of different entry forms into an industry, and 2) for you to get used to analyzing an opportunity, the industry, market research and segmentation, marketing plan, operations plan and financial plan.

    Requirements: 3 pg

    Requirements: above

  • Literature Question

    I need this essay rewrite no plagiarize I will upload the essay need to be rewrite . Must be writing in MLA format. Essay to rewrite: Directions:For this discussion and all discussion in this class, you’ll want to create a complete essay, 5-7 paragraphs. That essay should include an introduction that narrows to a thesis. That thesis should foreshadow the main ideas of your body paragraphs. After the introduction, you want to include 3-5 body paragraphs based on the paragraph plan shared in Module resources. And after the body paragraphs, wrap up your essay with a conclusion, then a Works Cited in MLA format. You are not required to use outside sources, but if you do, cite them also in MLA format.

    Ben Franklin on the Savages

    From his youth, Benjamin Franklin observed the world around him through his own critical lens, and more often than not, he saw things differently from his contemporaries. A staunch advocate of freedom and liberty, Franklin also possessed attributes of wisdom far beyond his years. And while the popular public consensus of the time and, in fact, one of the driving ideologies for the virtual enslavement and destruction of the Native American peoples in what would become the United States was the premise of their savagery. The godless heathens that knew no civility and were little more than wild animals that should be struck down at the slightest provocation turned out in fact to be quite civilized with long-practiced skills in parliamentary procedure, public affairs, and hospitality. Through Franklins own musings, one can appreciate just how cultured, civil, and unsavage-like the Native Americans were.

    In one construct of respect for others and their offers is the Indian practice of considering matters deemed important. Taking the time to weigh issues and consider the offers of others for a day or more not only encourages critical decision-making but also imparts respect and honor to the offering party, as Franklin describes;

    It is one of the Indian rules of politeness not to answer a public proposition the same day that it is made; they think it would be treating it as a light matter, and that they show it respect by taking time to consider it, as of a matter important (Franklin 463).

    In this case, the Indians politely declined, as previously, those university-educated braves returned “totally good for nothing” (Franklin 463).

    Public speaking, “parliamentary procedure,” and general conversational civility are topics Franklin illuminates in his writings. In the Indians council meetings, the group “observes a profound silence” while the speaker rises to address the council with emphasis on decorum and civility, in which “to interrupt another, even in common conversation, is reckoned highly indecent” (Franklin 463). In contrast, Franklin sarcastically speaks of the “polite British House of Commons,” in which “the speaker grows hoarse from the calls to order” (Franklin 463464).

    Likewise, the Native American practice of quietly listening to guests and their stories, as related by the author, in which a Swedish minister preaches his Christian version of creation to the Susquehanah chiefs, after which they offer him their story of the great provider. “What I delivered to you were sacred truths; but what you tell me is mere fable, fiction, and

    falsehood” bellowed the Swede, to which the chiefs replied;

    My brother, it seems your friends have not done you justice in your education; they have not well instructed you in the rules of common civility. You saw that we, who understand and practice those rules, believed all your stories; why do you refuse to believe ours? (Franklin 464).

    Hospitality is often the measuring stick by which a civilization is measured, and the native Americans, according to Franklin, were masters of accommodation for their guests and strangers alike (Levine 466). Retelling the tale of Conrad Weiser and his meeting with Canassatego, the two speak of common courtesies and the treatment of guests. Discussing traveling white men, Canassatego exclaims, “We dry him if he is wet, we warm him if he is cold, we give him meat and drink, that he may allay his thirst and hunger; and we spread soft furs for

    him to rest and sleep on; we demand nothing in return,” to which, in contrast, he laments, “But, if I go into a white mans house at Albany, and ask for victuals and drink, they say, Where is your money? and if I have none, they say, Get out, you Indian dog” emphasizing who the true savage is (Franklin 466).

    Clearly, Benjamin Franklin revered the manners and civil ways of the Native American people. From their respect for the council speakers and elders among them to their manners in dealing with offers and questions posed to them by outsiders, the Indians were polite, thoughtful, and attentive. Even when faced with discriminatory bias regarding the lack of quid pro quo in the hospitality and warm welcome of strangers, the Native Americans maintained their traditions of welcoming and caring for those who passed their way. Franklin speaks glowingly and with admiration of the culture and ways of the much-maligned people that the settlers saw as lowly savages and not as the rich and diverse culture that they really were.

    Requirements: 500 words to 700

  • are you against death penalty?

    write an argumentative essay against death penalty showing the good and bad sides of it, use some greek philosophy and world history

    Attached Files (PDF/DOCX): arguments.pdf

    Note: Content extraction from these files is restricted, please review them manually.

  • Discussion post

    Discussion Forum for Short Stories: Barth and Woolf

    Select one of this week’s readings, and write a response where you discuss how form contributes to your interpretation of the story. You must cite the lines that you are discussing in your response.

    • I expect for this response to have complete sentences, correct grammar, and no spelling/typing mistakes.
    • Your posting should be well-written, critical, and thoughtful.
    • I would strongly recommend you to write the response in Word first, review and edit it, and then copy it into the Canvas window.
    1. You are required to gi

    Night-Sea Journey

    By John Barth

    “One way or another, no matter which theory of our journey is correct, it’s myself I address; to

    whom I rehearse as to a stranger our history and condition, and will disclose my secret hope

    though I sink for it.

    “Is the journey my invention? Do the night, the sea, exist at all, I ask myself, apart from my

    experience of them? Do I myself exist, or is this a dream? Sometimes I wonder. And if I am, who

    am I? The Heritage I supposedly transport? But how can I be both vessel and contents? Such are

    the questions that beset my intervals of rest.

    “My trouble is, I lack conviction. Many accounts of our situation seem plausible to me- where

    and what we are, why we swim and whither. But implausible ones as well, perhaps especially

    those, I must admit as possibly correct. Even likely. If at times, in certain humors- striking in

    unison, say, with my neighbors and chanting with them ‘Onward! Upward!’- I have supposed that

    we have ever after all a common Maker, Whose nature and motives we may not know, but Who

    engendered us in some mysterious wise and launched us forth toward some end known but to

    Him- if (for a moodslength only) I have been able to entertain such notions, very popular in

    certain quarters, it is because our night-sea journey partakes of their absurdity. One might even

    say: I can believe them because they are absurd.

    “Has that been said before?

    “Another paradox: it appears to be these recesses from swimming that sustain me in the swim.

    Two measures onward and upward, flailing with the rest, then I float exhausted and dispirited,

    borood upon the night, the sea, the journey, while the flood bears me a measure back and down:

    slow progress, but I live, I live, and make my way, aye, past many a drowned comrade in the

    end, stronger, worthier than I, victims of their unremitting joie de nager. I have seen the best

    swimmers of my generation go under. Numberless the number of the dead! Thousands drown as

    I think this thought, millions as I rest before returning to the swim. And scores, hundreds of

    millions have expired since we surged forth, brave in our innocence, upon our dreadful way.

    ‘Love! Love!’ we sang then, a quarter-billion strong, and churned the warm sea white with joy of

    swimming! Now all are gone down- the buoyant, the sodden, leaders and followers, all gone

    under, while wretched I swim on. Yet these same reflective intervals that keep me afloat have led

    me into wonder, doubt, despair- strange emotions for a swimming!- have led me, even, to

    suspect . . . that our night-sea journey is without meaning.

    “Indeed, if I have yet to join the hosts of the suicides, it is because (fatigue apart) I find it no

    meaningfuller to drown myself than to go on swimming “I know that there are those who seem actually to enjoy the night-sea; who claim to love

    swimming for its own sake, or sincerely believe that ‘reaching the Shore,’ ‘transmitting the

    Heritage’ (Whose Heritage, I’d like to know? And to whom?)is worth the staggering cost. I do

    not. Swimming itself I find at best not actively unpleasant, more often tiresome, not infrequently

    a torment. Arguments from function and design don’t impress me: granted that we can and do

    swim, that in a manner of speaking our long tails and streamlined heads are ‘meant for’

    swimming; it by no means follows- for me, at least- that we should swim, or otherwise endeavor

    to ‘fulfill our destiny.’ Which is to say, Someone Else’s destiny, since ours, so far as I can see, is

    merely to perish, one way or another, soon or late. The heartless zeal of our (departed) leaders,

    like the blind ambition and good cheer of my own youth, appalls me now; for the death of my

    comrades I am inconsolable. If the night-sea journey has justification, it is not for us swimmers

    to discover it.

    “Oh, to be sure, ‘Love!’ one heard on every side: ‘Love it is that drives and sustains us!’ I

    translate: we don’t know what drives and sustains us, only that we are most miserably driven and,

    imperfectly, sustained. Love is how we call our ignorance of what whips us. ‘To reach the Shore,’

    then: but what if the Shore exists in the fancies of us swimmers merely, who dream it to account

    for the dreadful fact that we swim, have always and only swum, and continue swimming without

    respite (myself excepted) until we die? Supposing even that there were a Shore- that, as a cynical

    companion of mine once imagined, we rise from the drowned to discover all those vulgar

    superstitions and exalted metaphors to be literal truth: the giant Maker of us all, the Shores of

    Light beyond our night-sea journey! -whatever would a swimmer do there? The fact is, when we

    imagine the Shore, what comes to mind is just the opposite of our condition: no more night, no

    more sea, no more journeying. In short, the blissful estate of the drowned.

    ” ‘Ours not to stop and think; ours but to swim and sink….’ Because a moment’s thought reveals

    the pointlessness of swimming. ‘No matter,’ I’ve heard some say, even as they gulped their last:

    ‘The night-sea journey may be absurd, but here we swim, will-we nill-we, against the flood,

    onward and upward, toward a Shore that may not exist and couldn’t be reached if it did.’ The

    thoughtful swimmer’s choices, then, they say, are two: give over thrashing and go under for

    good, or embrace the absurdity; affirm in and for itself the night-sea journey; swim on with

    neither motive nor destination, for the sake of swimming, and compassionate moreover with

    your fellow swimmer, we being all at sea and equally in the dark. I find neither course

    acceptable. If not even theh hypothetical Shore can justify a sea-full of drowned comrades, to

    speak of the swim-in-itself as somehow doing so strikes me as obscene. I continue to swim- but

    only because blind habit, blind instinct, blind fear of drowning are still more strong than the

    horror of our journey. And if on occasion I have assisted a fellow-thrasher, joined in the cheers

    and songs, even passed along to others strokes of genius from the drowned great, it’s that I shrink

    by temperament from making myself conspicuous. To paddle off in one’s own direction, assert

    one’s independent right-of-way, overrun one’s fellows without compunction, or dedicate oneself

    entirely to pleasures and diversions without regard for conscience- I can’t finally condemn those who journey in this wise; in half my moods I envy them and despise the weak vitality that keeps

    me from following their example. But in reasonabler moments I remind myself that it’s their very

    freedom and self-responsibility I reject, as more dramatically absurd, in our sensless

    circumstances, than tailing along in conventional fashion. Suicides, rebels, affirmers of the

    paradox- nay-sayers and yea-sayers alike to our fatal journey- I finally shake my head at them.

    And splash sighing past their corpses, one by one, as past a hundred sorts of others: frfiends,

    enemies, brothers; fools, sages, brutes- and nobodies, million upon million. I envy them all.

    “A poor irony: that I, who find abhorrent and tautological the doctrine of survival of the fittest

    (fitness meaning, in my experience, nothing more than survival-ability, a talent whose only

    demonstration is the fact of survival, but whose chief ingredients seem to be strength, guile,

    callousness), may be the sole remaining swimmer! But the doctrine is false as well as repellent:

    Chance drowns the worthy with the unworthy, bears up the unfit with the fit by whatever

    definition, and makes the night-sea journey essentially haphazard as well as murderous and

    unjustified.

    “‘You only swim once.’ Why bother, then?

    “‘Except ye drown, ye shall not reach the Shore of Light.’ Poppycock.

    “One of my late companions- that same cynic with the curious fancy, among the first to drown-

    entertained us with odd conjectures while we waited to begin our journey. A favorite theory of

    his was that the Father does exist, and did indeed make us and the sea we swim- but not a-

    purpose or even consciously; He made us, as it were, despite Himself, as we make waves with

    every tail-thrash, and may be unaware of our existence. Another was that He knows we’re here

    but doesn’t care what happens to us, inasmuch as He creates (voluntarily or not) other seas and

    swimmers at more or less regular intervals. In bitterer moments, such as just before he drowned,

    my friend even supposed that our Maker wished us unmade; there was indeed a Shore, he’d

    argue, which could save at least some of us from drowning and toward which it was our function

    to struggle- but for reasons unknowable to us He wanted desperately to prevent our reaching that

    happy place and fulfilling our destiny. Our ‘Father,’ in short, was our adversary and would-be

    killer! No less outrageous, and offensive to traditional opinion, were the fellow’s speculations on

    the nature of our Maker: that He might well be no swimmer Himself at all, but some sort of

    monstrosity, perhaps even tailless; that He might be stupid, malicious, insensible, perverse, or

    asleep and dreaming; that the end for which He created and launched us forth, and which we

    flagellate ourselves to fathom, was perhaps immoral, even obscene. Et cetera, et cetera: there was

    no end to the chap’s conjectures, or the impoliteness of his fancy; I have reason to suspect that

    his early demise, whether planned by ‘our Maker’ or not, was expedited by certain fellow-

    swimmers indignant at his blasphemies.

    “In other moods, however (he was as given to moods as I), his theorizing would become half-

    serious, so it seemed to me, especially upon the subjects of Fate and Immortality, to which our youthful conversations often turned. Then his harangues, if no less fantastical, grew solemn and

    obscure, and if he was still baiting us, his passion undid the joke. His objection to popular

    opinions of the hereafter, he would declare, was their claim to general validity. Why need

    believers hold that all the drowned rise to be judged at journey’s end, and non-believers that

    drowning is final without exception? In his opinion (so he’d vow at least), nearly everyone’s fate

    was permanent death; indeed he took a sour pleasure in supposing that every ‘Maker’ made

    thousands of separate seas in His creative lifetime, each populated like ours with millions of

    swimmers, and that in almost every instance both sea and swimmers were utterly annihilated,

    whether accidentally or by malevolent design. (Nothing if not pluralistical, he imagined there

    might be millions and billions of ‘Fathers,’ perhaps in some ‘night-sea’ of their own!) However-

    and here he turned infidels against him with the faithful- he professed to believe that in possibly

    a single night-sea per thousand, say, one of its quarter-billion swimmers (that is, one swimmer in

    two hundred fifty billions) achieved a qualified immortality. In some cases the rate might be

    slightly higher; in others it was vastly lower, for just as there are swimmers of every degree of

    proficiency, including some who drown before the journey starts, unable to swim at all, and

    others created drowned, as it were, so he imagined what can only be termed impotent Creators,

    Makers unable to Make, as well as uncommonly fertile ones and all grades between. And it

    pleased him to deny anay necessary relation between a Maker’s productivity and His other

    virtues- including, even, the quality of His creatures.

    “I could go on (he surely did) with his elaboration of these mad notions- such as that swimmers

    in other night-seas needn’t be of our kind; that Makers themselves might belong to different

    species, so to speak; that our particular Maker mightn’t Himself be immortal, or that we might be

    not only His emmissaries but His ‘immortality,’ continuing His life and our own, transmogrified,

    beyond our individual deaths. Even this modified immortality (meaningless to me) he conceived

    as relative and contingent, subject to accident or deliberate termination: his pet hypothesis was

    that Makers and swimmers each generate the other- against all odds, their number being so great-

    and that any given ‘immortality-chain’ could terminate after any number of cycles, so that what

    was ‘immortal’ (still speaking relatively) was only the cyclic process of incarnation, which itself

    might have a beginning and an end. Alternatively he liked to imagine cycles within cycles, either

    finite or infinite: for example, the ‘night-sea,’ as it were, in which Makers ‘swam’ and created

    night-seas and swimmers like ourselves, might be the creation of a larger Maker, Himself one of

    many, Who in turn et cetera. Time itself he regarded as relative to our experience, like

    magnitude: who knew but what, with each thrash of our tails, minuscule seas and swimmers,

    whole eternities, came to pass- as ours, perhaps, and our Maker’s Maker’s, was elapsing between

    the strokes of some supertail, in a slower order of time?

    “Naturally I hooted with the others at this nonsense. We were young then, and had only the

    dimmest notion of what lay ahead; in our ignorance we imagined night-sea journeying to be a

    positively heroic enterprise. Its meaning and value we never questioned; to be sure, some must

    go down by the way, a pity no doubt, but to win a race requires that others lose, and like all my fellows I took for granted that I would be the winner. We milled and swarmed, impatient to be

    off, never mind where or why, only to try our youth against the realities of night and sea; if we

    indulged the skeptic at all, it was as a droll, half-contempible mascot. When he died in the initial

    slaughter, no one cared.

    “And even now I don’t subscribe to all his views- but I no longer scoff. The horror of our history

    has purged me of opinions, as of vanity, confidence, spirit, charity, hope, vitality, everything-

    except dull dread and a kind of melancholy, stunned persistence. What leads me to recall his

    fancies is my g rowing suspicion that I, of all swimmers, may be the sole survivor of this fell

    journey, tale-bearer of a generation. This suspicion, together with the recent sea-change, suggests

    to me now that nothing is impossible, not even my late companion’s wildest visions, and brings

    me to a certain desperate resolve, the point of my chronicling.

    “Very likely I have lost my senses. The carnage at our setting out; our decimation by whirlpool,

    poisoned cataract, sea-convulsion; the panic stampedes, mutinies, slaughters, mass suicides; the

    mounting evidence that none will survive the journey- add to these anguish and fatigue; it were a

    miracle if sanity stayed afloat. Thus I admit, with the other possibilities, that the present

    sweetening and calming of the sea, and what seems to be a kind of vasty presence, song, or

    summons from the near upstream, may be hallucinations of disordered sensibility….

    “Perhaps, even, I am drowned already. Surely I was never meant for the rough-and-tumble of the

    swim; not impossibly I perished at the outset and have only imaged the night-sea journey from

    some final deep. In any case, I’m no longer young, and it is we spent old swimmers, disabused of

    every illusion, who are most vulnerable to dreams.

    “Sometimes I think I am my drowned friend.

    “Out with it: I’ve begun to believe, not only that She exists, but that She lies not far ahead, and

    stills the sea, and draws me Herward! Aghast, I recollect his maddest notion: that our destination

    (which existed, mind, in but one night-sea out of hundreds and thousands) was no Shore, as

    commonly conceived, but a mysterious being, indescribable except by paradox and vaguest

    figure: wholly different from us swimmers, yet our complement; the death of us, yet our

    salvation and resurrection; simultaneously our journey’s end, mid-point, and commencement; not

    membered and thrashing like us, but a motionless or hugely gliding sphere of unimaginable

    dimentsion; self-contained, yet dependent absolutely, in some wise, upon the chance (always

    monstrously improbable) that one of us will survive the night-sea journey and reach…Her! Her,

    he called it, or She, which is to say, Other-than-a-he. I shake my head; the thing is too

    preposterous; it is myself I talk to, to keep my reason in this awful darkness. There is no She!

    There is no You! I rave to myself; it’s Death alone that hears and summons. To the drowned, all

    seas are calm….

    “Listen: my friend maintained that in every order of creation there are two sorts of creators,

    contrary yet complementary, one of which gives rise to seas and swimmers, the other to the Night-which-contains-the-sea and to What-waits-at-the-journey’s-end: the former, in short, to

    destiny, the latter to destination (and both profligately, involuntarily, perhaps indifferently or

    unwittingly). The ‘purpose’ of the night-sea journey- but not necessarily of the journeyer or of

    either Maker! -my friend could describe only in abstractions: consummation, transfiguration,

    union of contraries, trancension of categories. When we laughed, he would shrug and admit that

    he understood the business no better than we, and thought it ridiculous, dreary, possibly obscene.

    ‘But one of you,’ he’d add with his wry smile, ‘may be the Hero destined to complete the night-

    sea journey and be one with Her. Chances are, of course, you won’t make it’ He himself, he

    declared, was not even going to try; the whole idea repelled him; if we chose to dismiss it as an… [Content truncated to 3000 words]

  • Week 1 Discussion

    Prepare

    Prior to beginning work on this discussion forum,

    • Review the following chapters in your course textbook Historical Contexts and Literature:
    • Chapter 1: The Age of Revolution (1775-1830)
    • Chapter 2: Scientific and Industrial Revolutions (1780-1900)
    • Review the following assigned literary works:
    • Mary Shelley,
    • , Chapters 3, 4, 5, 10, 11, 12, 15, 16
    • Highuchi Ichiyo, Takekurabe,
    • Review the Week 1 Infographic:
    • .

    Reflect

    This week, you reviewed the following literary works in your textbook or in your online classroom, each of which reflects the social concerns and values of the historical and national context in which it was written:

    • Voltaire, excerpt from Candide (1759)
    • Mary Shelley,
    • (1818), Chapters 3, 4, 5, 10, 11, 12, 15, 16
    • Honore de Balzac, excerpt from The Conscript (1831)
    • Elizabeth Gaskell, excerpt from North and South (1854)
    • Charles Dickens, excerpt from Hard Times (1854)
    • Higuchi, Takekurabe,
    • (1896)
    • Jack London, excerpt from The Apostate (1906)

    As you review each literary work, consider the historical, political, and social movements and ideologies outlined in your course textbook and the scientific and industrial innovations that changed everyday life in the nineteenth century. Note how each work was influenced by the historical context in the country in which it was written, and how some works were written in defiant response to specific events, concerns, or values.

    For this discussion forum, you will choose two literary works to discuss. Consider choosing one work that you particularly enjoyed, and one work that you found difficult or challenging. The discussion forum is an ideal place to discuss with your instructor and classmates specific texts that you find challenging, or ideas that you need clarified.

    Re-examine your chosen works briefly. Using the information in your textbook as a guide, identify how each work reflects the historical, political, social, and national context in which it was written.

    Initial Post

    In your initial post, discuss the following:

    • How does each literary text reflect the historical, political, or social context in which it was written? Remember to use your textbook as a guide in determining a works context.
    • What is the author saying through each work? Is the author an impartial narrator, or is the author responding to a specific movement, ideology, social value, or social concern?
    • Compare the two works briefly. Do they portray similar or different topics, issues, or themes? Do they approach their topics in similar or dissimilar ways?

    Be sure to refer to specific examples (scenes, passages, quotes) from each literary work in your discussion. Your initial post is due by Day 3 and must be at least 400 words in length.

  • Bless Me Ultima

    Please read Bless Me Ultima, and I have attached the link to the book. Use one of these links and if you have trouble accessing to these links, please let me know. OR

    Choose One: Answer the question in 1-2 pages, typed, double spaced, 11 point font, 1″ margins. Thank you.

    Essential Questions for Anaya- Bless Me Ultima

    1. What is the essence of a bildungsroman novel? Specifically, what are the elements that make such a narrative style a success for Anaya? Consider the role of the era in which he wrote.
    2. Other than the word sun, and variations thereof, i.e. bright, what do you remember being the second most used word in the novel? What effect does the word you chose have on the story/characters/reader.

    2a. What effect does the constant repetition of individual words have

    on the novel, + or -, and why?

    1. When we first looked at the book I, very briefly, mentioned Anayas reliance on historical context and identity conflict(s). With this in mind, consider the following and please find examples of each from the text:

    Interesting and unique syntax

    Shifts in POV

    Authorial interjections / tangents

    Any other stylistic arrangements you found interesting

    Now, briefly comment on each of the above; any comment will suffice so long as it addresses the above and illustrates your opinion about each.

    1. Do you see similarities between Ulibarris dialogue and Anayas? If so, what are they? If not, please elaborate.
    2. If you were asked to write an about the book page, typically something short that would appear on the back cover or inside flap of the book, what would you write about this book (you can write a book description if you like, but a bulleted list will be okay too)? I really want you to consider this question as very relevant, esp. in terms of capturing readers, vocalizing your intent, and establishing the parameters for your plot and characters.

    Choose One: Answer the question in 1-2 pages, typed, double spaced, 11 point font, 1″ margins. Thank you.

    Essential Questions for Anaya- Bless Me Ultima

    1. What is the essence of a bildungsroman novel? Specifically, what are the elements that make such a narrative style a success for Anaya? Consider the role of the era in which he wrote.
    2. Other than the word sun, and variations thereof, i.e. bright, what do you remember being the second most used word in the novel? What effect does the word you chose have on the story/characters/reader.

    2a. What effect does the constant repetition of individual words have

    on the novel, + or -, and why?

    1. When we first looked at the book I, very briefly, mentioned Anayas reliance on historical context and identity conflict(s). With this in mind, consider the following and please find examples of each from the text:

    Interesting and unique syntax

    Shifts in POV

    Authorial interjections / tangents

    Any other stylistic arrangements you found interesting

    Now, briefly comment on each of the above; any comment will suffice so long as it addresses the above and illustrates your opinion about each.

    1. Do you see similarities between Ulibarris dialogue and Anayas? If so, what are they? If not, please elaborate.
    2. If you were asked to write an about the book page, typically something short that would appear on the back cover or inside flap of the book, what would you write about this book (you can write a book description if you like, but a bulleted list will be okay too)? I really want you to consider this question as very relevant, esp. in terms of capturing readers, vocalizing your intent, and establishing the parameters for your plot and characters.