Life of Pi: Final Essay

Morally ambiguous characters—characters whose behavior discourages readers from seeing them as purely good or purely evil—are the heart of many works of literature. Choose a character from Life of Pi to identify as morally ambiguous, and write an essay in which you explain how the character can be viewed as such and why his moral ambiguity is significant to the work as a whole. Avoid mere plot summary.

                Yann Martel’s novel Life of Pi is steeped in spirituality and symbolism. With expertly researched detail and smooth transitions, the author crafts characters whose beliefs and actions can easily be categorized as either moral or immoral. The stark contrast between good and evil displayed by characters like Pi Patel, the hyena, the orangutan, and the zebra is juxtaposed with a less noticeable, but equally effective, theme: moral ambiguity. The author who records the menagerie of events that comprise Pi Patel’s life can be identified as a character uncategorized by standards of both virtue and vice. The evident spiritual yearning and unknown identity of the author contribute to his moral ambiguity and, on a larger scale, the spiritual significance of Life of Pi.

                Before Pi recounts his tale of both mental and physical survival, the unnamed narrator introduces himself with a few obscure facts. The reader soon finds that the author has achieved only paltry acclaim for his previous works and that he travels to India in search of inspiration. His (or her, for that matter) acknowledgement of members of the Japanese Embassy in Ottawa and the Canadian Council for the Arts could possibly suggest that he is Japanese-Canadian. Additionally, the fictional author notes that he can translate Japanese. The unknown nationality, family background, and religious beliefs of the author contribute to his moral ambiguity. The reader does not know how to idealize the figure responsible for telling Pi’s story because he exposes his own life in dim light. As a result of his murky self-characterization, the author’s morality is not easily determined. The spiritual impact of his piecemeal personal description lies in the unknown, which not only appears in the “Author’s Note” but throughout the novel as a prevalent reminder of all that has not and may not ever be discovered.

                Not only does the narrator minimalize concrete facts about himself, he also makes evident his lack of self-identity and purpose. The first sentence in Life of Pi is “This book was born as I was hungry.” The author’s lackluster literary success and his journey to India further depict the confusion he experiences as he yearns for a good story. He explains that when he introduced himself as a writer, people would tell him unsatisfactory stories in hopes of lending inspiration and perhaps gaining publicity. The author’s world is devoid of inspiration until Pi and his tale that promises to restore faith in God enters it. Since the author often seems to be chasing inspiration and living without amazement, his positive and negative qualities cannot be fully deciphered. His moral ambiguity and spiritual search contribute to the significance of Life of Pi by letting the reader know that human character is often blurred when it is not defined by some type of spirituality.

                The gray area between good and evil leaves ample room for interpretation, and interpretation is a major component of all literature. The morally ambiguous qualities of the author in Life of Pi, which are expressed in both his lack of background information and his looming skepticism towards spirituality, allow the reader to examine the role of uncertainty. The two main appearances of the author at the beginning and end of Life of Pi are thought-provoking expositions of a character that embodies the moral middle ground that all humans encounter as they strive to find purpose. 

Current Event Blog Four: Obama on Gay Marriage

Summary: At an event at the Rubin Museum of Art in downtown New York City, President Barack Obama spoke publicly for the first time since he announced his support of gay marriage. Obama stated that gay marriage and the expansion of rights in general "doesn't weaken families; it strengthens families." The event, which was co-hosted by Martin, the Democratic National Committee’s LGBT Leadership Council and the Futuro Fund, a Latino get-out-the-vote organization affiliated with the Obama campaign, was also a backdrop for the President to discuss his campaign platform.  

Response: The President's stance on gay marriage is certainly one he in entitled to. Although I do not theologically condone homosexual marriage, I can agree with Obama when he says that the country has, historically, only benefited from the expansion of rights to all groups. I do find two issues with his speech at the Martin Art Museum event. Firstly, Obama says that marriage equality will strengthen families. I find this statement unfounded in context because he offers no support to his claim. As the leader of our nation, Barack Obama's words are extremely influential to the American people. His assertions must be substantiated by fact. Secondly, Obama quickly shifted the focus of the event from marriage equality to his own campaign. Although he spent more time speaking of his own policies rather than those of Republican candidate Mitt Romney, Obama does directly attack Romney as a "rubber stamp" politician who will support any Republican legislation regardless of its effectiveness. As I observe our President, I become increasingly aware that most of his appearances and endorsements seem to be rooted in political image and gain. Overall, Barack Obama's marriage equality speaking engagement was relatively harmless and largely bereft of controversy; however, his stray claims and campaign ploys make me question the sincerity and support of the President. 

Ali Weinberg, . "Obama: Gay Marriage 'doesn't weaken 

     families; it strengthens families'." msnbc.com. MSNBC

      News, 2012. Web. 14 May 2012.

Life of Pi: Final Blog

   The last section of Life of Pi was certainly the most thought-provoking and emotional portion of the book. Pi's struggle with survival is deeper than I had previously imagined; he encounters not only physical but also mental obstacles, which he overcomes with fierce spirituality and storytelling. The theme of the novel becomes inreasingly prevalent as it progresses, as does Pi's character.
    I like to think that the central idea of Life of Pi and perhaps of life itself is that man seeks God, both consciously and subconsciously, in every aspect of his life. Religion is a manifestation of the human desire to make sense of his surroundings and love his Creator. As Pi continues his journey of survival on the Pacific, his dependence upon God and the notion of divine love becomes integral to his mental endurance. Pi cries out to God when he is distressed and hungry and praises Him when he finds food and temporary solace. Pi and all of his actions, especially his integrity-based will to live, point to God. In the same way, all that we as humans do indicates a spiritual quest for survival.
    Pi, whom I referred to as the epitome of reason in my previous blog, is further revealed in this last portion of the book. As he recounts his tale to two investigators at an infirmary in Mexico, we as readers see that he is not as sound as we thought he was. He is overtaken by grief and shock, and he has every right to let his emotions pervade his words. Pi's cutting wits, however, are as sharp as ever as he presents astute arguments about the validity of his stories.
     Life of Pi is now my favorite work of fiction. The premise of the novel is astounding and extensively supported. The prose is breathtaking and certainly not repetitive, and the notion that a boy can love God despite the horrors he has seen is ultimately comforting.
 

Current Event Blog 3: A New Kind of Couples Counseling

Summary: As opposed to traditional marriage counseling, in which couples deal with their problems with hopes of staying together, a new, more realistic method is gaining traction in the United States. Discernment counseling offers a couple two options for their marital future: resolution or divorce. Couples can see a discernment counselor, who also sets aside time during each session to see both spouses separately, up to five times. Bill Doherty, a professor in the family social science department at the University of Minnesota, summarizes this new relationship therapy by saying, "We basically only see people where divorce is on the table."

Response: Divorce rates are increasing steadily, so a new type of counseling that recognizes and attempts to handle this social trend is quite overdue; however, discernment counseling also gives couples yet another opportunity to think and talk about how awful their marriages are. While I myself I have never been married (had I been, I wouldn't have been able to participate in Junior Miss), I can see how talking about divorce and legitimately considering it would make divorce rates rise. While some couples can benefit from discernment therapy as a vehicle for the safe disassembling of a dilapidated relationship, others may find themselves bringing an unnecessary end to a salvageable marriage.

Diane Mapes, . "Should we call it quits? A new kind of 
     couples' counseling." msnbc.com. MSNBC News, 
     n.d. Web. 3 May 2012.

LIFE OF PI Part 3: Chapters 56-89

Pi's journey or, rather, predicament, transforms from a somewhat dry account of seafaring and zoo animals to a pithy description of both physical and spiritual survival. I saw in this section three main premises: fear is a most evil opponent, man can get used to anything, and that the seeming absence of God causes the greatest despair.
As Pi depicts the effects of fear in Chapter 86, the suffering that he is to recount as the book progresses is evident. The reader can tell that he is speaking from experience, yet his words can easily be related to those of us who haven't floated the Pacific with a Bengal tiger. The presence of fear in Life of Pi makes Pi a realistic character, one who tosses and turns in his sleep like the ocean on which he has found himself.
Pi, who is an animal-loving vegetarian, is initially scarred when he hunts and kills fish, turtles, and even birds. As the need for food intensifies, however, he becomes accustomed to killing and eating animals. As he describes this change in attitude, he justifies it by saying that man can get used to anything. This underlying theme is pervasive in our culture as well. I would even go so far as to say that events like the Holocaust and school shootings are in part caused by normalization of atrocity. Additionally, when Pi successfully attempts to assert his dominance over Richard Parker, he claims that animals can get used to anything as well. Here, the reader can see that perseverance and intellect prevail over brute strength. The power of acclamation is paramount to Life of Pi and indeed the continuation of Pi's life because adaptation is often the key to progress.
This section of the book is more spiritual than the last; however, the reader sees a different side of Pi's religious zeal. Pi prays everyday he is on the life raft and tries to remain optimistic, but he often falls into despair because of the seeming absence of God. No longer is "I just want to love God" enough for Pi: he wants God to love and save him. As humans, we can feel tricked by a seemingly silent God who does not answer our prayers on our terms. Sometimes the situation can feel as dire as Pi's. The depiction of spiritual doubt in this section of the novel is refreshing, though, because it makes Pi a realistic character with a full range of emotions, including anger.
Life of Pi is a book in which I can see myself, despite the outlandish story line and cultural difference. In some ways, we are all floating with our fears, whispering prayers into the sky, God's immense and occasionally seemingly deaf ear.

Current Even Blog 2: Liberian Warlord Convicted

Summary: Former Liberian President Charles Taylor was unanimously found guilty of wartime atrocities after a trial at the U.N.-backed tribunal at the Hague. Taylor, who sponsored numerous violent rebel groups in neighboring Sierra Leone, was convicted in what is being called a landmark case for human rights and international justice. Alex Vines, head of the Africa Program asserts, "This is an important signal that the international community can deliver, and it will be a consideration for dictators in the future."Response: Taylor's conviction is a prime example of the power of the international court in the administration of justice to those whose atrocities evade national judicial systems. I was happy to read that the people of Sierra Leone and Liberia rejoiced at the news of Taylor's conviction because they were finally receiving the assurance that justice can and will serve even the most mighty warlords. The funny thing is, I have not seen any "Stop Taylor" posters or watched any hip and musically enriched videos encouraging me to take action. Unlike the recent Kony 2012 movement, which involves more media and merchandise than it does activism, Taylor's conviction was to-the-point and lacking in controversial media coverage. The Taylor case shows that there are some issues that Facebook, friendship bracelets, and fads can't fix. The international court is growing in power and certainly does not need our "liking" it to be effective. 

Cendrowicz, Leo. "Warlord Convicted: Liberia's Charles 

     Taylor Found Guilty of War Crimes." Time 

     Magazine. Time INc. , 26 A. Web. 26 Apr 2012. 

Life of Pi Part Two: Chapters 37-55

Life of  Pi continues to inspire me; however, the plot is becoming more complicated and slightly less reflective. Symbolism abounds, but so does boat vocabulary.Pi's character, the power of spirituality, and the hunger for survival were, to me, the most important elements of this section.
 Pi's personality is more deeply reflected as he encounters non-religious situations and incorporates spiritual approaches into his problem-solving methods. As the Tsimtum sinks, Pi must think and move quickly rather than lingering in the contemplative state in which he is often found. This new side of Pi is the embodiment of human reason: his ability to think clearly in the face of tragedy and to examine his circumstances with gripping acceptance are traits that we as humans strive to attain. Pi, whose namesake is an irrational number, maintains reason in the most trying scenarios. As Pi moves from heady dreams of loving God to the stark reality of the death of his family, his serene and astute persona prevails.
What makes Pi so able to psychologically survive his happenstance journey on the Pacific Ocean is his deep connection to God. He cries out to Jesus, Mary, Muhammad, and Vishnu for spiritual guidance. Chapters 37-55 depict the benefits of being close to one's God: peace, acceptance, reason.
As Pi struggles on the lifeboat with four wild animals (although that number quickly dwindles to one: the tiger), his zeal for life pervades all of his actions. Pi cries out, "God, preserve me," in the face of the tiger, which portrays his sincere will to make the most of his life. He knows that his family is dead. He knows he may be eaten by a tiger. He believes that there is life beyond death, but he holds onto the simple human breath his God has given him.
Although I enjoyed "Toronto and Pondicherry" more than Chapters 37-55, Life of Pi is still, to me, a book that is changing the way I see my beliefs and the beliefs of others. The plot includes copious details about the deaths of zoo animals and the dimensions of the lifeboat, but these subtle annoyances are surely balanced by the soulful prose of Pi Patel (via Yann Martel).

Current Even Blog 1: Christians helping everyone?

Overview: An atheist in San Antonio who had vowed to file a lawsuit against a church who set up a nativity scene on the courthouse square in surrounding Henderson county could not carry out his plans due to medical complications. Patrick Greene, who did not believe that any religious symbol belonged on government property, was suffering from a detached reitna and possibly going blind. In response to the news of Greene's ailment, members of San Springs Baptist Church in Henderson county raised $400 dollars to help Patrick Greene.

Response: This act of charity, however small, is representative of the true focus of the Christian church and its doctrines. The efforts of the members of San Springs Baptist Church are effective regarding the world's perception of Christianity, especially in light of the recent, negative press the church has been receiving. Christianity is a religion of grace: its God sent love and redemption to an undeserving people. Similarly, the church teaches its followers to love all people regardless of their beliefs, actions, or affiliations. Unlike members of the Westboro Baptist Church, who protested the funerals of homosexual soldiers, members of San Springs Baptist Church have reflected the doctrines of the Christian church by aiding a person who did not share their beliefs.
Additionally, the donations and positive attitude towards atheist Patrick Greene were much more effective than some Christians' condemnations of atheism. Patrick Greene was thankful for the donation, which he used to buy food for his family and his cat. This church's unbiased charity is proof that Christianity has the potential to be a positive and relative factor in society.
Greene, who is now moving to Henderson county because of its cheap rent, was inspired by the work of the Christians there. He still is not converted, but that is not stopping members of the church from showing him unbiased charity. The impact of this single case is sure to pervade the world's percpetion of Christianity, and hopefully we Christians can learn from San Springs' example: read the Instruction Manula.




msnbc.com staff, . "U.S. Christians raise $400 to help ailing 
     atheist who railed against their nativity." msnbc.com. 
     MSNBC News, n.d. Web. 22 Apr 2012.

Life of Pi, Part One: Author's Note, Toronto and Pondicherry

Life of Pi is a relaxed, gripping novel that stirs questions of religion and purpose without condescension. The "Author's Note", which establishes that the narrator of the story is indeed fictional, builds a currently nameless character who is searching for inspiration. I found this spiritually hungry narrator helpful in understanding the book for two reasons: he/she represents the basic human desire for the nonphysical yet highly tangible presence of God, and his/her participation in the story lets the reader know why Pi is explaining his life and his beliefs.
As Pi Patel denotes his early life and his love of God in "Toronto and Pondicherry", symbols and superb characterization unfurl with stylistic grace. The zoo, which is a sanctuary for both Pi and the animals, can be related to the sort of menagerie of religions that Pi practices. The tiger (somehow I have a feeling he will show up later. Yes, I read the back of the book) is representative of the purpose of all creatures and animals' innate desires for simple survival and reproduction. Also, Pi's name has several aspects that portray his character. "Piscine" is the French word for pool; similarly, Pi's life up to the end of "Toronto and Pondicherry" has been a contained, serene journey. Audibly, the word "Piscine" sounds like "peace", which is a paramount trait of Pi's spirit. "Pi" is also 3.14, a complex number. Pi practices three religions and is considered complex by almost everyone he encounters.
Last night I went to yoga, came home, and read this book. It was one of the most relaxing yet intellectually challenging Tuesday nights I have had in a while. Life of Pi, with its unconventional fiction and well-researched structure, is quickly turning into one of my favorite books.

FAHRENHEIT 451:

'The Sieve and the Sand" and "Burning Bright" were compelling and certainly necessary components of Fahrenheit 451. These two sections detail the motives and backgrounds of the characters and thicken the plot of the story; however, I still feel like I am flipping through a catalog of mankind's very best intellectually motivational quotes. The interactions between characters, dismal and confusing setting, and the melodramatic tone of Fahrenheit 451 made the book an inspiring yet awkward read for me.
 The dialogue in Fahrenheit 451 seems only to serve as a catalyst for Bradbury's central theme: the importance of literary preservation in the face of a technologically driven world. Even though Bradbury's purpose is of utmost importance, his metaphorical immodesty makes me feel like I am being bombarded with symbolism. Montag and Faber talk about books only, and they seem to agree on a plan of action far too rapidly. The quick character interactions are most likely reflective of the fast-pace setting of Fahrenheit 451, but they still make the pace of the book uneven.
I understand that this is a dystopian novel; however, at times I feel like Bradbury is trying to depict a world reminiscent of the junkyard modern art often seen at quirky garage sales. Maybe that was what he was going for, and maybe it wasn't. The point is, I do not really know because the unfamiliar technology used throughout the book conjures incongruous images of what the setting resembles.
I enjoyed Fahrenheit 451, but the constant serious tone drained my attentiveness as a reader. Montag, Faber, and Beatty constantly rave about books: their allure, their threat to governmental control, and their flammability. (Of course, this book is about books, so I should have seen it coming).
I know that I have really brought the heat on Fahrenheit 451 by bringing it under the rapid fire of eleventh-grade literary analysis. The book is inspirational and Bradbury's prose is wildly poetic and emotional, but its bizarre and overplayed concepts and themes caused my enthusiasm for dystopian fiction "burn out."

The Hearth and the Salamander: FARENHEIT 451, Part One

Ray Bradbury knows what he wants to say and how he wants to say it, which spares the reader the tedium of deciphering theme, tone, and character complexity. The first section of Fahrenheit 451, "The Sieve and the Salamander" , is a swift introduction to the author's platform: technology robs humans of emotion and everything else that makes life worth living. I appreciate the work as a profound piece of social commentary, but so far its fictional qualities do not burn as brightly as I had hoped.
The characters of  Fahrenheit 451 are symbols with no evident depth (yet, at least). All the reader knows about Montag is that he is a fireman (an unhappy fireman, to be more specific). Mildred, his wife, is no more than an embodiment of the emptiness that pervades society throughout the novel. Captain Beatty only speaks when an ironic social critique needs to be made. Clarisse fades in and out of the story effectively, though. She has significantly more depth than the other characters, which points to the book's theme: thinking, reading, and questioning add purpose to life.
Here is what I do like about the book: the author's prose. When Bradbury does go into detail (whether it be about the eeriness of technology or the airiness of Clarisse), the words are magical and powerful. I find myself stumbling into lines that I think would look good on Books-a-Million tote bags or intellectual coffee mugs. In fact, Fahrenheit 451 could easily be dissected and displayed as a collection of motivational, intelligent quotations.
At this point, I like the book. Bradbury's passion for a society that thinks and reacts and feels emotion is powerful. He should have been a motivational speaker as well as a social commentator via novelization.

The Great Gatsby...the Withering of the American Dream (essay)

F. Scott Fitzgerald’s The Great Gatsby effectively portrays 1920s America and its twisted, unsavory values. The novel has been lauded as “the American masterwork” by Jonathan Yardley of The Washington Post because of its characterization of the Jazz Age and all its unsatisfactory glory. One critic has written, “The theme of Gatsby is the withering of the American dream.” Fitzgerald’s work validates this statement. The symbolism and characters of The Great Gatsby support this contention by portraying the bleak pursuit of artificial happiness.
The Great Gatsby is rich with symbolism. Fitzgerald uses extended metaphors to portray the depravity of the Jazz Age. The green light across the bay from Gatsby’s home is a central symbol of man’s futile pursuit of unattainable satisfaction. The light shows how the American dream is ephemeral and evasive; it is lucrative yet eternally unreachable. The valley of ashes is another example of Gatsby’s effective symbolism. This area of New York, whose houses, buildings, and inhabitants are covered in ashes, symbolizes the mediocrity and monotony of the pursuit of the American dream. George and Myrtle Wilson, who live in the valley of ashes, have a dull marriage and lead dull lives. Their existence and relationship is symbolized by the ashes, which are simply remains of a once-lively past dream. Finally, Fitzgerald shows how the American dream has deteriorated by introducing the eyes of Dr. T.J. Eckleburg, an enormous pair of eyes on a large billboard in the valley of ashes. The eyes represent an all-seeing, absent god who does nothing to help his people achieve happiness. The withering of the American dream can easily be seen through the symbolic devices in The Great Gatsby.
F. Scott Fitzgerald constructs characters that embody the selfishness, confusion, and constant search for satisfaction that were all too prevalent during the Jazz Age.
Nick, the novel’s cool, detached narrator, is a prime example of a man whose life has passed him by. As he turns thirty, he realizes that he has little to his name: a mediocre job as a bondsman, an “eyesore” bungalow in West Egg, New York, and no wife or love interest. Nick’s second cousin Daisy, however, lives in a stylish house in East Egg, New York, with plenty of money to spare. She is married to a wealthy man named Tom, but she is miserable with him, as he is with her. Additionally, Nick’s next-door neighbor, Jay Gatsby, is the ultimate depiction of the withering of the American dream. Gatsby built his entire empire of wealth in order to gain the affection of his lost love, Daisy. Subsequently, he is crushed when he realizes that his expectations of Daisy are impossibly high and will never be satisfied.  of  Nick realizes that what should make him happy and fulfilled (a spouse and financial stability) only made his cousin and his neighbor miserable. The characters in The Great Gatsby and the relationships between them easily support the contention that the novel is central to the theme of the dying American dream.
1920s America was a place of turbulent change: the economy was booming, and people had more opportunities to earn money than ever before. The American dream, which can be defined as the ideal desire for happiness, seemed to be the greatest form of achievement that any citizen could attain. However, as F. Scott Fitzgerald claims throughout The Great Gatsby, the American dream was withering due to selfishness and twisted goals. Fitzgerald’s use of poignant symbolism and effective characterization centralizes his existential argument that life is vain and unsatisfying. As a whole, The Great Gatsby depicts the typical American prioritization of money over love as well as the confusion between the two. F. Scott Fitzgerald uses this novel to expose how the American dream is barely a dream, but rather a haunting image of lifeless aspiration.

The Great Gatsby...And Then We Die (chapters 6-9)

Well, that was depressing. And beautiful.
The Great Gatsby is a bleak yet poetic depiction of the destruction of the American dream, even of the individual dreams that manifest themselves in all of us. Throughout the second half of the book, the plot has thickened, characters have blossomed, and symbolism has flourished.
As Nick narrates with cool detachment, the other characters in The Great Gatsby become more lively and life-like in Chapters six through nine. Daisy is revealed as the hollow body full of clinking coins that she is, and Tom's heavy grip on her future becomes evident. Jordan is almost as mellow as Nick, which would seem to be the recipe for a perfect match. Gatsby, of course, is exposed in all of his glory and desperation as a man with a single purpose and lofty self-actualization. We see him tumble down the pedestal he built for himself as he realizes that the Daisy he created in his mind and the Daisy on the other side of the green light are two different people. The one he loves does not exist. Even though Nick seems distant, he realizes how fast life is passing him by and how little he has to show for it. Overall, the second half of the book provides an opportunity for the characters to accept their circumstances and "beat on" in drudgery.
This brings me to the plot. Although it was not the most enjoyable aspect of the book, Chapters 6-9 raise the adrenaline, envy, and hysteria of the entire work. Relationships are tested and defeated; tragedy strikes in more ways than one. Fitzgerald weaves together the stray ends of the first half of the book. Even after the climactic Chapter Seven, I was still left guessing as to how problems would be resolved. I was surprised. Just as events have appeared to settle down, Jay Gatsby is shot as he floats aimlessly in his pool with the stark realization that he will always live in a castle for one.
The symbolism in the latter portion of The Great Gatsby is a gift to the poor soul who just wants to finish her English assignment and maybe eke some enjoyment out of it (that's me). Fitzgerald's words are spellbinding. The green light comes back in these last few chapters, particularly on the very last page of the book. The symbol shifts from one of desire and ambition to one of unattainable satisfaction. In truth, we are all parallel with Gatsby, reaching towards a goal that will inevitably float away ("Wilson" in Castaway, anyone?). The eyes of T.J. Eckleburg return as well, depicting an absent god who sees but does not interfere. This made me think: if God is only eyes, then why do we fear Him? If He is nothing more than a cosmic security camera, then why do we worship Him? (Fortunately, I like to think that God is not only eyes, but an entire Being: a spirit that emanates love and grace. I guess that's not central to the theme of the book, though.) Overall, the symbolism in these chapters depicts the distant goals and god that evaded Gatsby's characters.
I was told that everyone dies in the end of this book. The funny thing is, only two do, and those who deserve to die skip off to Chicago with their materialistic wives. However, everyone spiritually dies as the book ends. Daisy and Tom tuck themselves into a proverbial coffin and rot in monotony almost every night. Nick's aspirations of achieving something slowly wither as he turns thirty. Gatsby dies far before he is shot: he dies as his expectations of Daisy wilt before his eyes. So here is the point of the book: life sucks, and then we die. And sometimes, we wake up the next morning and do it all over again.

The Great Gatsby...Pretty Good (Chapters 1-5)

F. Scott Fitzgerald's endearing prose makes me feel like I am swinging, snapping through the roaring twenties. The Great Gatsby has, so far, has incorporated dynamic characters into a not-so well-woven plot. The symbolism and theme, however, redeem the tale and make it one of national importance.
Nick Carraway appears to be the most cool-headed character in the entire book. His narration can almost seem detached, but his occasional emotional absences allow the reader to explore his or her own opinions of the other characters. Tom Buchanan is the ultimate alpha-male: his infidelity to and simultaneous possessiveness of Daisy are all too familiar even to the twenty-first century reader. Daisy is whimsical, impulsive, and enchanting; she is, in many senses, a flapper with a wedding ring. Gatsby, although he has experienced much of what the world has to offer, is boy-like in his unrealistic dreams of his future with Daisy. These characters are perhaps the most enjoyable aspects of the book; however, the plot in which they interact is, in my opinion, lacking in cohesion. The scenes seem choppy, and motives are often blurred. Hopefully, the plot will include more than Gatsby's parties as the book progresses.
Fitzgerald, I believe, should have been a poet. His use of language throughout The Great Gastby is sporadically enchanting. His appropriate use of simile is, if I may, like a spoonful of sugar that helps the plot go down. Fitzgerald primarily uses Nick to depict the setting, other characters, and dialogue with finesse. Gatsby's symbolism contributes to the book's theme: the shattering of the American dream. The green light, which represents hope, well-being, and satisfaction is highly relative to the desires of today's American. The valley of ashes, a symbol of dullness and bleak mediocrity, also transcends Fitzgerald's lifetime and touches those of us who weren't New Yorkers or ever alive during the twenties.
So far, I think the book has potential (says Mary Ryan, the ultimate literary critic). I hope that Daisy and Gatsby both realize that neither can make the other happy and that Nick and Jordan fall together effortlessly. The Great Gatsby isn't over yet, and I still have time to think that it is, indeed, great.

"Young Goodman Brown"--Enough With the Pink Ribbons.

Nathaniel Hawthorne's short story about human motives and spirituality is a whirlwind of a tale. "Young Goodman Brown" begins in the bleak streets of Salem and takes the reader into the deep forests of Massachusetts and the human soul. I especially enjoyed the central question that the story posed: are people inherently good or evil? Hawthorne portrays young Goodman Brown and his new wife, Faith, as God-loving, innocent, and optimistic people. Soon enough, however, the reader finds that Goodman Brown has been lured into the trap of devil worship. When he eventually resists and thinks himself righteous for doing so, he realizes that the entire village is secretly affiliated with Lucifer. Brown's experience, although only a nightmare, offers a unique view of both internal and external evil.

Goodman Brown is appalled by the evil within him, the ravenous hunger he has for wrongdoing and devil worship that arises as he makes his way through the forest. In the same way, humans are often shocked at their own inhumane and twisted desires. I believe that Hawthorne succeeded in explaining how an individual is often divided in a struggle between good and evil and can surprise himself with his decision to choose evil.

Goodman Brown then wonders farther into the shrieking forest, only to find elders and pious members of his church as well as those of soiled reputations all communing with the devil. He is shocked to find out that those who seemed to adore God so outwardly could now wildly proclaim their love for the world's source of darkness. The most noticeable aspect of the devil worship that is central to this story is the village's unity in their love of evil. In the story, even the devil recognizes that evil is a powerful, unifying force: "Welcome, my children, to the communion of your race."

"Young Goodman Brown" made me reflect on my own faith. So often I find myself turning from what I am told and certainly believe is good. Following the crowd is easier than clinging to faith. This story, although I believe it to be highly allegorical, characterizes the human race's passion for evil and constant rebellion against what is good. Hawthorne has an excellent point; however, I was a bit bored by his overuse of symbolism. I get it, okay? The ribbons in Faith's hair were pink. Her name is Faith. She wears pink ribbons. She is faithful. She is innocent. Did I mention the ribbons were pink?

Toss in a few tricky vocabulary words and a few hints of King James era English and voila: the devil's recipe for a thought provoking concept but disappointingly bland short story.  

ON WRITING Essay: Another One Down

Honestly, I do not feel like writing this essay right now. My big toe hurts, plus today is Monday. Reading On Writing, however, has changed my perspective on the craft and the commitment and it requires. According to author Stephen King, a writer becomes a full-fledged author when he or she writes frequently, regardless of circumstance. Throughout his own life, King has written frequently through adolescence, addiction, and injury. King's perseverance has resulted in many best-selling titles as well as the author's title as a dynamic modern writer.
King's love of writing began when he was a child. At first, he imitated his favorite science-fiction stories with elementary precision. As he found himself in the pit of confusion known as adolescence, Stephen King approached his writing career with great ambition. He began to submit his stories to magazines and continued to submit even after they were rejected. King recognized his passion for the craft at a young age and resolved to keep writing throughout his life. His early writing career shows the aspiring author that not all projects will be glamorous or successful. Often, they are copies of the successes of others or rough blueprints of the young author's potential.
Stephen King's personal life was not quite as horrifying as some of his novels, but his battle with addiction was dismal. As an adult, King found himself drinking at alarming frequency and experimenting with cocaine. If his wife, Tabitha, had not interfered with the drugs that were killing him, he might not be here today. King's writing career, although darkened by addiction, never stopped. He mentions that he kept writing novels throughout this period; sometimes he wrote in a drunken stupor. King even notes that there are certain books and parts of books that he does not clearly remember writing. The quality of his writing was diminished by the quality of his liver, but he never gave up the craft. King's  battle has shown me that writing, if done correctly, becomes a part of the author's life. Writing often saves the author, just as King realized while writing Misery that he was writing about himself. His wife and his writing saved him from a flat, dull life of addiction. Writing is therapeutic, and, most importantly, it sustains the will to eke purpose out of life.
The last few pages of Stephen King's On Writing really hit me like a truck, or, rather,  a blue Dodge van. (I could not resist.) In the summer of 1999, Stephen King was hit head-on by a van while walking on the side of the road in Maine. His recovery was painful and tiring. A lack of the will to write would be completely understandable under these circumstances; instead, King held the pen with tenacity and kept writing. He was actually in the middle of On Writing when the accident happened, so his completion of the book in the midst of physical pain is the perfect ending to a book about the power and techniques of writing. Of course, I am not inferring that I am glad King was injured. I am glad, however, that King did not let physical damage harm his capacities as an influential author and teacher. Stephen King wrote regardless of his circumstances. He did not write with bitterness or robotic anger, though. He wrote with the gratitude and passion that every author should have for the craft. His last few remarks in the book showed me that writing is supposed to make people happy. Its essence should make the author rejoice that he has words and the creativity to arrange them any way he wants, whenever he wants.
On Writing has shifted my perspective on every assignment I receive and every quiet moment I have to express my thoughts. I have wanted to be an author for a while, but this book has made me realize that I already am. Every paper, every poem scribbled in the margins, every half-finished short story about that one old lady that I simply cannot stop characterizing, is a reflection of my commitment to the craft. I now approach assignments like these with more joy than I previously have because they are just opportunities for me to use my words. Stephen King could write with rejection, alcohol, and pain medication pumping through his veins; surely I can forget my big toe and lose myself to the clicking of keys and the grinding of ideas for just a little while.

On ON WRITING: Full-circle in Part Three

Beginning with theme, part three of Stephen King's On Writing covers a plethora of literary and personal aspects of King's (and indeed any writer's) career. This final section of my assignment was brimming with vital information, but that did not make reading it a simple task.
At times I wonder if certain skills I am learning in school will be applicable to the rest of my life. Algebra, for example, made me question just how important graduating is. I mean, please, logarithms and variables are not essential to success as a human being. I have lean red through my reading of On Writing, however, that creativity and expression certainly are. Especially as an aspiring writer, I benefited heavily from this text.
King's concept of the Ideal Reader was especially y striking. It made me ask myself whom I wanted to impress and why. I loved the idea that writing can be a noble and powerful means of communication between a writer and his friend, spouse, family member, or God. Additionally, the feww chapters regarding the editing process taught me the value of patience regarding the manuscript. Stephen King gives the eager writer permission and a stern suggestion to take breaks between the first and second draft a d to treat that draft as a newly found piece of his or her former self.
I truly thought that the book would end on a slightly technical note. I expected King to end with an inspiring, informal conjecture about the magic of writing. Instead, he recounts a painful accident that he experienced while writing the book. His realization that writing is a remedy and an outlet for frustration was incredibly poignant. He explains that finishing On Writing was laborious. It was meticulous and daunting, but (like most bold attempts at. Sharing ideas) it was worth it.
Then he goes on to include a technical self-editing example and two extensive book lists in his three "Furthermore" epilogues. very brief. Very technical. Very King.

Obama's Red Tie: a Symbol of Conservatism or Communism? (cue gasp)

The atmosphere surrounding tonight's address was powerful: Congresswoman Gabrielle Giffords listened to the last speech she would hear as a representative of Arizona, and Steve Jobs's widow enjoyed the company of First Lady Michelle Obama as well as the moving words of the president. As for my opinion of the 2012 State of the Union address, my thoughts are as divided as the components of our president's speech. By addressing conservative issues with compromise and simultaneous liberal policy, our president's oration made me wonder how our executive leader and nation as a whole will fare in the coming months.
President Barack Obama lent much of his speaking time to fairly conservative issues: changing tax codes, offshore drilling, and industry within the United States. He proposed that tax codes be changed so that businesses would not be tempted or forced to outsource labor. He also claimed that we should increase offshore drilling and begin to use one hundred-or-so years that our nation's natural resources have to offer. Obama added that the recovery of the automotive industry in cities like Detroit will be happening all over the country soon. These conservative portions of the State of the Union address seemed highly conciliatory for Barack Obama. Perhaps I have been ill-informed for the past three years (I probably have been ill-informed; I have fed myself a steady diet of America's Next Top Model), but I thought Obama was an advocate of outsouricng labor, oil, and industry. Obama, I believe, had good intentions for this speech. He wanted to reach across party lines to build a better nation and most likely to secure wavering independent votes.
Of course, the conservative bliss of the State of the Union address would not last. Suddenly, my right-wing ear began to pick up on liberal terms. In a well-intended segment o f his oration, President Obama beings to stand up for the little man by claiming that everybody should play by the same rules in order to keep the economy and the nation a fair place. I'm not on a Communist witch hunt, here. I do see, however, another one of Obama's attempts to secure votes from the lower class by declaring a war on poverty that simply cannot be won. Ironically, towards, the end of his speech, Obama references Abraham Lincoln by concurring with Honest Abe's advocation of a government that will help the people do only that which they cannot do for themselves (and nothing more). This statement was, to me, a direct contradiction of the "fair play" society that our president seemed to support earlier in his speech.
Behind President Obama sat a choir of two: Vice President Joe Biden and Speaker of the House Joe Biden. A glassy-eyed Biden seemed to be enchanted by every word of Obama's pleasing rhetoric; whereas, Boehner sat skeptically and pondered the validity of our presidents' words. As for me, I sit between Biden and Boehner, acknowledging the intelligence of our leader but quesitoning his sincerity and leadership skills. Much like his red tie, Obama's State of the Union address could represent either a more conservative or more sharing-based economy. Or perhaps it was just flashy and colorful, the only clean thing hanging in a closet of dirty political laundry.

On ON WRITING: Part Two Full of Knowledge, Lacking in Previous Anecdotal Entertainment

Part One of my Stephen King reading and blogging assignment for On Writing left me pleasantly suprised. Rather than bloody murder synopses like those found in King novel's, I found myself identifying with the conversational tone of King's roughhewn autobiography, or "CV." Of course, I had to turn the page and find that On Writing was no longer a stroll down memory lane but a trek to literary greatness. Part Two of my assignment was missing the enticing stories from King's past; those were replaced by a thorough introduction to the craft. Even with King's constant wit and striking realism, the pace at which I read On Writing slowed from a carefree skip to a powerwalk in high heels. (Perhaps this had to do with my slight procrastination, but anyways...)
Beginning with a short but highly inspiring section called "What Writing Is", I began to immerse myself into the mind and writing experience of Stephen King. "What Writing Is" managed to describe the craft is a high form of telepathy without sounding like a hippie's guide to literary enlightenment. As King described a table, a cage, and a rabbit in order to convey the idea that writing creates a bond that transcends space and time, I realized that he was not the only one who had the power to relate to readers. In reading this section, I found that any writer (myself included) possesses the ability describe, communicate, and mystify.
 The next section of the text, "The Toolbox", was meticulous but worth the effort. By explaining the importance of vocabulary, grammar, and style, I learned that creativity is not an excuse to sloppily splash words onto the page. The page and the craft are sacred and must not be approached lightly. On a sidenote, I particularly detested King's use of the word "Fazza" to describe his maternal grandfather. I'm sorry, but that word is simply treacherous.
The first nine chapters of "On Writing" referenced an entire spectrum of writers (as did "The Toolbox"), both good and bad. I loved King's frank analyses of description, dialogue, and character formation in these examples. This section was especially dense and required extra attention to King's valuable adivce. With each guideline for composition, prose, dialogue, and storyline, I could feel myself becoming a better writer.
Overall, the second section of On Writing required me to pay closer attention to King's advice. No longer did a fluid chronological recount of King's life aid my understanding of the craft; my task was to take notes with an intense reverence to the responsibility of writing. I won't complain about the reading, however. After all, King says reading a lot and writing a lot will eventually make me a better (or at least more experienced) writer.

On ON WRITING- "CV" Full of Wit and Stylistic Excellence

I must admit, the work of Steven King is typically frowned upon in my house. As the oldest (and by far the most sheltered) of five children, my bookshelves were too full of Dr. Seuss literary magic to house a horror novel or two. So when I received the assignment to read, annotate, and blog about On Writing, I figured it would be one gory ride that would hopefully end in an "A" rather than a haunting mess. Throughout my reading, however, I have come to enjoy not only On Writing, but also the style and personality of King himself. Narratives of his own experiences, descriptions of the characters in his life, and scattered tips for budding writers all made "CV" an exceptional chronicle of a life devoted to storytelling. The first section of On Writing, "CV", provides a pithy outline of Steven King's journey as an author. Beginning in his early childhood, King provides what he calls "snapshots" of his life. His use of parallel structure begins with one word that manifests itself throughout much of the section: pow! This onomatopoeia is first used when King describes his jolly (if not somewhat abusive) childhood babysitter and ends in his creative outburst that inspired King's first novel, Carrie. The witty and vulnerable accounts in between pack quite a punch. King details his trips to the Ritz, a low end movie theater that showed horror and science fiction films. His passion for horror novels obviously stemmed from an early love of the bizarre, the unknown-- the downright scary. Other narrative highlights include a hilarious poison ivy episode, a foreboding account of King's initial experience with alcohol, and an ironically to-the-point chronicle of the death of King's mother. Another enjoyable aspect of "CV" was Steven King's character descriptions. The people in his life become as interesting as his novel characters through sincere (often brutally honest) analyses. Nellie Ruth Pillsbury King, the author's mother, is portrayed as caring yet detached; independent yet pitied; liberated yet fearful. Her influence is mentioned throughout "CV" as a presence that inspired the author. She supported King's writing from his meager childhood beginnings until the day she died (a copy of Carrie sat on her nightstand that day). King describes his mother's battle with uterine cancer with factual disengagement, showing how his mother's motto of "keeping herself to herself" also affected the author. King is cynical towards his own generation as well. His realistic generalization of lazy, middle-aged Americans is convicting and makes the reader feel like a character in the story as well. On the other hand, the character sketches of King's wife are warm and filled with gratitude. Tabitha King is depicted as a source of love, strength, and intelligence. King analyzes each character in his life with imagery, simile, and originality. Even though "CV" primarily provides an account of Steven King's beginnings as a writer, King uses his personal experiences to give direct advice to the reader. The first insight of the craft he offers deals with perseverance. He writes that when, as a teenager, his stories were rejected by publishers, he nailed them to his wall and kept writing. When the nail was too small to hold all of his rejection letters, King bought a spike and--you guessed it--kept writing. He also informs the reader of the editing process, claiming that the first draft is for one's self while the second draft is for the reader. King even uses the extremely personal details from his lengthy period of alcoholism to say that writing does not warrant substance abuse. He defaces the self-serving fallacy that many famous authors have used an excuse to become addicts with cutting logic: "We all look pretty much the same when we're puking in the gutter." "CV" ends with the philosophical conjecture that art supports life (and not vice versa). King tells the reader to put his desk in  the corner as opposed to the middle of the room for this very reason. I believe that suggestion was the most important piece of writing advice that King has offered so far.Overall, "CV" used wit and stylistic devices such as parallel structure, allusion, and a conversational tone to narrate and inspire.  The author's method of spreading helpful advice throughout a colorful memoir makes for a savory read. As I finished "CV", I reflected on  my previous opinion of Steven King. I had initially thought he was a dark, twisted man; however, his struggles and his triumphs are reflective of even those who aren't wildly successful horror novelists. "CV", which stands for Curriculum vitae, is a down-to-earth masterpiece that serves a wide variety of purposes for the aspiring writer.