Alice Walker: In Search of Zora Neale Hurston

Alice Walker’s essay “Looking for Zora” is a story about Walker searching for the grave of Zora Neale Hurston. Hurston clearly had a huge impact on Walker’s life, because she flies to central Florida and hunts down Hurston’s grave. Throughout the essay, Walker incorporates pieces of information she had learned about Hurston from reading her novels and listening to other people who had studied her work and life. “Eatonville has lived for such a long time in my imagination that I can hardly believe it will be found existing in its own right” (Walker 94). Walker is clearly deeply connected to the city Hurston wrote so much about, though she had never been there before herself.

Walker first finds an elderly woman who was familiar with Hurston and her family, Mrs. Moseley. Walker and her companion, Charlotte, had first gone to the City Hall and found out about Mrs. Moseley from the woman working there. Mrs. Moseley tells them about growing up with Zora and going to school with her. Walker refers to Joe Clarke, the first mayor of Eatonville, and his store which had since been transformed into “Club Eaton.” “It is, perhaps, the modern equivalent of the store porch, where all the men of Zora’s childhood came to tell ‘lies,’ that is, black folk tales, that were ‘made and used on the spot,’ to take a line from Zora” (Walker 98). One thing that Mrs. Moseley explained to Walker that deepened her understanding of Hurston was why Hurston was against integration. Mrs. Moseley had similar ideas about integration to Hurston: “I have lived in Eatonville all my life, and I’ve been in the governing of this town. I’ve been everything but mayor and I’ve assistant mayor. Eatonville was and is an all-black town. We have our own police department, post office, and town hall. Our own school and good teachers. Do I need integration?” (Walker 99). This encapsulates what Hurston also thought about integration and somewhat changes Walker’s view of the fairly mysterious woman.



Walker and her companion eventually found their way to the funeral home which orchestrated Hurston’s funeral, and from there went to the graveyard where Hurston was buried. Walker finds a hole that is similar to a grave, and then goes to get a headstone to mark where Hurston is buried. Walker chooses a “plain gray marker” because it is all she can afford. “It is pale and ordinary, not at all like Zora, and makes me momentarily angry that I am not rich” (Walker 107).
Soon Walker finds a doctor who was close with Hurston in her older years, buying her groceries when she ran out and inviting her over for meals at his house. During this conversation, Walker learns a lot about Hurston that surprised her, one fact being that Hurston was rather large in her later years. “‘Zora loved to eat,’ Dr. Benton says complacently, ‘She could sit down with a mound of ice cream and just eat and talk till it was all gone.’” (Walker 111).

At the end of the essay, Walker talks about how sometimes grief and sadness and other emotions are so intense and strong that the only action possible is to let “laughter [gush] up to retrieve sanity” (Walker 115). I think Hurston had a huge impact on Walker. Though the two women never knew each other, Hurston’s bravery, intelligence, and life’s story seems to have helped Walker appreciate her life and her writing abilities that much more.

Works Cited:

Walker, Alice. “Looking for Zora.” Downloaded from Blackboard.
Images:
Zora Neale Hurston: [http://neighbors.columbia.edu/pages/manplanning/images/Zora-Neale-Hurston_s.jpg]

Substituting a Noun for the Actual Thing

“In Tender Buttons and then on and on I struggled with the ridding myself of nouns, I knew nouns must go in poetry as they had gone in prose if anything that is everything was to go on meaning something.  And so I went on with this exceeding struggle of knowing really knowing what a thing was really knowing it knowing anything I was seeing anything I was feeling so that its name could be something, by its name coming to be a thing in itself as it was but would not be anything just and only as a name” --Gertrude Stein

Tender Buttons is a weird poem or prose piece or writing or whatever it actually is. Gertrude Stein titles each piece “Objects” “Food” and “Rooms” and then goes on to compile a list of seeming random attributes and stream of consciousness thoughts loosely grouped in these broad categories.

But, does she do that really? Perhaps, as she states in the above quote, she is instead trying to peel off our many-layered associations with various nouns until she can uncover something of their essence.

I’m only going to look at “Objects” because there is enough in there to write many blogs.

“A CARAFE, THAT IS A BLIND GLASS. 

A kind in glass and a cousin, a spectacle and nothing strange a single hurt color and an arrangement in a system to pointing. All this and not ordinary, not unordered in not resembling. The difference is spreading.” (p. 180, 1-4)
Here Stein brings to mind a carafe, defined as:
carafe |kəˈraf; -ˈräf|
noun--an open-topped glass flask typically used for serving wine or water.

Her choice of word may have been made by simply observing a carafe on a table. And then how does one go about stripping from that thing all the associations that have accumulated over years of seeing and using and perhaps washing carafes?

What does it mean to “know, really know” what a carafe is? Stein goes first to typology – kind, kind in glass and a spectacle …something to be seen, and seen through. Glass, but not a glass, a drinking glass, or looking glass, but glass to some other purpose, and how is this glass arranged such that it – this substance glass – becomes something different and unique?

Stein allows her prose to wander and to wonder, to skim around the edges and come to an ordinariness, while also wondering at order, that does not resemble other things that are ordinary.

“The difference is spreading.” Here she leads us on, the difference (in understanding? In not understanding?) is spreading to other objects.

Stein: “A PIECE OF COFFEE. 


More of double. 


A place in no new table.

A single image is not splendor. Dirty is yellow. A sign of more in not mentioned. A piece of coffee is not a detainer. The resemblance to yellow is dirtier and distincter. The clean mixture is whiter and not coal color, never more coal color than altogether.

The sight of a reason, the same sight slighter, the sight of a simpler negative answer, the same sore sounder, the intention to wishing, the same splendor, the same furniture.

The time to show a message is when too late and later there is no hanging in a blight.

A not torn rose-wood color. If it is not dangerous then a pleasure and more than any other if it is cheap is not cheaper. The amusing side is that the sooner there are no fewer the more certain is the necessity dwindled. Supposing that the case contained rose-wood and a color. Supposing that there was no reason for a distress and more likely for a number, supposing that there was no astonishment, is it not necessary to mingle astonishment.

The settling of stationing cleaning is one way not to shatter scatter and scattering. The one way to use custom is to use soap and silk for cleaning. The one way to see cotton is to have a design concentrating the illusion and the illustration. The perfect way is to accustom the thing to have a lining and the shape of a ribbon and to be solid, quite solid in standing and to use heaviness in morning. It is light enough in that. It has that shape nicely. Very nicely may not be exaggerating. Very strongly may be sincerely fainting. May be strangely flattering. May not be strange in everything. May not be strange to.” (p. 180, 1-27)

This object is strangely dense and disconcerting. A piece of coffee – a bean? a grind? a cup? What exactly IS coffee?

Perhaps she is writing of the whole ceremony of coffee. What amazing and complicated things a simple word, this noun coffee, can hold. To know it, really know it, one can perhaps know only a piece of it.

Mixed in with the physical is the sound of the words themselves, and Stein uses them to mix it up … “the same sight slighter, the sight of a simpler negative answer, the same sore sounder” here she almost sounds like James Joyce in “Finnegan’s Wake” where the words and the sounds tumbled over one another confusing the reader and at the same time bringing to mind the confusion language brings to life all the while it masquerades as the way we think we understand things.

I think the beauty of Stein’s writing in “Tender Buttons” is that one has to slow down, slough off one’s idea (and idealization) of reading and understanding and allow the words themselves to emerge as uniquely as possible.

It may be that Stein is articulating the current (via Eckhart Tolle) notion of “be here now” and rather than reading in a complicated, yet comfortable, way of bringing to mind an accumulated set of images instead one can stop and ponder the essence of the thing itself, which is a kind of poetry.

Stein, Gertrude. "Tender Buttons." The Norton Anthology of Contemporary and Modern Poetry. New York: Norton, 2003. 180-185. Print.

Claude McKay and the Caribbean Influence

Claude McKay is a modern American poet who was born in Jamaica in the late 1800s. He was given the opportunity as a young child to receive the best education possible, and he eventually left Jamaica to live in America because he won a prize for his writing. Much of McKay’s work grapples with the challenges he faced as a Caribbean black man in America.

When McKay first moved to America, he enrolled in the Tuskegee Institute in Alabama. It was at this college that McKay first encountered the realities of racism in America (Giles). His Caribbean heritage made him a target for racist behavior in the Alabama college, and the experiences he had there heavily influenced his writing. At the time McKay was writing in New York City, racist tensions were extremely high. He was there for the Red Summer of 1919, and because of that experience he wrote the poem “If We Must Die,” an influential poem that Winston Churchill later quoted during World War II (Giles).

The Red Summer of 1919 was a period of time in the United States where a reported 76 blacks were lynched and 26 race riots took place. One of the worst race riots took place in Washington, DC, where six blacks were killed and around 100 blacks were wounded (Callum). This period of American history is a time of severe racial discrimination and tensions between different sects of the country. This intense display of anti-black violence was the unstable and hostile environment in which McKay was writing his poetry.

Clearly McKay’s Caribbean heritage played an obvious and vital role in his writing. Though he wasn’t a pioneer of the Harlem Renaissance in terms of his writing style--his preferred style was that of the Shakespearean sonnet--he was hugely influential in his ability to speak of racial issues in his poetry (Giles). McKay was able to masterfully juxtapose the romantic, serene Shakespearean sonnet with violent, uncomfortable topics such as racial discrimination and lynching. He also used the Caribbean dialect, or the Creole dialect, in many of his poems. McKay was a poet who was able to write in a way that forced his readers to pause and contemplate the issues he so directly addressed in his work.

McKay’s poem “The Harlem Dancer” illustrates the isolation he felt from the American community, not only because he was black but also because he was a Caribbean man in America. He was therefore fairly marginalized by the society as a whole. This isolation is expressed in one of his most famous poems, “But looking at her falsely-smiling face,/I knew her self was not in that strange place” (501). This excerpt mirrors what McKay felt as a dissociation from the “strange place” he lived in, an inhospitable and racist America. The dancer in the poem, though she is physically present, has mentally escaped from her harsh surroundings. Perhaps this detachment from the harsh environment she is in is similar to McKay’s attempt at accepting the harsh, bigoted world he lived in.

Works Cited:
Callum, Agnes Kane. "A Killing Season: 'Red Summer' of 1919. [http://www.africawithin.com/maafa/a_killing_season.htm]

Glies, Freda Scott. "Claude McKay's Life." [http://www.english.illinois.edu/maps/poets/m_r/mckay/life.htm]

Images:
Dancers-- [http://www1.assumption.edu/users/mcclymer/His130/P-H/Harlem2/jeunesse.jpg]
McKay Cover-- [http://farm1.static.flickr.com/158/416037600_aecede4543.jpg?v=0]

Moore and Eliot

When I read Marianne Moore’s “Poetry” I am put in mind of T.S. Eliot’s “Four Quartets.” I don’t know exactly why. I think it has more to do with the way the language and articulation makes me feel, sort of the essence of it, rather than the substance.

Moore is speaking specifically of ‘the thing’ – the poem, poetry itself. Trying to articulate something ineffable. She brings attention to that ephemeral thing that is poetry. Eliot does something similar. Particularly in the opening of “Burnt Norton” the first of The Four Quartets:

“Time present and time past

Are both perhaps present in time future,

And time future contained in time past.

If all time is eternally present

All time is unredeemable.

What might have been is an abstraction

Remaining a perpetual possibility

Only in a world of speculation.” (1-8)

I find these some of the most beautiful lines in the world of poetry. They are a continuous door into the unknown, the ephemeral, into something I may just be aware of beyond my consciousness. Sometimes I have thought of these lines as relates to spiritual matters. Sometimes as relates to relationships. Sometimes just in terms of abstract notions of literature and art.

“I, too, dislike it: there are things that are important

beyond all this fiddle.

Reading it, however, with a perfect contempt for it,

one discovers that there is in

it after all, a place for the genuine.

Hands that can grasp, eyes

that can dilate, hair that can rise
 
if it must, these things are important not be-
 
cause a


high sounding interpretation can be put upon them

but because they are
 
useful; when they become so derivative as to
    
become unintelligible, the
 
same thing may be said for all of us – that we
  
do not admire what
       
we cannot understand.” (1-10)

Here Moore is doing the same thing, opening a door into the world of impermanence with words, language and style that is temporal and tangible – hands grasping, pupils dilating, hair rising. Yet what is the focus or cause of these tangible enlightenments is something as abstract and “unintelligible” as a poem.

“Into our first world.

There they were, dignified, invisible,

Moving without pressure, over the dead leaves,

In the autumn heat, through the vibrant air,

And the bird called, in response to

The unheard music hidden in the shrubbery,

And the unseen eyebeam crossed, for the roses

Had the look of flowers that are looked at.

There they were as our guests, accepted and accepting.

So we moved, and they, in a formal pattern,

Along the empty alley, into the box circle,

To look down into the drained pool.” (23-35)

Exquisite formal language, evoking a formal garden, Eliot could also be talking about a poem, or about poetry in general. Dignified and invisible the words and symbols of a poem are like “unheard music hidden in the shrubbery” and roses that have “the look of flowers that are looked at” can be a very poetic way of describing the very process of analyzing poetry. Then the idea that we are the guests, invited into the poem, moving in a formal pattern. I don’t believe that is what Eliot was talking about, but when reading Moore’s poem I think of these words.

“One must make a distinction
    
however: when dragged into prominence by half
poets,
                
the result is not poetry,
    
nor till the autocrats among us can be
        
"literalists of
        
the imagination" – above
            
insolence and triviality and can present


for inspection, imaginary gardens with real toads
                
in them, shall we have
    
it.” (17-24)

I like how Moore cautions against over abstracting poetry until it no longer has “real toads” but the process of creating such poetry is hard. Not everyone can do it. I like to think that her language of “literalists of the imagination” is applicable to Eliot. His language is beautiful, but also shimmers with reality.

“Go, said the bird, for the leaves were full of children,

Hidden excitedly, containing laughter.

Go, go, go, said the bird: human kind

Cannot bear very much reality.

Time past and time future

What might have been and what has been

Point to one end, which is always present.” (37-43)

Here it is birds, rather than toads, but as one reads the first part of “Burnt Norton” I think it is easy to see that Moore’s paean for “real toads” is answered.

Works Cited:
Eliot, T. S. Collected Poems 1909-1962, Harcourt Brace & Company, New York. 1963

Moore, Marianne. “Poetry.” The Norton Anthology of Modern and Contemporary Poetry. Ed. Jahan Ramazani, Richard Ellmann, Robert O'Clair. New York: Norton, 2003. 438-439. Print

The Downfall of the American Dream in The Great Gatsby

F. Scott Fitzgerald’s novel The Great Gatsby is a novel that stands throughout time as one of the great modernist works. In this novel, Fitzgerald uses the character of Gatsby to struggle with the illusory concept of the American Dream as Gatsby struggles to make his own wealth and then fails to get the girl he wanted. The Great Gatsby also deals with the opposing concepts of wealth in America and spirituality.

Throughout the novel, Gatsby’s main drive is to win Daisy for his own. They had been together at a younger age, and then Gatsby went away to war. When he returned, Daisy was gone. Now, during the time of the novel, Gatsby has made himself plenty of money, though his money is old money, and he lives outside of the city, yearning for Daisy. “He stretched out his arms towards the dark water in a curious way, and, far as I was from him, I could have sworn he was trembling. Involuntarily I glanced seaward - and distinguished nothing except a single green light, minute and far away, that might have been the end of a dock” (Fitzgerald 16). This green light, we find out later on, is on Daisy’s dock in the city, and this is a perfect depiction of Gatsby reaching for what he wants yet will never attain. This constant struggle to grasp the impossible is the darkness of the American Dream that Fitzgerald is capturing.

By the end of the novel, Gatsby has come to realize that he is never going to be with Daisy—she has chosen to stay with Tom. Perhaps she stays with Tom for material security, perhaps because she truly loves him. Either way she does not choose Gatsby in the end, the one man who, in the whole novel, seems to encompass most fully the American Dream. Gatsby “has humble beginnings and works in order to raise his station. He has a dream, a desire, to find the girl he loves; and that is what motivates Gatsby” (Dawson). However, he also is representative of the corrupted American Dream because even though he works diligently to achieve his goal, he never does get it, which seems to crush his spirit, his hopes and dreams for an ideal future, at the end of the novel.

In The Great Gatsby, the American Dream is corrupted by excessive wealth and materiality. Many of the characters in the novel are only interested in their money and power, as well as finding ways to attain more money and power. Though Gatsby’s dream seems to be more pure than those of the other characters, the American Dream still fails him. Fitzgerald leaves the reader with the understanding that “the problem with The American Dream is that it never fulfills, it never satiates, it never satisfies, and it leaves a trail of heartache in its wake” (Dawson). No matter how much of anything these characters acquire throughout their lives, they are always reaching, always earnestly grabbing for more.

Works Cited:

Dawson, Charlene. “The American dream and the Great Gatsby.”{http://www.helium.com/items/804056-the-american-dream-and-the-great-gatsby?page=3}

Fitzgerald, F Scott. The Great Gatsby. New York: Scribner, 2004. Print.

Images:

Green light-- {https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio5rx_vTPX8RQHnN8OopIbfLDrB4V1w4N0ViNBF4KQIXTg2x-RiHFBcvBnnk0yR8QL4aT4bk30SCiTWVnRiBtsAHnopzeJdARw5_jtFvqWUenIs-2PcAEqWwnKo6nOA1ZsllA1WMzAQg/s400/stoplight-green-light_~AA022292.jpg}

Great Gatsby Cover-- {http://bibliojunkie.files.wordpress.com/2010/01/great-gatsby1.jpg}

William Carlos Williams vs. T.S. Eliot

Although William Carlos Williams and T. S. Eliot are quite different in their authorial roles, there are some striking similarities in their poetry. T. S. Eliot, especially in The Wasteland, evokes a complicated and layered world peopled by the diminishing presence of humanity and the rising power of industrialized consumerism. William Carlos Williams, on the other hand, especially in “The Red Wheelbarrow”, provides a stark, simple, almost pastoral rural scene - a snapshot of someplace.

Working through The Wasteland the vignettes pop viscerally into view and become almost tangible, inhabited by the reader. In a few simple lines, “The Red Wheelbarrow” fills the frame with a still-life of “a red wheel/ barrow/ glazed with rain/ water/ beside the white/chickens” which is now so large as to command our attention (Williams 294-295). Elevating the everyday is an aspect of modernism that William Carlos Williams exemplifies in all his poetry.

William Carlos Williams can’t really move away too far from what T.S. Eliot began, because to do so would require the author to lay out his own emotions and perspectives on the scene he created. Yet this layering of the author’s emotion, even if subdued or minimal, would put just enough of a barrier or buffer between the reader and the image as to move the poem out of the realm of the imagistic that he was attempting to create. William Carlos Williams did not go along with T. S. Eliot’s classical allusions and formalistic structure, but he did follow Eliot’s preference for the universal essence of the image.


A red wheelbarrow

In an article titled "The Progression of William Carlos Williams' Use of Imagery", Hyun-Young Cho discusses William Carlos Williams’ use of imagery in his poetry and he suggests that although Williams begins (in his earlier poems like “The Red Wheelbarrow”) with a studied lack of emotion and authorial presence, as he moved into his later pieces Williams let down some of those structural defenses and infused his longer poems with a great deal of his own emotions. “Gradually, the speaker’s narration began to dominate his long prose-like poems written during the 1940s-’50s. “The Sparrow” reflects this radical progression Williams went through as a poet.” (Cho). What happens in the later poems is that rather than forcing the reader to confront the text alone and mediate the images for himself, the reader must also deal with the presence of the narrator’s voice, perspective and opinion as part of the whole.

This layer moves the image into a more emotional realm, something that “The Red Wheelbarrow” tried very hard to avoid.This is similar to Eliot’s narrative voice which shows through in The Wasteland as he faces adversity in his personal life. His marriage was very troubled at the time he wrote The Wasteland, and his wife was committed to an asylum. In addition to marital struggles, Eliot was dealing with the death of his father as well as the death of a close friend of his, Jean Verdenal, in World War I. Also, Eliot had “passed his thirtieth year” and some view The Waste Land as a “memorial to his youth” (Norton 461).

Works Cited:
Cho, Hyun-Young (2003). "The Progression of William Carlos Williams’ Use of Imagery" (PDF). Writing for a Real World 4: 62–69. http://www.usfca.edu/rhetcomp/journal/cho2003.pdf.

Ramazani, Jahan; Ellman, R; & O’Clair, R. The Norton Anthology of Modern and Contemporary Poetry. WW Norton & Company: New York. 2003. 461.

Williams, William Carlos. “The Red Wheelbarrow.” The Norton Anthology of Modern and Contemporary Poetry. WW Norton & Company: New York. 2003. 294-295.

Image: http://blog.sellsiusrealestate.com/wp-content/uploads/2006/08/Red_Wheelbarrow.jpg

The Wasteland: Quintessential Modernism

Modernism in literature emerged during a time of great upheaval, during World War I. The mass death of millions of young men aided in the loss of innocence to the human race. During this time, people began to look at the world in a different way--less hopeful and idealistic. Writers at this time rejected a “belief in absolute, knowable truth” and replaced the absolute with a “sense of relative, provisional truths” (Cuddy-Keane).

In The Wasteland Eliot provides small vignettes of modern life, of people, individuals who are either caught up in the overwhelming social forces of their world or who are struggling to maintain some kind of individual nature..and often getting beaten back in the process. This element of fragmented scenes without any logical timeline is a major characteristic of modernism. Many modernist writers viewed time not as a progressing line but as a “discontinuous, overlapping, non-chronological” collage of moments in life (Cuddy-Keane).

In fact, Eliot structured the poem to refer back to Classical and Romantic elements, but always in ways that form an echo rather than a connection. We are cut off from, disconnected, from those roots. Thus, many people reading The Wasteland get the feeling that they are not “in” on the joke or that their understanding of what is going on is just out of their reach.



In addition, modernism is often pessimistic and takes a dim view of the culture and the future. Eliot exploits this dramatically and succinctly with his terse, formal glimpses of mundane elements of London life. He uses formal, stylistic words to describe rundown, everyday places and people. Rather than the poetic notion that the city is a teeming, life-giving, bustling collection of humanity he presents it as a wasted land of broken images, with people seeking solace in games and chances and Tarot cards. This description of London as a wasteland is perhaps Eliot’s way of coping with the destruction wrought on London during World War I.

An important characteristic of modernism that shows up throughout The Wasteland is a rejection of a single, omniscient narrator. He does not utilize a single hero or narrative voice, but rather the fragmented and disjointed narratives told from different perspectives. In “The Burial of the Dead” a girl named Marie narrates part of the poem: “My cousin’s, he took me out on a sled,/And I was frightened. He said, Marie,/Marie, hold on tight. And down we went” (Eliot 474). In “A Game of Chess,” the narrator, according to Eliot’s notes, is a story told to them by the maid: “When Lil’s husband got demobbed, I said--/I didn’t mince my words, I said to her myself/...Now Albert’s coming back, make yourself a bit smart” (Eliot 478). The Wasteland incorporates the point of view of many characters, throwing out the old notion of one all-knowing narrator.

Eliot uses formal, stylistic words to describe rundown, everyday places and people. He does not utilize a single hero or narrative voice, but rather the fragmented and disjointed narratives told from different perspectives. He is not so concerned with what it all means, but with the way it actually is. Eliot’s The Wasteland introduces and utilizes many characteristics of Modernist literature, including the use of multiple narrators to depict moments in everyday life. The Wasteland is clearly one of the first, and most influential pieces of literature in the Modernist period.


Works Cited:
Cuddy-Keane, Melba. "Modernism: Some Characteristics." ENGB02Y: English Literature: Historical Survey. http://www.utsc.utoronto.ca/~mcuddy/ENGB02Y/Modernism.html

Eliot, T.S. "The Wasteland." The Norton Anthology of Modern and Contemporary Poetry. WW Norton & Company: New York. 2003. 474-487.

Image
The Wasteland: http://www.thoughtaudio.com/titlelist/TA0032-Wasteland/0032-WASTELAND.jpg

Dada and Surrealist Art vs. Modernist Literature

The Dada and Surrealist movements in art closely mirror the modernist movement in literature happening at the same time. The Dada movement was in reaction to the “senseless barbarities of war” (Harden), namely, World War I and World War II. Dada art was iconoclastic; an iconoclast is a person who attacks cherished beliefs and traditional institutions. Many of the artists in the Dada movement wanted to attack the old iconic art pieces of the past. One example of the Dadaist attack on iconic art is Marcel Duchamp’s decision to color onto the Mona Lisa a black moustache and beard (Harden). Dada artwork had no cohesive aesthetic, in fact many Dada artists utilized the concept of collaging in their artwork (Harden). One artist in the Dada movement, Kurt Schwitters, created collages out of litter, bringing together seemingly unrelated fragments to create a whole work of art. One of his collages is shown here.
Eventually, in the mid-1920s, Dadaism was absorbed by the Surrealist movement, which encompassed many of the Dadaist values and techniques. One major aim of the Surrealist movement was to explore and liberate the unconscious mind’s creative powers. Surrealists attempted to uncover this power by expressing the true functions of one’s thought process without the controlling presence of reason and outside influences (Harden). Picasso was an important painter in the Surrealist movement, and his work illustrates some of the main tendencies of this art movement. The first tendency was to use art to aggravate vision, thereby stimulating the imagination and forcing imaginative inspiration. The second technique was called “frottage,” or “rubbing.” A third technique, “grattage” or “scraping” was also utilized by Surrealist painters. The main effect the artists were striving for was to eliminate the technical, rational mind and free the spiritual, imaginative, inspirational mind within people.



"The Three Dancers" by Picasso

The Dada and Surrealist movements are very similar to modernism in literature. The writers that encompassed the modernist movement in literature also created their art in reaction to the abominations of the World Wars. In response to the horrors of millions of men dying in wars, modernist literature attempted to illuminate the absurdities of human nature, the incomprehensible fact that millions of young men died needlessly. Showing these absurdities was a large part of the modernist movement (White). In addition to showing the true dark nature of man, modernist literature, like Surrealism, attempted to uncover the “inner vision, the inner emotion, of the inner spiritual reality” which modernist authors felt was more important than external reality. Also, modernism is similar to Dadaism in that the writing is fragmented, portraying the psychological impressions of characters. This fragmentation emphasizes the importance of individual perception in the modernist movement (White).


Both Dadaism and Surrealism are reactions to the rational, realist, reason-driven art forms that precede them. Dadaists and Surrealists, in reaction to the absurdities of total, global war--in World War I and World War II--shift focus from reason and order to chaos and fragmentation. Similarly, the modernist literature movement moves from Realism and Naturalism to a disorganized way of writing. Both art movements, as well as the modern literature movement, are attempting to illustrate the internal struggle of man, revealing the complex thought processes and urging viewers and readers to shed their reasoning minds and enter into a world of inner spirituality and inner vision.

Works Cited:

Harden, Mark. "Dada and Surrealism." Mark Harden's Artchive. http://www.artchive.com/artchive/surrealism.html

White, Dr. David L. "An Introduction to Modernism and Postmodernism." Western World Literature II Webpage. http://vc.ws.edu/engl2265/unit4/Modernism/all.htm

Images

Picasso, Pablo. "The Three Dancers." http://www.tate.org.uk/adventcalendar/2007/artworks/T00729_picasso.jpg

Schwitters, Kurt. Collage. http://www.ricci-art.net/img001/229.jpg

Character Evolution Throughout O Pioneers!

Willa Cather’s novel O Pionners! is a novel which describes in detail what life was like for the original settlers of the American frontier. The land in that area was unable to hold crops and was barren almost all of the year round. The people who tirelessly worked the land, such as the novel’s main character Alexandra Bergson, were poor immigrants who struggled to stay alive during the harsh winters. Though O Pioneers! is more of a realist piece than a modernist one, Cather is able to illustrate throughout the novel the changes her main character, Alexandra, undergoes during her life on the frontier.

At the beginning of the novel, Alexandra is a small child who is very quiet and reserved. She helped her father work the fields and gave him hope when he began to believe the land would never produce crops. She was much more interested in working on her farmland than on flirting with boys or playing dress up, what would typically be considered the preoccupations of young girls. Near the beginning of the novel, a young boy compliments Alexandra on her lovely hair, and she quickly rejected his flattery: “She stabbed him with a glance of Amazonian fierceness and drew in her lower lip...His feeble flirtatious instincts had been crushed before, but never so mercilessly” (Cather 6-7). Interestingly, Cather uses the word “Amazonian” to describe the young Alexandra, which clearly presents Alexandra to the readers as a parallel to the ancient Amazonian war woman, who were large, powerful women who went into battle without the help of men. Perhaps this reference to Amazonian women and battle is a foreshadow of the battles Alexandra will have to endure throughout her life--she must battle her brothers, the society she lives in, and of course she must battle the harsh and unforgiving land she lives on.

As a young girl, Alexandra is quiet, thoughtful, and hardworking. She seems to have no overwhelming emotions, being a level headed and pragmatic person. When he father is dying near the beginning of the novel, he asks his daughter to do her best for her brothers because once he dies the farm will be her responsibility. “I will do all I can, father” was her even reply to her father (Cather 20).

One of the first instances of Alexandra having strong feelings is when she is making a choice about purchasing property. She has to battle her brothers into agreeing to buy more land, and when she accomplishes her goal, she feels alive and inspired. “She had felt as if her heart were hiding down there, somewhere, with the quail and the plover and all the little wild things that crooned or buzzed in the sun. Under the long shaggy ridges, she felt the future stirring” (Cather 54). The land, the one thing Alexandra full understands, is what eventually awakens her to her passions and feelings. Throughout the novel the land and work involving the land is what inspires her and moves her. She also evolves in her relationship to Carl Linstrum.

Carl lived on the land close to Alexandra’s family, and when the two were children they were good friends. They would take a wagon to Ivar’s house to get nets and learn about the wildlife. Alexandra clearly liked Carl, but was too shy and quiet to tell him. Eventually Carl moved from the country into the city with his family to try and make money, and when she hears the news, she shows very little emotion. “Alexandra’s hands dropped in her lap. Her eyes became dreamy and filled with tears” (Cather 38). She never cries, but she does tell Carl that she understands why he is leaving and tells him that she had always hoped he would “get away” from the countryside (Cather 39). 


Years later, when Alexandra and Carl have both grown up, and Alexandra is running a large and profitable farm, Carl returns to the countryside. “‘Can it be!’ she exclaimed with feeling; ‘can it be that it is Carl Linstrum? Why Carl, it is!’ She threw out both her hands and caught his across the gate” (Cather 79). As an older and wiser woman, Alexandra is more at ease being in touch with her feelings. She feels a lot of emotion when she sees Carl again, and has grown up enough to not be afraid to show it.

In addition to her emotions with Carl, Alexandra grew wiser about the land. Sixteen years from the beginning of the novel, Alexandra has developed a vast farming area, “where the furrows of a single field often lie a mile in length...The wheat-cutting sometimes goes on all night as well as all day, and in good seasons there are scarcely men and horses enough to do the harvesting (Cather 58). The land, as well as Alexandra, has grown and matured, yielding bountiful fruits.

Cather creates and expands the character of Alexandra in order to transcend the typical male and female gender roles utilized in most western, frontier literature. Alexandra’s development throughout both her life and the novel “shows that women could do something important besides giving themselves to men” (Quawas). She is a character that embodies all of the strong, positive attributes of male characters in more traditional novels. One of Cather’s main aims is to show the reader the trials of Alexandra’s life, how she reacts to them, and how these situations--situations that can only be faced and endured by a woman in this time period--shaped Alexandra into being the woman she is at the end of the novel. Cather successfully creates a strong female heroine that endures through time, a heroine who is not like the ancient male heroes like Achilles and Odysseus, but a heroine “who triumphs alone over intractable surroundings and adversity, shaping a world of order and coherence and achieving for herself identity, nobility, and even fame” (Quawas). These achievements are goals that any woman, or even man, can relate to desiring. The ability to relate to the very human struggles in O Pioneers! is what enables the novel to remain relevant across a wide range of cultures and contexts.

Works Cited:
Cather, Willa. O Pioneers!. New York: Signet Classic, 2004. Print.
Quawas, Rula. “Carving an Identity and Forging the Frontier: The Self-Reliant Female Hero in Willa Cather’s O Pioneers!” Studia Anglica Posnaniensia: International Review of English Studies 41 (2005). Web. 15 April 2010.

"Roman Fever" -- Lies and Cruelty

Betrayal. Cruelty. Lies. Edith Wharton’s short story “Roman Fever” encompasses all of these concepts with Ancient Rome as a backdrop. The story is also a struggle between generations. The two main characters, Mrs. Ansley and Mrs. Slade, have two daughters that are close in age. All four women are in Rome, and the story takes place during a sitting the two older women have. Throughout the story there is a clear distinction between their “Old New York” generation and their daughters’ newer, more forward generation, which is much more carefree. This story explores the difference between the generations through the eyes and experiences of the older women. It is fitting that they discuss these experiences exactly where they happened: Rome. Wharton mentions specific monuments in Rome which foreshadow, mirror, and enhance the largely unspoken history between the two women. The Palatine Hill, the Roman Forum, and the Colosseum are the three important monuments mentioned.



Palatine Hill-- The Palatine, one of the Seven Hills of Rome, was the place for wealthy and powerful individuals in Ancient Rome, and is where the english word palace originates. The Roman Forum was located on the Palatine, which also had a beautiful view of the city. Today, however, the Palatine hill is almost completely excavation sites and “sad remnants of Roman antiquities” (Thayer).

The Palatine hill today mirrors the lives of Mrs. Slade and Mrs. Ansley in “Roman Fever.” The two women have only the memories and “sad remnants” of their past. As the two women look out from the restaurant onto the Palatine Hill, they reflect almost longingly on their past lives, while noting that their lives have become severely emptier in their old age, very similar to the Palatine Hill.


Roman Forum-- The Roman Forum was situated on the Palatine Hill and was thought of as the economic, political and religious center of Rome. The Forum contained many shrines and temples, as well as holding the Senate House, rostra (the speaker’s platform), and the Assembly. The two women in “Roman Fever” look upon the Forum throughout the short story. The fact that the women reflect upon the important center of the Roman world indicates the importance of their discussion, how the event they are both thinking about is the center, or turning point, of their lives as well as their relationship with each other.


Colosseum-- The Colosseum is obviously the most important monument in the story. The central issue of the short story is Mrs. Ansley meeting up with Mrs. Slade’s husband, Delphin, in the Colosseum back when they were younger. It turns out that Mrs. Ansley’s daughter, Barbara, is Delphin’s child as well. Interestingly the Colosseum is where this turning point in the lives of these women takes place. The Colosseum is still viewed as one of the most extravagant and huge architectural masterpieces ever created. The vastness of the building mirrors the monumental weight of the events that took place within its walls for the women in the story. The treachery, envy, and jealousy that the two women feel towards one another fits in perfectly with the cruel and torturous memories the Colosseum stands for. Gladiators, animals, and many other people were killed within the Colosseum’s walls, largely for the entertainment of spectators. Similarly, the two women are cruel to each other: Mrs. Ansley slept with Mrs. Slade’s husband, and Mrs. Slade destroyed the only sweet memory Mrs. Ansley had of Delphin--a letter he had written her. Mrs. Slade bitterly reveals that she wrote the letter, and leaves Mrs. Ansley devastated.


Wharton created an element of circularity in this short story. The life-changing events for these women happened in Rome, and the truth about what happened back then is also revealed in Rome. In fact, the women are looking at the exact monument in which these events took place when said events are finally revealed. In the end, it becomes clear that these women are independent risk-takers just like their daughters. Perhaps the main difference between their generation and the daughters’ generation is the ability to be up front and truthful about reality, a trait which the older women lack and perhaps the newest generation can attain.



Sources:
Hopkins, Keith. “The Colosseum: Emblem of Rome.” 13 January 2010.

Gill, N.S. “Area and Archaeology of the Forum Romanum.” 13 January 2010

Thayer, Bill. “The Palatine Hill: Two Millenia of Landscaping (sort of).” 13 January 2010

Image of Palatine Hill: http://romeitaly.ca/attractions/palatinehill.html

Image of Roman Forum: http://www.historyforkids.org/learn/romans/architecture/pictures /generalforum.jpg

Image of Colosseum: http://www.visitingdc.com/rome/colosseum-picture.asp