A Feast for Crows to The Color Purple
Umm...
The Color Purple to Happy Birthday, Bad Kitty
Umm...
Happy Birthday, Bad Kitty to Fables: Vol. I
Umm...
Fables: Vol. I to A Second-hand Life
Umm...
A Second-hand Life to O Pioneers
Umm...
O Pioneers to Eats, Shoots & Leaves
Umm...
Eats, Shoots & Leaves to Dirty Secret
Umm...
Saturday, March 16, 2013
Introductory notes with (GoodReads Buddy) Brianna on WICKED
So, sorry for the delayed response. I was running on three hours of
sleep on Friday and crashed as soon as I got home from work. I also
finished the book super early (Tuesday) so we'll have to ramp up the
speed on the next part. The next section is a bit longer (64-178 in my
copy) but I figure we could set Wednesday as the next check-in date. Let
me know in your response.
A few thoughts:
I was very impressed by the prologue. It started the story off with the characters readers are most familiar with and chalked up all the bad things we've heard about the witch to gossip. Super effective.
Baby Elphaba's hijinx remind me of those of the Addams Family kids. I loved every crazy thing she did, especially at meal time (though maybe that's because I'm a bit hungry). I dare say she's got some pretty tolerant taste-buds. Ugh.
Nanny was also a favorite character, if just for her kleptomania (31) and dripping sarcasm. Case in point:
Now for a few discussion topics:
1) Examine the relationship between Frex and Melena.
Frex was initially attracted to Melena for her beauty and for her "efforts to overcome" her privileged background (7). Melena was drawn to Frex for his intensity (9) and sexual prowess (32). Seems like pretty weak reasons to get married...though I suppose it could have been an arranged marriage to link the houses (knowing little about Munchkinland society I couldn't say how those things work). What are your thoughts...and why do you think they stay together as their relationship deteriorates? Do you think Frex is blind to her adultery or just indifferent?
2) The day of Elphaba's birth, Melena hears "sound without melody--like dream music, remembered for its effect but not for its harmonic distresses and recoveries" (8). What do you think this signifies?
Melena's expectations for the future perhaps -- the musical equivalent of "words without action"? Or maybe it's Elphaba's legacy as given to us by other tellings of this story: moving the plot along without any real backstory? If the question marks weren't clear enough, I could use some help on deciphering this idea -- not to mention linking it to Nanny's words to the infant on page 25 ("You've been dancing in the womb, I see....I wonder to whose music?").
3) Nanny gives several theories for the atypical child (see page 31). Why do you think Elphaba is so different?
First off, can I just say [without any disrespect to rape victims] HOW THE HELL DO YOU SLEEP THROUGH ELF RAPE?!? While I find it hard to relate to Melena's "forgetfulness" regarding the whole situation (though I suppose one could refer to selective amnesia resulting from traumatic experiences), I'm going to go with the hypothesis of elf sperm. [Now THAT'S a fun quote to take out of context.] She's a pretty promiscuous chick and considering how big a role magic plays in the world of Oz, I choose a combination of "Miracle Elixir" and Mr. Wrong. I DO like Nanny's quasi-prophetic idea that Elphaba came out green and gnawing off fingers because she couldn't possibly compete with her parents' expectations.
4) Discuss the Clock of the Time Dragon and the role it plays.
It provides both a beginning -- of Elphaba's life, of the family's alienation -- and an end -- of the marriage, of Frex's religious authority, of happiness in Oz. I won't say too much, as I'm not sure how familiar you are with the series, but the conditions surrounding Elphaba's birth remind me of one in Game of Thrones. (I can elaborate if you would like.)
5) Compare the various religions represented and the followers of each.
So we have Frex's would-be-Calvinism, Nanny's mysticism, Little Turtle's glass blowing, Melena's Little Turtle worship, and whatever the Time Dragon is touting (secularism delivered as in drama's rebirth during the Middle Ages). As I've kinda overtaxed my brain with both the first version of this message and the one you're reading here, I'm going to let you kick off this discussion.
6) Think about the various responses to Elphaba throughout her infancy and how they create the witch she becomes.
I tacked on this question but won't go too deep into the extrapolation outside of a few things to guide you in your exploration of the topic. Think about the midwives who delivered the baby as well as the other characters' responses to her both initially and later on down the line. Consider the reactions to her first word (pages 54-5 in my copy).
In closing, I am more prone to understatement ("a few thoughts") than hyperbole...but I must say that I AM LOVING THIS BOOK.
A few thoughts:
I was very impressed by the prologue. It started the story off with the characters readers are most familiar with and chalked up all the bad things we've heard about the witch to gossip. Super effective.
Baby Elphaba's hijinx remind me of those of the Addams Family kids. I loved every crazy thing she did, especially at meal time (though maybe that's because I'm a bit hungry). I dare say she's got some pretty tolerant taste-buds. Ugh.
Nanny was also a favorite character, if just for her kleptomania (31) and dripping sarcasm. Case in point:
"The child is green" whispered Nanny confidentially. "You may not have noticed, being attracted by her charm and warmth." (49)
Now for a few discussion topics:
1) Examine the relationship between Frex and Melena.
Frex was initially attracted to Melena for her beauty and for her "efforts to overcome" her privileged background (7). Melena was drawn to Frex for his intensity (9) and sexual prowess (32). Seems like pretty weak reasons to get married...though I suppose it could have been an arranged marriage to link the houses (knowing little about Munchkinland society I couldn't say how those things work). What are your thoughts...and why do you think they stay together as their relationship deteriorates? Do you think Frex is blind to her adultery or just indifferent?
2) The day of Elphaba's birth, Melena hears "sound without melody--like dream music, remembered for its effect but not for its harmonic distresses and recoveries" (8). What do you think this signifies?
Melena's expectations for the future perhaps -- the musical equivalent of "words without action"? Or maybe it's Elphaba's legacy as given to us by other tellings of this story: moving the plot along without any real backstory? If the question marks weren't clear enough, I could use some help on deciphering this idea -- not to mention linking it to Nanny's words to the infant on page 25 ("You've been dancing in the womb, I see....I wonder to whose music?").
3) Nanny gives several theories for the atypical child (see page 31). Why do you think Elphaba is so different?
First off, can I just say [without any disrespect to rape victims] HOW THE HELL DO YOU SLEEP THROUGH ELF RAPE?!? While I find it hard to relate to Melena's "forgetfulness" regarding the whole situation (though I suppose one could refer to selective amnesia resulting from traumatic experiences), I'm going to go with the hypothesis of elf sperm. [Now THAT'S a fun quote to take out of context.] She's a pretty promiscuous chick and considering how big a role magic plays in the world of Oz, I choose a combination of "Miracle Elixir" and Mr. Wrong. I DO like Nanny's quasi-prophetic idea that Elphaba came out green and gnawing off fingers because she couldn't possibly compete with her parents' expectations.
4) Discuss the Clock of the Time Dragon and the role it plays.
It provides both a beginning -- of Elphaba's life, of the family's alienation -- and an end -- of the marriage, of Frex's religious authority, of happiness in Oz. I won't say too much, as I'm not sure how familiar you are with the series, but the conditions surrounding Elphaba's birth remind me of one in Game of Thrones. (I can elaborate if you would like.)
5) Compare the various religions represented and the followers of each.
So we have Frex's would-be-Calvinism, Nanny's mysticism, Little Turtle's glass blowing, Melena's Little Turtle worship, and whatever the Time Dragon is touting (secularism delivered as in drama's rebirth during the Middle Ages). As I've kinda overtaxed my brain with both the first version of this message and the one you're reading here, I'm going to let you kick off this discussion.
6) Think about the various responses to Elphaba throughout her infancy and how they create the witch she becomes.
I tacked on this question but won't go too deep into the extrapolation outside of a few things to guide you in your exploration of the topic. Think about the midwives who delivered the baby as well as the other characters' responses to her both initially and later on down the line. Consider the reactions to her first word (pages 54-5 in my copy).
In closing, I am more prone to understatement ("a few thoughts") than hyperbole...but I must say that I AM LOVING THIS BOOK.
WICKED - Prologue & Part 1
Wicked is my March "Buddy Read" on Goodreads.com. A few notes to aid discussion with my pal. :)
BEFORE THE READ
Consider other takes on the land of Oz. (See below for some accessible reference material.)
Consider the introductory quotations (Defoe, Tolstoy, Baum) and what light they shine on the story.
A FEW QUOTES
"Though Oz had given her a twisted life, hadn't it also made her capable?" (4)
"History crawls along on the peg legs of small individual lives," said Frex, "and at the same time larger eternal forces converge. You can't attend to both arenas at once" (9).
"...What a child, that sips blood even before its first suck of mother's milk!" (21)
[Regarding the wooden sparrow whittled for Elphaba] "Wet, it had greater life" (38) and "She is herself pleased at the half things...The little girl to play with the broken pieces better" (39)
"Typical male response to happiness...to predict its demise" (53)
"But when words are to speak in the air, actions must to follow" (57).
BEFORE THE READ
Consider other takes on the land of Oz. (See below for some accessible reference material.)
- L. Frank Baum's The [Wonderful] Wizard of Oz (1900)
- The Wizard of Oz film (1939)
- Tin Man (2007)
- Oz: The Great and Powerful film (2013)
Consider the introductory quotations (Defoe, Tolstoy, Baum) and what light they shine on the story.
A FEW QUOTES
"Though Oz had given her a twisted life, hadn't it also made her capable?" (4)
"History crawls along on the peg legs of small individual lives," said Frex, "and at the same time larger eternal forces converge. You can't attend to both arenas at once" (9).
"...What a child, that sips blood even before its first suck of mother's milk!" (21)
[Regarding the wooden sparrow whittled for Elphaba] "Wet, it had greater life" (38) and "She is herself pleased at the half things...The little girl to play with the broken pieces better" (39)
"Typical male response to happiness...to predict its demise" (53)
"But when words are to speak in the air, actions must to follow" (57).
Tuesday, February 12, 2013
Fables: Legends in Exile
First, the bridge from The Color Purple to Fables: Legends in Exile:
Ummm...
I suppose the characters in both books have to hide their true selves -- Celie hides inside herself like a tree; BBW hides a wolf inside a man suit -- but I suspect in both cases the fictions they live eventually give way to their realities.
All honkeys in Fables at this point, but there is a sort of race issue in that the creatures that can't live in the Mundy world are segregated (at the farm). I dost believe this issue will be covered in Fables: Animal Farm (Book 2).Now for my review:
Mythology is something that we all seem to be drawn to in one way or another. I, for one, seek it out in all its forms -- television, movies, books, graphic novels...Now, for a few memorable passages:
Fables is a great concept and I enjoyed getting to know the characters. Not that you asked, but my favorites were the Big Bad Wolf and Prince Charming (who, we come to discover, is not an oft-repeated pet name, but rather an promiscuous individual scumbag). I am curious to see how the series develops -- will it continue to live as a detective story or travel to another genre?
I appreciated the layout of frames within the novel and the artists' (Medina/Leialoha/Hamilton) visions of Willingham's story. The bulk of art within the book was less abstract than others I've seen but not bad by any means. This amateur art critic's interpretation would be that the "mundane" style (compared to its contemporaries and its own issue cover art within) served to cement the characters' position in the "Mundy" universe. (I'm sure later volumes of the series will prove or disprove this theory.)
The individual issues' cover art was delicious. While James Jean's anatomical accuracy is hit-or-miss, his coloring and visual foreshadowing make me want to pig out on so much more! Alex Maleev's single piece (Chapter One) was also noteworthy, presented in a gritty noir style with a special attention to contrast. While I realize the near-impossibility of putting that same time and effort into an entire graphic novel, I would have liked to see this same style employed in dream/memory sequences. (Again, later volumes will tell.)
In my eyes, the best part of the entire volume was the short story at the end ("A Wolf in the Fold"), detailing in prose the Big Bad Wolf's experiences leading up to his exile. I'm unversed in monograms of the art form, but the detailed art in this piece was astonishing -- a very good call to leave it uncolored. I will definitely be getting Volume 2.
My rating here would have been 3.5, had Goodreads allowed it. The premise is a good one, the issue cover art was fantastic, and I really enjoyed the male characters...BUT I am leaving stars for the future issues -- in which I expect to see a bigger world and a little more from the ladies. :)
"The only easy day was yesterday" (71).
"Once we were a thousand separate kingdoms, spread over a hundred magic worlds. We were kings and cobblers. Wizards or woodcarvers. We had our sinners, our saints, and our blatant social climbers. And from the grandest lord to the lowliest peasant girl, we were, for the most part, strangers one to another. It took an invasion to unite us" (79-80).
"beyond the farthest shores of never" (82)
"damned with faint praise"
"Even the highest office in service to another is too low a station for me."
"At best he was but an irritant in his unseen adversary's vast game of thrones."And a couple things to consider:
- Oz and Narnia...gone!
- Pinnochio's plight (à la Claudia Interview with the Vampire)
- How does anthropomorphism play out in the Mundy world? (BBW's gradient depending on the situation, pig, beast as fact rather than fiction)
Monday, February 11, 2013
The Color Purple, P1
(Letters 1-33) pp1-77 "I am fourteen years old." ... "First time made something and name it after me."
Names
Consider the men that do have names (Harpo -- who introduces himself nameless on the wedding day by cutting open her scalp with a rock and gets a name after Mr ---'s sister makes him help Celie with the household chores, Samuel -- who is first introduced as a Mr/Reverend --- on p14, Adam, etc.) and the two who don't (He/Pa and Mr. ---). For the unnamed, consider the reveal of their names (Alphonso pp250 & Albert pp49 and why Celie doesn't use them).
He or Pa/Alphonso
Mr. ---/Albert
Mr. ---/Samuel
"the oldest boy"/Harpo
Shug Avery/Shug
Pauline/Olivia
Adam/Adam Omatanga
Coping Mechanisms -- Become a tree & feel nothing (Celie)*VS* Lash out & feel nothing (Mr. --- & Harpo) *VS* React & feel nothing (Shug & Sofia)
Celie uses her body to protect her mother, then her sister, then even Mr ---'s kids ("I make myself wood. I say to myself, Celie you a tree. That's how come I know trees fear man" 23) -- and as a function of being a living human shield, she believes herself ugly and accepts others' affirmation of this fact. It is Shug who teaches her that pain is not the only option option to her body and mind.
"She look so stylish it like the trees all round the house draw themself up tall for a better look" (47).
"Everybody say how good I is to Mr. ---- Children. I be good to them. But I don't feel nothing for them. Patting Harbo back not even like patting a dog. It more like patting another piece of wood. Not a living tree, but a table, a chifferobe" (31).
---
"Someone to run to. It seem too sweet to bear" (69).
---
"[Shug Avery]...more evil than my mama and that keep her alive" (49).
a different survival tactic than becoming a passive tree ... her first step is putting spit into father-in-law's drink when he insults Shug (56-7)
---
"I can't even remember the last time I felt mad, I say. I used to git mad at my mammy cause she put a lot of work on me. Then I see how sick she is. Couldn't stay mad at her. Couldn't be mad at my daddy cause he my daddy. Bible say, Honor father and mother no matter what. Then after while every time I got mad, or start to feel mad, I got sick [like she did when she was mad at herself for hurting Sophia]. Felt like throwing up [is that why she threw up while cleaning game earlier?]. Terrible feeling. Then I start to feel nothing at all" (43-4).
"My kids with they grandma, she say. She could stand the kids, I had to go.
You miss 'em? I ast.
Naw, she say. I don't miss nothing" (52).
>> Celie awakens everyone (including herself) from their years of numbness/nothingness! Albert stands up to his father & admits his vulnerability, Shug learns to feel again.
Mr --- doesn't stand up for Shug in the church (pp46) nor did he when his father forbid their marriage -- much like his own son did years later
God
"She ast me bout the first one Whose it is? I say God's. I don't know no other man or what else to say....Finally she ast Where it is? I say God took it" (3).
how true that is
"I don't even look at mens. That's the truth. I look at women, tho, cause I'm not scared of them" (6).
yet she's afraid of herself
"Long as I can spell G-o-d I got somebody along" (18).
"I wash her body, it feel like I'm praying" (51).
Reason for switching from "Dear God" to "Dear Nettie" and observe "Dearest" in some chapters
SHUG AVERY
"I ast our new mammy bout Shug Avery. What it is? i ast. She don't know but she say she gon fine out.
She do more than that. She git a picture. The first one of a real person I ever seen. She say Mr. ---- was taking something out his billfold to show Pa an it fell out an slid under the table. Shug Avery was a woman. The most beautiful woman I ever saw. She more pretty than my mama. She bout ten thousand times more prettier then me. i see her there in furs. Her face rouge. Her hair like something tail. She grinning with her foot up on somebody motocar. Her eyes serious tho. Sad some.
I ast her to give me the picture. An all night log I stare at it. An now when I dream, I dream of Shug Avery. She be dress to kill, whirling and laughing" (7).
(While men discussing her ugliness and barren state): "I take out the picture of Shug Avery. I look into her eyes. Her eyes say Yeah, it bees that way sometime" (9).
"I know what he doing to me he done to Shug Avery and maybe she like it. I put my arm around him" (13).
"I walk round all day with the announcement burning a hole in my pocket. It pink. The trees tween the turn off to our road and the store is lit up with them. He got about five dozen in his trunk.
Shug Avery standing upside a piano, elbow crook hand on her hip. She wearing a hat like Indian Chiefs. Her mouth open showing all her teef and don't nothing seem to be troubling her mind....Lord, I wants to go so bad. Not to dance. Not to drink. Not to play card. Not even to hear Shug Avery sing. I just be thankful to lay eyes on her" (26).
"I think my heart gon fly out my mouth when I see one of her foots come poking out.
She not lying down. She climbing down tween Harpo and Mr. ----. And she dress to kill. She got on a red wool dress and chestful of black beads. A shiny black hat with what look like chickinhawk feathers curve down side one cheek, and she carrying a little snakeskin bag, match her shoes.
She look so stylish it like the trees all round the house draw themself up tall for a better look. Now I see she stumble, tween the two men. She don't seem that well acquiainted with her feets.
Close up I see all this yellow powder caked up on her face. Red rouge. She look like she ain't long for this world but dressed well for thenext. But I know better.
Come on in, I want to cry. To shout. Come on in. With God help, Celie going to make you well. But I don't say nothing. It not my house. Also I ain't been told nothing" (47).
---
Reactions when learning of Celie's molestation: "I'm in the bed crying. Nettie she finally see the light of day, clear. Our new mammy she see it too. She in her room crying. Nettie tend to first one, then the other. She so scared she go out doors and vomit. But not out front where the two mens is" (8).
---
"He never look up from cleaning his gun. Pretty soon a bunch of white mens come walking cross the yard. They have guns too.
Pa git up and follow 'em. The rest of the week I vomit and dress wild game" (11). [What? Vomiting b/c of the pregnancy or b/c the "wild game" is human flesh?]
---
Fight
Nettie: "You got to fight. You got to fight.
But I don't know how to fight. All I know how to do is stay alive" (18).
"I like Sophia, but she don't act like me at all. If she talking when Harpo and Mr --- come in the room, she keep right on. If they ast her where something at, she say she don't know. Keep talking.
I thinka bout this when Harpo ast me what he ought to do to her to make her mind. I don't mention how happy he is now. How three years pass and he still whistle and sing. I think bout how every time I jump when Mr --- call me, she look surprise. And like she pity me.
Beat her. I say" (38).
jealousy
The mutual fighting between Harpo and Sophia.
"Nobody fight for Shug, he say. And a little water come to his eyes" (50).
---
What Is Love?
When Celie insists that Nettie write, she says "Nothing but death can keep me from it" (19). When no letters come, Celie assumes her sister dead.
p66-7: harpo upset b/c sofia doesn't behave like celie, who reasons that where there is love there is conflict and a balance that is nonexistent in her own marriage
---
PURPLE the color she thought Shug Avery would wear so she requested it when Mr ---'s sister buys her clothes (22).
---
"Harpo no better at fighting his daddy back than me....He strong in body but weak in will. He scared" (29). --- He doesn't even stand up to his father when he insults the woman he loves, the mother of his child (32-3) -- **BUT** the following chapter Harpo marries Sophia and then moves into his father's shed with his family, continuing to work for him (for wages) and even allowing him to goad him (with Celie's "help" borne out of ignorance) into hitting his wife so as to get her to obey.
---
FIRST time [molested]
FIRST time having a new dress (22)
FIRST time Mr --- asked for approval from Celie (for his appearance heading to see Shug)
FIRST time "somebody made something and name it after me" (77)
---
consider importance of sewing/fabrics/textiles to Celie (quilts/pants w/ Sophia, Shug, Albert; Nettie & Corinna)
---
Why does Harpo turn his house into a bar?
(Letters 34-69) pp78-189 "Pretty soon it be time for Shug to go." ... "Shug say, Us each other's peoples now, and kiss me."
(Letters 70-End) pp190- "I woke up this morning bound to tell Corrine and Samuel everything." ... "Matter of fact, I think this is the youngest us ever felt."
Names
Consider the men that do have names (Harpo -- who introduces himself nameless on the wedding day by cutting open her scalp with a rock and gets a name after Mr ---'s sister makes him help Celie with the household chores, Samuel -- who is first introduced as a Mr/Reverend --- on p14, Adam, etc.) and the two who don't (He/Pa and Mr. ---). For the unnamed, consider the reveal of their names (Alphonso pp250 & Albert pp49 and why Celie doesn't use them).
He or Pa/Alphonso
Mr. ---/Albert
Mr. ---/Samuel
"the oldest boy"/Harpo
Shug Avery/Shug
Pauline/Olivia
Adam/Adam Omatanga
Coping Mechanisms -- Become a tree & feel nothing (Celie)*VS* Lash out & feel nothing (Mr. --- & Harpo) *VS* React & feel nothing (Shug & Sofia)
Celie uses her body to protect her mother, then her sister, then even Mr ---'s kids ("I make myself wood. I say to myself, Celie you a tree. That's how come I know trees fear man" 23) -- and as a function of being a living human shield, she believes herself ugly and accepts others' affirmation of this fact. It is Shug who teaches her that pain is not the only option option to her body and mind.
"She look so stylish it like the trees all round the house draw themself up tall for a better look" (47).
"Everybody say how good I is to Mr. ---- Children. I be good to them. But I don't feel nothing for them. Patting Harbo back not even like patting a dog. It more like patting another piece of wood. Not a living tree, but a table, a chifferobe" (31).
---
"Someone to run to. It seem too sweet to bear" (69).
---
"[Shug Avery]...more evil than my mama and that keep her alive" (49).
a different survival tactic than becoming a passive tree ... her first step is putting spit into father-in-law's drink when he insults Shug (56-7)
---
"I can't even remember the last time I felt mad, I say. I used to git mad at my mammy cause she put a lot of work on me. Then I see how sick she is. Couldn't stay mad at her. Couldn't be mad at my daddy cause he my daddy. Bible say, Honor father and mother no matter what. Then after while every time I got mad, or start to feel mad, I got sick [like she did when she was mad at herself for hurting Sophia]. Felt like throwing up [is that why she threw up while cleaning game earlier?]. Terrible feeling. Then I start to feel nothing at all" (43-4).
*
"My kids with they grandma, she say. She could stand the kids, I had to go.
You miss 'em? I ast.
Naw, she say. I don't miss nothing" (52).
>> Celie awakens everyone (including herself) from their years of numbness/nothingness! Albert stands up to his father & admits his vulnerability, Shug learns to feel again.
Mr --- doesn't stand up for Shug in the church (pp46) nor did he when his father forbid their marriage -- much like his own son did years later
God
"She ast me bout the first one Whose it is? I say God's. I don't know no other man or what else to say....Finally she ast Where it is? I say God took it" (3).
how true that is
"I don't even look at mens. That's the truth. I look at women, tho, cause I'm not scared of them" (6).
yet she's afraid of herself
"Long as I can spell G-o-d I got somebody along" (18).
"I wash her body, it feel like I'm praying" (51).
Reason for switching from "Dear God" to "Dear Nettie" and observe "Dearest" in some chapters
SHUG AVERY
"I ast our new mammy bout Shug Avery. What it is? i ast. She don't know but she say she gon fine out.
She do more than that. She git a picture. The first one of a real person I ever seen. She say Mr. ---- was taking something out his billfold to show Pa an it fell out an slid under the table. Shug Avery was a woman. The most beautiful woman I ever saw. She more pretty than my mama. She bout ten thousand times more prettier then me. i see her there in furs. Her face rouge. Her hair like something tail. She grinning with her foot up on somebody motocar. Her eyes serious tho. Sad some.
I ast her to give me the picture. An all night log I stare at it. An now when I dream, I dream of Shug Avery. She be dress to kill, whirling and laughing" (7).
(While men discussing her ugliness and barren state): "I take out the picture of Shug Avery. I look into her eyes. Her eyes say Yeah, it bees that way sometime" (9).
"I know what he doing to me he done to Shug Avery and maybe she like it. I put my arm around him" (13).
"I walk round all day with the announcement burning a hole in my pocket. It pink. The trees tween the turn off to our road and the store is lit up with them. He got about five dozen in his trunk.
Shug Avery standing upside a piano, elbow crook hand on her hip. She wearing a hat like Indian Chiefs. Her mouth open showing all her teef and don't nothing seem to be troubling her mind....Lord, I wants to go so bad. Not to dance. Not to drink. Not to play card. Not even to hear Shug Avery sing. I just be thankful to lay eyes on her" (26).
"I think my heart gon fly out my mouth when I see one of her foots come poking out.
She not lying down. She climbing down tween Harpo and Mr. ----. And she dress to kill. She got on a red wool dress and chestful of black beads. A shiny black hat with what look like chickinhawk feathers curve down side one cheek, and she carrying a little snakeskin bag, match her shoes.
She look so stylish it like the trees all round the house draw themself up tall for a better look. Now I see she stumble, tween the two men. She don't seem that well acquiainted with her feets.
Close up I see all this yellow powder caked up on her face. Red rouge. She look like she ain't long for this world but dressed well for thenext. But I know better.
Come on in, I want to cry. To shout. Come on in. With God help, Celie going to make you well. But I don't say nothing. It not my house. Also I ain't been told nothing" (47).
---
Reactions when learning of Celie's molestation: "I'm in the bed crying. Nettie she finally see the light of day, clear. Our new mammy she see it too. She in her room crying. Nettie tend to first one, then the other. She so scared she go out doors and vomit. But not out front where the two mens is" (8).
---
"He never look up from cleaning his gun. Pretty soon a bunch of white mens come walking cross the yard. They have guns too.
Pa git up and follow 'em. The rest of the week I vomit and dress wild game" (11). [What? Vomiting b/c of the pregnancy or b/c the "wild game" is human flesh?]
---
Fight
Nettie: "You got to fight. You got to fight.
But I don't know how to fight. All I know how to do is stay alive" (18).
"I like Sophia, but she don't act like me at all. If she talking when Harpo and Mr --- come in the room, she keep right on. If they ast her where something at, she say she don't know. Keep talking.
I thinka bout this when Harpo ast me what he ought to do to her to make her mind. I don't mention how happy he is now. How three years pass and he still whistle and sing. I think bout how every time I jump when Mr --- call me, she look surprise. And like she pity me.
Beat her. I say" (38).
jealousy
The mutual fighting between Harpo and Sophia.
"Nobody fight for Shug, he say. And a little water come to his eyes" (50).
---
What Is Love?
When Celie insists that Nettie write, she says "Nothing but death can keep me from it" (19). When no letters come, Celie assumes her sister dead.
p66-7: harpo upset b/c sofia doesn't behave like celie, who reasons that where there is love there is conflict and a balance that is nonexistent in her own marriage
---
PURPLE the color she thought Shug Avery would wear so she requested it when Mr ---'s sister buys her clothes (22).
---
"Harpo no better at fighting his daddy back than me....He strong in body but weak in will. He scared" (29). --- He doesn't even stand up to his father when he insults the woman he loves, the mother of his child (32-3) -- **BUT** the following chapter Harpo marries Sophia and then moves into his father's shed with his family, continuing to work for him (for wages) and even allowing him to goad him (with Celie's "help" borne out of ignorance) into hitting his wife so as to get her to obey.
---
FIRST time [molested]
FIRST time having a new dress (22)
FIRST time Mr --- asked for approval from Celie (for his appearance heading to see Shug)
FIRST time "somebody made something and name it after me" (77)
---
consider importance of sewing/fabrics/textiles to Celie (quilts/pants w/ Sophia, Shug, Albert; Nettie & Corinna)
---
Why does Harpo turn his house into a bar?
(Letters 34-69) pp78-189 "Pretty soon it be time for Shug to go." ... "Shug say, Us each other's peoples now, and kiss me."
(Letters 70-End) pp190- "I woke up this morning bound to tell Corrine and Samuel everything." ... "Matter of fact, I think this is the youngest us ever felt."
Saturday, February 9, 2013
WoT to GoT
In mid-January, I read A Memory of Light (final installment of Robert Jordan's Wheel of Time fantasy series). Today, I just finished A Feast for Crows (George R. R. Martin's fourth book of the Game of Thrones saga). I thought it might be interesting to consider some similarities and differences centered on theme. Well, here goes.
Crows
In WoT, they are the spies for the Dark One. During the most dire times, flocks of these birds were known to attack living prey (oftentimes human prey) and strip them to the bone in a matter of minutes. Both of these facts led various factions to reward (if not require) the slaughter of the black birds.
In GoT, death and destruction is widespread. Crows do not go without sustenance and at some point I may dig out some pretty fantastic quotes philosophizing on the conditions surrounding the crows' feast. Crows are not the emissaries of evil necessarily, but the profiteers from its effects.
Family
In WoT, we come to find out that Rand was adopted. Consider the identity of his true parents and how their lives defined (and didn't) his own path. Consider the true meaning of "parent" and the extent to which genes dictate this relationship. Think about the various familial units -- Rand's, Mat's, Perrin's, Egwene's, Asha'man, Aes Sedai, Aiel, Seanchan -- and the "mothers" (Moiraine, Egwene, Nynaeve, Elayne, Aviendha, EVEN Berelain). Think about what happens when a family unit is destroyed and what is done to preserve the memory and move forward from the point of destruction.
In GoT, family means different things to different kingdoms. The Starks, Lannisters, Freys, and Greyjoys all have different responsibilities to and expectations for their blood (and bastards). Compare and contrast -- being sure to remember Arya's group of "orphans" and the Night's Watch. Examine the relationships between siblings in each group and [as in the WoT portion] think about the effects of death and destruction and the healing process in each case.
Identity
Examine Rand's journey to a definition of self and his experiences hiding (from) the truth. Nynaeve takes a long time to accept her connection to the One Power; Egwene, Siuan, and Gareth have trouble adjusting to their new roles as well; Lan struggles with his identity. Don't forget about the men who join the Black Tower, despite centuries of discrimination against men wielding the Power. Consider the experiences of the young Aes Sedai outside of the tower (both in the core books and the prequel), Thom Merrilin, and Jain Farstrider.
Consider Arya's many identities, Catelyn Stark's positions, Jon Snow's definition of self (self-imposed and socially-influenced), Sansa's, Varys', Jaime's, Theon's... and the functions/pros/cons of each. Examine the reasons for the conflict.
Gender Roles
Consider the limitations and traditional roles prescribed for each sex. What did each struggle against and what was the outcome? Consider Elayne and the benefits/detriments of holding the throne of a traditionally-female kingdom. Egwene and Nynaeve overcoming the limitations of their hometown.
Consider the limitations and traditional roles prescribed for each sex. What did each struggle against and what was the outcome? Cersei, Arya, Sansa, Brienne.
Physical Weakness/Maiming
Consider the effects each condition had on the character and how it changed his/her trajectory and philosophy.
Rand,Galad, Mat
Varys, Jaime, Bran, Tyrion, Catelyn, Arya* (not to mention all the people Cersei had tortured to "confess")
Wolves
Perrin in WoT
Starks in GoT
Aes Sedai vs Night's Watch
dwindling numbers
Crows
In WoT, they are the spies for the Dark One. During the most dire times, flocks of these birds were known to attack living prey (oftentimes human prey) and strip them to the bone in a matter of minutes. Both of these facts led various factions to reward (if not require) the slaughter of the black birds.
In GoT, death and destruction is widespread. Crows do not go without sustenance and at some point I may dig out some pretty fantastic quotes philosophizing on the conditions surrounding the crows' feast. Crows are not the emissaries of evil necessarily, but the profiteers from its effects.
Family
In WoT, we come to find out that Rand was adopted. Consider the identity of his true parents and how their lives defined (and didn't) his own path. Consider the true meaning of "parent" and the extent to which genes dictate this relationship. Think about the various familial units -- Rand's, Mat's, Perrin's, Egwene's, Asha'man, Aes Sedai, Aiel, Seanchan -- and the "mothers" (Moiraine, Egwene, Nynaeve, Elayne, Aviendha, EVEN Berelain). Think about what happens when a family unit is destroyed and what is done to preserve the memory and move forward from the point of destruction.
In GoT, family means different things to different kingdoms. The Starks, Lannisters, Freys, and Greyjoys all have different responsibilities to and expectations for their blood (and bastards). Compare and contrast -- being sure to remember Arya's group of "orphans" and the Night's Watch. Examine the relationships between siblings in each group and [as in the WoT portion] think about the effects of death and destruction and the healing process in each case.
Identity
Examine Rand's journey to a definition of self and his experiences hiding (from) the truth. Nynaeve takes a long time to accept her connection to the One Power; Egwene, Siuan, and Gareth have trouble adjusting to their new roles as well; Lan struggles with his identity. Don't forget about the men who join the Black Tower, despite centuries of discrimination against men wielding the Power. Consider the experiences of the young Aes Sedai outside of the tower (both in the core books and the prequel), Thom Merrilin, and Jain Farstrider.
Consider Arya's many identities, Catelyn Stark's positions, Jon Snow's definition of self (self-imposed and socially-influenced), Sansa's, Varys', Jaime's, Theon's... and the functions/pros/cons of each. Examine the reasons for the conflict.
Gender Roles
Consider the limitations and traditional roles prescribed for each sex. What did each struggle against and what was the outcome? Consider Elayne and the benefits/detriments of holding the throne of a traditionally-female kingdom. Egwene and Nynaeve overcoming the limitations of their hometown.
Consider the limitations and traditional roles prescribed for each sex. What did each struggle against and what was the outcome? Cersei, Arya, Sansa, Brienne.
Physical Weakness/Maiming
Consider the effects each condition had on the character and how it changed his/her trajectory and philosophy.
Rand,Galad, Mat
Varys, Jaime, Bran, Tyrion, Catelyn, Arya* (not to mention all the people Cersei had tortured to "confess")
Wolves
Perrin in WoT
Starks in GoT
Aes Sedai vs Night's Watch
dwindling numbers
Sunday, January 27, 2013
[About a Boy] Ponderings
I love the page number format (check out the sample pages on Amazon).
Will and Marcus cross paths when they're both in their adolescence -- Marcus his actual adolescence, Will the adolescence afforded to him by his inheritance and lack of responsibilities. They speak with the same voice and have very similar reactions and thought processes -- much as Will tries to deny it. They both oscillate between passivity and aggression, standing up tallest when situations get the hardest to handle.
[I would like to write a bit about the idea that both Marcus and Will are the same person, effectively.]
C2's in media res with the cheesy men's survey introducing Will was a nice touch. The sudden shift from this to Will's own thoughts prove that the protagonist is much more charming than the glossy inanimate pages suggest.
Will's thoughts about children -- from silently condemning his friends' decision to "ruin" their lives by procreating, to recognizing the appeal of [essentially] babysitting and leaving with the sunset, to MARCUS & his strengths/weaknesses when compared to Ellie or Ravi
C3's segue-less narration of Marcus' unorganized thoughts / stream of consciousness style (much like Catcher in the Rye and other good coming-of-age stories) is very effective at setting the scene for his mental state.
It would be neat to be a textbook editor, choosing passages/events and explaining with the "proper" connotations / interpretations (creating ideology)
larder
Consider the idiom "going round the bend" (going crazy, context on p30 suggests). Explain "She'll be coming 'round the mountain..."
I like "on the debit side" in place of "on the down side" (38).
In C7, I like that Marcus can recognize that his father's girlfriend does stupid things but that she is not a stupid person.
I appreciate the threading of acting through Will's parts for a few chapters before meeting Marcus.
Des O'Connor
Crankies
Bing Crosby
David Bowie's duet with Zsa Zsa Gabor
Val Doonican
Cilla Black
Rod Hull and Emu
The Cunts
tetchy
egg-and-cress sandwich?
rounders
avuncular
Brent Cross
matily
barmy
Pet Shop Boys
Prisoner: Cell Block H
James Ellroy
J-cloths
daft (brush-daft?)
I like the phrase "spend the information" (106) since knowledge really is power.
Double Indemnity
The Big Sleep
EastEnders
The Bill
Joe Strummer
nip out
skive
Mr. Blobby
pillock
prat
pulled crackers
International Velvet
Laura Nyro
The Rockford Files
cypher
il ne sait quoi
p199: nineteen ninety-three VS 1993
Paul Smith
Siouxsie of the Banshees and the Roadrunner
wangle
Drugstore Cowboy
Ryan Giggs
Marks and Spencer sandwiches
The Wasp Factory
p250: things left unfinished propel you forward
doolally
John Major
articulated
GLR
Tesco
Toyah Wilcox
Will and Marcus cross paths when they're both in their adolescence -- Marcus his actual adolescence, Will the adolescence afforded to him by his inheritance and lack of responsibilities. They speak with the same voice and have very similar reactions and thought processes -- much as Will tries to deny it. They both oscillate between passivity and aggression, standing up tallest when situations get the hardest to handle.
[I would like to write a bit about the idea that both Marcus and Will are the same person, effectively.]
C2's in media res with the cheesy men's survey introducing Will was a nice touch. The sudden shift from this to Will's own thoughts prove that the protagonist is much more charming than the glossy inanimate pages suggest.
Will's thoughts about children -- from silently condemning his friends' decision to "ruin" their lives by procreating, to recognizing the appeal of [essentially] babysitting and leaving with the sunset, to MARCUS & his strengths/weaknesses when compared to Ellie or Ravi
C3's segue-less narration of Marcus' unorganized thoughts / stream of consciousness style (much like Catcher in the Rye and other good coming-of-age stories) is very effective at setting the scene for his mental state.
It would be neat to be a textbook editor, choosing passages/events and explaining with the "proper" connotations / interpretations (creating ideology)
larder
Consider the idiom "going round the bend" (going crazy, context on p30 suggests). Explain "She'll be coming 'round the mountain..."
I like "on the debit side" in place of "on the down side" (38).
In C7, I like that Marcus can recognize that his father's girlfriend does stupid things but that she is not a stupid person.
I appreciate the threading of acting through Will's parts for a few chapters before meeting Marcus.
Des O'Connor
Crankies
Bing Crosby
David Bowie's duet with Zsa Zsa Gabor
Val Doonican
Cilla Black
Rod Hull and Emu
The Cunts
tetchy
egg-and-cress sandwich?
rounders
avuncular
Brent Cross
matily
barmy
Pet Shop Boys
Prisoner: Cell Block H
James Ellroy
J-cloths
daft (brush-daft?)
I like the phrase "spend the information" (106) since knowledge really is power.
Double Indemnity
The Big Sleep
EastEnders
The Bill
Joe Strummer
nip out
skive
Mr. Blobby
pillock
prat
pulled crackers
International Velvet
Laura Nyro
The Rockford Files
cypher
il ne sait quoi
p199: nineteen ninety-three VS 1993
Paul Smith
Siouxsie of the Banshees and the Roadrunner
wangle
Drugstore Cowboy
Ryan Giggs
Marks and Spencer sandwiches
The Wasp Factory
p250: things left unfinished propel you forward
doolally
John Major
articulated
GLR
Tesco
Toyah Wilcox
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