Saturday, January 26, 2008
Player Piano
This is my second Vonnegut book (the first being Slaughter-House Five) and I fully enjoyed it. It was written in such a way that I often read ahead. I found Anita to be on the same level of annoyance as Daisy from The Great Gatsby. Just as I felt for Gatsby, I felt for Proteus. Proteus struggled with an ability to live the life he wanted. He felt trapped by the expectations of his father's legacy and fulfilling the standard job for his IQ. Vonnegut presents a possibility of technology controlling our lives. The reality is that our society is not that far off. People are incredibly reliant on technology. It scares me. If our society ever reached the point of Ilium's, I would be off in the woods somewhere thinking of Thoreau.
It's Clear. He's Visible.
Invisible Man is a novel that will surface in my mind for years to come. Although his character did not have a name, or much of an identity, his story is one that I will remember. Ellison succeeded in creating a remarkable journey of a young African American who struggles with a quest for identity and freedom from racial prejudice. This novel was rich with symbolism which made analyzing portions of it very interesting. I look forward to reading it again and discovering more of what it has to offer.
Opinion de Heart of Darkness
I appreciated Heart of Darkness for the message it put forth. It definitely was not a light read and I do not think that I will be picking it up any time soon. The complexity and remarkably confusing structure that Conrad creates is that of a true genius. I will probably pick up the novel again, in some time, when my knowledge is greater. A book can often have a different effect on a person at specific times in life. I feel that I will be able to understand this book better later in life. As of now, I appreciate it for what it is.
Heart of Darkness: Clear Contrast
"They were dying slowly-- it was very clear. They were not enemies, they were not criminals, they were nothing earthly now-- nothing but black shadows of disease and starvation, lying confusedly in the greenish gloom" (26).
The first quote is a description Marlow gives of the native people. This is a haunting and disturbing truth that Marlow was forced to face. The human, living, aspect of the people is striped away with the use of "nothing earthly" to describe them. To go so far as to call breathing people, however close to death, "nothing earthly" is clearly expressing devastation and despair. Referring to the people as shadows alludes to a ghastly scene of phantom-like creatures. These people were not described as people of disease and starvation, but, rather, "shadows" of these things. To be a shadow of two horrible things is even more depressing than just being of the two things. The "greenish gloom" is effective in depicting a sickly fog of death.
"I saw a high starched collar, white cuffs, a light alpaca jacket, snowy trousers, a clean necktie, and varnished boots" (28).
Marlow, shortly after, meets the Company's accountant. The well kempt appearance of this man is shocking after witnessing the devastation of the "shadows." There is a definite point being made with the contrast of light and dark. The light and dark are representative of good and evil. The phantom-like shadows of people portray the evil and darkness of society. The white, beaming, starched appearance of the accountant portrays goodness. It is ironic because the Company is not working with the interests of the natives in mind. The natives are left in the darkness, victims to Colonialism and the Congo.
The first quote is a description Marlow gives of the native people. This is a haunting and disturbing truth that Marlow was forced to face. The human, living, aspect of the people is striped away with the use of "nothing earthly" to describe them. To go so far as to call breathing people, however close to death, "nothing earthly" is clearly expressing devastation and despair. Referring to the people as shadows alludes to a ghastly scene of phantom-like creatures. These people were not described as people of disease and starvation, but, rather, "shadows" of these things. To be a shadow of two horrible things is even more depressing than just being of the two things. The "greenish gloom" is effective in depicting a sickly fog of death.
"I saw a high starched collar, white cuffs, a light alpaca jacket, snowy trousers, a clean necktie, and varnished boots" (28).
Marlow, shortly after, meets the Company's accountant. The well kempt appearance of this man is shocking after witnessing the devastation of the "shadows." There is a definite point being made with the contrast of light and dark. The light and dark are representative of good and evil. The phantom-like shadows of people portray the evil and darkness of society. The white, beaming, starched appearance of the accountant portrays goodness. It is ironic because the Company is not working with the interests of the natives in mind. The natives are left in the darkness, victims to Colonialism and the Congo.
EVIL: Is it in YOU?
Evil drives certain people to the extent of committing awful crimes. What leads these individuals to do such things? One is not born good or bad. It is not in one's genes to murder. It is the environment which a person is surrounded by that influences character. A child who is raised in an abusive, dangerous environment is likely to be influenced by this. Take the same child at birth and put him/her in a loving, nurturing environment. What happens? The child grows to understand the importance of goodness. However, this change can occur much later. In fact, a grown man is capable of confronting evil. It is a matter of choice and circumstance. Will he be able to overcome evil-- or will he fall into the trap of wickedness, illustrated in Conrad's novella, Heart of Darkness. This novella informs the reader that every man has the potential to be led to darkness and evil.
While you may be sitting there, in the comfort of your swivel chair and fleece robe, thinking that you are an all around good person--I will not doubt it. What I do most definitely doubt is that you are incapable of surrendering to evil. Until you have watched evil stare you in the eyes and have been able to walk away from it, I will not lessen my belief. You most definitely could be the next savage to stick some heads on some stakes. No offense.
You're still not convinced? Mr. Kurtz was not an evil individual upon entering the Congo. He was talked about as holding great promise. A fiancee awaited his return at home. After his death, he was described positively by many people for different reasons. Although these descriptions did not necessarily match up, it was true that he was viewed positively by many. Only after spending an extended period of time in the heart of darkness, through traveling deeper and deeper into these depths, did Kurtz become affected. Marlow, on the other hand, was able to glance into darkness, come close enough to touching it, and then turn away. If Marlow was not able to escape his position he may have met a similar fate as Kurtz.
While you may be sitting there, in the comfort of your swivel chair and fleece robe, thinking that you are an all around good person--I will not doubt it. What I do most definitely doubt is that you are incapable of surrendering to evil. Until you have watched evil stare you in the eyes and have been able to walk away from it, I will not lessen my belief. You most definitely could be the next savage to stick some heads on some stakes. No offense.
You're still not convinced? Mr. Kurtz was not an evil individual upon entering the Congo. He was talked about as holding great promise. A fiancee awaited his return at home. After his death, he was described positively by many people for different reasons. Although these descriptions did not necessarily match up, it was true that he was viewed positively by many. Only after spending an extended period of time in the heart of darkness, through traveling deeper and deeper into these depths, did Kurtz become affected. Marlow, on the other hand, was able to glance into darkness, come close enough to touching it, and then turn away. If Marlow was not able to escape his position he may have met a similar fate as Kurtz.
Anita (Player) Proteus
I believe that Paul Proteus' saddest moment occurred in Chapter 18 of Player Piano. It is in this chapter that Paul's relentless wife, Anita, manipulates him to the fullest degree.
Purchasing the farm was not an impulsive action that Paul decided on. He had truly thought about life on the farm, the escape it would offer, a new closeness he would rekindle with Anita. After collecting his courage and thoughts, he made the decision. One is deceived, just as Paul is, in believing that Anita has changed when she reacts with delight to the surprise of the farm. For a brief moment, there is hope for the conniving wife whose ambitions have been set on one goal: corporal advancement of her husband. She demands that Paul use a stronger word than 'happy' when wishing her a 'happy anniversary' because of her excitement (180). This demand shows that she has control of the situation. She beams with a chipper, 'Ecstatic anniversary to you, Paul. I love you. Lord, how I love you' (180)! As a reader, one thinks: Wow. Is this Anita coming to her senses? One is soon found to be mistaken. Anita is already formulating how she will change the small farm house, how she will expand it into something grand with her ideas. She is capable of envisioning this all in her head, just as she is capable of laying out plans for Paul's future. At this point, Paul's excitement goes stale. Reasoning does not work with Anita. No. God no. She is set in her ways. Either she gets to alter things to her liking, or she will not have it. The reader anticipates an argument: Come on, Paul! Tell her how you feel! Paul instills the reader with hope when he says, 'It doesn't matter what you think...I've made up my mind to quit my job and live here. Do you understand? I'm going to quit' (183). Vonnegut includes this quote to create anticipation that builds up-- only to dissipate into nothing. Paul is belittled from the dominant one in the conversation to a 'little boy' (184). Anita uses her sex appeal to distract Paul from his objective. After he is pulled in, she asserts her control in saying, 'You're not going to quit, sweetheart. You're just awfully tired.'
In a matter of seconds, Paul is reduced from a man in control, with a new dream, to a helpless little boy, stuck in the same position. He allows himself to be subject to Anita's alluring ways and is reduced to a fool of 'Mmmm' responses (185). The worst part about all of this is that Anita knows exactly what she is doing. She is the ultimate symbol of deceit. It is out of selfish desires that she manipulates Paul into doing what she believes is right.
Purchasing the farm was not an impulsive action that Paul decided on. He had truly thought about life on the farm, the escape it would offer, a new closeness he would rekindle with Anita. After collecting his courage and thoughts, he made the decision. One is deceived, just as Paul is, in believing that Anita has changed when she reacts with delight to the surprise of the farm. For a brief moment, there is hope for the conniving wife whose ambitions have been set on one goal: corporal advancement of her husband. She demands that Paul use a stronger word than 'happy' when wishing her a 'happy anniversary' because of her excitement (180). This demand shows that she has control of the situation. She beams with a chipper, 'Ecstatic anniversary to you, Paul. I love you. Lord, how I love you' (180)! As a reader, one thinks: Wow. Is this Anita coming to her senses? One is soon found to be mistaken. Anita is already formulating how she will change the small farm house, how she will expand it into something grand with her ideas. She is capable of envisioning this all in her head, just as she is capable of laying out plans for Paul's future. At this point, Paul's excitement goes stale. Reasoning does not work with Anita. No. God no. She is set in her ways. Either she gets to alter things to her liking, or she will not have it. The reader anticipates an argument: Come on, Paul! Tell her how you feel! Paul instills the reader with hope when he says, 'It doesn't matter what you think...I've made up my mind to quit my job and live here. Do you understand? I'm going to quit' (183). Vonnegut includes this quote to create anticipation that builds up-- only to dissipate into nothing. Paul is belittled from the dominant one in the conversation to a 'little boy' (184). Anita uses her sex appeal to distract Paul from his objective. After he is pulled in, she asserts her control in saying, 'You're not going to quit, sweetheart. You're just awfully tired.'
In a matter of seconds, Paul is reduced from a man in control, with a new dream, to a helpless little boy, stuck in the same position. He allows himself to be subject to Anita's alluring ways and is reduced to a fool of 'Mmmm' responses (185). The worst part about all of this is that Anita knows exactly what she is doing. She is the ultimate symbol of deceit. It is out of selfish desires that she manipulates Paul into doing what she believes is right.
Brother, Where Art Thou?
The word "brotherhood" causes one to envision a close knit collection of old friends, an organization with an alliance, a fraternity, and all around togetherness. In this case, one would expect a "brother" to be one who is to be trusted, one who is to be revered with the respect of others. In Ralph Ellison's Invisible Man, one's mind is opened to a dysfunctional, disorderly, and poorly directed Brotherhood. It is a group that is headed in the wrong direction with faulty ambitions. The traditional togetherness and trust existing in such groups is not present. When one looks at the roots of the Brotherhood, at what makes this group of people come together, it is clear to see that it's foundation is dangerously close to collapsing. Brother Jack, the confident leader, does not have ambitions that support the quest for African American acceptance. The interactions of the narrator and Brother Jack display his wrongful intentions and reveal his true prejudice.
Leading up to their introduction, Brother Jack chases the narrator over rooftops and down the street. It is quite ironic that their first encounter is a chase because it supports the prejudicial idea of keeping "this nigger boy running" (33). While Jack is meant to be supportive of the African American movement, he is no different from the racist white society.
When BJ finally catches up with the narrator, he compliments him by saying, "That was a masterful bit of persuasion, brother." It is important to take note that Brother Jack immediately commends the narrator, in hope of luring him closer. He also addresses the narrator as "brother" which is to suggest that he is friendly and on his side. He then persists to tell the narrator that he is a friend, and then an admirer when the narrator does not accept that. Brother Jack invites the invisible man to get a cup of coffee and offers him cheesecake. It is with this stimulant and rich dessert that he attempts to make the narrator more comfortable. He continues to press the narrator about his speech, saying that he "sees through" him and knows he was "enormously moved" (290). It is ironic that BJ claims to see through the narrator when, in fact, he has a glass eye. This eye is symbolic of his blind ambitions and motives. It is clear that Brother Jack lives with the prejudices that he valiantly pretends to fight when he tells the narrator that his "old agrarian self" is dead. He is stereotyping the narrator because he is from the south, and failing to identify him as an individual.
Although the narrator is not interested in Brother Jack's "mysterious and smug" way, "as though he had everything figured out," he decides that he will call him about the job prospective (292). At the Chthonian, the narrator overhears a woman asks Brother Jack, "But don't you think he should be a little blacker" (303)? This question makes Brother Jack's intentions very suspicious. It also makes a point of expressing that the narrator is not an important person, rather, he is an important tool for the Brotherhood to use. As the narrator becomes more involved with the Brotherhood, he gets more malleable and is used for the services of the organization. His individual thoughts are not valued, neither is his identity-- which is why the Brotherhood issues him a new name. It is because of the narrator's inability to think for himself and make decisions that the Brotherhood is able to take advantage of him.
Leading up to their introduction, Brother Jack chases the narrator over rooftops and down the street. It is quite ironic that their first encounter is a chase because it supports the prejudicial idea of keeping "this nigger boy running" (33). While Jack is meant to be supportive of the African American movement, he is no different from the racist white society.
When BJ finally catches up with the narrator, he compliments him by saying, "That was a masterful bit of persuasion, brother." It is important to take note that Brother Jack immediately commends the narrator, in hope of luring him closer. He also addresses the narrator as "brother" which is to suggest that he is friendly and on his side. He then persists to tell the narrator that he is a friend, and then an admirer when the narrator does not accept that. Brother Jack invites the invisible man to get a cup of coffee and offers him cheesecake. It is with this stimulant and rich dessert that he attempts to make the narrator more comfortable. He continues to press the narrator about his speech, saying that he "sees through" him and knows he was "enormously moved" (290). It is ironic that BJ claims to see through the narrator when, in fact, he has a glass eye. This eye is symbolic of his blind ambitions and motives. It is clear that Brother Jack lives with the prejudices that he valiantly pretends to fight when he tells the narrator that his "old agrarian self" is dead. He is stereotyping the narrator because he is from the south, and failing to identify him as an individual.
Although the narrator is not interested in Brother Jack's "mysterious and smug" way, "as though he had everything figured out," he decides that he will call him about the job prospective (292). At the Chthonian, the narrator overhears a woman asks Brother Jack, "But don't you think he should be a little blacker" (303)? This question makes Brother Jack's intentions very suspicious. It also makes a point of expressing that the narrator is not an important person, rather, he is an important tool for the Brotherhood to use. As the narrator becomes more involved with the Brotherhood, he gets more malleable and is used for the services of the organization. His individual thoughts are not valued, neither is his identity-- which is why the Brotherhood issues him a new name. It is because of the narrator's inability to think for himself and make decisions that the Brotherhood is able to take advantage of him.
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