Themes & Conflicts to Consider in PROOF

It would be safe to focus on the following ideas in preparation of your FINAL EXAM:

CATHERINE - How does Catherine see herself as the play opens? How is her identity developed through the play? How does her father, sister, and Hal contribute to her notion that she is/is not insane? Is she more or less stable by the end of the drama? Why?

TITLE - In what way does the title PROOF refer to a mathematical proof, the concept of authentic scholarship and the proof that people seek to reassure themselves of the stability of their personal relationships? How do these all come to bear on the character of Catherine? In what way are the other characters involved?

GENIUS and INSANITY - What determines genius? What is the difference between the way a genius sees a problem or an idea and the way most of us see it? What is the difference between the way a person who is mentally unstable sees a problem/idea and the way most of us see it? Are most creative geniuses borderline (or fully) mentally or emotionally unstable? What does the evidence in the play seem to suggest?

THE IMPORTANCE OF HEREDITY - Are people "fated" to follow in the path of parents? Specifically, is Catherine likely, as she fears in the opening scene, of becoming "nuts" like her father? How has tending to her father the last three years effected Catherine? Has there been a positive outcome of caring for Robert?

SIBLINGS - In what way(s) are Catherine and Claire similar? Different? Where has Claire been? Why has she not helped Catherine care for their father? What is the first thing Claire does when she arrives home? What is Catherine's response? How does this simple act indicate the relationship between the two sisters?

OUTSIDERS - Into the play concerning family, there appears an outsider: HAL. What role does Hal play in the drama? What is his function? How does his involvement with Catherine impact on Claire as well? What IS Hal's motive? Is he genuine or is he motivated by self-interest? How do you know?

Written Assignment for DOUBT - due April 21

Choose ANY 2 of the following questions and answer each in ONE page; use a clear, definite topic sentence and support from the drama:

1. "Doubt" begins with a parable. In the course of a sermon (also called a homily), Father Flynn tells the story of a man who is lost at sea and clinging to the hope that he has set the correct course for home. What happens to the man? Father Flynn doesn’t say, and thus, the play begins on a note of doubt. In what way does the play END on a note of doubt as well?

2. In the “Preface,” Shanley criticizes the fact that “we are living in a culture of extreme advocacy, of confrontation, of judgment, and of verdict.” In what sense might the play itself be considered an attempt to remedy this cultural trend. Provide examples to support your stance.

3. The play’s preface ends with the statement that “The beginning of change is the moment of Doubt. It is the crucial moment when I renew my humanity or become a lie. Doubt requires more courage than conviction does.” Why would Shanley celebrate uncertainty? What does uncertainty give us that certainty cannot?

4. Why does Sister Aloysius favor fountain pens that must be dipped in ink rather than ballpoint pens? How are these two modes of writing symbolic? Why is penmanship important? What does it suggest?

Selected Questions on DOUBT

1. The subtitle of "Doubt" is "A Parable." Parables are very simple stories in which
a character must face a choice and accept the consequences of that decision. In other words, a parable is a brief, realistic story that illustrates a moral or ethical choice. In some parables, the main character, or protagonist, makes the right choice, and in others, he or she takes the wrong path. Parables are metaphors; they make their point indirectly.

2. Father Flynn argues that skepticism can provide a sense of community that is every bit as nourishing as faith. Indeed, he ends his first sermon by saying, “Doubt can be a bond as powerful and sustaining as certainty.” Do you agree or disagree? Support your answer with examples from the play and/or personal experience.

3. "Doubt" begins with a parable. In the course of a sermon (also called a homily), Father Flynn tells the story of a man who is lost at sea and clinging to the hope that he has set the correct course for home. What happens to the man? Father Flynn doesn’t say, and thus, the play begins on a note of doubt. In what way does the play END on a note of doubt as well?

4. In the “Preface,” Shanley criticizes the fact that “we are living in a culture of extreme advocacy, of confrontation, of judgment, and of verdict.” In what sense might the play itself be considered an attempt to remedy this cultural trend. Provide examples to support your stance.

5. The play’s preface ends with the statement that “The beginning of change is the moment of Doubt. It is the crucial moment when I renew my humanity or become a lie. Doubt requires more courage than conviction does.” Why would Shanley celebrate uncertainty? What does uncertainty give us that certainty cannot?

6. Why does Sister Aloysius favor fountain pens that must be dipped in ink rather than ballpoint pens? How are these two modes of writing symbolic? Why is penmanship important? What does it suggest?

7. What specific evidence does Sister Aloysius have to support her conviction that Father Flynn behaved inappropriately with Donald? How does Sister Aloyisius go about gathering her proof? What is her view on truth? Father Flynn reminds Sister Aloyisius that “even if you feel certainty, it is an emotion and not a fact.” What is your view on truth? Do you believe in absolute truth or relative truth?
8. Sister Aloyisius points out that the gardener “pruned this bush, which was the right thing to do, but he neglected to protect it from the frost.” How does this statement apply to sister Aloyisius’ own attempts to protect her students? Why is the action of pruning symbolic?
9. One of the principles of our legal system is that one is innocent until proven guilty. Does Sister Aloyisius abide by this? Should she? What is more dangerous in this situation: presuming innocence or presuming guilt?

WRITING PROMPTS FOR Doubt

#1

Which people or events have shaped your world view? Have you become disillusioned in any way? How do you feel about that? Write a brief paragraph about a person or event that caused you to reevaluate your concept of how the world works. Use examples.

#2

Answer each of the following questions in a complete sentence, and then identify how you know the answers. Are you relying on direct observation? Intuition? Heresay? Other sources? Why are you so sure about the answer? Or are you uncertain?

What color are your mother's eyes?

Whom do you trust?

What color is the ocean?

Is there life after death?

Is it always wrong to steal?

Is there life on other planets?

Opening Discussion for Mon., April 12

The Parable of the Blind Men and the Elephant

"Once upon a time there was a certain raja who called to his servant and said, 'Come, good fellow, go and gather together in one place all the men of Savatthi who were born blind... and show them an elephant.' 'Very good, sire,' replied the servant, and he did as he was told. He said to the blind men assembled there, 'Here is an elephant,' and to one man he presented the head of the elephant, to another its ears, to another a tusk, to another the trunk, the foot, back, tail, and tuft of the tail, saying to each one that that was the elephant.
"When the blind men had felt the elephant, the raja went to each of them and said to each, 'Well, blind man, have you seen the elephant? Tell me, what sort of thing is an elephant?'
"Thereupon the men who were presented with the head answered, 'Sire, an elephant is like a pot.' And the men who had observed the ear replied, 'An elephant is like a winnowing basket.' Those who had been presented with a tusk said it was a ploughshare. Those who knew only the trunk said it was a plough; others said the body was a grainery; the foot, a pillar; the back, a mortar; the tail, a pestle, the tuft of the tail, a brush.
"Then they began to quarrel, shouting, 'Yes it is!' 'No, it is not!' 'An elephant is not that!' 'Yes, it's like that!' and so on, till they came to blows over the matter.
"Brethren, the raja was delighted with the scene.
"Just so are these preachers and scholars holding various views blind and unseeing.... In their ignorance they are by nature quarrelsome, wrangling, and disputatious, each maintaining reality is thus and thus."

What was the lesson—or as Mitch Sanders would say, the moral of the story?

Discussion for the Week of April 12

Doubt: A Parable by John Patrick Shanley

(Just as The Things They Carried was about how people react to the “heart under pressure” more than it was war, Doubt is not so much about the characters in the drama and their situation as it is about all people and the natural inclination we have to complacency--and reluctance to change.)


What is a parable?
Note that many cultures have used parables as a way to teach.

In the Preface, Shanley suggests that our society is now a “courtroom culture.” What does he mean by this?

What hazard exists “in a culture of extreme advocacy, of confrontation, of judgment, and of verdict,” according to Shanley?

According to the Preface, what benefit is produced by doubt? (Consider this interpretation and the uncertainty of Sister Aloysisus at the end of the drama.)

Explain what Shanley means when he declares that, “Doubt requires more courage than conviction does, and more energy; because conviction is a resting place and doubt is infinite--it is a passionate exercise.”
Compare and contrast Sisters Aloysisus and James in regard to their attitude toward students, teaching, and their role in the school and the classroom.

What are the two parables that Father Flynn tells?
What is the “lesson” in each? Is the lesson literal or does it suggest something else?

What strong indications are there that Sister Aloysisus is mired in the past, as a rigid disciplinarian?

How does the talk Sister James has with Sister Aloysisus early in the drama affect Sister James? Why? How does this change by the end of the play?

Poets & Poems for Consideration

Robert Hayden – Those Winter Sundays
Elizabeth Bishop – Manners
Randall Jarrell – Death of the Ball Turret Gunner
Alice Walker - I Said to Poetry
Stevie Smith – Not Waving But Drowning
Judith Ortiz Cofer – Latin Women Pray
Wilfred Owen – Dulce et Decorum Est
Charles Simic – To the One Upstairs
Robert Frost – Acquainted With the Night
Robert Frost – An Old Man’s Winter Night
Jane Kenyon – Surprise
Jane Kenyon – Otherwise
Galway Kinnell – Blackberry Eating
William Wordsworth – My Heart Leaps Up
A. E. Housman – When I was one-and-twenty
Carl Sandburg – Chicago
Theodore Roethke – My Papa’s Waltz
Dylan Thomas – Do not go gentle into that good night
Amy Lowell – Patterns
W.H. Auden – The Unknown Citizen
Paul Laurence Dunbar – We Wear the Masks
Paul Laurence Dunbar – I Know Why the Caged Bird Sings
Theordore Roethke – Elegy for Jane
Robert Frost – Out, Out—
Robert Frost – Birches
Langston Hughes – Theme for English B
Langston Hughes – Mother to Son

Poem #4

Let Evening Come
by Jane Kenyon

Let the light of late afternoon
shine through chinks in the barn, moving
up the bales as the sun moves down.

Let the cricket take up chafing
as a woman takes up her needles
and her yarn. Let evening come.

Let dew collect on the hoe abandoned
in long grass. Let the stars appear
and the moon disclose her silver horn.

Let the fox go back to its sandy den.
Let the wind die down. Let the shed
go black inside. Let evening come.

To the bottle in the ditch, to the scoop
in the oats, to air in the lung
let evening come.

Let it come, as it will, and don't
be afraid. God does not leave us
comfortless, so let evening come.

Poem #3

Shooting Rats at the Bibb County Dump
by David Bottoms

Loaded on beer and whiskey, we ride
to the dump in carloads
to turn our headlights across the wasted field,
freeze the startled eyes of rats against mounds of rubbish.

Shot in the head, they jump only one, lie still
like dead beer cans.
Shot in the gut or rump, they writhe and try to burrow
into garbage, hide in old truck tires,
rusty oil drums, cardboard boxes scattered across the mounds,
or else drag themselves on forelegs across our beams of light
toward the darkness a the edge of the dump.

It's the light they believe kills.
We drink and load again, let them crawl
for all they're worth into the darkness we're headed for.

Poem #2

Wild Geese

By Mary Oliver

You do not have to be good.
You do not have to walk on your knees
for a hundred miles through the desert, repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about despair, yours, and I will tell you mine.
Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of the rain
are moving across the landscapes,
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high in the clean blue air,
are heading home again.
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting--
over and over announcing your place
in the family of things.

Poem #1

The Gift
by Li-Young Lee

To pull the metal splinter from my palm

my father recited a story in a low voice.

I watched his lovely face and not the blade.

Before the story ended, he’d removed

the iron sliver I thought I’d die from.


I can’t remember the tale,

but hear his voice still, a well

of dark water, a prayer.

And I recall his hands,

two measures of tenderness

he laid against my face,

the flames of discipline

he raised above my head.


Had you entered that afternoon

you would have thought you saw a man

planting something in a boy’s palm,

a silver tear, a tiny flame.

Had you followed that boy

you would have arrived here,

where I bend over my wife’s right hand.


Look how I shave her thumbnail down

so carefully she feels no pain.

Watch as I lift the splinter out.

I was seven when my father

took my hand like this,

and I did not hold that shard

between my fingers and think,

Metal that will bury me,

christen it Little Assassin,

Ore Going Deep for My Heart.

And I did not lift up my wound and cry,

Death visited here!

I did what a child does

when he’s given something to keep.

I kissed my father.

Poetry Analysis

Poetry Analysis Rubric

Criteria

Presentation – 15%
• Title – how it anticipates/introduces the poem
• Speaker – identify whether it is the poet or a persona created by the poet; also, indicate audience
• Reading & YOUR initial reaction to the poem – if you do not read the poem aloud yourself, make sure you can easily access the poem (be prepared to read it, in case youtube.com fails)

Paraphrase the Literal & define/clarify vocabulary – 10%

Format/Style of poem & tone – 25%
• You need not identify whether it is a ballad or sonnet, but do indicate if the poem is structured, with regular rhyme & regular rhythm OR if it is in free verse (relatively unstructured)
• Tone: here YOU must draw an inference after you have studied the poem AND you MUST support your inference with specific words, phrases, lines from the poem (that’s the hard part)

Word Choice/Connotation/Imagery/Symbolism/Irony – 25%
• You NEED NOT know the term of the poetic device (simile, metaphor, hyperbole, personification, metonymy, etc.), but you MUST find the words, phrases, lines that create “word pictures” or imagery; MOST, but not all poems WILL contain symbolism—determine symbolism by the connotative meaning of the words in the poem; some—but not all—poems will contain irony—naturally, you must identify and explain the irony, if it appears in the poem

Identify the Shift/Change/Turning point in the poem AND the THEME – 25%
• AGAIN – the key is determining the shift or change and supporting your comments by specifics in the poem

Poetry

The Elements of Poetry
Take a look at this website: http://www.authorstream.com/Presentation/ttravis-58691-Elements-Poetry-Lines-Stanza-Rhyme-Scheme-Rhythm-Free-Verse-of-poe-Education-ppt-powerpoint/
In clear, direct PROSE, the powerpoint goes over the primary elements of poetry AND provides examples of each. The examples may seem a bit simple, but even the most complex poetry builds from these devices. If you can see how poets manipulate language in these poems, understand what tools or devices poets use to create their poems, you’ll better understand the more difficult poems.
The following website: http://www.slideshare.net/mspata/poetry-powerpoint-1204716 is more complex but also gives great information—Don’t worry about slides 29-39. We won’t be lingering that long in the poetry unit

Topics for Essay #3

Essay Topics over the The Things They Carried:

We have discussed two things throughout our study of this novel: the story and the characters; therefore, there are only two topics. Please understand that you are meant to delve back into the book, to consider and study it further as you consider this essay. The bad news: this will be hard; the good news: studying this book is the hardest thing you will do all semester. It does get easier after this essay.

Use specific examples from at least 4-5 stories from the novel to support one of the following topics. This essay should be between 4-5 pages, with citations from the novel. You are encouraged to read and incorporate information from the following links--or other research--with correct MLA format:

http://www.illyria.com/tobhp.html -- citations will depend on which, if any, of the articles you choose to read and use; the two articles below are specific articles found on the above website:

http://www.stg.brown.edu/projects/WritingVietnam/obrien.html CITATION FORMAT: (O'Brien).

http://www3.wooster.edu/ArtfulDodge/interviews/obrien.htm CITATION FORMAT: (Artful Dodge).

When citing from the book, all that is required is the page number. CITATION FORMAT: (45).


1. CHARACTERS
War creates an automatic pressure cooker, one in which the characters must respond quickly, without the time to weigh their decisions, the consequences, or the long term effects of those decisions. What are the pressures or internal conflicts exerted on the men of Alpha Company--specifically Tim O'Brien, Norman Bowker, Rat Kiley, Mitch Sanders, and Henry Dobbins--AND how does each individual respond to the pressure and conflicts exerted on them? Be sure to consider the pressure to comply with the expectations of "society"--before, during, and after the war. Consider the importance of pride and proving and maintaining bravery in the face of danger and fear to these men.

2. TRUTH
Tim O’Brien has said:
"Every reader is always seduced by a good work of fiction. That is, by a lie . . . . Huckleberry Finn did not happen, but if you're reading Huckleberry Finn you're made to believe that it is happening. If you didn't believe it, then it would be a lousy work of fiction. One wouldn't be seduced. . . . I'm like a seducer, yet . . . I'm not just tricking you, I'm letting you in on my game, letting you in on who I am, what I am, and why I am doing what I am doing."

What aspect of storytelling is the author Tim O’Brien concerned with in his novel, The Things They Carried? Which stories--and characters--are the author's greatest lies and creations and are the most believable? What truth is O’Brien the author attempting to convey to the reader by telling these lies? How does creating the character of the soldier/narrator Tim O'Brien contribute to the "seduction" of the reader? In what way is this a book about writing stories and about the truth that often lies buried within the greatest works of fiction--not just this book, but any book worth study? The stories and characters created by novelists are not real . . . Huck Finn wasn't real--neither the book nor the character; neither were George & Lennie in Steinbeck's Of Mice and Men; neither were Hassan and Amir in Hossenni's Kite Runner-- but what was real?

Stories for All Time

Why tell stories, if they aren’t true?

In the August issue of Scientific American Mind, Jeremy Hsu said:

1. storytelling is a human universal, and common themes appear in tales throughout history and all over the the world.
2. These characteristics of stories, and our natural affinity toward them, reveal clues about our evolutionary history and the roots of emotion and empathy in the mind.
3. By studying narrative's power to influence beliefs, researchers are discovering how we analyze information and accept new ideas.

From: http://www.umass.edu/wmwp/DigitalStorytelling/Why%20tell%20stories.htm

Why tell stories?
We embark on this endeavor because stories are ways in which we pass down information from one generation to another. Words and language are the threads of life, and from Homer's epics to Mark Twain's Mississippi adventures, stories are way to engage the imagination of a reader or listener. . . .

. . . in the end, we tell stories to understand ourselves a bit better. By exploring our inner selves through words and stories, we come to understand the "real" us that lives inside this body.


From Tim O’Brien:

Stories, retold, carry the force of legend. There's a sense of legend in that the story is still going out there somewhere. Huck is still going down that river, Ahab is still chasing that whale. Legends have to do with the repetition of things. Though there's a narrative end to Moby Dick, there's a sense, as in all stories, that everyone is still out there, still doing these things, forever and ever.

The Book as a Whole

1. Consider the development of Tim O'Brien, the narrator/soldier in TTTC. How does the reader reconcile the frightened draftee in "On The Rainy River" with the sadistic, revengeful narrator/character in "The Ghost Soldiers"?
--"On The Rainy River"
--"The Man I Killed"
--"Ambush"
--"Field Trip"
--"The Ghost Soldiers"

2. Explain the use of metafiction in the novel.How does the concept of truth become incorporated with metafiction as well? (Look for phrases that deal with telling or writing a story.)
--"How To Tell a True War Story"
--"Notes"
--"Good Form"
--"The Lives of the Dead"

3. Discuss the importance of Kiowa to the novel as a whole.
--"The Things They Carried"
--"The Man I Killed"
--"Speaking of Courage"
--"The Lives of the Dead"
--"Field Trip"

4. In addition to the major characters, there are significant MINOR characters. What valuable role does each of the following characters play
in the novel:
--Azar
--Rat Kiley
--Mitchell Sanders
--Norman Bowker
--Henry Dobbins

5. Identify the elements of magical realism in the novel--what is the purpose of each?
--"How to Tell . . ."
--"The Sweetheart of the Song Tra Bong"
--MORE . . .what about "The Man I Killed" and "Style"

6. Since you've finished the novel, look back at the author's dedication. Why do you think he chose these men to dedicate the book to? Why not the entire company?

Topics Essay #2 - FINAL DRAFT DUE: SECOND DAY OF CLASS THE WEEK OF FEB. 22nd

Choose ONE of the following for your second essay; make sure you use specific details/evidence/examples from "On the Rainy River," "Spin," "Enemies," "Friends," "How to Tell a True War Story" and "The Dentist," to support your thesis statement. Make sure your thesis statement is explicit and in the first paragaph. Your title should anticipate your topic, but remember: the title alone is not a thesis. Regarding length: minimum of three pages with clearly related, logically organized and fully explained details/evidence/examples.

1. There is a continuing emphasis on truth as this novel progresses, but "truth" begins to take on a more complex meaning. Discuss the difference between the importance of the "story-truth" and the "happening-truth" in relevance to O'Brien's stories and how he uses fiction to reveal truth in these episodes. How does O'Brien (the author) use autobiographical elements (as in "On the Rainy River")as well as observed incidents among soldiers ("Spin," "Enemies," "Friends," and "The Dentist") and even magical realism to convey emotional truth in his novel? In what way does O'Brien seem to prove that fiction can become a greater truth than reality?

2. Through the stories listed above, Tim O'Brien, the author, continues to depict paradoxical situations (two circumstances that are opposite which should not exist at the same time, but do). Explain the most profound paradoxes--the character O'Brien's situation at the conclusion of "On the Rainy River," the relationship between Lee Strunk and Dave Jensen, Azar's innocent cruelty, and the beauty of life, death and war to the narrator in "How to Tell a True War Story." What is O'Brien's point in using these paradoxes? In what way is truth itself, at least in O'Brien's work, an ironic paradox?

3. From "How to Tell a True War Story," choose four specific qualities the narrator O'Brien insists a war story must possess in order to be considered "true." Use specific examples and evidence from each of the stories studied in this section (and listed above), to confirm that the novel is, indeed, a "true war story." In the course of the conclusion, explain why a storyteller like Mitchell Sanders or Tim O'Brien would change fundamental facts of the story to get to make the story "true."

Last Set of Writing Prompts for The Things They Carried

Please note that all citations are from the 1998 trade paperback edition.
YOU MUST RESPOND TO THOSE PROMPTS PRECEDED WITH AN ASTERISK (*) and any three you choose for a total of five. In order not to overload you with the writing prompts and the last two essays, I will check the writing prompts and your blogs over spring break.


*1. In order for a literary work to succeed, the reader must willingly suspend his/her disbelief. By accepting a work of fiction as fiction, the reader makes a silent pact with the author, agreeing to “go along” with the story, though it not be true. This compact occurs again and again with movie-goers and play-goers, even t.v. viewers. The audience agrees [silently] that the story they are about to see is not real, though it may be “based on a true story.” The Soloist and The Blind Side are two such recent movies. Think of one of those OR another movie you may have seen that is “based on a true story.” Identify a movie of your choosing that falls into the category, “based on a true story.” Summarize the movie in one or two sentences. In another couple of sentences, relate your opinion of the movie. Finally, explain whether or not the words “based on a true story” enhanced your viewing or detracted from the experience. Why?

2. How would you explain the semi-truths told in The Things They Carried to a student about to begin a second session class? What would you tell him/her to look for as he/she read the book? What would you say were the most important aspects to “be sure to pick up on”?

3. We encounter paradoxical truths daily. As one student explained in the first set of writing prompts, cell phones enable us to be connected locally and globally. We can be reached almost anywhere, at almost any time—as long as our phones have the signal strength. The negative side is that we can be reached almost anywhere, at almost any time. Ironically, the more simplified our lives become, the more complex they become as well. Explain at least three additional paradoxes that most of us encounter. (Key word: explain – explain both sides of the paradoxical coin.) How is understanding paradox important in understanding this novel?

4. Which story in The Things They Carried was your favorite? Why? Which was your LEAST favorite? Why? Whether you loved or hated the whole book, you must choose one of each for this prompt. Which of the men do you most identify or sympathize with? Why? Was there a character you just didn’t like? Why?

5. Do you agree or disagree with the narrator when he says, “ . . . this too is true: stories can save us” (223). What does O’Brien, the author AND the narrator, mean when he says, “I want you to know why story-truth is truer sometimes than happening-truth” (179). Explain the last story in this novel, “The Lives of the Dead,” in relation to the book as a whole. What does the story of Linda have to do with a novel about a group of men in the Vietnam war?

*6. Draw at least three valid inferences, supported by evidence, about the narrator of “On the Rainy River.” Draw at least three valid inferences, supported by evidence, about the narrator of “The Ghost Soldiers.” Account for the differences in the narrator. – Note that this could become an excellent topic for an essay topic over the novel, though it would be phrased more like ‘Trace the development of the narrator/soldier Tim O’Brien.’

7. After reading this novel, do you come away with any new thoughts about “truth”? Based on the author’s own criteria, is this novel a “true war story”? Would you recommend this novel to a friend, whether he/she was in English 1102 or not? Why or why not?

ANNOUNCEMENTS & ASSIGNMENTS

PLEASE FINISH READING THE BOOK BY FEB.15TH. ANTICIPATE QUESTIONS ON THE 15TH AS WELL.

Ahem! Could I have your attention please?

The title of this post is my way of hoping you will notice an observation and point I'd like to make. I've noticed something in ALL of my 1102 classes.

1. I'm almost positive that just about everyone in all classes has read the book we're studying. How do I know this? It's the way you respond in class, whether out loud or even silently. It's the alertness in you eyes, whether you say anything or not - unless you're hiding behind a laptop, with a ballcap or hoodie pulled down over your eyes OR you're reading a book or texting behind your coat that you've put over your books. (Nah . . . I'd NEVER suspect that. Riiiight.) At any rate, I DO appreciate your interaction in class. It makes the class better for everyone.

2. I've noticed that even though you've read the book and you have thoughts and observations, that when I ask you a direct question that requires evidence from the novel, that often you stare at me blankly. It's a silent, "What?" or "Duh . . . I don't know. You tell me; you're the teacher." And let's hope I do know the answer. ;-) BUT . . . what you need to be doing is LOOKING IN YOUR BOOK FOR THE EVIDENCE. I don't expect you to know it off the cuff, but I DO expect to to find the page and paragraph--or at least make the effort.

Random Questions, Terms, Considerations of "How to Tell a True War Story" and "The Dentist"

Among the terms we need to discuss in "How to Tell . . .":

Metafiction - defined previously, this story focuses on storytelling from the title and throughout

Magical Realism - new term; somewhat indicative of writing that is fantasy or obviously impossible in regard to reality; however, the author chooses to write about it as if it were as "real" and concrete as, in this novel, the jungle of Vietnam; magical realism becomes more important in stories to come, including "The Sweetheart of the Song Tra Bong"

Paradox - mentioned previously, one key point the narrator/soldier Tim O'Brien makes is that truth is often paradoxical; two contradictory elements often do exist simultaneously

Consider the following components of this story that O'Brien continues to allude to in this novel:
*truth
* memory
*love
* the heart under pressure

What does the narrator have in common with Rat Kiley--in thinking of this, consider the circularity of the story. What connection is there between the beginning of the story and the end of the story?

Consider the first line of this story. What is your initial reaction to it? Why? AS THE WRITER, why do you think O'Brien had his narrator open with this statement?

Finally, does it matter whether a "true war story" is true? Explain.

Addendum to Essay #1 - Mandatory

Take a moment to reflect on the first essay you've written for this semester. How do you feel about it? How did it measure up after you examined it with the rubric? On the BACK of your essay, explain your thoughts regarding this paper. What--specifically--do you think you did well? What did you struggle with? Were your greatest challenges in writing lack of ideas or in-depth analysis OR more basic--dealing with editing for grammar, mechanics, sentence formation? It DOES make a difference. If YOU and I both see you need assistance in some areas, it will be something we can both address.

So . . .

Topics for Essay #1

1. O’Brien himself has said:

War stories aren't always about war, per se. They aren't about bombs and bullets and military maneuvers. They aren't about tactics, they aren't about foxholes and canteens. War stories, like any good story, is finally about the human heart. About the choices we make, or fail to make. The forfeitures in our lives.

Discuss the internal conflicts of at least three of the characters in the first two stories in The Things They Carried, how they resolve those conflicts and at what cost.

2. Jimmy Cross is the obvious protagonist of both "The Things They Carried" as well as "Love." In what way does his character develop and change from the moment the reader first encounters him to the end of the second story? Include in your discussion his loss of innocence, his alienation, and finally, how his encounter with Martha contributes to his development.

3. How does the role of the narrator change in the course of storytelling? Why does he choose to use third person in the first story and first person in the second? What seems to be the narrator's purpose in the first story? Why does he choose to insert himself in the second story? Explore and explain this deliberate choice the author makes.

4. For any literary work to last beyond a few years, it must have a common quality—or theme. It must present characters who are representative of all people in situations that most people face, whether those situations are literal or figurative. Theme is deeper than the events that make up plot; the elements of fiction combine to produce theme. Characters, irony, symbolism –taken together, these become the vehicles of theme; each element is relevant to the whole. The two initial stories of Tim O’Brien’s The Things They Carried contain themes we have come to think of as “universal.” Choose ONE of those themes and by using specific examples from both the first and second story, analyze what the author is saying about human nature or life.

Writing Prompts - Week 3

Remember: think deep, reflect, explain clearly and thoroughly. You need to only copy and paste the boldface capitol letters--not the entire prompt. Choose TWO of the following as your writing prompts this week:

1. STORY vs. ESSAY - Rather than simply state: "Men die unexpectedly in war," or "People in authority often find themselves isolated and disconnected from society and sometimes, even people who would be their friends," the author of The Things They Carried makes it more interesting and memorable and less didactic by creating a story in which he SHOWS this happening. Because he is a master storyteller, we connect with Jimmy Cross and better understand what he feels and what O'Brien means for us to see. What movie can you think of that deliberately revealed a truth about life? What was the truth it revealed and HOW was it shown?

2. IRONY - In "The Things They Carried," there is tremendous tension developed when the narrator begins to describe the tunnels that men like Lee Strunk must explore alone. When he emerges, there is celebration cut short by Lavendar's sudden death. The author has created irony by having the reader prepared for one man's death, but it is another man who is killed. We experience irony every day, of a milder sort. Relate an experience when you were prepared for one circumstance but encountered its opposite. If you would rather relate a literary irony or an experience of someone else's, that would be fine. REMEMBER to SHOW the experience; don't just TELL.

3. INTERVIEW - Find a thoughtful, older person who remembers the Vietnam War. If(s)he doesn't mind discussing his/her remembrance with you, ask him/her about the controversial nature of the war. What does he remember about the Vietnam conflict that set it apart from other wars? Did he/she know anyone directly involved in the war? Were their any lasting effects of the war? Write your response to this prompt AFTER you have had the discussion, along with your perception of the person you spoke to--did he/she seem effected?

4. THE HEART IN CONFLICT - Tim O'Brien, the author, has said that he writes about the heart in conflict and that he often uses war because it naturally and automatically puts the heart under pressure. What book, story, or movie have your read or seen in which the protagonist underwent the same thing? Discuss briefly.

Conventions of Writing About Literature - IMPORTANT!

Writing about literature is different from most essays that are assigned and written in English 1101. For one thing, the focus of the paper is on the analysis of the story, poem or play that has been assigned. Therefore, it is written in third person; there should be no first ("I") or second person ("you"). There are other important differences outlined below.



CONTENT

1. Always mention the title and author of the work(s) you are discussing early in your essay. Titles of books should be underlined or italicized; stories should be in quotation marks.

2. Mention characters' names whenever possible. Be specific about character identification; that is, when you first refer to a character, add a simple appositive phrase to identify him or her. It does not have to be long nor interrupt the “flow” of your writing. Example:

In Tim O’Brien’s “The Things They Carried,” Kiowa, a soldier from Oklahoma, carries the New Testament and a hatchet, each representative of his mixed heritage.

3. Use illustrations, examples, and explanations to prove your assertions. Stick closely to the text of the work you are discussing. Read carefully and closely. Don't hesitate to quote briefly from the primary source for illustration -- a well-chosen quote can help to illustrate your point. However, be sure to use the quote as illustration -- not as the text of your essay.

4. Clearly state the central idea or thesis of your essay in the introduction. Be sure your essay has a thesis. Do NOT state your thesis by using writer-based phrases such as: The two poems I have chosen to write about are.... Rather, focus directly on your point: The snake is a potent symbol, often invoking fear, in Western mythology. Both Emily Dickinson and D. H. Lawrence invoke that fear in their poems, but with very different results.

5. Look up the definition of any word that you are not totally familiar with. Try to find the source of and understand any literary or historical allusion that the author uses.

6. Underline key passages, even key words, in the work you are studying, particularly those passages that have reference to your thesis. Be sure that any time you quote form an author's work, you quote exactly -- word for word and comma for comma.

7. In an essay about literature, it is most important to try to show your understanding of the work. Concentrate on writing a unified essay around a central thesis. Avoid going off on tangents. Stick to your main idea, develop it, prove it, deepen it by showing implications of your idea. Use class discussion as a springboard, but do not hesitate to go more deeply into the analysis. You may have been hesitant to speak in class, but do not be hesitant to incorporate your own thoughts and ideas into the paper.

8. Don't confuse the author with the narrator of the story or the voice of the poem.

WRITING CONVENTIONS – or How to write correctly about literature:

 Double space all work, unless otherwise directed. Use a 12 point, non-italic, common font such as Times New Roman, Garamond, Courier, or Comic Sans. Center your title. Follow MLA Guidelines for essay set-up.

 Titles of most long works, books, plays, newspapers, and magazines are italicized or underlined. Titles of poems, short stories, songs, articles, and titles that are parts of longer works are put inside "quotation marks." (EXCEPTION: the title of your own work should be neither underlined nor quoted).

 When you first refer to authors, use their full names; afterwards refer to them by last names.

 Use present tense verbs when writing about literature and maintain verb consistency.

 Avoid using 2nd person “you.” In academic essays write in the 3rd person unless the assignment calls for 1st person.

 Incorporate quoted material into your writing in one of 3 ways: (1) Interweave it into your own words: Poe’s use of the words “dark, “ ”dreary,” and “weary” suggests a somber mood (lines 11-13). (2) Introduce it with a “tag phrase” and comma: As Creon says, “The ship of state is safe” (I.8). (3) Introduce it with an explanatory sentence and colon: At the beginning of the play, Creon is concerned that the country is unified: “The ship of state is safe” (I.8).

 Document poems by line number; document plays by Act, Scene, and Line; document short stories by page number.

 When the quotation is followed by the parenthetical documentation, place periods and commas after the parenthesis. If the quote contains a question mark or exclamation point, it remains before the quotation marks, but a period (or comma) is still placed after the parenthesis.

Sammy asks, “Who is that customer?” (36).

Granny Weatherall says, “Nonsense” (177).

When the quotation marks are not followed by the parenthesis, then commas and periods go before the quotation mark.

 Use single quotation marks to quote a quotation within a quotation.

 Use slashes ( / ) to indicate the end of a line of poetry when you run the lines together in your own writing: “My young brother’s house is filled / I go there to sing / We have not spoken of you/ but our songs are sad” (lines 13-16).

Papers should be free of grammatical, mechanical, and punctuation errors: avoid comma splices, fragments, fused sentences; make sure subject/verb and noun/pronoun agree in number; use correct spelling; follow conventions of punctuation and capitalization (especially apostrophes).

NOTES: Metafiction

THE THINGS THEY CARRIED is unique because much of it is writing that focuses on writing, on storytelling. This is called METAFICTION. The following, more detailed information on metafiction comes from Associated Content:

A Definition of Metafiction - By Eric Martin
Metafiction is a style of writing that uses the act of writing as subject. A metafiction story might feature the author as a character. . . . In metafiction, the craft, the intricacies, and the sources of writing are put on display. . . .
metafiction is fiction that brings attention directly to the act of writing.
Is metafiction new?
No. If we consider metafiction to be inclusive of any fiction that uses writing as its subject, then it has been around for quite a long time. Wikipedia cites One Thousand and One Nights (Arabian Nights) as a very early example of metafiction because the book directly considers the act and power of story telling.
What is special about metafiction?
The relationships between creator and created, reality and fantasy, between fiction and truth are all open to exposition in meta-fiction. This is a rather rich subject for reflection and even philosophy and so makes meta-fiction an approach ripe with potential and with depth.

. . . metafiction [may be]defined as fiction that purposefully draws attention to its own nature (ie., fiction ie., "made-up" writing).

________________________________________

Writing Prompt #1 - week 2

Directions: Choose one of the following. Copy and paste the title of the one you choose onto your blog, then follow it with your response. Think deeply, deliberate carefully, respond thoughtfully and coherently.

1. Title: Things Carried - Make a list of objects you carry on a regular, daily basis. What are the items you must have with you when you leave your house? After you have made your list, try to look at it from a different perspective. What would those objects reveal about the person you are to someone else? Are there any that you carry that are unique to you? Are any of them similar to items other students carry? Are any items connected to your memory of another time, another place? Do you carry anything that represents something else to you? Which physical objects are necessary for physical survival? Which are necessary for your peace of mind or your emotional survival? YOU NEED NOT ANSWER ALL OF THESE QUESTIONS. INSTEAD, THINK, DELIBERATE, THEN WRITE A COHERENT REFLECTION OF YOUR MENTAL EXERCISE.

2. Title: Memories - Everyone has memories; we remember on both a long term and short term basis. We remember dates we learned in history [July 4, 1776; December 7, 1941]; facts from science [the scientific method; acid into water, not the other way around]; we automatically remember that an octagonal red sign with white letters tells us to STOP. We also have memories connected with emotion. Try to remember an early emotional memory from school, one that you may have experienced with someone else. What are the facts you remember about the experience? How are the facts connected to how you felt? Do your emotions get in the way, in remembering the facts? If you know someone who was with you, who had a similar experience, are his/her remembrances the same as yours? Is his/her remembrance colored by emotions? If so, how?

Elements of Fiction: A Necessary Review

Plot
Customary outline:
introduction
rising action
climax
falling action
resolution/denouement
NOT ALL STORIES FOLLOW THE ABOVE ORDER--NOR ARE ALL NOVELS OR STORIES TOLD IN CHRONOLOGICAL ORDER Example: The Things They Carried
Conflict
5 most common:
Man vs. man
Man vs. nature
Man vs. society
Man vs. himself
Man vs. fate
Protagonist
Antagonist

Characterization:
Round Character
Flat Character
Stereotype
Static Character
Dynamic Character
DIRECT
INDIRECT – involves INFERENCE –based on author’s indirect information—what the character says, does, what is said about him AND your own knowledge and observation

Setting – time and place – the location

Irony
3 types:
Dramatic irony
Verbal irony
Irony of situation

Symbolism – a symbol is often an object, color, name, number or other device an author uses to suggest or represent MORE than it actually presents

Point of View
3rd person omniscient - the author/narrator (sometimes the same; sometimes NOT in THE THINGS THEY CARRIED) - is able to relate to the reader what the characters (specifically Jimmy Cross) is feeling and thinking
1st person - in the 2nd story, "Love," the narrator is part of the story and tells it from his perspective, using the personal pronoun "I"

PERSONA - a persona is a character the author creates and uses as a often his voice in the novel, but . . . he is NOT the author; Tim O'Brien, the author, creates the character of Tim O'Brien the soldier in Vietnam

CATHARSIS - a release of emotions

Theme – is greater than the story itself – Theme reveals a truth about life—not just life in the story, but life in the real world, life in the present.

ughhh. . .

I have fun with the background on blogspot; I don't stick with the basic ones -- OBVIOUSLY. I go to www.pyzam.com web page and download free templates from there. I liked the dark woods I had previously used, but as Tyler pointed out this morning, students can't copy and paste easily. The background comes with the text--and that can eat up ink. Sooo... I changed it to something that could easily be printed or copied and pasted. It's not my first choice, but I'll stick with this one, for the sake of functionality. Sorry if it was a problem for anyone else. I should remember that the KISS method works best for us all!! (KISS = Keep It Simple, Stupid!) Stay warm and dry!

Aiken English 1102 Spring 2010 Syllabus

A book is a portable form of magic. ~ Stephen King

English 1102 - CRNs: 22562; 22558; 22709 -- Syllabus and Policy Statement:

Contact Information:
• Office Hours: Mon/Wed: MSC - H/SS: Rm. 248 10 AM – 12 AM & by appointment
Tues/Thur. MSC - H/SS: Rm. 248 – 11 AM – 12 AM & & by appointment
• Blog: www.AikenEnglish1102.blogspot.com
• email: sharon.aiken@maconstate.edu The best way to contact me is via email. I try to check my email first thing each morning and respond by early evening. Please check my blog and your email daily for announcements, particularly in the event of inclement weather.
• phone: 478-471-2893
 Conferencing with a teacher concerning questions regarding assignments, essays, revisions, and concerns is one of the most effective means students have of clarifying issues. I genuinely want you to be successful in this course; however, there is a high standard expected of college graduates, as there should be, and I will not inflate anyone’s grade. No matter how hard you may work or how deserving you may be, if a paper is poorly written, it will fail. Failure is an option.

Required Texts and Materials:
 Lunsford, Andrea A. The St. Martin’s Handbook. Boston: Bedford/St.Martin’s, 2008 or other collegiate grammar text
 Tim O’Brien: The Things They Carried for our study of fiction
 Mary Oliver: A Poetry Handbook
 John Patrick Shanley: Doubt
 David Auburn: Proof
 If you do not have a current blog, you will need to go to blogspot.com, create an account, and have it up and running by Monday, January 11, 2010, at which time I will ask for the web address
 pocket folder, binder, or notebook of your choice to be submitted at the end of the semester
 blue or black pens (NO hot pink, neon orange, lime green) for in-class writings—not pencils
Suggested Texts:
 King, Stephen. On Writing -- the second half of the book
 a good collegiate dictionary

Class Description: This is a composition course that develops writing skills beyond the proficiency required by English 1101; English 1102 emphasizes interpretation and evaluation based on an introduction of fiction, drama, and poetry, and incorporates a variety of more advanced research methods. An oral communication component is also required.

Class Goals: By the end of the course, each student will:
 Be able to research a work of literature using the Web and traditional library resources
 Gain further experience using MLA citation methods
 Be able to write a clear, in-class explication of a poem
 Be able to write an effective analysis of a work of fiction and a work of drama
 Gain further experience in using Web-based course assignments

Class Policies:
1. You must have passed English 1101 with a “C” to be enrolled in this class.

2. You may miss two class days without penalty; if you miss more than four class meetings, your grade is up to my discretion. Be on time. If a student is late on a regular basis, I may advise the student to drop; I have the discretion to penalize constant tardiness by either adding a missed day to the number of absences or lowering the overall course grade. If tardiness disrupts my class, the lab door will be locked, and you will be counted as absent.

3. Assignments are to be handed in on time, typed. Title all assignments and use MLA format. *Do NOT title your essay as the work read in the text. You didn’t write “A Worn Path;” therefore, your essay analysis of the story’s should not be titled by that name; it would be more appropriate to title it The Importance of Place in Welty’s “A Worn Path.” Use the name of the work in the title, if you like, but NOT as the title.

4. If you miss a daily assignment, you may not make it up; if you miss a major assignment, that grade will be based on my discretion. You must complete all major assignments to pass the class. Since all writing assignments in 1102 will be based on reading selections, there will be frequent, unannounced quizzes.

5. I will give letter grades; if you have a question about a grade, drop by my office or ask me after class; if you wish to challenge a grade, do so in writing, no sooner than a day after getting your paper back, and no later than three class days after I return that assignment.

6. If you plagiarize an assignment, that grade will result in a zero. If you cheat on a test, you will get a zero. Plagiarism occurs when a writer uses the ideas, wording, organization, etc. of another writer without proper citation, whether intentional or unintentional. This includes having someone “help” you write the paper, buying the paper online, or lifting ideas, sentences, and paragraphs from another text. Keep an electronic copy of all assignments and be prepared to send it to me immediately if asked. Please go to the MSC Library site for further information on avoiding plagiarism. Students should know that failing the class is the common penalty for plagiarism.

A plagiarism prevention service is used in the evaluation of written work submitted for this course. As directed by the instructor, students are expected to submit their assignments, or have their assignments submitted, through the service in order to meet the requirements for this course. The papers may be retained by the service for the sole purpose of checking for plagiarized content in future student submissions.

7. POLICY ON ACADEMIC MISCONDUCT: “As a Macon State College student and as a student in this class, you are responsible for reading, understanding, and abiding by the MSC Student Code of Conduct. The Student Code of Conduct is included in the MSC Student Handbook and is available online at http://www.maconstate.edu/studentlife/studenthandbook.pdf”

8. POLICY ON DISABILITY ACCOMODATIONS: “Students seeking academic accommodations for a special need must contact the MSC Counseling and Career Center (478-471-2714) located on the second floor of the Student Life Center on the Macon Campus.”

9. If you have a D average based on the major assignments, no participation or daily grade average can bring that average up to a C. [Division Policy]

10. I expect common sense and courtesy, including the following:
• Unless there are extenuating circumstances, please turn your phones on OFF before entering the class. If there are circumstances that necessitate your keeping your phone ON, please clear that with me in advance.
• It is unprofessional, rude, and ill-advised to wear electronic devices either in your ear or dangling from it during lecture or class participation.
• Don’t surf the Web, text, or otherwise use an electronic device while I’m teaching OR when a member of the class is speaking or giving a presentation.
• Work on assignments for other classes someplace else.
• Please avoid distracting other students (or me) – I am usually distracted enough for us all.

11. REQUIRED: You will need to keep your all of your various writings [paragraphs, drafts, revisions, and final drafts], neatly, in chronological order in a folder of your choice. These will be submitted to me prior to the final exam. It is the policy of this department that I keep your writing for one semester. Therefore, should you want these returned, please see me at the end of Fall Semester 2010. Suggestion: I would suggest to anyone taking this course that you keep a personal folder with copies of all your writing, as it is a representative of the unique individual you are.

12. There is always a possibility that we may be affected by inclement weather. In the event that weather conditions make travel conditions hazardous, be aware that class may be cancelled for the day and a class assignment may be given via email. Check your email or my blog, as I will typically notify you in advance, if at all possible. NOTE: I live in rural Jasper County; if schools are closed in Jasper County, it is a safe bet that MY classes at MSC will not be held.



1102 Assignments:
 Fiction Essays - 3 30% (10% each)
 Blog of written reflections and responses – 2 per week 10%
o You will be responding twice a week to specific writing prompts that I will provide
 Combined average of daily quizzes 10%
 Written explication of poem 10%
 Oral explication of poetry 10%
o You will not be asked to write poetry
o You will select a poem at random from a list provided by me
 Drama 10%
 FINAL ESSAY 20%

Tentative Schedule – Please note that unannounced pop quizzes are not listed (yes, I know that should be obvious, but . . .):

Jan.6; week 1: review syllabus, texts, policies, expectations; reflective writing; the elements of fiction

Jan. 11: Last day to make class schedule changes

Jan. 11; week 2: “The Things They Carried,” and the elements of fiction; reflective writing

Jan. 18: Martin Luther King, Jr. Holiday

Jan. 19; week 3: reflective writing; discussion of stories: “Love,” “Spin,” essay #1 assigned

Jan. 25; week 4: Essay #1 DUE; reflective writing; discussion of any or all of the following stories: “On the Rainy River,” “Enemies,” “Friends,” “How to Tell a True War Story,” “The Dentist,” “Sweetheart of the Song Tra Bong,” “Stockings,” “Church,” The Man I Killed”

Feb. 1; week 5: reflective writing; continued discussion of stories; essay #2 assigned

Feb. 8; week 6: Essay #2 DUE; reflective writing; discussion of any or all of the following of stories: “Ambush,” “Style,” “Speaking of Courage,” “Notes,” “In the Field,” “Good Form,” “Field Trip,” “The Ghost Soldiers,” “Night Life,” “The Lives of the Dead;” Essay # 3 assigned (possibly with accompanying criticism)

Feb. 15; week 7: Essay #3 DUE; reflective writing; an introduction to poetry in class notes, discussion and analysis, assignments and from Mary Oliver’s A Handbook to Poetry and selected poetry TBA

Feb. 22; week 8: reflective writing; an introduction to poetry in class notes, discussion and analysis, assignments and from Mary Oliver’s A Handbook to Poetry and selected poetry TBA

Mar. 1; week 9: reflective writing; written explication of poem assigned and due, Essay # 4

Mar. 3: Last Day to withdraw from regular session class with a “W”

Mar. 8-12: MACON STATE SPRING BREAK

Mar. 15; week 10: reflective writing; oral presentation of poem, counts equally as essay – usually takes 2 weeks

Mar.22; week 11: reflective writing; oral presentation of poem, counts equally as essay – usually takes 2 weeks

Mar. 29; week 12: reflective writing; Doubt by Shanley

Apr.5; week 13: reflective writing; Doubt by Shanley; essay #5 assigned

Apr. 12; week 14: Essay #5 DUE reflective writing; Proof by Auburn

Apr. 19, week 15: reflective writing; Proof by Auburn

Apr. 26 & 27: make up days . . . just in case

April 28-May 4: Final exams for regular session classes; refer to the MSC Academic Calendar for exam date & time; NO EXAMS WILL BE RE-SCHEDULED UNLESS THERE IS A CONFLICT IN FINALS