"Special Topics" Post 7b

In this section of the book, I was a little confused. Special Topics In Calamity Physics had been so logical, and even at its most exciting one could follow Blue's path of thinking. She seemed like an entirely reasonable character, so the "feeling" that she had that Hannah's death had not been suicide seemed unlike her, if all the evidence was pointing to this conclusion. Then, her theory as to the Nightwatchmen being involved seemed out of the blue. Although Blue had referenced them throughout the novel, I'm not sure if she built up to this conclusion quite enough. She connected so many pieces of information in one instance; it had the same problem as Ocean's 12: way too many things being revealed at one time for one to comprehend all of the processes and logical paths. I just felt it was way to random; a tag on by the author to wrap up the novel. Obviously, I was not expecting the next surprise of Blue's father disappearing. However, this one I felt was a necessary step in the novel for Blue to break from the past and start anew as her own person at Harvard. Perhaps in a way this year in which she became involved with the Bluebloods was simply preparing her to cope without her father. This investigation was another step of independence as she worked at something that her father did not believe in in the least. I'm not sure about the ending; once again, the reference back to Zach seemed too random, too obscure. However, I'm glad at the surprise of Blue's father departing for whatever Grecian island she supposed. There were only two things which I felt weren't really explained fully: why Hannah had to be killed and whatever happened to Blue's dreams. Regarding the first, Hannah may have become the cause of suspicion but that doesn't seem to be a reason for the Nightwatchmen to kill her: perhaps they could have taken her away much as Blue supposes they did to her father, rescue her and take her to Greece perhaps? It just seems so radical to hang her on a mountain while she is taking her kids on a camping trip. Secondly, in the beginning of the novel Blue talks about how she has started to see visions of Hannah and realizes she is a rather morose person. This is never concluded. Perhaps the author simply meant to explain her reason for writing the book, but at the end of her senior year Blue seems if not happy at least content, at peace. I hope she continues this at Harvard for she seems like a character to truly change the world.

"Special Topics" Post 7a

Vocabulary
Irish tweed (437): a sturdy woolen fabric of light warp and dark filling, made in Ireland and used in suits and coats
wino (438): a person who is addicted to wine, esp. a derelict

Figurative Language
Metaphor: "Dad's voice was a pack of ice on a sprain" (438). Blue tells us how her father's voice or presence has a calming and pain relieving quality for her, as talking to him on the phone calms her down. The ice may also relate to how it cools her and makes her think more logically about the situation regarding Hannah's death.
Simile: "Dad always purchased five copies of any Federal Forum issue in which he was featured, not unlike a paparazzi-hungry starlet when her picture graces 'Around Town' in Celebrastory Weekly" (438). Not only does Blue wittingly depict part of her father's vanity with this simile, she also shows her understanding of her father as not one of the main stars of the academic world but one on the fringes, which complements her sometimes obsessive praise and defense of him. She has a lot of respect for him, but she definitely doesn't idolize him quite as much as she used to, nearer to the beginning of the novel.
Metaphor: "My heart thumping excitement was not simply because I knew so much about The Nightwatchmen I felt oddly confident I could deliver a Dadified lecture on them, my voice a tidal wave, rising up, up over the shabbily combed heads of his students..." (439). I enjoyed this sentence not only because of the metaphor comparing Blue's hypothetical lecture voice and a tidal wave, swamping and with immense power, but the use of the adjective "Dadified" as a high standard, the standard. It was nice to see Blue still holds her father at a high level.

Quote
"My heart-thumping excitement...and not because, incredibly, Ada Harvey's information had held up heroically upon further examination like hte British blockade against the Germans... My exhilaration wasn't even because Hannah Schneider- all that she'd done, her strange behaviors, her lies- had suddenly come crashing open at my feet like the outer stone sarcophagus of Pharaoh Heteraah-mes..(For the first time, I could crouch down, take my oil lantern directly to Hannah's bone-smooth face, see, in startling detail, its every angle and plane.)" (439). This quote was funny because Blue's use of figurative language increases exponentially when she is excited. Although most would be reduced to shorter words, Blue combines five allegories/metaphors into a short paragraph describing her exhilaration over discovering the cause of Hannah's death.

Theme
Sometimes irrational thinking can lead to the answer.

"Special Topics" Post 6b

The death of Hannah was a completely surprising event. You could see something was mentally imbalanced with her, but she has really been the focus of the book. Even though Blue has been speaking about her death since the beginning, it was hard to imagine her truly being gone. Blue doesn’t seem to have a lot of remorse for her death, but more puzzlement, anger, surprise, and confusion. I’m not sure if the rest of the book will focus on her recovery and her relationship with her father, which seems to be fraying, or her examination of the circumstances regarding Hannah’s death. Based on the events so far, which consist of her downplaying her role and focusing solely on the plight of her friends, I think it will be the latter. Also interesting was her extreme desire not to arise any sympathy from anyone. Instead of feeling lucky to have been rescued but worried for her friends, she wants to be back up on the mountain with them. This seems to be taking it a little far; her anger at her father is another thing that one hasn’t seen before and this obsession regarding the outcome of her friends appears to have sparked it. I’m not sure if she wants them to be rescued truly; it almost seems as if she is worried about it, that they will be angry with her that she was rescued first. One can imagine that a drama queen such as Jade would wish the spotlight on her. However, perhaps this is Blue’s bid for her spotlight time, as if she does not want to be the one who took the easy route but struggled through traumatic events and survived; as if she feels the need to be interesting, unique, like the stories that Hannah fed her regarding the backgrounds of her friends.

"Special Topics" Post 6a

Vocabulary
bogie (346): an unidentified aircraft or missile, especially one as a blip on radar
Trevor Rees-Jones (347): (also known as Trevor Rees; born 1968) is the former bodyguard for Dodi Al-Fayed. He was badly injured in the car accident that killed Diana, Princess of Wales, Dodi Al-Fayed and the driver Henri Paul. Because he suffered a head injury in the crash, Rees-Jones does not recall particulars of the accident. Blue references him as a miraculous survivor; she does not wish to become like him, confined to that role.
sangfroid (347): coolness of mind, calmness, composure [literally "cold blood" in French]

Three Literary Devices
Allusion: "I had no desire to be the Otto Frank, the Anastasia, the Curly, the Trevor Rees-Jones" (347). Here, Blue expresses her feelings about her rescue by alluding to other famous rescuees. She does not wish to be in this situation, feeling like the lucky one, as many may assume. She wishes to suffer with the others, because she doesn't want to raise herself above them. In the Bluebloods, especially with Hannah gone, this is a dangerous thing for Blue. It's interesting that she uses the article "the" in front of each of the people, as if they are not unique but part of a class, a defined role in which she does not want to become captive.
Simile: "It read, 'A Stich In Time Saves Nine' and sat there like an unpopped blister" (347). This lovely quote shows Blue's definite personality, as well as gives the reader a feeling of the sickness that Blue feels in regard to her treatment. She doesn't want to be the lucky one. She wants to be the martyr, the one who did something to help the others instead of the one who simply got rescued. Even though her father is trying to make her feel better, all of his antics are simply making her feel closed in, nauseous, sick.
Metaphor: "By the following morning, Sunday, my fly-by-night infatuation had congealed into obsession" (349). By using the word congealed, one can see how this habit is extremely unhealthy for Blue, how it "glues" her to the television and sticks her happiness to the rescue of the others.

Quote
"Norvel's sole distinguishing characteristic was his male pattern baldness, which mimicked the stiching of a baseball" (348). I enjoyed this quote simply because of the wit and sarcasm imbued in it; I can imagine Blue saying this with a matter-of-factness that would make it hilarious.

Theme
Don't confine your happiness on the expectations of others.
Good intentions can go seriously awry.

"Special Topics" Post 5b

This section makes one seriously question Hannah’s effect on these young adults to whom she has become a mentor. From the time she has entered the group, Blue hasn’t really questioned the role of Hannah as their leader, their queen bee. However, this woman is a teacher, an adult. Doesn’t it seem strange that she would choose to spend her time several nights a week having a select few students come over to her house instead of having friends her own age? Her role is complicated for several reasons: firstly, she is a teacher, so if any of her Bluebloods ever had her class, her ability to teach and grade would be compromised. Secondly, she is an adult and they are all children, which casts her as an odd member in this group of friends. Hannah commands respect, from her experience, age, and knowledge, yet in some ways attempts to be accepted as one of them. Blue describes her loyally, but admits that Hannah sometimes causes the affect to “fill me with fear, a fear that I couldn’t put my hands on because as soon as I noticed it, it slipped through my fingers like steam, evaporated” (286). What would cause Blue to continue to be part of Hannah’s retinue if she felt like this at “unanticipated moments” (286)? The idea of spending part Blue’s spring break up on a desolated mountain far away from civilization with only Hannah and her group must fill Blue with some premonition of what’s to come. I wish she would be able to recognize her misgivings.

"Special Topics" Post 5a

Vocabulary
masochism (279): gratification gained from inflicting pain upon oneself; turning one's destructive tendencies inwards
schmaltzy (295): marked by excessive sentimentality

Figurative Language
Simile: "(haircut poised boldly atop her head like an atrocious hat worn to church)" (280). This simile gives the reader an understanding of Blue's view of Hannah's haircut, how she doesn't really feel as if it is even attached to Hannah's head, as well as the awkwardness of the situation as none of the Bluebloods feel able to comment on it negatively, just as one would not criticize a respected elder's hat in church.
Metaphor: "Her eyes bumper-stickered to my head" (292). This line demonstrates how Blue feels stuck with her respect yet fear for Hannah, and how in a way Hannah is coming to rely on Blue, as well as the rest of the group, on her ability to stick to them, to provide them their meaning.
Simile: "His voice was as stiff as new shoes. My heart, rather unexpectedly, began to jump-rope" (294). With this simile, Blue reaffirms the school oriented connection that she holds with Zach as well as showing the awkwardness of their conversation.

Quote
"... and instantly i would feel like I was dying inside, as if my heart, lungs, and stomach were all punching their time card, closing up shop and heading home, because there was no point of beating, breathing, day in, day out, if life was this sore" (294). This quote is very dramatic for Blue, especially for something so "insignificant" as her feelings for Milton. I'm not sure if it really shows how much she cares for him; it more seems to show her shift in view: now it is not only her and her father in her list of important people, but also Hannah, Milton, and most of the Bluebloods.

Theme
If one has the ability to recognize the signs, one has the duty to act accordingly to correct anything at fault, even if they must betray a trust while doing it.

"Special Topics" Post 4b

Marissa Pessl, in this section of the novel, does an excellent job of two things: conveying Blue’s voice accurately and adding clues to support her conclusions in the end of the novel that are subtle enough only to be picked up upon the second reading. Firstly, as to Blue’s voice, I imagine Blue as a girl with two conflicting voices: a more academic, stylized voice which tends to reference things endlessly and add figurative language like no other “Cleopatras on the brick wall now, their wide faces sweaty and rainbowed like oil puddles in the parking lots” (164). Even in formal phrases like these, Pessl includes the more modern side of Blue “Or perhaps, due to a certain relationship she had with the incandescence, her face exerted a gravitational pull on 50 percent of all the light in the room” (160). Her wit is definitely evident “I wanted to slap the smile off his face” (162), “as if there was always an unmistakable, thin black line drawn around her, or a YOU ARE HERE arrow discreetly floated in her reading, SHE IS HERE” (160). I really enjoy this part of the book. Additionally, Pessl drops some pretty significant clues in this section: lines like “She held his left hand as if it were expensive, something she couldn’t afford to lose” (160) and “She smiled, somewhat shyly, and then… she squeezed, tightly, Smoke’s bicep” (162). Although these lines seem nothing out of the ordinary, these along with sections about her extreme disapproval over the Bluebloods arrival all figure in to support Blue’s theory in the end.

"Special Topics" Post 4a

Vocabulary:
macumbaed (161): not in the dictionary, but inferred as searched or flowed
catatonic (164): a syndrome seen most frequently in schizophrenia, characterized by muscular rigidity and mental stupor, sometimes alternating with great excitement and confusion

Figurative language:
Simile: "Maybe because I was a little drunk and my thoughts moved slowly like blobs in a lava lamp.." (163). This simile helps the reader visualize how Blue must feel her thoughts are moving, as well as get a sense of how disoriented she must be, from the difference to her usual quick and observant nature.
Personification: "so many shrieks and laughs, the moon, a sickle stabbing the pine trees off to the right-it all fused together into a strange suffocating violence" (163). This personification shows the oddly violent mood that Blue is in, both in her comparison of the moon to a sickle and the image of it stabbing the trees.
Metaphor: "Laugh lines parenthesized his mouth" (162). Like all of the other literary devices mentioned here, this figurative language helps the reader better picture the situation described; one can visualized Smoke's face more than if the author had stated "laugh lines were in the corners of his mouth".

Quote:
"There was the skid of her eyes, a brief suspension of smile, a catch, a soft sweater snagging a tree branch. All Nigel and I could do now was stand with lousy smiles safety-pinned to our faces like HELLO MY NAME IS name tags" (161). I think that this passage really shows the skill of Pessl's writing: the way in which she is able to add so much figurative language (the whole book is filled with it, and references) yet not make it feel weighed down. She accurately conveys Blue's voice in this manner, by combining this more formal style with true wit by Blue.

Theme
Don't let your conscience haunt you; move on from the past.

Debate!

Topic: Plea bargaining is unjust
affirmative:
-compromising the defendant's sentence is unfair (same crime may have two different punishments)
-provides a motivation for criminal to lie about involvement of others
-not a fair chance (not everyone is offered a plea bargain)
-too many options to insure justice in every case (it's better to have people in jail with too long of a sentence than with one too short)
-victim has already had choice in deciding whether to do crime or not (does not deserve another one)

negative:
-saves money and time for courts (can allocate resources for important cases)
-could provide information about involvement of others (lead to more justice)
-reward for remorseful defendants
-gives them an option (everyone makes mistakes)
-better to have guilty people on a shorter sentence than guilty people going free

so... if you have articles or ideas or speeches post them in response to this!

English Paper- On the Waterfront

On the Waterfront Film Analysis
On the Waterfront, directed by Elia Kazan, is effective as a film, if slightly overdramatic, by utilizing the literary, dramatic, and cinematic elements that compose this medium. Symbolism, a literary element, is used throughout the movie, even in idle chatting scenes between Edie and Terry: “You know this city's full of hawks? That's a fact. They hang around on the top of the big hotels. And they spot a pigeon in the park. Right down on him”. Dramatic elements such as acting are obviously high quality in the film, as it won Best Actor in Leading Role and Best Actress in a Supporting Role as well as three nominations for Best Actor in a Supporting Role at the Oscars for 1955. Cinematic elements also added to the film’s effectiveness, although the music was a little overly dramatic. On the Waterfront may have a few faults, but it is a truly effective film
One literary aspect used effectively in On the Waterfront was symbols. Throughout the film, different sorts of birds are used to represent groups of people and their relationships to each other. The situation of the pigeons describes especially well the plight of the longshoremen workers. In several scenes, one views the pigeons trapped in their wire cages, which, although provide them with protection from the hawks, also limit the pigeons freedom. One even questions the protection they provide as in the end it is the cages themselves that allow Terry’s young protégé to kill them so systematically. The cages function in relation to the pigeons much as the union functions in relation to the longshoremen. Originally, the union was meant to be protection for the workers, and although it limited their economic freedom slightly by requiring them to pay union dues, it also protected them from being abused by the companies. However, much as the cages backfire for the pigeons, the union actually is the cause of the abuse and fear in which the longshoremen are forced to live in. Both the pigeons and the workers are both in similar difficult situations resulting from their captivity.
Theme is another literary aspect integral to On the Waterfront. The importance of self-worth is made clear throughout the film as Terry Malloy struggles to ensure that he is not “a bum”. At the beginning of the film, he doesn’t have a very high opinion of himself after the quick end to his boxing career as brought about by his brother: “I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let's face it.” Even after he has testified before the court as to the illegal activities of Johnny Friendly and avenged his brother’s death, he still does not feel complete or at peace with himself. He is drawn down to the waterfront, where the exclusion of the other dockworkers obviously affects him deeply, causing him to go down and challenge Johnny Friendly. Even with the progress he has made against the mob in favor of the workers, Terry doesn’t yet feel as if he has earned the respect he craves, and his treatment of the longshoremen simply reaffirms this for him. Even though he loses the fight, his confrontation with Johnny Friendly shows how Terry has truly grown since the beginning of the film, where he was willing to betray someone who he would call a friend. Now, he is backing up his claim to take down Johnny Friendly. His status alteration in the eyes of the workers is evident as they ignore Johnny’s commands to return to work, even pushing him in the water. However, the event that truly transforms Terry seems to be his walk to the warehouse. Especially significant is the Father’s specification that he makes it alone. He is showing his self-worth in this moment, earning for himself. As he yells to Johnny, distancing himself from that group: “You think you’re God Almighty, but you know what you are? You’re a cheap, lousy, dirty, stinkin’ mug!” By succeeding without the help and guidance of others, Terry can finally have some respect for himself; show that he is not “a bum”.
Dramatic aspects are also effective in On the Waterfront. Costumes are one element that is used symbolically to provide a better understanding of the characters. Terry’s various coats show his affiliations throughout the film. In the beginning, Terry is wearing his plaid coat, which, although it is not as nice as the coats worn by the higher ranked mob members, it does distinguish him from the other longshoremen, seeming slightly nicer, more styled. After he begins to spend more time with Edie, and he defends Father Barry at Dugan’s death, Edie offers him Joey’s old coat, showing his conversion to the side of the workers, as well as the line of previous owners as “canaries” that he is going to follow. Another costume item that lends insight into the characters is something so insignificant, it is easy to miss: the blood dripping from Father Barry’s head as he presides over Dugan’s death. This small trivial line that appears on his head after being hit by a can shows his true dedication to the workers: instead of hiding within his church as Edie accuses him of at the beginning of the film, he is risking himself for their cause. He proceeds to deliver a rousing speech, and Terry himself protects the Father from his supposed mob comrades. In a way, the blood from Father Barry’s head shows the conversion of both himself and Terry to the side of the workers. Obviously, props are a significant dramatic aspect in On the Waterfront.
Another dramatic element used to great effect in the film in acting. Although not an extremely likeable character, Eva Marie Saint does an excellent job portraying Edie Doyle in On the Waterfront. Edie plays a remarkably significant role in the fight against the union mob, yet Eva Marie Saint ensures that she seems delicate and prone to a breakdown at the same time. Edie convinces Father Barry to become involved in his community by scrabbling for a token for her father; she convinces Terry to forsake his brother and testify in front of a court; she refuses to return to school because she wishes to discover the truth about her brother’s death; she even supports Terry at the end as he makes his walk up to the door to start the workers on a new era of fair employment. However, Edie simultaneously seems like a delicate creature, helpless against the fervor of Terry, unable to call out his name as he stalks down the alley almost to his death. Although this fragileness becomes slightly irritating at times, Eva Marie Saint’s unfaltering balancing act of Edie’s faint nature and capable acts is impressive.
Lee J. Cobb is another actor who does a tremendous job playing Johnny Friendly, the mob boss. Although the villain in On the Waterfront, Cobb gives a sense of dignity to Friendly, providing a background and a motivation for his despicable behavior. At the beginning of the film, as Johnny tries to ensure Terry’s loyalty in the pool room at his bar, his speech about his rise from the bottom to the top is oddly persuasive, the phrase “If we can, we are entitled to it” sticking in one’s head. Another particularly effective scene is after the trial as Johnny and his gang return to the union house, as Cobb shows Johnny’s frustration as he sees no way out of this mess, his childlike technique of taking out his anger on the ineptitude of his men. Overall, Lee J. Cobb portrays skillfully the complete Johnny Friendly character, both the positive and the negative.
The main character in On the Waterfront, Terry Malloy, has become one the most well known characters in film history due to the epic performance by Marlon Brando. Brando captures the conflicted emotions that Terry is feeling so well that even someone who has never been in a situation of the same degree feels a connection to him. A few scenes affix themselves in one’s mind due to Brando’s representation. One scene, when Terry takes Edie out for a drink, is a light-hearted scene with darker aspects that comes across clearly. Brando shows the tension within Terry, between his attraction to Edie and care for her, and his guilt over her brother’s death, by the awkwardness in which the conversation progresses between the two of them. Rude comments by Terry make the audience cringe, but one does not feel anger at Terry for his inconsiderateness; instead, the viewer can see this is Terry’s attempt at helping Edie cope with her brother’s death and his own attempt at assuage his conscience. Brando skillful combination of earnest looks and artless comments portray this clearly for the spectator. The scene of the fight and Terry’s eventual triumph over Johnny Friendly is another that adheres to one’s mind because of Brando’s performance. This success by Terry, which has been expected from the beginning of the movie, could have turned out extremely badly: more of a cheesy affair than anything else. However, Brando keeps the audience absorbed by the determination with which Terry withstands the obvious pain and the independence which he gains as he walks by himself to the warehouse. The power of this scene is definitely due to Brando’s stirring performance.
Cinematic aspects are the final piece of the puzzle in On the Waterfront. Shadow is used effectively in the scene of Dugan’s death, as the net used to haul up the crates (the cause of the death) cast a shadow over the crowd assembled to pay their respect. It is interesting to note that this net doesn’t cast a shadow, or the blame, just on the mob members who arranged Dugan’s death, but on his friends and the people who cared about him. This effect shows how, by not reporting the crimes of the union, everyone present is in some way responsible for the demise of Dugan. Alternately, one could see the nets shadow as representative of the plight of the workers, as they are trapped by the mob member much the way Dugan was. Shadow is used extremely effectively in this scene. Another cinematic element used well in the film was the angle of shots. In the first scene, after Terry stops by Joey’s house to send him to the roof, one views the building through a low angle. This has a two-fold effect: it gives an ominous and powerful feel to the building and the actions of the mob, and builds suspense as to the events transpiring up on the roof, as the viewer is unable to see the action and can only hear the sounds. A high angle shot is also used to great effect in the scene at the docks as the boss chooses the workers for the day. After selecting the ones that he wishes to work, he scatters the tokens on the ground and the men go crazy. A high angle shot is used during this scene, portraying the men on the ground fighting for the tokens as low, almost pig-like, without respect for themselves as they are willing to scrabble around on the ground, much to the amusement of the mob members. The viewer is repulsed by the spectacle of grown men with so little self-respect and the lack of pity by the union. A third cinematic aspect in On the Waterfront is the use of sound, specifically in the scene where Terry confesses to Edie his role in the death of her brother. Although the camera focuses quite clearly on their heated discussion, one can only hear snippets of the conversation, mostly of Edie’s grief. The loud sounds of business of the waterfront, of the cranes and barges doing their work as usual primarily cover up the exchange between the two main characters, which may seem rather odd. However, one gets the sense in this scene that this struggle between what’s right and what seems easiest is not one that pertains only to Edie and Terry; instead, with the obnoxious sounds of the waterfront work, one is reminded that this conflict is being played out in everyone of the workers mind. In a sense, the specific words that Terry uses, or exactly how Edie expresses her grief: these details are not important. By omitting them, one can apply this clash of ethics to many people and many situations on the waterfront.
Much as On the Waterfront deals with the personal and public effects of a moral decision, Arthur Miller’s play All My Sons explores the multiple obligations one has both to family and to strangers. The main characters, Terry and Chris, share many similarities. Firstly, both Terry and Chris struggle to decide which party they have more loyalty to: those they know the best, or strangers. In Chris’ case, his father is the one that he has esteemed all his life. However, he also feels that the mothers of these dead soldiers have some right to know the cause of their child’s death. Unfortunately, Chris’ own mother convolutes this matter more by urging Chris not to turn his father in, even after her own son has perished in the war. Terry has a similar situation in that he is torn between his obligation to two groups: to the mob, which not only contains his brother but also a childhood mentor of his, Johnny Friendly (“He used to take me to ball-games”), and to his community as a whole, which would benefit greatly without the mob running the union. To complicate Terry’s decision, the only way that he could truly put and end to the illegal mob activity would be to go to the police, an action frowned upon by the community, so that in helping them, he would be earning their disapproval. Secondly, both characters maintain the added complication of a forbidden love. Terry is wooing Edie, the sister of the man whose death is on his conscience. Chris proposes to his dead brother’s girlfriend, Annie. Both of them use these leading women in their lives to help them make the right decision: Annie and Edie act as moral compasses. Thirdly, after both Chris and Terry chose the “hard way” regarding their ethical decisions, they experience both a win and a loss regarding their choices. Chris finds the internal strength to confront his father, who admits he is wrong. He, with the help of Annie, forces his mother to realize that she must forget the past. However, in the process his father feels forced to commit suicide, which is a terrible loss for Chris. Terry, after testifying in court, does not feel satisfied with his success. Instead, he seeks out Johnny Friendly to prove to him the man he is the “waterfront” way. Although he loses the fistfight to Johnny, becoming badly beaten up, he also wins the workers over to his side, which is evident as they refuse Johnny’s demands that they return to work and wait until their comrade Terry is with them. Both Terry from On the Waterfront and Chris from All My Sons share many aspects regarding their loyalties on a tough ethical decision.
Overall, the film On the Waterfront is an effective film. So much detail was paid upon the smallest things, adding to the depth of the film. It skillfully combined literary aspects such as symbolism in small things like props and costumes without weighing down the film, as it was still enjoyable to watch. The variety of shots used truly added to the impression upon the viewer, making the film more interesting and adding to one’s understanding of the characters. Terry was an enjoyable character to watch in that he wasn’t perfect, not even close. He was an awkward individual when it came to romancing Edie, he struggled to decide where his loyalties lay, yet in the end he triumphed. The famous scene where he makes his stand to his brother Charley is particularly affecting because Terry hasn’t truly shown and inclination to stand up for either side before this point, yet here his is convincing his brother to go to his own death. Another powerful (if slightly overemotional) scene was the walk from the union house to the loading dock, because even though Terry had lost, he won. He prevailed against Johnny Friendly, even when his community was not supporting him. My only criticism would be that the film was rather overly dramatic, with much of it seeming musical-like. Although in some aspects this may increase the effectiveness of a production, in this case I felt that it detracted from the film’s emotional appeal, as it made the characters and their struggles seem staged and harder to relate to. However, because of several stellar scenes I would have to say that On the Waterfront is an effective film in getting it’s message across.

"Special Topics" Post 3b

I am becoming slightly disturbed by Blue’s behavior. First of all, she doesn’t see it strange that the Bluebloods practically stalk Hannah. This behavior goes directly against her wishes, so I’m not really sure if they respect her or not. I think there’s just a lot of conflict as to the role of Hannah. On one hand, she is an adult and a teacher at their school, so one should think of her as an authority figure. On the other hand, she acts sometimes less like a mentor and more of a simple friend. I think that it is hard for the Bluebloods to reconcile these two roles, and are therefore acting as if they are Hannah’s friends. Unfortunately, I don’t think that she views them this way. Plus, Blue is being dragged into this as well. She seems content with the changes she has been making to herself to fit in with the group, but her writing suggests otherwise, as it is an odd mixture of talk of the Bluebloods and references to her father. I think that she is still torn between the two. Ordinarily, I would say that it is natural for Blue to grow away from her father and find her own group, but in all the towns they have been to this doesn’t seem to have been the case. This change is so unexpected I feel it’s not quite natural. Hopefully Blue will find which side she wishes to be on in the remainder of the book.

"Special Topics" Post 3a

Vocabulary
hebetudinous (161): the state of having dullness of mind, mental lethargy
Marlene Dietrich (160): German-born American actress and singer (1904-1992), internationally famous as a film star

Literary Devices
"a revolted expression spilled all over her face" (141): The author uses the verb "spilled" to better describe how a look of disgust unfolded onto Leulah's face as she got her first good look at "Doc".
"We were stationed somewhere, oceans away from home, afraid of being seen. Leulah was shell-shocked, back straight as a flag pole, her eyes magnetized to the door. Jade was the senior officer... I sort of Vietnamed too" (144): This analogy of comparing the girls witnessing Hannah and "Doc" and men surviving the atrocities of Vietnam shows the effect that this event has had on them, how deeply it has influenced them. Even the simile showing Leulah's disbelief: "back as straight as a flag pole" connects to this idea of surviving a war.
"We all went forward and backward together like children on a bus" (156): Although this simile does well describe the phenomenon that occurs when someone slams on the breaks in a car, it also could be interpreted as the author commenting on the child-likeness nature of the prank the Bluebloods are about to pull: sneaking into Hannah's party.

Quote
"...Dad's favorite ("If there are authentic words of love that exist in this English language, these are the ones people with any real affection should say, rather than the shopworn, 'I love you,' which can be uttered by any hebetudinous Tom, Dick, or Moe")" (161). This quote shows the haughtiness and high standards that Blue's father has in almost everything, as well as his pride in his literary knowledge. However, it also shows the respect that Blue has for her father by including a quote that might pertain to Hannah, who she seems to hold in very high regard.

Theme
Don't try and investigate something that is none of your business.

"Special Topics" Post 2b

In this section of “Special Topics in Calamity Physics”, we begin to witness the transformation of Blue from a wall-flower geek to a member of the Bluebloods, and while I found it extremely satisfying to see her get the respect that she deserves, the ease in which she gives up her personality and conforms to expectations that Leulah and Jade have for her is a little disturbing. In some ways, its showing how Blue is growing independent from her father, which is only natural, and experimenting with how she wants to be perceived. However, when reading the book I feel as if Blue looks up to Jade and Leulah a bit too much and that they could easily abuse this power, which I don’t think they deserve. As Blue says, “being snubbed at Hannah’s was infinitely more electrifying than being mulled over back at the Van Meers” (94). Additionally, however overly condescending, monopolizing, and judgmental Blue’s father is, one has to feel a little sad for him as he is constantly being left behind by his daughter. He must feel a little confused, as not only her appearance changes dramatically but also her values. Before, Blue was focused on the idea of getting in to Harvard; she even snubs Charles in the beginning because she doesn’t want anything interfering with her senior year. This does seem a little extreme, and I hope Blue has fun with the Bluebloods, but I hope she doesn’t lose sight of herself and the future.

"Special Topics" Post 2a

Vocabulary
crampons (97): a spiked iron or steel framework that is attached to the bottom of the shoe; used in climbing on ice or snow
Golighty [dress] (111): alluding to the style of clothing worn by Hepburn in her role as Holly Golightly from "Breakfast at Tiffany's"

Figurative language
Personification: "The same word, when you said it, went limp" (94). Blue is explaining the power over words that Hannah has; her way with intonation that makes the same wordd, when another says it, seem much more dull. The words are not actually goign limp, they just do not have the same electrifying effect as when Hannah speaks them.
Allusion: "'Maybe it's her Rosebud.'" (104). Blue is referencing the movie "Citizen Kane", in which Kane spends his entire life looking for Rosebud. This gives the reader a sense of the depth of Hannah's fixation for Valerio that has been impressed on Blue, as well as her extensive knowledge.
Simile: "'It's fun to imagine they're as epidemic as illiteracy or chronic fatigue or any other cultural malaise that graces the covers of Time and Newsweek, but sadly, most Bob Joneses off the street are just that, Bob Jones'" (105). This simile (which one can tell from the use of the word as to compare the numbers of double lives and other cultural deficiencies) shows that Blue's father doubts her theory on the double life that Hannah leads, and also demonstrates his ideas of problems in society (illiteracy, etc.)

Quote
"Frankly, it could get a little stale how Dad, within minutes, could elicit such worldwide acclaim. Sure- I was the first person to stand up and throw him roses, shout, "Bravo, man, bravo!" But sometimes I couldn't help but feel Dad was an opera diva who garnered reverential ratings even when he was too lazy to higt the high notes...; something about him seized everyone, regardless of the performance" (112). I really liked this quote because it shows a lot of Blue's character. She really seems to rely upon her father almost has her star to pull out for others to admire, and so she takes a rather protective stance on his praise in the quote as if she is the only one she can stand doing it. It also shows that she perhaps isn't completely happy just being his daughter, instead of her own character, her own star.

Theme
Sometimes one must delve deeper to find the truth.

"Special Topics in Calamity Physics" Post 1b

When I first started reading “Special Topics in Calamity Physics”, I was completely awed by the number and breadth of things referenced. In simply the first two pages, Blue talks of Mozart, Matisse, Churchill, Che Guevara, James Bond, Henry Higgins and Eliza from Pygmalion or My Fair Lady, The Aeneid, and even a takes a quote from J.B. Tower: “death is ‘seeing everything that has ever existed all at once’”. Pretty intense for a first two pages. A review of the novel from Publishers Weekly states: “Pessl's showy (often too showy) debut novel, littered as it is with literary references and obscure citations”. However, as the book continued on, the references did add to my enjoyment and understanding of the book. They definitely required some wikipeidia-ing (for example, Lepidoptera (18)) but it also forced me to recognize words that I did not understand and look them up instead of skimming over them. Also, these obscure references do add to one’s understanding of the true depth of Blue’s knowledge- she is definitely a gifted student with a wide basis of information. To gain this, the rigorous training that her dad must have put her through makes the reader question the quality of her childhood, as well as her ability to function in society. Someone who is constantly quoting page numbers and publication years doesn’t seem like an extremely social type. So in a way, the offhand way in which these figures and quotes are tossed about leads the reader to think more about Blue as a character. Also, there is the delight one feels when you realize you know what Blue is referencing already: some form of pride.

"Special Topics in Calamity Physics" Post 1a

Vocabulary
Charles Kuralt (8): radio and television correspondent most popularily known for his "On the Road" segements, in which he traveled across America. In 1979, he became the presenter of "CBS News Sunday Morning".
RKO (55): RKO Pictures is an American film company that was one of the Big FIve during the Golden Age of Hollywood. It is most famous for stars such as Fred Astaire, Ginger Rogers, Katherine Hepburn, and Cary Grant, as well as films such as King Kong and Citizen Kane.

Figurative Language
simile: "She swooped into class and girls scattered like chipmunks and squirrels" (88). Use of the word "like" comparing the girls to chipmunks/squirrels in the presence of an eagle.
metaphor: "While most teachers hair at the end of the day resembled crusty windowsill plants, Hannah's- dark, but rusting a little in the late-day light- posed provocatively around her shoulders like Lauren Bacall in a doorway" (81). Hannah's hair obviously isn't truly "rusting" but instead displaying a more reddish hue in the evening light.
imagery: "The only sound in the room was the ice melting his glass" (72). The ice can't be melting the glass; instead, this is conjures the image of water condensing on the outside of a cold glass, as it is apt to do.

Quote
"'I'll be honest with you, Mr. Van Meer. The name's not healthy. The kids in class make fun of it. They call her Navy. Some of the smart ones call her Cobalt. And Cordon Bleu. Maybe you should think about alternatives."
"Might you have some suggestions, Miss Bergie?"
"Sure! I don't know about you, but I've always loved Daphne."' (78)
This quote shows not only the wit and sarcasm that Blue infuses into her writing, but also the persecution that she has endured as a misfit, even from her teachers.

Theme
In order to get into a good college (Harvard), you need to be amazing.
or
Things aren't always as they first appear.

Synopsis of "Special Topics in Calamity Physics"

Marisha Pessl's mesmerizing debut has critics raving and heralds the arrival of a vibrant new voice in American fiction. At the center of this "cracking good read" is clever, deadpan Blue van Meer, who has a head full of literary, philosophical, scientific, and cinematic knowledge. But she could use some friends. Upon entering the elite St. Gallway school, she finds some - a clique of eccentrics known as the Bluebloods. One drowning and one hanging later, Blue finds herself puzzling out a byzantine murder mystery.
courtesy of barnesandnoble.com

"The Lost" Post 5b

During its entirety, "The Lost" made me question the value of what Mendelsohn had embarked on. Why did he care to know the specifics of the lives of his relatives that he did not have any contact with, could never know? He definitely wasn’t looking to find them alive or have survived; he states that he wants to know exactly how they died. As he continues his quest, he finds the details of their lives fascinating as well. Although they are his ancestors and a part of his family’s history, I don’t think that their lives could affect his in any way. Isn’t he his own person? However, family history is something that many of us value, and remembrance of the past is shown through the many Internet genealogy websites that Mendelsohn sites. Perhaps these searches are a form of narcissism: placing value on the families that placed us here today. As well, I think that Mendelsohn finds great significance in the characters and conflicts from his family past; he shows in "The Lost" how they mirror those of his current family and even those represented in the Bible. In the same way that we strive to learn from mistakes made in history, I believe Mendelsohn is trying to extract a lesson from the lives of Shmiel’s family. Also, considering their tragic story and the movement which they were part of (the Holocaust), he provides an intimate view for the reader on a tragedy that “is so big, the scale of it is so gigantic, so enormous, that it becomes easy to think of it as something mechanical. Anonymous” (479).
The other thing that struck me about the final section of his novel is the attention Mendelsohn pays to the Ukrainians involved in the killings of the Jews. He talks often of how without the help of their former neighbors, the Germans could not have completed such a thorough slaughter of Bolechow’s Jews. However, in contrast to this harsh reality, Mendelsohn provides a background on the conflict inside this “family” of Bolechow: “I am, however, willing to believe in other generalizations, for instance that seething resentment by a class of people who both have been and perceive themselves to be an underclass, particularly when those people have recently suffered unspeakable oppression- one example of which would be, say, Stalin’s international starvation of between five an seven million Ukrainians in 1932 and 1933, which for Ukrainians is the galvanizing national tragedy just as the Holocaust is the galvanizing national tragedy for Jews” (455). Although unimaginable acts were committed during the Holocaust, as Mendelsohn describes, I agree with him that as hard as it is, it is very important to look at even these acts with an open mind, a balanced perspective.

"The Lost" Post 5a

Vocabulary
mishpuchah (307): Yiddish for the entire family of relatives related by blood or by marriage, sometimes including friends; also called mishpachah
exculpating (312): clearing from a charge of guilt or fault, vindicating

Three Appeals
"As we walked up the concretet steps toward her she smiled broadly, exposing even rows of teeth" (318). This is a fact, a logical appeal, but Mendelsohn uses this statement as well as other descriptions to put us in his place as he is welcomed into the Reinharz's home. I thought the placement and depth of description was well done.
"'People in Bolechow take me for a rich man (since I pay enormous taxes) and anyone who needs anything comes to Samuel Jager. I have a lot of influence here and I've had preferential treatment everywhere, and so I hae to present myself well everywhere. Indeed I spend time with the better class of people" (324). These sentences from a letter written by Shmiel Jager have a strong emotional impact on the reader. One truly gets a sense of the pride and arrogance that Shmiel felt in his hometown. Although this does not paint the kindest portrait of Shmiel, it does provide a background for his reluctance to leave Bolechow, and the reader alternately feels an annoyance at his high opinion of himself, and a sadness for its effect on his life.
"Wait! Malcia exclaimed. I think she was relieved not to be talking about the past anymore, after all this time. You'll sit here a little while, and I'll make it for you!" (333). From this paragraph, the reader senses the true kindness of Malcia, even after all of the hardship and cruelty that she has been through. Also, one is reminded of how hard it is for the Jews of Bolechow to relive these memories of a terrible past. This portion of the text has an emotional appeal to the reader.

Quote
"But as Yona talked about how desperately poor my grandfather's childhood had been, I started to wonder, once again, how much of my grandfather's stories were based on fact, and how much they were the projections of his vivid and yearning imagination... Only in stories, after all, do things turn out neatly, and only in stories does every small detail fit neatly into place" (347). I liked this quote because Mendelsohn finally provides an adult aspect on his grandfather, instead of his childhood admiration, which is a nice change. As well, the reader is reminded of the nature of Mendelsohn's entire book: it is simply the memories of people which are bound to imagine over time more of a story, a way to make sense of all of it. This does not decrease their worthiness, but it is necessary to view these recollections in a certain light.

Theme
Perhaps the important part of a person, or history, is not the death, but the life.

"The Lost" Post 4b

This part of the novel “The Lost” was particularly affecting for me as it explored first-person experiences of the Holocaust (especially pages 227-229). I read “Night” this past year by Elie Wiesel, and although it related some horrendous experiences, I somehow found it hard to relate to his point of view. Mendelsohn offers the perspective of an outsider relating first-hand experiences, which I think makes them easier to understand. He isn’t in a position to relate to them any more than I can because he was not there either, so his reactions make it easier for me to connect to the first person accounts. This portion of the book also relates to the first reason the novel attracted me: it relates to my heritage. My grandparents on my father’s side both emigrated to the United States during the 1930s because of the persecution they were receiving as Jews. Although I have no connection to them, some of my relatives perished during the Holocaust. In some ways I feel guilty that I am not more connected to my personal history, and this book makes a strong case to find out about my relatives. The fact that my family is not strongly Jewish adds to this guilt: it seems sometimes as if I am disrespecting the sacrifice that my ancestors went through for their faith. At the same time, I feel so fortunate that I am growing up here where I can feel safe walking the streets and am allowed (mostly) unbiased treatment because of my religion or my looks. Unfortunately, genocide still exists today, so perhaps the best way to respect the memory of my Jewish relatives is to work until nothing like the Holocaust will ever happen again.

"The Lost" Post 4a

Vocabulary
parashat (265): a section of the Hebrew Bible, independent of chapter or verse numbers in which each one represents a new idea or thought. Also called parashah
Kol Nidre (255): a Jewish prayer recited at the beginning of the service on Yom Kippur, means "all vows"
goĺąki (253): a traditional Polish dish of stuffed cabbages

Three Appeals
"And then Boris told me what the Jew in the French uniform had told him, during that improbable meeting. Boris said, 'He told me forget it, there's nobody left.'" (247). This quote has a very emotional appeal because of idea that every Jew in a town had been killed or forced to leave. We have already learned that there were around three thousand Jews in the town of Bolechow; it seems unimaginable that all of these people could be mercilessly slaughtered by, esentially, their neighbors. What makes this quote so powerful is its bluntness, as if this is the answer that is expected or that all are resigned to its factuality.
"For some reason, the horror of a boy having ot kill his beloved pet is easier to apprehend, to absorb and make real, than are other horrors. The horror, say, of having to kill your own child, lest its noise give you and the others away" (242). This section of "The Lost" had an extremely strong emotional appeal as Mendelsohn chronicles the atrocities of the Holocaust. A mother having to smother her own child is so horrible, its truly unimaginable unless one has been in the situation. Although killing one's own dog is horrific as well, perhaps the expectation of a child outliving a mother makes it that much more impossible to comprehend.
"Maybe he saw this sign, and maybe its tone- not, when you think of it, all that different from the tone of similar signs in the swimming pools and shower rooms of the bath spas throughout Europe, spas like the one in Jaremcze where Shmiel's father, thirty years earlier, had dropped dead- had reassured him" (338). This quote as well has a very emotional appeal- I couldn't believe that the Germans would provide the Jews with the false hope that the gas camps were actually cleaning stations. It seemed more than psychotic and evil- it was intentionally emotionally cruel. It was interesting that the author supposed that this tone on the sign would reassure Shmiel, even though it was associated with bad memories. Perhaps Mendelsohn is showing how in times of trouble, we cling onto anything that seems familliar.

Quote
"'During the march to the train station in Bolechow for the transport to Belzec, they ahd to sing, particularly the song "My Little Town of Belz." Whoever didn't take part in the singing was beaten bloody on the shoulders and head with the rifle butts"' (229). This quote is very representative of the treatment of the Jews during the Holocaust: not only were they physically tortured, but emotionally as well. This witness statement cited by Mendelsohn is so hard to read because of the truly unimaginable atrocities that it chronicles: that human beings could be that vicious is impossible to comprehend without having been there
.
Theme
Without endings, there is no room for new beginnings. However, these do not always need to be violent.

400 Blows Essay

The 400 Blows
“Oh I lie now and then, I suppose. Sometimes I’d tell them the truth and they still wouldn’t believe me, so I prefer to lie” states Antoine Doinel in the film The 400 Blows. I think that The 400 Blows did an effective job conveying the emotions François Truffant experienced that inspired his devotion to cinema. The film communicated well the bustling world of Paris in the 1930s/40s through a young boy’s eyes, focusing on the parts of life that would matter to a young schoolboy like Antoine, such as school, friends, and relationships with parents. I also personally enjoyed the unabashedness of the film in exposing some of Antoine’s fasults. Although this film is based on his own life, Truffant does not seek to hide the irrationality in some of Antoine’s decisions, such as stealing his father’s typewriter and running away from home. In addition to the narrative aspect of the film, other literary, dramatic, and cinematic aspects were utilized to make The 400 Blows an effective film.
The literary aspects of The 400 Blows add greatly to its efficacy as a film. The integral part of the movie is its plot, a literary aspect. This film follows young Antoine as he stumbles from misadventure to misadventure, trying to find his fit in life with his family and his schoolwork. This struggle to fit in is a rather universal one, so the plot helps The 400 Blows relate to everyone. Another literary aspect, the place, is firmly established in the opening credits as Paris, and although the time period is not directly specified, it is supposed that it is around the time of the 1930s/40s. Antoine is the main character in this film, and his story mirrors the childhood of François Truffant. He is a mischievous kid who, although not bad-charactered, always seems to be getting in trouble. His parents do not seem to have a deep sense of care for Antoine’s well being, although he seems to try his best to earn their love, obeying their demands, setting the table. However, Antoine does what it takes to survive and prosper in his small world of school and friends, even if it means stealing from his parents. Antoine explores themes such as the frustration of being trapped. This is exemplified through the shot of him on the ride where he is trapped against the wall, unable to move, as well as whenever his position as the lowest member of his family is demonstrated, for he cannot escape or rise above it. Another literary device, symbols, is utilized in The 400 Blows. The ocean seems to become a symbol for Antoine himself as the freedom and luxury that he was never able to attain in his family, and it becomes a goal for him towards the end of the movie. Additionally, during his first time running away from home, Antoine steals a bottle of milk from the street, which could symbolize his need for a mother (the milk) and his willingness to bend the rules (stealing) to gain it. Overall, a significant part of the film The 400 Blows’ effectiveness can be attributed to its literary aspects.
Another aspect to film is its dramatic qualities. In The 400 Blows especially, specific actors and actresses add a huge impact to the film’s effectiveness. Antoine is played by Jean-Pierre Léaud who, with his scruffy hair and down turned mouth that is quick to smile, clearly shows both sides of Antoine’s personality. Antoine’s mother (Claire Maurier) uses her narrow eyes, big lips, and blonde hair to exemplify Gilberte Doinel’s outer beauty and inner horridness. She also uses mannerisms such as often looking into a mirror to show Madame Doinel’s self-centeredness. Personally, I think that Patrick Auffay does an excellent job playing René. His blond, neatly-combed hair shows his class, and his smaller size and softer voice show his subordination to Antoine in their friendship. He displays perfectly René’s inner calm when removing money from a family hiding place, even when he is almost caught by his mother, as well as when he is forbidden to see Antoine in the Observation Center. He simply gets on his bike, turns around and starts home in the most fitting way. The costumes in The 400 Blows also add to our understanding of the characters. Antoine is constantly dressed in dark colors, reflecting the more negative aspect of his personality and his parents frugality regarding his state of wellness. His mother, on the other hand, always is wearing rather luxurious clothing such as her fur coat. René shows his class in the dapper little suits that are his attire through the movie. The set also contributes to the overall feel of the film: Antoine’s rooms in his apartment show his station in his family completely. Both the garbage room and his own bedroom are dark, small, and dirty; of course they are only for Antoine. Dramatic aspects definitely add to the effectiveness of the film The 400 Blows.
Finally, cinematography is a feature of The 400 Blows that augments its effectiveness. My favorite part of the film was the beautiful shots of Paris that were interspersed throughout the film. This gave a definite sense of setting, not only in the sense of the place but also of the time period. A variety of shots add to these montages. Many were shot at night, such as the ones where Antoine is wandering the streets of Paris, or when he is carted in a police coach to the juvenile detention center, so that the bright lights of Paris shine out from the darkness. The high angle shot of the gym teacher running as the boys disappear helped accentuate his bright white shorts against the dark tones of the Paris sidewalk and show truly the ridiculousness of Antoine’s entire school. Another shot that stands out is directly follows the theft of the typewriter by Antoine and René. As they weave through crowds, the camera does not directly focus on them, instead showing their rush as well as the people of Paris going about their business around the two. Perhaps this is to show that Antoine and René are not alone in this issue: that everyone has had their part in some crime (strangely, no one stops or tries to report them). Regarding another cinematic aspect, the same music makes its way throughout the entire film, providing some continuity as well as accentuating the negative or positive mood, as the difference between the minor/major sound stands out particularly in the recognizable tune. However, perhaps the boldest cinematic element that is included in The 400 Blows is Truffant’s decision to film it in black and white. I think that this choice adds to the mood of the film, putting the viewer in the place of Truffant as he watched the black and white movies during the era in which he was growing up. All of these elements strictly of cinema add to The 400 Blows effectiveness as a film.
Although different mediums, both The 400 Blows and Richard Wright’s Black Boy share many of the same themes and literary ideas that make them both effective works. Both pieces are memoirs and in them, the two main characters, Antoine and Richard, have many similar experiences that they have to cope with. Both protagonists are forced to cope with negligent/harsh parents and therefore learn to be independent from them. Both are willing to do whatever it takes to achieve their goals, whether it is stealing from the movie theater in Richard’s case or lying to his stepfather about the Michelin guide in Antoine’s case. Both find comfort and transport themselves outside of their own lives in a form of art, literature and film for Richard and Antoine respectively. One of their most important similarities is their ability to support themselves independently: Richard moves into Memphis by himself and Antoine, while not old enough to support himself financially, has the emotional independence to have no qualms about running away from home. Finally, both Richard and Antoine set goals for themselves that act as a purpose for them even when life becomes complicated. For Richard, his dream is to become a writer, and although it causes him to sacrifice a comfortable existence many times, he is ultimately successful in writing Black Boy. For Antoine, his goal is to see the ocean. This becomes a focus for him, and he too is successful in this venture after escaping from the detention center. Both The 400 Blows and Black Boy use the similar experiences of their creators to relate to the audience, and do a very effective job.
Personally, I enjoyed watching The 400 Blows. I thought that it provided such a unique perspective of Paris: to truly see it through a Parisian’s eyes was amazing. The views of Paris were so beautiful. I also think that the film did a good job of balancing the artistic and narrative aspects of the movie. Many films get bogged down in their artistic whims whereas The 400 Blows had a moving story line that the artistic elements simply added to. Additionally, although the movie itself was a rather serious subject matter (the circumstances that would push a child to remove himself completely from his parents at the age of eleven or twelve) moments of humor kept the film from feeling overly depressing, such as Antoine’s various mishaps. The 400 Blows also utilized all of the aspects of its medium of film, literary, dramatic, and cinematic, to great effect. The characters, especially Antoine, were easy to relate to because of the universal theme of growing up and becoming independent. The actors themselves helped us understand the characters better with their mannerisms and expressions that were so appropriate. Cinematic elements such as the black and white filming style helped set the mood for the entire film. Because of my enjoyment of the film, I would definitely recommend The 400 Blows.

"The Lost" Post 3b

The quote "I too, like to think that my grandfather, had he not made his long journey to Timess skvar in 1920, would have somehow used his talent to get what he wanted, to survive..." (166-167) made me think of the tendency of people to have wishful thinking. Everytime I tell a story, I know that I have an impluse to embellish it, make it more exciting, make it more important. This seems to be an unconcious desire of ours, that somehow something more exciting is better. Mendelsohn is talking here about his grandfather and his wily ways, and it appears that his own memory is trying to embellish the talents of his grandfather, that even though he was a Jew and that his relatives who remained in Europe were all killed, he would have survived. It seems really unlikely, especially because of the position that Mendelsohn viewed his grandfather from (a young child looking up to his favorite grandparent). Perhaps this relates to the outrageous stories that Mendelsohn hears from his grandfather about the voyaget hat he took as a young man- the author may be relating his grandfather's imagination to his own, both which attempted to reflect the past in more "story-like" positive manner. Perhaps Mendelsohn is trying to make a universal point here: we are all constantly trying the shift the past in a way that will please us more. It's almost as if the past is something hazy, only there because of the views unconciously taken by our memories.

"The Lost" Post 3a

Vocabulary
nuanced (155): filled with subtle differences in expression or meaning
gopher (156): a type of wood used by Noah in the Bible to make his ark, perhaps cyprus

Three Appeals
"The Pacific is vast" (157). Although this is a logical appeal (the Pacific is a vast ocean) the use of the world vast implies an extremeness that seems to lend in an emotional quality. Additionally, the previous sentence relates that the author views the Atlantic as a "manageable" size, perhaps the immensity of the Pacific makes it unmanageable to comprehend, in which case this statement would also have an emotional appeal.
"And then she added this: Because she herself was in danger, was "passing" at that point, she couldn't allow herself to betray any emotion when she saw the bodies of her family passing by in the wagon..." (169). This is obviously an emotional appeal because of the great sadness in (a) people, especially familiy, dying, (b) bodies being heaped on a wagon unceremoniously (c) not being able to release emotions and (d) the context of the Holocaust.
"I imagined that it must seem unfai rto her to have this young American man intervene in her life, suddenly, fanning out photographs of people he never knew as if they were cards in a deck and asking her to pick one, photographs of her girlfriend's parents, when she had no photographs of her own parents" (182). I think that this quote has an emotional appeal because of the sadness that it relates, that some woman has no pictures of her parents to remember them by. This takes on special meaning in context of the book, where respect for family history is an important value.

Quote
"I would compare and contrast these columns, when I was much younger, and even then I would wonder what kind of present you could possibly have without knowing the stories of your past" (162). I really liked this quote because I think it may evolve into another theme relating the importance of personal history.

Theme
As above, our familial histories not only shape who we are but deserve to be a part of our lives today.

Synopsis of "The Lost"

Synopsis
In this rich and riveting narrative, a writer's search for the truth behind his family's tragic past in World War II becomes a remarkably original epic - part memoir, part reportage, part mystery, and part scholarly detective work - that brilliantly explores the nature of time and memory, family and history.

The Lost begins as the story of a boy who grew up in a family haunted by the disappearance of six relatives during the Holocaust - an unmentionable subject that gripped his imagination from earliest childhood. Decades later, spurred by the discovery of a cache of desperate letters written to his grandfather in 1939 and tantalized by fragmentary tales of a terrible betrayal, Daniel Mendelsohn sets out to find the remaining eyewitnesses to his relatives' fates. That quest eventually takes him to a dozen countries on four continents, and forces him to confront the wrenching discrepancies between the histories we live and the stories we tell. And it leads him, finally, back to the small Ukrainian town where his family's story began, and where the solution to a decades-old mystery awaits him.

Deftly moving between past and present, interweaving a world-wandering odyssey with childhood memories of a now-lost generation of immigrant Jews and provocative ruminations on biblical texts and Jewish history, The Lost transforms the story of one family into a profound, morally searching meditation on our fragile hold on the past. Deeply personal, grippingly suspenseful, and beautifully written, this literary tour de force illuminates all that is lost, and found, in the passage of time.

courtesy of barnesandnoble.com

"The Lost" Post 2b

One recurring theme that I noticed in this section of "The Lost" was the relationships between siblings. Mendelsohn brings this up several times, both in relation to his own life and in the Bible, mostly explored in the story of Cain and Abel, as well as in the history of the conflict between the Jews and the Ukrainians. He talks a lot about his early life and how he connected with his brothers, mostly of the misunderstanding and competition that arose from knowing each other so well. It's easy to relate to his feelings of frustration; especially for me as a sibling, I know how it feels to see someone respected when they might not deserve it or how the love of a parent can become a measured value. He also relates this idea to the hatred that developed between the Jews and the Ukrainians, which I thought was really interesting. He has several quotes from Ukrainians currently living in Bolechow about how both the Ukrainians and Jews were raised together; one woman says "We were one big family." Mendelsohn explores how a conflict may have developed as the Jews seemed to prosper by running business while the Ukranians often worked the land. His explanation of sibling rivalry makes this struggle something most of us can relate too, although he's definitely not putting together a defense for the conduct of the Ukranian people. Mendelsohn further relates this to the Bible and the story of Cain and Abel, which intrigued me because I didn't know much about it and the implications he could me making. Is he trying to prove the universalness of the Bible, show how it truly pertains to our lives? I thought he may have just been showing how these conflicts are nothing new and seem to stem from something inately human. Overall, I'm enjoying this book more as the pace of the narrative speeds up.

"The Lost" Post 2a

Vocabulary
broyges(99): Yiddish for angry
platitudes(102): a trite remark uttered as if it were fresh or profound

Appeals
"At one point, during the Chicago conference of cousins, I took out the photocopied translations I'd made of Shmiel's letters to their various parents and handed them out. No, no, no, my mother said, vaguely pushing her copy across the table. I don't want to read them, it's too sad" (103). This is definitely an example of an emotional appeal, showing the depth of emotion that the tragedy of Shmiel's disapperance has had on Mendelsohn's family. His mother never even met anyone of her relatives who perished in the Holocaust, and yet 40 years later the pain of that loss is still too much for her to look at the letters that Shmiel wrote begging for help while trapped in Bolechow.
"What happened at Auschwitz did not, i fact, happen to millions of Jews from places like Bolechow, Jews who were lined up and shot at the edges of open pits" (112). Although this is a sentence that is simply giving information and should have an entirely logical appeal, because of the subject matter (the treatment of Jews during the Holocaust) it is inherently an emotional sentence. Auschwitz is definitely a "loaded word" because of its world recognition as a concentration camp.
"It was because of this strangely precise mirroring, in fact, that in the middle of the twentieth century it evolved, with the precise, terrible logic of a Greek tragedy, that whatever was good for one of these two groups, who had lived side by side for centuries in these tiny towns, was bad for the other" (120). This seems to have a logical appeal because it is the author's explanation, or inference of a fact. However, as it is describing a relationship between the Jews and the Ukrainians I think this idea will become a strong emotional appeal central to the book.

Quote
"And I think of the other kinds of siblings too, those who grew up in close quarters and know one another too well, some forced to work the land, the others, seemingly luckir, more blessed, able to wander here and there with their (seemingly) ever-increasing wealth. I think, naturally, of the Ukrainians and the Jews" (109). This quote seems to have been led up to and I think it is an integral part of the book. Previously, the author has included italicized parts of the text in which sections of the Bible have been analyzed. Before they seemed random, but I think the author is bringing in to context the history of the Jewish people as a way to view not only this tragedy but others going on today as well. The conflicts that arise specifically between ourselves and the ones we know best seems important to him because of the way he can relate to his relationships with his brothers, and perhaps that is what he will in a way be searching for: how he can relate Shmiel's story to his own life.

Theme
It is the ones who are closest to us who can hurt us the most, specifically our siblings.

"The Lost" Post 1b

One thing that I noticed about “The Lost” was its unique writing style. Mendelsohn doesn’t follow a concrete story line; instead, he circles from one idea to the next, reiterating certain ideas. One of these is Yizkor, the annual Jewish memorial service for the dead, which is defined on pg 9 as well as on pg 21. I think that Mendelsohn is imitating his grandfather’s style of story-telling, to help us better understand the type of culture in which he was raised in. With this style it’s as if he is telling multiple stories at the same time that all relate to the same central idea: his six lost relatives. I really like the way he refers to them as lost instead of dead, because, as he explains: “My grandfather told me all these stories, all these things, but he never talked about his brother and sister-in-law and the four girls who, to me, seemed not so much dead as lost, vanished not only from the world but- even more terribly to me- from my grandfather’s stories” (15). I think that this brings up the idea of the difference between being dead and being “lost”, because lost implies a sense of unknowing. Is it better to know the truth, however unpleasant or tragic, or are we sometimes better off not knowing? I think that the author is leaning towards the idea of the necessity of truth, as he describes that their lostness from his grandfather’s stories makes him feel “terribly”.

"The Lost" Post 1a

Vocabulary
sunt lacrimae rerum (dedication): latin for "these are the tears of things"
umlaut (7): the diacritical mark placed over a vowel to indicate when an earlier vowel takes on the sound of the second vowel.
yizkor (21): Jewish tradition of remembering family members who have passed away annually

Three Appeals
"Of this Shmiel, of course, I knew something: my grandfather's oldest brother, who with his wife and four beautiful daughters had been killed by the Nazis during the war" (7). Although this statement in itself is a logical appeal, because it is simply stating information, it alos has qualities of emotional appeal. The matter-of-factness in which it is proclaimed, along with words like "of course" give it the feeling of something very integral to Daniel's family. As well, the subject matter itself (the murder of the Jews by the Nazis during WWII) is a very emotional subject.
"Given the existence of this eyewitness accoun of events taht are so distant from anything I could ever have experienced, and which therefore I have a difficult time "imagining" or "envisioning", I perefer to avoid paraphrase and instead will simply cite his description" (51). This quote has an emotional appeal, as we want to know what could be too horrible for him to imagine or envision. It draws us in.
"At the moment when my mother said Herman the Barber I realized I could be wrong, that traces of those six might still remain in the world, somewhere" (73). I think that this statement is an emotional appeal because it invites us to wonder what Daniel could find out about his six lost relatives; what he was going to do about this mystery.

Quote
"So this is what my grandfather had been carring around with him, all those years. The letters Shmiel had been writing, in the last desperate year while he could still write, when he thought he could find a way out... It had been there, right in front of me, and I hadn't seen a thing" (61). This quote is significant for two reasons. First of all, the fact that Daniel's granfather has been carrying around the letters indicates that they are extremely important to him, and implies that there is something unfinished regarding Shmiel's demise. Additionally, Mendelsohn brings up the idea of something being right in front of you which you simply don't look carefully enough for. I think that this might become a recurring theme.

Theme
One must take advantage of every oppurtunity one has, and not let chances pass one by.