"Anna Karenin" Post 5b

The section relating to the death of Levin's brother was particularly interesting for several reasons. Firstly, Levin does not wish for Kitty to come along with him, which is an odd thing for a couple so in love. The two of them have trouble expressing their feelings to each other: Levin doesn't wish to show Kitty the squalor he is sure his brother is in and thinks that she is being too clingy; she wants simply to help and show her devotion to her husband by being interested in what he is, and thinks that he thinks that she will simply be in the way. Levin relents and allows her to come along, and they understand each other in the end. This was interesting in that some of the same behaviors were shown between Karenin and Anna, where he was trying to express his concern for her and could not form his thought, and they were both misinterpreting each other. However, in Anna's case the Karenins never tried to remedy the situation, and thus it continued the misunderstanding. The Levins come to see each other's point of views after the agreement, and one is happy knowing that they are a true couple. Vronsky has just left Anna now to go to a conference and they parted each hiding things from the other: this must be foreshadowing their downfall. Secondly, relating to Nikolai's death, Levin's inability and Kitty's extreme ability makes things odd. Levin knows his brother the best but is helpless, whereas Kitty can't know him but is able to make him much more comfortable. However, showing their strength as a couple, they do not feel jealous of the other but complement each other, Kitty providing constant care and Levin being there finally at the end for his brother. It is interesting to note that this is chapter is the only one in the book with a title, it being "DEATH".  

"Anna Karenin" Post 5a

Vocabulary

consecrated (297): blessed, divine, sanctified

onerous (297): difficult, tiresome

Literary Devices

"All that had been swallowed up in the sea of cheerful common toil" (297). This metaphor talks of how the discontent and tension between Levin and the peasants dissipated through the hard work they had done together, and after the plowing and haying was done the conflict seemed nonexistent.

"'How beautiful!' he thought, looking up at some fleecy white clouds poised in the middle of the sky right above his head, like a strange mother-of-pearl shell" (298). Levin's simile here shows the strange mood of reflection he is in, as he is not often apt to come up with such sentimental similes as here. He is an extremely reflective mood and, having just reexamined his direction in the world, is in a way looking at it with new eyes.

"No trace was to be seen of the shell; but spread half across the sky was a smooth tapestry of fleecy cloudlets, growing thinner and thinner" (299). This metaphor of the "smooth tapestry" of cloudlets shows how the world isn't quite as mystical and ideal as Levin thought in the previous section, but it still holds value for him and he still needs to decide a focus for his life. Kitty's entrance in this scene decides where he will  be headed. However, now it's up to him to decide what to do about his obvious love for her. 

Quote

"The singing women were drawing nearer Levin and he felt as if a thunder-cloud of merriment were swooping down upon him. the cloud swooped down and enveloped him; and the haycock on which he was lying, the other haycocks, the carts, and whole meadow and the distant fields all seemed to advance and vibrate and throb to the rhythm of this madly-merry song with its shouting and whistling and clapping... But he could do nothing except lie and look and listen. When the peasants and their song had disappeared out of sight and hearing, a weary feeling of despondency at his own isolation, his physical inactivity, his alienation from the world, came over him" (297). This quote was so descriptive, and is something the reader really can relate to. That feeling of not relating, of being in one's separate world leading to reflection is common to all of us. This quote also sets the scene for the rest of the chapter.

Theme

Once one has found one's direction in life, one must pursue it.

"Anna Karenin" Post 4b

Coincidentally, I recently read "Doctor Zhivago", a rather similar novel. Both books were by Russian authors and related to the time period at the end of the 19th century/the beginning of the 20th century where there was much political turmoil and readjustment of social classes in Russia. "Doctor Zhivago" was an interesting read, but I felt myself rather struggling through it. With "Anna Karenin(a)", I really don't have that sensation. It's not really the writing style; those are actually pretty comparable between the novels. It's truly the characters. Oblonsky and Levin make for extremely interesting narrators: they offer such contrasting view points, the reader can look at situations from multiple perspectives and not feel confined by the narrator. Anna is seeming a little condescending and all-knowing at the moment, especially as she talks of how boring dances have become to her with Kitty, but perhaps her affair with Vronksy will mar her perfection a little bit, in a good way.  I really enjoy Levin viewpoint: he's such an interesting character from the inside and the out. He is extremely independent, in his living in the country and pursuition of different things, yet you can feel how he is so unsure of himself despite his fits of strong conviction. You can also understand how people can be put off by him: in his need to be independent and not to conform, he doesn't afford people the respect of being courteous in most regards. It is also interesting to contrast Levin and Oblonsky in which is the "better" person: Levin with his high standards yet social awkwardness and unsure-ness, or Oblonsky with his more relaxed attitude, skill at putting others at ease, and contentedness  with himself. Oblonsky certainly seems happier, and also as if he will be in the long run, and he makes people happy along the way as well. However, Levin would never betray his wife as Oblonsky did. Who does the greater good? Or the worse damage? Is there a difference? Can one be both?

"Anna Karenin" Post 4a

Vocabulary

zemstvo (38): elected local assemblies in Russia, established in 1864 by tsar Alexander II to replace the political authority of nobles in local affairs after the emancipation of the serfs; these bodies became the core of the revolutions from 1905 to 1917

turbot (46): a European flatfish with a diamond shaped body valued as a fish for eating

Figurative Language

"And indeed, no sooner had he uttered the words than all at once, like the sun going behind a cloud, her face lost all its friendliness and Levin recognized the familiar change in her expression that denoted the working of a thought: a wrinkle appeared on her smooth brow" (43). This simile describes the change in Kitty's face when he begins to hint at his intentions in marrying her. The phrase "the familiar change in her expression that denoted the working of a thought" might lead the reader to think that she is simply surprised by his offer, but the simile of a "a sun going behind a cloud" has a definite negative connotation and helps the reader better understand the feelings of the situation.

"They play at begin a parliament, and I am neither young enough nor old enough to amuse myself with toys" (31). In this metaphor, Levin relates the acts of the men in the zemstvo to men with playthings, mocking their acts and describing his disgust of the councils. He feels that they do not take the post seriously and are not using it to it full power, much like young children with toys.

"Moving in a certain circle where a desire for some form of mental activity was a part of maturity, he was obliged to hold views in the same way as he was obliged to wear a hat" (10). This simile compares, in the circle of Oblonsky, how it is necessary for one to hold views on different subjects, but only in a superficial way, simply for the purpose of holding vies, much as one would wear a hat without really needing it. 

Quote

"But the difference lay in the fact that Oblonsky, as he was doing the same thing as everyone else, laughed with confident good humor, while Levin, not feeling so sure of himself now and then got angry" (30). This is an interesting idea, that not feeling sure of oneself can make one angry, as well as a way of judging life: is it really what you do or the attitude you live with?

Theme

Life in Russia was full of forced situations: because of the time, the fashion, and also inherently the people. 

"The Blind Assassin" Post 3b

What makes this novel so interesting to read? Here are a few of its features which add to it in ways which other novels often don't explore:
- It has parallel story lines. I really enjoy parallel story lines in general: it's so interesting to see them coming together, and to think about what each one tells about the other one. How are these two characters going to act together? Parallel story lines provide you a different perspective on the story, because you are at the hands of the author in this regard: you only know what they deem you should know. With parallel story lines, you can escape from this one viewpoint and see the story through multiple ones. In "The Blind Assassin", the author provides multiple story lines but at the beginning, you really have no idea how they connect. Iris' story is recounting her childhood while Laura's novel is exploring the relationship between two lovers. Even when they begin to collide, it's easy to miss the hints, most noticeably the picture overlapping the two. However, as we enter Iris' married life and meet Alex again, we can see exactly where Laura got her material. I liked this style of parallel stories a lot, because Laura's novel is not only another well-written story but an insight into her character, into Iris' character, and into Iris' situation.
- Iris' tone is at once childish and old. In the section recounting her childhood, one never forgets that she is looking back at her life, the reader is always sure of what time is the present. However, in an effort to portray herself truly from that time, Iris doesn't attempt to hide any of her faults or childish mistakes. She is bluntly honest with her character at that time, and reflects it in her writing: "(I have to admit I was gratified by this. I'd wanted her to suffer too - as much as me. I was tired of her getting away with being so young.)" (97). With Iris' voice, the author simply finds that perfect medium.

"The Blind Assassin" Post 3a

Vocabulary

lugubrious (96): mournful, dismal, or gloomy, especially in an affected, exaggerated manner

albatross (102): used as slang for a trap or a deception

Figurative Language

Simile: "Her mouth opened into a perfect rosebud O, like a child blowing out birthday candles in a picture book. Then she began to cry" (97). Iris makes the connection here in the similarity of reactions of sadness and happiness. This fits with her misunderstanding or skewed perspective of human emotions.

Simile: "Then she brought the soda for me, in a cone-shaped glass like a dunce cap upside down; it came with two straws" (100). Once again, something usually thought of as happy (being treated to a soda) takes on a skewed negative aspect in Iris' mind: the shape of the soda glass is likened to that of a dunce cap. Is this foreshadowing her confusion and disinterest into economics? Her connections aren't a problem with her character; it's just interesting to see what she associates.

Simile: "Hands like stumps: those hands could rescue you or beat you to a pulp and they would look the same while doing either thing" (105). This simile is interesting: the author makes the association of the hands and stumps, blunt objects, but continues to talk of two extremes in which they could perform: helping and harming. Perhaps this is the nature of blunt instruments: they must be used generally, there is no fine tuning, they are either saving you or beating you up. 

Quote

"Now I think it was more complicated than that. It may have been a warning. It may also have been a burden. Even if love was underneath it all, there was a great deal piled on top, and what would you find when you dug down? Not a simple gift, pure gold and shining; instead, something ancient and possibly baneful, like an iron charm rusting among the old bones. A talisman of sorts, this love, but a heavy one; a heavy thing for me to carry around with me, slung on its iron chain around my neck" (102). This quote was depressing in its appraisal of love but shows well the experiences of Iris as a child: she doesn't have a way to understand love. For her, it is a burden, an obligation to a family member. Even as an adult, what reference does she have to understand it? Is familial love for her different than romantic love? Does she know any love? She seems to love her granddaughter; why's that? Is that familial love? Why isn't it forced? What about her daughter?

Theme

One can't be entirely independent but one cannot rely solely on others. One has to find a middle ground. 

"The Blind Assassin" Post 2b

"The Blind Assassin", though an excellent read, is an extremely depressing book. Iris' family, like all families, has its own tragedies, but it is its inability to prevent them or even to do anything that makes it so hard to read. She and Laura are constantly being trapped: in their roles in the town as the children of the factory owner, in their father's unrealistic business practices, in their ensuing debt in which they have no training to prepare them for, in Mr. Erskine's teaching (where they are unable to go to their father), and finally in Iris' marriage. The writing also adds to the general mood: it is so straightforward and truthful, but not blunt, just honest. Some of my favorite quotes from this section: 

"That's another thing: my father is now the heir, which is to say he's fatherless as well as brotherless. The kingdom is in his hands. It feels like mud"(76)

"But appearances are deceptive. I could have never driven off a bridge. My father could have. My mother couldn't" (80)

"My father has gone back to gazing out the window. (Did he place himself outside this window, looking in? An orphan, forever excluded - a night wanderer? This is what he was supposed to have been fighting for - this fireside idyll, this comfortable scene out of a Shredded Wheat advertisement: the rounded, rosy-faced wife, so kind and good, the obedient, worshipful child. This flatness, this boredom. Could it be he was feeling a certain nostalgia for the war, despite its stench and meaningless carnage? For that questionless life of instinct?" (81)

"But perhaps Laura wasn't very different from other people after all. Perhaps she was the same - the same as some odd, skewed element in them that most people keep hidden but that Laura did not, and this was why she frightened them" (89)

"I was sulky during these visits. I could see how ill she was, and I resented her for it. I felt she was in some way betraying me - that she was shirking her duties, that she'd abdicated" (93)

"(What fabrications they are, mothers. Scarecrows, wax dolls for us to stick pins into, crude diagrams. We deny them an existence of their own, we make them up to suit ourselves - our own hungers, our own wishes, our own deficiencies" (94).