Quick reminder that you’ll be presenting your proposals in class on Monday. I want to emphasize that this is not a stand-in-front-of-the-class-and-read-from-notecards sort of thing; you’ll remain sitting, explain your potential thesis and the support you have, the research you still need to do, and the class will provide suggestions for further connections/evidence and questions about your argument.

How are they coming? Send me an email or post a comment below if you have a question.

Here’s a quick question to ask of your proposed (hypo)thesis¹:

Is it something I need to prove (that’s good), or something that just happens in the texts (that’s bad)?

Bad (hypo)thesis²: Hamlet and Meursault both isolate themselves from the rest of society, commit murder, and accept a death by the hand of another.

While this is a neat connection, it provides little insight into the texts—merely provides comparison. For a better comparison, I looked into how each views his death and why he accepts it as he does:

Better (hypo)thesis: On the night of Meursault’s execution, he realizes the “gentle indifference of the universe,” while Hamlet notes that there’s “special providence in the fall of a sparrow.” Though their paths are quite different, both Hamlet and Meursault find a kind of solace in the inevitability their deaths; Hamlet is resigned to divine providence while Meursault finally welcomes the absurdity of life and death.

This connection provides better insight into the characters’ motivations and will elicit questions for further explanation (is Hamlet really religious? what does “absurd” mean in this context? how are their paths different?), which will be addressed in the body of the essay. Remember that your theses are tentative at this point; they need not be perfect (this one certainly isn’t), but only to provide a starting point for further study and elucidation.

After your (hypo)thesis you should include as much support as you have discovered, any resources (or parts of the works) you still need to mull over, as well as any problems you foresee in the process.

1. I’m using The Stranger by Albert Camus and Hamlet so I don’t step on any connections you may be considering, but the format should be the same. [↩]
2. go sit in the corner. [↩]

On Monday I proposed a deal: If you keep a detailed (definition of “detailed” below) reading journal for our current work, one that includes as much or more information than an average essay, and turn it in at the end of the reading, you do not have to write a paper.

My hypothesis: A few of you would decide to just write the paper, as you are familiar with that routine and comfortable with your writing process; most of you would write down a few words you don’t know, perhaps a summary of the reading, a few questions, and be through with it; and a few would run with the idea, draw character maps, look up outside information, learn new words, come to class with questions about weird sentences and quote interesting passages.

The bell curve, right? Shame on me; I should have known better.

The past few days in class have blown me away. Nearly all of you have come to class with questions about the reading (or viewing, in Brit Lit), words you’re not sure about, connections you’ve made with outside works, points I’ve missed, and interpretations I hadn’t considered. You all seem to be enjoying the readings more (even though you have to write as you go), and understanding them in more depth. I’ve practically thrown out all my prepared questions for the past few days; yours are much better. I can’t wait to sit down with your journals at the end.

While I wrote this on the board, here is the list of things to look for or record in your journal:

• Questions about the work. We read so we can learn. If we don’t have questions, we need to read more difficult material.
• Figurative language: metaphors are always important, but so are all of the other words we reviewed at the beginning of the year. Check your handout.
• Words you don’t understand. If they might be vital for you to understand a passage, look them up immediately. Otherwise, look them up afterward.¹
• Interesting passages with citations—this does two things:
• Helps you keep track of the important parts of the story, so when someone asks “When did the character do this?” you can quickly save the day. Also helpful when writing papers…
• Helps you develop as a writer. Writing down cool sentences (not copy-and-pasting them) helps you get a feel for the language (and grammar, and punctuation) and helps you remember quotable lines.
• Connections with other works, ideas, philosophies, medical conditions, etc. The great thing about English classes is that we can write about anything. Do Hamlet’s actions match the symptoms of a medical condition mentioned in the ICD-9? What about Meursault’s? How closely does the plot of The Lion King sync with Hamlet? etc. Go nuts with this one; the crazier the comparison (if solid), the better the paper.
• Sketches, drawings, diagrams. I don’t draw much in my own journal, but if you are a visual person, go nuts! The only person who needs to be able to understand your journal is you.
• For all of the above: write down your reactions. I can’t emphasize this enough: write down your reactions. If a character does something hilarious, crazy, confusing, terrifying, completely out-of-character, make note of it. If it reminds you of something, write it down. Books are meant to be interacted with, not simply absorbed.

You will turn in your journals the day after we finish the work. I will read them over that night, and return them to you the next day. I will not write in them, but simply give you advice on organization, some things you should focus on, etc. (I might steal some ideas for my own journal, too. Hope you don’t mind.)

If your journal is detailed enough (covers the entire work, or Act III through the end of Hamlet), you will be excused from the final essay. If you chose not to create a journal, or it seems a bit sparse (or is simply a list of quotations without your reactions), I will ask you to write the paper.

We will be creating reading journals for every reading assignment from here on out. For our next unit, I’ll show you how to write most of your essay in your journal before we even finish the novel.

Send me an email if you have questions, or post them below.

This is going to be an amazing year.

1. Ninjawords.com is great for this. Simply put all of the words, separated by commas, into the search box, and you’ll have a list of definitions. For the truly adventurous, try this online etymology dictionary for where it came from and related words. [↩]

Or not.  Stupid snow.  Hopefully it gave you guys a chance to spend some time with Okonkwo and crew.  If not, go outside today and finish up the novel.  We’ll be discussing the end in class tomorrow, and I don’t want to ruin the ending for you.  Here’s the plan:

The Plan

Until now, we’ve focused on the effects of Okonkwo’s father’s legacy on the man, and Okonkwo’s choices in interacting with those around him.  The final section places him in an environment that he cannot control, and forces him to realize that he does not have complete power over those around him.  This is a sobering realization for our strong protagonist, and he makes some difficult choices (or are his (re)actions purely a result of his environment?  We’ll see).

On Tuesday and Wednesday (if we finish our discussion of Okonkwo’s life on Monday) I will present a brief overview of Existentialist ideas.  If you want to get a head start, I suggest The Stanford Encyclopedia of Psychology‘s page on “Existentialism” or *sigh* the Wikipedia‘s entry.  We may also read Jean-Paul Sartre’s “Existentialism is a Humanism” to gain a better understanding of our author’s ideas (you can find a copy here).

By Thursday we will discuss Part One of The Stranger.  Thirty pages per night may be more than you’re used to reading, but Sartre’s prose is not too dense.  Do plan to set aside some time to read the book in chunks, though.

On Friday we will discuss your tentative (hypo)thesis statements in class.  I will also ask you to write a brief paragraph contrasting the philosophies of Things Fall Apart and The Stranger. (Hint: it goes beyond TFA=fate and TS=choice.)  More on this later.

This is just getting annoying.

Because I was not present for your discussion yesterday (which I heard was excellent; you all rock.  Truly.), I can only guess how far you got, so here’s the plan:

1. Finish the questions from yesterday (if you missed any).
2. Take a closer look at the final lines of the book:
• Why does Mersault want to be “rid . . . of hope”?
• What is “the gentle indifference of the world”?  Does this explain his attitude toward his trial, the death of his mother, the help from other people, etc?
• He wants “a large crowd of spectators” to “greet [him] with cries of hate” at his execution?! Discuss.
3. How does this tie into our theme of identity?  That is, how do you think Meursault (spelled it incorrectly yesterday—my bad) would identify himself?  Better yet, what if Okonkwo, Holden Caulfield, Jim Nightshade and Will Halloway, Eugene Henderson, Meursault, and Viktor Frankl met?  (J. VDW and E. Mc, insert your main character’s names into the list.)
• Start with Frankl.  What makes a man’s life meaningful?  If you’re reading Man’s Search for Meaning, briefly explain Frankl’s philosophy on meaning.  If you’re not, discuss how your character would react to this philosophy.
• As a group, decide which of your characters have similar outlooks on life, and who does not.  I’ll get you started:  If Okonkwo met Henderson (same continent; different times, different locations, but bear with me), it would probably end in bloodshed.  Henderson’s, that is.  Though he seemed to get along well with King Dhafu, right?  Hmm…
4. If you finish this (you won’t, but I’d like to mention this anyway), begin working on your essay topics.  We have around two weeks left in the session, so I recommend starting now.  Send me an email with your ideas if you want/need help.

I’ll see you all tomorrow.  Even if I have to set up a webcam, I’ll see you tomorrow.

Sorry guys. 

Yesterday we discussed Mersault’s interrogation and trial. We focused, as did his interrogators, on the lack of emotion he showed during his mother’s funeral.  While there was much debate as to whether he did not care or was simply lacking “the trappings and the suits of woe,”  I believe we came to the consensus that he was not reacting “normally” to the situation, whatever the cause.

We also discussed the fact that nearly everyone he interacts with is trying to help him in some way, but he either outright rejects the help or ignores the offer.  (See specifically the Inspector and the Chaplain’s attempts to “help” Mersault.)

My questions to you today:

• What types of things does he most often think about?  (The future/the past/the present, emotions/ideas, people/what he’s currently experiencing….)
• Does he act logically?  (Think about our discussion of his reaction to his mother’s death—Is the “normal” reaction that people have logical, or something else?)
• Is he ever emotional?  When?
• Why does he not seem to want to fight for his freedom?  (See “Hope” in yesterday’s post.)  What is it about his outlook on life that makes this impossible?

Finally, take a look at the last lines of the book:

As if that blind rage had washed me clean, rid me of hope; for the first time, in that night alive with signs and stars, I opened myself to the gentle indifference of the world. Finding it so much like myself—so like a brother, really—I felt that I had been happy and that I was happy again. For everything to be consummated, for me to feel less alone, I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate.

Discuss.  Take notes.  I’ll look over these tomorrow.