Pg. 69 “Her leg seemed to be….” Notes: Molly might not want to show her pain b/c it would show vulnerability and weakness, and she likes to be seen as a strong woman. So far, she is really the only strong female character in the book.
Pg.84 “He glanced back at the bed,…” Notes: Molly strikes Case in a different way, but why at this time? What has changed to make him see her differently?
Pg. 85 “ Terzibashjian proved to be a young man….” Notes: Most of the people we have met so far in power who they work for or with, such as this guy, are men.
Pg. 85 “ In Turkey there is disapproval of women…” Notes: This is one of the first times we are hearing about differences is gender roles in terms of implanted machinery. It is interesting that the culture in turkey is disapproving of it in women? Is this more widespread?
Pg. 85-86. “Molly bit one of the pastries…. She put away the gun.” Notes: There is something mysterious about Molly. Her she unexpectedly shows aggression. It is interesting why she does this here, when talking to this man. Molly has high respect for herself as far as I can tell, and maybe she became defensive b/c he doesn’t have much respect for her.
Pg. 87“ In Turkey, women are still women….” Notes: Just like today, in Gibson’s future there are still cultures that have women as lower class citizens. It is interesting that Terzibashjian cares so much that Molly is not fitting into the mold of how women act in his culture.
Pg. 90 “”You’re an asshole” Molly told the man…” Notes: I wonder how shocked this man is to meet a woman like Molly who defies the gender norms in his culture.
Pg. 90 “”It was sort of a private whorehouse…”” Notes: We still see the role of women in this Turkish culture, as whores and lower class citizens. In Chiba City though, there were also prostitutes, but in turkey prostitution is even part if the upper class society.
Pg. 101 “Molly leaned across him and…” Notes: Molly is asserting her power here, showing the new guy Peter that she is strong and powerful and in the hierarchy, is above him. We also here get to see the level of respect that Armitage has for Molly.
Pg. 92. “ I gotta busy night gain tonight….” Notes: Molly even though she is though and independent is like the mother of the group. She gets tasks done and takes care of Case. She doesn’t come off as a motherly character, but she takes the role of one often.
Wednesday, May 6, 2009
Monday, May 4, 2009
Neuromancer setting
“The Japanese had already forgotten more neurosurgery than the Chinese had ever known. The black clinics of Chiba were the cutting edge, whole bodies of technique supplanted monthly, and still they couldn’t repair the damage he’s suffered in that Memphis hotel.” (Pg. 4) Early Gibson gives us many clues to the setting of the Science Fiction novel “Neuromancer.” Initially, the story of Case begins in Chiba City, Japan. There are many cultural references to Japan, such as “the towering hologram logo of the Fuji Electric Company” (pg. 6) and Kirin Beer that quickly orient the reader to this location. This passage makes both Chiba and Case seem very sinister and leaves us uncomfortable and untrusting of both. Already we know that Case has a shady past and that something occurred that left him debilitated. Also, Chiba “black clinics” sounds darkly mysterious, but is most likely the reason that Case is in Chiba.
We are also quick to pick up that this novel is written in the future. “She held out her hands, palms up, the white fingers slightly spread, and with a barely audible click, ten double-edged, four centimeter scalpel blades slid from their housing beneath the burgundy nails.” (Pg. 26) Not only is the time period obvious, but now we also know some of the capabilities technically and biologically that exist. If switchblades can be implanted in nails, nerves spliced, and the matrix made tangible; then this world is in many respects a different place entirely than when the book was written. As readers, we are anxious and apprehensive, but also intrigued because we know that the possibilities are almost limitless.
This passage is also an example of how Gibson prefers to “show” us rather than “tell” us about the settings, characters, and other plot developing aspects. We are told Case’s story from the 3rd person subjective point of view, which allows us to understand Case’s thoughts. Gibson often uses dialogue, Case’s memories, or events to help us as readers learn more, especially about details of Case’s past. Case is very complicated, so when necessary Gibson gives us details though narration to make is less complicated.
We are also quick to pick up that this novel is written in the future. “She held out her hands, palms up, the white fingers slightly spread, and with a barely audible click, ten double-edged, four centimeter scalpel blades slid from their housing beneath the burgundy nails.” (Pg. 26) Not only is the time period obvious, but now we also know some of the capabilities technically and biologically that exist. If switchblades can be implanted in nails, nerves spliced, and the matrix made tangible; then this world is in many respects a different place entirely than when the book was written. As readers, we are anxious and apprehensive, but also intrigued because we know that the possibilities are almost limitless.
This passage is also an example of how Gibson prefers to “show” us rather than “tell” us about the settings, characters, and other plot developing aspects. We are told Case’s story from the 3rd person subjective point of view, which allows us to understand Case’s thoughts. Gibson often uses dialogue, Case’s memories, or events to help us as readers learn more, especially about details of Case’s past. Case is very complicated, so when necessary Gibson gives us details though narration to make is less complicated.
Monday, April 27, 2009
A conversation about death. (Frost and Thomas) second draft
“Death? Why this fuss about death? Use your imagination, try to visualize a world without death! ... Death is the essential condition of life, not an evil.” Robert Frost’s Design supports Charlotte Perkins Gilman’s statement about death. Both see death as a fundamental part of life, not as the end to existence. Thomas’s Do Not Go Gentle Into That Good Night portrays death as the termination of life and something to be avoided as long as possible, though it is inevitable. These opposing views speak to the arguable purpose of death. Death in the inescapable end that awaits all of us, but according to Thomas it’s only function is to conclude life, while Frost represents death as the only means by which life can exist.
Both poems use imagery of light against a black background to signify death and life. Frost speaks of a “Dimpled spider, fat and white” against the blackness of the night. The moth becomes stuck in the web of the spider, where it struggles to break free. Both the moth and the spider are white, but in this scene the spider is bringing the moth to its death. The spider is only doing what it needs to, what it was designed to do. Without the death of the moth, the spider would not be able to live and so the chain continues throughout the ecosystem. Even though the moth is gone, its presence is seen in the life of the spider. Thomas uses similar imagery of light against darkness, such as with “Blind eyes could blaze like meteors…”. This glowing image of a meteor represents life, which is fleeting into the darkness. Unlike the moth in Frosts’ poem, the meteor once it is gone can no longer be seen and it’s existence is over and forgotten.
The diction in both of the poems also suggests each author’s differing ideas about the purpose of death. Thomas uses active, lively words such as “danced” and “gay” to represent life. “Night” and “end” are more passive and dark words are used to symbolize death. Thomas also uses words that evoke an emotional response to pair emotions with life and death. “Rage, rage against the dying of the light.” Rage induces feelings of anger and fury, which is associated with death. “Their frail deeds might have danced in a green bay” correlates the word “dance” with life, which brings to mind feelings of freedom and joy. These contrasting emotions highlight the disparity between life and death.
Frost uses diction to blur the distinction between life and death. “A snow-drop spider, a flower like a froth.” The flower represents the web in which the moth becomes stuck. Flowers are usually associated with delight and innocence, but Frost says the flower is like a froth (from a witches brew), which is usually connected with evilness. This obscures the purpose of the web, whether is it malevolent because it kills the moth or constructive because it allows the spider to live and eat and this obscures the purpose of death as meant by Frost.
One aspect that both poems question about death is the timing. Thomas wrote Don’t Go Gentle Into That Good Night when his father was dying and he instructs his father in this poem to “Rage, rage against the dying of the night”. He knows his father’s death is near, but Thomas is trying to prolong the inevitable. “Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night.” This stanza is contradictory because it suggests that “wise men” know when their death is “right”, but it also says that they should not just let death overcome them, but that they should hold out as long as possible.
Similarly, Frost questions the timing of the death of the moth. “What had that flower to do with being white They wayside blue and innocent heal-all?” Heal-alls are usually a very organic, pretty blue, but Frost’s is a delicate white. Had this anomaly not existed, would the moth had gotten caught in the web? “What brought the kindred spider to that height Then steered the white moth thither in the night?” The death of the moth at this moment that is described in the poem is contingent on the incongruities and events that occurred previously.
Death is inescapable; whether or not we avoid discussing mortality, we all know that it will eventually come. The 2 different perspectives of Thomas and Frost in their respective literary pieces give rise to the question: Is death the end? Frost would say that life and death parts of a cycle rather than a beginning and end. For Thomas, death signifies the end. Despite these differences, they both agree that the timing of one’s passing is something that can be examined with query. Why is the timing of such importance? It is because fate, something that is uncontrollable, determines when we will pass. Fate dominates all of our lives, even when we do not think about it and that is a much daunting subject than death.
Both poems use imagery of light against a black background to signify death and life. Frost speaks of a “Dimpled spider, fat and white” against the blackness of the night. The moth becomes stuck in the web of the spider, where it struggles to break free. Both the moth and the spider are white, but in this scene the spider is bringing the moth to its death. The spider is only doing what it needs to, what it was designed to do. Without the death of the moth, the spider would not be able to live and so the chain continues throughout the ecosystem. Even though the moth is gone, its presence is seen in the life of the spider. Thomas uses similar imagery of light against darkness, such as with “Blind eyes could blaze like meteors…”. This glowing image of a meteor represents life, which is fleeting into the darkness. Unlike the moth in Frosts’ poem, the meteor once it is gone can no longer be seen and it’s existence is over and forgotten.
The diction in both of the poems also suggests each author’s differing ideas about the purpose of death. Thomas uses active, lively words such as “danced” and “gay” to represent life. “Night” and “end” are more passive and dark words are used to symbolize death. Thomas also uses words that evoke an emotional response to pair emotions with life and death. “Rage, rage against the dying of the light.” Rage induces feelings of anger and fury, which is associated with death. “Their frail deeds might have danced in a green bay” correlates the word “dance” with life, which brings to mind feelings of freedom and joy. These contrasting emotions highlight the disparity between life and death.
Frost uses diction to blur the distinction between life and death. “A snow-drop spider, a flower like a froth.” The flower represents the web in which the moth becomes stuck. Flowers are usually associated with delight and innocence, but Frost says the flower is like a froth (from a witches brew), which is usually connected with evilness. This obscures the purpose of the web, whether is it malevolent because it kills the moth or constructive because it allows the spider to live and eat and this obscures the purpose of death as meant by Frost.
One aspect that both poems question about death is the timing. Thomas wrote Don’t Go Gentle Into That Good Night when his father was dying and he instructs his father in this poem to “Rage, rage against the dying of the night”. He knows his father’s death is near, but Thomas is trying to prolong the inevitable. “Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night.” This stanza is contradictory because it suggests that “wise men” know when their death is “right”, but it also says that they should not just let death overcome them, but that they should hold out as long as possible.
Similarly, Frost questions the timing of the death of the moth. “What had that flower to do with being white They wayside blue and innocent heal-all?” Heal-alls are usually a very organic, pretty blue, but Frost’s is a delicate white. Had this anomaly not existed, would the moth had gotten caught in the web? “What brought the kindred spider to that height Then steered the white moth thither in the night?” The death of the moth at this moment that is described in the poem is contingent on the incongruities and events that occurred previously.
Death is inescapable; whether or not we avoid discussing mortality, we all know that it will eventually come. The 2 different perspectives of Thomas and Frost in their respective literary pieces give rise to the question: Is death the end? Frost would say that life and death parts of a cycle rather than a beginning and end. For Thomas, death signifies the end. Despite these differences, they both agree that the timing of one’s passing is something that can be examined with query. Why is the timing of such importance? It is because fate, something that is uncontrollable, determines when we will pass. Fate dominates all of our lives, even when we do not think about it and that is a much daunting subject than death.
Monday, April 20, 2009
A conversation between Frost and Thomas
“Death? Why this fuss about death? Use your imagination, try to visualize a world without death! ... Death is the essential condition of life, not an evil.” Frost’s Design supports Charlotte Perkins Gilman’s statement about death. Both see death as a fundamental part of life, not as the end to existence. Thomas’s Do Not Go Gentle Into That Good Night portrays death as the termination of life and something to be avoided as long as possible, though it is inevitable. These opposing speak to the arguable purpose of death. Death in the inescapable end that awaits all of us, but according to Thomas it’s only function is to conclude life, while Frost represents death as the only means by which life can exist.
Both poems use imagery of light against a black background to signify death and life. Frost speaks of a “Dimpled spider, fat and white” against the blackness of the night. The moth becomes stuck in the web of the spider, where it struggles to break free. Both the moth and the spider are both white, but in this scene the spider is bringing the moth to its death. The spider is only doing what it needs to what it was designed to do. Without the death of the moth, the spider would not be able to live and so the chain continues throughout the ecosystem. Even though the moth is gone, its presence is seen I the life of the spider. Thomas uses similar imagery of light against darkness, such as with “Blind eyes could blaze like meteors…”. This glowing image of a meteor represents life, which is fleeting into the darkness. Unlike the moth in Frosts’ poem, the meteor once it is gone can no longer be seen and it’s existence is over and forgotten.
The diction in both of the poems also suggests each author’s differing ideas about the purpose of death. Thomas uses active, lively words such as danced and gay to represent life. Night and end are more passive and dark words are used to symbolize death. Thomas also uses words that evoke an emotional response to pair emotions with life and death. “Rage, rage against the dying of the light.” Rage induces feelings of anger and fury, which is associated with death. “Their frail deeds might have danced in a green bay” correlates the word dance with life, which brings to mind feelings of freedom and joy. These contrasting emotions highlight the disparity between life and death. Frost uses diction to blur the distinction between life and death. “A snow-drop spider, a flower like a froth.” The flower represents the web in which the moth becomes stuck. Flowers are usually associated with delight and innocence, but Frost says the flower is like a froth (from a witches brew) which is usually connected with evilness. This obscures the purpose of the web, whether is it malevolent because it kills the moth or constructive because it allows the spider to live and eat and this obscures the purpose of death as meant by Frost.
Both poems use imagery of light against a black background to signify death and life. Frost speaks of a “Dimpled spider, fat and white” against the blackness of the night. The moth becomes stuck in the web of the spider, where it struggles to break free. Both the moth and the spider are both white, but in this scene the spider is bringing the moth to its death. The spider is only doing what it needs to what it was designed to do. Without the death of the moth, the spider would not be able to live and so the chain continues throughout the ecosystem. Even though the moth is gone, its presence is seen I the life of the spider. Thomas uses similar imagery of light against darkness, such as with “Blind eyes could blaze like meteors…”. This glowing image of a meteor represents life, which is fleeting into the darkness. Unlike the moth in Frosts’ poem, the meteor once it is gone can no longer be seen and it’s existence is over and forgotten.
The diction in both of the poems also suggests each author’s differing ideas about the purpose of death. Thomas uses active, lively words such as danced and gay to represent life. Night and end are more passive and dark words are used to symbolize death. Thomas also uses words that evoke an emotional response to pair emotions with life and death. “Rage, rage against the dying of the light.” Rage induces feelings of anger and fury, which is associated with death. “Their frail deeds might have danced in a green bay” correlates the word dance with life, which brings to mind feelings of freedom and joy. These contrasting emotions highlight the disparity between life and death. Frost uses diction to blur the distinction between life and death. “A snow-drop spider, a flower like a froth.” The flower represents the web in which the moth becomes stuck. Flowers are usually associated with delight and innocence, but Frost says the flower is like a froth (from a witches brew) which is usually connected with evilness. This obscures the purpose of the web, whether is it malevolent because it kills the moth or constructive because it allows the spider to live and eat and this obscures the purpose of death as meant by Frost.
Wednesday, April 15, 2009
Villanelle
The Battle
It may be a race, but it feels like war
My legs drive, my hand grips
Then the coxswain yells “I want more”.
With the splash of my oar
Through the rough water it rips
It may be a race, but it feels like war
As a single unit, exploiting our core
We push into the wind that whips
Then the coxswain yells “I want more”.
With raw strength, collectively the blades soar
Painfully we pull and the shell zips
It may be a race, but it feels like war
With nothing left, it ends with a roar
Exhausted, breaths escape my lips
Then the coxswain yells “I want more”.
Muscles fatigued, tomorrow we will be sore
We come to a stop, the speed dips
It may be a race, but it feels like war
Then the coxswain yells “I want more”.
It may be a race, but it feels like war
My legs drive, my hand grips
Then the coxswain yells “I want more”.
With the splash of my oar
Through the rough water it rips
It may be a race, but it feels like war
As a single unit, exploiting our core
We push into the wind that whips
Then the coxswain yells “I want more”.
With raw strength, collectively the blades soar
Painfully we pull and the shell zips
It may be a race, but it feels like war
With nothing left, it ends with a roar
Exhausted, breaths escape my lips
Then the coxswain yells “I want more”.
Muscles fatigued, tomorrow we will be sore
We come to a stop, the speed dips
It may be a race, but it feels like war
Then the coxswain yells “I want more”.
Bruce Wayne
Let’s pretend for a moment that we don’t know who Bruce Wayne or Batman is and read Bucky Sinister’s “The Other Universe of Bruce Wayne.” We could deduce from the context of the poem that the lives of these two characters are backwards in this alternate universe and we would suspect that Bruce Wayne in real life must be a very successful and well put-together individual.
Now we read it with all the knowledge we have about this popular culture figure, Bruce Wayne, and the meaning of the poem to us is immediately altered. We know have a great deal of information about the character outside the context of the poem. Automatically an image of Bruce Wayne or Batman comes to mind, as well as his success, wealth, and heroic abilities. The reader now becomes more engaged and the poem seems more inviting. The reader is also more tuned into what is changed in this alternate universe that Sinister has created. The haves are now the have-nots and the heroes are now those who need to be saved. Sinister becomes the hero, saving Wayne from his loneliness and from his nightmare.Wayne is now poor, without the money to even sustain his drinking habit and Sinister has enough wealth to afford ’63 Lincoln. Since Batman is such a loved character and Sinister has destroyed him, Sinister becomes the villain.
The poem becomes more literary because there is more context provided to the reader and because words and sentences in the poem take on more meaning due to the popular culture knowledge about Batman. For example, in this universe his debilitating back problem in psychosomatic, while in the real world his mentality allows him to quickly recover from his injuries. “Psychosomatic” takes on new meaning and demonstrates the deeper meaning in the text.
Now we read it with all the knowledge we have about this popular culture figure, Bruce Wayne, and the meaning of the poem to us is immediately altered. We know have a great deal of information about the character outside the context of the poem. Automatically an image of Bruce Wayne or Batman comes to mind, as well as his success, wealth, and heroic abilities. The reader now becomes more engaged and the poem seems more inviting. The reader is also more tuned into what is changed in this alternate universe that Sinister has created. The haves are now the have-nots and the heroes are now those who need to be saved. Sinister becomes the hero, saving Wayne from his loneliness and from his nightmare.Wayne is now poor, without the money to even sustain his drinking habit and Sinister has enough wealth to afford ’63 Lincoln. Since Batman is such a loved character and Sinister has destroyed him, Sinister becomes the villain.
The poem becomes more literary because there is more context provided to the reader and because words and sentences in the poem take on more meaning due to the popular culture knowledge about Batman. For example, in this universe his debilitating back problem in psychosomatic, while in the real world his mentality allows him to quickly recover from his injuries. “Psychosomatic” takes on new meaning and demonstrates the deeper meaning in the text.
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