Twenty-Eight Minutes 5/19/14 Blog

     I walk into the empty living room and sit down at the kitchen table across from my mother. Boxes line the blank walls filled with the belongings acquired in the first seven months of the Gambee family's residence in Colorado. My mom looks around and taps her foot nervously, trying to find more things to pack away before the big move in the coming week. Once my waving hand finally grabs her attention, she focuses in on the computer screen in front of her where I have just pulled up the poem. Soon her eyes dart to my phone laying on the table, the phone that is anxiousness waiting to remember every note that comes out of her mouth. "Do you really have to record me?" She says with self-conscious grin. After a smart-mouthed comment from her eldest, she begins to read the poem. I study her as the lines across her face morph from confusion to contemplation and back over and over again. After a minute or so, she continues to look at the screen, but I know she is finished reading; only thinking. "Well, it's about racism," she explains. I ask for a little more detail; "how did it make you feel? What thoughts popped into your head?" Were just a few of my thought provokers. She explains how she immeaditly felt lucky to be an American. Patriotic.
      "I couldn't imagine being part of this horror," she said. "The poem never directly explains any obvious suffering, what made you think there was?" I respond. She reads me a line from the poem and explains to me why she thinks it is so awful."Wow," I say. "I never thought about it like that," She goes on to put a new perspective of the poem that I am studying into my mind. My mom found it to be very violent and brutal; something I had not seen yet in "Durban, South Africa - Some Notations of Value," by Chris Abani. After she clarified with me what Abattoirs are, she tells me that she thinks that the stanza about the slather-houses are really related to the way that the minorities were treated during apartheid. As well as how the "death skipping between the children," (Abani 26), is about the fear that all people felt during this awful time. After a remark that almost sounded defensive over the line "here, women are older than God," (Abani 12), she moved on from the dark parts of the poem.
       One thing I've always admired about my mom is how she finds the positives in everything. Even in a poem as apparently dark as this one she looked for the rays of light in it. "Yet love hums like tuning forks," (Abani 15), is the line she studies next. "See! They still have hope," She says with a certain type of joyful melancholy I doubt I'll ever understand. I ask her another question, "What images came to your mind when reading this? What do you think about?" "When I first started reading it, I thought of South African beaches and the shiny city, but towards the end it shifted to a darker place. Like a mystery movie." Mystery movie. I found that an interesting choice of words. Maybe a horror or crime movie, but a mystery? This is why conversations like this are good; it truly helps to have another look at something this symbolic and metaphorical. We sit quietly for a moment while we wait for the next subject to begin out of our mouths. I scratch my hand while my mother's eyes flicker over the electronic paper on the screen for the hundredth time. My mind starts to wander to other homework that I must do before the night ends when my brother walks into the room.
    "Sam, what do you think about this poem?" My mom asks, desperate for some new inspiration. My brother steps over a moving box to look at the screen. "I don't know, I'm not gonna read that. I just came to grab a snack. I have more homework," He says, annoyed. "Forget it," his mother replies. "Figures," his brother replies. I look over my copy of the poem and ask about a word I'm still unsure about. "The dance workout?" She questions when I ask her about the use of the word "Zumba" in the poem. I explained how I couldn't find the historical significance of the word and maybe she would know. She didn't. "I don't really know what else to add. How much more do you need for your assignment?" She asks. My brother walked by crunching on some form of a carb he grabbed from the pantry. "I think this is good. Thanks mom," I conclude. "No problem, honey," She adds with a kiss on the top of my head. She walks off with a hint of pride in her step. Not because of her intelligence, but because of the intelligence she thinks I have. She is a proud mom, something that no one can ever take away from her. I know I don't deserve her help, but I accept it willingly. I realize as I begin to write that her input helped explain the poem to me from a whole new level. I write a few notes then hear the door open and see my dad walk in from work. "I think I'll call that a day," I think to myself as I close the ears of the little piece of technology on the table who just listened to every sound made during this 28 minute and 51 second period of fulfillment.
     

   

"Durban, South Africa - Some Notatations of Value" Research BP #37 5-13-14

     Chris Abani, the author of "Durban, South Africa - Some Notations of Value," was born on December 27, 1966 in Afikpo, Nigeria. Abani was born from a white mother and a native Igbo father. After a brief residence in England, his family moved back to Nigeria where Abani first gained an interest in writing. At the age of ten, Abani had his first piece published; a short-story called Masters of the Board. Many of Abani's writings were based around the emotions felt after suffering much abuse from his violent father. Many authors probably use harsh emotions felt from a young age as inspiration for writings;both positive and negative. After Abani's publication of his book Masters of the Board, this happened;  "Because the narrative recounts the attempt of an ex-Nazi officer to seize power in Nigeria, the country's real-life authorities accused Abani of providing the blueprint for a failed coup against the Babangida regime in late 1985 – an absurd claim devised after the purported leader of the conspiracy, General Vatsa, was found in possession of the book ('A Reading by Chris Abani'). Following these allegations, the writer was sent to prison, where he spent a total of six months ('Author's Note', Kalakuta Republic, 9)." (The Chris Abani Biography). Only a few years later, Abani was sent to prison again after writing Sirocco. Abani's fearlessness to write about real-life problems and face the consequences provided him the reputation of rebel and traitor, yet he really was trying to open the eyes of the natives. His books were burned countless times before the authorities recognized Abani's truth and lifted the ban on his literature. A few other interesting notes about Abani include; his flute and trumpet playing skills, his American collegiate degrees, and his interest with the many religious conflicts of the Igbo people.   
   The poem I chose is "Durban, South Africa - Some Notations of Value." This poem is a recollection of Abani's journey to South Africa where he noticed the old marks of past violence. He speaks about noticing the previous blood-lust of the Zumba people and how it's affects on the culture still remain. A racial divide split the city when Abani visited, separating the blacks and the whites. Abani also alludes to the sadness on each persons face, hinting that the racism and past violence make them perpetually feeling the "weight of the dead." Abani uses deep symbolism and incredible language to describe the weather, atmosphere, and landscape of his surroundings. Describing the shadows of clouds as the ghosts of whale and the rocks as metal giraffes. In conclusion,  "Durban, South Africa - Some Notations of Value," is an incredibly analytic adventure that opens the eyes of every reader to the realness of racism of South Africa's past. 

It Takes a Child BP #36 Siddhartha Essay

     One of the hardest things in life is loving and believing in yourself while still remaining humble. Humility, or selflessness, is a quality that is very important; yet it is becoming increasingly rare in the world. In Hermann Hesse's Siddhartha, the main character Siddhartha has many interactions with his own and others humility. Siddhartha's deep love for himself and the things he believes in often makes him seem prideful and very stubborn, however he sees himself in a very good light. Hesse gives an excellent look into one man's journey from confusion into total peace, while including the importance and struggles of humility along the way. Siddhartha portrays many contrasting examples of the causes and effects of humility on the individual as well as the society that the individual influences.
    
     Siddhartha's intense desire to further increase his inner peace and individualized religious needs was not an attempt to make himself better than anyone else. However, he was so focused on improving himself, he forgot to care about anyone else. "From this moment when the world around him melted away and left him as solitary as a star in the sky, from this moment of cold and despondency, Siddhartha emerged, more firmly Self than before, solidified," (Hesse 37). This line describes just one of the times when Siddhartha completely disconnects from everything and focuses on only himself. This act is not always bad, but until later in his life, Siddhartha only has major revolutions when he forgets everything but himself and the path he is walking. One would imagine that the absence of a best friend would be a reason for grief, but Siddhartha takes the opportunity to improve on himself instead. The first time that Siddhartha shows any care for someone other than himself is when he finds out that he has a son. "But tell me, how can I release him into the world when his heart is so ungentle to begin with?" (Hesse 101). When Siddhartha's son runs away, he realizes that a part of him is running away. Perhaps this is true fatherly love, or perhaps it could is that Siddhartha is so obsessed with himself that he does not want any piece of him running away "ungentle." It is apparent from the moment they meet that Siddhartha and his son have different ideas of what it means to live; and this works against Siddhartha's compassion the entire time. Once his son is gone, Siddhartha still feels pity for himself and continues to want to help only that. "A number of the travelers... had a son or a daughter with them, and he was never able to look at them without feeling envy... so many, many thousands enjoy this precious sort if happiness, why can't I?" (Hesse 108). The normal reaction to this situation would be to worry about the piece of your flesh and blood that is wandering helplessly throughout the world, yet Siddhartha continues to try and fix the ones around him by fixing himself. Siddhartha's selfishness had an extreme effect on himself and his journey, however the way it may have hurt the ones around him was even worse.
  
     When Siddhartha first tells his father that he wants to run away and become a Samana, his father is in shock. Siddhartha decided that the best way for him to find himself is to leave his whole family and join the group of wanderers. "It is not fitting for a Brahmin to utter sharp, angry words.  But my heart is filled with displeasure," (Hesse 9). Siddhartha's father had Siddhartha's life all lined up; he could have become a wealthy religious figure in India yet he threw it away by leaving his family. His father had shown Siddhartha nothing but love and happiness his whole life and is now slapped with the realization that his son is leaving forever. Siddhartha's father is not the only person that his selfishness hurt. When Siddhartha meats Kamala, a local prostitute, they fall deeply in love. Kamala wants to stay with him forever, but Siddhartha persists that he must continue his journey on his own. "Even now you [Siddhartha] do not love me; you love no one. Is it not so?" (Hesse 63). Kamala deeply loves him and even says that she wants to bear his child, which she eventually does. Siddhartha explains that he, nor she, can love truly and that he must move on in search of himself. Govinda is with Siddhartha in the beginning, then is reunited with him in the end. When Siddhartha reaches Nirvana, Govinda is right by his side watching it. Siddhartha may have finally used his unconscious selfish acts and his goal of total inner-peace to do some good; teach Govinda what Siddhartha couldn't seem to get right. "Deeply Govinda bowed, tears of which he knew nothing coursed down his face, and like a fire the feeling of the most ardent love, the most humble reverence was burning in his heart," (Hesse 126). Govinda is the most humble character in the entire story; he never once questions Siddhartha's actions and follows him to the very end while asking nothing in return. Watching Siddhartha go through his entire path made Govinda realize what it means to be a true friend; the only triumph that Siddhartha's journey had to anyone other than him.

     Siddhartha's journey could have been very different if he did not focus so much on the Self. For example, Gandhi's life was based around taking punishment for the good of his people. Siddhartha's was avoiding punishment for the good of himself. People swarmed to go see the Buddha when he spoke, rarely did someone travel to listen to Siddhartha teach. However when someone does listen to Siddhartha's advice, it is something that everyone deserves to hear. "...when you throw a stone into the water, it hurries by the swiftest possible path to the bottom. It is like this when Siddhartha has a goal, a resolve," (Hesse 53). This quote was used to help Kamala understand that Siddhartha had to move on in his path. However, after this one moment of great teaching, he soon returns to his old mindset. Siddhartha was so wrapped up in his opinions about the world that he did not even feel strongly about listening to Buddha. "He felt no great curiosity to hear this doctrine. He did not think it would teach him anything new..." (Hesse 25). Siddhartha believed that listing to the person that taught many of his beliefs would not be of any benefit to him. He wanted only to make his own opinions of life and keep them to himself. Siddhartha rationalizes his actions by explaining to Buddha that he is only focused on himself to keep his opinions safe from others.  "It is not fitting for me to pass judgement on another's life! Only for myself, for myself alone, must I judge..." (Hesse 31). Siddhartha thinks that keeping to himself will allow others to have their own paths, but does not recognize that his thoughts are incredibly brilliant and that they would more likely to good to those who would listen.

Selfishness and humility are not very far apart, and Siddhartha verges on the edge of the two for the entire novel put together by Hermann Hesse. Although Siddhartha's goals were always meant to be good, they benefited few except for him. He had the ability to be a fantastic teacher and leader of all things strong, yet decided to use his talents to find his own inner-peace. Siddhartha is a great example of how humility has always been an important part of society. Kamala, Govinda, and Siddhartha's father were all affected by Siddhartha's selfish journey. The saddest part is probably that Siddhartha had the ability to touch the heart of everyone he passed, but squandered away. It is quite remarkable that readers of this novel would believe that Siddhartha is really the Buddha, they have some minor similarities but are missing the main piece; the violently passionate desire to change everything for the better. 

Durban, South Africa - Some Notations of Value

 

Durban, South Africa -- Some Notations of Value

 

Metal giraffes march up the bluff

toward the lighthouse. In the moonlight,

whales, or their ghosts, litter the sand.

There is a museum by the park that houses

apartheid; contained in stiff wax dummies.

The tour bus stops on the road’s edge.

On the right a black town, the left Indian.

Pointing he says: This is the racial divide.

Stopping at the bar, the drink menu offers—

Red’s Divas only five rand each.

Each night the pounding sea reminds me

that, here, women are older than God.

These people carry their dead with them,

plastering them onto every met face.

Yet love hums like turning forks

and the fading spreading sound

is the growth of something more.

Their absence is loud and I long

for the confetti flutter of butterflies.

Abattoirs litter the landscape with the sinister

air of murder, signs proclaiming: Zumba Butchery,

as though this is where the Zumba’s blood-

lust got the better of them.

The air conditioner in my room hums

a dirge to a sea too busy spreading rumors.

Death skips between street children

playing hopscotch in the traffic.

The woman singing in Zulu, in a Jamaican bar,

is calling down fire, calling down fire.

There is no contradiction.

Find Each Other 3-5-14 BP #34

     Herman Hesse's Siddhartha does an excellent job of making the reader truly feel the emotion of Siddhartha and others. Never have I read a piece of literature before that makes the reader feel this strong a sense of empathy. One example of this is how Hesse describes Siddhartha's emotions after his son leaves him. "For a long time his wound continued to smart. A number of the travelers Siddhartha ferried across the river had a son or daughter with them, and he was never able to look at them without feeling envy, without thinking, So many, many thousands enjoy this most precious sort of happiness; why can't I?" (Hesse 108). Siddhartha is finally beginning to think about others than himself and is taking it very hard. Before meeting his son, Siddhartha was able to solve every problem internally; now, he can't control how everything happens in his life. Another example of empathy is at the very end when Govinda realizes that Siddhartha is dying/achieving Nirvana and feels sad. "Deeply Govinda bowed, tears of which he knew nothing coursed down his old face, and like a fire the feeling of the most ardent love, the most humble reverence was burning in his heart," (Hesse 126). This quote, although sad, is very beautiful and uplifting. Govinda loves his friend so much that seeing him go is almost like losing a piece of himself. This sense of love and passion from a character in a book is one way that Hesse's writing is so incredible.

  Another theme I found interesting in Siddhartha is the theme of selflessness towards Siddhartha. Siddhartha is clearly a selfless man however he is shown much humility as well. For example, the ferry driver, Vasudeva, is very kind toward him. "This was one of the greatest among the Ferryman's virtues; He had mastered the art of listening," (Hesse 88). Listening to someone speak about their own troubles and never once stop or question them is not only an act of wisdom but also one of humility. Vasudeva did teach Siddhartha, however he also showed him how to act by simply listening to him go on about himself and his own problems. Govinda also showed Siddhartha love through humility by sticking with him through the end. Although their was a period of them being apart, they were always connected. "Perhaps this, that you (Govinda) are seeking all too much? That all your seeking is making you unable to find?" (Hesse 117). This line from Siddhartha explains how both him and Govinda were searching for each other all along but could never find each other. Govinda could have easily moved on and never though of Siddhartha again, yet he chose to keep believing.

Partner Blog Post #32 Noah Gambee and Michael Harris

Ch. 1  "...but what was the value in knowing all these things without knowing the One, the Only thing, that which was important above all else, that was, indeed, the sole matter of importance?" (Hesse 6).

Ch. 2 "He waited with new thirst like a hunter at a chasm where the life cycle ends...where painless eternity begins," (Hesse 15).

Ch. 3 "With a secret smile, not unlike that of a healthy child he walked along, peacefully, quietly," (Hesse 27 ).

Ch. 4 "He looked around as if seeing the world for the first time. How beautiful it was, how colorful, how strange and mysterious!" (Hesse 35).

Gross BP #30 - 4/21/14

Gross

    The best way to learn a lesson is to experience it. If a small child touches a hot stove in neglect of 

his mother's warning, he will quickly learn never to do it again. Sometimes it takes more than a verbal warning to make something stick in a human's brain. In Franz Kafka's The Metamorphosis, Gregor Samsa never quite understands this. The Metamorphosis is a story of a traveling salesman who awakes one morning to find that he has transformed into a bug-like creature. Samsa is immediately outcast and mistreated in wake of his condition and must deal with constant tormenting and oppression until his inevitable yet anti-climatic death. Although Gregor Samsa never learns his, many lessons are exemplified in Franz Kafka's The Metamorphosis. 

    

     One tool that Kafka uses to teach a lesson is modernism. Kafka uses Samsa's story to bring the alienation and oppression that became a large part of the modernist society to light. "But how can it be Gregor? If it were Gregor he would have long ago realized that a communal life among human beings is not possible with such a creature..." (Kafka 24). This quote from Gregor's sister Grete shows just how his family is viewing him. They see Samsa as something not worthy to live among them in society, so they oppress him. Kafka uses this theme to prove the people of the real modernist society that the alienation they show is a real problem. In David Foster Wallace's Laughing with Kafka he describes how Kafka's humor is very hard to explain yet incredibly impactful."...consider what is really being expressed when we refer to someone as 'creepy' or 'gross'..." (Wallace 2). Gregor Samsa is relentlessly described or called these things in The Metamorphosis without any remorse. Oppression does not have to be the driving out of a person or peoples, it can be as simple as verbally abusing someone because we think they are "gross." Only once does Kafka seem to prelude to Samsa's coming segregation. "The dreary weather—the rain drops were falling audibly down on the metal window ledge— made him quite melancholy." (Kafka 2). The rain fall and cloudy skies makes his visibility very limited. The overcast skies and heavy rain symbolize the "overcasting" treatment he is soon to receive. Kafka recognized in the early 1920's that society was not moving in a direction of peace and tranquiltiy but rather a movement towards alienation and oppression. He uses Gregor Samsa and The Metamorphosis to explain this modernist concept and warn the people of the era.

    Existentialism is another common theme in The Metamorphosis that Kafka uses to provide lessons of morals and ethics. Although existentialism has no common definition, it is usually agreed that it has to do with the primal human instinct of searching for meaning. Even from the beginning of the story, Samsa never seems to understand his real meaning and doesn't mention anything that he truly enjoys. “What a demanding job I’ve chosen! Day in, day out, on the road. The stresses of selling are much greater than the actual work going on at head office... To hell with it all!” (Kafka 1). Even after all of this complaining, Samsa never questions his choices; he simply describes why they are so poor. Most people would try and find meaning to all this nonsense, yet Gregor simply moves on. Samsa's motives for working are revealed later, however they are far from selfish and will never help him figure out his own life. Rather than searching for the meaning or goal of his life, Gregor focuses only on helping others. In many ways, this is a better way to search for life's meaning than by doing selfish deeds. intensely. "I am really so indebted to Mr. Chief—you know that perfectly well. On the other hand, I am concerned about my parents and my sister," (Kafka 7). Kafka uses this idea to explain the idea that helping others and being selfless is the best way to find yourself. Finding oneself can also be done ignorantly or with menace. "You can ask them to imagine his art as a kind of door, that we approach and pound on this door, seeking admission desperate to enter, we pound and pound…finally, the door opens...and it opens outward: we've been inside what we wanted all along." (Wallace 3). Unfortunately, people like Samsa's father do pound on the door to Gregor's heart, however not to get inside and heal it. Mr. Samsa tries to find his own meaning by stripping away Gregor's. A theme commonly known as vampirism. 

     Eating is a part of life often overlooked and taken for granted. The acts of eating things and eating together are described in Thomas C. Foster's How to Read Literature Like a Professor - Nice to Eat With You: Acts of Communion and Nice to Eat You: Acts of Vampires. Vampires are famous for physically sucking the life out of victims; but what about every day vampires? Gregor Samsa's father was just that; a (sort of) everyday vampire. "But it's (vampirism) also about things other than literal vampires: selfishness, exploitation, a refusal to respect the autonomy of other people, just for starters," (Foster 7 or 16). Mr. Samsa is the personification of all of these traits. He forces Gregor to stay away from the family and publicly embarrasses him. Through the process of all this, Mr. Samsa seems to grow stronger. "But now he (Mr. Samsa) was standing up really straight," (Kafka 17). Samsa's father grew stronger from Gregor's weakness. The more he tormented his son, the stronger and more confident he became. Kafka understood that vampirism does not only exist in fiction but stands out in everyday life; as well as to be aware or perhaps beware of it. The act of communion also is very apparent in The Metamorphosis. Communion is not only the religious act, but can also be when people gather to eat and what that symbolizes. Samsa's death not only came from the apple lodged in his back but also starvation of some form. After Gregor's transformation, he was no longer able to eat with the family. This separation from the major form of gathering in human life could have only made Gregor weaker. "He does this for a very simple, very profound reason; we need to be part of that communion," (Foster 4 or 16). Foster describes communion as something we need. Usually when people describe necessity, eating with other people is not a common choice. Kafka uses Samsa's absence and breakdown from this imperative part of human culture to explain the lesson of communion and its significance in life.

    In conclusion, Franz Kafka uses The Metamorphosis to give lessons of life and death, communion and vampirisim, and the meanings of our perceivable lives. The world today is swamped with lessons that are shoved down the throats of the youth; Kafka makes it easier to decipher these empty opinions and choose the ones that will really make a difference. Unfortunately, Gregor Samsa was unable to learn the lessons necessary to avoid the outcome he faced after being transformed into an insect. He was the victim of vampires and was pushed out of communion. Just as the small child who burned his hand won't touch the hot stove again, readers of Kafka's works will have a much better chance of mental stability and happiness than those who ignore Kafka's lessons. Lessons, however, that could just as easily be interpreted as warnings.

    

   

     

      

 

 

Waiter, My Food is Cold BP 4-14-14

      Thomas C. Foster's writings on eating are incredibly thought-provoking. Although essays on eating do not seem very intellectual, they are much deeper than it may sound. The first part of the writing, Nice to Eat With You: Acts of Communion, explains how humans have used meals and communal food gatherings to a very high level of importance for thousands of years. One thing that came to my mind when reading this was the idea that relationships are the things most commonly discussed and/or changed during these meals. Meals with people who all have good relationships with each other tend to be much more fun and at ease, (think of lunch with your friends at school). While meals within groups of weak relationships are much more "cold," and often seem more formal, (family meals while members of the family may be in an argument). "If a well-run meal or snack portends for good things and community and understanding, then the failed meal stands as a bad sign," (Foster 3). Similar to this, think about how a poor meal at a restaurant instantly can turn the happiest person into an angry monster. Another very applicable example of Foster's ideas is during times of death and grief. "So we notice... that in fact we share something. The thing we share is our death," (Foster 4). Why do funerals always have so much food? Perhaps because people need food to help communicate with each other and cope with the devastation that all are feeling. Everyone dies, and everyone eats. These two certainties of life make the connections around them very strong. That is why communion through good is so apparent in times of grief as well as happiness.
    The other part of Foster's work is called Nice to Eat You: Acts of Vampires. This section describes the mystical creatures of vampires as well as their traits that consume many people in the real world. In Franz Kafka's The Metamorphosis, Gregor Samsa's life is constantly sucked away by his abusive fathers words and actions. However, Gregor holds strong and does not succumb to his father and never once acts out against his loved ones. "Meanwhile, his victims become like him and begin to seek out their own victims," (Foster 6). Gregor's will-power is quite remarkable based on how much his father truly took out of him. I do not believe that Gregor was simply to far gone to change to vampirsim himself, but rather his good heart helped his brain stay out of trouble. A great example of vampirism in today's world is the media. "Using other people to get what we want," (Foster 8). Media these days can be incredibly degrading and untrue, only to gain popularity and in the long run, money. Money is the modern day vampires blood. The vampires will do anything, illegal or unethical, just to make more cash. This constant cycle of lying and consuming gluttonously can only break down a person's soul. In conclusion, Communion and Vampirism are two forms of eating that can have effects on all aspects of life and relationships.

Recognition 4-3-14

    In Franz Kafka's The Metamorphosis, Gregor Samsa, a traveling salesman, wakes one day to find that he is know a giant insect. Gregor's normal pace of life is extremely stressful and fast-paced that this sudden new part of his life does not shock him like one would expect. Instead, he is more worried about the effects that his new body may have on his job and therefore his family. "Why don't I keep sleeping for a little while longer and forget all this foolishness," (Kafka 1). Samsa's main priority is always the people he cares for. He works an extremely stressful job only to pay off debt that his parents have obtained. This idea of Samsa's selflessness comes up more than once throughout the story. Another example of it is when he is trying to get out of bed in order to calm down his now worrying mother and angry boss. "His greatest reservation was a worry about the loud noise which the fall must create..." (Kafka 3). The fall out of bed in his new body could cause Samsa great pain, yet he simply does not want to startle or awake any of his loved ones below. Even though his selflessness seems well given and authentic, it is very possible that it stemmed from some form of fear. This fear that may have caused Samsa's "fake" servants heart was most likely spurred from the harsh personality's of the fathers of both Samsa and Kafka. "His father clenched his fist with a hostile expression, as if he wished to push Gregor back into his room..." (Kafka 6). This line comes directly after Samsa steps out of his room for the first time. Instead of fainting from pure shock his mother, Samsa's father seems disappointed. We know that Kafka did not have a strong relationship with his very outspoken father and he translated this into The Metamorphosis. I think that it is very logical that Gregor Samsa's overwhelming selflessness is almost used as a self-defense mechanism to avoid the chaos and stress that his father often brings; a event that Kafka himself may have experienced first hand.

         Not only did the father play a very significant role in the life of Gregor Samsa, but Samsa's sister, Grete, also had a large impact on his new bug life. At first, Grete appeared to be extremely helpful and kind to Samsa, yet her transformation was soon to come. "For surely no one except Grete would ever trust themselves to enter a room in which Gregor ruled the empty walls all by himself," (Kafka 15). Samsa was very close to his sister and this relationship transferred over post-transformation. Grete would often come in and take care of him, yet she soon began to see it as a duty and less of a service. Her transformation from a helpful girl to an independent adult was also very noticeable at the end of the story after Samsa's death. "...they thought that the time was now at hand to seek out a good honest man for her," (Kafka 27). This line shows not only how much Grete had changed but how Mr. Samsa is so able to move on from the murder of his son to begin thinking about his daughters future in a much different way then appropriate for this time of what should have been grief. The mother however, remains very constant in her approach to Samsa's new look. Her first look at him was a shock, and she fainted often in the story, but she never stopped loving him or trying to protect him. This is evident when Mr. Samsa begins to attack him with fruit. "him—but at this moment Gregor’s powers of sight gave way—as her hands reached around his father’s neck, and she begged him to spare Gregor’s life," (Kafka 18). The sister and father both changed dramatically, but Samsa's mother never once questioned her love for him. In conclusion, Gregor Samsa's constant selflessness (spurred by fear or not), was never once rewarded and was only recognized by the one person who never changed the way she looked at her only son. 

Love or Fear 3-22-14

     Franz Kafka's The Metamorphosis is the story of a traveling salesman named Gregor Samsa. Samsa lives a fairly simple life that consists mostly of work. He lives with his parents and his sister; all of whom do not have much money. One morning, Samsa awakes to find that his mind no longer functions in a human body but rather a huge insect. However, Samsa is not immediately shocked by this and acts like he only woke up with a cold or fever. " Why don’t I keep sleeping for a little while longer and forget all this foolishness,”(Kafka 1). Samsa clearly doesn't care much about his own well being or health, and many examples are shown of how he does care for others with great passion. He reveals that he is working primarily to pay of debt that his parents have acquired. Through what I have read so far, it is not yet apparent if Samsa is doing this as a favor to his parents or out of fear of them. 

Another example of his selflessness is when Samsa's boss arrives to question about his absence at work. Samsa is struggling with normal movements in his new body and does not want to startle anyone. "His greatest reservation was a worry about the loud noise which the fall must create and which presumably would arouse, if not fright, then at least concern on the other side of all the doors," (Kafka 1). Samsa is literally tearing his body apart trying to get to the door in order to let his family and employer know that he is OK yet still worries about waking or frightening anyone. It does not seem that Samsa's priorities, nor the priorities of the people in his life, are exactly in order. He does not care about his current physical state but instead worries incessantly about keeping his job and keeping his parents happy. His dad also does not seem to worry about his son's health but rather the only source of income that he has had for the last many years. His sister however, does at first seemed genuinely worried. These characters most likely reflect Kafka's family life at home in his childhood. In conclusion, Gregor Samsa is a character created with the personality and family that by a man who probably experienced similar moments in his own life.

An Axe and Frozen Water BP 27 3-17-14

Franz Kafka

Birth/Youth: Franz Kafka was born in Prague, Bohemia on July 3, 1924. He grew up in a wealthy Jewish family that had 6 kids at one point. However, both of Franz's younger brothers died as babies, leaving him the only boy with three sisters. Not only did Kafka have no other boys in his family to play with, he also had poor relationships with both his parents. His mother did not understand her sons dreams to be an intellectual writer, and his father had a harsh personality that made home life stressful for everyone living in it. Kafka had good grades throughout school and eventually entered the Charles Ferdinand University of Prague; where he would eventually graduate with a degree in law.

Adult Life: After getting his degree, he began to shift around many careers in law, none of which he ever enjoyed. During his times of bouncing around from job to job, he continued to find time to write. After a couple failed marriage engagements with Felice Bauer, he eventually tied the knot with Dora Dymant. Once married, Dora and Franz moved back Prague to deal with Kafka's ailing health. Because of his tuberculosis and other poor health problems, he retired from all law positions but continued to write until the year he died. His desire to write left him stressed and with constant migraines and upset stomachs as well. Although he died young, his works will live on forever.

Influence: Kafka's works will always be remembered for his intriguing way of explaining humanity. In Metamorphosis, he helps people who may be struggling through a time of transition or transformation understand that they are not alone. People also often view Kafka's works as liberating in their words. "A book must be the axe for the frozen sea inside us," is a famous quote from The Metamorphosis. A line like that makes it clear that Kafka believes literature and reading are keys to understanding life. Which, if all people believed, would  make the world a better place. Kafka makes it clear that each person is unstable and can only be put righted by reading and understanding. Lots of German literature is still influenced by Kafka.

Death: Fortunately, Kafka's good friend and literary editor, Max Brod, did not listen to Kafka's dying wish and published his works after his death. Kafka did not think that his unfinished works could be published, yet Brod made them public anyway. Tuberculosis was Kafka's main cause of death, however he was plagued by many health problems. He was buried next to his parents in Austria. In 1988, Kafka's handwritten version of The Trial was sold for almost two million dollars. He died young but will always remain a person of the utmost respect in the world of literature.

Works Cited:

• "Franz Kafka Biography." Biography.com. A+E Networks, n.d. Web. 18 Mar. 2014.
• "Penn Reading Project." Penn Reading Project. N.p., n.d. Web. 16 Mar. 2014.
• "Kafka - Biography." Kafka - Biography. N.p., n.d. Web. 18 Mar. 2014.
• "Kafka's Life (1883-1924)." The Kafka Project. N.p., n.d. Web. 15 Mar. 2014.
• "Franz Kafka." Franz Kafka. N.p., n.d. Web. 16 Mar. 2014.

Restart BP 26

          Thursday and Friday, my class watched the film What Dreams May Come. The movie tells the story of a man who searches for his wife in the afterlife after he is killed in a car accident and she commits suicide. In many ways, this movie has similar themes and follows many ideas that are much alike Dante's Inferno. However there were differences as well. One major difference is that in the film, the main character Chris Nielson is able to find his wife in the depths of hell and bring her back into heaven. Dante makes the point very clear that no man (except himself), can escape Satan's grasp in the underworld. Chris and his wife are also able to reincarnate onto earth to "restart" their lives. Dante follows strictly Christian virtues therefore does not say that reincarnation can happen. After looking past the differences, it is possible to find many similarites as well.

In Dante's Inferno Dante punishes each person depending on their sins. In What Dreams May Come, Chris's wife is put in her own personal hell because she committed suicide; also a major sin in Inferno. Also on the topic of suicide, a tree is shown directly before the suicide of the wife. Dante describes the punishment of people who commit suicide as being turned into a tree and being pecked at by harpies for eternity. Another similarity is that both Dante and Chris are led by a guide to navigate the underworld. These guides are people who both Chris and Dante admire and even look up to. In Chris's case, his son, daughter, and former professor all help him get through his transition from life to death. For Dante, Virgil leads him through Hell. Virgil is the only person in all of Inferno who Dante puts above himself besides Beatrice. In Conclusion, What Dreams May Come and Dante's Inferno have many things in common as well as many contradictory subjects. Both make similar points with very different stories.

The Teacher and the Student [3/10/14 Reflection (Canto's 19-32)]

    The past few weeks have been spent watching presentations and preparing for my own. Last week, Cantos 19-32 were presented. The main theme for that group of Cantos is fraud; circles 8 and 9. The majority of the punishments had something to do with fire or burning. A couple specific examples I remember are being buried then having one's feet burned forever, being thrown into boiling tar, and also being stuck in a single flame eternally. Dante puts these fraudulent people very low in hell, but for good reason. Dante explains in many of the Cantos how he knew some of the people in these parts of hell, however he rarely liked any of them. For example, in Canto 26, Dante points out how his home city of Florence has many of its citizens damned for fraud and deception.

Virgil was a very important character in all of these Canto's as well. Not only did he lead Dante in the right direction, he also was the only source that Dante had to learn from. During the presentations, the presenter often spoke of this teacher-student relationship in the "Conversation with the Guide" slide. Virgil spoke to sinners, guards, and anyone else who may have helped Dante understand what is going on in each area in this hell. One example I remember someone speaking about is when Virgil convinced the demons to allow Dante to cross the bridge into the next level. Besides Beatrice, Virgil is the only person who Dante places above himself; at some points even calling Virgil master. Overall, Cantos 19-32 speak of Dante's opinions on fraud as well as his respect and admiration for his guide and protector Virgil.

Fraud Reflection 2-24-14

This week marks the real beginning of the Dante's Inferno project. For my project, I chose Canto 26 to study. Canto 26 describes the people who are in Hell for leading people the wrong way and fraudulent teaching. Personally, I believe that these people (the really bad ones anyway), do deserve a place in Hell. Misleading people for ones own benefit is incredibly selfish and only causes problems in relationships and in life. Dante's punishment for these people is burning eternally in a single flame who's temperature depends on the severity of the sinner's actions. If the whole world was made up of these people who trick and deceive for their own self-gain, nothing would ever get done or be leaned/taught.

Imagine if school teachers did this. If a math teacher instructs his or her students incorrectly to make it easier on the teacher, it may be less stressful for them; but only lead the students to failure. Most people in the world, especially in the education community, try their best to prepare and lead others they know into success. I believe it is a natural instinct to want to help others grow into better people. Without peers to point out mistakes and help you through your failures, one can never learn or grow. I am very excited to continue to learn about this subject of fraudulent teaching and cannot wait to hear the other presentations.

Our Ideas of Hell Reflection 2-17-14

After finishing all of the tragic hero presentations, we have begun talking about our next subject; Dante's Inferno. Inferno, as far as I know so far, is on man's interpretation of Hell. The author, Dante Alighieri, describes what it takes to enter Hell and what one experiences in it. He says that Hell contains nine circles that are assigned to someone according to their sins. I predict that this book will be incredibly though-provoking and dark at the same time. There are lots of ideas that every one seems to have about Hell, and this may enforce or contradict them.

When someone says the word Hell, most peoples minds shift to an image of red, fiery, wasteland. The title, Dante's Inferno, would suggest that the book may hold true to this image. Perhaps it is because of this book that society imagines Hell like this. The nine circles are: limbo, lust, gluttony, greed, anger, heresy, violence, fraud, treachery. These nine "sins" or "crimes" are clearly bad things, yet Dante chose them as the worst of any.

Emptiness Post #21

    As a religious man, I hear about Hell and how to stay out of it often, however I do believe it is possible to look at it from purely an educational standpoint. "Go to Hell!"is a phrase heard often that is always of derogatory use. Therefore, as a people, Hell is never thought of as pleasant. When someone says Hell, my mind pictures a fiery red wasteland with nothing but emptiness and horrifying looking creatures. When I think about how you get into Hell, I think of the crimes that put people in jail and destroy relationships/families. Once in Hell, it is impossible for me to fathom the system. Such as can you get out? Or maybe what determines  your place in it? Like all ideas of what happens after death, Hell can't be proven on earth and will always remain a burning question to humanity.

1.) What do you have to do to get into your Hell?
   As I stated earlier, I have ideas of what it takes to enter Hell according to my religion, however for the purpose of education I will not use those. In my "non-religious Hell," people are condemned to it for not only obvious reasons (murder, adultery, etc.), but also for more specific reasons. For example, I cannot stand when people lie. Not only about important stuff, but the little things. If someone is lying to me, I usually can tell and it makes my trust in that person drop significantly. A person who lies constantly for their own benefit or just for fun earns a spot in my version of Hell. Another huge character flaw I have a problem with is people who are very two-sided. As in a different person at home then they are at school. Just like lying, it makes me think this person is very untrustworthy.

2.) What are the punishments?
    The consequences of my version of Hell would include primarily mental torture/discomfort. Especially for a sin like lying. Someone who lies constantly may face punishment like becoming mute and listening to people constantly complain and whine. That may seem mild, but I'm sure it would make one go crazy easily. Physical punishments could include extreme cold or heat. There is not many things that make someone more uncomfortable than very hot or cold places. Physical pain usually ends quickly, mental agony does not.

3.) What does your Hell look like?
 My hell would not be fiery and red, rather completely empty with not a thing in sight. I imagine an infinite space of emptiness. It wouldn't be white, or clear, or black. Just nothingness. So empty it cannot be imagined by humans, only experienced. In this case, the victim can only hear things. Such as the people complaining or crying in pain. I once read an article about how the officers at POW camps would play mixtures of crying, screaming, and violent sounds to torture their prisoners. I imagine something like this but experienced in nothingness.

4.) Can anyone escape?
   In my Hell, redemption is possible; but only to a select few. If a condemned person wants redemption, they must find someone to trade places with them. If they can find another human who's sins were "worse" than theirs, they can swap places. This puts them back on Earth with a chance to redeem themselves, not right into a happier afterlife.That is the only way someone can escape my version of Hell.

5.) What symbol represents your Hell?
A symbol that could represent my Hell is a ladder missing rungs on the top half. This symbolizes hell because it shows how it's much easier to enter then it is to escape. Imagine climbing down a ladder into a hole only to realize that every time you step down a rung disappears. That is how I imagine people would feel inside my Hell. Another symbol could be bucket with a hole in it for the same reason. Easy to fill up, but impossible to keep full.

6.) Who would be in your Hell?
As I stated earlier, people who lie constantly would make up the majority of my Hell. Obvious choices would be people like Hitler or Stalin who lied to entire populations to get their way. I also think people who commit suicide deserve a place in my Hell. This includes accidental suicides form drugs. This may be to soon, but I think people like Phillip Seymour Hoffman would be in my Hell. Another famous liar is Charles Ponzi, who created a system that harms people all over the world. Those are a few examples of who would be in my version of Hell.

Recognition 2-10-14

The past week or so, the class finished our posters and turned in our essays. For my essay assignment, I wrote about Hubris. Hubris is the main character flaw and pride that effects the hero in the story. In the movie Into the Wild, Alex Supertramp's pride leads him to leave society and live on his own. In Sophocles Oedipus Rex, Oedipus ignores all signs of danger and truth because his arrogance is so high. Both characters come to their ends because of this flaw. I think that pride is not only something that characters in literature and film struggle with, but rather all humans. One part of pride that I notice myself doing is not wanting to ask for help. I like to feel like I know everything, but I don't. However, I also believe that being called out on a flaw like this is important, as one cannot learn if they do not know what they are doing wrong.

Supertramp and Oedipus come to recognize their flaw, but much to late. Generally, recognition cannot come without someone else pointing it out or the tragedy has already happened. For Oedipus, he didn't realize that he had killed his father and married his mother until it was to late to do anything about it. However if he had seen the signs, he could have avoided the extreme pain and guilt he then suffered. Supertramp left his wealthy family and high place in society to live in nature by himself, only to realize that Mother Nature is just as cruel. He consumed poison berries that killed him, ignorant to their danger. In conclusion, pride is a serious character flaw that can have huge negative effects on someones life, but without someone to guide you towards recognizing it; there is no way to avoid it.

Reflection 2/3/14

This last week we official picked a movie for our tragic hero project and began working on our posters and essays. My groups movie is Into the Wild. It is based on a true story of a man who leaves society to find his goal in life and ends up trapped in the forests of Alaska. For my essay I will be writing on Hamartia/Hubris. Hamartia and Hubris are the parts of tragedy that explain the pride and flaw of the hero. In this case, the main character and hero, Alex, has extreme pride in his abilities to survive in the wild and pushes society out of his life. Alex's downfall is that he believes that society is the killer, yet nature takes it's toll on him. He is so confident that they system of society is flawed that he quits his prestigious college, burns his social security, and leaves his wealthy family. Alex hitchhikes across the country trying to find himself. Perhaps part of his problem was that he was looking to hard to learn lessons. It is very hard to learn a life lesson if you are looking for it. I hope our poster turns out good and my essay will be just as interesting.

Reflection 1-27-14

Last week we continued to read Oedipus Rex and talk about our Tragic Hero project. My group for the Tragic Hero project will probably be doing the movie Into the Wild. Into the Wild is about a man who is kicked out of society and decides to hike from Atlanta to Alaska, where (spoiler alert) he is later found dead. This is the perfect tragic hero movie because he starts as a smart college grad, then finishes as a nobody who didn't live a "full" life. I have now finished Oedipus Rex and realized just how tragic Oedipus and his Hubris truly is. His pride and arrogance lead to his emanate downfall and demise. He loses himself mentally and stabs his own eyes out due to his grief, regret, and confusion. He discovers that he committed the murder that cursed his kingdom and married and had children with his own mother. The final line says how he could no longer bear the pain of a mortal and passed on mortality. That is a quick summary of what I learned/read last week.

Reflection 1-20-14

So far this semester, I have learned about two new things; silent films and Greek theater. I was surprised by the silent film Baraka as I didn't previously believe that a film with no dialogue could connect to me at all. I was completely wrong however. The film showed moving images that I never would have know existed if not for Baraka. Although we have only just begun Oedipus Rex, I can tell that it is full of irony and symbolism that I am always keen to learn about. One specific thing I have learned so far from Oedipus Rex is the idea of Dramatic Irony. Once I learned what it was, it has become hard to watch any scripted film or TV show without recognizing it. It has been a good couple first weeks and I am looking forward to the many coming.

Oedipus Rex Inventory 1-16-14

Oedipus Rex: Man, Play, and Myth.

Man: Oedipus Rex as man, or as a king, was very powerful and most likely just as impulsive. The moment he discovers a curse put upon him and his kingdom, he sets out to lift it; ignoring all morality and killing many. Oedipus is also very proud and confident. This makes him a good leader at first, but eventually leads to his downfall. For example, after he saves Thebes, he exclaims how everyone will know his fame and love him.

Play: The play as a whole is defined as a Greek Tragedy. It tells the story of a king who must save his town from a curse, only to find sorrow on his path. Other characteristics of this play include the ability to recognize hard emotions in the characters (ie: sorrow, sadness, anger, etc.) and to evoke thoughts of humanity in the readers/viewers. The play, different from the myth, takes place with Oedipus as an adult and his life as king.

Myth: The myth of Oedipus Rex was written before the play, and is a slightly different story. In the myth, it tells the story of Oedipus before adulthood/kingship. It explains how the oracle of Delphi came to him as a child and said how Oedipus would kill his father and marry his mother. Most people knew the myth before seeing the play.

Aristotle: tragedy and hubris.

Tragedy: Aristotle actually created a formula for a perfect tragedy, and describes Oedipus Rex as one. He says, "a tragedy must be an imitation of life in the form of a serious story that is complete in itself." Oedipus Rex most definitely has an imitation of realism and is very serious and complete. His theory of tragedy goes like this: plot, character, thought, diction, song, spectacle, and cleansing. (In that order.)

Hubris: Aristotle's literary device of Hubris is defined by him as, “...doing and saying things that cause shame to the victim…simply for the pleasure of it. Retaliation is not hubris, but revenge. … Young men and the rich are hubris-tic because they think they are better than other people.” Oedipus expresses hubris by choosing not to recognize his problems, therefore putting those around him in danger.

Terms: dramatic irony, Sophocles, Tiresias, fate, and Greek theater.

Dramatic Irony: Dramtic irony is "(Theatre) theatre the irony occurring when the implications of a situation, speech, etc, are understood by the audience but not by the characters in the play." (Dictionary.com) It is used in Oedipus Rex when the audience understands that Oedipus really did kill his father, Laius, and is married to his mother, Jocasta. Oedipus is to arrogant to recognize these problems when the audience does, but that is a tool that Sophocles chose to use.

Sophocles: Sophocles, the writer of the play Oedipus Rex, was a Greek play writer and Tragedian. He was born in Greece in 498 BCE and died in 406 BCE. He is most famous for his work with the Theban plays, Antigone, Oedipus the King, and Oedipus at Colonus.

Tiresias: Tiresias was a blind prophet if Thebes, who in Oedipus Rex tells Oedipus the truth when Oedipus comes seeking answers about Laius. Oedipus refuses to listen to these truths and has him banished from the kingdom. Tiresias explains how he was once turned into a woman for seven years by killing a female snake as well. He appears in many other Greek myths as well.

Fate: Fate, as it is defined, is the development of events beyond one's control. This idea of a set destiny was held very closely by the Greeks; particularly in their mythology. In Oedipus Rex, fate is given by an oracle, refused by the receiver, and inevitably followed through.

Greek Theater: Greek theater, always taking place in a large, open amphitheater in ancient times, has many formats and varieties. In tragedy however, the format goes like this: Prologue, Parode, Episode, Satsimon, and Exode. (In that order.) There are other types of greek theater, including comedy and satire. The Greeks used theater to express politics, entertainment, and human tragedy/myth for the most part.

Brick Wall 1/13/14

    When someone thinks of a movie, generally the first thought that pops into mind is not something without words or any form of dialogue. However, the film Baraka, is just that. It contains only music and the brief sound of something on camera. A movie without discourage must be completely empty and boring right? Wrong. Baraka takes images from around the world and shows just how powerful image alone can be. It even relates to things learned in first semester, such as the Gaia theory in Lord of the Flies. The Gaia theory explains how all things are connected, just as Baraka shows the similarities that countries of all cultures have. For example, people of all religions have very similar rituals and practices. We also the connection of things like urban life leading to unhappiness and the tribal rituals of places that may be on opposite sides of the globe. Mary Anne Brussat talks of a compassion that travels throughout the world. We see "... the Buddhists in their temples, the Christians in their churches, the Jews at the Western Wall in Jerusalem, the Islamic believers in their mosques, and the Hindus along the sacred river Ganges." (Brussat 2). All of these religions worshiping different things in different places, yet still showing compassion and gratitude for something. Another example of a way that Baraka influences compassion onto its viewers is the images of the chickens going from egg to adult. These animals are brutally treated and thrown around like something that doesn't have a heart beat. Although no one in the scenes show it, compassion flows out of this part of the film by giving the viewers an up close look at what happens behind the scenes of our daily lives. One moment I found very thought-provoking that Brusset barely mentioned was the scene where a monk seems to be doing a sort of meditative walking through a very crowded urban street. Everyone simply walks around him, barely noticing him, while he appears to be focusing hard on his surroundings. Just one of the few moment in Baraka where two things contrast each other very sharply.

One of the most stunning features about this film was the way the music, sound, and camera views changed the way that everything appeared on screen. The music fit the mood of the scene, or rather set the mood of the scene. If the scene of mass producing chick-lets was played with a background of happy "carnival" music, it may have appeared funny or harmless at first glance. The same way that the camera captured close-up views of scared tribal children and old Hindu men watching carefully. In my case, finding the meaning of a film like this is very difficult, simply because I have the emotional range of a brick wall. However, I can see what Ron Fricke (the director) was trying to get across to his audience. It is clear that Fricke wants viewers to not only see the difference in cultures aorund the world, but to feel their struggles as well. I believe that the meaning of the whole thing is to not only sympathize with the less fortunate, but to help them. In conclusion, Baraka is a stunning work of visual masterpiece, an emotional look into the world, and an overall intriguing experience.