Inquiry Question

Writing a story, be it fact or fiction, can be a somewhat overwhelming consideration for the average person. Even seasoned writers have difficulty with certain aspects of the writing process. There are certain formal conventions that we're supposed to follow so the material is familiar enough to make it easy to read; the reader should not get lost in figuring out punctuation or quoted passages. There are times, however, when such formalities aren't really necessary.
Inquiry Question: What does a reader experience when they choose a book or short story that has been written in a manner that is not familiar?
For example, the late Frank McCourt wrote three highly acclaimed memoirs in such a style that illustrates the elimination of formality. This might not seem so unusual except that he was an English teacher. It is reasonable to expect that an English teacher would be a stickler for following the established "rules" of writing.
In Robert W. Miles’ book review, in 2000, of Frank McCourt’s book, ‘Tis: A Memoir, he notes that in 1954 McCourt’s style of writing was deemed as “direct.” McCourt’s instructor encouraged him to “explore his rich past.” It may have taken several years for McCourt to act on this advice; however, his style had not changed once he became an educated adult. His works have been a consistent demonstration of throwing convention to the wind and writing from the heart. McCourt was not attempting to convey pity for having such a rough beginning in life, but rather he set out to provide an example of how one can accomplish a goal, regardless of the lack of ability, or desire, to conform to the orthodox manner of writing to become a blockade.
I was given some great advice once, years ago, about writing (in fact I don't recall who it was). This person said, "write as though you're talking directly to the person." I thought his made perfect sense; after all, isn't that what you're really doing, "talking" to someone. I think McCourt must have had this same idea when he wrote because when you read his books, you feel as though he's speaking to you; telling his story. We don't see punctuation when we listen, we hear inflection and tones that guide our understanding.
I asked my daughter, Angela, and sister, Joanne, (both major book-worms) how they adapted to McCourt's books. They both agreed that at first the style was fairly unfamiliar, but it didn't take long to become comfortable with his style and the story was captivating; like listening to the story and not actually reading it. I too felt this same way when I first started to read Angela's Ashes. I read the first several pages before realized the quotation marks were absent. I wondered if I had missed who was saying what. I went back and read over some of the previous pages, I thumbed through the rest of the book; still no quotations. Okay - so be it. I was already "in to" the story and wasn't going to put it down for lack of formal writing convention.
Have you ever wanted to write your memoir, a short story, or a novel but were too intimidated by no knowing all the "rules"? I say, follow McCourt's lead and just do it! Write it as if no one will ever read it or grade it. Like the familiar saying, dance as if no one is watching.

Works cited

Brooks, Angela. Personal interview. 14 Nov. 2009.

Girardi, Joanne. Personal interview. 21 Nov. 2009.

Miles, Robert W. Frank McCourt’s Second Memoir. (Book Review). Sewanee Review, Summer 2000. Vol. 108, Issue 3. Retrieved from Academic Search Premier.

"O" - Entry 16 (out of sequence)

This modern day remake of Shakespeare's classic play, Othello, in my opinion, was done brilliantly. The story line followed the original so well; it's obvious this film was not just thrown together to make a quick Hollywood dollar.
In scene 16 the camera pans up the spiral staircase in the dorm where, at the top of the case, Hugo is describing to Odin his flawless plan to deal with Michael and Desi. The spiral staircase serves as a subtle symbol of a situation that is about to spiral out of control.
Hugo has planted the seed of jealousy in Odin's mind and has fed it so well; cultivating it to the point of being out of control. Hugo played on the weakness of Odin's need to self medicate his jealousy by supplying him with alcohol and crack-cocaine, all the while knowing this is a deadly combination when mixed with raging jealousy.
Hugo tells Odin, "You're everything to me O. You're not my friend, you're my brother. When a brother's been wronged, so have I..." Hugo then describes in detail the sequence of events and time lines that he has devised and assures Odin that his plan will work. As Hugo describes his plan it is depicted to the audience, step by step. But who's thoughts are we seeing; Hugo's or Odin's?
I think we're seeing Odin's imagination as Hugo narrates. This imagination prompts Odin to inquire about a third party who will be involved; the picked on and angry side kick, Roger. Roger also has an ax to grind and is a willing participant to get revenge.
This scene is important to the story because it emphasizes how Hugo has managed to manipulate several different people simultaneously without any one of them suspecting his ulterior motive. Just like the original play - this tragedy depicts the dangers of jealousy.
I gave this film a "two-thumbs up."

Freestyle 19

My husband and I went to town today to take care of a couple of errands. We stopped by Fred's to get a new set of sheets in preparation for our next new bed that will arrive next week ("next," because it's the 3rd one in seven years - but that's another story). As we walked through the double electric doors - there was Christmas staring us in the face; again! It was just here, or so it seemed to us.
Maybe because we really don't go shopping all that often is why we feel this way. At first we were mumbling and grumbling about it all and why can't they just wait till after Thanksgiving to decorate, and aren't those the same sale items they had last time?
Then I began to think about it all and how much fun we actually have when we dig in to our Christmas fund and spend it on the grandkids. We look through catalogs, solicit the kids for ideas, ask their parents for input, and talk to other grandparents about what they're getting for their grandkids. Since we don't have exposure through television to all the latest and greatest in kids' toys - we're pretty reliant on others for ideas. But at any rate, we want the gifts to be something unique and out of the mainstream.
Books are often a large part of out total purchase. Sometimes they're very elaborate with all the pop-ups and such (for the younger kids), and sometimes they're just the good old fashioned hard cover classics.
I made a vow a few years ago to buy locally. So far, I've been able to keep that vow at least for 90% of our purchases. And not just locally in the few "big box" retailers, but the local shop owners who don't belong to a big chain. It is amazing some of the very unique things you will find in these shops - and a lot of the time, they're things not made in China!!
Even though it seems like we just put away the Christmas decorations - I'm really excited to go Christmas shopping again.

Othello - Quote Response 18

In scene III Desdemona is summoned to stand before her father and confess her love for and marriage to Othello, "My noble Father,
I do perceive here a divided duty.
To you I am bound for life and education;
My life and education both do learn me
How to respect you. You are the lord of duty;
I am hitherto your daughter. But here's my husband,
And so much duty as my mother showed
To you, preferring you before her father,
So much I challenge that I may profess
Due to the Moor my lord" (Shakespeare 954).
What I like about this quote is that Desdemona was very straightforward, yet abstract, with how she justifies her marriage to Othello. Knowing that her father has great admiration and trust for Othello, she really did not need to testify about his character. She only needed to make her case by using the example of her mother's duty and loyalty to her father as her love and duty to Othello.
I think Shakespeare was very clever to not make this passage a lot longer with all the typical hard to follow dialogue that needs translation to make more sense of what's being said.

Trifles - 17

Mrs. Peters: "She said she wanted an apron. funny thing to want, for there isn't much to get dirty in jail, goodness knows. But I suppose just to make her feel more natural..." (Glaspell 838). This piece of dialogue is relevant in telling the audience that the woman being held for questioning about an alleged crime is scared; she needs a piece of security to help her through this difficult and scary time. Just as a child would need their security blanket. It's indicative also of how people will act or react when they're faced with a situation in which they don't know what to do; they struggle to stay connected to sanity, to feel safe and grounded, "normal" if you will.
Most everyone has experienced this in life. They did something or were witness to something so shocking that their mind transitioned in to unknown territory in an effort to cope. This particular passage is important in that it's a subtle message that the mind can snap in a traumatic moment, causing a retreat in to the most secure subconscious; such as childhood.

Satrapi - Quote Response 14

Anoosh, Marji's beloved uncle, has been executed after being accused of being a Russian spy. Marji finds herself at odds with her faith and feels let down by God; she believed that he would prevail over evil and protect Anoosh. Anoosh assured her too that everything would be alright. As she lays on her bed in her dark room, alone and stricken with anger and grief, she envisions God, and he asks, "Marji, what seems to be the problem?" She rises up, stands on her bed and denounces God, "Shut up, you! Get out of my life!!! I never want to see you again! GET OUT!" At that moment her father yells to her, "Marji, run to the basement! We're being bombed!" (Marjane Satrapi, pp. 70-71)
The illustrations on these two pages speak louder than the words. As Marji is thrown in to that out of body experience that comes with shocking news, she proclaims, "And I was so lost, without any bearings...what could be worse than that?" (p. 71). Marji's God has let her down and Anoosh has been taken away forever. She feels as though she has been tossed in to outer space, alone and confused.
Why did she believe that God would intervene? Why did she rely on God in the first place? Why does anyone rely on God to provide safety, bounty,... a new car? Isn't it really inner peace and strength that faith in a supreme being is supposed to bring? When the outcome to a difficult situation or event is unlikely to be good, but it happens, it's a miracle; when the outcome is not so favorable, it's God's will. Marji has learned that it's really out of any one's control, including God's. There are two forces at work at all times; good and evil, dark and light, yin and yang.

Poem Paraphrase - Entry 12

Triolet, by Robert Bridges, is a short poem that reveals the common phenomenon of the human love relationship and the work that is required to keep the love alive.
"When first we met we did not guess
That Love would prove so hard a master;"
Of course not, why would anyone even give a second thought to what lies ahead when you're newly in love. But isn't this what's referred to as "the honey moon must be over."
"Of more than common friendliness
When first we met we did not guess."
Once the newness wears off, a couple is of course still in love, but the intensity of day to day interactions are now quite subdued and are more equivalent to a strong friendship.
"Who could foretell this sore distress,
This irretrievable disaster
When first we met - We did not guess
That Love would prove so hard a master."
At this point, the poem takes a turn and suggests that the relationship that Bridges is writing about has become quite strained. Perhaps the couple has moved away from even the common courtesy of "friendliness."
The repeating line about love being a task master emphasises the pain-staking difficulty of keeping a relationship in strong.
This old poem certainly is ageless. Relationships are never just easy, they take a lot of work; ask anyone.