tag:blogger.com,1999:blog-78447392977008717662024-02-08T12:35:25.688-08:00ReadingLaughterDr. June Ellishttp://www.blogger.com/profile/01401428856944751970noreply@blogger.comBlogger118125tag:blogger.com,1999:blog-7844739297700871766.post-31831567849240902742014-12-04T09:12:00.002-08:002014-12-04T09:12:52.252-08:00We're All Wimpy Kids At Heart<div class="MsoNormal" style="line-height: 200%;">
I found it incredibly interesting
that Jeff Kinney made it known that <i style="mso-bidi-font-style: normal;">Diary
of a Wimpy Kid</i> was originally intended for an adult audience because this
is a book that is sophisticated in many subtle ways that I think often go over
the heads of the children it is generally marketed to.<span style="mso-spacerun: yes;"> </span>While I was reading this book around
campus, it got a reception that I couldn’t have ever anticipated—basically all
of my friends with younger siblings gushed about how hilarious they found the
books to be (when they stole them from their little brothers or sisters to
read, of course).<span style="mso-spacerun: yes;"> </span>This left me
wondering what exactly it was about Greg Heffley’s story that resonated with
not only the elementary and middle school demographic I always assumed it was
restricted to, but also with my college-aged peers and myself.</div>
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<span style="mso-tab-count: 1;"> </span>I
think that at its core, <i style="mso-bidi-font-style: normal;">Diary of a Wimpy
Kid</i> accesses a period of time in the readers’ lives during which they were
exceptionally confused and uncertain of what they were expected to become.<span style="mso-spacerun: yes;"> </span>Adolescence is a time of continuous
transition and oftentimes represents a point when a child must somehow realign their
identity to fit with a newly maturing environment and social group.<span style="mso-spacerun: yes;"> </span>Kinney’s humor comes from the,
more often than not, botched navigation of these uncertainties and
insecurities.<span style="mso-spacerun: yes;"> </span>It is funny for us
to see Greg struggle with issues of popularity and acceptance not because we
enjoy his pain, but because we sympathize with it.<span style="mso-spacerun: yes;"> </span>It is a form of humor that is unaware of its
self-deprecation, as Greg is too self-centered to see the hypocrisy of his
actions and irony (a word he even defines for his reader) of the situations he
finds himself in. </div>
Anonymoushttp://www.blogger.com/profile/01960685296361292512noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-84930540065873620412014-12-02T15:25:00.000-08:002014-12-02T15:25:13.120-08:00Why Young Adult Literature Matters So Much<div dir="ltr" id="docs-internal-guid-45abda42-0d51-b371-bc3e-b162b18c22b0" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">The last time I sat down to read a children’s book (for my own benefit, at least) was when I was still a child. Reading </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Diary of a Wimpy Kid</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> led me to a great deal of reflection on the books that I had loved so much when I was young and had no idea who Milton or Faulkner or Plath were. Instead, books like </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Magyk</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> by Angie Sage, </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Inkheart</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> by Cornelia Funke, </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">The Book of Lost Things</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> by John Connolly, and, of course, J.K. Rowling’s </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Harry Potter</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> series were the ones to incite my passion for literature. </span></div>
<br /><div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">While it is sometimes looked down on as a less than serious form of writing, young adult literature is, for me at least, one of the most important genres to ever come into being. It serves as the bridge between children’s literature and “regular,” adult literature. The books that teens and preteens read during these formative years can have a spectacular influence on them later on in life. And my own case, it was a crucial step in my journey to eventually pursuing English literature not only as a major, but also as something that I am truly passionate about even outside of the classroom. </span></div>
<br /><div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">When I was fourteen, I picked up a discounted copy of John Green’s </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Looking For Alaska</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> and thought, “Hm, this might be good, and it’s only four bucks, so if I don’t like it, whatever.” I ended up loving it – it’s still one of my favorite books to this day – and it was one of the stepping stones that led me to pursuing literature in the way that I do now. At one point in the novel, the main character reads a few lines from a poem by W.H. Auden and remarks that it was “pretty good.” Alaska replies, “ Pretty good? Sure, and bufriedos are pretty good. Sex is pretty fun. The sun is pretty hot. Jesus, it says so much about love and brokenness––it’s perfect.” And it was perfect. At fourteen (the age when you don’t just feel things, you </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">feel</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> things), I </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">felt</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> what was going on in the poem. I understood what Auden meant, and what that in turn meant to me. The line was from “As I Walked Out One Evening,” which remains my favorite poem of all time, and I owe it all to a young adult novel.</span></div>
<br /><div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">So even though I am long past the years when reading </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Diary of a Wimpy Kid</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> could possibly affect me in </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">that</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> way, I understand and respect what Jeff Kinney is doing as a young adult author, and I hope that the teens or preteens who pick up the book feel the same way that I did.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-86315256488372556362014-12-02T14:08:00.002-08:002014-12-02T14:08:29.887-08:00Greg's Superiority Theory<!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-bidi;"><span style="mso-tab-count: 1;"> </span>Arguably the biggest takeaway from <i style="mso-bidi-font-style: normal;">Diary of a Wimpy Kid </i>is Greg’s social commentary
on adolescence and adulthood from his perspective as an adolescent.<span style="mso-spacerun: yes;"> </span>While adolescents sometimes have a stereotype
of being immature and unbelievable, Greg makes several valid observations about
the other characters and his social situation through humor, similar to several
of our other authors.<span style="mso-spacerun: yes;"> </span>Despite his youth
and inexperience, Greg echoes many of the themes we have discussed in class
before, especially the superiority theory. </span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-bidi;"><span style="mso-tab-count: 1;"> </span>While Toni wrote her post about Greg
versus the bullies, I would argue Greg even questions the hierarchy between
parents and children.<span style="mso-spacerun: yes;"> </span>Early in the book,
Mrs. Craig is yelling at Greg for listening to Rock and Roll music when Greg “was
going to tell her that there weren’t even any batteries in the CD player, but I
[he] could tell she didn’t want to be interrupted.<span style="mso-spacerun: yes;"> </span>So I [he] just waited until she was done, and
then I [he] said, ‘yes,ma’am’” (35 Kinney).<span style="mso-spacerun: yes;">
</span>We also see this when Rowley’s dad yells at Greg and Rowley for scaring the
little boy in their “Hall of Screams” haunted house or when Greg’s mom yells at
Manny for having inappropriate magazines in school.<span style="mso-spacerun: yes;"> </span>Lastly, Greg admits he knows when his dad
says “friend”, he knows he is in trouble, but “the good thing about Dad is that
when he gets mad, he cools off real quick, and then it’s over.<span style="mso-spacerun: yes;"> </span>Usually, if you mess up in front of Dad, he
just throws whatever he’s got in his hands at you” (38-39 Kinney).<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-bidi;"><span style="mso-tab-count: 1;"> </span>Evidently, Greg is a keen observer
of his social situations, as many of our studied humorists are; like Sedaris or
Madea, Greg is merely making fun of quirks adults have that few adolescents (and
adults) can pinpoint.<span style="mso-spacerun: yes;"> </span>Greg never necessarily
upsets the power structure between parents and children, but his observations
about how his mother, father, or Mrs. Craig use their authority calls into
question if adults really are more logical than children sometimes.<span style="mso-spacerun: yes;"> </span>Greg caricatures these adults yelling at him
for asinine things like listening to music to poke fun at adults.<span style="mso-spacerun: yes;"> </span>Greg almost makes the adults in his story
seem like the teacher in Charlie Brown who talks incoherently.<span style="mso-spacerun: yes;"> </span>In this way, Greg (and mostly Kinney) adheres
to the superiority theory of humor by the child making fun of the adults. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
Anonymoushttp://www.blogger.com/profile/11865800772061371270noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-3406784254644443882014-12-02T13:16:00.001-08:002014-12-02T13:16:41.642-08:00Satire: Appropriate For All Ages?<div class="MsoNormalCxSpFirst" style="line-height: 200%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"> From what I remember of the
children’s books I read growing up (and it hasn’t been that long) is that the
main characters are often idealistic representations of children: moral,
proper, intelligent, and all-around “good kids.” With that in mind, I think what
<i>Diary of a Wimpy Kid </i>loses in
morality, it gains in realism: Greg Heffley is closer to Goofus than he is to
Gallant, and this makes for a more recognizable and more humorous character. He
doesn’t hesitate to point out the flaws in other people and even manipulates
and exacerbates those shortcomings, even with his friend Rowley. Among other
things, he launches a negative campaign against a rival student government
candidate, watches Rowley struggle under the weight of his barbells and
attempts to hit him with a football as he speeds down his hill on a small
tricycle. I think the rest of you make a good point when you say this is pure
superiority theory: whether we’re laughing with Greg for pulling one over on
his friend or laughing <i>at </i>Greg for
his naïve understanding of the world, there’s a little malice in the humor
here.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: 200%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"> If anything, I think Greg is written
in the recent tradition of cynicism towards the American nuclear family. If <i>Diary of a Wimpy Kid </i>is a reaction
against overly moral childhood figures, it’s quite likely that the book’s humor
has something to do with psychological relief or release. I’ve been going
through old episodes of <i>The Simpsons </i>recently,
and I can’t help but think that Greg Heffley is a spiritual successor to Bart
Simpson. In a way, we rejoice in seeing our forbidden childhood temptations run
amok. As mature adults, we’ve learned to cooperate with the forces that be and
internalized them as the superego; Greg, on the other hand, is pure id. His
childish whims and desires are instantly realized in the course of the book and
it’s kind of exciting to someone living the life our parents would never let us
live.<o:p></o:p></span></div>
<br />
<div class="MsoNormalCxSpLast" style="line-height: 200%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;"> I think this also brings up a debate
that’s been going on in class for most of the semester—that is, whether or not
humor can be transformative or socially instructive. I think we have the same
expectations of children’s books as we do of satire: we want to have a little
fun, but we also want to find some guidance. Although they’re “just books,” we
expect to find a moral to it all. As adults, we can easily recognize that Greg
is in a period of transition between naïveté and maturity. He makes mistakes
and faces their social consequences. But when children’s literature is expected
to be very explicit in its moral lesson—nothing short of stating outright that
such-and-such is bad—is there something dangerous about a more “realistic”
child character? What happens if children don’t see past all the nuances of the
narrative to find the moral at the center? I guess we could ask the same of satire:
Should the lesson be overtly obvious? Is it possible for a social concern to
get lost in the art of humor itself?<o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/04916705484715264219noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-19712301536844382892014-12-02T13:03:00.002-08:002014-12-02T13:03:35.712-08:00For King and Kinney <div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;">Diary of a Wimpy Kid </i>is more than just a
humorous “journal” of the day-to-day life of Greg. It is an account of the
trials and tribulations associated with leaving childhood and entering
adolescence. The humor of the story arises from Greg’s mishaps and the way he
interprets the various new problems he encounters in middle school. These
problems range from bullying, meeting girls, being popular, bulking up, etc. Greg
suddenly finds himself thrust into a world in which every person judges him for
each and every one of his actions in his life. The value of the story comes
from the fact that author, Jeff Kinney, is addressing very real societal
concerns. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
For example, Greg
notes that every year the school is forced to watch the movie, “It’s Great to
be Me.” He writes, “The movie is all about how you should be happy with who you
are and not change anything about yourself. To be honest with you, I think
that’s a really dumb message to be telling kids, especially the ones at my
school.” (150-151). Under this excerpt is a cartoon of a bully pushing another
child over while saying, “It’s great to be me.” The line between Kinney and
Greg in this particular passage in almost indistinguishable. Our society has
the tendency to reward children for virtually every action they do. I’m not
saying it is a bad thing at all to constantly surround children with positive
feedback, that type of environment certainly fosters happiness and healthiness.
However, we need to dedicate more attention to condemning negative actions,
even when they aren’t being performed. Kinney is raising the very real concern
that some children are growing up not understanding that their actions are
wrong. He believes that we should focus now on constantly reminding children
how they should treat one another because as children, their moral compasses
are just starting to be constructed. <o:p></o:p></div>
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<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
This passage
reminded me somewhat of King’s “Letter from a Birmingham Jail,” in which he
calls for an end to the societal structures that allow and propagate injustice.
Kinney is making a similar plea by showing the humorous concerns and stresses
of a young adolescent’s life. Sure Greg’s problems seem trivial to us now as
adults but it is essential to remember that these children are slowly becoming
the people they will be for the rest of their lives and it is our duty as their
mentors to help guide them on a path to making moral decisions that benefit
themselves and others. <o:p></o:p></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-12476014812334984742014-12-02T09:39:00.002-08:002014-12-02T09:39:18.550-08:00"Types" of People
<br />
<div class="MsoNormal" style="line-height: 150%; margin: 0in 0in 0pt; text-indent: 0.5in;">
<span style="font-family: AGaramond; font-size: 12pt; line-height: 150%;">Jeff Kinney’s <i style="mso-bidi-font-style: normal;">Diary
of a Wimpy Kid</i> documents middle school pretty accurately. Or, at least, it offers
a personal spin on some important moments, and those moments are just as I
remember them. The lens of a middle school girl is, of course, very different,
but he covers the stressful moment of choosing a seat on the first day of class
and the minor victory of having a new teacher, as well as the baffling nature
of popularity rankings, with accuracy and gusto. Kinney’s accompanying drawings
definitely also added something to the humor that would otherwise have been
impossible to convey. This comic-turned-novel captured all the best parts of
talking to kids. They think they’re funny when they aren’t (e.g. when Greg and
his friends laugh at kid with the initials “P.U.”) and they’re hilarious when
they don’t try (e.g. when Greg tells us that he’s been interested in girls
forever, and it’s not fair that the social dynamics have changed). Kids never
quite match our expectations, and Kinney keeps this incongruous quality
preserved. His illustrations and language are apt and I can easily see why this
book was recommended to me both by a female college-aged roommate and by an
eight-year-old boy whom I babysit. The two cited different aspects of the book
as amusing, but that makes perfect sense. The latter understands all the
opinions and tragic situations in which Greg finds himself, and my roommate sees
the ridiculous-taken-seriously in Greg.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 150%; margin: 0in 0in 0pt; text-indent: 0.5in;">
<span style="font-family: AGaramond; font-size: 12pt; line-height: 150%;">The Greg in this novel is completely self-centered, and
doesn’t care much for the trials of other people. He mentions his neighbor,
shipped off to military school, with hardly a thought, he successfully humiliates
P.U., is horrified at his best friend’s personal stupidity and thinks his
personal popularity is the most important thing in the world. Greg is
constantly categorizing people in his head as “popular,” or “smart,” or “nerdy,”
and desires nothing more than superiority over his peers. Some of the intended
humor in this books is certainly grounded in superiority theory, as when Greg
plays the most classic pranks on Rowley, but there is more to it than that. Greg
is certainly childish and is himself a type, which point his animation drives home.
However, I grant him some leeway because he is in the process of becoming a
functioning member of society, figuring out just what it takes to get along in
the world. This is a painful process, as anyone ought to remember, and
discovering just what “type” of person you are is the whole point.<o:p></o:p></span></div>
<br />
Anonymoushttp://www.blogger.com/profile/05291370116467092493noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-74440802101296935312014-12-02T08:48:00.001-08:002014-12-02T08:48:53.294-08:00“This is a JOURNAL, Not a Diary”<div class="MsoNormal">
Catlin Castan<o:p></o:p></div>
<div class="MsoNormal">
Dr. Ellis<o:p></o:p></div>
<div class="MsoNormal">
Humor Studies<o:p></o:p></div>
<div class="MsoNormal">
2 December 2014<o:p></o:p></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<i style="mso-bidi-font-style: normal;">“This is a JOURNAL, Not a Diary”<o:p></o:p></i></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>While
reading <i style="mso-bidi-font-style: normal;">Diary of a Wimpy Kid</i> I could
not help but laugh out loud. Kinney introduces us to Greg Heffley, the text’s
protagonist, a hilariously witty and overly dramatic middle-schooler. As early
as page one of the text, Greg makes something very clear: “this is a JOURNAL,
not a diary”(1). However, as we read, we can see that everything about Greg’s
so-called “journal” is consistent with the textbook definition of what a diary
is: “a book in which one keeps a daily record of events and experiences”(dictionary.com).
Here, we notice, that even from the very beginning of the text, Greg has a
tendency of telling us one thing but then of actually doing another thing (and
that other thing is quite different!). These occurrences of incongruity prove
to be points of comedic genius—the most comical of these points being that
despite Greg’s staunch opposition to the notion of keeping a “diary”, we see by
the novel’s end, that we have just read a full compilation of Greg’s recordings
regarding events and experiences from his daily life. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>I
found this technique of “telling us one thing but then doing another” to be
reminiscent of Chaucer’s work. Namely, Chaucer often prefaces his major points
of emphasis or important themes by telling his audience that he “doesn’t have
time to talk and/ or write about them” but in the act of telling us that, he is
actually making time and creating space for making these points within his
narrative scope. Although a bit convoluted, this technique prompts the audience
to read more closely into the text and observe characters and subject matter
more attentively. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>I
also found it interesting to note that this book was initially intended for an
adult audience but then later adapted to accommodate a younger audience. While
I agree that <i style="mso-bidi-font-style: normal;">Diary of a Wimpy Kid </i>would
definitely appeal to a child audience, I tend to think that it is more
appealing for the book’s initial intended target audience: adults. As I said
earlier, one of the main sources of our laughter is derived from the
incongruity that we observe between thoughts and actions. However, a similar
incongruity exists between the comprehension level and understanding between
adults and children. Many times I found myself laughing at Greg because I felt
that his creativity, attitude, and (somewhat skewed) perspective on life was
reminiscent of my middle- school- self.<span style="mso-spacerun: yes;">
</span>In other words, while I was able to relate to Greg (despite the current
age difference), I was also able to vicariously experience and retrospectively
reflect on each moment now as an adult reader: a very different experience! <span style="mso-spacerun: yes;"> </span>Here, we notice another one of the novel’s
great achievements: its quality of relatability. We laugh as we read because we
have are able to relate and connect with Kinney’s characters; We place
ourselves within the text in terms of family order and relationships, school
reputation, and self-esteem. We are able to draw upon our own personal
experiences (and laugh) as we watch the Heffley family and friends undergo the various
trials and tribulations of everyday life. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/16219410828009509628noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-27896047329962087132014-12-02T06:27:00.000-08:002014-12-02T06:27:32.152-08:00Superiority Theory as the Cornerstone for Middle School Life
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Middle school is riddled with the
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school kids. Kids in middle school, like Greg Heffley in <i>Diary of a Whimpy Kid </i>try desperately to achieve superiority as a
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<i> </i>It first appears on the first
page of the book where Greg expresses his anxieties about writing in a
journal—not a diary—for fear of being beaten up. Because of this, and because
he is considered a middle school loser, he seeks out ways to stand out or
conform to middle school life that will achieve the accepted status he so
desires. Beginning with the cheese touch, Greg highlights one very obvious way
in which middle schoolers assert their power: simply put, you touch the cheese
you’re a pariah for life. Greg makes this fact very apparent and therefore does
absurd things like walking around with his fingers taped. This odd scene is a
comical one for both an adult and child reader, but why? For children, it is potentially
comical because the superiority theory in this case provided relief: kids have
known or experienced something similar to this in their elementary or middle
school careers. Adults can think this is funny because the have their chance to
feel superior over the narrator: thinking that he is just a stupid kid with
irrational fears. But while Greg
desperately seeks to attain superiority he does not do a great job of achieving
it. He bullies Rowley a lot—i.e. “Did you know your hand is bigger than your
face?” SMACK.—to assert his dominance and also excludes Fregley a lot, deeming
him to be lower than himself. Greg does the very things to Rowley and Fregley
that he does not want to happen to him in order to gain superiority in some
small way. We ultimately see Greg fail in his quest—Rowley eats the cheese and
still ends up becoming more popular than Greg—despite his very best efforts. It
is in the end where we realize, after all the middle-school comedy, that Greg
has failed. Then, the reader—both adult and child alike—asserts their dominance
over Greg, feeling superior in this moment, and is able to laugh at the end and
throughout the book for the exact reason that they are judging Greg for: being
superior. <o:p></o:p></div>
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<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<!--EndFragment-->Toni Gasparishttp://www.blogger.com/profile/13311987848274333812noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-40401496414838301042014-12-02T03:23:00.004-08:002014-12-02T03:23:48.294-08:00From Self-Absorption to Moral ReformJeff Kinney's <i>Diary of a Wimpy Kid </i>invites the reader to identify with its protagonist through a subtle illustrative technique. When the protagonist's moral choices are less than ideal, this invitation challenges the reader to also identify with the protagonist's faults and pushes the reader towards moral reform. Kinney's use of a journal to narrate this development is meaningful in multiple ways.<br /><br />The novel's illustrations primarily advance the plot and convey dialogue in a succinct manner (although some illustrations merely repeat what has already been described in narration, without addition). Not every illustration is necessarily humorous, and few contain the sophistication of a <i>New Yorker</i> cartoon. However, I think they serve an important purpose in inviting the reader to identify with Greg. Notice the physical characteristics of Greg's classmates, friends, teachers, and enemies. Everyone has at least one unique feature: a big nose, prominent teeth, large hair, a hat, glasses. The simplest character of all is Greg himself. Every other character, whether male or female, is a variation on Greg's plain physical features. Except for the three tufts of hair sprouting from Greg's head, Greg could almost be a stick figure. (I find Greg's father and older brother to be especially funny variations--they are simply older versions of the same exact character!) Kinney does this purposefully. Whether the reader was in middle school last week or last century, who can't identify with the young Greg? Greg's everyman (everyboy?) characteristics help the reader see himself in Greg. [I say <i>him</i>self purposefully, because I don't know what the female reaction to this would be. Greg's experience seems fairly masculine, and while it connects with my own middle school experience, I can't speak for women who read the book. I'd be interested to discuss the female take on this book in class. I do think that Kinney's invitation to identify with Greg can still apply for female readers and doesn't automatically negate the whole argument.]<br /><br />Early in the novel, the reader is likely to have subconsciously identified with Greg, not only from the illustrations, but through Greg's lens on the world: he seems to be the only sensible person around. However, a number of incidents throw his sensibility into question. A continuing theme through the novel is Greg's poor treatment of the lovable Rowley, who is a friend of utility. In fact, it seems that all of the people in Greg's life are there for utility, helpful only to the degree that they help Greg play more video games or become more popular at school. In a previous post, Anna considers Greg's "deception" to be "the darker side of the novel." While I imagine that adult readers are perceptive of Greg's selfishness from the beginning, I don't know what an actual sixth grader would think of Greg's Christmas thank-you cards or his actions during the school play. I know that my little cousin in the second grade <i>loves</i> this book; I don't doubt that Greg Heffley has inspired him to commit a few nefarious deeds of his own. For a nine-year-old, Greg is the Machiavelli of middle school!<br /><br />Anna almost understates the situation: Greg's self-absorption is really the <i>only</i> side of the novel until the last pages, when Greg makes a single gesture of self-sacrifice and pretends that he touched the cheese (rather than Rowley, who was forced to eat it). Hopefully all readers are appreciative of this character development--especially my cousin.<br /><br />Kinney's use of a journal to convey the narrative of a self-absorbed sixth grader is quite brilliant. The first entry of the "JOURNAL" explains why Greg Heffley would choose to write his personal experiences in the first place: Greg believes that he is surrounded by "a bunch of morons," that he is "smart and handsome," and that one day in the future, millions of people will want to know about his childhood (Kinney 2). (Ironically, millions have read about this fictional childhood). Isn't a journal naturally inward-looking and self-congratulatory?<br /><br />Not necessarily. Not every journal will become a bestselling book, and everyone who keeps a journal knows this. Most people don't want their private thoughts published for the world to read. Journals are also an effective tool to track one's moral development. Ignatius of Loyola instructed the faithful to track one sin (or category of sin) each day with simple tally marks. He hoped that as the sin became less prevalent, the record would be a visual reminder of success and an encouragement to eliminate the tallies entirely. Benjamin Franklin created a chart of virtues that he filled out at the end of every day to record which virtues he lived and which he neglected. These are just two examples of personal journals meant to lead to moral growth.<br /><br />I don't think it's accidental that Greg's physical characteristics are so simple. Just as Greg places himself at the center of the universe, Kinney wants us readers to enter into the center of the story, becoming the protagonist. All of us are a little like Greg: self-absorbed, using others as means-to-ends, often blinded by our own ambition and greed. It is a prideful desire to go inward which leads Greg to start his journal, but a journal is ironically one of the most effective tools for moral reform, which ultimately leads one out of oneself and into the realm of sacrificial love. When I, as a reader, criticized Greg's actions, I know that I was often criticizing myself. Greg's journal, like all good satire, compels us all to become better people.Tommyhttp://www.blogger.com/profile/00410214806302852135noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-3710525615565491892014-12-01T19:37:00.002-08:002014-12-01T19:37:32.979-08:00Confessions of a "Wanna-be" Tough Guy
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt;">I
first read <i style="mso-bidi-font-style: normal;">Diary of a Wimpy Kid </i>while
sitting in a dentist’s chair. . .they were slow that
day. The dental hygienists heard me laughing and I had to excuse myself once or
twice, though I also remember moments of discomfort, during which I felt
disappointed in Greg’s behavior. In order to understand a deceptively simple
book like <i style="mso-bidi-font-style: normal;">Diary of a Wimpy Kid</i>, it is
useful to look at the structure and techniques that Kinney uses. Let us first
address the cartoons and their function. <o:p></o:p></span></div>
<br />
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<span style="font-family: "Times New Roman",serif; font-size: 12pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt;">Early
on, Greg tells us about Bryce, the most popular boy in the grade. “The thing
that really stinks is that I have ALWAYS been into girls, but kids like Bryce
have only come around in the last couple of years. I remember how Bryce used to
act back in elementary school” (6). We then view a cartoon, in which Bryce
says, “Girls are stinky poos!” and Greg says, “I don’t think girls are stinky
poos,” but the girls are facing Bryce (7). This cartoon is humorous, and for
more than just the use of the term “stinky poos” as an insult. The detail in
which the girls face Bryce illustrates Greg as an almost-invisible fellow, and
we see how he observes himself in relation to others. Greg’s journal might don
a new name, such as “Confessions of the Not-Quite Popular,” or “Confessions of
a Jaded Nice-Guy.” Throughout the novel, the pictures underscore the “buttons”
of the jokes set up in the writing, and intensify the humor implicit in the
plot. <o:p></o:p></span></div>
<br />
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<span style="font-family: "Times New Roman",serif; font-size: 12pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt;">The more
endearing parts of the book are his stresses and his musings. One particular
stressor with which Greg deals is the “Cheese Touch.” He tells us about a piece
of cheese that has been sitting on the basketball court since the prior spring.
Upon its arrival, it began to get moldy and no one would play on that court. A
student, Darren, touched the Cheese and got the first “Cheese Touch.” Because
it is like “cooties,” it is a very serious matter for elementary school
students. This worry is relatable, and a classic case of “Funny Because it is
Truthful.” Think about it. Middle school involves arguably the worst years of
one’s schooling career. Kids go through puberty, and at different rates, and
hormones do all sorts of new things. There is a “popular crowd” moreso than
ever before, and those who are not in this crowd must forge their own paths. Therefore,
<i style="mso-bidi-font-style: normal;">of course </i>the rules surrounding the
Cheese Touch must be taken very seriously. Here, I applaud Kinney for his commitment
to truth and trusting it to be funny. This is a classic example of
Relief/Release Theory, as many readers will have had similar stressors in
middle school, have children currently in middle school, or can relate to
comparable forms of stress (perhaps more “adult”) in their own lives. <o:p></o:p></span></div>
<br />
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt;">The
darker side of the novel involves his—more controversial, as some blog posts
have noted—deception tactics. His deception does not discriminate, for he
deceives everyone from his baby brother to Rowley’s dad. Greg makes some
choices throughout the novel that are downright mean, and he is not as lovable
a protagonist as we might hope. Some readers may not think that he is lovable
at all. <o:p></o:p></span></div>
<br />
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<span style="font-family: "Times New Roman",serif; font-size: 12pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt;">However,
I appreciate Kinney’s continuity with the “Cheese Touch,” as it comes back to
show some growth in Greg’s character later in the novel. When the older kids mess
with Rowley and Greg, they try to force them to eat the cheese. Greg says that
he is allergic to milk, but the boys force Rowley to eat the cheese. Humor is
all over this scene, as Greg again reminds us of the gravity of the Cheese
Touch. He notes that “if Rowley ever tries to run for President and someone
finds out what these guys made him do, he won’t have a chance,” and underscores
his own somber tone by telling us that the boys made Rowley “__ __ __ the
Cheese,” refusing to write out the word, “eat” (210). The seriousness of
younger people always makes older people laugh, so we along with the parents,
might laugh heartily at this. Yet children Greg’s age might understand the
gravity of the situation. Ultimately, Greg protects Rowley by telling the other
kids that <i style="mso-bidi-font-style: normal;">he </i>disposed of the cheese,
and thereby relinquishes any steps forward in popularity that he has taken in
order to help someone else. Finally we see a moment in which kindness triumphs
over the quest for popularity and all of its accompanying schemes. <o:p></o:p></span></div>
<br />
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt;">A
slightly subtler device that Kinney uses in writing the book is that of giving
somewhat more mature terminology and worries to a young boy. For example, Greg
talks about sitting near “hot girls,” and many of his hopes for popularity
revolve around women. What happens when we mix teenage worries with childish
tactics (and vice versa) in a boy between the two ages? Does it make the
worries and tactics funnier? Less funny? Does it force us to evaluate them
differently? It frustrates some of us. Some might say that it is “not cute
anymore,” while still others may say “it was never cute.” Yet Greg’s revelation
of character when he protects Rowley at the end keep the book in a lighter
state, and we can view him as a “wanna-be” tough guy with a soft spot here and
there. This is amusing, and serves as relief in itself, so we the reader can
laugh, even though Greg has taken steps backward on his quest to reach his
central goal (popularity). <o:p></o:p></span></div>
Anna DeBlasiohttp://www.blogger.com/profile/09798947881840436485noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-37598841809500278882014-12-01T15:42:00.001-08:002014-12-01T15:42:01.364-08:00Can I still talk about Bryson?<div class="MsoNormalCxSpFirst" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Well,
after mistakenly preparing my Kalman presentation for two weeks ago, neglecting
to read the Bryson, and then missing that presentation last week due to an
injury, I’m struggling to get on top of things again. I enjoyed listening to
the class’s commentary on <i>I’m a Stranger
Here Myself</i>, and I thought a lot about some of the more notable points as I
was reading it. I had read some Bryson before and remember his penchant for
didactic statements and suspicious statistics. For the most part, I didn’t mind
that Bryson had criticisms about American society, culture and politics. What
makes him come off as a curmudgeon, however, is that his critiques don’t appear
to have a particular target. He mostly just chalks up large sociopolitical
trends to American “culture” and moans that things are going the way they are A
few of you pointed out that Bryson believes what are actually global, modern
trends. For example, I think he’s getting at something really important in “Inefficiency
Report” when he talks about the way food is handled by the Department of
Agriculture and the Food and Drug Administration. There’s something to be said
about the dangers of industrialized agriculture and the mass production of
food. Although it’s certainly a problem in the United States, these processes
really are part and parcel of the globalized marketplace. He even hints at the
dangers of privatization when he mentions that the Federal Aviation
Administration has resorted to contracting its landing services. However,
Bryson never really connects the dots in the end, making only some sly reference
to turkey burgers and food contamination.<o:p></o:p></span></div>
<br />
<div class="MsoNormalCxSpMiddle" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">This
happens again in the very next essay, “Why No One Walks.” He’s got all the
statistics to make a good argument: that the average American “walks less than
75 miles a year,” that the United States spends less than 1 percent of its
highway budget on “facilities for pedestrians,” and so on and so forth. As
someone who likes living within walking distance from essential amenities, I
agree with Bryson and I share his disappointment that so much of American
infrastructure is automobile-centric. But where he could go on to talk about
the economic forces behind these incongruities in the system, he again lays the
blame on American culture or “people these days” or something like that.
Overall, I think Bryson has a really strong voice and a great sense of humor. I
just wish he would let go of this fascination with cultural peculiarities and
recognize the larger powers that be.<o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/04916705484715264219noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-89893610376558549912014-11-30T21:12:00.002-08:002014-11-30T21:14:26.276-08:00Caricature of an American Brat<div class="MsoNormal">
There is a holiday tradition in my family (and many others)
that takes place at Christmas time. We all gather around an open hearth to
enjoy hot chocolate, laughter with loved ones, and a tirade from anyone over 63
entitled, “The Problem with Your Generation.” This tirade will usually begin
with a short anecdote about some atrocity recently witnessed in a public place,
such as a young child using an iPhone or a teenaged clerk demonstrating a
blatant dislike of his or her minimum wage position, and digress into a
complete list of grievances with Today’s Youth. In writing <i>Diary of a Wimpy Kid</i>, Jeff Kinney creates a caricature of the “American
Brat” – the type of kid that fuels the speech of my incensed family members, rolling
every accusation leveled at today’s youth into the character of middle schooler
Greg Heffley.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The premise of <i>Diary
of a Wimpy Kid</i> is simple: life through the eyes of an average American kid attempting
to navigate the trials and tribulations of adolescence. He is the middle child
of a middle-class family with two married parents and two bothersome brothers.
His averageness is typified by his self-ranked popularity at school, which he estimates
to be “around 52<sup>nd</sup> or 53<sup>rd</sup> most popular” (7). Every
aspect of Greg’s life is a carefully controlled normal. However, in creating
this portrait of an “Every-kid” character, Kinney weaves in several fairly
unflattering characteristics.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Greg is greedy, selfish, and lazy. He wants an expensive
video game for Christmas and fails to recognize the good that may come from the
mix-up that resulted in an underprivileged child getting the game instead. He
regularly mocks and is embarrassed by his “best friend,” who he describes to be
relatively slow, unpopular, and undeserving of the regular vacations taken by
his family. He shirks responsibility and is guilty of bullying as often as he
is bullied himself. A “smart kid who doesn’t apply himself” (according to his
mother), Greg regularly looks to cut corners to achieve his self-serving goals.
<o:p></o:p></div>
<br />
<div class="MsoNormal">
In short, Greg is a personification of the supposed
corruptive influences of contemporary American society. Technology has made us
lazy, consumerism has made us selfish, and modern media has destroyed our moral
compass. Thus, grumpy Baby Boomers and their seniors would likely miss the
inherent humor in Greg’s many mishaps, imagining instead a workforce one day filled
with former “wimpy kids.” <o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/07387197181772540093noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-45782529655385438732014-11-25T15:24:00.002-08:002014-11-25T15:24:30.834-08:00Third Person Perspective<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
In an interview
with Isaac Mizrahi, Maira Kalman says that throughout her life, she has always
seen herself “as a third person in space.” At first, I wasn’t quite sure what
she meant by this, but the more I watched her speak and reflected upon her
book, the more it made sense. While reading <i style="mso-bidi-font-style: normal;">The
Principles of Uncertainty</i>, I was greatly amused by Kalman’s unique
perspective on life, but I couldn’t quite make sense of why she saw the world
this way, but after watching that interview, it all came together.</div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Kalman
brings about a whole new sense of humor that we have not really discussed in
class. She is not outwardly or overtly funny in anything she writes or does,
but her whimsical sense of the world around her and the odd details she picks
out as highly important make her writing/illustrating extremely humorous. While
comic writers tend to ask their audience to look at themselves and their world
from a third person perspective due to some realization they, themselves have
made and are now sharing, Kalman simply shares the world as she sees it, which
is already from this perspective. </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Cartoonist,
Paul Rudnick, talks about writing comics and humor as a form of finding
salvation in sad or hard times and this seems to be what Kalman does whether
she is acutely aware of it or not. From her interviews it is pretty clear that
she knows that what she does it funny, but it seems at the same time that she
does not herself find it so funny as much as she simply sees it as her reality.
The ways in which she finds it funny are similar to the ways in which we might
in that her way of thinking and her perspective are so different from the norm.</div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Kalman
is hyper aware of the sadness in the world and the hardships that cover the
globe and it seems that her way of looking at things and her attraction towards
simple diversions and distractions are her own form of “salvation.” So while we
find them funny, she finds them therapeutic and it seems that through her
writing/illustrating, especially that in <i style="mso-bidi-font-style: normal;">The
Principles of Uncertainty</i>, she shows us how this functions and asks us to
shift our perspective to do the same. </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>While
many of the writers we have studied so far have this shift of perspective on
their agenda, it has usually been with the goal to correct some wrong or badness
in our world. In her work, Kalman is not necessarily calling us to action, but
instead just bringing us a new sense of mental healthiness and hope. She knows
there is only so much to be done about this world but there must be some way to
live and that is what she seeks. This overall acceptance of the world as is
brings a refreshing sense of honestly and wonder to her work which makes us
laugh but also lifts a burden that many of the other writers have tried to
press down upon our shoulders. </div>
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<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>I
am not saying that Kalman’s work does not ask for change, because it does;
Kalman just asks for a different kind of change. <i style="mso-bidi-font-style: normal;">The Principles of Uncertainty</i> are a catalyst for a more personal
than societal change which can then resonate and be reflected in our actions
toward others, but it starts at the core of the self. Humor does not
necessarily have to point out the wrongs, but it can make you see the beauty in
the small things in order to cope with the worse parts of life. By looking at ourselves from this third person perspective, we can look at ourselves in our world and see where we stand, what we interact with and how and appreciate existence in itself. </div>
Amandahttp://www.blogger.com/profile/03693278155789143355noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-74689197660284294772014-11-25T11:32:00.002-08:002014-11-25T11:32:23.338-08:00Uncertain Truth, Certain Art<div style="line-height: 100%; margin-bottom: 0in;">
Maria Kalman's
ironic response to nihilism is an existentialist endeavor to craft
meaning—through art—out of the supposedly meaningless world
around her. In doing so, she recognizes that one can never understand
complete truth. Any attempt to find meaning will be marked by
uncertainty.</div>
<div style="line-height: 100%; margin-bottom: 0in;">
<br />
</div>
<div style="line-height: 100%; margin-bottom: 0in;">
“A quote by
Bertrand Russell: 'All the labor of all the ages, all the devotion,
all the inspiration, all the noonday brightness of human genius, are
destined to extinction …' So now, my friends, if that is true and
it IS true, what is the point? A complicated question” (Kaiman
175).</div>
<div style="line-height: 100%; margin-bottom: 0in;">
<br />
</div>
<div style="line-height: 100%; margin-bottom: 0in;">
And a complicated
author. How are we to interpret Kalman? Is she an absurdist who
enjoys presenting disparate portraits, events, objects, and facts in
order to convince us of the meaninglessness of life? Or does she
truly find deep and meaningful connections between every incident in
her day and throughout all of history? Kalman doesn't have a
traditionally religious perspective on life, so even the phrase
“Finding God in all things” probably doesn't encompass her
attitude towards the world. However, her love of Bertrand Russell and
Frederich Nietzsche seems tempered by an optimism that allows her to
venture through life without despair. Is there an ultimate purpose to
everything? Kalman is agnostic on the final answer to this question.
But as an artist, she accepts her own role in making meaning out of
disparate life events.</div>
<div style="line-height: 100%; margin-bottom: 0in;">
<br />
</div>
<div style="line-height: 100%; margin-bottom: 0in;">
“Between now and
five billion years from now, someone will look out of this window. /
Someone will admire this yellow vase. / And someone will remember
that I did buy a completely sensational hat. Completely” (231-233).
Kalman writes these words, accompanied by her own illustrations,
after a chapter made up almost entirely of photographs of people
(typically elderly) walking through the city. Kalman's fascination
with the elderly and with death is important, but this chapter's use
of photographs rather than paintings is equally as important. It's
one of the bleakest chapters in the book, as Kalman repeats, with
variations, that “The sun will explode five billion years from now.
Set your watches” (216). Photographs undoubtedly change our
perspective on the world even in the act of taking them. However, for
Kalman, they represent the first step in a process of ownership that
culminates in painted art and narrative. When she is only showing us
a photograph, it suggests that she hasn't fully owned this moment in
time. As the chapter comes to a close, Kalman includes “photographs”
of Austrian bedrooms which were gifted to her. Ironically, these
photographs are her own paintings—perhaps because the photographs
were gifted to her, she can paint them; she can own them. The
photographs in this chapter are strangers who are walking, their back
to the photographer. Kalman can't “own” someone who she doesn't
understand and who is constantly one step ahead. The man in angel
wings she has previously painted—from the front, when he could be
understood (171). From behind, a mere photograph will have to do.</div>
<div style="line-height: 100%; margin-bottom: 0in;">
<br />
</div>
<div style="line-height: 100%; margin-bottom: 0in;">
But in response to
the destruction which awaits our world five billion years in the
future, Kalman ironically asks: “That really changes everything,
doesn't it?” (216). Of course it doesn't. These people keep
walking, even floating, into the future. And so does Kalman, while
simultaneously reflecting on the past and owning everything around
her (by means of painting) in the present. The book's title,
<i>Principles of Uncertainty</i>, captures the problem of art as a
tool for memory. For a physicist, the uncertainty principle describes
the problem of measuring the smallest particles of the universe (at
least, what we believe to be the smallest particles). The act of
measuring unavoidably effects a particle in the same way that taking
someone's temperature requires opening his mouth. However, taking
someone's temperature is not a precise science like quantum physics.
Kalman's use of this idea in daily life suggests that the true
measurement of life can never be pinned down—that is, that any
attempt to examine the world undoubtedly involves redescription.
There is always a subtle difference between the way that a camera
captures the world and the way in which the human eye sees a scene.
Additionally, Kalman's own paintings—some of which we can compare
to photographs—display even more of a difference between the
original memory and the reproduction.</div>
<div style="line-height: 100%; margin-bottom: 0in;">
<br />
</div>
<div style="line-height: 100%; margin-bottom: 0in;">
Kalman helps me to
reflect on my own methods of “crafting meaning” in my life. I'm
less than agnostic about the ultimate foundations of truth within the
universe, but I don't think that the meaning of one's own life is as
clearly evident as the musings of a philosopher, the assumptions of
the theologian, or the discoveries of an astronomer. For many years,
I carried a Nikon D40 DSLR with me wherever I went. My laptop is
still filled with hundreds of gigabytes of memories, memories which
may be preserved only in the external location of my hard drive. If I
lose those pictures, the record of some incidents will disappear from
human consciousness altogether. In my late teens, I stopped taking as
many pictures, preferring to write, journal, and collect scraps of
information. At Loyola, I was introduced to the Examen, which is,
among other things, a spiritual practice of narrative. The Examen
refuses to see the actions, emotions, and prayers of one's day as
disparate events, but part of a larger narrative that Jesuit Hans Urs
von Balthasar called the divine “theo-drama.” My desire to
capture and re-experience the events of my day hasn't disappeared but
has taken other forms. Ever since the invention of painting, we've
outsourced our memories to the outside world. In 2014, I think that
Facebook serves as one of our primary tools for collective memory,
while Twitter is a record of collective thoughts.</div>
<div style="line-height: 100%; margin-bottom: 0in;">
<br />
</div>
<br />
<div style="line-height: 100%; margin-bottom: 0in;">
I think that for
most of us, one of the scariest scenarios imaginable would be to
forget our entire past. Our selves are contingent in our histories,
in our memories. Losing all of our photographs, diaries, emails, and
recorded conversations would be nothing compared to the actual loss
of memory of one's history and sense of self. Kalman's fascination
with obituaries is proof of her desire that one's history not end in
death. And her response to the apparent meaninglessness of this life
is to capture, through her art, her experience. The artistic
principle of uncertainty is that the truth of experience can never be
recaptured. But perhaps, as classical philosophy would argue, art
perfects life. Our experiences are mere disparate events; art strings
them together in a meaningful manner, even in the face of impending
destruction.</div>
Tommyhttp://www.blogger.com/profile/00410214806302852135noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-37683743825359909162014-11-25T10:39:00.001-08:002014-11-25T10:39:05.654-08:00The Uncertainty of the Human Experience<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-bidi;"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">The
Principles of Uncertainty </i>reminded me a lot of Humans of New York.<span style="mso-spacerun: yes;"> </span>For those who are not familiar, Humans of New
York (HONY) is a project started by a guy named Brandon in 2010 in which he photographs
people around New York City.<span style="mso-spacerun: yes;"> </span>Brandon
asks the subjects of his pictures a few questions about their lives to use as the
caption to the photo.<span style="mso-spacerun: yes;"> </span>Then, these
pictures and captions are posted on HONY’s blog and Facebook page for the
public to read.<span style="mso-spacerun: yes;"> </span>Originally, Brandon
started HONY to “create an exhaustive list of New York City inhabitants,” but now
he has travelled all over the world, documenting the human experience in
various cities.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-bidi;"><span style="mso-tab-count: 1;"> </span>The reception of Humans of New York
has been phenomenal; the blog allows readers around the world to catch a
glimpse into a stranger’s life, if only for a moment.<span style="mso-spacerun: yes;"> </span>The caption that goes along with the picture
is what tends to strike most people, and HONY runs the gamut when it comes to
the diversity of human experiences.<span style="mso-spacerun: yes;">
</span>There is no shortage of sassy old women, truthful little kids, middle
aged people struggling with financial or family issues, or immigrants admitting
they appreciate America, but it is hard to succeed here.<span style="mso-spacerun: yes;"> </span>Humans of New York publishes every story
whether they are entertaining, sad, or bitter—these stories and emotions are all
part of being human which should be celebrated.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-bidi;"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">The
Principles of Uncertainty </i>reminded me of HONY because while the book is
specific to Kalman’s worldview, she is a conscious observer of how other people
have impacted herself, similar to Brandon’s story.<span style="mso-spacerun: yes;"> </span>In the chapter titled “Completely”, Kalman
includes two photographs mirroring each other on each page, so the photograph
is similar, but her captions may or may not be related.<span style="mso-spacerun: yes;"> </span>On pages 205-207, there is a woman who wears
a black bow in her white hair, but each picture is of a different woman in a
different context.<span style="mso-spacerun: yes;"> </span>The captions reads
“in the Hermitage you would see this bow on this woman.<span style="mso-spacerun: yes;"> </span>Again.<span style="mso-spacerun: yes;">
</span>And again.<span style="mso-spacerun: yes;"> </span>And then have tea or
vodka.<span style="mso-spacerun: yes;"> </span>You would be so grateful to follow
her and see that bow” (205-207 Kalman).<span style="mso-spacerun: yes;"> </span>Kalman
may not know the woman with the bow, but that woman reminded her of the
Hermitage (an art museum in Russia) and that reminded her of another woman with
a similar bow.<span style="mso-spacerun: yes;"> </span>She mentally makes all of
these connections between total strangers regardless of whether they are significant
or fleeting figures in her life. Kalman documents her encounters with all types
of people, both living and dead, who have impacted her worldview in some way. </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-bidi;"><span style="mso-tab-count: 1;"> </span>Therefore, while HONY takes
portraits of people to create a comprehensive view of the human experience,
Kalman does the inverse and produces pictures of other people to create her own
worldview.<span style="mso-spacerun: yes;"> </span>But I think Kalman ties the
two together well with this concept of uncertainty because really nothing is
certain.<span style="mso-spacerun: yes;"> </span>With HONY, Brandon never knows
what stories these people, who would otherwise be strangers, have to
share.<span style="mso-spacerun: yes;"> </span>We cannot answer with absolute
certainty many of the existential questions Kalman raises in her book.<span style="mso-spacerun: yes;"> </span>In humor, we never know if other people will
laugh at our intended or unintended humor.<span style="mso-spacerun: yes;">
</span>Without knowing the outcome of humor or without knowing how our lives
will turn out or who we will randomly meet someday, there is inherent risk in
most life endeavors simply because the outcome could be horrendous.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-bidi;">On the flipside, Kalman knows there will never be concrete answers
to “how are we all so brave as to take step after step?<span style="mso-spacerun: yes;"> </span>Day after day?” (42 Kalman).<span style="mso-spacerun: yes;"> </span>We will never be able to be truly certain
about most things in life because we do not all live the same lives or meet the
same people, making it extremely difficult (if not impossible) to fundamentally
understand the human condition that applies to every person’s life. <span style="mso-spacerun: yes;"> </span>The point of HONY and Kalman’s book is to try
to understand each other and ourselves a bit better so as to be a little more
certain.<span style="mso-spacerun: yes;"> </span>Humor, HONY, and Kalman all
urge us to ask ourselves hard questions about what it means to be human and if
we actually understand each other or if we merely live in assumptions.<span style="mso-spacerun: yes;"> </span>All three urge us to not only yearn for
certainty through empathy, but to also find the beauty in this uncertainty,
recognizing that the possible answers to Kalman’s questions are limitless. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
<span style="mso-spacerun: yes;"> </span>Anonymoushttp://www.blogger.com/profile/11865800772061371270noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-2394745065604023182014-11-25T10:07:00.001-08:002014-11-25T10:07:41.419-08:00You Can't Order A Deluxe Grilled Cheese.
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 0pt;">
<span style="font-family: AGaramond; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>Maira Kalman’s <i style="mso-bidi-font-style: normal;">The Principles of Uncertainty</i> first struck me as a rather ambitious
project. How can uncertainty be given governing rules? If only we could fit the
uncertain future into a neat Excel spreadsheet of principles, wouldn’t life be
easier? I was suspicious of anyone who claimed to be able to do that. Upon
completion of Kalman’s book, however, I began to appreciate her project and
direction. She tell us that she is “curious about all the little things that
make up a life” (50), and she strings together a collection of random moments,
captured in illustration. These moments are indicative of real life. After all,
life itself is simply a collection of moments, and it’s up to us to string them
together in whatever way we can. Sometimes time is the only thing that connects
our random collection of identities together, and I was struck by this thought
when reflecting upon Kalman’s book. She asks the big questions outright, and
does not pretend to have any answer to “Are things normal?” or “What will
happen to us all?” She chalks it all up to life’s uncertainty, but shows us her
own methods for getting along anyway.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 0pt; text-indent: 0.5in;">
<span style="font-family: AGaramond; font-size: 12pt; line-height: 200%;">The illustrations-coupled-with-musings form is one we’ve
seen before. Amy Sedaris’ fascinating entertainment guide also matched her own personal
anecdotes with a hodgepodge of images, and followed the same kind of wandering
plotline. Some of her comments, such as “You cannot order a deluxe grilled
cheese sandwich. There are limits to deluxe,” and “I would love you to come to
my party. It will be on a Sunday afternoon. Let’s avoid a nighttime party,”
even sound like phrases of which Sedaris would approve. Both women break the
convention of a normal novel, and personalize their words with their own
worldviews.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin: 0in 0in 0pt;">
<span style="font-family: AGaramond; font-size: 12pt; line-height: 200%;"><span style="mso-tab-count: 1;"> </span>This book also reminded me a bit of the
Marx Brothers’ <i style="mso-bidi-font-style: normal;">Duck Soup</i>. It wasn’t
the quiet, musing nature of Kalman’s work that brought the rowdy vaudeville troupe
to mind, but rather the breaking of convention. The works of the Mark Brothers
and Kalman, and, indeed, Sedaris as well, take the form of a collection of
moments, only marginally held together by linear time or plot. While the
moments are quipping and hilarious for Groucho, Chico and Harpo, and quietly
funny and reflective for Kalman, both brands of humor cause the audience to
look inward. The plot is not the point of either, but it is the character study
that is of most interest. In both instances I wondered whether I was like one
of the characters in their stories. The Marx Brothers made me consider whether
or not I am also ridiculous in some way, but Kalman made me think about whether
or not I am one of the people whose photograph will be discovered on a flea
market keychain in a bin in forty years. They are the same question—the
question of identity and the way that identity fits into the larger point of life—but
asked in different ways. We can never be certain of this identity until it is
in retrospect, but, for now, Kalman lends us her worldview to help us get along
anyway.<o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/05291370116467092493noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-22393504547706706562014-11-25T10:03:00.001-08:002014-11-25T10:03:24.822-08:00The Little Things<div class="MsoNormal">
Catlin Castan<o:p></o:p></div>
<div class="MsoNormal">
Dr. Ellis <o:p></o:p></div>
<div class="MsoNormal">
25 November 2014<o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;">The Little Things<o:p></o:p></i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Wow!
Reading Maira Kalman’s <i style="mso-bidi-font-style: normal;">Principles of
Uncertainty</i> was certainly a whirlwind experience. From flowery sofas to the
“silent sink in the Corbusier house that speaks the truth”(162)—and everything
in-between—Kalman’s text works to seamlessly construct a piece of literature that
captures the intricate relationship that exists between that which is sacred
and that which that is mundane. To convey her point, Kalman works to disorient
her readers through the intentionally chaotic presentation of her authorial
message. Implicit to the very structure of her text—namely, her use of various
mediums: photographs, hand-written text, type, and original illustrations—we
begin to recognize divinity, purpose and significance in even the most
seemingly insignificant, random, and obscure objects. It is through this chaos
that Kalman is able to find rigid order within her world: within our world. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>By
addressing her observations of the mundane within the same narrative scope as
historical events such as the Holocaust, Kalman is suggesting that the “little
things” we encounter in life hold the same weight or relevance as the “larger
things”. While Kalman successfully bridges the gap between this disparity, she
does not intend to in any way discredit or minimize the pain or suffering that
is often associated with the “larger things”; Instead, she offers us this
comparison as a way of shedding light on the progression of the little things
into the big things. If we accept this notion of continuity, then, “things”—whether
large or small—are all one in the same; we begin to understand that the larger
things aren’t so large, but rather, a mere compilation of a lot of subsequent smaller
things. <o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>In addition
to Kalman’s ability to find both subtle and meaningful connections within our
world, she also seems to drive her audience to a point of utter confusion.<span style="mso-spacerun: yes;"> </span>Just shy of an existential crisis, Kalman’s
work raises many extremely difficult, yet central questions to human existence.
Specifically, Kalman asks us if the “central premise of everything” is “the
realization that we are ALL (you/me) going to die” (46). Further down on page
46, Kalman admits: “It stops me DEAD in my tracks a dozen times a day. Do you
think I remain frozen? No. I spring into action. I find meaningful
distraction”(46). Similarly, later in her text, she asks: “Knowing [that the
sun will blow up in five billion years], How could anyone want a war? Or
plastic surgery? But I am being Naïve. And the unknown is so unknowable. And
who is to judge? Really (222). In both of these moments, we can obviously
detect a pessimistic outlook on life; however, by addressing pessimism in an
extreme and humorous way, Kalman is trying to tell us that deeming life
“unmeaningful” is equally as absurd as her own writing style. I found this
approach rather optimistic—it encourages her readers to relentlessly seek out
meaning even if that means participating in something as “trivial” as dissecting
a piece of cake. (an activity Kalman would likely not deem as being trivial…) <o:p></o:p></div>
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<span style="mso-tab-count: 1;"> </span>While the
existential attitude is sometimes a tempting attitude to adopt—who doesn’t
question their purpose on a particularly difficult day? However, Kalman tells
us that life is always magical if you view it from the appropriate lens.
Consistent with existentialism is social mobility. I found this relationship to
be particularly relevant to my service learning experience. Specifically, just
as people often feel that their actions are essentially meaningless in the
grand scheme of our inevitable human nothingness, children who are born into
lower socioeconomic households often experience these same feelings—they feel
as though nothing they do in life truly matters. This is because they view
their current social status as stagnant—a permanent fixture—and in doing so
they dismiss their opportunity to overcome their current situation and
progress. For example, many of the children whose parents did not attend
college assume and accept that same fate for their own lives: they believe that
because they have uneducated parents and limited funds that they are unworthy
of a better life.<span style="mso-spacerun: yes;"> </span>This mindset proves
detrimental to their personal and academic development in that they no longer
want to perform inside the classroom, in social settings, in life. They
figure:<span style="mso-spacerun: yes;"> </span>What’s the point of doing well
in school when I’ll never get into college or be able to afford it anyway. They
fail to recognize their humanly capacity to illicit change and make a
difference in this world—something that Kalman would likely detest. However, in
taking a Kalman approach, by relentlessly reminding these students of how smart
they are—of how worthy they are--at every chance that presents itself, teachers
at Tunbridge are able to maximize on “little” opportunities to enhance these
children’s self worth—worthiness that will hopefully eventually lead to a
larger dream! <o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/16219410828009509628noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-30362848001425600442014-11-25T08:24:00.002-08:002014-11-25T08:24:36.971-08:00What about Nietzsche's Mustache?<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: Helvetica;">The
only way I can aptly describe Maira Kalman’s humor in <i style="mso-bidi-font-style: normal;">The Principles of Uncertainty</i> is overwhelmingly
existentialist.<span style="mso-spacerun: yes;"> </span>As the paradoxical
title may suggest, this is a book about navigating a life and world of
inconsistency and incongruity.<span style="mso-spacerun: yes;">
</span>What I found to be distinctive about this book was that Kalman’s humor
needed no target, except perhaps the variable and sometimes unfair nature of
life itself.<span style="mso-spacerun: yes;"> </span>Kalman illustrates
(both figuratively and literally) how funny our little daily rituals are in the
big picture of things.<span style="mso-spacerun: yes;"> </span>The
stream-of-consciousness that is transcribed here is clearly very intelligent as
well as simultaneously naively optimistic and hopelessly jaded.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: Helvetica;">Within this humor is mixed a sort of dread that I
don’t think we’ve seen from any previous authors; Kalman ask rhetorical
questions that had me personally reevaluating my entire existence.<span style="mso-spacerun: yes;"> </span>One passage which really made me pause
for a moment was when she asked, “What can I tell you? The realization that we
are all (you, me) going to die and the attending disbelief—isn’t that the
central premise of everything” [46]?<span style="mso-spacerun: yes;">
</span>These are thoughts we’ve all had, but not ones we necessarily discuss
very often because of their immobilizing gravity.<span style="mso-spacerun: yes;"> </span>Kalman continues on to say she looks for ‘meaningful distraction’
to occupy her thoughts and time.<span style="mso-spacerun: yes;">
</span>This concept of ‘meaningful distraction,’ seems to be yet another
paradox; if it is something that distracts from the truth of a transient situation,
how can it be meaningful?<span style="mso-spacerun: yes;"> </span>In this
response, she suggests that the only way to cope with the eventual futility of
life is to amuse oneself in some manner—this diversion could be through art,
literature, even just sitting and eating.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: Helvetica;">In many ways, this book made me recontextualize
the functions of humor that we have discussed in class.<span style="mso-spacerun: yes;"> </span>Although Kalman clearly does utilize
humor and a sense of lightheartedness in <i style="mso-bidi-font-style: normal;">Principles
</i>in order to broach subjects that would otherwise be difficult to discuss,
these subjects and circumstances are not ones she desires to change (or even
has the ability to change).<span style="mso-spacerun: yes;"> </span>We
have observed a similar sense of defeatism in certain authors (Voltaire comes
to mind), but most of their work focuses on social inequities.<span style="mso-spacerun: yes;"> </span>Kalman, in contrast, takes on the
subject of the great and terrible human experience itself.<span style="mso-spacerun: yes;"> </span>There is an almost philosophical musing
in her work that supersedes the iterations of the banes of humanity and instead
gets to the heart of the flaws themselves.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: Helvetica;">I’ve mentioned this in a previous blog post, but
Kalman’s book reminded me again of my own personal uncertainty about the
future.<span style="mso-spacerun: yes;"> </span>It’s an interesting point
to reach in your life when you realize that there isn’t this great defining
moment of ‘adulthood,’ when you think your whole existence falls into place.<span style="mso-spacerun: yes;"> </span>Life isn’t a series of steps (or
principles) that should be followed in order to reach some ultimate goal of
self-realization, but instead an experimental process.<span style="mso-spacerun: yes;"> </span>Little activities or distractions may
seem meaningless in comparison to large life events, but in reality, they construct
much of our experience.<span style="mso-spacerun: yes;"> </span>Kalman
counters the idea that life can ever really be explained in a way that is
unthreatening for readers because of the way it is presented to them (both
visually and tonally).<span style="mso-spacerun: yes;"> </span>A specific
section that I found especially poignant comes to mind, when she says: <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify;">
<span style="font-family: Helvetica;">“We could speak about the meaning of life
vis-à-vis non-consequential/deontological theories, apodictic transformation
schemata, the incoherence of exemplification, metaphysical realism, Cartesian
interactive dualism, revised non reductive dualism, postmodernist grammatology
and dicey dichotomies.<span style="mso-spacerun: yes;"> </span>But we
would still be left with Nietzsche’s preposterous mustache…” [133].<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Helvetica;">I
thought this was great and indicative of Kalman’s style in the way that it
sweepingly dismissed all the great intellectual theories of our existence with
a quip about some facial hair.<span style="mso-spacerun: yes;"> </span>She
seems to challenge our measure or scale of significance by paralleling the lofty
ideas with such an amusing concrete image, as her writing also does with the
accompanying pictures.<o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/01960685296361292512noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-10268186530394093932014-11-25T08:22:00.001-08:002014-11-25T08:22:14.809-08:00As If Joyce Wasn't Challenging Enough, Let's Add Quantum Physics<div dir="ltr" id="docs-internal-guid-b429d49c-e7c2-5e8b-c4f5-b1937b3b26ee" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Maira Kalman’s </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">The Principles of Uncertainty</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> is a wonderful depiction of a year-long journey through both her conscious and unconscious mind. Kalman employs a stream of consciousness style as she jumps from thoughts of plastic surgery to a daydream about visiting Japan with some strangers to the impending explosion of the sun to simply seeing some trees, all within a few pages and a stroll around New York City (201-216). This style can be overwhelming at times, specifically when she jumps between allusions that are somewhat obscure. However, these references can also be spot on, such as when she describes her friend Molly Bloom: “(YES)” in an apt nod to James Joyce (19). After all, </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Ulysses</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> is the paramount example of a narrative written in a stream of consciousness. Kalman uses these allusions to demonstrate the rapid, tenuous pathways that our minds travel down. </span></div>
<br /><div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Kalman somehow finds a way to notice and reflect upon everything, especially that which is mundane and miniscule. She writes about how Ludwig Wittgenstein built a house for his sister that was carefully designed down to the last detail, noting that “to say he found god in the details would be an understatement” (253). I believe that Kalman’s writing and illustrations demonstrate the same level of commitment to detail, such as when she narrows her experiences in Paris down to glimpses of two specific “superlative” tassels or when her illustration of a person includes a tiny mole on her cheek (138-153, 265).</span></div>
<br /><div dir="ltr" style="line-height: 1.15; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">The title of this book is reminiscent of the Heisenberg’s Uncertainty Principle, a concept in quantum mechanics, which is (if I understand correctly, as quantum mechanics is obviously not my strong suit) a limitation on the measurement of a particle’s location and momentum. In other words, when looking at an object at its smallest and most basic level, the behavior of the object becomes difficult to discern because the accuracy of one must be sacrificed for the accuracy of the other. Phillip F. Herring actually applied this principle to </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Ulysses</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;"> and other works of James Joyce in </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">Joyce’s Uncertainty Principle</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">, and, </span><a href="http://www.jstor.org/stable/3200092?seq=1" style="text-decoration: none;"><span style="background-color: transparent; color: #1155cc; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: underline; vertical-align: baseline;">according to Robert D. Newman</span></a><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">, is manifested through themes of “absence” and is used to “unsettle...attempts at interpretation” (141). Absence is a prominent theme throughout </span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: italic; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">The Principles of Uncertainty</span><span style="background-color: transparent; color: black; font-family: 'Times New Roman'; font-size: 16px; font-style: normal; font-variant: normal; font-weight: normal; text-decoration: none; vertical-align: baseline;">, both explicitly and implicitly, and Kalman’s carefully disjointed writing style lends itself to interpretation in broad strokes. In Kalman’s case specifically, the uncertainty principle is represented by her attention to small details such as the curtain tassels or her “collection of sponges around the world,” which is juxtaposed with deep, virtually unanswerable questions about life such as “What will happen to us all?” (106-107, 81). Much like her description of February, it becomes impossible to focus on measuring the small and the large, and for Kalman, this means pondering the heady questions and choosing to appreciate the minutiae.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-1765492260720803472014-11-25T08:09:00.001-08:002014-11-25T08:10:20.851-08:00A Children’s Book for Adults<br />
<div class="MsoNormal" style="line-height: 200%;">
Maira
Kalman started off illustrating children’s books with her husband. The books
were, however, always criticized for being too complex for young children to
understand the concepts presented in them. In the <i>New York Times </i>book review of Kalman’s <i>The Principles of Uncertainty, </i>the author notes that “Kalman has explicitly concocted what her critics have always accused
her of secretly wanting to create: a children’s book for adults.” And her book
is just that: a picture book for the general adult population, grappling with
the idea of existence, life, and death. Kalman tries throughout her book to
find ways to understand how to make the most of out this life. As she describes
in an interview with <i>Thinkr </i>“the
older you get the more you realize time is lessening.” But Kalman doesn’t
exactly come up with an answer wrapped in a neat little bow on how to live life
and how to accept your life knowing that it will come to an end. So it seems
that adults in her adult book have the same issue as children in her children’s
book, which is that the concepts are too complex for any one person to
understand. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
In our society we make adults out to
be older and wiser than children—which in most respects they are. But in some
instances adults and kids seem to be on the same level in regards to
understanding things. While I have not had an experience at Tunbridge involving
the questions of life and death, I have through numerous younger cousins been
exposed to the relationship between death in children and adults. The results
are the same: uncertainty. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
When my grandfather passed away one
of my aunt’s chose to bring her kids to the funeral, the other aunt did not
because she thought it would be too traumatic for her kids. At the funeral my
little cousins that were there weren’t crying because they were still
comprehending the loss of life, not realizing that this was a permanent
situation. And I noticed, as I looked around the church, that there were other
people, adults, like that as well—adults, not crying because they’re heartless
but rather because they were still processing to come to grips with the
situation of death. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
Kalman notes that we all get old and
we all die, during her reflections on old people in her illustrations she notes
that “soon enough it will be me struggling.” But children aren’t necessarily
aware of this: in their eyes their grandparents are just as energetic as they
are. In the poem <i>Walking with Grandpa</i>
narrated by a little child he writes “I like to
walk with Grandpa,/His steps are short like mine./He doesn't say "Now
hurry up!"/He always takes his time./Most people have to hurry,/They do
not stop and see./I'm glad that God made Grandpa/"Unrushed" and young
like me.” In this case we would say that adults are older and wiser and
children are naïve but maybe the naivety is a good thing. Children have a different
outlook on getting older: they want to grow, they don’t conceptualize time, or
lack of time. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
In her narrative drawings Kalman
comes to the quasi-conclusion early on that one way to avoid the inevitable is
to stop focusing on it, to “find meaningful distraction” of fruit bowls and
chocolate cakes with cherries on top and hats. To be, in essence more
child-like—perhaps even taking a page from a children’s book to be more
carefree and appreciative of the things we have in life and the things we need
to look forward to. <o:p></o:p></div>
<!--EndFragment-->Toni Gasparishttp://www.blogger.com/profile/13311987848274333812noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-30215323611300524072014-11-25T07:15:00.000-08:002014-11-25T07:15:00.549-08:00Delight in Uncertainty: We go on
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">At this time in my life, I am constantly thinking
about what will come next. Do I apply for internships for next year? Jobs? What
are my friends doing? Do they have “better,” more furnished plans? Are they
better prepared? What if I end up on the streets with nothing to pay for food
or warmth and no one wants to hire me? Or rather, what if I don’t get to do
what I love? <i style="mso-bidi-font-style: normal;">Breathe.</i> “Nothing is
certain,” I hear myself say. I hear my father say. I hear those who care about
me say. Nothing is certain. And yet in this world in which something terrible
could happen at any second: a loved one could get hit by a car, a lover could
change his/her mind, an expecting couple could miscarry, a parent could be
fired, an innocent citizen could get executed in jail, we go on. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">Upon reading Kalman’s <i style="mso-bidi-font-style: normal;">The Principles of Uncertainty, </i>I was goofily—or perhaps
rightfully—uncertain about what to make of the piece. Maybe as a result of my
currently constant musings and fears, or maybe because Kalman compiled it this
way, I began to understand the piece in tandem with my current place in my own narrative.
Kalman tells us: “The realization that we are all (you, me) going to die and the
attending disbelief—isn’t that the central premise of everything?” (46). And
perhaps it is. Nothing but death is certain, and yet we keep living. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">The title originally struck me as ambitious. By
definition, uncertainty cannot quite be defined. Yet, as I read, these “principles”
somehow made sense to me. One technique Kalman uses is that in which she takes
that which appears to be minutia and bestows significance upon it. She writes,
“After all, she had to wash and iron that crazy collar. But then she died. Poor
Kepler. Poor Kepler’s wife. Poor everybody. I will go for a walk and calm down”
(22). We may note that this comment is humorous. I laughed. The randomness of
the collar, and the jump from poor Kepler and his wife (who died) to poor <i style="mso-bidi-font-style: normal;">everybody</i>, are abrupt and cause
laughter. This may be a case of incongruity, because of the potentially
unjustified leap, but it may harbor truth in its representation of the human mind.
This truthful leap is not only comedic, but also may embody the relief/release
theory. Those of us who can relate to such leaps might find relief in
understanding that we are not alone. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">Another point in the book at which I felt the
chronicle of uncertainty was successful was when Kalman wrote: “I photograph my
sister and think she looks so beautiful in her pink hat. What will happen to
her? What will happen to us all?” (81). Here, Kalman once again jumps from
noticing something about someone to wondering about her, thereby presenting the
uncertainties. We should also note that she very quickly moves from addressing
the particular to the universal, as in the aforementioned example. Uncertainty
is the dictum of existence, and such an existence can be understood by
narrowing and widening the lens and exploring how each can inform the other. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">Her subtle observations throughout daily life reminded
me of a program I heard about recently. Run by Amtrak, the grant allows for
writers to take up a round-trip “residency” on an Amtrak long-distance train in
order to fuel creativity and a sense of adventure, allowing writers to work on
their projects (<a href="http://blog.amtrak.com/2014/03/amtrak-residency-for-writers/"><span style="color: #0563c1;">http://blog.amtrak.com/2014/03/amtrak-residency-for-writers/</span></a>).
This is something that I feel would suit Kalman, but only if she planned to
observe and muse on her fellow passengers the way she muses in this book. Yet I
realize I bring up the discussion from a few weeks ago on <i style="mso-bidi-font-style: normal;">Eat, Pray, Love</i>, regarding the credibility, authenticity and
potentially forced nature of writing that comes out of a stipend like Gilbert’s.
However, the Amtrak project appears to be less problematic, as these writers
are merely given time, space, housing, and food to work on their own pieces and
thoughts as opposed to being commissioned for a certain “type” of product. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">Throughout this post, I have noticed myself using
phrases and terms such as, “perhaps,” and “maybe,” as well as, “seems,” or “appears.”
Indeed, this may be a reflection of Kalman’s influence, for directly after
reading, I am more aware of the uncertainty of life and its contents. Uncertainty
can be incredibly scary, as people generally do not like what they do not
understand. Yet Kalman invites us to have a sense of humor about this
uncertainty, and to bask in it while simultaneously acknowledging that it
scares us. Perhaps I can bring this into my almost-graduate life and remind
myself to delight in not knowing. Only death is certain, but the ways in which we cope with or celebrate our day-to-day uncertainties serve as a lens for others to understand us, as well us for us to muse on each other and bask in what we do while waiting to die. This sounds incredibly existential--very <em>Waiting for Godot--</em>but perhaps this waiting for death need not be negative. </span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;"><o:p> </o:p></span></div>
Anna DeBlasiohttp://www.blogger.com/profile/09798947881840436485noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-52792581684535727212014-11-24T21:27:00.003-08:002014-11-24T21:27:38.276-08:00Pink-Washing Life’s Tough Questions<div class="MsoNormal">
In <i>Principles of
Uncertainty</i>, Maria Kalman provides a series of enigmatic responses to all
of Life’s Tough Questions. These come in the form of paintings of rabbits
wearing socks, handwritten tidbits about history’s greatest composers, and
quotes from assassinated presidents stitched into white linen fabric. Throughout
her twelve collections of ostensibly random art and musings, one takeaway
emerges with complete clarity: Kalman is quite fond of the color pink. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Principles of
Uncertainty </i>is a picture book which pairs all written components with
corresponding visual accompaniments. As such, Kalman need not waste space with
descriptors apparent to the reader’s eye. Yet, the artist works the word “pink”
into her musings whenever possible. She writes fondly of the waterfall of “pink
Bougainvillea” and her sister’s beautiful “pink hat” (80-81). In Paris, where
she seeks relief from Life’s Tough Questions, she delights in “The Pink Bed” (a
piece of furniture to which she devotes two full-page spreads [146-7, 156-7]), “the
beautiful girl with the pink ribbon” (160), and “the pinky pink pate” (161).
The first painting in the book is an unaccounted for hand-broom set on a pale
pink background and the last is a waterfall flowing down a mountain painted
using five different shades of – wait for it – pink. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Pink is a pleasant color to the eyes and a delightful word
on the tongue. It covers the walls in the nurseries of baby girls and can be
used playfully in alliteration, as Kalman proves when describing Kitty Carlisle’s
apartment as a “pearly pink palace” (180). In general, however, the color is
associated with levity and frivolity. In nature, it appears only in agreeable
situations, such as during a sunrise, on the petals of a lovely flower, or in the feathers of flamingo. In <i>Principles of Uncertainty</i>, Kalman quite
literally presents her world through rose-colored glasses, as if to suggest
that beauty and humor are perhaps the only certain truths this life has to
offer.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<br />
<div class="MsoNormal">
At Tunbridge, students are not allowed to wear the color
pink in any significant capacity. This is a rule that caught me off guard when
I first heard it. The children run around in sneakers, athletic pants, and
t-shirts, and I was surprised to learn that in doing so, they are upholding a
strict dress code. Their clothing must be in the school colors (black and
orange) or else a neutral color like grey or white. All other colors, such as
pink, are deemed not-so-meaningful distractions. I’m not sure how I feel about
this. At an educational institution operating upon the central belief that
physical activity and frequent socialization are necessary elements in building
students with strong senses of self, outlawing the wearing of bright colors
seems a little counterintuitive. The freedom to express oneself through
clothing can play an important role in the development of individuality. As
long as the clothing continues to be safe for physical activity, I hardly see a
problem with a little bit of pink. I tend to think Maira Kalman would agree. <o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/07387197181772540093noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-22745809090667028312014-11-24T16:35:00.002-08:002014-11-24T16:35:31.055-08:00Certainly Uncertain<div class="MsoNormal" style="line-height: 200%;">
Anyone who was able to read Maira
Kalman’s book, <i style="mso-bidi-font-style: normal;">The Principles of
Uncertainty</i>, and understand it on the first go is a certifiable genius; and
I would very much like to meet them. Her book is comprised of objects and
people that often are only glancing-ly (yes, I made that word up) related to
one another but somehow intrinsically mean the same thing to her. I struggled
to find what Kalman was really getting at with her book and I ultimately
decided that her entire work is either an exhibition in absurdity or a panicked
response to the inevitability of death. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>From
the first page when she discusses the extinct Dodo throughout the entirety of
the novel, if you can call it that, Kalman tries to deal with the very sobering
fact that all humans are destined to die. In the chapter titled, “Heaven on
Earth,” Kalman writes, “What can I tell you? The realization that we are ALL
(you, me) going to die and the attending disbelief – isn’t that the central
premise of EVERYTHING? It stops me dead in my tracks a dozen times a day. Do
you think I remain frozen? No. I spring into action. I find meaningful
distraction.” (Kalman 46). At some point, perhaps early in our lives, all
humans start to understand that we are going to die one day and there is
absolutely nothing we can do about it. Yes, this is an extremely earth
shattering revelation once discovered; however, I don’t believe the majority of
people spend their time fretting over this fact. The fact that Kalman is
stopped dead in her tracks a dozen times a day by this thought is either an
exaggeration or extremely unhealthy behavior. There is nothing wrong with
contemplating one’s mortality but stopping dead in your tracks multiple times a
day seems a tad obsessive. I like her mantra to find “meaningful distraction”
to keep one’s mind occupied but perhaps she should take her own advice. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>She
then proceeds to note how she reads the obituaries every morning in order to
see how people really got joy out of in life. She writes, “Maybe it is a way of
trying to figure out, before the day begins, what is important.” (50). I like
the idea of meditation at the start of the day to give yourself purpose and if
this is how Kalman does that, I am not one to judge. Perhaps by surrounding
herself with death, Kalman is reminding herself of the value of life. But as we
have seen throughout the semester, there are many less morbid ways of achieving
the same end. I think part of Kalman’s morbidity arises from the fact that she
doesn’t seem to believe in God or heaven as she writes, “the whole thing is
insanely unlikely. I prefer the notion of Heaven on Earth. Of sweet, funny,
loving moments. For me, Heaven on Earth is my aunt’s kitchen in Tel Aviv.”
(51). Kalman finds joy in human interaction and camaraderie. Humor is means
through which any two people one earth can communicate because laughter is a
universal language. Perhaps Kalman finds her sort of heaven in the shared
experience of humor that all of humanity belongs to. <o:p></o:p></div>
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<span style="mso-tab-count: 1;"> </span>Kalman
obviously places an extreme value on the little things in life and on family.
She believes that it is in these moments that she finds her heaven and escapes
the shroud of Death. However, I see it a slightly different way. For a book
that is wholly focused on distracting oneself from death, Kalman is ruled by it
and does not escape from it at all. She argues that we need to find meaningful
distractions but the average person does not need to actively be doing this
because they are not constantly worried about dying. Yes, each person should
approach each day with the mindset of doing something useful or beneficial to
humanity. But this desire should come out a spirit of good humor and good will
towards others, not due to fear of something we cannot change. <o:p></o:p></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-32620365644805218332014-11-18T18:24:00.003-08:002014-11-18T18:24:32.093-08:00An Expat Returns Home<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Bryson’s <i style="mso-bidi-font-style: normal;">I’m a Stranger Here Myself</i> is a collection of musings on life in
America through an expatriate perspective. The author, returning to America
after 20 years abroad, is struck by and comments on seemingly mundane topics,
like dental floss hotlines or garbage disposals and infuses them with humor.
His original American status combined with his long hiatus from the American
way of life gives him a unique perspective on his home nation. Because not
everything is novel to him, the things that have changed while he was away
(i.e. the things that have only recently become quintessentially American) jump
out even more as absurd subjects for his caustic wit.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">Bryson claims in his Introduction that
his columns “chart a sort of progress, from being bewildered and often actively
appalled in the early days of [his] return to being bewildered and generally
charmed, impressed, and gratified now” (xii). The columns in the first half of
the book generally portray more of the novel, quaint American aspects, like
modern appliances and Customer Appreciation Day. The more biting commentaries,
such as “The Wasteland” or “Rules for Living,” appear in the second half of the
book. If this collection charts a sort of progression of sentiment toward his
home nation, it is interesting that Bryson was largely complimentary and
nostalgic in the first half and more acerbic in the second half. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">While this may seem contrary to his own
assessment of his progress, I think it fits. By the end of the book, he has
become an insider with an insider’s right and duty to offer suggestions for
improvement in a beloved institution. He points out that, in the end, he is
“very glad to be here” and hopes that his columns “make it abundantly clear”
(xii). In the beginning of his time in America, he was still readjusting and
warding off the culture shock. Everything modern was new and exciting. By the
end of the collection, he has assimilated, so his senses are not quite so
barraged by novel items as they were. He is clear-sighted enough to focus on
the things that might truly be objects for reform. We might still have Dental
Floss Hotlines, to no one’s detriment, but the problems of consumer excess and
inordinate red tape are things that, as a concerned citizen, he can hope his
writings will highlight, leading to change for the better. He can call this
latter writing not merely observational and amusing but remedial as well.<o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/05291370116467092493noreply@blogger.com0tag:blogger.com,1999:blog-7844739297700871766.post-89167191735232610152014-11-18T14:54:00.005-08:002014-11-18T14:55:25.256-08:00The paradox of ritual in American culture<div style="line-height: 0.19in; margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif; line-height: 0.19in;">Victor
Turner explains that we need “anti-temporal” rituals in order for
humor to operate. Bill Bryson's humorous take on American culture
works by setting up certain aspects of American culture as fixed
rituals—such as baseball, diners, and McDonald's—and then
humorously observing their success or demise.</span></div>
<div style="line-height: 0.19in; margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif; line-height: 0.19in;"><br /></span></div>
<div style="line-height: 0.19in; margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;">In
Dr. Lukacs' American Literature class, we interpret most classics of
American literature as struggle between the old world of Europe and
the new world of the great American frontier. The old world is
history and civilization; the new world is nature, both in the
biological sense and the philosophical sense of the natural rights of
liberalism. America is timeless, a place where one can always come to
start anew, and this timelessness is constantly at risk of being
overtaken by the contingencies of history, the necessary evils of
construction and governing and trading.</span></div>
<div style="line-height: 0.19in; margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><br /></span></div>
<div style="line-height: 0.19in; margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;">Bill
Bryson doesn't enter into this debate of Nature versus History. But
his return to America is constantly marked by this tension, beginning
with his “coming home.” Bryson and his family seek a fresh
start—a constant American desire—in an old place: Hanover, with
its Dartmouth legacy and old-fashioned Main Street (1). Bryson
constantly refers to his youth, the days before baseball playoffs had
been invented, before motels were owned by major corporations, and
before garage doors were automatic.</span></div>
<div style="line-height: 0.19in; margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><br /></span></div>
<div style="line-height: 0.19in; margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;">The
irony in so many of Bryson's examples is that he treats as sacred
what was originally intended as revolutionary: drive-in theaters,
portable diners, junk food. As James Turner writes:</span></div>
<div style="line-height: 0.19in; margin-bottom: 0in; margin-left: 1in; page-break-before: auto;">
<span style="font-family: Arial, sans-serif;">Thus we have two kinds of
anti-temporality: the perenially sacred, rooted perhaps in the
primordial manifestation of the eternal, generative unmanifest, the
Logos, that was “in the beginning,” but was Son of the
beginningless fathering will to manifestation; the perennially
sacrilegious, human freedom to resist and even transgress the
culturally axiomatic, the most sacred texts, the mightiest rulers and
their commandments.</span></div>
<div style="line-height: 0.19in; margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;">In
“A Slight Inconvenience,” Bryson informs the reader that most
household appliances were invented in America. I would argue that a washing
machine or a microwave is an example of Turner's “perenially
sacrilegious,” because they are devices that transgressed the
cultural reality of work. However, these devices, as Bryson points
out, now have a “devotion” (186). America is always trying to
shortcut the eternal, the sacred, and the “beginningless” in
order to start anew. America is a country that is constantly
redefining itself.</span></div>
<div style="line-height: 0.19in; margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><br /></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><span style="line-height: 0.19in;">Because of this constant </span><span style="line-height: 18.2399997711182px;">redefinition</span><span style="line-height: 0.19in;">, Bryson's book already seems out of date at
some points. Who remembers the days when baseball playoffs didn't
occupy the entire month of October? And the technological issues
faced by Bryson and his computer are far different today. Even when
Bryson mentions McDonald's, I'm reminded that </span><a href="http://online.wsj.com/articles/mcdonalds-profit-falls-30-on-u-s-china-woes-1413893397" style="line-height: 0.19in;">Chipotle, along with other healthier restaurants, is beginning to eat into McDonald's profits</a><span style="line-height: 0.19in;">. Perhaps even Ronald McDonald can pass away. This isn't a criticism of Bryson's book—I think he's even better at
self-deprecation than David Sedaris—but an endorsement of its
fundamental premise: America is always changing. I doubt that the
“farming village in the comely depths of the Yorkshire Dales”
with a pub and a baker's wife who would slice your bread for an extra
penny will have changed much if Bryson returns in two decades (Bryson
285-286). And, if it has, it will be a true societal shift in
England, not an expected change.</span></span></div>
<div style="line-height: 0.19in; margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;"><br /></span></div>
<div style="line-height: 0.19in; margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;">Bryson's
writing brings two truths to the surface. Firstly, he helps us in
asking what are the true anti-temporal, eternal rituals of American
life? Shopping? Lawsuits? Waste? Or is it:</span></div>
<div style="line-height: 0.19in; margin-bottom: 0in; margin-left: 1in; page-break-before: auto;">
<span style="font-family: Arial, sans-serif;">baseball on the radio, the deeply
satisfying whoing-bang slam of a screen door in summer, insects that
glow, sudden run-for-your-life thunderstorms, really big snowfalls,
Thanksgiving and the Fourth of July, the smell of a skunk from just
the distance that you have to sniff the air quizzically and say “Is
that a skunk?”, Jell-O with stuff in it, the pleasingly comical
sight of oneself in shorts. (3-4)</span></div>
<div style="line-height: 0.19in; margin-bottom: 0in;">
<span style="font-family: Arial, sans-serif;">Even
at Bryson's best attempts to define an “eternal” America, I'm
left wondering if there's anything but our landscape that could never
change—and even that is at risk of destruction and suburbanization.
The paradox of America is that it's a country in a state of constant
re-invention. It's tempting to interpret Turner such that a
ritual-less America can never be funny. But Bryson's second truth is that
living in America <i>can</i> be humorous, and that the constant flux
of life's daily rituals means we will always be able to laugh at our culture. As Bryson says of the order of cable re-runs, “It has been
like this for years, as far as I can tell, and will stay like this
forever” (237).</span></div>
Tommyhttp://www.blogger.com/profile/00410214806302852135noreply@blogger.com0