End of Class Shindig on Thursday, 4/25!!

We will be having an end-of-class shindig/soiree/party/201 extravaganza for our last class!

In order to figure out what food/drinks everyone should bring, I'd like ALL of you to comment on this blog post. Please explain, in the comment section:

1. Which snacks/drinks you'd like to have at the party, so I or others can buy them, and/or  

2. Which snacks/drinks YOU, personally, can bring to class for everyone to enjoy. 

This way, we won't have any redundancy in snacks and we can be sure we have enough for everyone. 

I'd like to see everyone's thoughts by Tuesday, April 23rd so people have time to shop/cook accordingly. Thanks in advance. 

Casper Mulholland & Azia Walker on Reg Saner's "Technically Sweet"

Casper Mulholland:

Saner's “Technically Sweet” was a very entertaining read for me. I love the way Saner uses repetition and rhythmic language to illustrate what he’s seeing. The beauty of the language serves to mirror the beauty of the landscape, which is very effective at drawing the reader into the essay. Read this passage to yourself, then read it aloud, trying to feel the ebb and flow of the language:

“In the luminous dusk of their canyon I sit doing nothing: savoring the strange pleasures of tired legs, watching the light go, watching white-bellied swallows catch damselflies, watching sunset fade from the spiderlike limbs of cholla cactus. An evening hush makes the light quiet, makes me want to give up the day as slowly as possible.”

Can you hear how easily Saner slips into an almost-entrancing rhythm? “watching, watching, watching...makes, makes.” In this passage, it shows how he's trying to hold onto the moment, as if by repeating the words in him mind he can inscribe it into him memory forever. She does inscribe it into memory, but not just him own; rathim, he gives the experience to him readers, using him language and structure to imprint it into our minds. It is a very powerful thing, to be able to communicate so clearly and vividly that it makes the reader sit up and take notice.

Another very impressive thing about the piece is how well Saner creates tension. She juxtaposes Robert Oppenheimer's life in the essay's past with the beauty of the New Mexican desert he is exploring in the essay's present. The very beginning of the piece starts us off by talking about how Oppenheimer was bullied as a child, and how he swore revenge. It doesn't do anything melodramatic; it doesn't imply that Oppenheimer created the bomb for the feeling of power, or to get back at his childhood tormentors by saving the day. In fact, it doesn't even tell us that this child is Robert Oppenheimer until a section or two later. What it does is get us instantly inside Oppenheimer's life. Who wouldn't sympathize with a child who, having issued very little observable provocation, found himself the subject of bullying and humiliation from his peers? It also, however, portrays Oppenheimer as a little strange and not quite fully identifiable to the reader.

The rest of the essay moves back and forth between the beautiful landscape of the “Land of Enchantment,” as Saner puts it, and facts from Oppenheimer's life and the lives of Americans during the last phase of World War Two. This serves to build tension because the two strands are so contrasted, yet ultimately intertwined, both being about people; about civilizations and cultures, how they interacted with nature, and how many members of them are now gone from what was once their home. Using this tension, Saner goes back and forth and develops the conflict, using it to express his viewpoint on nuclear weapons—and Robert Oppenheimer's decision to create them—without directly stating it.  

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Azia Walker:

The second half of Reg Saners essay Technically Sweet was very interesting. It brought up issues and places that I am not familiar with and I was intrigued. For me, the language Saner used was very difficult to follow. I read this essay several times and even out loud in hope of trying to better comprehend what was going on. By doing so, I was able to find a better incite of the essay but things were still muddle. However, I was able to draw a conclusion and find out what I felt Saner was trying to get across to the reader.

Right from the start (page 12) Saner made it clear that he was going to be sharing with the reader his perception and memories of being in the military, and information and his feelings about the bombing of Pearl Harbor. "On a morning bright with sea haze and vapor still rising from dark ripples near shore, my troop ship eases toward its berth past cargo vessels riding at anchor off Yokohama." Saner immediately introduces us to a greatly detailed setting answering both the where and what question. I obviously cannot relate to this experience but this scene was easy for me to envision. I really appreciated as a reader the vivid detail throughout the essay.

Technically Sweet is loaded with names (people and places) that also made it confusing for me to follow. I think the many subjects is what got to me the most. I didn’t understand how certain memories tied into each other but then that might not have been his point. Saner uses many themes that showed how credible and experienced of a writer he is. I learned from him the true meaning of how much detail can enhance my writing and make the reader feel comfortable, willing, and connected. Also the importance of observing the world around me and concentration it takes to be good. Since writing is what I want to do and I wish to improve a great deal this is what has to be done. My thoughts before writing future papers will definitely be a much longer process than it has been in the past. I want to become better and more thorough and less worrisome about something I enjoy doing.

Overall, I think Reg Saner was trying to get the reader to appreciate the power of life and the people who have died trying to help our country. In Technically Sweet he states, "we ought to welcome that curse as a left-handed blessing. It will signal that an intelligent posterity exists." I think by this quote he called life first, a curse because we can't control how up and down day to day life is, and then a left handed blessing because we each were the cell that made it for a reason. It gave me even more a sense of purpose. Saner was very affective in tying in future generations with his experiences throughout his essay and it was enjoyable.

Lisa Heisterberg on John D'Agata's About a Mountain

John D’Agata’s About A Mountain was a very interesting read for me. Throughout the entire book I was “hooked” and had the feeling that I just wanted to keep reading to find out what was going to happen. I enjoyed the book. However, once I got to class and found out about some of D’Agata’s questionable facts, I found myself sincerely questioning everything that I had read.

The style D’Agata used was very casual, lyrical, and choppy. He often jumped from one thought to the next. For example on page 145-146, D’Agata begins talking about Ron Flud and how he hadn’t explained how Levi’s sneakers got knocked off his feet during the fall; “…were knocked off at the moment his body hit the ground, even though his sneakers looked unscuffed in the photo, unstained, still laced, even double- knotted. I suppose Ron knew that there are facts that do not matter,” and then abruptly begins recalling his trip with the students to Yucca Mountain, “Okay, kids,” Blair said, when our bus came to a stop. “I want you to show your school identifications to the soldier.”  This shift had me wondering what was going on for a second since I had forgotten who Blair was. I happened to like this style of writing though. It helped keep me focused on the content of the book and made for an exciting read.

Another aspect of D’Agata’s style that was very prominent throughout the piece was his use of long lists. This can be seen especially on page 125 when D’Agata lists the 200 words the linguist Swadesh came up with to trace the roots of languages; “all, animal, ashes, back, bark, belly, berry, big, bird, bite, blood, bone, breast, brother , burn, child…” These lists, for me, helped to solidify some topics that D’Agata wanted to get across, such as the absurdity of some ideas or facts, and the vast extensiveness of some topics.

D’Agata seems to keep his own personal opinions and beliefs out of his writing. Instead he writes as if he is a journalist just presenting the facts in an objective and unbiased manner. This way of writing made me inherently trust what D’Agata was writing; even though I had no clue about any of the real facts. Learning that the author altered some facts, such as the day that Levi had committed suicide, the number of strip clubs in Vegas, how he had melded some characters and days together into one made me wonder about all the other “facts” that were presented. This revelation forces me to question whether a piece can remain nonfiction even though some facts are changed (no matter how minutely). Furthermore, it makes me wonder what the genre of nonfiction really is. Is it still nonfiction if some of the facts are altered?

There were many themes running through this book such as the escalation of events, risk taking, and the questioning of reality. D’Agata though doesn’t say any of these explicitly though; instead of skirts around them by talking about other topics like Yucca Mountain and suicide. I thought this was a very neat way to write, especially since I am used to stating what I want the reader to upfront.

Reading this book introduced me to a style that I would like to try incorporating into my own writing. The lyric style seems like it would be difficult to get the hang of, but I really liked the way D’Agata used it in About A Mountain. I hope to be able to work more with it in the future to make my writing have better flow and emphasis on my internal thoughts.

Samantha Sanchez on Dinty Moore's "Son of Mr. Green Jeans"

   Dinty W. Moore’s piece “Son of Mr. Green Jeans” was a refreshing examination on the role of fathers and fatherhood. Upon first read-through, I disliked the piece. However I have come to appreciate it more after a closer look during a second perusal. 

Stylistically, Moore took a non-traditional approach in the telling of his story. The majority of the story was not told like a narrative, but rather it was told through a series of vignettes and seemingly unrelated events about father figures. Moore’s approach, though atypical, allowed for the reader to become an investigator forced to find meaning and connectivity among many fragmented vignettes. 

In the entire piece, the only real “hard facts” that Moore gives about his father to the reader comes in just two lines, when he says, “My own Irish father was a newspaperman, owned a popular nightclub, ran for mayor, and smuggled run in a speedboat during Prohibition. He smoked, drank, ate nothing but red meat, and died of a heart attack in 1938” (pg 391). Besides this, the reader must decipher Moore’s feelings on fathers and fatherhood by themselves. 

The piece was interesting because it required the reader to go back and take a second look to really understand what was being said. However, I felt that on the whole, the speaker’s message was muddled under so many vignettes. Furthermore, it was hard to relate to the topic in the first place, but it became even more difficult to connect to it because of all of the side stories. I felt it needed more of a plotline, or a more enforced roadmap, to help guide the reader through to the speaker’s main point. 

Of all the vignettes that Moore displays, the most poignant one arose under the heading “Natural Selection”. Moore writes, “When my wife, Renita, confessed to me her desire to have children, the very first words out of my mouth were ‘You must be crazy’” (pg 392). I loved this scene because of its simplicity, but also because it offered a direct look at the author, his feelings on being a father, and a glimpse at his relationship with his wife. While the fragmented scenes throughout the piece are interesting in their ambiguity, as a reader I felt more appreciative of the moments where I got to see the speaker completely uncloaked.

There were some similarities between “Safekeeping” and “Son of Mr. Green Jeans”. Both of them explored their topics in a non-traditional way. Both of them relied heavily on fragmented ideas and sentences to convey meaning. However “Son of Mr. Green Jeans” differs from every text we have read this semester in the way it examined the theme of fatherhood. The theme was explored first in a short anecdote on Tim Allen, and then by talking about the parental habits of the male Japanese carp, and then by talking about emperor penguins and T.V. personalities. This piece was unique in that each scene was different, though connected through the underlying theme of fatherhood.

Perry Kantor on Lia Purpura's "Autopsy Report"

Opening the Body

            Lia Purpura's “Autopsy Report” was a visceral and detailed recounting of her first experience watching a human body dissected.

The first page is rife with details of the state in which the bodies are found. Details like  “Drowned men, bound with ropes and diesel-slicked. Their ears sludge-filled. Their legs mud-smeared... their lashes white with river silt,” set the tone of the piece very quickly and efficiently. Purpura also doesn't waste time with certain conjunctions or prepositional phrases, which gives the piece a very condensed and fully-packed feel. On the first page every paragraph also starts with the phrase “I shall,” which instantly helps set the tone for who the speaker is.

As I began I wondered what direction the piece would take, as so many morbid details so clinically discussed began to make me wonder if perhaps it was about murder, or something truly sinister. It progresses on to recount the actual visit to what I imagine is either a medical examiners office or the morgue. I think at this point my fears that it was going to be something more gruesome (than it already was) were assuaged but I wasn't fully confident the speaker wouldn't turn to be a serial killer or something of the sort.

The part that seemed most honest to me was when the speaker tells us that the first time she sees a body opened up her reaction is to laugh. I find this honest because I highly doubt that would be most peoples first reaction and it also seems borderline inappropriate, which makes it all the more believable that it actually happened. But the key to the essay is the speaker's admission that to her the entire process of human dissection felt almost as if it were natural knowledge to her, as if she had always known that things would happen the way they did, “Of course blood pooled each blue-burnt circumference. Of course, I remember thinking.”

I think as a reader it made me consider visual detail in a different way, because I had never had things so vividly recounted in such a gory yet dispassionate way, as if it were a textbook describing viscera. It made me consider tone in a whole new light as well, and how even things normally very intense can be reduced. Her pithy writing also made it much easier to simply take in, there was no fluff to distract the reader from the story or the details and I think I could incorporate more of this technique into my own work. I liked that I didn't have to re-read a single line to understand what she meant by it, everything was as plain as it could be. 

As a writer I want to experiment more with tone and detail as a result of this piece. I want to see if I can achieve the same density of detail without compromising the tone I’m trying to work with. Purpura seems to accomplish this balance perfectly. She manages to combine her accurate and almost poetic recounting with very truthful comparisons: “The bladder, hidden, but pulled into view for my sake and cupped in hand like a water balloon,” while still maintaining an easily believable, almost objective, viewpoint. More of these obvious and easily identifiable analogies might also be something worth exploring in my own work.

Tam Dinh on David Foster Wallace's "Consider the Lobster"

I chose this reading based entirely on the title, that being “Consider the Lobster”. Other than shrimp, I do not eat any seafood. However I am absolutely fascinated with marine life and I love watching cooking/traveling shows that are about the sea and sea life, thus seafood. This text written by David Foster Wallace, someone who I’ve never heard of. He is apparently relatively famous today, however this piece was written back in 2003.

Wallace is sent, as a correspondent, to the annual Maine Lobster Festival. He starts off by listing all the honors and titles and sponsors that the event has garnered (I have heard of Food and Wine Magazine. Hell, I have a subscription). He does so to either build up hype or to poke fun at how serious this event has become. I suspect it is the latter. Throughout the piece he gives specific figure amounts and numbers. That helps build his credibility as well as helps the reader to really visualize and get some sense of the scale of things, such as when he says that “over twenty-five thousand pounds of fresh caught Main lobster are consumed” (526) or that  over “100,000” people attended the event, and in the footnotes there was a detail about how the U.S. produces 80 million lbs of lobster per year (530).

I like how Wallace incorporates a little bit of history and science within this piece, as opposed to only exploring lobster in the culinary world. I have heard that lobster was considered a low class food item in other centuries, however I did not know that “some colonies had laws against feeding lobsters to inmates more than once a week because it was thought to be cruel and unusual, like making people eat rats” (527). That was a really interesting detail to me.

After Wallace sets up the stage of the event, he veers the article in the direction of the ethics/morality of killing and eating lobster. There was a smooth transition. He described the different tents and the general layout of the event; and, then he mentions the PETA picketers. It was around this point in the reading that I thought of foie gras (duck liver), which is something I am completely against. While chefs utilize the whole duck, the main purpose for the deaths of some is purely for harvesting their livers and making pates’ and such hoity toity entrees. The argument with lobster primarily lies with how they are killed (while the foie gras ducks, are purposely fattened throughout their lives so that their livers would be bigger and richer in flavor). As Wallace explains, lobsters can be 1. boiled alive 2. boiled in salt water, starting off with a low temperature and slowly raising it higher 3. stab it between the eyes quickly and sharply before cooking it (536-537). His description evokes emotion from the reader, which is of course the intention. His use of imagery and auditory senses (?) were very powerful, such as when he describes how the lobster claws clank against the pots and the whistling sounds that occur when boiling them. I felt as though I was in the room.

Wallace goes on to talk about pain and the science of what the lobster may or may not be feeling. This instantly reminded me of a reading I had in a past class regarding morality of animals. This is my attempt to paraphrase it (for further reading, refer to Carl Cohen’s “Do Animals Have Rights”)…it was about whether or not animals really have rights, if they cannot understand what morality is…how can they have rights?

This proved to be a real thought provoking article. I was scared that “Consider the Lobster” might not be about seafood but instead a metaphor for something, which would’ve been disappointing to me. At first I was skeptical about the author’s tone, I felt this cynicism from him about the festival; but I was surprised at how balanced the piece was overall. In the second to last paragraph, he explains that he is simply confused and really just wants the reader to “consider” the points he presented. I feel this text has definitely achieved that. I will never look at lobster the same way. I wonder how someone who does eat lobster feels after reading this…again, I don’t eat seafood and I’ve never tried lobster, so I read this with a clear conscious!

Overall, this was an interesting article and I enjoyed reading it. It had many facets: history, science, philosophy, culinary facts, etc. That is something I’m going to try to incorporate in my own writing… the various aspects that one topic is comprised of.  

Charles Jennings on Charles Bowden's "Torch Song"

             The story “Torch Song” by Charles Bowden centers on a Tucsonan newspaper writer who spirals into depravity while working a beat that revolves around the cities numerous violent sex crimes. One tactic that Bowden employs in relating this disturbing story is a gradual slide in character from a relatively normal writer in a conservative marriage to a young man with demons who cycles through women as often as he cycles through his clothing. The voice is definitely that of a writer, with punctuated quips and witty lines that allow the reader to be drawn in to the story completely. The piece is especially relatable to other writers who understand the toll such serious and destructive subject matter as rape and murder can have on your psyche if you spend too much time wallowing in them.

One aspect of the essay that I found compelling and deserving of analysis is the author’s constant struggle with categorizing sexuality and understanding what motivations drive people to commit sexual crimes. The author expresses these feeling in a way when he writes; “We all share a biology and deep drives, and what we have created- civilization, courtesy, decency- is a mesh that comes from these drives and also contains and tames them” (Bowden, p. 71). I found it very interesting that even as he delves into the scum of the city and the most disturbing and violent crime that as malicious a city as Tucson can offer, he still is able to find commonality that binds the perpetrators and the victims together under a banner of humanity.

In a lot of ways, I think the work devours the speaker of the narrative, even though it allows him great insight into human nature and the base reasons behind sexual deviance. Although he does discover some truths, the process by which they are discovered tears his personal life apart and restructures it completely. Bowden writes; “I do not want to leave my work at the office. I do not want to leave my work at all. I have entered a world that is black, sordid, vicious. And actual. And I do not care what price I must pay to be in this world” (Bowden, p.64). The speaker shows a complete lack of worry about the state of his personal life, but rather expresses a desire to live for his work. His passion for the work consumes him and nearly derails his personal life completely before he is finally compelled to stop writing these stories and leave the newspaper. 

In his essay “Torch Song”, Charles Bowden creates a portrait of a tormented young writer on a savage news beat that drives him into sexual deviance. I thought this essay revealed a lot about the speaker, and created an extremely relatable protagonist who the reader roots for in his darkest hours in sunny Tucson, Arizona. Although it does relate a lot about the character, I’m not entirely sure I believe this story in its entirety. Writers have a tendency to exaggerate and manipulate, which is fine and expected, but it also shook my faith in the reliability of the narrative.