Regeneration Post II

One of the major themes of Regeneration is father-son relationships. When Rivers goes on leave, he thinks a lot about his childhood and his relationship with his father. His father was both a priest and a speech therapist, and tried to foist his beliefs on his son. However, the young Rivers one day decided that his father's beliefs about speech therapy were "nonsense" and mentally "[swept] away his father's life's work in a single minute as twelve-year-old boys are apt to do" (153). Rivers also dares to "suggest that Genesis was no more than a creation myth of a Bronze Age people" (153). Despite his father's efforts to impose his beliefs on his son, Rivers rebels and goes his own way. In some ways, the relationship between Sassoon and Rivers is similar to that between Rivers and his own father. Rivers believes that is is Sassoon's "duty to go back, and [his] duty to see that [Sassoon] does" (73).  Is Rivers attempting to "father" Sassoon in the same imposing manner that his father raised him?

Another important idea in the novel is the disconnect between soldiers and civilians. After Graves leaves Craiglockhart, Sassoon begins to hate "everybody, giggling girls, portly middle-aged men, women whose eyes settled on his wound stripe like flies. Only the young soldier home on leave, staggering out of a pub, dazed and vacant-eyed, escaped his disgust" (44-45). He feels it is unjust that people can stay at home, living normal lives, while men are dying and wasting away in trenches. There is also a sense of awkwardness and conflict about the war from the civilian point of view. When Sarah finds the tent full of mutilated soldiers hidden from public view, she is shocked and stares uncertainly. Afterwards she realizes that "there was nothing she could have done that would make it better. Simply being there, by being that inconsequential, infinitely powerful creature: a pretty girl, she had made everything worse. Her sense of her own helplessness, her being forced to play the role of Medusa when she meant no harm, merged with the anger she was beginning to feel at their being hidden away like that. If the country demanded that price, then it should bloody well be prepared to look at the result" (160). Sarah is conflicted because she is powerless but feels strongly that others should see what the war has done to its soldiers. To hide them away perpetuates the idea that there is only courage and glory in war, rather than trauma and irreversible damage. Prior personifies the soldier's conflict. While being examined by a doctor, Prior notices that the doctor "thinks [he's] shirking...and the idea made him go cold" (161). If Prior does not return to war, he is seen as a coward. However, if he does go back to France, he will only exacerbate the physical and mental damage that has haunted him since he left the front. Are there other ways in which the disconnect between soldiers and civilians is shown? Also, how is the theme of societal beliefs versus individual beliefs seen in the novel?

 

Regeneration Post I

Last week we finished Mrs. Dalloway and started on the new book Regeneration. The two stories fall in the same era and evolve characters who have been part of the war. Very interestingly both books have the complicated relationship between a doctor and a soldier. In Mrs. Dalloway, the doctor is Sir William Bradshaw and the patient is the insane Septimus Smith. Sir Bradshaw seems to be a good, respected psychiatrist and popular among upper class, however, Sir Bradshaw and the Smiths obviously do not get along very well. Dr. Bradshaw talks  to Septimus for no more than ten sentences. In fact, when Septimus says that “I have-I have,” “committed a crime-” (96) and stammers “I-I-” (98), he is either ignored or stopped by Mr. Bradshaw who suggests him to “try to think as little about yourself as possible”. He only has a simple talk with Mrs. Lucrezia Smith before he makes decisions and dismisses (or even gets rid of) them with no further explanation than “trust everything to me” (98). 

Compared to Dr. Bradshaw, Dr. Rivers, the psychiatrist in Regeneration is much more caring. He spends time with Sassoon and Captain Graves to gain a deeper understanding of the patient’s case. He cares about Burns and worries about Burns’s mysterious absence. One of the most interesting moments in the book is when Burns “realized he’d come back for this”: “waking up to find Rivers sitting by his bed, unaware of being observed, tired and patient” (40). However, one can say that Dr. Rivers cannot be defined as perfect because he allows the hospital to shelter “‘conchies’ as well as cowards, shirkers, scrimshankers and degenerates” (4).

What do you think about these two doctor-patient relationships? Between the gifted but arrogant psychiatrist, William Bradshaw, and the caring rule-breaker, Dr. Rivers, who do you think is overall a better doctor? What other interesting connections do you find between these two books?

Mrs. Dalloway III

    Flashback is present throughout Mrs. Dalloway, but its purpose extends much more deeply than simply providing background information or exposition about the characters' histories or minds.  The use of flashback makes the reader aware that the past lives on in every character, and that each character's past influences their path.  Woolf makes the reader aware of this by showing Clarissa looking in the mirror and seeing the face of "the woman who was that very night to give a party; of Clarissa Dalloway; of herself" (37).  Three different ways of referrring to herself, corresponding to the future, the present and the past, are rolled up into Clarissa; she is simultaneoulsy the young, vivacious girl at Bourton and the somewhat timid, death-fearing old woman.  Septimus Warren Smith also has flashbacks and occupies the world of the past commonly, but the setting of his flashbacks is most often the war.  Compare and contrast the role of flashback in Clarissa's and Septimus' lives.  Does flashback represent reprieve or regression to a part of their lives best left alone?  What is the impact of the content of flashbacks on each of these characters?
    Mr. Dalloway struggles to put into words his love for Clarissa, despite emotionally preparing to do so for the course of his walk across London.  I think it is beyond question that Richard loves his wife; why else would he have been jealous of what she and Peter Walsh share? In any event, I would love to hear your takes on why Richard is unable to utter such a basic phrase (although one with hearty implications).  How does his inability to show his love separate him from Peter Walsh?  Without too much conjecture, try to answer this one: would Clarissa have been happier with Peter?
     We've already discussed at length the implications of the rigid and defined class system during this time period, but I'd love more discussion about the sense of moral superiority which the lower middle class feels over the upper middle and upper classes.  Three strong examples are Miss Kilman, Milly Brush and, in the most recet reading, Lucrezia, who "triumphs" over the wealthy doctors on page 148.  What is the source of this sense of moral superiority? Compare Rezia's version of this sense of superiority to Milly's and Miss Kilman's. Does each stem from a personal dislike of a certain member of the upper of society? Pure jealousy about their iferior economic status?  Disapproval of the fact that the upper classes contribute nothing to society yet live in luxury? All of the above?

Mrs. Dalloway- Louise

Throughout this novel, Woolf has explored several instances of contrasting outward and inward opinions: what society expects, versus what one accomplishes, and the way someone views someone else, versus how they view themselves. A few key examples of this disparity are found in the party beginning on page 165, continuing to the end of the reading assignment. On page 167, Peter Walsh remarks on Clarissa's insincerity, and states he regrets coming, and later on that same page, Clarissa notices Peter's criticism and feels that shame, only to continue to assert that it does really matter to her, on page 188. What are some other examples of this societal pressure/expectation, in this novel, and in other novels we've read? How does Woolf's unique narrative add to this contrast?

Another place that we see the contrast of outward/inward is earlier, with Septimus. When staying at the Inn, he felt he could not connect to his surroundings, that he was in some way isolated. Also, the doctor's advice is to focus on reality, and to really see his surroundings. Do you believe that the doctors advice is completely unfounded? How does the character of Septimus connect directly to other characters in Mrs. Dalloway, specifically Clarissa? What ideas expressly tie them together, and how are they different?

Finally, Woolf is making societal observations by including these differences between outside and inside feelings/characters. What do you think she is trying to say? Do you agree with her message?

Mrs Dalloway (81-110)

As we progress into the novel, we develop an image of London and 20th century British modernism that is very bleak, and formal. Already, we have become familiar with a sombre fog that shrouds daily life and even the meaning of relationships. This society is a restrained one, and thus its people are very down to Earth.
Peter Walsh's perception of relationships and morals juxtaposes the British stereotype. Fiery and emotional, Peter shows no restraint in his actions. As he leaves Clarissa's he does his best to discover where they went wrong, trivializing every detail. The interruption of an old earthly spring near the Regent's Park Tube gives Peter's conclusion on relationships an entire new meaning.
How does the image of the spring on page 81 change our perception of the English world?d
A corps group of characters has developed around this stream of conscience narrative. Among them, we see three women each with their own interpretation of Modernism. Clarissa, a married woman unhappy with the robustness of her husband and the men she knows. Lucrezia, a woman fighting for her husbands sanity and Lady Bruton, an esteemed englishwoman who despises the nature of women.
Of these three women, who strikes you as the most powerful or compelling?


From one of our previous readings, who reminds you of Dr. William Bradshaw, the new psychiatrist for Septimus?

Mrs. Dalloway (II)

In Mrs. Dalloway there are many types of relationships. There are the romantic relationships, such as the one the Clarissa and Peter had, and there are relationships of business and friendship. There are also relationships between people and objects. Big Ben runs through the web of the intertwined plots of the people in the novel. The chiming of the clock brings everyone together no matter what they are doing and it sets all the events of the novel into a timeline. The relationships in the novel connect everyone yet the effect everyone differently. For example the car brings everyone together yet, as some feel patriotism for their country, Septimus feels shocked and is brought back to the war. In the reading where are other instances of connection yet each character has their own thought? How do these moments show the interactions between characters and give insight into the mind and memories of each?

Mrs. Dalloway (Post I)

On page 12, we learn of Mrs. Dalloway's hatred - a "brutal monster" - which stirs at just the thought of Miss Kilman. She makes Mrs. Dalloway feel "inferior", although in an odd, almost contradictory fashion considering that she tells of "how poor she was... how she lived in a slum". From what we know about Mrs. Dalloway, why do you think this aggravates her so much, and makes her hate a woman who, in another world, "she could have loved"?

By page 29 of the novel Mrs. Dalloway, there is an apparent theme that connects the characters the reader has met: an atrophied or degenerated inner self. Not unlike Gabriel in The Dead or the white man in Heart of Darkness, there seems to be something "hollow" about them. Clarissa herself feels "invisible, unseen; unknown... not even Clarissa any more; this being Mrs. Richard Dalloway" (11). What effect, if any, do you think Woolf's style of writing - constantly switching point of view - has on the reader in how the characters are perceived? Also, what do you make of the "motor car incident", and the fact that Clarissa, Septimus, and the rest of the pedestrians who saw it stopped immediately, to simply look on in awe? It seems, to me at least, that our characters' senses of self are atrophied, at least partially, because of their concern and involvement with the outside world. For example, Clarissa's love (obsession) with hats and gloves. What do you guys think of this? Similarly to my perspective or a polar opposite - (perhaps somewhere in the middle)?

Mrs. Dalloway

In class on Friday, we had an interesting conversation about the style of Woolf's writing in Mrs. Dalloway. Some people really liked the "stream of consciousness" style, while others found it confusing and difficult to follow. How is Woolf's style different from the style of the other authors that we have read? How is it similar? Do you like this style? Why or why not?

Also, we were recently introduced to Septimus Warren Smith. He is presented on page 14 as "pale-faced, beak-nosed, wearing brown shoes and a shabby overcoat, with hazel eyes which had that look of apprehension in them which makes complete strangers apprehensive too..." Later, his wife, Lucrezia, thinks about his condition and their relationship. "She could not sit beside him when he stared so and did not see her and made everything terrible...and he would not kill himself; and she could tell no one...it was cowardly for a man to say he would kill himself, but Septimus had fought; he was brave; he was not Septimus now" (23).  How do you feel about Septimus Warren Smith? What do you think is significant about his relationship with his wife? What, if any, significance do you think he has in the story based on what we know so far?

Although the book is titled Mrs. Dalloway and follows the events of one day in her life, Woolf jumps around to the thoughts and perspectives of other characters as well. What effect does this have on you as a reader? Does it make the book even harder to follow or does it give you a better understanding of what is happening?

Gabriel arrives at his aunts' party as a "hero" of the evening. He seems to be well educated, well-off, and the favorite nephew. Joyce tells the reader right off the bat what Gabriel's values are. He enters the party saying "Here I am as right as the mail, Aunt Kate! Go on up, i'll follow called Gabriel from the dark." He hasn't even fully entered the room, and yet we still get the sense that he is a powerful character in this story and a powerful member of this family. If Gabriel's sense of self isn't shown enough here, he shows if when he is around Lily. He knows that he is socially higher than her and he tells her that she should be getting married now that she is out of school. Lily doesn't want to be stereotyped this way and responds by saying that the men aren't necessarily good enough for her. Lily just laughs it off which confuses Gabriel. "He was still discomposed by the girl's bitter and sudden retort. It had cast  gloom over him which he tried to dispel by arranging his cuffs and the bows of his tie." She made him feel uneasy and had made a more powerful statement than him. Her words moved him which was obviously something he is not familiar with.

Here Joyce shows us the power women have during this time. Typically, men were more powerful and educated but Joyce seems to portray the beginning of something different. This is all based off of the importance of language and its uses. The use of and purpose of language add another component to this story.

How does Joyce use language to show roles and power? In what ways have we seen this being done so far?

The Dead

     In "The Dead" Gabriel rejects the Irish nationalism that has spread throughout the country, including his close friend Miss Ivors. When Gabriel claims that he is "sick of [his] own country" (165, line 480), he is left unable to explain why and is left felling defeated by Miss Ivors. How do you think Gabriel's physical discomfort with Miss Ivors, and earlier with giving Lily the coin, defines who Gabriel is? Why do you think he becomes weak when challenged? Does this make him similar to the "flabby devils"in Heart of Darkness?

     In Conrad's Heart of Darkness, Europe is living with the illusion that bringing the light of society and progress to a savage people is for the best. The same idea of oppression is placed upon Ireland, yet when those close to him hold onto their nationalism, Gabriel rejects his own country. Does this rejection make him a "hollow man" in T.S. Elliot's opinion? In your opinion? What characters from other texts are similar to Gabriel and why? What about his morals and principles(or lack of)?

    

Connections, divisions, and other threads

It became clear very quickly that Heart of Darkness was a significant departure from the language, plot structure, and characterization of A Clockwork Orange, and, yet, Michele and I decided to pair these two texts to begin our course.  What were we thinking?  If it is easy to determine the ways the texts are in opposition, how are they similar?  In what ways do they work as complements to our beginning understanding of literary modernism?  Is Burgess a logical successor to Conrad?  As we add in The Dead this week, feel free to consider what Joyce brings to this mix.

Through out heart of darkness we have discussed quite a few themes, but we mostly focused on light versus dark. It is strongly represented through out the entire book and frames many of the other themes such as civilized versus uncivilized. This theme even plays into the title of the book and why the novel may be named "Heart of Darkness".

The book that seemed to show the meaning of the book is where they are traveling back down the river, while Kurtz is dying. It seems to me that the heart of darkness is not necessarily a physical place, such as Africa but instead my be a state of mind. It may be the affect that Africa leaves you with, a dark heart. "It survived his strength to hide in the magnificent folds of eloquence the barren darkness of his heart" (128). This example may be a little too literal as it is saying he had a heart of darkness but it generally shows the point I'm trying to make.Another spot that shows this is the fact that Marlow becomes ill shortly after Kurtz dies. Do you think that the "Heart of Darkness" is more physical or more mental? Why?

After Kurtz has died, Marlow seemed astounded by the fact that he had something to say. Kurtz had a final statement to make before his death, and Marlow feels that he has nothing to leave the earth with after he passes. Which brings up the question, do you think that is really true? Or is Marlow's retelling of this whole journey his mark upon the world?

Heart of Darkness: Post 2

In a Clockwork Orange we discussed what a 'clockwork orange' is and how it relates to the novel. However, the title was not really understood until we dug a bit deeper into the book and discussed it more.
When I hear "Heart of Darkness" I do not automatically think about something positive and light, I more so connect it as having a murky, mysterious meaning. On page 63 Marlow says, "We penetrated deeper and deeper into the heart of darkness." Why do you guys think Marlow refers to the river as the 'heart of darkness' and why would he associate darkness with something he loves so much?
Also, going off of that, I question whether or not the word "dark" always has to have a negative connotation? We all know that a major motif in this novel is light vs. dark, but does that have to translate to good vs. bad like one would automatically expect it too? Maybe darkness is not suppose to be represented as negativity in this novel.

Heart of Darkness 2:

"We knew we were fated, before the ebb began to run, to hear about one of Marlow's inconclusive experiences"(9). Here, the narrator assumes that Marlow did not accomplish any philosophical augmentation during his time in Africa; do you agree with him, having read through part two? How do you think seeing the negative side of imperialism affected him, and his opinions of Western civilization, if at all?

Somewhat connected to that, the main theme of "restraint" is echoed by Marlow in both positive and negative reflections of his fellow travelers and acquaintances. For him, how might this concept relate to the imperialistic efforts of Kurtz and the manager, and in what light would he view it?

Also related to that, do you think Marlow's moral conscience about imperialism seems to give him any assumptions or predetermined feelings about the people he hears about? Does this change throughout his journey with his experiences? How is his perception of Kurtz altered after he meets him?

"The I noticed a small sketch in oils, on a panel, representing a woman, draped and blind-folded, carrying a lighted torch. The background was sombre -- almost black. The movement of the woman was stately, and the effect of the torchlight on the face was sinister"(43). How does the frequent use of "darkness" in descriptions like this change throughout the book, given that "darkness" for this novel can be defined as physical darkness, moral darkness, or, alternatively, a dearth of perception, like with this painting of a blind-folded woman?

Heart of Darkness 1:

Although the majority of Heart of Darkness seems to be narrated by the character of Marlow, a seaman with a long past, the beginning of the book is told by an unnamed narrator. Both narrators recount the events of navigating the seas with rich detail that can be difficult to understand. While the unknown narrator describes the scenery through a detailed, observational lens, Marlow’s insights and story of his voyage to Africa explore a more emotional path. His ability to recognize the immorality of the colonization, which he is a factor of, contrasts with the illustrative descriptions of the unnamed narrator. “They were conquerors, and for that you want only brute force -- nothing to boast of, when you have it, since your strength is just an accident arising from the weakness of others. They grabbed what they could get for the sake of what was to be got. “ (8) As Marlow goes in and out of analyzing the complex morality of colonialism through his horrific experiences, the unknown narrator usually only comments on the setting using great imagery. What does this contrast provide to you as a reader?

The three other men on the boat are introduced by the title of their professions. “The Director of Companies was our captain and our host...", "The Lawyer -- the best of old fellows-- had, because of his many years and many virtues, the only cushion on deck, and was lying on the only rug. The Accountant had brought out already a box of dominoes, and was toying architecturally with the bones." (2) What do you think Conrad's intention was by labeling these characters by occupation? Furthermore, do you think they represent different parts of society at that time? What is the effect of not knowing their reactions?

Lastly, Marlow eloquently describes the African slaves with a sympathetic tone, and seems to acknowledge the evil acts of his fellow british acquaintances. They were called criminals, and the outraged law, like the bursting shells, had come to them, an insoluble mystery from the sea. All their meagre breasts panted together, the violently dilated nostrils quivered, the eyes stared stonily uphill. They passed me within six inches, without a glance, with that complete, deathlike indifference of unhappy savages." (25) Then he expressed a feeling of guilt and skepticism; "I've seen the devil of violence, and the devil of greed, and the devil of hot desire; but, by all the stars! these were strong, lusty, red-eyed devils, that swayed and drove men--men, I tell you. But as I stood on this hillside, I foresaw that in the blinding sunshine of that land I would become acquainted with a flabby, pretending, weak-eyed devil of rapacious and pitiless folly. How insidious he could be... For a moment I stood appalled, as though by a warning." (26) Do you think Marlow considers this subjugation to be an example of "man's inhumanity to man" or does he believe in British imperialism and colonization?

Heart Of Darkness Post 1

Compared to A Clockwork Orange, Heart of Darkness could not be a more different story. On top of a jarring trip back in time seventy years, the switch from Nadsat to dense, description heavy and old-fashioned sentences may be the most difficult. Within pages of the start of the book the theme of light and dark becomes evident, evoking images of civilization versus savagery, and also questions of morality. Although the storyteller and main character Marlow is white, his narration clearly separates himself from the stereotypical actions of a white man in Africa. Marlow often describes these stereotypes as in "This was simple prudence, white men being so much alike at a distance that he could not tell who I might be" (pg. 26). Despite any believed truths in these descriptions it is still odd for Marlow to be describing white people in such a way given the time period. What is Marlow trying to accomplish in his story through these small insights on how white people act?

Although Marlow showed compassion to a slave early on when he gave him food, it seems there is still a lack of true emotion to be felt for anyone who is african. Not only does he not show empathy but Marlow almost uses humor to describe horrific situations like, "Can't say I saw any road or any upkeep, unless the body of a middle-aged negro, with a bullet-hole in the forehead......may be considered as a permanent improvement" (pg. 34). In contrast to separating himself from other white people through his descriptions above, why does Marlow choose to speak of Africans as animals? Is this just a consequence of the time period? Do you think Marlow can still be a good person through this sort of action and thought?

Finally, how does the form of this work of literature match the content, if at all? Do you believe this style of writing is another consequence of time period or is it an intentional literary device?

A Clockwork Orange Part II/III

              In A Clockwork Orange we see Alex’s transformation from a bold, violence loving youth to what some would call a functioning member of society. I found that as Alex’s view on violence changed so did mine. In Part 1 Alex sees violence as a stylized performance, the best means of expressing his emotions. The musical style of his violence is seen in his description of his attack on Billyboy: “And, my brothers, it was real satisfaction to me to waltz–left two three, right two three–and carve left cheeky and right cheeky, so that like two curtains of blood seemed to pour out at the same time, one on either side of his fat filthy oily snout (20).” A key word in this quote is “satisfaction.” This is in contrast to the Alex the reader sees in Part II.  After the conclusion of the Ludovico treatment, Alex is sick at even the thought of such small acts of violence as killing a fly: “And that was right, brothers, because when he said that I thought of killing a fly and felt just that tiny bit sick (143).” This reaction to violence is only temporary, however. Toward the end of Part III, after Alex is “cured” of the effects of the Ludovico treatment, he returns to the outside world with yet another reaction to violence. By chapter seven of Part III, Alex is simply bored by violence, and when presented with the opportunity for a little of the old ultra-violent with his new droogs, Alex turns down the offer: “’Look, droogies. Listen. Tonight I am somehow just not in the mood. I know not why or how it is, but there it is (205).”

I found that as Alex’s reactions to violence changed, my comfort with the violence changed as well. When Alex ‘s violence is presented as art, I felt distanced and therefore more comfortable with the violence. When Alex becomes sickened by violent thought and action, it made me uncomfortable. And when Alex became uninterested in violence, I didn’t even react to it.

           I am curious if anyone else had this reaction. Did anyone else find themself reacting differently to the violence described in the three parts? If yes, do you believe that your reaction was a result of the change is Alex’s character, or the change in the style in which Anthony Burgess presents the violence? If no, why, or what’s your take?  

A Clockwork Orange: Part II

          In Anthony Burgess’ A Clockwork Orange, the narrator, Alex, starts out as a young, malevolent criminal who seeks to cause destruction and to inflict harm on other citizens. His horrific actions illustrate his distaste for the Government’s structure and power. However, after a series of events during which he is arrested, tortured, and “cured,” Alex is released back into his original environment with his ability to act and make decisions having been completely altered (Burgess 130). As the prison charlie stated, “‘He has no real choice...self-interest, fear of physical pain, drove him to that grotesque act of self-abasement...He ceases to be a wrongdoer. He ceases also to be a creature capable of moral choice’” (Burgess 140,141). Given Alex’s mental and physical transformation as a result of the prison experiments, is he being deprived of the capability to make a “‘moral choice,” or is the narrator truly “cured”? Furthermore, as Alex continues to struggle once he is released from prison, he returns to “HOME” where he meets F. Alexander, the author of “A Clockwork Orange” (Burgess 170, 173). The following interaction between the liberal, reformist F. Alexander and the emotionally distraught Alexander reintroduces the importance of “A Clockwork Orange.” Even though this is the title of the novel, please elaborate on the significance of the theme of “A Clockwork Orange” and how it relates to the development of Alex as the narrator. In addition, as time passes, Alex finds himself redeveloping his “nadsat” vocabulary, reintroducing criminal activities into his repertoire, and seemingly recovering from his torture. Burgess clearly restores the narrator to the state he was in when the story began, with some minor changes. What is the significance of the author’s attempt to cultivate the reader’s mind with the relationship between natural tendencies and oppression, a totalitarian government, and torture?   

A Clockwork Orange Part 1

In the first section of the book we are introduced to Alex and his "droogs" and their escapades throughout the grungy city. The first thing that really sticks out about Alex is how violent he can be and the lack of emotion that he shows at committing crimes. Right off the bat on page 9 they attack a man returning from the library and beat him up pretty badly. Alex remarks on the, "blood.. real beautiful." This is rather disturbing because normally, this wouldn't be the reaction people would expect someone to have when they see another person injured to the point they are bleeding all over the place. They leave him in no condition to make his way home, "He went sort of staggering off," also leaving him more vulnerable to the other assailants roaming the streets. Alex's disregard for human suffering, his skewed morality, and questionable intentions all make me wonder if he actually has any feelings at all?
It is confusing that somehow a person of his age (teens) has such a violent nature but can still use words such as "skolliwol (39), "jammiwam (45)," and "eggiweg (45)." This contrast makes me almost question whether he realizes the consequences of what he is doing or has just grown up around all the wrong doing during his childhood and thinks that it isn't necessarily "wrong" to murder or rape people on a whim. After reading part 1, I wonder what will happen to Alex in part two and how his character will develop or change (hopefully for the better now that he is in jail.)

A Clockwork Orange, Part I

At first glance, the character of Alex seems like nothing more than a disgruntled teen with a hankering for violence and a passionate love of classical music. I found myself struck at once by the levity and glee with which Alex's escapades are described as on page 20, "And, my brothers, it was real satisfaction to me to waltz- left two three, right two three- and carve left cheeky and right cheeky, so that like two curtains of blood seemed to pour out at the same time..." The description of his switchblade work as a mastered and calculated art form was unsettling and, at the same time, inexplicably alluring. As I read farther and farther into part one, more and more questions began to arise regarding the character of Alex. What made the thrill of violence so desirable for Alex? What had driven him to commit crimes such as those against his fellow man? Why was it so enjoyable? No matter how many times I re-read the passages, however, I could find no clear answers regarding what made Alex the way he was. That was, until, we began to examine the dystopia that surrounded Alex and not just Alex himself. Brief descriptions dropped into passages throughout part one are the only window into the society Burgess has created, but when these descriptions are pieced together, they form an image of a less-than-ideal society. The result is a highly conformist and mechanical society in which there is "this law for everybody not a child nor with child nor ill to go out rabbiting" (40) and citizens live in analogous apartment buildings referred to as "municipal flatblocks" (35). Perhaps the biggest clue, however, is Alex's description on page 35 of the "municipal painting" that hangs in the hallway of his apartment building depicting the "dignity of labour." With this information, a new question arises. In such a government-run society, what is Alex's choice? Is violence simply in his nature? Or is his character a product of his environment? What about his fellow "Modern Youth"? What do you guys think?

Welcome

This blog has been set up as a place for us to comment, ask questions, and reflect on the reading in our course.

Each week, two of you will be responsible for creating the blog post.  This will be a more detailed post, using text references.  Your post should be at least one solid 10-12 sentence paragraph.  This must be done by Monday.  The rest of the students will then respond, question, or build upon the blog posts and/or previous comments in their comments.  Students must post twice each week, once to each thread.  These must be done by Friday.

Topics to consider for posting are vocabulary/ sentence styling, character development, chapter/book/course themes, questions about the reading, general reactions to the reading, etc.  Of course, you may find that you disagree with a previous posting, please just be sure to do so respectfully.