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.