As time moves on, the Piper family of four tries to move on too. there is a definite theme of "Life goes on, no matter what" in these chapters. Frances and Lily plant a tree where Ambrose is buried, though they do not know this. James wonders if Frances remembered what really happened to Ambrose; he is nervous. We see the beginning of a potential ghost story; Ambrose's "ghost" visits Lily in the night. Later, as the miner's go on strike, James receives a letter from Kathleen's well-wisher, Lillian Gish. We also get to see the letter that shocked James into retrieving Kathleen from New York, finally. At the end of the section, Lily hurts her foot in the Remembrance Day Parade.
A line of repetition is used throughout the first half of the story: "Who will save Frances?" (MacDonald 221). It is clear that Frances is heading down the so-called "wrong path"
The world of dreams is very heavily explored in this section. Lily, who is established as a sort of "main" protagonist dreams of Ambrose. The author makes an interesting point: "Here is the place called awake. On the other side of this line is the country of Asleep. And you see this shaded area in between? Don't linger there, it's No Man's Land" (MacDonald 226). The area that the reader is in right now is No Man's Land; we rarely know if what we are reading is a dream, or a reality. It is often difficult to distinguish Lily's waking moments from her sleeping moments. The relevancy of dreams and nightmares is questioned. What is reality? When Lily wakes up from a nightmare, Frances comments: "Nothing...I don't remember. Go to sleep. It was just a dream" (MacDonald 225). The reader is forced to question perception. Is the truth what matters, or does it just matter the way you remembered it? I feel as if this story is told from a different perspective, or narrator, we would feel very differently about each of the characters.
The miner's strike has, again, hit hard in Cape Breton. A sort of plague has taken over the towns: "At New Waterford General Hospital children lie parched amidst the new outbreak of all the old diseases with the pretty names" (MacDonald 228). I cannot help but think of our class work with King Lear. It seems almost of if the "Great Chain of Being" is yet again, out of order, due to the sins and transgressions of the Piper family. As the world around them mimics their internal family chaos, order must be eventually restored. How can this occur? By ending the lives of pretty much everyone in the family, excluding Lily and perhaps Mercedes. I feel as though James and Frances cannot be saved.
A lot is exposed about Mercedes in this section. Dealing with the theme of perception, Mercedes is the kind of person who cares a lot about what people think of them and their family. Knowing that everyone in town hates James, Mercedes: "Will have Lily give all their old story-books and clothes, as well as several pies that Mercedes will bake, to the poor children suffering upstairs. Then people will see...What a good man..." (MacDonald 233). One feels sorry for Mercedes; it is very unfortunate that she is subjugated to such cruel treatment, just because of her family name. Thus is life however, especially in a small town, bored with itself.
The idea of living on the island of Cape Breton is also explored in this section. The narrator quips that "the working poor looking to get off this cursed godforsaken rock that they love more than the breath in their own lungs" (MacDonald 241). This hyperbole emphasizes then paradox that all the characters in the story face: What they love, they also deeply despise. James loves Kathleen so much that he eventually hates her. Mercedes feels similarly towards Lily. Maternia, when she was still alive, loved James so much, but also secretly wished death upon him.
As predicted, Frances is emotionally unstable. She varies between angst and anger, and regret and sadness. She feels almost no remorse to exposing Lily to secrets that she shouldn't know about. It is unclear whether Frances is in a momentary state of disarray, or if she really is a mean and tortured person at heart.
I find it ironic that the family is attending a Remembrance Day Parade, when there is an obvious huge number of things that they would like to forget, especially James.
We still don't know a lot of things in this story:
-Who's baby was Kathleen pregnant with?
-Is the ghost of Ambrose real or imagined? Does it matter?
-What happened when James went to find Kathleen in New York?
-Who was the anonymous well wisher, so concerned for Kathleen's safety?
-What details of the "miscegenation" stated in the letter from the well-wisher pertained to Kathleen's ultimate fate?
Interesting Vocabulary
Viaticum: A communion to someone given to them when they're dying; Frances says that this is a holy word for clean underwear.
Miscegenation: Basically, an interracial couple. Kathleen's well-wisher used this word to describe Kathleen's lifestyle.
Exodus: A mass leaving of the area; People in Cape Breon are leaving the area, to go to Boston for a better life.
Camaraderie: Friendship; Lily feels friendship with the men at the Remembrance Day Parade, an uncanny parallel to how Kathleen was only friends with the male sex.
Rudimentary: Basic; Lily has a basic understanding of Arabic.
Thursday, December 2, 2010
Tuesday, November 30, 2010
Bootleg, The Demon Rum, Little Women, Cat's Cradle & The Family Tree
This section exposes the rapidly developing relationships between the three girls. We also learn of James's changing character, and his new job which seems to pay most of the bills in the Piper household-bootlegging during the time of prohibition in the United States. As Mercedes grows older and holds more responsibility she begins to grow apart from her two younger counterparts. She is also hastily becoming a "little woman" and is having duties thrust upon her at a very young age. One night, Mercedes thinks she sees a ghost, possibly the ghost of Ambrose in the house. The section ends when Lily finds Mercedes's precious family tree, and colours it in, much to the enragement of Mercedes.
The character of Mercedes is developed vastly in this section. though only a year older than immature Frances, "Mercedes is twelve going on forty" (MacDonald 185). She is sensible, and motherly, responsible for cooking and taking care of the house. It is clear that while she has a close friend, she feel perpetual loneliness in the household of her father. I feel as if Mercedes feels wronged by her father: "She ponders Daddy's love for Lily. And his anger at Frances. She picks up her fork and feel lonely" (MacDonald 189). Lily is greatly favoured in the household, presumably because she reminds James of Kathleen. He also spends a lot of his time and energy on disciplining unruly Frances, so Mercedes gets quite lost in the mix. The reader feel sympathy for her, forced to be mature beyond her years: "Mercedes is a pillar. And Lily is precious. And they make up for Frances" (MacDonald 188).
We are able to see the times in Canada that we know will lead up to The Great Depression. In a way, this is moment of dramatic irony; this audience knows what the dirty thirties will bring, but the Pipers do not. We can also view this as foreshadowing perhaps: "No one knows it yet, but Cape Breton is the dress rehearsal for The Great Depression" (MacDonald 192). What will be in store for Canada and the Piper family through these times? To me, the Pipers are sort of a metaphor for all of Canada: struggling to find an identity and a place to settle comfortably.
James is showing more and more signs of weakness. He has completely given up on his life, even more so than when he was in the trenches of the First World War. He thinks that, "He cannot believe in a life hereafter. Not for himself anyways" (MacDonald 195). James has given up on God, and given up on being saved.There are many reference to the story of Little Women during the chapter entitled the same thing. This is ironic, because the young motherless girls, more specifically Mercedes, have to actually be little women, in the sense that they must take on the loss of innocence much earlier than many young girls have to. Many of the allusions made in this novel dictate a character's ultimate fate. When the three girls roleplay as the characters in Little Women, Lily plays the character that dies. I wouldn't be astounded if in time, Lily followed suit. In fact, Frances plays Jo, the unruly protagonist, while Mercedes plays the eldest one, Meg, who is proper and motherly, much like herself. Very clever that MacDonald should reference a novel with characters so like her own. James also has a very sad moment towards the end of the section: "For no reason his throat tightens. His eyes sting but he isn't going to cry, this time" (MacDonald 219). While the reader doesn't particularly like James, it must be difficult to lose a daughter, a granddaughter and a wife in a few short days. The reader feels like this immense amount of pain will change James, but in what way we cannot know yet.
We also learn that Frances keeps a cat as a pet: "Trixie comes. She always does when Frances calls. She found Frances three years ago" (MacDonald 205). To me this represents Frances and her devilish ways. i feel like this black cat is a bad sign, especially in a novel that revolves very much around superstition. I also cannot decide how I feel about Frances. I like her because she is rebellious and a genuine free-spirit; I dislike her older sister's conventional nature. However I am deterred by her ability to lie seamlessly to anyone, without so much as batting an eyelash. I feel as if Frances and potentially her cat, will get into trouble; this may end in her untimely demise?
A quote that I believe sums up this book rather well is: "'It leads into the past. it tells us where we came from. But it doesn't tell us where we're going. Only God knows that'" (MacDonald 208). This is spoken by Mercedes, as she proudly presents the family tree. However, it speaks to the merits of one's memories and history. The past can be certain, depending on the perspective one has; and does the truth really matter if it's in the distant past? However, no amount of family trees, photographs or 552 page recounting of an event can ever be reassuring whilst looking to the future. the future cannot be certain, no matter what's already transpired.
The reader has to admire Lily's innocent sense of good-doing. She draws a chest under the ground in the pictures of the Piper family tree. When Frances asks her what kind of treasure is in the chest, she responds with, "'Ambrose'" (MacDonald 216). This haunting innocence that Lily exhibits gives the readers chilled; the theme of innocence versus the harsh reality of the world is forever present in this novel. Its a very bittersweet moment, that quietly parallels the plot of the story. I see a direct connection between the relationship of Lily and Mercedes, and the doomed relationship of Kathleen and Maternia in the previous pages. They share many similarities; I feel as if they will end up in similar fates.
Interesting Vocabulary
Perturbed- Unsettled or upset; Lily gets a bump on her forehead when she's perturbed.
Errant- Guilty; Mercedes tels a story in which an errant frog gets turned loose in the classroom of her school.
Teetotal- Stern Prohibition; There are many of these in Sydney.
Paramours- Lover or significant other; Helen and Valentino marry respective paramours.
Stratagems- Strategies or Plans; Frances steals money from Lily so that she does not have to live a shameful life full of stratagems, or so she describes it.
Fervour- Passion; The three girls pretend to be Saints, and plan the rolls with great fervour.
Beguiled- Charmed, entranced by; The Family Tree has all of its right angles beguiled into serpents by Lily, who thought she was being helpful
The character of Mercedes is developed vastly in this section. though only a year older than immature Frances, "Mercedes is twelve going on forty" (MacDonald 185). She is sensible, and motherly, responsible for cooking and taking care of the house. It is clear that while she has a close friend, she feel perpetual loneliness in the household of her father. I feel as if Mercedes feels wronged by her father: "She ponders Daddy's love for Lily. And his anger at Frances. She picks up her fork and feel lonely" (MacDonald 189). Lily is greatly favoured in the household, presumably because she reminds James of Kathleen. He also spends a lot of his time and energy on disciplining unruly Frances, so Mercedes gets quite lost in the mix. The reader feel sympathy for her, forced to be mature beyond her years: "Mercedes is a pillar. And Lily is precious. And they make up for Frances" (MacDonald 188).
We are able to see the times in Canada that we know will lead up to The Great Depression. In a way, this is moment of dramatic irony; this audience knows what the dirty thirties will bring, but the Pipers do not. We can also view this as foreshadowing perhaps: "No one knows it yet, but Cape Breton is the dress rehearsal for The Great Depression" (MacDonald 192). What will be in store for Canada and the Piper family through these times? To me, the Pipers are sort of a metaphor for all of Canada: struggling to find an identity and a place to settle comfortably.
James is showing more and more signs of weakness. He has completely given up on his life, even more so than when he was in the trenches of the First World War. He thinks that, "He cannot believe in a life hereafter. Not for himself anyways" (MacDonald 195). James has given up on God, and given up on being saved.There are many reference to the story of Little Women during the chapter entitled the same thing. This is ironic, because the young motherless girls, more specifically Mercedes, have to actually be little women, in the sense that they must take on the loss of innocence much earlier than many young girls have to. Many of the allusions made in this novel dictate a character's ultimate fate. When the three girls roleplay as the characters in Little Women, Lily plays the character that dies. I wouldn't be astounded if in time, Lily followed suit. In fact, Frances plays Jo, the unruly protagonist, while Mercedes plays the eldest one, Meg, who is proper and motherly, much like herself. Very clever that MacDonald should reference a novel with characters so like her own. James also has a very sad moment towards the end of the section: "For no reason his throat tightens. His eyes sting but he isn't going to cry, this time" (MacDonald 219). While the reader doesn't particularly like James, it must be difficult to lose a daughter, a granddaughter and a wife in a few short days. The reader feels like this immense amount of pain will change James, but in what way we cannot know yet.
We also learn that Frances keeps a cat as a pet: "Trixie comes. She always does when Frances calls. She found Frances three years ago" (MacDonald 205). To me this represents Frances and her devilish ways. i feel like this black cat is a bad sign, especially in a novel that revolves very much around superstition. I also cannot decide how I feel about Frances. I like her because she is rebellious and a genuine free-spirit; I dislike her older sister's conventional nature. However I am deterred by her ability to lie seamlessly to anyone, without so much as batting an eyelash. I feel as if Frances and potentially her cat, will get into trouble; this may end in her untimely demise?
A quote that I believe sums up this book rather well is: "'It leads into the past. it tells us where we came from. But it doesn't tell us where we're going. Only God knows that'" (MacDonald 208). This is spoken by Mercedes, as she proudly presents the family tree. However, it speaks to the merits of one's memories and history. The past can be certain, depending on the perspective one has; and does the truth really matter if it's in the distant past? However, no amount of family trees, photographs or 552 page recounting of an event can ever be reassuring whilst looking to the future. the future cannot be certain, no matter what's already transpired.
The reader has to admire Lily's innocent sense of good-doing. She draws a chest under the ground in the pictures of the Piper family tree. When Frances asks her what kind of treasure is in the chest, she responds with, "'Ambrose'" (MacDonald 216). This haunting innocence that Lily exhibits gives the readers chilled; the theme of innocence versus the harsh reality of the world is forever present in this novel. Its a very bittersweet moment, that quietly parallels the plot of the story. I see a direct connection between the relationship of Lily and Mercedes, and the doomed relationship of Kathleen and Maternia in the previous pages. They share many similarities; I feel as if they will end up in similar fates.
Interesting Vocabulary
Perturbed- Unsettled or upset; Lily gets a bump on her forehead when she's perturbed.
Errant- Guilty; Mercedes tels a story in which an errant frog gets turned loose in the classroom of her school.
Teetotal- Stern Prohibition; There are many of these in Sydney.
Paramours- Lover or significant other; Helen and Valentino marry respective paramours.
Stratagems- Strategies or Plans; Frances steals money from Lily so that she does not have to live a shameful life full of stratagems, or so she describes it.
Fervour- Passion; The three girls pretend to be Saints, and plan the rolls with great fervour.
Beguiled- Charmed, entranced by; The Family Tree has all of its right angles beguiled into serpents by Lily, who thought she was being helpful
Sunday, November 28, 2010
The Adoration of the Body & The Official Version.
In these two chapters, we revisit many of the dramatic events from the last couple of chapters. We learn that it was in fact James that destroyed the scarecrow after he found the drowned baby with Frances. We also learn that a distraught Maternia visited Mrs. Luvovitz shortly after Kathleen died. James continues to unravel after Kathleen's funeral. Back into present day, Spanish Influenza has taken over the town. Fearing that a sick baby Lily will die, James gets the priest to attend a baptism of the young baby, not knowing that Frances already did the deed. Here, Mercedes is named Godmother. The two young girls pray for Lily, who miraculously gets better. James buys Mercedes a doll after Lily recovers. We also get a flashback into the New York life of Kathleen, and her first sexual experience that ended up in her pregnancy.
When James discovers Frances and the two babies (one alive, one dead) in the creek, the narrator compares it to the war that James came back from: "There is a water filled trench. There is an unhappy man with bleeding hands. There is the body of a boy" (MacDonald 158). To me, this metaphor says that life is always a war. There is always a battle to be fought, and a greater evil to kill. I feel like the depressed and unhappy James is realizing this currently in the plot.
There is a lot of tree imagery in this section, which creates several different effects. On the night after Kathleen and Ambrose die, a shadow is said to have appeared from a tree: "It's a figure that comes out from under the branches and onto the street. It stops, drifting in place like a plant on the ocean floor. Then it travels again all the way down the street to the graveyard...It looks straight out to the sea that stretches four thousand miles and sings" (MacDonald 161). I feel as if this particular tree/plant image represents the dying Maternia. Later in the section, Frances experiences a moment of weakness over the death of her mother, "She turned her limbs into strong little tree branches. She made her spine into a springy switch and her skin into new bark" (MacDonald 174). There is a contrast between the new, strong tree of Frances and the old ghostly tree of Maternia.
An insight to Maternia's mental state is given when she returns to the Luvovitzes' house one final time. Maternia is broken and helpless, much like the child she was and probably always has been. MacDonald adds that Mrs. Luvovitz "Washes her gently, as though Maternia was a newborn" (MacDonald 162). Maternia is not so different from the helpless, naked babies that Kathleen gave birth to. the reader feels an extreme amount of pain for Maternia, for she is a passive, likeable character, that meets her untimely death, simply because she is not an overtly strong person.
In The Official Version the theme of truth is extended. MacDonald plainly states that "One child was born" (MacDonald 165). There is no truth to this of course, as the Piper's had another child. The reader sees that truth is a powerful thing: It can alter perception dramatically, and it can completely erase the history of a person, specifically, baby Ambrose. The idea that seeing is not always believing has been fuelling this story (which is completely based on the recounting of the narrator,) and is present again in this chapter. It is unsettling and upsetting that the truth is hid so easily and without guilt.
Most importantly in this section, is the transformation of Mercedes from young girl to mother in a very short amount of time. After each death in the family, James summons Mercedes: "'I need you to be a big girl, Mercedes'" (MacDonald 163). These exact lines are spoken every time that James discovers a death. This repetition makes the reader understand the amount of emotional and physical responsibility that is being placed in the head of a very young girl. When Lily is being "officially baptized," Mercedes becomes the Godmother: "Thus, along with her father, and at the age of almost seven, Mercedes assumed the responsibility for the soul of Lily Piper" (MacDonald 171). Mercedes also later tells Frances that she is her mother now. This makes the reader wonder how Mercedes's character will be defined by her role as a seven year old mother, and how it could possibly effect our plot.
Water plant imagery is used in almost every metaphor in Fall on Your Knees. As we journey back into Kathleen's life in New York, MacDonald describes the act that ended up in her pregnancy: "The invisible ocean holds the room and the bed and the lovers suspended and treats them like aquatic plants" (MacDonald 176). Aquatic plants move themselves, but are fixed to a single location. I think this is a metaphor for how Kathleen tries very hard to remove herself from her situation at home, but home will always follow her, and she will always be reminded of Cape Breton and all its given and taken away from her.
A quote I really liked from this section is observed by James: "Men equal parts monster and martyr" (MacDonald 170). This is how James describes himself and others like him. I think it suits him perfectly. He is truly a monstrous character, however, he gives a lot of himself for the better of his daughters, even when his intentions aren't so honourable. We see that James feels guilt after the death of Kathleen, Ambrose and Maternia. Could his character change once again?
The curse, real or imagined, placed on Maternia by her father and mother has been fulfilled. If one believes in heaven and hell, one must wonder where the three dead characters are now...
Interesting Vocabulary
Irredeemable: Not able to be saved; James's guilt was such, but he remained strong.
Motley: A diverse mixture; Frances thoughts about her mother were a huge motley.
Reverently: To show deep solemn respect in this way; Frances treats Mercedes doll reverently, while she wishes to take it apart out of curiosity.
Unassailable: Unable to be attacked or defeated. Kathleen believes her life in the new world is unassailable to the old world of Cape Breton. How wrong she was.
An insight to Maternia's mental state is given when she returns to the Luvovitzes' house one final time. Maternia is broken and helpless, much like the child she was and probably always has been. MacDonald adds that Mrs. Luvovitz "Washes her gently, as though Maternia was a newborn" (MacDonald 162). Maternia is not so different from the helpless, naked babies that Kathleen gave birth to. the reader feels an extreme amount of pain for Maternia, for she is a passive, likeable character, that meets her untimely death, simply because she is not an overtly strong person.
In The Official Version the theme of truth is extended. MacDonald plainly states that "One child was born" (MacDonald 165). There is no truth to this of course, as the Piper's had another child. The reader sees that truth is a powerful thing: It can alter perception dramatically, and it can completely erase the history of a person, specifically, baby Ambrose. The idea that seeing is not always believing has been fuelling this story (which is completely based on the recounting of the narrator,) and is present again in this chapter. It is unsettling and upsetting that the truth is hid so easily and without guilt.
Most importantly in this section, is the transformation of Mercedes from young girl to mother in a very short amount of time. After each death in the family, James summons Mercedes: "'I need you to be a big girl, Mercedes'" (MacDonald 163). These exact lines are spoken every time that James discovers a death. This repetition makes the reader understand the amount of emotional and physical responsibility that is being placed in the head of a very young girl. When Lily is being "officially baptized," Mercedes becomes the Godmother: "Thus, along with her father, and at the age of almost seven, Mercedes assumed the responsibility for the soul of Lily Piper" (MacDonald 171). Mercedes also later tells Frances that she is her mother now. This makes the reader wonder how Mercedes's character will be defined by her role as a seven year old mother, and how it could possibly effect our plot.
Water plant imagery is used in almost every metaphor in Fall on Your Knees. As we journey back into Kathleen's life in New York, MacDonald describes the act that ended up in her pregnancy: "The invisible ocean holds the room and the bed and the lovers suspended and treats them like aquatic plants" (MacDonald 176). Aquatic plants move themselves, but are fixed to a single location. I think this is a metaphor for how Kathleen tries very hard to remove herself from her situation at home, but home will always follow her, and she will always be reminded of Cape Breton and all its given and taken away from her.
A quote I really liked from this section is observed by James: "Men equal parts monster and martyr" (MacDonald 170). This is how James describes himself and others like him. I think it suits him perfectly. He is truly a monstrous character, however, he gives a lot of himself for the better of his daughters, even when his intentions aren't so honourable. We see that James feels guilt after the death of Kathleen, Ambrose and Maternia. Could his character change once again?
The curse, real or imagined, placed on Maternia by her father and mother has been fulfilled. If one believes in heaven and hell, one must wonder where the three dead characters are now...
Interesting Vocabulary
Irredeemable: Not able to be saved; James's guilt was such, but he remained strong.
Motley: A diverse mixture; Frances thoughts about her mother were a huge motley.
Reverently: To show deep solemn respect in this way; Frances treats Mercedes doll reverently, while she wishes to take it apart out of curiosity.
Unassailable: Unable to be attacked or defeated. Kathleen believes her life in the new world is unassailable to the old world of Cape Breton. How wrong she was.
Saturday, November 27, 2010
O Holy Night, The Mass Card, Cave Paintings, Blancmange, See No Evil
Wow! These must be the most exciting chapters I've read throughout the entire journey of this novel. For once, I really got into the book, and didn't want to put it down. The narrative structure of these chapters is very skewed, as each chapter is sort of told from a different point of view. We begin, as Kathleen is dying in bed; a very rude awakening from the slow pace of the last chapter. She is dying in childbirth in the attic, and Maternia makes a split second decision to let her daughter die to save the twin babies she is birthing. Three days after she makes this decision, she kills herself in the oven. As we move into The Mass Card we see Frances at the church when her mother has died. From there, we go back in time to see James having a mental breakdown, because of the death of Kathleen; Maternia is still alive at this point. Young Frances decides, that since her father is not going to baptize the babies, she shall do it herself in the river. She baptizes the girl first, but then, upon hearing her father coming, accidentally drowns the baby boy. We progress to the funeral of Kathleen, and then to Mercedes point of view as she comes downstairs just in time to see Maternia kill herself. From there, we backtrack to see how Mercedes watched from her bedroom window as Frances accidentally drowned the baby boy on the night of his birth.
So much to say about this section! I feel like the pieces have finally come to fit!
I really enjoyed how MacDonald began this chapter suddenly, with Kathleen almost dying. It gave us a sense that death is sudden, and a life full of promise and youth can be snuffed out by death, with no forgiveness or mercy. The reader contrasts the youthful cheeky Kathleen, who seemed to be the centre of the story in the previous section, to the dead Kathleen in this section. Kathleen, fearsome, powerful in life is now: "An abandoned mine. A bootleg mine, plundered, flooded; a ruined and dangerous haft, stripped of fuel and coal, of fossil ferns and sea anemones and bones.." (MacDonald 136) It made me think that, everyone is the "hero" of their own story, just as Kathleen was the main character here. But death can occur at any given time, without empathy or discrimination, and it will leave you bare and empty, with no use to the world. It was just a really powerful way of saying that life is very delicate, and one isn't guaranteed any time in this world, before one's great resources become an abandoned mine.
Obviously, guilt is a big theme in this chapter. Maternia killed herself because she felt guilty letting Kathleen die. She knows that "the real reason I let my daughter die was because she was better off that way" (MacDonald 138). Here, we see an interesting contrast in Maternia. She told The Devil previously that she'd let him take Kathleen, if he'd spare her other daughters. However, it is now apparent that he's taken Maternia with him, as well as Kathleen. However, Maternia swore she had no love for her daughter. Her guilt does not stem from her religion; she did the right thing in God's eyes. The guilt was enough for her to clean everything in her house meticulously (not unlike Shakespeare's Lady Macbeth,) before succumbing to her grief. It guilt inevitable in some situations, no matter what good choice is made?
Mr Mahmoud refuses to come to Maternia's funeral: "For him the funeral is redundant" (MacDonald 141). Did Maternia really die when she met James and became unhappy? She has been described as being a zombie-like woman for the majority of her time with James. Was she just ready to leave her body, as her "spirit" had already passed with such traumas at such a young age? This reader personally feels a little relief for poor Maternia; she is not suffering under the roof of James any longer.
The tragic innocence, and loss of innocence is explored through the characters of Frances and Mercedes in this section. When Kathleen is close to dying the two girls "have made a little shrine and given up sweets for as long as it takes her to get well" (MacDonald 146). Here, before the loss of innocence, the girls are still young, and still believe that not eating candy and sweets with result in their sister getting better. Such adorable behaviour, is turned around when the events begin to spin out of control. Mercedes becomes a stronger character, "When her nerves have heated up enough, when they are white-hot, they'll be plunged into cold water, tempered and strong for ever. Strong enough to support a building or a family.." (MacDonald 155). We also learn that Frances has learned how to lie (as mentioned in the above paragraph. We can begin to see the outline of both their characters; Mercedes is courageous and righteous, while Frances might have a manipulative side to her. MacDonald foreshadows from Mercedes' eyes: "Why is she so bad? Some people are just made that way" (MacDonald 156).
Again, the theme of perception is revisited. Frances, in the church laughs, but her father thinks she is crying: "Frances learns something in this moment that will allow her to survive and function for the rest of her life. She finds out that one thing can look like another" (MacDonald 142). This section is also told from very different points of view, as we see almost each scene from a different character's eyes. Like the memories we are being presented by the narrator, how much of what we see is what we get? Are there other secrets, just like in any family, that have yet to be uncovered?
Strange to me, Pete, the demon that haunts Kathleen appears to her before she dies. Is this the devil that Maternia has allowed to take Kathleen? Is it symbolic of James and his chilling relationship with his daughter? Is it symbolic of the environment she grew up in? After Frances accidentally drowns the baby, "The only thing different about this morning is that, if you look out at the garden, you'll notice that the scarecrow is gone, and in it's place there's a big rock" (MacDonald 156). The reader is left to wonder where the scarecrow went, and if it had any correspondence to the loss of Kathleen and the appearance of Pete. The reader is not not if the scarecrow leaving is frightening, or a relief. MacDonald uses cliffhangers in many of her chapters; this page is no different.
I love the dark humour that is a constant throughout the story. MacDonald uses witty, sharp lines to add grim laughs into the story: "Mercedes was going to bake it in the oven. But her mother is using the oven" (MacDonald 152). This of course is a reference to the time that Maternia has killed herself in the oven. this casual, innnocent approach to the suicide of a mother is horrible, yet sort of hilarious in a very evil way.
The baby that is accidentally drowned is named Ambrose, and St. Ambrose's quotes appear on each of the dead Piper's mass cards. The name Ambrose means immortal in Latin. From what I can gather about the next few chapters, the metaphorical ghosts of the dead Pipers "haunt" the pages of the novel, as in they never really die. As in they are immortal. Just a thought!
Interesting Vocabulary
-Respite: A short period of rest. Kathleen has a respite before she dies in childbirth.
-Wimple A cloth headdress. Frances observes that the Nun's wimples look like gothic cathedrals.
-Phalanx A group of people together for a common purpose.
-Complaisant Agreeable or pleasing. James observes his mental picture of Mary and Jesus, saying they look as such.
So much to say about this section! I feel like the pieces have finally come to fit!
I really enjoyed how MacDonald began this chapter suddenly, with Kathleen almost dying. It gave us a sense that death is sudden, and a life full of promise and youth can be snuffed out by death, with no forgiveness or mercy. The reader contrasts the youthful cheeky Kathleen, who seemed to be the centre of the story in the previous section, to the dead Kathleen in this section. Kathleen, fearsome, powerful in life is now: "An abandoned mine. A bootleg mine, plundered, flooded; a ruined and dangerous haft, stripped of fuel and coal, of fossil ferns and sea anemones and bones.." (MacDonald 136) It made me think that, everyone is the "hero" of their own story, just as Kathleen was the main character here. But death can occur at any given time, without empathy or discrimination, and it will leave you bare and empty, with no use to the world. It was just a really powerful way of saying that life is very delicate, and one isn't guaranteed any time in this world, before one's great resources become an abandoned mine.
Obviously, guilt is a big theme in this chapter. Maternia killed herself because she felt guilty letting Kathleen die. She knows that "the real reason I let my daughter die was because she was better off that way" (MacDonald 138). Here, we see an interesting contrast in Maternia. She told The Devil previously that she'd let him take Kathleen, if he'd spare her other daughters. However, it is now apparent that he's taken Maternia with him, as well as Kathleen. However, Maternia swore she had no love for her daughter. Her guilt does not stem from her religion; she did the right thing in God's eyes. The guilt was enough for her to clean everything in her house meticulously (not unlike Shakespeare's Lady Macbeth,) before succumbing to her grief. It guilt inevitable in some situations, no matter what good choice is made?
Mr Mahmoud refuses to come to Maternia's funeral: "For him the funeral is redundant" (MacDonald 141). Did Maternia really die when she met James and became unhappy? She has been described as being a zombie-like woman for the majority of her time with James. Was she just ready to leave her body, as her "spirit" had already passed with such traumas at such a young age? This reader personally feels a little relief for poor Maternia; she is not suffering under the roof of James any longer.
The tragic innocence, and loss of innocence is explored through the characters of Frances and Mercedes in this section. When Kathleen is close to dying the two girls "have made a little shrine and given up sweets for as long as it takes her to get well" (MacDonald 146). Here, before the loss of innocence, the girls are still young, and still believe that not eating candy and sweets with result in their sister getting better. Such adorable behaviour, is turned around when the events begin to spin out of control. Mercedes becomes a stronger character, "When her nerves have heated up enough, when they are white-hot, they'll be plunged into cold water, tempered and strong for ever. Strong enough to support a building or a family.." (MacDonald 155). We also learn that Frances has learned how to lie (as mentioned in the above paragraph. We can begin to see the outline of both their characters; Mercedes is courageous and righteous, while Frances might have a manipulative side to her. MacDonald foreshadows from Mercedes' eyes: "Why is she so bad? Some people are just made that way" (MacDonald 156).
Again, the theme of perception is revisited. Frances, in the church laughs, but her father thinks she is crying: "Frances learns something in this moment that will allow her to survive and function for the rest of her life. She finds out that one thing can look like another" (MacDonald 142). This section is also told from very different points of view, as we see almost each scene from a different character's eyes. Like the memories we are being presented by the narrator, how much of what we see is what we get? Are there other secrets, just like in any family, that have yet to be uncovered?
Strange to me, Pete, the demon that haunts Kathleen appears to her before she dies. Is this the devil that Maternia has allowed to take Kathleen? Is it symbolic of James and his chilling relationship with his daughter? Is it symbolic of the environment she grew up in? After Frances accidentally drowns the baby, "The only thing different about this morning is that, if you look out at the garden, you'll notice that the scarecrow is gone, and in it's place there's a big rock" (MacDonald 156). The reader is left to wonder where the scarecrow went, and if it had any correspondence to the loss of Kathleen and the appearance of Pete. The reader is not not if the scarecrow leaving is frightening, or a relief. MacDonald uses cliffhangers in many of her chapters; this page is no different.
I love the dark humour that is a constant throughout the story. MacDonald uses witty, sharp lines to add grim laughs into the story: "Mercedes was going to bake it in the oven. But her mother is using the oven" (MacDonald 152). This of course is a reference to the time that Maternia has killed herself in the oven. this casual, innnocent approach to the suicide of a mother is horrible, yet sort of hilarious in a very evil way.
The baby that is accidentally drowned is named Ambrose, and St. Ambrose's quotes appear on each of the dead Piper's mass cards. The name Ambrose means immortal in Latin. From what I can gather about the next few chapters, the metaphorical ghosts of the dead Pipers "haunt" the pages of the novel, as in they never really die. As in they are immortal. Just a thought!
Interesting Vocabulary
-Respite: A short period of rest. Kathleen has a respite before she dies in childbirth.
-Wimple A cloth headdress. Frances observes that the Nun's wimples look like gothic cathedrals.
-Phalanx A group of people together for a common purpose.
-Complaisant Agreeable or pleasing. James observes his mental picture of Mary and Jesus, saying they look as such.
Wednesday, November 24, 2010
The Candy of Strangers, Lady Liberty & The Children's Hour
In these chapters, James comes home from the war and, in his newfound manic state, asks Maternia's parents for money to send Kathleen to New York. Strangely, Kathleen has fallen out of favour with James; he sees her as a completely different person Somewhat reluctantly, they oblige, and Kathleen heads off the the big city. However, while here, she falls in love and becomes somewhat frustrated with her craft of singing. A mysterious letter comes to James, that is signed by an anonymous stranger. Upon receiving this well-written letter, James immediately ships Kathleen back from New York City. This chapter was generally really confusing. I think it is so, because as a reader, we are supposed to feel like voyeurs, only seeing about half of what is really going on, speculating and gathering memories of the Piper family.
A big theme in this section is change. The narrator notes that: "The Great War was the greatest changer of them all" (MacDonald 115). Here, there is a historical turning point, and a directional change in the plot. The reader gets the feeling that things will begin to rapidly escalate, in wither a positive or negative direction. Also, we get the feeling that characters' attitude towards each other, and even their own personalities will evolve, or perhaps even backtrack. MacDonald wants to inform her readers that what they know from the previous chapters is almost null and void; that was then, this is now.
Throughout this section we get an intimate look on the private lives of Mr. and Mrs. Mahmouds, Maternia's well-off Lebanese parents that disowned her when she chose to leave their household for James. It becomes clear that the relationship between Maternia's parents and the relationship that Maternia has with James share certain similarities. Both men in the relationships are stern and cold, while the woman is quiet and demure, always looking for ways to please their husbands. Mrs. Mahmoud tries very hard to make her spouse happy: "She is wearing her moonstone ring and strand of genuine pearls to please her husband" (MacDonald 119). Mr. Mahmoud is ironically, a lot like James. He thinks always like a businessman, thinking only of ways to make himself look better, and exploiting every oppurtunity to get ahead: "He tells himself that he does it for Giselle. But as he writes the third zero, he reflects upon the future of the family voice. Universally acclaimed. The crowning glory of his success in the New World" (MacDonald 120). This remins me of several psychology articles I have read, who observe that when a woman looks for a partner, they look for someone who subconsciously reminds them of their father. While I understand that the Mahmouds' interpretation of marital roles was somewhat the social normalcy at the time, I believe MacDonald included this so that the reader could ponder family relationships. Do our parents' relationships dictate our relationships? Are we always doomed to repeat what we have seen growing up? Is our fate wholly or partially decided by those around us? Will we, without a doubt, become our parents inevitably? Could the relationship of Maternia and James be part of a vicious cycle?
When Kathleen makes her departure to NYC, a quote is placed, like at the start of most chapters, before the action starts. The quote is from Claudia, a book Kathleen read under her schoolbooks back in Holy Angels school: "Girl as she was, Claudia looked upon the world before her like some untried knight" (MacDonald 122). We see that Kathleen will soon embrace the new world she lives in. She already feels as if she has control over her life. She is a very confident, unshakeable young lady, as she leaves Cape Breton for the first time. While Kathleen is a strong character (admirable for such a quality,) she is not a particularly nice character. Ruthless, selfish and egotistical, the problem with Kathleen is that she does not realize her faults.
We are also introduced to Kathleen's guardian in NYC: a woman named Giles. She volunteers at a convent, and often tends to dying nuns. The narrator grimly exposes that, "Ancient sins bloom afresh, fragrant with the purity they possessed a moment before they were named and nipped in the bud" (MacDonald 124). Here, MacDonald compares the old sins that concerned nuns blurt out before they kick the bucket, to flowers that bloom when time is running out. This is discomforting to the reader, and it gives a sense of insecurity, simply because of the uncertainty of death. If nuns panic before they die, what can be said for the rest of us?
A well used alliteration helps bring to life the chaos and fast-paced lifestyle that Kathleen has been swept into whilst in NYC: "Between sadistic singing lessons with the maestro and suffocating sedate suppers with Giles, Kathleen walks the length and breadth of the island of Manhattan" (MacDonald 125). This adds momentum to MacDonald's writings.
Finally, the two younger girls at home learn to read all by themselves: "The glass of the mirror has simply melted away, and now they are free to enter as many worlds as they like, together or alone" (MacDonald 131). This metaphor is used to illustrate that the girls have grown up; they no longer rely on others, and are now "free" from their parents. For better or worse, they are close to being emancipated.
When James is bonding with Frances and Mercedes, a short poem is included entitled The Children's Hour, hence the title of the chapter it is located in. The poem was written in the 1860s, and the narrator, Henry Wadsworth Longfellow depicts a wonderful life with his three daughters. This is ironic, considering the crippled relationship James has with one of his daughters, and the overall strange family parallels that the Piper family harbour. This book is so full of allusions and obscure references, that it is difficult to look up every single mention throughout the story. It is a challenging read, mostly because I know very little of popular culture in the early 1900s.
Interesting Vocabulary
Civvies- Slang for street clothes. James walks back to his house in these. It is a symbol; his wartime heroism has been forgotten and he is just plain old James again.
Pre-eminent- Very important and distinguished. James looks for the pre-eminent teacher of music for Kathleen in NYC.
Trousseau- A dowry for a single woman. Teresa is getting hers ready for when she marries.
A big theme in this section is change. The narrator notes that: "The Great War was the greatest changer of them all" (MacDonald 115). Here, there is a historical turning point, and a directional change in the plot. The reader gets the feeling that things will begin to rapidly escalate, in wither a positive or negative direction. Also, we get the feeling that characters' attitude towards each other, and even their own personalities will evolve, or perhaps even backtrack. MacDonald wants to inform her readers that what they know from the previous chapters is almost null and void; that was then, this is now.
Throughout this section we get an intimate look on the private lives of Mr. and Mrs. Mahmouds, Maternia's well-off Lebanese parents that disowned her when she chose to leave their household for James. It becomes clear that the relationship between Maternia's parents and the relationship that Maternia has with James share certain similarities. Both men in the relationships are stern and cold, while the woman is quiet and demure, always looking for ways to please their husbands. Mrs. Mahmoud tries very hard to make her spouse happy: "She is wearing her moonstone ring and strand of genuine pearls to please her husband" (MacDonald 119). Mr. Mahmoud is ironically, a lot like James. He thinks always like a businessman, thinking only of ways to make himself look better, and exploiting every oppurtunity to get ahead: "He tells himself that he does it for Giselle. But as he writes the third zero, he reflects upon the future of the family voice. Universally acclaimed. The crowning glory of his success in the New World" (MacDonald 120). This remins me of several psychology articles I have read, who observe that when a woman looks for a partner, they look for someone who subconsciously reminds them of their father. While I understand that the Mahmouds' interpretation of marital roles was somewhat the social normalcy at the time, I believe MacDonald included this so that the reader could ponder family relationships. Do our parents' relationships dictate our relationships? Are we always doomed to repeat what we have seen growing up? Is our fate wholly or partially decided by those around us? Will we, without a doubt, become our parents inevitably? Could the relationship of Maternia and James be part of a vicious cycle?
When Kathleen makes her departure to NYC, a quote is placed, like at the start of most chapters, before the action starts. The quote is from Claudia, a book Kathleen read under her schoolbooks back in Holy Angels school: "Girl as she was, Claudia looked upon the world before her like some untried knight" (MacDonald 122). We see that Kathleen will soon embrace the new world she lives in. She already feels as if she has control over her life. She is a very confident, unshakeable young lady, as she leaves Cape Breton for the first time. While Kathleen is a strong character (admirable for such a quality,) she is not a particularly nice character. Ruthless, selfish and egotistical, the problem with Kathleen is that she does not realize her faults.
We are also introduced to Kathleen's guardian in NYC: a woman named Giles. She volunteers at a convent, and often tends to dying nuns. The narrator grimly exposes that, "Ancient sins bloom afresh, fragrant with the purity they possessed a moment before they were named and nipped in the bud" (MacDonald 124). Here, MacDonald compares the old sins that concerned nuns blurt out before they kick the bucket, to flowers that bloom when time is running out. This is discomforting to the reader, and it gives a sense of insecurity, simply because of the uncertainty of death. If nuns panic before they die, what can be said for the rest of us?
A well used alliteration helps bring to life the chaos and fast-paced lifestyle that Kathleen has been swept into whilst in NYC: "Between sadistic singing lessons with the maestro and suffocating sedate suppers with Giles, Kathleen walks the length and breadth of the island of Manhattan" (MacDonald 125). This adds momentum to MacDonald's writings.
Finally, the two younger girls at home learn to read all by themselves: "The glass of the mirror has simply melted away, and now they are free to enter as many worlds as they like, together or alone" (MacDonald 131). This metaphor is used to illustrate that the girls have grown up; they no longer rely on others, and are now "free" from their parents. For better or worse, they are close to being emancipated.
When James is bonding with Frances and Mercedes, a short poem is included entitled The Children's Hour, hence the title of the chapter it is located in. The poem was written in the 1860s, and the narrator, Henry Wadsworth Longfellow depicts a wonderful life with his three daughters. This is ironic, considering the crippled relationship James has with one of his daughters, and the overall strange family parallels that the Piper family harbour. This book is so full of allusions and obscure references, that it is difficult to look up every single mention throughout the story. It is a challenging read, mostly because I know very little of popular culture in the early 1900s.
Interesting Vocabulary
Civvies- Slang for street clothes. James walks back to his house in these. It is a symbol; his wartime heroism has been forgotten and he is just plain old James again.
Pre-eminent- Very important and distinguished. James looks for the pre-eminent teacher of music for Kathleen in NYC.
Trousseau- A dowry for a single woman. Teresa is getting hers ready for when she marries.
Monday, November 22, 2010
Three Sisters, Women of Canada, Dulce Et Decorum, The Bobbseys At Home & Boots (Chapter 16-20)
In these series of chapters, some very important advances were made in the characterization of James in the war. As the plot of the story becomes stranger and stranger, the reader begins to question the motives of the author. MacDonald adds several things into the story, that are seemingly unnecessary filler. However, the experience of the last few chapters tells me that everything added into this book is there for a specific purpose. Kathleen and her younger sisters begin to bond. Maternia receives letters from James that are almost useless, as he never adds any details into his messages. Maternia feels somewhat guilty, for she wishes death on James. Meanwhile, James in the trenches is changing as a character. He is eventually discharged, for what they say is a severed toe, but in actuality, he is mentally unfit to continue in the war.
A part of these chapters that really struck a chord with me, and I suspect many other readers, is when the author reveals that Mrs. Luvovitz's children are going to fight in the war. However, there is a twist to this development: "Her boys will be fighting their own flesh and blood. The Luvovitzes are real Canadians, and the Feingolds are real Germans" (MacDonald 102). Here we see that there is an obvious struggle with identity, not only for the children of the Luvovitzes, but for Canada as a whole. We are reminded of the changing of times in Canada in this time period. The Second World War mimics the conflicts that are occurring in the home of the Pipers.
Maternia contemplates suicide in this chapter. She wishes to jump to her death off the cliffs that she has visited for so long, and be dead in the ocean. For Maternia, the water here symbolizes a fresh start, almost as if it is a rebirth in death. MacDonald uses personification to highlight this fact: "It's where she belongs, she craves the caress of the violent shore, to come alive like that once more in a clash of stone and then to die" (MacDonald 105). Maternia feels dead already, and expresses that she would find a relief in death, as the fall would make her feel alive once more. The reader is on Maternia's side; she is one of the many characters that we sympathize with in this novel.
We also sympathize with the tragic Mrs. Luvovitz, who is proof that tragic things can happen to otherwise good people. Mrs. Luvovitz is only human, however, and humans have good and bad points. She wishes for James to be killed in the war, much like Maternia secretly does: "Benny says that's prejudice. It isn't. It's superstition" (MacDonald 105). Judgement and prejudice, as well as perception are huge themes in this novel. While everyone judges each other in the novel, the reader is able to see the positive and negative in everyone. There are no "black and white" characters; everyone is a spectrum, so judgement should not be used.
The Secrets of Fatima are mentioned in this section. However, this was a title in the pervious sections of the book. Could it be that MacDonald is using the titles of the chapters as foreshadowing to what could happen? It seems a little obvious, but I'll be looking for that pattern in the remainder of the novel.
James's characters becomes more complex and troublesome. He is described as having "'Total disregard for his own safety'" (MacDonald 109) by his fellow soldiers. It becomes evident that James doesn't want to live anymore, though it is not clear why. He has generally been a pessimistic and dangerous charcater. However, his grand plans for Kathleen and his newfound want to die are conflicting. I think a combination of war, his failing reltionship with Maternia and the fact that he has lost/is losing Kathleen to distance and her rapidly increasing age has made him feel like he has nothing left in his life. I'm not sure if the average reader feels sorry for James, but I do. His character reminds me of the mention of the fatal flaw in our class discussions. MacDonald paints him as a tragic character, with several weaknesses, such as Kathleen and his exremely high expectations, that will eventually lead to his demise.
James has a highly competitive nature. He likes to win, and he likes to be correct. In the chapter entitled Boots, James decides that in order to win the war, he must make the best boots: "We will win because we have more and better boots. Boots determine history. Warm dry feet will allow us to go on being killed longer than the enemy. When the enemy's boots wear out, they will no longer be able to run in waves into our machine-gun fire, and they will surrender" (MacDonald 112). I am struggling to understand why MacDonald included James's bizarre logic into the novel. I think this is here to show his descent into possible insanity. While his point is somewhat logical, he obsesses over boots. James has become more obsessive and more obsessed by unfeasible illogical ideas. I predict that the boots are just symbolically representing Kathleen. I feel like the Piper women will be in greater danger upon the homecoming of the man of the house.
In describing James, MacDonald used an interesting allusion: "James's superiors do not refer to him as 'Rudolph'; they call him 'Lady Macbeth'" (MacDonald 114). James is being compared to Lady Macbeth, a greedy, vicious character that committed horrible crimes and died because of their own guilt. When Lady Macbeth died, natural order was restored. Could a similar fate be in store for James?
Before learning of James's homecoming, Mercedes, Frances and Kathleen read The Red Shoes, a story by Hans Christian Anderson that tells of a girl that was to vain and rude to her adoptive mother, that she was forced to dance in her red shoes, until she cut her feet off. She was only saved by praying to God. It is an ironic allusion, considering that Kathleen fits the description of the girl in the story perfectly. MacDonald uses a lot of allusions for the purpose of foreshadowing, and I wouldn't be surprised if this was included.
Interesting Vocabulary
Bodechean: Has different meanings for different regions. Generally thought of as a demonic/mythical creature. Kathleen describes Pete as such. It is still unclear why Pete is haunting Kathleen. Is he real, or is he imaginary?
Unabsolved: To un-free, or be contained. Maternia is this way when the priest does not understand her perceived level of sin.
Untrammelled: Not censored or chained in speech or thought. Kathleen believes that the free untrammelled girl must be brought to the throne of fashion for sacrifice.
Dulce et Decorum: Translates roughly into "For one's own country". Title of the chapter in which James describes his wartime life.
Parapet: A wall.
A part of these chapters that really struck a chord with me, and I suspect many other readers, is when the author reveals that Mrs. Luvovitz's children are going to fight in the war. However, there is a twist to this development: "Her boys will be fighting their own flesh and blood. The Luvovitzes are real Canadians, and the Feingolds are real Germans" (MacDonald 102). Here we see that there is an obvious struggle with identity, not only for the children of the Luvovitzes, but for Canada as a whole. We are reminded of the changing of times in Canada in this time period. The Second World War mimics the conflicts that are occurring in the home of the Pipers.
Maternia contemplates suicide in this chapter. She wishes to jump to her death off the cliffs that she has visited for so long, and be dead in the ocean. For Maternia, the water here symbolizes a fresh start, almost as if it is a rebirth in death. MacDonald uses personification to highlight this fact: "It's where she belongs, she craves the caress of the violent shore, to come alive like that once more in a clash of stone and then to die" (MacDonald 105). Maternia feels dead already, and expresses that she would find a relief in death, as the fall would make her feel alive once more. The reader is on Maternia's side; she is one of the many characters that we sympathize with in this novel.
We also sympathize with the tragic Mrs. Luvovitz, who is proof that tragic things can happen to otherwise good people. Mrs. Luvovitz is only human, however, and humans have good and bad points. She wishes for James to be killed in the war, much like Maternia secretly does: "Benny says that's prejudice. It isn't. It's superstition" (MacDonald 105). Judgement and prejudice, as well as perception are huge themes in this novel. While everyone judges each other in the novel, the reader is able to see the positive and negative in everyone. There are no "black and white" characters; everyone is a spectrum, so judgement should not be used.
The Secrets of Fatima are mentioned in this section. However, this was a title in the pervious sections of the book. Could it be that MacDonald is using the titles of the chapters as foreshadowing to what could happen? It seems a little obvious, but I'll be looking for that pattern in the remainder of the novel.
James's characters becomes more complex and troublesome. He is described as having "'Total disregard for his own safety'" (MacDonald 109) by his fellow soldiers. It becomes evident that James doesn't want to live anymore, though it is not clear why. He has generally been a pessimistic and dangerous charcater. However, his grand plans for Kathleen and his newfound want to die are conflicting. I think a combination of war, his failing reltionship with Maternia and the fact that he has lost/is losing Kathleen to distance and her rapidly increasing age has made him feel like he has nothing left in his life. I'm not sure if the average reader feels sorry for James, but I do. His character reminds me of the mention of the fatal flaw in our class discussions. MacDonald paints him as a tragic character, with several weaknesses, such as Kathleen and his exremely high expectations, that will eventually lead to his demise.
James has a highly competitive nature. He likes to win, and he likes to be correct. In the chapter entitled Boots, James decides that in order to win the war, he must make the best boots: "We will win because we have more and better boots. Boots determine history. Warm dry feet will allow us to go on being killed longer than the enemy. When the enemy's boots wear out, they will no longer be able to run in waves into our machine-gun fire, and they will surrender" (MacDonald 112). I am struggling to understand why MacDonald included James's bizarre logic into the novel. I think this is here to show his descent into possible insanity. While his point is somewhat logical, he obsesses over boots. James has become more obsessive and more obsessed by unfeasible illogical ideas. I predict that the boots are just symbolically representing Kathleen. I feel like the Piper women will be in greater danger upon the homecoming of the man of the house.
In describing James, MacDonald used an interesting allusion: "James's superiors do not refer to him as 'Rudolph'; they call him 'Lady Macbeth'" (MacDonald 114). James is being compared to Lady Macbeth, a greedy, vicious character that committed horrible crimes and died because of their own guilt. When Lady Macbeth died, natural order was restored. Could a similar fate be in store for James?
Before learning of James's homecoming, Mercedes, Frances and Kathleen read The Red Shoes, a story by Hans Christian Anderson that tells of a girl that was to vain and rude to her adoptive mother, that she was forced to dance in her red shoes, until she cut her feet off. She was only saved by praying to God. It is an ironic allusion, considering that Kathleen fits the description of the girl in the story perfectly. MacDonald uses a lot of allusions for the purpose of foreshadowing, and I wouldn't be surprised if this was included.
Interesting Vocabulary
Bodechean: Has different meanings for different regions. Generally thought of as a demonic/mythical creature. Kathleen describes Pete as such. It is still unclear why Pete is haunting Kathleen. Is he real, or is he imaginary?
Unabsolved: To un-free, or be contained. Maternia is this way when the priest does not understand her perceived level of sin.
Untrammelled: Not censored or chained in speech or thought. Kathleen believes that the free untrammelled girl must be brought to the throne of fashion for sacrifice.
Dulce et Decorum: Translates roughly into "For one's own country". Title of the chapter in which James describes his wartime life.
Parapet: A wall.
Thursday, November 18, 2010
Moving Pictures, Limbo, Over Here, Holy Angels (Chapters 12-15)
To summarize, in each of these respective chapters, James is going off to war, so he gets a picture taken of Kathleen. Meanwhile, Maternia has her fourth baby named Lily,who, sick from the start, dies. Shortly after, James goes off to war. Maternia, in his absence flourishes with her two favourite daughters, Frances and Mercedes. Kathleen becomes more and more alienated at school, as we see her personality start to become more distinct.
The progression of dark humour in this novel is getting more apparent. The reader is starting to becomes more and more concerned with Kathleen. It seems that the Piper's oldest daughter has an antisocial personality type, with possible narcissistic tendencies. Kathleen has very dark thoughts for a young woman. She is arrogant, proud and shows no affection for any of her peers. It is not completely clear whether this is just a defence mechanism for her, or if she really does not care for the feelings of others. Even her daily observations are laced with darkness: "Taylor carries the boxy camera across the yard, its long hood trailing 'like the severed head of a nun,' thinks Kathleen" (MacDonald 79). Kathleen is extremely cruel towards her mother, much beyond the rudeness of the average teenager: "What upsets Kathleen most is the blank face on her mother. A baby factory. Insensate. My life will not be like that" (MacDonald 83). The young girl becomes frustrated and angry instead of sympathetic when confronted with others being sad or upset; in fact for every emotion that Kathleen has encountered, she has rebuttled with hostility. MacDonald uses an excellent metaphor to describe Kathleen's personality: "No, Kathleen's fortress, her tower of creamy white is steep and terrible. No one comes in or out. Except for her father, Sister Saint Cecilia and a select few minions necessary to support life" (MacDonald 97). It is known to me now that Kathleen eventually dies. Will her seemingly cold, vain and antisocial exterior be a factor in her demise? And how much of her attitude is fake, and how much is really her, just trying to protect herself? One thing is true, she very much takes after her father James.
Maternia also becomes more assertive in this section of the book. She finally finds some comfort in Mercedes and Frances, two daughters that embrace her culture and let her be a true mother to them. Throughout Over Here we see how MacDonald is slowly building up Maternia's self esteem and self of worth. It is also clear that Maternia is not emotionally attached to James anymore, as when he goes off to war, "She prays so hard that her head really does seem to get a little wobbly. She prays he'll be killed quickly and painlessly in Flanders" (MacDonald 85). It is clear that Maternia is only sticking around for the security of having a husband, and for the sake of her children. Also in this chapter, we see Maternia revisiting the Hope Chest, and dancing the dabke, a dance of Arabic origin, that is said to be danced in celebratory times. We see that since the bully James is out of her life, she is free to express herself without the fear of being reprimanded. Both the Hope Chest and the dabke are symbols of her personal freedom in the absence of Mr. Piper.
When Maternia is describing Lebanon, and her culture, she using some striking imagery: "The buildings are white, they sparkle in the sun like diamonds and the sea is crystal-blue. Lebanon is the pearl of the Orient. And Beirut, where I was born is the Paris of the Middle East" (MacDonald 87). Here, she uses similes, metaphors, imagery and comparisons to paint a picture of Lebanon. The author really wants the readers to feel as if Maternia's unique culture has been very poorly judged by James. This is said to make James look ignorant and unappreciative.
As Maternia teaches her two youngest daughters the dance dabke, the narrator describes the movements: "Your hands are supple seaweed, waving on unresisting wrists, encircling, grazing, flirting with one another" (MacDonald 89). There is a lot of water imagery in this novel, and I believe that the reference of seaweed is one as well. Perhaps if Maternia is dancing like seaweed, she is in the water? Perhaps this is a rebirth for Maternia; is she being reborn as a more confident, assertive woman with her two daughters by her side?
I really like how MacDonald has, throughout the entire novel so far, been able to switch back and forth seamlessly between points of view in the plot-line. For instance, one paragraph will be discussing how Kathleen's teacher is feeling, but then return to the point of view of Kathleen in the paragraph after. It is an interesting technique that makes the reader feel as if they were almost like God, watching down on the characters of the novel, knowing their secret thoughts and feelings.
The theme of animosity occurs most prominently in Holy Angels, a chapter dedicates entirely to Kathleen's school experience. For example, when Kathleen is taken down a few pegs by her teacher, the narrator quips that, "Kathleen's ordeal at the hands of Sister Saint Monica soothes a lot of badly ruffled feathers" (MacDonald 95), or when Kathleen "Skirts them cautiously as if they were dangerous wild animals loitering about a common watering hole ready to pounce" (MacDonald 96). Animal comparisons were abundant, obviously. I think this speaks to the fact that not only is school simply a jungle, but the author wants us to understand that nobody is above Kathleen; they are all but animals to her. Whether they were jealous birds with ruffled feathers, or feisty wild animals ready to attack, they are all still beasts, while she is the untouchable Kathleen.
Interesting Vocabulary
-Insensate Lacking in physical sensation. Kathleen describes her mother as such.
-Heifer A female cow that has not given birth to a calf. James describes a fat Maternia with this word.
-Boche The German Soldiers
-Antechamber A small room leading to another larger room
-Moraine Rocks in a glacier
-Unalloyed Pure
-Gregarious Someone fond of being social.
The progression of dark humour in this novel is getting more apparent. The reader is starting to becomes more and more concerned with Kathleen. It seems that the Piper's oldest daughter has an antisocial personality type, with possible narcissistic tendencies. Kathleen has very dark thoughts for a young woman. She is arrogant, proud and shows no affection for any of her peers. It is not completely clear whether this is just a defence mechanism for her, or if she really does not care for the feelings of others. Even her daily observations are laced with darkness: "Taylor carries the boxy camera across the yard, its long hood trailing 'like the severed head of a nun,' thinks Kathleen" (MacDonald 79). Kathleen is extremely cruel towards her mother, much beyond the rudeness of the average teenager: "What upsets Kathleen most is the blank face on her mother. A baby factory. Insensate. My life will not be like that" (MacDonald 83). The young girl becomes frustrated and angry instead of sympathetic when confronted with others being sad or upset; in fact for every emotion that Kathleen has encountered, she has rebuttled with hostility. MacDonald uses an excellent metaphor to describe Kathleen's personality: "No, Kathleen's fortress, her tower of creamy white is steep and terrible. No one comes in or out. Except for her father, Sister Saint Cecilia and a select few minions necessary to support life" (MacDonald 97). It is known to me now that Kathleen eventually dies. Will her seemingly cold, vain and antisocial exterior be a factor in her demise? And how much of her attitude is fake, and how much is really her, just trying to protect herself? One thing is true, she very much takes after her father James.
Maternia also becomes more assertive in this section of the book. She finally finds some comfort in Mercedes and Frances, two daughters that embrace her culture and let her be a true mother to them. Throughout Over Here we see how MacDonald is slowly building up Maternia's self esteem and self of worth. It is also clear that Maternia is not emotionally attached to James anymore, as when he goes off to war, "She prays so hard that her head really does seem to get a little wobbly. She prays he'll be killed quickly and painlessly in Flanders" (MacDonald 85). It is clear that Maternia is only sticking around for the security of having a husband, and for the sake of her children. Also in this chapter, we see Maternia revisiting the Hope Chest, and dancing the dabke, a dance of Arabic origin, that is said to be danced in celebratory times. We see that since the bully James is out of her life, she is free to express herself without the fear of being reprimanded. Both the Hope Chest and the dabke are symbols of her personal freedom in the absence of Mr. Piper.
When Maternia is describing Lebanon, and her culture, she using some striking imagery: "The buildings are white, they sparkle in the sun like diamonds and the sea is crystal-blue. Lebanon is the pearl of the Orient. And Beirut, where I was born is the Paris of the Middle East" (MacDonald 87). Here, she uses similes, metaphors, imagery and comparisons to paint a picture of Lebanon. The author really wants the readers to feel as if Maternia's unique culture has been very poorly judged by James. This is said to make James look ignorant and unappreciative.
As Maternia teaches her two youngest daughters the dance dabke, the narrator describes the movements: "Your hands are supple seaweed, waving on unresisting wrists, encircling, grazing, flirting with one another" (MacDonald 89). There is a lot of water imagery in this novel, and I believe that the reference of seaweed is one as well. Perhaps if Maternia is dancing like seaweed, she is in the water? Perhaps this is a rebirth for Maternia; is she being reborn as a more confident, assertive woman with her two daughters by her side?
I really like how MacDonald has, throughout the entire novel so far, been able to switch back and forth seamlessly between points of view in the plot-line. For instance, one paragraph will be discussing how Kathleen's teacher is feeling, but then return to the point of view of Kathleen in the paragraph after. It is an interesting technique that makes the reader feel as if they were almost like God, watching down on the characters of the novel, knowing their secret thoughts and feelings.
The theme of animosity occurs most prominently in Holy Angels, a chapter dedicates entirely to Kathleen's school experience. For example, when Kathleen is taken down a few pegs by her teacher, the narrator quips that, "Kathleen's ordeal at the hands of Sister Saint Monica soothes a lot of badly ruffled feathers" (MacDonald 95), or when Kathleen "Skirts them cautiously as if they were dangerous wild animals loitering about a common watering hole ready to pounce" (MacDonald 96). Animal comparisons were abundant, obviously. I think this speaks to the fact that not only is school simply a jungle, but the author wants us to understand that nobody is above Kathleen; they are all but animals to her. Whether they were jealous birds with ruffled feathers, or feisty wild animals ready to attack, they are all still beasts, while she is the untouchable Kathleen.
Interesting Vocabulary
-Insensate Lacking in physical sensation. Kathleen describes her mother as such.
-Heifer A female cow that has not given birth to a calf. James describes a fat Maternia with this word.
-Boche The German Soldiers
-Antechamber A small room leading to another larger room
-Moraine Rocks in a glacier
-Unalloyed Pure
-Gregarious Someone fond of being social.
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