Communism: a system of social organization in which all economic and social activity is controlled by a totalitarian state dominated by a single and self-perpetuating political party. Everybody is equal. There is no segregation, no poor, and no rich. Ricard Wright is so fascinated with communism because he himself is black. His people were oppressed day and night. Blacks were socially contained to be lesser than whites, and in other words, if one was black then one's life was meaningless. Because of this inequality, Wright became attached to the idea of communism. A country without rich or poor. Everybody shared everything, meaning blacks would be on the same social standing as whites. If blacks were on the same social standing as whites, then there wouldn't be any segregation or oppression.
Bigger is actually more of a communist than he realizes. He actually does not understand what communism is, but only knows it is bad because other people say so. On page 115, it says, "He felt that one way to end fear and shame was to make all those black people act together. rule them, tell them what to do, and make them do it." That sounds a lot like communism, yet Bigger claims that communism is bad. Totalitarianism also appeals to him because he is fascinated with how Mussolini invaded Spain and how Hitler was killing the Jews. "He was not concerned with whether these acts were right or wrong; they simply appealed to him as possible avenues of escape" (Wright 115). Bigger only cares about how much power those dictators have in their hands, and he wants to have just as much power as they do, which essentially means he supports communism.
Monday, April 25, 2011
Native Son, Day 4&5 (pgs 97-156)
"Blackness". Blackness prevents one from freedom. Blackness forces one to submit to the white man. Blackness means one's life is meaningless and already set. Can't climb up the social latter, can't talk back to the white man, can't become whatever one wants to be. Blackness is a curse, a curse that is not removable, a curse that is obtained at birth. The only way to avoid the curse is to not be born black. But Bigger sees this "blackness" as a blessing, a blessing that opens up a road to freedom, power, and influence. Still, the power dynamics has not changed. Blacks are inferior to whites, and it is because of that that Bigger obtains the power of manipulation and "weapons that were invisible" (Wright 130).
Because of the social differences between whites and blacks, nobody would ever conceive of the idea of a black man lying to a white man, even less killing or touching a white woman. Blacks are scared of whites, so blacks will never go against whites, thus Bigger is automatically not guilty of anything done to them. Social disparity also means that white people have a good amount of pride, so they would not ask Bigger any questions that cross the social line and make whites rely on blacks. This pride glaringly shows when Mrs. and Mr. Dalton goes to Bigger's room to ask him what happened. Mrs. Dalton wants to ask more questions, but her pride prevents her. Bigger even explains, "She would be ashamed to let him think that something was so wrong in her family that she had to ask him, a black servant, about it" (Wright 128). Mrs. Dalton does not want to rely on a black man or else that would tarnish her pride as the superior rich white person and also as a hirer.
Other people are blind to the fact that a black man would attempt to rise up and hamper the social latter. White people do not expect Bigger, a black man, to have killed or done anything to Mary. Even though they are blind, Bigger used to be blind himself in Jan's perspective. When Bigger saw Buddy again, "Buddy was soft and vague; his eyes were defenseless and their glance went only to the surface of things" (Wright 108). Bigger saw his previous self in Buddy, a lonely and meaningless life. Bigger finally understood that this was how Jan viewed blacks.
Because of the social differences between whites and blacks, nobody would ever conceive of the idea of a black man lying to a white man, even less killing or touching a white woman. Blacks are scared of whites, so blacks will never go against whites, thus Bigger is automatically not guilty of anything done to them. Social disparity also means that white people have a good amount of pride, so they would not ask Bigger any questions that cross the social line and make whites rely on blacks. This pride glaringly shows when Mrs. and Mr. Dalton goes to Bigger's room to ask him what happened. Mrs. Dalton wants to ask more questions, but her pride prevents her. Bigger even explains, "She would be ashamed to let him think that something was so wrong in her family that she had to ask him, a black servant, about it" (Wright 128). Mrs. Dalton does not want to rely on a black man or else that would tarnish her pride as the superior rich white person and also as a hirer.
Other people are blind to the fact that a black man would attempt to rise up and hamper the social latter. White people do not expect Bigger, a black man, to have killed or done anything to Mary. Even though they are blind, Bigger used to be blind himself in Jan's perspective. When Bigger saw Buddy again, "Buddy was soft and vague; his eyes were defenseless and their glance went only to the surface of things" (Wright 108). Bigger saw his previous self in Buddy, a lonely and meaningless life. Bigger finally understood that this was how Jan viewed blacks.
Native Son, Day 3 (pgs 62-93)
Black people are trash. They cannot do anything. They will always submit to the white man. The white man does not care about what the blacks do as long as they do not approach the whites. That is the view of the time in the Native Son. Bigger, even though accidentally, manages to violate this relationship in every single form. He attempts to take sexual advantage over a white woman, kills her, burns her body, takes her money, and then tries to get out of the predicament.
On a social level, Bigger has trespassed his boundaries too far. To take advantage of a drunk white woman is already a ticket to getting killed. Sexual relations between whites and blacks are frowned upon, and in this case, the white person did not even agree to have sex, which in other words, is rape. Even before the rape, Bigger acts friendly with two white people. Blacks should always be inferior to whites, but Bigger shatters this concept and talks to Jan and Mary without honorifics.
On a more universal level, a person has killed another person, and that by itself is intolerable. But in this case, a black man has killed a white woman. A black man, a man who is inferior to whites, has killed a white woman. This shatters every rule the white man has set forth to contain the black man. Earlier in the novel, Bigger even states that white men don't care what happens between black men, but once that shifts to black committing a crime against whites, they start caring.
I do think Bigger realizes what he has done. "She was dead; she was white; she was a woman; he had killed her; he was black; he might be caught; he did not want to be caught; if he were they would kill him." (Wright 89) The quote explains that Bigger knows the consequences and the social barriers that he has violated. If not, he would not be able to say "They can't say I did it. If they do, they can't prove it" at the end of Book One because he would not know the social barriers that could help him.
On a social level, Bigger has trespassed his boundaries too far. To take advantage of a drunk white woman is already a ticket to getting killed. Sexual relations between whites and blacks are frowned upon, and in this case, the white person did not even agree to have sex, which in other words, is rape. Even before the rape, Bigger acts friendly with two white people. Blacks should always be inferior to whites, but Bigger shatters this concept and talks to Jan and Mary without honorifics.
On a more universal level, a person has killed another person, and that by itself is intolerable. But in this case, a black man has killed a white woman. A black man, a man who is inferior to whites, has killed a white woman. This shatters every rule the white man has set forth to contain the black man. Earlier in the novel, Bigger even states that white men don't care what happens between black men, but once that shifts to black committing a crime against whites, they start caring.
I do think Bigger realizes what he has done. "She was dead; she was white; she was a woman; he had killed her; he was black; he might be caught; he did not want to be caught; if he were they would kill him." (Wright 89) The quote explains that Bigger knows the consequences and the social barriers that he has violated. If not, he would not be able to say "They can't say I did it. If they do, they can't prove it" at the end of Book One because he would not know the social barriers that could help him.
Native Son, Day 2 (pgs 34- 62)
Alone in a room all to himself, Bigger begins to feel that the job is not so bad. He could drink in peace. He has a soft comfortable bed all to himself. Bigger believes that his new job will be extremely easy. On page 59, he even says "Oh boy! This would be an easy life!" Bigger is getting sold out by the material possessions that the Dalton's give him. He is not the type who would simply make peace in the world which he is confined in. Throughout the stay at the Dalton's, he always kept talking trash about Mary Dalton in his mind. He says, "The only thing bad so far was that crazy girl." He also felt awkward each time he came near a person in the household. If he really had made his peace, he would not feel awkward and just accept the way things are. If Bigger was being subversive, then he would act like he always does. Instead, he does not even want to go into the kitchen with Mrs. Dalton because of fear, so he is not surrendering at all.
Monday, March 28, 2011
Faulkner's Nobel Prize Acceptance Speech
In his Nobel Prize Acceptance Speech, William Faulkner clearly states what a writer should write about to make a good story; courage, honor, hope, pride, compassion, pity, and sacrifice. A good story is drenched in the agony and sweat of the human spirit, which is exemplified in his short story, "That Evening Sun."
Nancy, a tall black woman working for the white aristocratic family of the Compson's, portrays the agony of the human spirit Faulkner so fervently advocates. Faulkner displays pity and honor through her. The narrator tells the readers a story of how Nancy faces Mr. Stovall, a white man and a deacon in a Baptist church. He uses Nancy as a sexual object but never pays her so she shouts out, "When you gonna pay me, white man?" (Faulkner 168) Because of the racial differences during this time period in the south, it is unthinkable for a black person to be condemning a white person, so Nancy must have had a good amount of honor to actually accuse him. Even though she shows honor, she also portrays pity and sacrifice. She keeps repeating to herself, "I ain't nothing but a nigger." (Faulkner 168) She is the person of pity in the short story and thus represents the agony of the human spirit.
The Compson's represent a more positive heart by displaying compassion, sacrifice, and hope. Because Nancy is scared to death, Mr. Compson decides to accompany Nancy back to her house by saying, "I'm going to walk down the lane with Nancy." (Faulkner 169) Immediately after saying that, Mrs. Compson asks, "You'll leave me alone, to take Nancy home? Is her safety more precious to you than mine?" (Faulkner 169) Mr. Compson, even though leaving his children and wife unattended, brings Nancy back home, sacrificing himself and his family for the needs of others. Mr. Compson also shows hope to Nancy. When Nancy says that Jesus, her husband, is out in the open and waiting to kill her, Mr. Compson says, "Well, he's gone now. There's nothing for you to be afraid of now." (Faulkner 169) Mr. Compson tries to comfort Nancy through the sweat of the human spirit.
Nancy, a tall black woman working for the white aristocratic family of the Compson's, portrays the agony of the human spirit Faulkner so fervently advocates. Faulkner displays pity and honor through her. The narrator tells the readers a story of how Nancy faces Mr. Stovall, a white man and a deacon in a Baptist church. He uses Nancy as a sexual object but never pays her so she shouts out, "When you gonna pay me, white man?" (Faulkner 168) Because of the racial differences during this time period in the south, it is unthinkable for a black person to be condemning a white person, so Nancy must have had a good amount of honor to actually accuse him. Even though she shows honor, she also portrays pity and sacrifice. She keeps repeating to herself, "I ain't nothing but a nigger." (Faulkner 168) She is the person of pity in the short story and thus represents the agony of the human spirit.
The Compson's represent a more positive heart by displaying compassion, sacrifice, and hope. Because Nancy is scared to death, Mr. Compson decides to accompany Nancy back to her house by saying, "I'm going to walk down the lane with Nancy." (Faulkner 169) Immediately after saying that, Mrs. Compson asks, "You'll leave me alone, to take Nancy home? Is her safety more precious to you than mine?" (Faulkner 169) Mr. Compson, even though leaving his children and wife unattended, brings Nancy back home, sacrificing himself and his family for the needs of others. Mr. Compson also shows hope to Nancy. When Nancy says that Jesus, her husband, is out in the open and waiting to kill her, Mr. Compson says, "Well, he's gone now. There's nothing for you to be afraid of now." (Faulkner 169) Mr. Compson tries to comfort Nancy through the sweat of the human spirit.
Wednesday, March 9, 2011
A Clean, Well-lighted Place
The form of the film for the most part does fit the content, but the very last scene did not fit very well. In the short story, it clearly stated that the waiter has insomnia, but in the film adaptation, it simply shows him walking back home in the stroke of dawn. Also, the British accents did not match up to the story. I thought the story was based in Cuba, as Hemingway always stayed there and also because there was Spanish in the text.
Even though the film has a few minor differences, I still think it is true to Hemingway's intent for the story. The old man represents a darker side of life, and Hemingway's existential-nihilistic ideas are shown through the old man's attempt at suicide and the repetition of "nada", which means nothing in Spanish. Hemingway believed that there was nothing beyond death, and the repetition of "nada" implies the idea. Even though in the film it said "nothing" instead of "nada", I thought it still put the same point across.
As I said before, the key element that has been altered is the ending and the accents. The ending in the film still worked, but that was because the bar scene and the actor's ability in portraying somebody who is wide awake. I personally did not like the film ending. If I did not read the short-story beforehand, I would have been confused. The film should have had the waiter lay on his bed, wide awake, staring into nothingness just like the short-story.
I thought the filmmakers did an excellent job in adapting the bar scene. I actually thought it was a lot stronger than on the page. I needed visual representation for the scene, and the film showed me a good number of people in the bar, referring back to the need of a well-lighted place. Hemingway's message comes of just as strongly in the film as in the short story, but only because of the strong bar scene.
If I had made the video, I would have first of all gotten a new set of actors that don't have British accents. I could not understand a good amount of dialog until I got used to it. The filming itself was very poor. The filming angles put me to sleep. I wanted to see the actors' faces more. That is one of the reasons why the bar scene stuck out for me. The waiter's face just screamed out that he was not tired, which was the point.
I do not think the majority of the actors casted were fitting to play the key characters in the novel. I portrayed the young man to be more irritated. He seemed irritated but not irritated as in the short story. I also portrayed the old man to be more drunk and imposing. He didn't even look drunk. He just kept saying "another brandy", but never used his body language to make it imposing. The only actor that did his job correctly was the old waiter, who showed his apparent insomnia well.
Even though the film has a few minor differences, I still think it is true to Hemingway's intent for the story. The old man represents a darker side of life, and Hemingway's existential-nihilistic ideas are shown through the old man's attempt at suicide and the repetition of "nada", which means nothing in Spanish. Hemingway believed that there was nothing beyond death, and the repetition of "nada" implies the idea. Even though in the film it said "nothing" instead of "nada", I thought it still put the same point across.
As I said before, the key element that has been altered is the ending and the accents. The ending in the film still worked, but that was because the bar scene and the actor's ability in portraying somebody who is wide awake. I personally did not like the film ending. If I did not read the short-story beforehand, I would have been confused. The film should have had the waiter lay on his bed, wide awake, staring into nothingness just like the short-story.
I thought the filmmakers did an excellent job in adapting the bar scene. I actually thought it was a lot stronger than on the page. I needed visual representation for the scene, and the film showed me a good number of people in the bar, referring back to the need of a well-lighted place. Hemingway's message comes of just as strongly in the film as in the short story, but only because of the strong bar scene.
If I had made the video, I would have first of all gotten a new set of actors that don't have British accents. I could not understand a good amount of dialog until I got used to it. The filming itself was very poor. The filming angles put me to sleep. I wanted to see the actors' faces more. That is one of the reasons why the bar scene stuck out for me. The waiter's face just screamed out that he was not tired, which was the point.
I do not think the majority of the actors casted were fitting to play the key characters in the novel. I portrayed the young man to be more irritated. He seemed irritated but not irritated as in the short story. I also portrayed the old man to be more drunk and imposing. He didn't even look drunk. He just kept saying "another brandy", but never used his body language to make it imposing. The only actor that did his job correctly was the old waiter, who showed his apparent insomnia well.
Sunday, March 6, 2011
The Tip of the Iceberg
The clapper struck the bell. High school students dashed up the hill. Cell phones rang, kids laughed, couples held hands, teachers screamed. I detest it. I detest it all. I can't join them. I can't join them laughing, talking, yelling, running, yet I'm only 16. Only 16 years old, yet I can only watch from my windowsill.
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