Sunday, April 24, 2011
Finals, Graduation, and Easter
We discovered the birds have been building nests in our backyard grill and spotlight. Dad burned them when he got home.
Tuesday, April 19, 2011
Interpreting the Music, Part II
I painted this while listening to Head over Heels by Tears for Fears:
Monday, April 18, 2011
Salim and His Women
In A Bend in the River by V.S. Naipaul, there are only four female characters, who Salim interacts with throughout his story. He considers these relationships outside of his own family as "special and limited" (170). We are told very little of the other women in his life, such as his mother and sisters, making it seem they didn't really matter in his upbringing and views on women. Salim views Zabeth, Yvette, Shoba, and Kareisha in different ways and they surprise him as they change his mind and his expectations of them.
Salim "treats" Zabeth as a "good customer," until Metty tells him she is a sorceress, and then he finds her charming (10). She doesn't threaten him with her feminine ways, only sticking to their business deals. He views their relationship as simple and uncomplicated, knowing it is "useless" for him to try to entice Zabeth with his new stock (6). When she sends her son Ferdinand to be mentored by him, so that he will have a decent future, it irritates Salim by complicating his life (36). He feels this makes their friendship more than just hassle free.
Shoba brings both friendship and sorrow to Salim. After Shoba comforts him after his breakup with Yvette, he says, "I was amazed by her sympathy and wisdom," seeing a change in her "menace" (226). Before the incident with the peroxide, Salim thought of Shoba as "beautiful" (39). When Shoba reveals her "disfigurement" to Salim, Salim sees as someone who "had begun to rot," determined not to end up like her, as he considers Shoba a cautionary tale of vanity (228).
When Salim meets Yvette, he is strongly affected by her physical features (127). When she seduces him, he tries not "lose" himself in his "new" romantic experiences with her, determined to "win" her over (175). He views Yvette as someone he can play emotional and physical games with, a new adventure (183). Yvette tells Raymond, "Women are stupid. But if women weren't stupid the world wouldn't go round," making it seem like she is more clever than she lets on, which seems like this is the turning point in their relationship (186). To Salim, Yvette was an unattainable and emotional unavailable to Salim and he enjoyed the chase, but now that she has revealed herself to him, he starts to drift away from her.
Salim sees Yvette as a possession. During their breakup, Salim feels Yvette is another person "lost" to him, like she is an object he is parting with (219). Salim blames his violent outburst during his break up with Yvette, telling Metty, "she made me spit on her, " leading us to wonder if he is a misogynist or a sociopath (221).
At first, Salim thinks of Yvette as a mother figure, with Raymond as his father. Salim thinks of Yvette and Raymond as his new "family" and believes he needs to make life good for "three of [them]," as to not complicate his life further (215). When Salim returns from England and hears Yvette and Raymond have left, he briefly mentions it, like he has no remorse or sorrow for their departure, like they didn't matter to him in the first place (259).
Salim sees Kareisha as an example of the ideal woman. She is "new" kind of woman to Salim, because she is affectionate and emotionally available (231). At first he doesn't want to marry her and tries to run away from his promise, but she turns out to be his most valuable relationship, even though they haven't "even kissed" (245). He thinks of his relationship with her as "soothing," causing him act "out my man's role a little," not feeling good enough for her (231). It is her talking about Indar's new life that "touches" him, making him finally realize Africa is his home, impacting his future decision to leave England and go back to Africa (244).
Even though he spends most of his story talking about the war in Africa to his identity crisis, it is Zabeth, Yvette, Shoba, and Kareisha who have a strongest impact on Salim. He views them all as unstable and complicated, not having enough strength to keep up with them. Salim sees the women, he has as friends and lovers, as being comforters or bringers of turmoil.
Works Cited
Naipaul, V.S. A Bend in the River. Alfred A. Knopf, Inc. New York: 1979. Print
Salim "treats" Zabeth as a "good customer," until Metty tells him she is a sorceress, and then he finds her charming (10). She doesn't threaten him with her feminine ways, only sticking to their business deals. He views their relationship as simple and uncomplicated, knowing it is "useless" for him to try to entice Zabeth with his new stock (6). When she sends her son Ferdinand to be mentored by him, so that he will have a decent future, it irritates Salim by complicating his life (36). He feels this makes their friendship more than just hassle free.
Shoba brings both friendship and sorrow to Salim. After Shoba comforts him after his breakup with Yvette, he says, "I was amazed by her sympathy and wisdom," seeing a change in her "menace" (226). Before the incident with the peroxide, Salim thought of Shoba as "beautiful" (39). When Shoba reveals her "disfigurement" to Salim, Salim sees as someone who "had begun to rot," determined not to end up like her, as he considers Shoba a cautionary tale of vanity (228).
When Salim meets Yvette, he is strongly affected by her physical features (127). When she seduces him, he tries not "lose" himself in his "new" romantic experiences with her, determined to "win" her over (175). He views Yvette as someone he can play emotional and physical games with, a new adventure (183). Yvette tells Raymond, "Women are stupid. But if women weren't stupid the world wouldn't go round," making it seem like she is more clever than she lets on, which seems like this is the turning point in their relationship (186). To Salim, Yvette was an unattainable and emotional unavailable to Salim and he enjoyed the chase, but now that she has revealed herself to him, he starts to drift away from her.
Salim sees Yvette as a possession. During their breakup, Salim feels Yvette is another person "lost" to him, like she is an object he is parting with (219). Salim blames his violent outburst during his break up with Yvette, telling Metty, "she made me spit on her, " leading us to wonder if he is a misogynist or a sociopath (221).
At first, Salim thinks of Yvette as a mother figure, with Raymond as his father. Salim thinks of Yvette and Raymond as his new "family" and believes he needs to make life good for "three of [them]," as to not complicate his life further (215). When Salim returns from England and hears Yvette and Raymond have left, he briefly mentions it, like he has no remorse or sorrow for their departure, like they didn't matter to him in the first place (259).
Salim sees Kareisha as an example of the ideal woman. She is "new" kind of woman to Salim, because she is affectionate and emotionally available (231). At first he doesn't want to marry her and tries to run away from his promise, but she turns out to be his most valuable relationship, even though they haven't "even kissed" (245). He thinks of his relationship with her as "soothing," causing him act "out my man's role a little," not feeling good enough for her (231). It is her talking about Indar's new life that "touches" him, making him finally realize Africa is his home, impacting his future decision to leave England and go back to Africa (244).
Even though he spends most of his story talking about the war in Africa to his identity crisis, it is Zabeth, Yvette, Shoba, and Kareisha who have a strongest impact on Salim. He views them all as unstable and complicated, not having enough strength to keep up with them. Salim sees the women, he has as friends and lovers, as being comforters or bringers of turmoil.
Works Cited
Naipaul, V.S. A Bend in the River. Alfred A. Knopf, Inc. New York: 1979. Print
Sunday, April 17, 2011
Friday, April 15, 2011
A Bend in the River Units 12-17
In Units 12 through 17 of A Bend in the River by V.S. Naipaul, we get more of the other character's back stories. Yvette tells Salim how she met Raymond for the first time and her strained interactions with the President, how she offended him. Raymond releases a book of the President's speeches, which is censored by the publisher. This leads to the Youth Guards marching the streets with the books.
The President disbands the Youth Guard. Metty and Salim are "harassed" by the police for being Arabs. Riots sweep the towns and the Capitol and the statues are "smashed." Metty brings Salim a leaflet written by the former Youth Guard, called "The Ancestors Shriek," saying the President is the "enemy." Shoba's father dies and she goes into hiding, cutting off contact with Salim. Shoba reveals to Salim, she had her face bleached to make the skin lighter and shows him her disfigured face.
Salim admits that he enjoys dinner with Yvette and Raymond, feeling like he is a part of their "family." Salim tries to distance himself from Yvette until they break up. Nazruddin writes to Salim, telling him he is leaving Africa to move to Canada. Nazruddin writes a year later, telling him, he is leaving Canada to move to England. Salim flies to London to visit Nazruddin and becomes engaged to Kareisha, Nazruddin's daughter. She tells him what Indar has been up to. Salim leaves to go back to Africa, via Brussels, realizing he belongs in Africa.
Salim goes back to Africa. Metty tells the President has taken control of his shop and given it to Citizen Theotime. Salim becomes the manager of the shop and the chauffeur for Theo. He also learns Raymond and Yvette have left Africa. Work becomes a "hateful place" for both Salim and Metty. Metty believes Salim has "failed" him. Salim is arrested, and Ferdinand, being an Commissioner, visits him, telling Salim, he "must go" before the President visits, and buys him a steamer ticket out of town.
Throughout the turmoil, Salim struggles with his identity. He doesn't believe he is just an Arab or an African. He feels like he doesn't belong anywhere, and has no sense of purpose. He keeps calling himself, "lost." It's interesting as characters leave and head off into another job or location, Salim wishes it was him, who was having a new adventure. It feels like he has "the grass is greener" syndrome, that if he just moved somewhere else, he would be a better person. When he goes to London and feels displaced, is when he finally realizes where he is or where he is from, doesn't matter. He can be the same person anywhere. It's unfortunate that the country he finally chooses to belong to, doesn't feel he belongs either and tortures him for it.
The President disbands the Youth Guard. Metty and Salim are "harassed" by the police for being Arabs. Riots sweep the towns and the Capitol and the statues are "smashed." Metty brings Salim a leaflet written by the former Youth Guard, called "The Ancestors Shriek," saying the President is the "enemy." Shoba's father dies and she goes into hiding, cutting off contact with Salim. Shoba reveals to Salim, she had her face bleached to make the skin lighter and shows him her disfigured face.
Salim admits that he enjoys dinner with Yvette and Raymond, feeling like he is a part of their "family." Salim tries to distance himself from Yvette until they break up. Nazruddin writes to Salim, telling him he is leaving Africa to move to Canada. Nazruddin writes a year later, telling him, he is leaving Canada to move to England. Salim flies to London to visit Nazruddin and becomes engaged to Kareisha, Nazruddin's daughter. She tells him what Indar has been up to. Salim leaves to go back to Africa, via Brussels, realizing he belongs in Africa.
Salim goes back to Africa. Metty tells the President has taken control of his shop and given it to Citizen Theotime. Salim becomes the manager of the shop and the chauffeur for Theo. He also learns Raymond and Yvette have left Africa. Work becomes a "hateful place" for both Salim and Metty. Metty believes Salim has "failed" him. Salim is arrested, and Ferdinand, being an Commissioner, visits him, telling Salim, he "must go" before the President visits, and buys him a steamer ticket out of town.
Throughout the turmoil, Salim struggles with his identity. He doesn't believe he is just an Arab or an African. He feels like he doesn't belong anywhere, and has no sense of purpose. He keeps calling himself, "lost." It's interesting as characters leave and head off into another job or location, Salim wishes it was him, who was having a new adventure. It feels like he has "the grass is greener" syndrome, that if he just moved somewhere else, he would be a better person. When he goes to London and feels displaced, is when he finally realizes where he is or where he is from, doesn't matter. He can be the same person anywhere. It's unfortunate that the country he finally chooses to belong to, doesn't feel he belongs either and tortures him for it.
Wednesday, April 13, 2011
Monday, April 11, 2011
A Bend in the River Units 5-11
In Units 5 through 11 of A Bend in the River by V.S. Naipaul, war between the locals and the invaders erupts in Salim's town. There are warrior armies with guns being taken over by the President's armies. Father Huisman is killed and "mutilated." Mahesh opens a Bigburger, which becomes successful. Salim finds out Metty has fathered a baby with an African woman and feels he has "lost" Metty. Salim reconnects with his friend, Indar. Salim doesn't seem to care for the President and believes the Domain is a "waste and foolishness."
Salim goes to a dinner party at the house of Yvette and Raymond. Raymond is a historian who works with the President. Raymond tells his dinner guests, "It takes an African to rule Africa," since the people don't seem to take kind to the European outsiders. Salim becomes "obsessed" with Yvette, starting an affair with her. Indar tells Salim about his past in England, where he was rejected for a job with the Indian High Commission because he had "divided loyalties," being a citizen of Africa. Ferdinand leaves to become a cadet, and takes a steamer with Indar to the capitol.
Salim shows us the effects of war and colonization on his town, as being tense and uncertain. He envies Ferdinand for the opportunity to leave, calling him a "lucky man moving on to richer experience." He also wishes he could be like Indar, travel anywhere and feel at home, "being himself." It's interesting Salim seems surprised to find a "new need," with falling in love with Yvette. It dawns on him, that all he has been looking for, is security instead of romance.
Salim goes to a dinner party at the house of Yvette and Raymond. Raymond is a historian who works with the President. Raymond tells his dinner guests, "It takes an African to rule Africa," since the people don't seem to take kind to the European outsiders. Salim becomes "obsessed" with Yvette, starting an affair with her. Indar tells Salim about his past in England, where he was rejected for a job with the Indian High Commission because he had "divided loyalties," being a citizen of Africa. Ferdinand leaves to become a cadet, and takes a steamer with Indar to the capitol.
Salim shows us the effects of war and colonization on his town, as being tense and uncertain. He envies Ferdinand for the opportunity to leave, calling him a "lucky man moving on to richer experience." He also wishes he could be like Indar, travel anywhere and feel at home, "being himself." It's interesting Salim seems surprised to find a "new need," with falling in love with Yvette. It dawns on him, that all he has been looking for, is security instead of romance.
Wednesday, April 6, 2011
Tuesday, April 5, 2011
Interpreting the Music, Part I
I painted this while listening to Head over Heels by Tears for Fears:
Monday, April 4, 2011
Friday, April 1, 2011
A Bend in the River Units 1-4
In Units 1 through 4 of A Bend in the River by V.S. Naipaul, we are introduced to a mercantile shop runner named Mr. Salim. He is an Arabic man who grew up on the east coast of Africa in a Muslim family. He was given the shop by a man named Nazruddin, who wants Salim to marry his daughter, but Salim sees as an opportunity to break his "commitment." Salim has one regular customer named Zabeth, a sorceress who makes herself smell bad, and lives in a hidden village. Zabeth has a teenage son named Ferdinand who she sends to Salim, to get educated. While Salim is taking care of Ferdinand, he is taking care of boy named Metty from his own village. Salim tries to track down Father Huismans, the Christian priest who runs the local school, after Ferdinand steals a book. When he finally catches up to him, Father Huismans shows Salim his African masks he has "collected."
Naipaul begins the book by telling us, "The world is what it is; men who are nothing, who allow themselves to become nothing, have no place in it." The book is very philosophical, with most of the characters trying to find their identity and where they belong in a nation that is changing.
Salim shows the most ambition, telling us, "the greater the discouragements of the journey, the keener I was to press on and embrace my new life." He wants the boys in his care to be successful as well. Salim's overall philosophy is "detaching" himself "from a familiar scene and trying to consider if as from a distance," which he proves by observing the people who come in and out of his shop as a way for the reader to get to know the characters well.
Naipaul begins the book by telling us, "The world is what it is; men who are nothing, who allow themselves to become nothing, have no place in it." The book is very philosophical, with most of the characters trying to find their identity and where they belong in a nation that is changing.
Salim shows the most ambition, telling us, "the greater the discouragements of the journey, the keener I was to press on and embrace my new life." He wants the boys in his care to be successful as well. Salim's overall philosophy is "detaching" himself "from a familiar scene and trying to consider if as from a distance," which he proves by observing the people who come in and out of his shop as a way for the reader to get to know the characters well.
Believing Eyes
In The English Patient by Michael Ondaatje, there are several references to eyes. When Katherine is reading the story of Candaules from The Histories, she quotes, "Men's ears are less apt of belief than their eyes," saying our eyes are a powerful seeing tool (232). Each character in The English Patient mostly use their eyes to decide if the things around them are trustworthy.
Almásy communicates with Hana through his eyes when he cannot speak, watching her every move. He reveals to Caravaggio, he got Hana to read to him as a way to "get her to communicate" back (253). When he wants to stop reliving memories of the past, he has to "lock his eyes" onto Hana's face, to focus on the present (4). He studies the physical features of Hana and Katherine while they read to him, wanting to "rest" his eyes (236). While Katherine is "studying him," he also watches her for "something that would give her away," not wanting to trust her (145).
Caravaggio uses his eyes as a shield to disguise himself from his criminal activities. He believes his "eyes are faultless, clear as any river, unimpeachable in the landscape," believing his eyes will make him come across as a decent man (39). Caravaggio uses his eyes to study people while they talk. When Almásy catches Caravaggio staring at him, silently, he asks "am I just a book? Something to be read?" (253).
Hana uses her eyes to read books. Reading books is "the only door out of her cell"(7). Her eyes are her escape from he real world and the horrors around her. While she is treating soldier's wounds, she closes "her eyes against the world around her," using her eyes as a shield (49). She doesn't like looking at herself, into her own eyes, so she "removed all mirrors" vowing to "never" look "at herself in mirrors again" (50). She believes "a novel is mirror walking down a road," and she reads to study worlds she can't live in (91).
Like Almásy, Hana uses her eyes to study people's faces, trying to read their sincerity. She watches Kip while he is sleeping, trying to study "the gnats of electricity in his hair," almost as if she is trying to memorize everything about him (218). She uses Kip's face and eyes as a relaxation point for her moods. Her eyes "darted around and then were still when she faced Kip," calming her anxiety (113).
Kip uses his eyes as radar, a way to search. When he first arrives at the villa, "his eyes took in the room before they took her in, swept across it like a spray of radar," falling in love with Hana at first sight. (76). He uses his eyes as weapons against bombs. He reveals he came to Italy "with eyes that tried to see everything except what was temporary and human," keeping his focus on his job (219). He doesn't read books because he is "able to pinpoint villains with too much ease" (111).
While he is searching for bombs, his eyes locate "the choreography of inanimate objects for the quarter-mile around him," as he as been trained to do (87). When Kip's brother believes he is foolish for "trusting the English", he says to him, repeatedly, "one day you will open your eyes," trying to get him to focus on the politics behind the war and not just the battle itself (217).
Kip doesn't trust the eyes of others. "When someone speaks he looks at a mouth" to tell him the truth, believing eyes can fool him (219). When he looks into Hana's eyes, he doesn't "register what colour they are," focusing on the person she is, behind the eyes (219). He uses his own eyes as a way to shield off people from getting to close. Like Hana, he also doesn't have any mirrors (219). Hana believes Kip is the most "vulnerable" when he has his "eyes closed," letting down the walls blocking him from sharing everything with her. (217).
The narrator in the novel tells us, our eyes give us a reflection, the opportunity to "become vain with the names we own, our claims to have been the first eyes" (142). As humans, we use our eyes to read, watch, to communicate, and to study the world around us. We can also use our eyes to deceive or disguise our true selves. Like the characters in the novel, our eyes reveal our truths, our flaws, and our identity.
Works Cited
Ondaatje, Michael. The English Patient. Vintage International. New York: 1992. Print
Almásy communicates with Hana through his eyes when he cannot speak, watching her every move. He reveals to Caravaggio, he got Hana to read to him as a way to "get her to communicate" back (253). When he wants to stop reliving memories of the past, he has to "lock his eyes" onto Hana's face, to focus on the present (4). He studies the physical features of Hana and Katherine while they read to him, wanting to "rest" his eyes (236). While Katherine is "studying him," he also watches her for "something that would give her away," not wanting to trust her (145).
Caravaggio uses his eyes as a shield to disguise himself from his criminal activities. He believes his "eyes are faultless, clear as any river, unimpeachable in the landscape," believing his eyes will make him come across as a decent man (39). Caravaggio uses his eyes to study people while they talk. When Almásy catches Caravaggio staring at him, silently, he asks "am I just a book? Something to be read?" (253).
Hana uses her eyes to read books. Reading books is "the only door out of her cell"(7). Her eyes are her escape from he real world and the horrors around her. While she is treating soldier's wounds, she closes "her eyes against the world around her," using her eyes as a shield (49). She doesn't like looking at herself, into her own eyes, so she "removed all mirrors" vowing to "never" look "at herself in mirrors again" (50). She believes "a novel is mirror walking down a road," and she reads to study worlds she can't live in (91).
Like Almásy, Hana uses her eyes to study people's faces, trying to read their sincerity. She watches Kip while he is sleeping, trying to study "the gnats of electricity in his hair," almost as if she is trying to memorize everything about him (218). She uses Kip's face and eyes as a relaxation point for her moods. Her eyes "darted around and then were still when she faced Kip," calming her anxiety (113).
Kip uses his eyes as radar, a way to search. When he first arrives at the villa, "his eyes took in the room before they took her in, swept across it like a spray of radar," falling in love with Hana at first sight. (76). He uses his eyes as weapons against bombs. He reveals he came to Italy "with eyes that tried to see everything except what was temporary and human," keeping his focus on his job (219). He doesn't read books because he is "able to pinpoint villains with too much ease" (111).
While he is searching for bombs, his eyes locate "the choreography of inanimate objects for the quarter-mile around him," as he as been trained to do (87). When Kip's brother believes he is foolish for "trusting the English", he says to him, repeatedly, "one day you will open your eyes," trying to get him to focus on the politics behind the war and not just the battle itself (217).
Kip doesn't trust the eyes of others. "When someone speaks he looks at a mouth" to tell him the truth, believing eyes can fool him (219). When he looks into Hana's eyes, he doesn't "register what colour they are," focusing on the person she is, behind the eyes (219). He uses his own eyes as a way to shield off people from getting to close. Like Hana, he also doesn't have any mirrors (219). Hana believes Kip is the most "vulnerable" when he has his "eyes closed," letting down the walls blocking him from sharing everything with her. (217).
The narrator in the novel tells us, our eyes give us a reflection, the opportunity to "become vain with the names we own, our claims to have been the first eyes" (142). As humans, we use our eyes to read, watch, to communicate, and to study the world around us. We can also use our eyes to deceive or disguise our true selves. Like the characters in the novel, our eyes reveal our truths, our flaws, and our identity.
Works Cited
Ondaatje, Michael. The English Patient. Vintage International. New York: 1992. Print
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