Literature

English 102 / Paper #3: Memento and more ____________________________________________________________________________________ For this paper you will write on ONE of the following topics pertaining texts positioned within the Gothic tradition. Make sure you have a strong thesis statement, and that you elaborate in detail utilizing specific examples (and quotes) from your chosen “texts.” Your paper must be Three full pages minimum (4 -5 pages), double-spaced, typed, using correct MLA documentation guidelines. ____________________________________________________________________________________ Topic 1: The philosopher Soren Kierkegaard states, “Life must be lived forward, but it can only be understood in reverse.” In her article about Memento, “Piecing Together a Troubling World,” Esther M. Sternberg suggests that: “through [Lenny] we learn how important memory is to the self. The plot, the dialogue, and the very way the movie is filmed all implicitly and explicitly expose the different kinds of memory that we take for granted, unless they are suddenly lost” (1). For Leonard in Memento, his life revolves around specific “kinds of memory,” particularly poignant events from his past that determines his future and his rite of passage. In your essay: • Discuss Leonard’s important memories and how they inform and affect his life. • What is ultimately ironic about these memories in terms of how he interprets them? Topic 2: The Haunting Past • How is Leonard Shelby haunted by the past? • How does his ritual connect with his haunting memory? • What does he do as a result? • How has the haunting past transformed him? Topic 3: Gothic Detectives: Unraveling the Mysteries of the Past Using Arthur Kipps from the novel/film The Woman in Black and Leonard Shelby from Memento, discuss the following: • How do the protagonists investigate issues from the past that may be haunting them and others? What are key components of their searching? • What are the results of their investigations? • In which text is this search ultimately the most ironic?

The conflict, which lies at the heart of the so-called “Usage Wars,” is the epic battle between the “Descriptivist’s” and the “Prescriptivists.”To a Descriptivist, there are no such things as “correct” or “incorrect” where language is concerned. There is only the multi-faceted spectrum of human communication and the myriad ways in which people convey meaning to one another. Descriptivist’s note that language, like etiquette or fashion, is largely a function of class. In other words, a society’s official rules of grammar and lexicon reflect the attitudes of whoever happens to be in power.The Prescriptivists, however, believe that language is as much an art form as a utility. It is one thing to name objects and command that traffic laws be obeyed, another thing to express oneself with clarity, precision and cultivation. It is the difference between playing a scale and playing a sonata, or between eating for nourishment and eating for pleasure. One way gets the job done, the other gets it done well.Who is right? Why? (about 300 words)

Discuss the role of women in Sundiata. Compare and contrast its treatment of women with the depiction of women in the The Odyssey.Is woman mainly subordinated to her male counterparts or does she exert some degree of power or agency?

How did the genre of Magical Realism shape the story, particularly since it draws on a tradition of Latinx story-telling? How do the cultural aspects of Miel and Sam’s lives affect the story? How does the story address cultural differences in a homogenous community? How does the book allow us to think through identity and adolescence? then complete the peer review, this should take author page peer’s reflection: I think the novel “When the Moon Was Ours” really utilizes magical realism to bring characters closer together and pull characters apart in order to point out the real issues that are uniquely tied to gender and culture. As far as pulling characters apart, we can certainly see this in the dichotomy between the Bonner sisters and the way they treat Miel. It is clear that the Bonner sisters are white and Miel is Latina. This is so important because while it seems as though the sisters are welcoming towards Miel at the beginning, they quickly change course of behavior upon finding out that Miel had magical powers just like them. Even though Miel’s powers of growing flowers growing out of her wrists does not, in any way, threaten their powers of manipulation and romantic sway, they still feel threatened by Miel. For me, reading this was akin to the anger and discrimination that many white people practice today towards immigrant Americans or even Americans who have never left the states but have a family history of immigration. I saw so many parallels between the ways that the white sisters liked Miel until she had something that they thought only they should have rights too– even if it didn’t interfere with their own rights. I think this is, in many ways, similar to the ways in which a lot of white Americans claim that “immigrants are taking our jobs!” without understanding that, among many other reasons why this statement is wrong, immigrants should have a right to the same employment opportunities, immigrants having a job does not take away from one’s own job and no one life is more important than another. I think the mentality of the Bonner sisters is so relatable to many people in ways they are ashamed to admit. With that said, I think, as the two articles we read also point out, magical realism does a great job of pulling people together. In hearing the cultural practice of bacha pose, the reader can tell that Sam is feeling more and more comfortable with his gender fluid identity. His relationship with Aracely gives him a lens to look forward into his own identity and question it the same way that Aracely does, according to Stamper and Miller’s article. In this way, Aracely acts as sort of a buffer between Sam’s reality and the person he can see himself being in the future if he allows himself to be truly himself. While I don’t necessarily think it is clear (I may have overlooked this so please correct me if I did) whether Sam identifies as a woman or identifies as gender fluid, it is clear that he feels some sort of dystopia within his body. While the story of the bacha practice may fall in line with what Putzi is arguing against (the notion that one was born in the wrong body instead of recognization of the complexity and multiple experiences of transgenderism), the ways that we see Sam and Aracely discovering gender separately pays mind to the notion Putzi is arguing: transgenderism is not just “one size fits all” of a story. People experience gender identity in multiple ways.

1. Read the one-act play “Trifles” by Susan Glaspell 2. While reading the story, look for a physical object that may also represent a major idea in the play. 3. Once you find this object, re-read the play and think about what leads you to your conclusion about the object. Note: you must have 2-3 clear examples / evidence from the play to support your conclusions. 4. Present your information and upload it to Blackboard. Remember: the goal is for you to take a position on a symbol’s presence in the play AND and to provide logical reasons for your position. 5.- 2 page assignment APA style. TRIFLES a play in one-act by Susan Glaspell The following one-act play is reprinted from Trifles. Susan Glaspell. New York: Frank Shay, 1916. It is now in the public domain and may therefore be performed without royalties. CHARACTERS GEORGE HENDERSON, County Attorney HENRY PETERS, Sheriff LEWIS HALE, A neighboring farmer MRS. PETERS MRS. HALE [The kitchen in the now abandoned farmhouse of JOHN WRIGHT, a gloomy kitchen, and left without having been put in order—unwashed pans under the sink, a loaf of bread outside the bread-box, a dish-towel on the table—other signs of incompleted work. At the rear the outer door opens and the SHERIFF comes in followed by the COUNTY ATTORNEY and HALE. The SHERIFF and HALE are men in middle life, the COUNTY ATTORNEY is a young man; all are much bundled up and go at once to the stove. They are followed by the two women—the SHERIFF’s wife first; she is a slight wiry woman, a thin nervous face. MRS HALE is larger and would ordinarily be called more comfortable looking, but she is disturbed now and looks fearfully about as she enters. The women have come in slowly, and stand close together near the door.] COUNTY ATTORNEY: (rubbing his hands) This feels good. Come up to the fire, ladies. MRS PETERS: (after taking a step forward) I’m not—cold. SHERIFF: (unbuttoning his overcoat and stepping away from the stove as if to mark the beginning of official business) Now, Mr Hale, before we move things about, you explain to Mr Henderson just what you saw when you came here yesterday morning. COUNTY ATTORNEY: By the way, has anything been moved? Are things just as you left them yesterday? SHERIFF: (looking about) It’s just the same. When it dropped below zero last night I thought I’d better send Frank out this morning to make a fire for us—no use getting pneumonia with a big case on, but I told him not to touch anything except the stove—and you know Frank. COUNTY ATTORNEY: Somebody should have been left here yesterday. SHERIFF: Oh—yesterday. When I had to send Frank to Morris Center for that man who went crazy—I want you to know I had my hands full yesterday. I knew you could get back from Omaha by today and as long as I went over everything here myself— COUNTY ATTORNEY: Well, Mr Hale, tell just what happened when you came here yesterday morning. HALE: Harry and I had started to town with a load of potatoes. We came along the road from my place and as I got here I said, I’m going to see if I can’t get John Wright to go in with me on a party telephone.’ I spoke to Wright about it once before and he put me off, saying folks talked too much anyway, and all he asked was peace and quiet—I guess you know about how much he talked himself; but I thought maybe if I went to the house and talked about it before his wife, though I said to Harry that I didn’t know as what his wife wanted made much difference to John— COUNTY ATTORNEY: Let’s talk about that later, Mr Hale. I do want to talk about that, but tell now just what happened when you got to the house. HALE: I didn’t hear or see anything; I knocked at the door, and still it was all quiet inside. I knew they must be up, it was past eight o’clock. So I knocked again, and I thought I heard somebody say, ‘Come in.’ I wasn’t sure, I’m not sure yet, but I opened the door—this door (indicating the door by which the two women are still standing) and there in that rocker—(pointing to it) sat Mrs Wright. [They all look at the rocker.] COUNTY ATTORNEY: What—was she doing? HALE: She was rockin’ back and forth. She had her apron in her hand and was kind of—pleating it. COUNTY ATTORNEY: And how did she—look? HALE: Well, she looked queer. COUNTY ATTORNEY: How do you mean—queer? HALE: Well, as if she didn’t know what she was going to do next. And kind of done up. COUNTY ATTORNEY: How did she seem to feel about your coming? HALE: Why, I don’t think she minded—one way or other. She didn’t pay much attention. I said, ‘How do, Mrs Wright it’s cold, ain’t it?’ And she said, ‘Is it?’—and went on kind of pleating at her apron. Well, I was surprised; she didn’t ask me to come up to the stove, or to set down, but just sat there, not even looking at me, so I said, ‘I want to see John.’ And then she—laughed. I guess you would call it a laugh. I thought of Harry and the team outside, so I said a little sharp: ‘Can’t I see John?’ ‘No’, she says, kind o’ dull like. ‘Ain’t he home?’ says I. ‘Yes’, says she, ‘he’s home’. ‘Then why can’t I see him?’ I asked her, out of patience. ”Cause he’s dead’, says she. ‘Dead?’ says I. She just nodded her head, not getting a bit excited, but rockin’ back and forth. ‘Why—where is he?’ says I, not knowing what to say. She just pointed upstairs—like that (himself pointing to the room above) I got up, with the idea of going up there. I walked from there to here—then I says, ‘Why, what did he die of?’ ‘He died of a rope round his neck’, says she, and just went on pleatin’ at her apron. Well, I went out and called Harry. I thought I might—need help. We went upstairs and there he was lyin’— COUNTY ATTORNEY: I think I’d rather have you go into that upstairs, where you can point it all out. Just go on now with the rest of the story. HALE: Well, my first thought was to get that rope off. It looked … (stops, his face twitches) … but Harry, he went up to him, and he said, ‘No, he’s dead all right, and we’d better not touch anything.’ So we went back down stairs. She was still sitting that same way. ‘Has anybody been notified?’ I asked. ‘No’, says she unconcerned. ‘Who did this, Mrs Wright?’ said Harry. He said it business-like—and she stopped pleatin’ of her apron. ‘I don’t know’, she says. ‘You don’t know?’ says Harry. ‘No’, says she. ‘Weren’t you sleepin’ in the bed with him?’ says Harry. ‘Yes’, says she, ‘but I was on the inside’. ‘Somebody slipped a rope round his neck and strangled him and you didn’t wake up?’ says Harry. ‘I didn’t wake up’, she said after him. We must ‘a looked as if we didn’t see how that could be, for after a minute she said, ‘I sleep sound’. Harry was going to ask her more questions but I said maybe we ought to let her tell her story first to the coroner, or the sheriff, so Harry went fast as he could to Rivers’ place, where there’s a telephone. COUNTY ATTORNEY: And what did Mrs Wright do when she knew that you had gone for the coroner? HALE: She moved from that chair to this one over here (pointing to a small chair in the corner) and just sat there with her hands held together and looking down. I got a feeling that I ought to make some conversation, so I said I had come in to see if John wanted to put in a telephone, and at that she started to laugh, and then she stopped and looked at me—scared, (the COUNTY ATTORNEY, who has had his notebook out, makes a note) I dunno, maybe it wasn’t scared. I wouldn’t like to say it was. Soon Harry got back, and then Dr Lloyd came, and you, Mr Peters, and so I guess that’s all I know that you don’t. COUNTY ATTORNEY: (looking around) I guess we’ll go upstairs first—and then out to the barn and around there, (to the SHERIFF) You’re convinced that there was nothing important here—nothing that would point to any motive. SHERIFF: Nothing here but kitchen things. [The COUNTY ATTORNEY, after again looking around the kitchen, opens the door of a cupboard closet. He gets up on a chair and looks on a shelf. Pulls his hand away, sticky.] COUNTY ATTORNEY: Here’s a nice mess. [The women draw nearer.] MRS PETERS: (to the other woman) Oh, her fruit; it did freeze, (to the LAWYER) She worried about that when it turned so cold. She said the fire’d go out and her jars would break. SHERIFF: Well, can you beat the women! Held for murder and worryin’ about her preserves. COUNTY ATTORNEY: I guess before we’re through she may have something more serious than preserves to worry about. HALE: Well, women are used to worrying over trifles. [The two women move a little closer together.] COUNTY ATTORNEY: (with the gallantry of a young politician) And yet, for all their worries, what would we do without the ladies? (the women do not unbend. He goes to the sink, takes a dipperful of water from the pail and pouring it into a basin, washes his hands. Starts to wipe them on the roller-towel, turns it for a cleaner place) Dirty towels! (kicks his foot against the pans under the sink) Not much of a housekeeper, would you say, ladies? MRS HALE: (stiffly) There’s a great deal of work to be done on a farm. COUNTY ATTORNEY: To be sure. And yet (with a little bow to her) I know there are some Dickson county farmhouses which do not have such roller towels. (He gives it a pull to expose its length again.) MRS HALE: Those towels get dirty awful quick. Men’s hands aren’t always as clean as they might be. COUNTY ATTORNEY: Ah, loyal to your sex, I see. But you and Mrs Wright were neighbors. I suppose you were friends, too. MRS HALE: (shaking her head) I’ve not seen much of her of late years. I’ve not been in this house—it’s more than a year. COUNTY ATTORNEY: And why was that? You didn’t like her? MRS HALE: I liked her all well enough. Farmers’ wives have their hands full, Mr Henderson. And then— COUNTY ATTORNEY: Yes—? MRS HALE: (looking about) It never seemed a very cheerful place. COUNTY ATTORNEY: No—it’s not cheerful. I shouldn’t say she had the homemaking instinct. MRS HALE: Well, I don’t know as Wright had, either. COUNTY ATTORNEY: You mean that they didn’t get on very well? MRS HALE: No, I don’t mean anything. But I don’t think a place’d be any cheerfuller for John Wright’s being in it. COUNTY ATTORNEY: I’d like to talk more of that a little later. I want to get the lay of things upstairs now. (He goes to the left, where three steps lead to a stair door.) SHERIFF: I suppose anything Mrs Peters does’ll be all right. She was to take in some clothes for her, you know, and a few little things. We left in such a hurry yesterday. COUNTY ATTORNEY: Yes, but I would like to see what you take, Mrs Peters, and keep an eye out for anything that might be of use to us. MRS PETERS: Yes, Mr Henderson. [The women listen to the men’s steps on the stairs, then look about the kitchen.] MRS HALE: I’d hate to have men coming into my kitchen, snooping around and criticising. [She arranges the pans under sink which the LAWYER had shoved out of place.] MRS PETERS: Of course it’s no more than their duty. MRS HALE: Duty’s all right, but I guess that deputy sheriff that came out to make the fire might have got a little of this on. (gives the roller towel a pull) Wish I’d thought of that sooner. Seems mean to talk about her for not having things slicked up when she had to come away in such a hurry. MRS PETERS: (who has gone to a small table in the left rear corner of the room, and lifted one end of a towel that covers a pan) She had bread set. (Stands still.) MRS HALE: (eyes fixed on a loaf of bread beside the bread-box, which is on a low shelf at the other side of the room. Moves slowly toward it) She was going to put this in there, (picks up loaf, then abruptly drops it. In a manner of returning to familiar things) It’s a shame about her fruit. I wonder if it’s all gone. (gets up on the chair and looks) I think there’s some here that’s all right, Mrs Peters. Yes—here; (holding it toward the window) this is cherries, too. (looking again) I declare I believe that’s the only one. (gets down, bottle in her hand. Goes to the sink and wipes it off on the outside) She’ll feel awful bad after all her hard work in the hot weather. I remember the afternoon I put up my cherries last summer. [She puts the bottle on the big kitchen table, center of the room. With a sigh, is about to sit down in the rocking-chair. Before she is seated realizes what chair it is; with a slow look at it, steps back. The chair which she has touched rocks back and forth.] MRS PETERS: Well, I must get those things from the front room closet, (she goes to the door at the right, but after looking into the other room, steps back) You coming with me, Mrs Hale? You could help me carry them. [They go in the other room; reappear, MRS PETERS carrying a dress and skirt, MRS HALE following with a pair of shoes.] MRS PETERS: My, it’s cold in there. [She puts the clothes on the big table, and hurries to the stove.] MRS HALE: (examining the skirt) Wright was close. I think maybe that’s why she kept so much to herself. She didn’t even belong to the Ladies Aid. I suppose she felt she couldn’t do her part, and then you don’t enjoy things when you feel shabby. She used to wear pretty clothes and be lively, when she was Minnie Foster, one of the town girls singing in the choir. But that—oh, that was thirty years ago. This all you was to take in? MRS PETERS: She said she wanted an apron. Funny thing to want, for there isn’t much to get you dirty in jail, goodness knows. But I suppose just to make her feel more natural. She said they was in the top drawer in this cupboard. Yes, here. And then her little shawl that always hung behind the door. (opens stair door and looks) Yes, here it is. [Quickly shuts door leading upstairs.] MRS HALE: (abruptly moving toward her) Mrs Peters? MRS PETERS: Yes, Mrs Hale? MRS HALE: Do you think she did it? MRS PETERS: (in a frightened voice) Oh, I don’t know. MRS HALE: Well, I don’t think she did. Asking for an apron and her little shawl. Worrying about her fruit. MRS PETERS: (starts to speak, glances up, where footsteps are heard in the room above. In a low voice) Mr Peters says it looks bad for her. Mr Henderson is awful sarcastic in a speech and he’ll make fun of her sayin’ she didn’t wake up. MRS HALE: Well, I guess John Wright didn’t wake when they was slipping that rope under his neck. MRS PETERS: No, it’s strange. It must have been done awful crafty and still. They say it was such a—funny way to kill a man, rigging it all up like that. MRS HALE: That’s just what Mr Hale said. There was a gun in the house. He says that’s what he can’t understand. MRS PETERS: Mr Henderson said coming out that what was needed for the case was a motive; something to show anger, or—sudden feeling. MRS HALE: (who is standing by the table) Well, I don’t see any signs of anger around here, (she puts her hand on the dish towel which lies on the table, stands looking down at table, one half of which is clean, the other half messy) It’s wiped to here, (makes a move as if to finish work, then turns and looks at loaf of bread outside the breadbox. Drops towel. In that voice of coming back to familiar things.) Wonder how they are finding things upstairs. I hope she had it a little more red-up up there. You know, it seems kind of sneaking. Locking her up in town and then coming out here and trying to get her own house to turn against her! MRS PETERS: But Mrs Hale, the law is the law. MRS HALE: I s’pose ’tis, (unbuttoning her coat) Better loosen up your things, Mrs Peters. You won’t feel them when you go out. [MRS PETERS takes off her fur tippet, goes to hang it on hook at back of room, stands looking at the under part of the small corner table.] MRS PETERS: She was piecing a quilt. [She brings the large sewing basket and they look at the bright pieces.] MRS HALE: It’s log cabin pattern. Pretty, isn’t it? I wonder if she was goin’ to quilt it or just knot it? [Footsteps have been heard coming down the stairs. The SHERIFF enters followed by HALE and the COUNTY ATTORNEY.] SHERIFF: They wonder if she was going to quilt it or just knot it! [The men laugh, the women look abashed.] COUNTY ATTORNEY: (rubbing his hands over the stove) Frank’s fire didn’t do much up there, did it? Well, let’s go out to the barn and get that cleared up. (The men go outside.) MRS HALE: (resentfully) I don’t know as there’s anything so strange, our takin’ up our time with little things while we’re waiting for them to get the evidence. (she sits down at the big table smoothing out a block with decision) I don’t see as it’s anything to laugh about. MRS PETERS: (apologetically) Of course they’ve got awful important things on their minds. [Pulls up a chair and joins MRS HALE at the table.] MRS HALE: (examining another block) Mrs Peters, look at this one. Here, this is the one she was working on, and look at the sewing! All the rest of it has been so nice and even. And look at this! It’s all over the place! Why, it looks as if she didn’t know what she was about! [After she has said this they look at each other, then start to glance back at the door. After an instant MRS HALE has pulled at a knot and ripped the sewing.] MRS PETERS: Oh, what are you doing, Mrs Hale? MRS HALE: (mildly) Just pulling out a stitch or two that’s not sewed very good. (threading a needle) Bad sewing always made me fidgety. MRS PETERS: (nervously) I don’t think we ought to touch things. MRS HALE: I’ll just finish up this end. (suddenly stopping and leaning forward) Mrs Peters? MRS PETERS: Yes, Mrs Hale? MRS HALE: What do you suppose she was so nervous about? MRS PETERS: Oh—I don’t know. I don’t know as she was nervous. I sometimes sew awful queer when I’m just tired. (MRS HALE starts to say something, looks at MRS PETERS, then goes on sewing) Well I must get these things wrapped up. They may be through sooner than we think, (putting apron and other things together) I wonder where I can find a piece of paper, and string. MRS HALE: In that cupboard, maybe. MRS PETERS: (looking in cupboard) Why, here’s a bird-cage, (holds it up) Did she have a bird, Mrs Hale? MRS HALE: Why, I don’t know whether she did or not—I’ve not been here for so long. There was a man around last year selling canaries cheap, but I don’t know as she took one; maybe she did. She used to sing real pretty herself. MRS PETERS: (glancing around) Seems funny to think of a bird here. But she must have had one, or why would she have a cage? I wonder what happened to it. MRS HALE: I s’pose maybe the cat got it. MRS PETERS: No, she didn’t have a cat. She’s got that feeling some people have about cats—being afraid of them. My cat got in her room and she was real upset and asked me to take it out. MRS HALE: My sister Bessie was like that. Queer, ain’t it? MRS PETERS: (examining the cage) Why, look at this door. It’s broke. One hinge is pulled apart. MRS HALE: (looking too) Looks as if someone must have been rough with it. MRS PETERS: Why, yes. [She brings the cage forward and puts it on the table.] MRS HALE: I wish if they’re going to find any evidence they’d be about it. I don’t like this place. MRS PETERS: But I’m awful glad you came with me, Mrs Hale. It would be lonesome for me sitting here alone. MRS HALE: It would, wouldn’t it? (dropping her sewing) But I tell you what I do wish, Mrs Peters. I wish I had come over sometimes when she was here. I—(looking around the room)—wish I had. MRS PETERS: But of course you were awful busy, Mrs Hale—your house and your children. MRS HALE: I could’ve come. I stayed away because it weren’t cheerful—and that’s why I ought to have come. I—I’ve never liked this place. Maybe because it’s down in a hollow and you don’t see the road. I dunno what it is, but it’s a lonesome place and always was. I wish I had come over to see Minnie Foster sometimes. I can see now—(shakes her head) MRS PETERS: Well, you mustn’t reproach yourself, Mrs Hale. Somehow we just don’t see how it is with other folks until—something comes up. MRS HALE: Not having children makes less work—but it makes a quiet house, and Wright out to work all day, and no company when he did come in. Did you know John Wright, Mrs Peters? MRS PETERS: Not to know him; I’ve seen him in town. They say he was a good man. MRS HALE: Yes—good; he didn’t drink, and kept his word as well as most, I guess, and paid his debts. But he was a hard man, Mrs Peters. Just to pass the time of day with him—(shivers) Like a raw wind that gets to the bone, (pauses, her eye falling on the cage) I should think she would ‘a wanted a bird. But what do you suppose went with it? MRS PETERS: I don’t know, unless it got sick and died. [She reaches over and swings the broken door, swings it again, both women watch it.] MRS HALE: You weren’t raised round here, were you? (MRS PETERS shakes her head) You didn’t know—her? MRS PETERS: Not till they brought her yesterday. MRS HALE: She—come to think of it, she was kind of like a bird herself—real sweet and pretty, but kind of timid and—fluttery. How—she—did—change. (silence; then as if struck by a happy thought and relieved to get back to everyday things) Tell you what, Mrs Peters, why don’t you take the quilt in with you? It might take up her mind. MRS PETERS: Why, I think that’s a real nice idea, Mrs Hale. There couldn’t possibly be any objection to it, could there? Now, just what would I take? I wonder if her patches are in here—and her things. [They look in the sewing basket.] MRS HALE: Here’s some red. I expect this has got sewing things in it. (brings out a fancy box) What a pretty box. Looks like something somebody would give you. Maybe her scissors are in here. (Opens box. Suddenly puts her hand to her nose) Why—(MRS PETERS bends nearer, then turns her face away) There’s something wrapped up in this piece of silk. MRS PETERS: Why, this isn’t her scissors. MRS HALE: (lifting the silk) Oh, Mrs Peters—it’s— [MRS PETERS bends closer.] MRS PETERS: It’s the bird. MRS HALE: (jumping up) But, Mrs Peters—look at it! It’s neck! Look at its neck! It’s all—other side to. MRS PETERS: Somebody—wrung—its—neck. [Their eyes meet. A look of growing comprehension, of horror. Steps are heard outside. MRS HALE slips box under quilt pieces, and sinks into her chair. Enter SHERIFF and COUNTY ATTORNEY. MRS PETERS rises.] COUNTY ATTORNEY: (as one turning from serious things to little pleasantries) Well ladies, have you decided whether she was going to quilt it or knot it? MRS PETERS: We think she was going to—knot it. COUNTY ATTORNEY: Well, that’s interesting, I’m sure. (seeing the birdcage) Has the bird flown? MRS HALE: (putting more quilt pieces over the box) We think the—cat got it. COUNTY ATTORNEY: (preoccupied) Is there a cat? [MRS HALE glances in a quick covert way at MRS PETERS.] MRS PETERS: Well, not now. They’re superstitious, you know. They leave. COUNTY ATTORNEY: (to SHERIFF PETERS, continuing an interrupted conversation) No sign at all of anyone having come from the outside. Their own rope. Now let’s go up again and go over it piece by piece. (they start upstairs) It would have to have been someone who knew just the— [MRS PETERS sits down. The two women sit there not looking at one another, but as if peering into something and at the same time holding back. When they talk now it is in the manner of feeling their way over strange ground, as if afraid of what they are saying, but as if they can not help saying it.] MRS HALE: She liked the bird. She was going to bury it in that pretty box. MRS PETERS: (in a whisper) When I was a girl—my kitten—there was a boy took a hatchet, and before my eyes—and before I could get there—(covers her face an instant) If they hadn’t held me back I would have—(catches herself, looks upstairs where steps are heard, falters weakly)—hurt him. MRS HALE: (with a slow look around her) I wonder how it would seem never to have had any children around, (pause) No, Wright wouldn’t like the bird—a thing that sang. She used to sing. He killed that, too. MRS PETERS: (moving uneasily) We don’t know who killed the bird. MRS HALE: I knew John Wright. MRS PETERS: It was an awful thing was done in this house that night, Mrs Hale. Killing a man while he slept, slipping a rope around his neck that choked the life out of him. MRS HALE: His neck. Choked the life out of him. [Her hand goes out and rests on the bird-cage.] MRS PETERS: (with rising voice) We don’t know who killed him. We don’t know. MRS HALE: (her own feeling not interrupted) If there’d been years and years of nothing, then a bird to sing to you, it would be awful—still, after the bird was still. MRS PETERS: (something within her speaking) I know what stillness is. When we homesteaded in Dakota, and my first baby died—after he was two years old, and me with no other then— MRS HALE: (moving) How soon do you suppose they’ll be through, looking for the evidence? MRS PETERS: I know what stillness is. (pulling herself back) The law has got to punish crime, Mrs Hale. MRS HALE: (not as if answering that) I wish you’d seen Minnie Foster when she wore a white dress with blue ribbons and stood up there in the choir and sang. (a look around the room) Oh, I wish I’d come over here once in a while! That was a crime! That was a crime! Who’s going to punish that? MRS PETERS: (looking upstairs) We mustn’t—take on. MRS HALE: I might have known she needed help! I know how things can be—for women. I tell you, it’s queer, Mrs Peters. We live close together and we live far apart. We all go through the same things—it’s all just a different kind of the same thing, (brushes her eyes, noticing the bottle of fruit, reaches out for it) If I was you, I wouldn’t tell her her fruit was gone. Tell her it ain’t. Tell her it’s all right. Take this in to prove it to her. She—she may never know whether it was broke or not. MRS PETERS: (takes the bottle, looks about for something to wrap it in; takes petticoat from the clothes brought from the other room, very nervously begins winding this around the bottle. In a false voice) My, it’s a good thing the men couldn’t hear us. Wouldn’t they just laugh! Getting all stirred up over a little thing like a—dead canary. As if that could have anything to do with—with—wouldn’t they laugh! [The men are heard coming down stairs.] MRS HALE: (under her breath) Maybe they would—maybe they wouldn’t. COUNTY ATTORNEY: No, Peters, it’s all perfectly clear except a reason for doing it. But you know juries when it comes to women. If there was some definite thing. Something to show—something to make a story about—a thing that would connect up with this strange way of doing it— [The women’s eyes meet for an instant. Enter HALE from outer door.] HALE: Well, I’ve got the team around. Pretty cold out there. COUNTY ATTORNEY: I’m going to stay here a while by myself, (to the SHERIFF) You can send Frank out for me, can’t you? I want to go over everything. I’m not satisfied that we can’t do better. SHERIFF: Do you want to see what Mrs Peters is going to take in? [The LAWYER goes to the table, picks up the apron, laughs.] COUNTY ATTORNEY: Oh, I guess they’re not very dangerous things the ladies have picked out. (Moves a few things about, disturbing the quilt pieces which cover the box. Steps back) No, Mrs Peters doesn’t need supervising. For that matter, a sheriff’s wife is married to the law. Ever think of it that way, Mrs Peters? MRS PETERS: Not—just that way. SHERIFF: (chuckling) Married to the law. (moves toward the other room) I just want you to come in here a minute, George. We ought to take a look at these windows. COUNTY ATTORNEY: (scoffingly) Oh, windows! SHERIFF: We’ll be right out, Mr Hale. [HALE goes outside. The SHERIFF follows the COUNTY ATTORNEY into the other room. Then MRS HALE rises, hands tight together, looking intensely at MRS PETERS, whose eyes make a slow turn, finally meeting MRS HALE’s. A moment MRS HALE holds her, then her own eyes point the way to where the box is concealed. Suddenly MRS PETERS throws back quilt pieces and tries to put the box in the bag she is wearing. It is too big. She opens box, starts to take bird out, cannot touch it, goes to pieces, stands there helpless. Sound of a knob turning in the other room. MRS HALE snatches the box and puts it in the pocket of her big coat. Enter COUNTY ATTORNEY and SHERIFF.] COUNTY ATTORNEY: (facetiously) Well, Henry, at least we found out that she was not going to quilt it. She was going to—what is it you call it, ladies? MRS HALE: (her hand against her pocket) We call it—knot it, Mr Henderson. CURTAIN

Myths from Around the World Discover different cultures and people around the world by exploring their myths! Myths are stories that are based on tradition and help us interpret the nature of culture, society, and what it means to be human. Some may have factual origins, while others are completely fictional. Myths are as relevant to us today as they were to the ancients. The subjects of myths reflect the universal concerns of mankind throughout history: birth, death, the afterlife, the origin of man and the world, good and evil and the nature of man himself. They ensure that people of a culture can connect themselves to their ancient roots, and find meaning and joy in their way of life. Mythology typically deal with gods but more often with supernatural beings, gods, demigods, and the explanation of natural phenomenon. Folklore/legends usually makes little reference to gods or goddesses but may have a (non-divine) supernatural element to them. Fairy tales generally have some sort of fantastic element, and might feature magic, imaginary creatures, and often a conflict between sides that are clearly good and evil. All three types of stories have something of the fantastic and the unbelievable in them; the difference is in the content, where it comes from, and whether or not it has some sort of historic basis. Discussion 2 – Myths from Around the World Describe one of your favorite mythic stories, modern or old. It can be from a fantasy book, ancient myth, or a fairy tale. In which culture does the story originate? Then write what happens (the hero and/or heroine, the problem, and the solution or goal), who the main people in it are, where it happens, when, how, and why you think it happens (what do you think might be its purpose or results among people). Explain why it has special meaning to you. Respond to two of your classmates’ posts. Example – Cinderella – (Most of you are familiar with this story.) Culture: France/Europe (Author-Charles Perrault) There are variants of the story in many different cultures. Genre: Fairytale Theme/Plot: (What/How) Cinderella was an innocence young girl who was mistreated by her stepmother and older stepsisters. She …. (summarize the story). Main Character(s): (Who) Cinderella (Heroine) Time: (When) Once Upon a Time Place: (Where) Cinderella’s house, Castle Idea/Lesson: (Purpose) The right person will recognize our worth no matter how bad the circumstances we live in. Being good and kind will not only be recognized but also rewarded. Patience! Forgiveness! Special: This was my favorite book as a child. I remember looking at the beautiful pictures of Cinderella and wishing I could be like her one day.

1. Part A: On the fifty year anniversary of Eliot’s “Prufrock,” Karen Prior argued in the Atlantic that Eliot created the first hipster. Read the 2015 article here. After you consider Prior’s interpretation of Prufrock, answer this question: Do you agree with this depiction of Prufrock? Explain your answer Part B: A broader view of Prufrock even invites generational analysis! The millennial generation is the butt of many jokes and complaints of older (yes, boomer) generations. Example: millennials have been blamed for killing engagement ring and home buying trends. But, boomers can’t rotate pdf files or text. It’s a serious generational stand-off, ya’ll. Consider the claims generations make about each other (google or search some hashtags, if necessary) and compare them to Prufrock and his views of the world and people around him. Then answer this question: Do millennial jokes and corresponding boomer jokes demonstrate Prufrock-esque ideas, anxieties, concerns, and/or complaints? Provide examples in your explanation. 2. Which author makes the harshest argument against the South: Faulkner or Fitzgerald? Does that author also make the harshest argument against southern gender norms? Explain your answers. 3. John Steinbeck’s concluding scene in the Grapes of Wrath where Rose of Sharon breastfeeds a dying man was too controversial for 1940 film, but the image of a woman providing succor to a dying stranger is the perfect representation of Steinbeck’s zygote argument. Today’s society faces serious and growing divisions based on region, religion, race, gender, sexuality, environmental policy, and economic status. Perhaps looking for the traces of Steinbeck’s zygote argument should be considered in light of current social strife. Consider the following prominent and symbolic social movements each protesting a particular divide in society today – one a divide based on race, the other on gender/sexuality. Each protest has adopted a specific symbolic action to represent its message and method. As you consider each protest, please note that I deliberately did not select images that included prominent figures in the movements, specifically Greta Thunberg or Colin Kaepernick, because I am not asking you to comment on a person. Nor am I asking if you agree with these movements. Rather, I’m asking you to analyze the methods of the movements. The Me Too movement began and flourishes as a hashtag on social media. Its phrasing, ‘Me too’ allows a person to identify that they have experienced gender discrimination and/or sexual violence. The National Anthem protest began as a single player first sitting during the National Anthem, but was deliberately rethought and has been enacted since as kneeling during the National Anthem. The player’s action prompted others to adopt the same action in a sign of solidarity. Unlike #MeToo, the National Anthem protest did not have a deliberate word or phrase associated with it (although some have since developed based on the protest). School Strike for Climate began as a single high school youth protesting the lack of climate change action and legislation by refusing to attend school on Fridays and standing or sitting outside a house of government to draw attention and demand legislative action. The youth’s sustained protest days and consistent protest method resulted in increasingly broad media coverage and prompted other youths to adopt the same action in a sign of solidarity. The original sign used in the youth’s protest evolved into a hashtag but did not begin as one. After you’ve considered the symbols and symbolic acts of these protests, answer these questions. Explain your answers. How do the symbolic acts, labels, and/or symbols used by these protest movements compare to Steinbeck’s zygote image? Does the label, the act, or the symbol associated with each movement argue for and/or represent bringing people together, forming an I out of a we? Do the methods of protest operate on the idea of bringing people together and finding power in connection and humanity, like Steinbeck advocated with Rose of Sharon and the dying man? metoo imagekneeling imageschool strike image 4. Below are 2 of the most common and contemporary short-form mediums (i.e. formats, platforms) that are popular today, and examples of the people or companies who mastered their medium. Spend some time exploring these formats & platforms (especially if you’re unfamiliar with them). After you’ve considered what these mediums are and how they work, answer this question: Do these count as modern day ‘sketches’? Explain your answer? As you explain your answer, be sure to draw connections between the purpose, content, and styles of the American Literature sketch genre (i.e. Irving, Hawthorne, & Dos Passos). I’m not asking if you like Anthony Bourdain’s blog, or if you like the videos on TikTok. Rather, I’m asking if you think these mediums & platforms could or should be considered contemporary sketches? https://anthonybourdain.tumblr.com/ (Links to an external site.) – Blog https://www.tiktok.com/en/ – (Links to an external site.)social media video network (this company absorbed Musical.ly and outlasted Vine which was absorbed by Twitter) 5. Which of the texts read or referenced in modules 3, 4 & 5 do you find the most relevant today? Which of the texts read in modules 3, 4 & 5 do you think have the most aesthetic value? In other words, which do you find the most artistic, artful, beautiful? Which can you appreciate as literary art even if you don’t agree or particularly enjoy reading? Explain your answers. LINKS https://anthonybourdain.tumblr.com/ https://www.theatlantic.com/entertainment/archive/2015/01/how-ts-eliot-invented-the-hipsters/384175/

analyzing the short story “Harrison Bergeron” by Kurt Vonnegut, Jr. This story still has social and political tones, but it’s set in the future, slightly science fiction, and a little bit dystopian. I’d like for the writer to think about who or what is the protagonist. I’d also like for you to think about how it being set in the future adds to the conflict and situations. What is the real conflict of this story? What is Harrison Bergeron going through and why? What’s the overall meaning or theme of this piece? What overall message is the author presenting.

Write a reflection essay based on the following prompt: In his TED Talk, Lemon Andersen admits, “I thought poetry was just self-expression. I didn’t know you actually have to have creative control.” How do two or more of the poets from this unit combine “self-expression” with “creative control” in order to give voice to both personal and cultural experiences?

Please write a detailed analysis (500-750 words) each section, in which you analyze how the character of Dana deals with one or two of the issues or themes written about by the following authors: 1) Harriet Jacobs and/or Hannah Crafts 2) Ida B. Wells-Barnett 3) Zora Neale Hurston 4) Lorraine Hansberry 5) Audre Lorde The Contemporary Period,” pp. 913-929. * Kindred, by Octavia Butler: