English Literature

ENGLISH LITERATURE: VIRGINIA WOOLF ROASTS 'ULYSSES' (by James Joyce)

This is another great short video from the Tom Ayling YouTube channel.

In this video he describes how controversial, boundary pushing author, Virginia Woolf critiques the controversial, boundary pushing novel, 'Ulysses' by Irish literary giant, James Joyce - and roasts it mercilessly.

I had to take an interest here. I've read 'Ulysses' - and like everyone else who read it - or in some cases, TRIED to read it - I found it bloody hard work.

Was it worth it? Only for the 'badge of achievement' of being able to say that I read it.  Joyce is desperately trying to push those literary boundaries - but in ways that... Well, listen to what Woolf had to say - pretty much that.

The most memorable example: the last chapter: it's the thoughts of the (semi-estranged) wife of the central character, Leopold Bloom, as she desparages him and her life with him: with no punctuation whatsoever: none: pages and pages of solid text without any breaks at all.

I've also read 'Dubliners' and 'Portrait Of The Artist...' - they are not at all in the style of 'Ulysses'. They are great novels.

On the other hand, I've read Virginia Woolf's 'Mrs Dalloway' - which took a bit of getting into the rythm of, but once I did I found it to be truly brilliantly written: unique, and absorbing.

But I've also read Woolf's. To The Lighthouse' - and I found it tedious and... Well, what Woolf said about 'Ulysses' - only 'To The Lighthouse' is mercifully much shorter...

A great thing about this critique by Woolf, though, is that it gives students of English Literature a sense that they can be free to be critical of supposed - accepted - 'classic' novels, and to simply not like them, if that's how they truly feel. Students can feel reticent about that: feeling a bit intimidated by the idea of criticising classic literature - just because it is classic literature.

Don't be intimidated: if you want to be negatively critical, because it's how you truly feel - then do that: just be sure that you can persuasively describe your reasons for the critique.

Textual content: © Copyright MLM Arts 27. 08. 2024. Edited and re-posted: 05. 09. 24

OF MICE AND MEN

(John Steinbeck;

My copy: Arrow)

ESSAY STRUCTURE

 
In Green: A suggestion of what should be in the introduction

In Yellow is a bit of information about the title of the novel, which may or may not be put into the essay. It’s useful, but not vital.

In blue are the places left where quotes should be found and inserted. I have put a couple of quotes in, as well as mentioning the whole first page as significant, and saying why.

I’ve left this at the end of the animal imagery / settings /character interaction paragraph, and with a paragraph focussing on how these are reflected in the loneliness and solitude of key characters (George, Lennie, Curley, Curley’s wife, Candy, Crooks, for example) still to write; and then a conclusion. Consider:

In what way is animal imagery used to describe Curley’s wife (page 29, and also 33-34: where she is at the bunkhouse talking to George, who then warns Lennie about her). Predatory:  she’s ‘got the eye’, and ‘gives the eye’ to the men.. 

How is animal imagery use to describe Curley? (page 16- he first meets Lennie). Also, he is called a S.O.B (page 18, ). His wife knows that he goes to town with the man, to visit prostitutes. (Page 81). Although seen as predatory, she admits her own loneliness and feeling of solitude, and need for company, (page 82).

What does this say about their marriage, and how they feel about each other? Does it show them both to be lonely and isolated- even within their marriage?

How is Candy likened to an animal? He is called ‘an old sheep’ (page 83): His dog was a sheep dog. – indicating Candy was the more dependant of the two in that partnership(?)

This again makes the link between Candy/dog and George/Lennie; George appears to be the one in command, but in fact, he is the more dependant, emotionally. (Pages 13-14)

How is Crooks likened to an animal? (page 72. – a similarity to Candy’s dog?)

How do the flawed partnerships turn out in the end?

With these notes, and your own take on the theme (i.e the ‘dream’, and how it effects the characters), write up the paragraph dealing with the loneliness and solitude of key characters (not necessarily ALL), and how that is depicted.

In the Intro it’s worth saying that the themes of loneliness and isolation are stated distinctly early on when George describes the lot of itinerant workers as ‘…the loneliest guys in the world’. Then go on to say how these themes are – as we said- subtly portrayed (I’ll help you put this into the intro on Wednesday: it’s easily done).

Definitely worth adding Curly and his wife to the list on characters who are not alone, but in a ‘flawed’ partnership; and with a quote to show how it is flawed. (Suggestion?- I have the Arrow paperback version: on pages 28-30 candy talks about Curley’s marriage)Also pages 56 -57, where Curley is looking for his wife, and suspects Slim of being with her.(?)

Moving on to the use of animal imagery, character interactions, and settings:

Steinbeck interlinks these devices as the novel unfolds. The importance of animal imagery is alluded to in the title itself: Of Mice and Men; the title is derived from a quote from the Robert Burns poem: To a Mouse, which, in essence, describes how the endeavours of all creatures are at the mercy of circumstances. In the novel the characters’ interactions with each other are subtly woven around animal imagery, much of which is implied by the settings; the effect of this is to convey the sense of loneliness and isolation that encompasses them all as a disparate group of individuals.

The ‘animals in the wild’ metaphor is suggested even from the first page in the novel. The  setting is by a river pool, where different animals: rabbits, coons, dogs, and deer gather for water; yet it is also where ‘the boys’ from the ranch come to swim, and where tramps come to ‘jungle up’ near water. This connection persists throughout the novel: just as animals of different, and often mutually hostile, species will gather together around water out of the essential need to drink or bathe, so the characters in the novel are often in settings around water or drinking.

Quote to give examples)

This, I suggest, implies their flocking together, like animals, out from motivations of need: the instinct to gather in a herd, for protection; food and water. but in the case of human beings, it is the need for companionship.

The metaphor is extended by the further implication that these are people who, like the animals at a watering hole, would not necessarily choose each others company, nor tolerate each others presence, but for this shared need, as indicated by the characters often being in the competitive setting of gaming at cards or horseshoes: just as animals in the wild would be competitive in their shared environment, when not sharing water.

The men’s attitude to each other in this respect is shown by Curley’s wife: ‘You’re all scared of each other…scared the rest is goin’ to get something on you.’ This metaphorical use of animal imagery and setting is a subtle, but powerful way for Steinbeck to project the theme of loneliness and isolation. It presents an animalistic sense of day to day survival, with no apparent constructive purpose, and confirms George’s description of the directionless loneliness these itinerant workers: ‘They got no family…They ain’t got nothing to look ahead to.’ (P.14 in my copy)

The relationship between George and Lennie is complex in terms of how Steinbeck presents their individual loneliness and solitude, even as travelling partners. They are described in the novel as opposites (page 2), which they are, in every way. This immediately suggests their individual loneliness. Animal imagery is used in the description of Lennie: ‘dragging his feet… the way a bear drags its paws’. (Page 2). George’s image is described in more human terms: ‘Every part of him was well defined… restless eyes and sharp, strong features’.(page 2). George seems to attempting to stay above the loneliness and solitude, and ‘animal’ fate of other travellers like him, by retaining a dream of a settled future, and his constant companionship with Lennie. However, it is made clear towards the end of the novel that George never truly believed in this dream, and that his main reason for travelling with Lennie was not true companionship, but merely his need to try to retain his hopeless dream, and that George is essentially a lonely, isolated character.: ‘I think I knowed from the very first… we’d never to her. He usta like to hear it so much I got to thinking maybe we would’. (Page 99).

It is easy for the reader to feel only pity for the simple Lennie; yet he has a darker side, although probably out with his control, which can hurt or kill without conscience, only fear of the consequences: being excluded from George’s plans: He picked up the pup and hurled it from him… Now I won’t get to tend the rabbits’ (Page 89). Lennie’s self interest is also shown by his failure to remember his aunt, who had looked after him before George: ‘I remember a lady [who gave him mice to care for]… But that lady ain’t here’ George scoffed.’ Lady, huh?… That was your Aunt Clara.’(Page 10). Lennie can also be manipulative, as is described in pages 13-14, when he threatens to run away George is angry, but George placates him: ‘Lennie… sensed his advantage’. This shows Lennie  has little understanding of friendship, and so little understanding of loneliness or isolation in an emotional sense. He sees George purely as a provider: like an tamed animal would see its keeper. 

The relationship between George and Lennie is reflected in the relationship between the character Candy and his dog. The dog is a sheepdog, but is old and infirm, and serves no useful purpose to candy other than as his sole companion, and what keeps him from utter loneliness and solitude. Candy is described as an ‘old sheep’ (page 83); this implies that,  as with George and Lennie, it is actually Candy who has the greater need in this relationship. The shooting of the dog at the insistence of the men in the bunkhouse, again implies the animal imagery metaphor: it is an act of weeding out the weakest in the ‘herd’, and shows the lack of humanity and friendship in this community; and that they are a group of lonely, isolated individuals.

Curley and his wife are another example of how character interaction, flawed partnerships, and animal imagery are used to present loneliness and isolation in the novel. Curley is small, insecure and aggressive. His attitude at meeting Lennie: ‘He stiffened and went into a slight crouch. His glance was at once calculating and pugnacious’, (page 16) suggests an animal poised to attack. He is possessive towards his wife, and jealous of her talking to other men. Yet his disregard for her is shown by his visiting prostitutes. (Page 81). Curley’s wife is seen in implied animalistic terms as predatory: ‘She got the eye..’ (Page 29). Yet she admits feelings of loneliness  and isolation, and need for company due to Curley’s neglect of her: ‘Think I don’t like to talk to somebody ever’ once in a while? Think I like to stick in that house allu time?’ (Page 82). These descriptions show that, even though married, this is a flawed partnership, and these characters are as lonely and isolated as the rest.

The themes of loneliness and isolation are brought to full realisation as the novel develops. Candy looks to George and his dream to give his life purpose and direction, just as his sheepdog had done. Curley’s wife displays her predatory animal quality, and ‘corners’ the seemingly harmless ‘tamed animal’ that is Lennie; but he reacts in accordance with his darker nature, as a cornered animal would, and she is killed. George abandons his dream as a fantasy, and Candy’s hopes with it. He shoots Lennie, as a merciful killing to save him from the vengeance of Curley and the hunting pack of men.

All of the flawed partnerships have been broken by death, and the loneliness and solitude of all the key characters is complete, with the animal imagery metaphor framed by the river pool setting where it began, and with Slim and George finding companionship and solace in a drink; and Curley and Carlston unable to understand their remorse, and simply happy with the conclusion of the hunt and kill.

Steinbeck's sketching of humanity's different attutudes and mind sets is in focus in cameo in this scene.

Essay structure text: © Copyright: MLM Arts 10. 06. 2020. Edited and re-posted: 07. 09. 2021. Edited 08. 09. 2024

ENGLISH: CREATIVE WRITING: UNDERSTANDING HOW TO WRITE FOR DIFFERENT AUDIENCES AND AGE GROUPS: STARTING WITH PRIMARY AGE KS 1 – 3

READERING TEXT COMPREHENSION: CORE TEXTS:

Three stories for children (presented as short plays): Jack and Jill; Little Red Riding Hood; Goldilocks and the Three Bears

Decide what age-group audience these stories were aimed at – and why.

Jack and Jill was for children aged ? -Why?

Little Red Riding Hood was for children aged between ? and ? -Why?

Goldilocks was for children aged between around ? and ? Why?

Discuss why: by looking at words. Jack and Jill had mostly monosyllabic or disyllabic words;  but Red Riding Hood and Goldilocks had a few polysyllabic words. Then look at sentence structure. Jack and Jill had mostly simple or compound sentences: which are easier for younger children; Goldilocks had one complex sentence.

Emotional Effect

Discuss the emotional effect of the stories – mostly, how scary they are: the more scary they are, the older the age group they should be aimed at: but none were VERY scary – and all had a happy ending.

Looking at how language is used:

Alliteration: makes some sentences fun to read, and it’s good for emphasising points.

Onomatopoeia: makes a story lively.

Sibilance: works in the same way as alliteration; but it’s also good to make a character’s way of speaking distinctive.

Anthropomorphism / Personification: gives animals or objects human characteristics: like talking. This is good in children’s stories.
Pathetic Fallacy: a bit like anthropomorphism, but it gives human moods and emotions to things like weather and scenery; for example: the mountains looked gloomy; the rain fell angrily; the sun was cheerful… Etc… (These are just some examples).

HOMEWORK TASK: Look back at the work you did last Thursday and Friday. Then plan and write a very short story or play – should be between one and five sides of paper – for primary school aged children.

GUIDANCE TO HELP YOU PLAN THE STORY:

Make a plan of the story or play begore you write it, by making rough notes. Think about:

What age group your story or play will be for.

What are the right length of words to use: monosyllabic; disyllabic (or bisyllabic: they mean the same thing); should you have one or two polysyllabic?

What are the right types of sentences to use: simple; compound; maybe one or two complex?

How scary should it be?:

Jack and Jill, is for very small children: it was not VERY scary: it was just about falling over and tumbling down a hill – a little bit scary – but Jack and Jill were OK in the end.

Goldilocks is for slightly older children:  was a bit more scary: Goldilocks made some bears angry, and had to run away fast; she escaped and was OK in the end.

Red Riding Hood is for the oldest children of this age group; it was more scary: there was a bad wolf, who ate Red Riding Hood and Grandma – but he was defeated in the end, and Red Riding Hood and Grandma were saved and were OK in the end.

How many characters: at least two, but not more than four is best.

At least one character should be an animal.

Who is the main character?

Who are the other characters?

How would you describe the characters – each in just one or two sentences?

How would you describe the scenery or / the weather / or the room(s) that the story or play takes place in?

How does the story or play start? (Jack and Jill were just going to fetch water; Red Riding Hood was just going to visit Grandma; Goldilocks was just having a walk in the woods: all very ordinary things to start these plays with).

What happens to make the story something exciting and a bit dangerous? In Red Riding Hood and Goldilocks, talking animals appeared: that was unusual and exciting; what they thought about Red Riding Hood and Goldilocks, and what they did, made those stories more exciting and a bit dangerous.

Remember to have a happy ending...!

Links to the Youtube videos of the stories. (Acknowledement: the above images came from these videos):

Jack And Jill: https://youtu.be/bxX3EkFuSe0?feature=shared

Red Ridinghood - and - Goldilocks: https://youtu.be/bxX3EkFuSe0?feature=shared

Textual content: © Copyright: MLM Arts 27. 03. 2020. Edited and re-posted: 07. 09. 2024