Author: Siena Girouard

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James’ foreshadowing of May’s death is a subtle but pervasive detail in the narrative. Alongside all of the other foreshadowing present in the novel—pertaining to John’s “beast”—May’s death nearly goes unnoticed. However, there is a particular scene in Chapter 4 which stood out to me:

“May Bartram sat, for the first time in the year, without a fire; a fact that […] gave the scene of which she formed part a smooth and ultimate look, an air of knowing, in its immaculate order and cold meaningless cheer, that it would never see a fire again.”

The absence of a fire in May’s sitting room not only symbolizes the physical coldness of the space, but May also described to “never see a fire again,” hints at a metaphorical emptiness within herself. This imagery evokes a sense of completion or closure, as if everything—even her life—has reached its final state. However, James’ diction here is interesting, because May is also described to have “an air of knowing,” as if May herself may be aware, on some level, of her impending doom. The subtle details reinforce the overarching theme of inevitability and the sense of foreboding in the narrative. It suggests that, despite the characters’ attempts to deny or evade the future, certain events are predestined and cannot be avoided. May’s death, like the “beast” that haunts John, looms over the story, waiting to be realized.

– Siena Rose

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One of the most striking aspects I noticed while reading “The Goophered Grapevine” was Chesnutt’s use of alternating perspectives. Especially compared to the other short stories I have read, it is rare to find a story which changes perspectives because the effect can come off as jarring to the reader due to the length of the narrative. However, in terms of this story, I felt as if Chesnutt’s employment of dual perspectives enhances larger symbolic representation. 

eThe first perspective we’re introduced to is the Northern couple, representing a skeptical and rational worldview due to their distance from Southern traditions and superstitions. The Northern couple represents a more skeptical and rational worldview, shaped by their distance from the Southern traditions and superstitions. Their perspective offers readers a glimpse into the attitudes of outsiders encountering the complexities of Southern culture for the first time. On the other hand, the second perspective of Julius McAdoo embodies the voice of the South, deeply entrenched in its history, traditions, and folklore. Julius’s narration immerses the reader in Southern life with stories of conjure and mysticism passed down through generations. Julius’s perspective, contrary to the Northern couple, humanizes the African American experience in the South, offering a counterpoint to the outsider perspective we are introduced to

Overall, I felt as though Chesnutt used this technique exceptionally well. Not only was it a unique choice compared to the other short stories I have read—inside and outside of this class—but it also explores themes of power dynamics and agency, becoming the central focal point of the narrative. While the Northern couple initially holds the economic power as the plantation owners, Julius uses his historical knowledge and superstitions as a form of agency and resistance to provide a nuanced exploration of the cultural divide between the North and the South during the postbellum period.

– Siena Rose

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I have encountered Dickinson’s poetry frequently throughout my Literature classes thus far. Particularly in Poetry and Poetics last semester, we spend a good amount of time dissecting her work and the underlying messages hidden within. Something that has always fascinated me about her poetry since then is her unconventional use of capitalization and punctuation.

Starting with capitalization, in the fair majority of Dickinson’s poetry she chooses to capitalize strange words that otherwise wouldn’t be emphasized. The effect has been speculated by innumerable literary scholars. Some believe the capitalization could be a misinterpretation of Dickinson’s penmanship (which her poems were translated from). Others believe the capitalized words are meant to personify a theme painted by Dickinson, as the capitalized words appear to add to the theme of the poem. From either perspective, it’s interesting to consider the intentionality.

Secondly, as I’ve approached Dickinson’s poems I’ve also been drawn to her use of punctuation. She tends to use a lot of dashes ending her sentences and sandwiched between descriptor words. In essence, the dashes definitely aim to set apart specific words and phrases, forcing the reader to slow down while reading and contemplate the lines. However, in some of her poems that she has  formally published during her lifetime, the dashes are used sparingly. This makes me wonder if it was a stylistic choice used for an unfinished poem. The fact that the dashes are absent in some of her more definite poems appears as if they represented her hesitancy for a poem that was still under consideration. Either way, the use of punctuation has an undeniable effect on the rhythm and readability of the poem, ultimately affecting its delivery and the perception of the reader.

-Siena Rose

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In the works we have read thus far into the semester, few characters have been as polarizing and misunderstood as Uncle Tom. Contrary to the popular misconception of Uncle Tom as a passive and subservient figure, Stowe’s portrayal depicts him as a man of unwavering moral integrity and inner strength. Yes, he exhibits humility and obedience, but these traits are not indicative of weakness; rather, they are rooted in a profound sense of faith and conviction. Uncle Tom’s resilience in the face of unimaginable suffering and cruelty underscores his agency and resistance. Rather than resigning himself to his fate, he maintains his dignity and compassion, refusing to compromise his principles despite the dehumanizing institution of slavery. His relationships with other characters further complicate the simplistic narrative around his character. His interactions with Eva St. Clare, for instance, showcase his capacity for love and empathy, transcending racial boundaries. Even in his encounters with the Simon Legree, particularly when he pressures Tom to whip fellow slave, Lucy, Tom refuses to conform to Legree’s influence, stating that he cannot commit such cruelty. I think this scene is really integral to analyzing Tom’s character because despite facing relentless brutality and dehumanization under Legree’s reign, Tom remains steadfast in his faith and principles. His refusal to compromise his morals for the sake of self-preservation showcases his unwavering integrity and strength of character—an exceptionally artistic choice by Stowe which I believe is one of the most admirable aspects of the novel.

-Siena Rose

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“Benito Cereno” explores complex themes such as slavery, deception, and the moral ambiguity of human nature. Set against the backdrop of a slave revolt on a Spanish ship, the story unfolds through the eyes of Amasa Delano, an American captain who encounters the distressed vessel, the San Dominick. While reading, I was intrigued by the gradual revelation of the true nature of Captain Benito Cereno’s relationship with Babo, his African slave. It is important to note that Melville wrote the story in 1855, 6 years before the inception of the Civil War, and was therefore inspired by the question of race present at the time. 

The story also delves into the complexities of power dynamics and the morality of slavery. Delano’s initial condescension towards Cereno reflects the racial and cultural biases of the time. Throughout his 12-hour visit on the ship, he establishes a pattern of failing to interpret how the other’s behaviors and power could be problematic. Considering his own professional shipboard abilities, Delano lacks respect for the black men’s commanding presence and also jumps to conclusions about Cereno’s ability to captain a ship effectively. As the story progresses, it becomes clear that the roles of “master” and “slave” are not as straightforward as they seem. Babo’s cunning manipulation challenges the conventional power structures, forcing readers to confront the ethical implications of slavery and the dehumanization it entails.

Finally–also as seen in “Bartleby, the Scrivener”–Melville ends the story ambiguously, leaving room for interpretation and prompting readers to question their own biases and assumptions. The open-ended resolution, invites contemplation on the consequences of the events and the broader societal implications.

-Siena Rose

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While reading Melville’s “Bartleby the Scrivener,” I was drawn to consistent themes of human behavior and society, specifically with the character Bartleby. Bartleby is not explicitly portrayed as insane, but rather as an enigmatic figure. His behavior is characterized by passive resistance, which includes his common response, “I would prefer not to,” when the narrator–the lawyer–asks him to complete a task for him. At the end of the story, the lawyer ends the story with one clue he was ever able to discover about Bartleby: his past employment at the Dead Letter Office. The Lawyer wonders whether it was this job (being depressing), that drove Bartleby to his strange madness. These uncertainties beg the following question: is Bartleby actually mentally deranged, or does he just embrace individualism?

Bartleby’s actions can be interpreted in various ways. On one hand, he can represent a symbol of passive resistance against a dehumanizing work environment. In this case, his behavior would act as form of protest against societal expectations. While he may not conform to social norms, it’s not necessarily an indication of insanity. Instead, his actions challenge the norms and conventions of the time. On the other hand, Bartleby’s previous work experience at the Dead Letter Office (as the narrator had described to be a traumatic work environment) may have caused Bartleby to sink into madness.

Ultimately, because either interpretation is not identified in Melville’s work, I don’t feel particularly strong about either argument. However, I really enjoy the ambiguity Melville has introduced here, as it allows for different interpretations about the text depending solely on the reader’s perspective.

-Siena Rose

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I have thoroughly enjoyed reading Douglass’ work thus far. Of course, the experiences that he writes about are very heavy, demonstrating the immense cruelty of slavery during the 1800s. The severity of the events Douglass has had to endure are barbaric and inhumane; nevertheless, I sincerely admire his courage and determination. Something that stood out to me the most was Douglass’ relationship with his mother, Harriet Bailey. In chapter 1, it is described that Douglass had been separated from his mother at birth, which was a common practice among slave owners. The purpose of this, Douglass suggests, was intended to break the natural connection between a mother and her child. Of course, this wasn’t a necessary detail, yet the slave owners still did it for the sole purpose of making Douglass’–and others’–experiences as miserable and unbearable as humanely possible. Douglass never would have even gotten the chance to see his mother if it wasn’t for her walking 12 miles every once in a while just to sleep beside him. Even though the slave owners tried to separate Douglass and his mother, their bond remained strong, allowing his mother to sneak out to see him at night, despite the risks of disobeying their owner’s rules. We soon learn that Douglass’ mother died when he was about 7. However, when he is finally told about her passing, he describes himself as having “much the same emotions I should have probably felt at the death of a stranger,” which really stood out to me. It’s honestly devastating that Douglass was stripped of a relationship with his mother. Despite her attempting to reinstate whatever connection she could, their bond was visibly affected by their intentional separation. So much so, that Douglass didn’t even feel much grief at her death. I know that if my mother were to pass suddenly, it would be the hardest time of my entire life–as you’d expect for everyone. Of course, without a solid maternal relationship, Douglass didn’t have to suffer with these feelings of loss, but the fact that he was never even given the opportunity to get to know his mother or spend time with her willingly is really tragic.

-Siena Rose

 

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The Raven is a beautifully crafted poem that reflects on the hardship of losing a loved one. However, Poe’s poem is unlike classic lyrical, artistic poems about emotions; instead, his poem describes a dark narrative (what else is new?) through a rhythmic, rhymed medium. As we have discussed in class, Poe tends to write about characters who suffer from mental illness, creating a glimpse into how humans would act if we all surrendered to spontaneity. The results are characters who are driven to insanity; characters who commit murder or suicide; but ultimately, characters that the reader sometimes cannot immediately detect as reliable or unreliable. Poe’s short story style is apparent in The Raven as well, as we are given a narrator who is heavily grieving the death of his late, beloved wife, but we are unsure whether or not this narrator is reliable. His reliability is questionable because in the majority of the poem, he is describing a frustrating conversation with a raven who has wandered into his home. However, as he tries to converse with the raven, the bird simply responds with nothing but “nevermore,” causing the narrator to ask increasingly desperate questions that the bird–likely–would not know the answer to. Even though the bird only replies with one word, the speaker’s frantic remarks suggest that he has interpreted the word in his own dark way. In this sense, just like the style of Poe’s other works, our narrator is officially unreliable because it is clear that his immense grief and guilt has overwhelmed him to the point of not functioning correctly. The dark, ominous raven can be associated with notions of death, not only reminding the narrator of the loss of his wife, but also the intense feelings surrounding it. Ultimately, it is not surprising that Poe has decided to portray a reality in which grief allowed the darkest recesses of the mind to take over, as it is completely on par with his other works.

I should have known when I heard we’d be reading one of Poe’s poems that it wouldn’t be a generic Shakespearean love confession or Wordsworth-ean ode to nature. Poe’s unique style seems to remain consistent throughout all of his work, no matter the stereotype of what the medium “should be.” Just how Emerson had implored in Self-Reliance, Poe has achieved the great endeavor of rejecting others’ opinions, fully allowing his thoughts to transcend the bounds of creative work. Even though I can’t ever envision myself writing the material that Poe did, I admire his individualism.

-Siena Rose

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As a Creative Writer myself, I have thoroughly come to enjoy reading the works of Emerson. His writing is exceptionally thought-provoking and descriptive, and I was particularly drawn to his essay on Self-Reliance. The concept of “self-reliance” is something I’ve encountered frequently in my own life, so I was pleased to read Emerson’s take on it as well.

Emerson’s perspective is much like my own: the ability to rely on one’s sense of self, cultivating their own individual ideas and opinions, even if they are at odds with those around us, is one of the proudest acts we can achieve as individuals. Our differences–the variance between our ideas and opinions–is what sets humanity apart. We would never be able to discover new ways of doing, of seeing, of simply being, if we neglect to embrace being ourselves. I will admit, there was a time where I was easily swayed by others (as many are nowadays by the many forms of widespread influence, such as social media). I am a Writer; I’ve always found great passion in creating my own narratives. But, up until last semester, I didn’t write for myself–I wrote for what I believed others wanted to hear. And, naturally, I found myself struggling. I was struggling to construct something that had the same passion as my content from years ago, and that bothered me. Not to mention, at the same time I was convinced I was going to be a Neuroscience major. Only, it wasn’t because I was interested in pursuing it professionally, I just thought society would value such sophisticated choice. It took last summer to knock some sense into myself and finally begin writing again–but this time, it wasn’t for anyone else but myself. Finally, I began creating uninhibitedly. I began fleshing out a long-ignored idea I had for a book, writing it how I wanted to write it, not how others told me it should be done. I switched my major (to Creative Writing) and have been pursuing a passion deep within myself that I never should have ignored. And, lo and behold, I wholeheartedly believe I am creating my best work because I have learned to accept and trust myself as I am–a Writer.

Although there are flaws that can be plucked out of Emerson’s argument (as with any other debate, which I’m sure includes mine as well), I do agree with several of his points and find a lot of truth in them. I especially enjoyed Emerson’s quote, “in every work of genius we recognize as our own rejected thoughts; they come back to us with a certain alienated majesty,” as it is what ultimately inspired the topic of this blog post. Only, instead of being envious of seeing my rejected thoughts in others’ works of art, I am creating those thoughts for myself when they appear, because it is what I am–and everyone else is– meant to do with their individualism.

-Siena Rose