The Wall Between My Mind And My Words

In his poem “Mending Wall,” Robert Frost presents the reader ideas of barriers between people, communication, friendship, and the sense of protection acquired from these boundaries. The poem conveys its meaning through the usage of imagery, structure, and tone. As well, he converges both the literal and metaphorical meaning of the wall into the poem in order to embody the different barriers present in life.

Frost’s usage of imagery in the poem’s first lines suggests the degradation of the wall. The verse structure of the poem, being iambic pentameter, emphasizes on the words “gaps,” and “wall.” These single syllable words are located in a stress-stress foot, which inevitably breaks the poetic rhythm of the poem. Hence, Frost creates a close connection between these as the words illustrate a vivid impression of the wall’s degradation. As well, Frosts depicts that “something” as a human-like being through the use of personification. On the other hand, Frost employs nature imagery to portray the destruction of this wall. The narrator seems to believe that nature is that “something” that dislikes the wall and attempts to destroy it. He explains that nature (the something), “doesn’t love a wall, / That sends the frozen-ground-swell under it” (Frost 1-2). Literally, the poem, describes nature making holes, but metaphorically, the wall’s degradation might signify that nature wishes men to “walk together” in order to have no barriers that separate them from one another.

Throughout the poem, the speaker maintains a non-chalant tone. One of the main techniques used to achieve this is by including colloquial conversation. For example the conversation “Stay where you are until our backs are turned!”and the metaphor “spring is mischief in me,” portrays a light hearted atmosphere amongst neighbors mending the wall together. Also, the juxtaposition of the fence to an outdoor game contributes to his non-chalant tone. On the other hand, the speaker uses light and comical diction to describe the neighborhood in a humoristic manner. Even though he employs imagery to describe his neighbor’s attitude, his depiction of the reparation of the fence is rather comical. For example, he uses the simile “like an old-stone savage” to juxtapose him to a Stone Age man. Hence, the speaker’s non-chalant tone contributes the poem’s ironic and metaphorical representation of boundaries in life.

Structurally, the poem illustrates the absence of these barriers. It is written in blank verse and contains a narrative-like style. Repetition is used as a technique to emphasize the main ideas. The line “something there is that doesn't love a wall” (1) repeats in line thirty-five with a new meaning. It refers to the attitudes of the narrator towards the wall - the narrator does not 'love the wall' and wants it down - whereas the 'something' mentioned in the first line of the poem refers to nature. Another example of repetition is the statement “good fences make good neighbors.” This reflects back to and emphasizes the idea and opinion society adopts: there will always be a barrier standing between people, acting as a boundary that separates their social relations from their personal privacy. Therefore, the absence of separations in his poem expand the metaphorical meaning of the poem, and his critique towards social disjointing.

The Mission: Get A Five

Kevin Young’s poem “The Mission” juxtaposes life and death through the usage of structure, time imagery, and metaphor. From the beginning of the poem, its structure stands out to the reader. Young employs enjambment and caesura constantly to evoke life’s idleness. On the other hand, the usage of time imagery and juxtaposition under the same purpose, lead Young’s poem to be a conceit between nature and time.

The poem’s structure, being in couplets with constant pauses and enjambment, reveals some of the poem’s meaning. For example, “out of habit, evening /coming on, again - / the home’s clock, broke like a bone, always /read three.” In this case, the caesura breaks the couplet between the juxtaposition between day and night, and the time imagery used by the reader. This correlation between juxtaposition and imagery is mainly due to the poem’s structure. Young’s usage of enjambment represents life’s inconsistency. Also, the contrasting effects of caesura and enjambment reveal the contrast between life and death. The pause in this case, symbolizes death. On the other hand, the ending of the poem in caesura creates and effect of aposiopesis, as the phrases syntax “I could not see to see–” evokes life’s eternal repetition. Also, the alliteration of the “s” sound reflects the speaker’s disdainful tone towards the conceit of nature and time.

On the other hand, the poem employs time and nature imagery to juxtapose life and death. The depiction of the “children play[ing] tag / out front, while the bodies / snuck in the back” not only demonstrates death’s insignificance, but the inability of the living to overcome death. The mission mentioned in the title might signify the acceptance of death and living eternally, “soul after soul.” Immediately after mentioning it, the speaker describes the sun as the resemblance of the mission. This juxtaposition of time and nature proves that life comes and goes with the sun, and that it’s a repeating process of night and day. Hence, taking into account that the poem is structured into couplets, the reader might infer that it represents the day and night, and the eternal time ellipsis it creates.

This metaphor of time is seen as Young mentions the “mornings or dead / of night.” Here, the author describes the day and night as life and death. Then, the presence of enjambment extends the metaphor into making the reader infer that the night expands to the next day, therefore, the soul lives “soul after soul.” As a result, the juxtaposition of time and nature imagery creates a metaphor of life and death through the poem’s particular structure. Finally, as he mentions that “your eyes / adjust, become / like the night,” Young reveals that human beings never accept death, but instead, their perception “adjusts” to it, which in this case means that they die. Therefore, by juxtaposing dissimilar aspects like time and nature, Young creates a conceit of life and death, enhancing the meaning transmitted in his poem: the banality of living live and death.

For Sale: One-Way Trip To Alienation

They kept singing:

I couldn't stand to hear the
Crying of my mother
And I remember when
I swore that, that would be the
Last they'd see of me
And I never went home again

I tried to keep thinking about that interview of Toni Morrison, but those continued. Resigned, the only thing I could do was to listen to the song until it ended. Unfortunately, it never ended, it went forever. There was a point I didn’t recognize whether the voices kept singing, or it was only my mind. Anyways, the interview…

He said:
You're no son, you're no son of mine
You're no son, you're no son of mine
You walked out, you left us behind
And you're no son, you're no son of mine

Alienation, loneliness, solitude, the importance of family. Many things came to my mind. In fact, Morrison mentions many of these aspects in her interview. For example, she says: “everybody was for sale and for rent” (3:20 – 3:25). Her allusion to slavery, and the lack of free will amongst the American “ordinary people” during colonization relates to the sentiments of alienation, loneliness, and solitude present in Song of Solomon. Racism, in this case, surges as the main cause of these. It alienates many of the characters from their native communities, society, and eventually, makes them loose the essence of humanity. Morrison’s depicts Milkman’s alienation through his desperate quest of emotional freedom. This childish attitude, derivative from his alienation, eventually wanes as he comes to a moment of anagnorisis after being caught by the cops. As a result, the growth of his shorter leg demonstrates his progess towards freedom.

The song kept going:

Things were never easy for me
Peace of mind was hard to find
And I needed a place where I could hide
Somewhere I could call mine

In the interview, Morrison confers that alienation leads to solitude. Hence, the highlights “the dangers of American individuality” (22:30) leads people to feel alienated, and hence, lonely. Guitar, for example, evolves into a vengeful murderer in vengeance of his father death. He commits murderers that keep reminding him of his own tragedy, hence, alienating himself, and his victims, from their own surroundings. In reference to this, Morrison also describes the importance of “familiar bonds” (21:57) in Song of Solomon as well as many of her other novels. In Guitar’s case, the death of his father led him to commit such vengeful acts. Also, the parental figure (the ghost) of Macon Dead I leads Pilate and Macon Jr. to rethink many of their actions. In contrast to Hamlet, where the Ghost of his father torments him to avenge his death and kill Claudius, the ghost of Macon Dead I dwells to guide Pilate and Macon Jr. through the right path, and prevent them from falling in the greedy hands of alienation.

Oh his words how they hurt me
I'll never forget it
And as the time, it went by
I lived to regret it
You're no son, you're no son of mine
But where should I go
And what should I do

Hence, as the characters in Song of Solomon try to fly towards their freedom, they tend to feel alienated. The ghost of Macon Dead I prevents Macon Jr. from following the “tail of the peacock,” the evils of greed and wealth that Morrison emphasizes. The sack of gold represents that obsession of wealth that Macon Jr., Milkman, and even Guitar have. The desire of wealth leads mankind to overcome the principles of a family, a community, and their life. Gold kills, gold putrefies mankind. They spend their entire life looking for gold without a purpose. Hence, living a life without a meaning, and eventually, alienating themselves from humanity. The song finally ended:

You're no son, you're no son of mine
But I came here for help
Oh I was looking for you

Names, Time, And Have A Nice Flight

This is my brain:

… Song of Solomon… Hmmm another woman’s book, Toni Morrison… I hope this one differs from Jane Austen’s Pride and Prejudice...

[Flips the book to the back cover] African American author, pretty interesting, the first African American I read since Eighth Grade, the Harlem Renaissance, Langston Hughes, etc. Oh, Ann Petry, but that doesn’t count, I only read an excerpt from her novel The Street in a practice timed writing… Twice!

[Begins reading] … 3, 4, 5, 6… The song:

Oh Sugarman done fly away

Sugarman done gone

Sugarman cut across the sky

Sugarman gone home…

Sugarman? Well, I can’t relate that to anything thus far, instead, the theme of flying seems to be pretty recurring in Morrison’s first pages. If she is starting the novel saying that a man “promised to fly,” it’s evident that it might be something to keep in mind.

… The liberty transmitted through Pilate’s “contralto” juxtaposes the silence of the rest of the crowd. It could signify her reluctance of being passive, the conformity of the people with their lives, their futility… Morrison makes her stand out. She differs in every possible sense from the other expectators. In my point of view, the two extremes are, coincidentally, Pilate and Ruth. Their clothing, their attitude, completely opposite. Even though her clothing make her look like an interloper, Pilate demonstrates pure nerve and brevity by being the only one able to express towards Smith’s banal attempt to fly. Maybe the song might come up again, later…

… 7, 8, 9… “the little boy discovered, at four, the same thing Mr. Smith had learned earlier – that only birds and airplanes could fly – he lost all interest in himself” (Morrison 9). We can’t fly. If we can’t fly, like Mr. Smith, our goals might be just dreams. Hence, we can either live this futile life, or aim to fly, to escape into a better future. The question is, do we ever escape? Milkman loses faith in his chance to fly, metaphorically speaking, as he realizes that we have to be compliant with life’s banality. Morrison, extrapolates the meaning of flying and injects it into every character (and their weird names), making of them a figure that attempts to fly many times, until finally, they fly away.

10, 11, 12, 13, 14, 15, 16, 17… Pretty weird names. I would never name my son Macon, or my daughter, First Corinthians. But who blames them. Nowadays I’ve seen people call their children Usnavi, Madeinusa, Disneylandia… Very original names.

… 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30… Pilate’s song ends with the first chapter. In Time, that could’ve been between five to ten minutes, more or less. But talking about time, that was years. She employs a lot of time shifting. This time issue, and the relation with the lineage of Macon Dead I, II, and III reminds me of Gabriel Garcia Marquez’s Cien años de soledad, with his Jose Arcadios, Aurelianos, etc. Here, we are able to have a depiction of their lives (Macon I, II, and III) while Pilate sings. Meanwhile, we live the whole history of Macondo while Aureliano stands in the “peloton de fusilamiento.”

Relay Race: Science vs Literature

Minute-to-Minute:

@20: 07 – FINAL! This is the end ladies and gentlemen, its Coleridge. Coleridge gives the Literature team the victory. Science team must be proud of the pure battle they gave to their rival. Anyways, I’m sure all of you underwent a voyage of mind and body by watching these fine racers. This is everything for today. Have a nice evening and remember Coleridge: “For he on honey-dew hath fed, / And drunk the milk of Paradise” (53-54).

@20:06 – Still tied. It will have to be decided in the final relay. The two best voyagers in the world for the end. What a final ladies and gentlemen. Its just a matter of seconds. Coleridge and Banks. Let’s take a look at Banks, and in my opinion, leave the best for last. His voyage on board of the Endeavour involves both the exterior and interior of himself. Bank’s voyage leaves many details upon Romanticism. Through the physical and metaphysical approach to his voyage, we are able to unite the Romantic science and poetry. His arrival of paradise can be interpreted both as the destiny he arrived (Tahiti), and the boundaries that were reached through his cognitive process. This idea of expeditions and mind journeys is the basis of Coleridge’s argument of voyage. Indeed, his poem “Kubla Khan” portrays through water imagery (the river) the voyage to paradise through dreams. Finally, even though voyage leads to a physical and metaphysical destiny, according to Coleridge, there might be no way back. Therefore, he establishes a connection between poetry and science: he questions whether a voyager is master of its discoveries or a slave of them. Also, Wordsworth’s “The Prelude” employ’s the river to portray the voyage towards imagination, and how mankind tries to connect its cognitive and sound power to pave nature towards paradise.

@20:04 – Close tie. The next relays, Cook for the Science side, and Conrad for the Literature team, continue the race amazingly tied. Many things are said about Cook’s voyage. Holmes, for example, compares it to that of Darwin to Galapagos. Even though both are “exploratory voyages,” they don’t conclude at the moment the voyager finds its discovery. In fact, I don’t believe he will never completely overcome the process of discovering. As he returned to England, he encouraged others to venture into the unknown, and relay his discovery. Afterwards, he was killed by natives in his third voyage, never fulfilling his discovery. On the other hand, Conrad maintains Cook’s fast rhythm, knowing that if they arrive at the same time, Coleridge will undoubtedly beat Banks. Anyways, Conrad’s approach to the idea of voyage in The Heart Of Darkness illustrates a metaphysical desire to reach something that, in the end is never discovered: the heart of darkness. Manifested through dreams, thoughts, and recreations of Marlow’s mind, the story within the story leads the reader to believe that there is no end in life’s voyage. In this case, the reader is brought back to the beginning at the end of the novel, in order to start a new voyage. How F. Scott Fitzgerald would once finish a book of his, we are “borne back ceaselessly into the past.”

@20:02 – Davy is able to take a 1.23 seconds advantage over Cowper. Now its Herschel and Wordsworth. Wow two Williams. Greetings to all the Williams who are watching this amazing Relay to Paradise. Wordsworth is now cutting distances with Herschel. Wordsworth was able to take an static image and imagine Newton “voyaging through strange seas of Thought, alone” (Holmes xvii). Converts Newton’s plain image into a Romantic landscape. It’s not about the statue, but about what it’s looking, thinking, and wandering. Meanwhile, Herschel is looking at those stars that Newton’s statue, and that Romantic traveler, wanders. He didn´t only discover the first new planet to be seen in one thousand years, but also expanded humanity’s lantern of imagination. The boundaries of the imagination were now greater.

@20:01 – Cowper seems to be falling behind from Davy’s amazing rhythm. Another voyager this Cowper guy. In this book I’ve been reading lately The Age Of Wonder, Holmes describes him as the one who “invented the idea of the armchair traveler” (Holmes 51). It’s overwhelming how all these voyagers are able to create instead of receding upon the voyage’s dangers. I recall Shackleton. His leadership and persistence led him to survive his Antarctic expedition and bring his voyagers back with him. Even though these voyagers reach their destiny physically, they remain restless and unfulfilled, as there’s no such thing as an end to the voyage. The poem goes forever.

@20:00 – START! The first racers begin their run. Davy takes the lead. Wonderful chemist. He initiates a voyage for the scientific world. His lantern, that which would ignite the beginning of a scientific wonder. What might that tell us? Will his precedent help the Science team to beat Literature? Even though his voyage was purely scientific, his discoveries around Chemistry symbolize a poem, which begins with a word and ends with many meanings. Anyways, apparently Cowper is being left behind…

@19:55 – The members of each team are already in position, waiting for the signal to begin the race. The first relays will be Davy and Cowper, followed by Herschel and Wordsworth. It will start at any minute…

@19:50 – Here are the four members of each team. On the Science side: William Herschel, Humphry Davy, James Cook, and their captain, Joseph Banks. On the Literature side: William Cowper, William Wordsworth, Joseph Conrad, and their captain, Samuel Taylor Coleridge.

@ 19:47 – Hello everyone! Greetings from “the island of Tahiti, 17 degrees South, 149 degrees West” (Holmes 1), we are here present to live, minute-to-minute the wonderful Final Relay Race of the season. It’s been a passionate year. We’ve seen prospects show their talents on track, and I’m sure we’ll see some pretty good ones today in the Final.

The River

There are always objects which become symbols in a novel.
Here, we can identify many symbols as Marlow himself
Encounters them but struggles to interpret them adequately.

Justifications of these are shown in Conrad’s novel as he confronts an
Obscure reality and realizes how these symbols posses

Unsettling qualities that define reality. This conception of
Reality illustrates Marlow’s transformation as he travels upstream, the
Naïve illusions created by women, which depict all the social fictions and

Economic endeavor that colonialism involves. Also, Conrad
Yuxtaposes Marlow’s struggle upstream with the ease in which he travels back.

Upstream’s journey towards Kurtz represent his struggle to understand the

Present situation he has found himself. Also, this struggle might
Symbolize the river’s intention of expelling colonists from Africa, making their
Travel dawdling and intricate. The river separates the outside from the inside, opens a
Reality that resides beyond its currents, inside the gilded idea of imperialism.
Even though the river separates him from the heart of Africa,
At the end, the river is what keeps
Marlow coupled to Africa and recede along with the darkness forever.

The perfect example for this: “The brown current ran swiftly out of the
Heart of darkness, bearing us down towards the sea (…)
Ebbing, ebbing out of his heart into the sea of inexorable time (…) This

Choice of nightmares forced upon me in the tenebrous land (Conrad 127).
Only the river’s brown current is what relentlessly brings him back to the
Nihilistic white civilization, but, he is unable to leave the
Glimpses of darkness behind as he becomes internalized by it, and
Out of the white sepulchre that lays upon the colored map of Africa.

Twain’s Gilded Age And Matthew's Whited Sepulchre

What is the “whited sepulchre?” I couldn’t avoid wandering as I read “In a very few hours I arrived in a city that always makes me think of a whited sepuchre” (Conrad 13). I was even further intrigued as I saw the title of Mr. Tangen’s entry to his blog White Sepulchre. So, I did what ninety-nine percent of humanity would do: googled it. The first result I get is a line from the Book of Matthew that reads: “Woe unto you, scribes and Pharisees, hypocrites! for ye are like unto whited sepulchres, which indeed appear beautiful outward, but are within full of dead [men's] bones, and of all uncleanness” (King James Bible, 23:27). According to these lines, a whited sepulchre symbolizes gild. Then, relating it to Heart Of Darkness timeline, the allusion of whited sepulchre to a city means that the city itself is gilded. Or, in other words, covered with gold, but filled with cruelty. Taking into account that the Congo was a Belgian colony, the city he might be referring to is Brussels. Hence, the allusion signifies hypocrisy, where the monarch’s premise of the civilizing benefits of imperialism is filled with cruelty, death, and violence in the colony of Congo.

Therefore, the reader can imply that Marlow’s point of view towards imperialism is a very critical one. Through imagery, Conrad is able to describe Marlow’s direct encounter with scenes of torture and cruelty. For example, “Nothing but black shadows of disease and starvation, lying confusedly in the greenish gloom” (Conrad 28). Marlow’s feelings are directly sensed by the reader, since he is the narrator of his own story. The reader feels the moment, can recreate the scenery from Conrad’s careful use of imagery. Also, the reader feels pathos towards the African natives, as Conrad illustrates the European missioners as cruel, and the Africans as the poor victims. Therefore, Conrad is able to criticize European imperialism through his use of imagery. On the other hand, taking into account the frame story (the Nellie and the men at the Thames River), the reader can sense both aspects of the whited sepulchre: the calm and optimistic men at the Nellie representing the beautiful white paint, and the vindictive scenery of Congo characterizing the death corpses inside.

The Painting And Its Story

“My name is Ozymandias, king of kings…” I’m going to stop for a while and write a blog for Conrad’s Heart Of Darkness. I hope I don’t forget the poem.

It’s all about metafiction, once again. Just before the Classroom Without Walls outing I wrote an essay about Slaughterhouse-Five and Vonnegut’s use of metafiction. Apparently, the setting of the Nellie anchored at the Thames is just the frame story of this meta story of Marlow and his experience at a Belgian steamship in the Congo River. Concurrently, as soon as Marlow starts telling his story, the reader sets aboard a train of thoughts and memories that lead him to start reading the story in another manner: forgetting of the Nellie, and starting to understand Marlow’s ironic tone. For example, “I don’t want to bother you much with what happened to me personally” (Conrad 9). Here, the reader can juxtapose the omniscient narrator’s voice with that of Marlow. Starting from this, the reader can furthermore juxtapose many aspects of both stories. On one hand, the civilized, enlightened, and optimistic Thames River symbolizing the countless men who sailed abroad and colonized many distant cultures. On the other hand, the dark, savage, and hopelessness of Marlow’s story makes the reader realize his critical attitude towards imperialism, and the before-and-after of a character who lived both sides of the picture.

Back to memorizing: “Look on my works, ye Mighty, and despair!”

...

Oh, by the way, guess of what novel this reminds me of ;)

Blissful Lopakhin + Forlorn Lyubov Andreyevna = Comedy

I’m going to stop the movie, Due Date, in order to write my blog…

If this was a Shakespearean tragedy, I would’ve already felt the suspense, intensity, and tension of the climax. I would be reading fast, feeling the danger of the tragic hero within myself, hearing his thoughts, words, and expression lurch away from those iambs. But this isn’t so. Things are so calm down in Chekhov. I would even lay down in my bed and LOL while reading the climax. No anxiety, no hesitation when reading the lines of each character. Instead of tragedy, its comedy! Chekhov manages to make of this moment a comical one rather than a Hamlet-like climax. I even remember Hamlet saying “may all my thoughts be bloody” (Shakespeare, IV, iv). In The Cherry Orchard, the climax comes when Lopakhin says “I bought it! (…) The cherry orchard is now mine! Mine! [Laughs unproariously] (…) Tell me I’m drunk, out of my mind, that I imagine it” (Chekhov, III). Didn’t you let go a laugh during those lines?

While I read those, I couldn’t stop thinking about how Shakespeare would’ve written the climax. So differently. To him, the selling of the cherry orchard to Lopakhin would’ve been a catastrophe, a complete tragedy in the play’s Freytag Pyramid. Nevertheless, Chekhov uses an optimistic and nonchalant tone to evoke a comedic climax rather than a tragic denouement. Also, he illustrates the scene in such manner where Lopakhin waits until the last possible moment to reveal himself as the purchaser of the orchard. On the other hand, Chekhov juxtaposes Lopakhin’s glee with Lybov Andreyevna’s weep. This juxtaposition, added to Lopakhin’s violent statements about the future of the orchard give the play’s climax an even more comedic aspect: “see how Yermolai Lopakhin will lay the ax to the cherry orchard, how the trees will fall to the ground! We’re going to build summer cottages” (Chekhov, III). I felt those axes cutting through Lybov Andreyevna’s soul as he said those words. Now the reader doesn’t feel pathos for Lopakhin. He is insensitive. Ironic? Pure comedy.

Finished. I can continue with my movie now. Look at the part I was:

Remember To Forget

Three days ago I wrote this blog entry, but for some strange reason, it erased from my computer’s memory, and apparently, mine too. But let me try to remember [seats back and thinks]…

I recall I was writing about one moment I lived as a child. It was Cartagena, January 1st, 2004, more or less. The details I don’t quite bear in mind, but I still hear the heavy waves hitting the ‘malecones’ in Cartagena’s beach, while hearing the Beach Guards shouting “¡Cuidado con el mar, hay mar deleva, mantengan a sus hijos con ustedes!” Then, for a moment, my brother goes in to the sea… Then I go after him and then, black out. Next thing I remember: myself laid in the hot sand. My brother beside me. And that’s it. Nothing else feeds my memories from that day. And then, while I write this blog I ask myself, are memories a source of happiness or sorrow? Are we destined to remember our memories or forget them?

I don’t know whether I should try to remember, or try to forget what I wrote the other day. But anyways, my writing is fed by my thoughts, and right now, my thoughts are in the past. I keep in mind [drinks some Coke]…

In this first act of Chekhov’s The Cherry Orchard portrays many of the characters’ memories, and how the time line jumps between present and past (Time and time). As well, the reader is able to find Lopakhin very cognizant and insensitive with himself: “I may be rich, I’ve made a lot of money, but if you think about it, analyze it, I’m a peasant through and through” (Chekhov 322). He recalls the word “peasant” a couple of times, reflecting his brutal past. Apparently his dad beat him as a child. On the other hand,the dichotomy created by his actual richness, against his past poverty shows how his self-consciousness lies within that dreary memories of his past [he stops writing].

My memory is blank. That’s more or less what I wrote the other day. Maybe I am doomed to forget it forever, as many other memories [He struggles to finish his entry. He knows tomorrow these words will be just memories]. I leave this entry like this. I don´t know who might read it, to be forgotten [He saves, posts, and done]. Oblivion.

White Jim, Black Huck

If yu think about it, I’m not too much of a writer. Insted, I like to read and inform myself of da diffrent hapenings of the world I liv in. Im da only one in my family who can read and write, so im sorri if I don’t spell too wel, im only lerning. Anyways, I wanted to take advantage of dis article I red last nite, it was one I pick’d up from da garbage can in Cairo. This article talked about my ole frend Mark Twain, who used to pas by my pap´s farm every once in a while. Hi came by and by tellin’ me he needed someone to inspire his story. So, I present him Huck Finn. Luk, here he is with me, I will let him write coz im not to much of writer.

You don’t know about me. I tell you da truth. The man by da name of Mark Twain came to me and told me to write his story. It was me, not a supposed nigger by da name of Jimmy. And I says, dat was my story, and I don’t understand why you call it satire. What is dat? I know not about satire, only I know dat “there warn’t no home like a raft, after all. Other places do seem so cramped up and smothery, but a raft don’t. You feel mighty free and easy and comfortable on a raft” (90). That was everything that Mr. Mark Twain liked from my story. My experience in the raft showed a romantic portrayal of life. Don’t ask me what does dat mean because I know not, I’m only telling you what Mr. Twain told me. But anyways, all you needed to know is dat. And also, I am not black. But my story is only my experience of freedom in a country which lacked it. My good companion Jim, he is a nigger, but he taught me to forget my problems in life and live only with freedom by my side. And even though I’m not black, my story is, as that article my friend told you about said, “a black root in white consciousness.”

Feeling Talkative

Mr. Twain, do you believed niggers had red blood? Or that the Duke and the King had blue blood?

In every conversation between Huck and Jim I found out the differences were notable.

Niggers will never learn to argue, apparently. He would go on and argue that a Frenchman must talk like an American, and not differently. Then, is Jim being insulted, or is it just minstrel show?

So they say it’s a manner of comedy. And pages before this Frenchman episode, I was LOL while poor Jim suffered with the snake bite. Yeah, poor him, but it made my day!

There I was reading “Jim sucked and sucked at the jug, and now and then he got out of his head and pitched around and yelled; but every time he come up to himself he went to sucking at the jug again” (Twain 65).

Remembering Don Quixote while I read it. When the reader enjoys the suffering of a character, its grotesque. Then, is Twain being grotesque in Jim’s snake bite, or the Duke’s and King’s torment when the money bag disappeared?

Enacting a version of minstrelsy, Mr. Twain, you guide the reader through your story, and make him understand it. Entertainment is the key.

Living the story is better than reading it. The dialogue, and the contrast between Jim’s accent with that of Huck makes it a good experience for the reader. Makes him live the Minstrel Show.

Language As A Pillar Of History

My last blog was last year. I remember blogging about Pride and Prejudice, the type of book I don’t enjoy reading. Instead, during my Christmas break I was able to read something quite better. Mark Twain’s The Adventures Of Huckleberry Finn. But now I start this year reading an essay suggesting that the original version of the book contains demeaning vocabulary. Off course. Twain is portraying reality of a racist society in pre-Civil War America. Changing the language would be like changing the epoch. It would be like giving AK-47s to every Confederate. Ridiculous. Changing words, or these “hurtful epithets” as the author states, would take off the essence of a racist society, trying to portray it as a different one.

Sorry if I don’t amuse you, but I haven’t wrote a blog in a year. Anyways, to entertain my point I would like to get any sentence from Twain’s book and try to write it in a modern, educative language: “That’s so my boy – good bye, good bye. If you say any runaway niggers, you get help and nab them, and you can make some money by it” (Twain 127). Let’s see. Very well, fine young man. Farewell. If you see any fugitive slaves, you get some help and catch them, and might get some reward. Different huh? Language composes a part of any country’s history. And changing it would be like saying that the United States won the War of Vietnam. The book enhances a historical period, with historical accuracy. Let’s keep it constant and not hide the reality of their language.