As Tears Go By

As Children's literature class is coming to a close, I would like to put up a song of poetry by Mick Jagger and Keith Richards of the Rolling Stones. This song can sum up much of what we discussed in class this semester, emphasizing the loss of innocence and the remembrance of childhood that every man and woman goes through.

“It is the evening of the day

I sit and watch the children play

Smiling faces I can see

But not for me

I sit and watch

As tears go by...

My riches can't buy everything

I want to hear the children sing

All I hear is the sound

Of rain falling on the ground

I sit and watch

As tears go by... 

It is the evening of the day

I sit and watch the children play

Doing things I used to do

They think are new

I sit and watch

As tears go by”

– The Rolling Stones

Poetry as Self-Analysis

"My poems are the most important because they tell me more about myself than anything else" (Chambers, 202).

Throughout her pillow books, Cordelia uses poetry not only as a vehicle with which to convey her feelings but also as a means of sorting out confusion within herself in order to come to an understanding of the self and an acceptance of the circumstance (i.e. when she writes about Will leaving her).
I can most definitely relate to the above quote; for me, the writing of poetry is most useful in times of uncertainty when I am not quite sure who I am and where I am headed. My poems reveal to me the underlying emotions that may not be readily apparent but which show through clearly when I articulate them in the form of a poem.
The way that Cordelia uses poetry is vast and begs for a larger discussion... I am opening the floor ;)

Meditation in This is All

Meditation is addressed in different ways throughout This Is All. Cordelia speaks of meditation early in the book, but is referring to an instinctive and spontaneous type of meditation. Perhaps sometimes thought of an epiphany, Cordelia speaks of those fleeting moments when everything suddenly makes sense. Too often, these moments pass, unable to be recalled in the same visceral manner. “I met inside me at that moment a great deep beauty which I knew was my soul” (p 41) she says, and in this one moment understands her unadulterated self. Deeper into the story, she refers to another kind of awareness that is also a form of meditation. At several different intervals Cordelia confronts, through poetry and words, the place where the corporeal and the spiritual intersect. She uses her connection to language to explore her losses and her grief. “My mother’s hand in my hand on my mother’s hand on the arm of my mother’s now my chair” asks whether the absence of her mother is real or just a construct of our understanding of time and space (280). Cordelia meditates on these kinds of issues deeply and often throughout the book, which is why when Julie offers to teach her a conventional form of meditation, her experience becomes all the more comic. “...My legs started to hurt, my bum felt on pointes, I wanted to scratch my nose, and rub my eyes, I wanted to drink because my mouth was dry from sleep, and worst of all I needed a pee” is Cordelia’s initial reaction (421). Eventually, Julie’s instruction takes hold and Cordelia finds peace in the meditation. Meditation is intended to remove the thinking mind and replace it with the perceptive mind. Cordelia spends much of the book attempting to understand life; the moments in which she finds the most active answers are the moments in which she is trying the least.

This Is All

The first thing that I found surprising about "This is All" was the fantastic wordplay throughout 'The Red Pillow Box,' though at times I felt it got a bit annoying and became a parody of itself and a parody of wordplay - "giggle, giggle... giggle, giggle, giggle" (p.36) was annoying, but other times it was great - "O lordy lordy, it's going to happen at last, really going to happen, and the boy I chose, my William, who I love to the other side of besotted" (p.161). As I read further along in 'The Green Pillow Box,' I also wondered how realistic of a character Cordelia was. While at times I found her to be endearing and true, with the blatant sexuality, other times I felt it was overly sentimental and overly blatant - I wondered if the obsession on her "boobs" is meant to be realistic or humorous. I also found the different styles changes within the book tedious, and I felt like I was reading "Ulysses" for teenaged girls. But then I tried to think about the message that Aidan Chambers is trying to give. And I get it. I think it's valid, though sometimes it seems like Chambers is trying to be too clever for his own good, since while he finds himself giving in to the sentiment of unsatisfied teenaged love, he seems to have gotten the grasp of what one might expect a teenaged girl's obsessions to be, and no man ought to be this sure of those obsessions. But I feel like the way Cordelia adores Will, and the way you are really able to see her angst as she tries to get him back, is the truest part of the story, and the part that I felt is the most relatable. More than anything, it can be a fun read, and I will go along to the end.

Thanking Esther

I have been thing about Esther's opera for a solid week and I finally thought I should take a moment to say thank you. The whole project seemed such an immense undertaking, but what Esther accomplished surpassed anything I had imagined. The music was evocative and beautiful. I felt privileged to be a part of the process. I really hope that this piece will find another venue down the road, so that more people can share a part of Rose.

Whiteness In a Part-Time Indian

I thought it was interesting to consider how Whiteness was both the only medium for hope in the story, and yet the crippling cause of shame and stagnation for all the characters, including Junior.

From the beginning of the story, the reader is presented with a dual understanding of Whiteness. Mr. P, an old wretched and depressed caricature of the evil and yet repentant white man, serves to represent the pervasive shame that cripples every Indian trapped on the reservation. At the same time, we come to learn that Junior's only hope for survival is to engross himself in the most white school accessible to him. The complexity of appealing to the oppressor for personal salvation is somewhat astounding. I have come to think that Junior's motivation stems from the need to see the whites in a humane light, so that there exists the possibility of growth for the relationship between the oppressed and oppressive actors. Without that sense of progress, hope for equality is stunted, and the roles are to become permanent i suppose.

Lack of Control and Escape in "The Absolutely True Diary..."

One major theme in "The Absolutely True Diary of a Part-Time Indian" is the idea of having control (or not!) over one's fate. When Junior describes his state of poverty, he ends the description with "It's an ugly circle and there's nothing you can do about it" (13). The remainder of the book tells the tale of Junior attempting to take control over his life and his destiny by stopping the spinning circle in its tracks.
This book also deals very much with the concept of escape. The major problem of alcoholism in the Indian reservation undoubtedly results from people's attempts to shut out the reality of life. Everyone, that is, except Junior's grandmother who said "Drinking would shut down my seeing and my hearing and my feeling. Why would I want to be in the world if I can't touch the world with all of my senses intact?" (158) Junior (whose level of maturity should be discussed as well) understands the reasoning behind the drunkenness; as he says, "There are all kinds of addicts, I guess. We all have pain. And we all look for ways to make the pain go away" (107). For most of the people on the reservation, alcohol is that means of escape from reality and the pain it holds. For Mary, it is romance novels. For Junior, it is the drawing of his cartoons, about which he says "I draw because I feel like it might be my only real chance to escape the reservation. I think the world is a series of broken dams and floods, and my cartoons are tiny little lifeboats" (6). Sometimes it is through healthy means, such as drawing or writing, and sometimes it is through damaging means, like alcohol and drugs, but almost everyone has something in their lives that acts as a life boat amidst all confusion and pain.

What do you think about these topics

Here are a few things that I think we should discuss in class
1. the issues of alcoholism for Native Americans living on a reservation
2. what does Alexie want us to know about Native Americans, is he trying to break up stereotypes?
3. Junior's friendships with Rowdy and Gordy

Rowdy

The double face of Rowdy is profound-- his ugliness superimposed on his beauty (image on page 23). I would like to discuss him further in class.

The Absolutely True Diary of a Part-Time Indian

I feel that we should discuss the issue of being poor in the novel. The feeling that one does not have enough money or as much as everyone else does. The difficulty of finding excuses not to attend events or pretend that you do not want to eat, when you are STARVING!
(As shows by the illustration on pg.120)

"This Is All" Says It All

I have to admit that, at first, the length of this book intimidated me somewhat, especially given the fact that my busy semester leaves me with very little time to read such a long book. However, I want to tell all of you who are feeling this way, to give this book a chance because I have discovered that I somehow am making the time to read it as it has exceeded my expectations in every way. Perhaps it has something to do with my interest in psychology (I hope to go to graduate school for a PhD in psychology), or the fact that it has not been a long while since I have been a teenager, or maybe it is for both of these reasons, but Chambers so accurately depicts the experience of a teenage girl in a way that is quite astounding, especially given the fact that he has never been a teenage girl. The candid language is appealing and so relatable. I am about halfway through the book and I feel like I know Cordelia the way I would know a close friend. I think it is clever the way he presents it as Cordelia writing to her unborn child as well as the way he juxtiposes her memories and reflections upon the past with her actual writings during the periods she is reflecting upon. I also particularly enjoy that he includes poems "written by Cordelia" in her teenage years; I can relate to that as I have always been one to write about my feelings in the form of poetry especially when going through tough times and especially during my teenage years. Cordelia's thoughts, feelings, and experience are deliciously complex, which is characteristic of a teen. As you can tell, I am pretty passionate about this book, but so as not to be a spoiler and so as not to spend the rest of the night writing a lengthy post that will turn out to be longer than the book itself, I will end here... I hope you are all able to make the time to get into this book and discover that you enjoy it even half as much as I am :)

Getting a copy of This Is All

Shakespeare's has This Is All--nine copies. So, pick them up as soon as you can. See you Thursday. Best, Roni Natov

The Graveyard Book

The beginning of The Graveyard Book reminds me of a fireside ghost story, “There was a hand in the darkness, and it held a knife.” That was the kind of story that could give me nightmares for weeks as a child but, after my initial visceral reaction, I found the creepy/scary beginning to be of minor importance. The scene passed quickly, and then I was absorbed completely into the world of the graveyard. I was thinking about the discussion in class with Zeta Elliot about what we all found appealing about children’s literature and what I realized is that The Graveyard Book encompasses a lot of the qualities that were important to me as a child. I looked to books often for guidance that was missing from my own childhood. The Graveyard Book offers a road map of sorts into adulthood. Bod is making the passage through the story from childhood, into adolescence, and finally, as he leaves the graveyard, into adulthood. He has guides who direct his emotional growth: Mrs. Owens, the poet and Silas. There are those responsible for his intellect: Mr. Pennyworth, Miss. Lupescu and Silas, and those who take care of him physically: Mr. and Mrs. Owens, Liza, when he breaks his leg and when he gets trapped, and, again, Silas. “It will ...take a graveyard [to raise this child],” says Silas. Silas seems to have the role of the omnipotent and infallible adult. I know these were qualities I often attributed to adults in my life when I was young. So, if I have any question for you guys, I guess it is, did this story resonate for anyone else as an allegory for growing up? Obviously, Bod’s story is of his development into a young man, but the ways in which Gaiman uses the graveyard and the inhabitants, echo for me, the challenge of trying to grow up in a complicated world.

Weeksville

I had to pick something up after class on Thursday from James Hall and in passing the Department of Africana Studies I noticed on their bulletin board a brochure for the Weeksville Museum with all kinds of information about visiting and tours. Just FYI.

Questions on Ronia

I think that Ronia is interesting in the sense of its unusual characters. The one question that I was thinking about when reading the book is how do we sympathise with the characters despite the fact that they are crooks? The overall picture is that they are thieves that steal from others and not in a "cute" way like Jack from the Giant or a "noble" way like Robin Hood. I wonder why Lindgren didn't really address this by at least giving more backstory on the clans. Maybe they steal due a reason we dont know about or else she felt that it wasn't important. I would have liked if she would have expounded on this point. I give kudos to Ronia for at least being better than her parents and enacting more selflessness by feeding Birk. In a way she is a foil to those around her but then I wonder again. If she is raised to be a thief then where does this charity come from? Was she just born with inherent goodness, since i find her behavior highly unusual seeing as what her role models are, its an interesting insight on childhood development.

Ronia, The Robber's Daughter

I wonder if anyone else was surprised that "Ronia" was written as recent as 1981. There is such an early twentieth century feel to the writing style, very modernist, and I wonder if Lindgren did the repetition and the restrained writing purposely. I think the style is the most distinct part of the story (at least to me), and when I noticed when it was written it definitely seemed archaic for a writer from Generation X, though it seemed prudent for the topic she was writing about, a Romeo and Juliet story among thieves, to sound a little old-fashioned to make the story fit.

On Food and Sharing (to be continued)

Somewhere in the bible, it says, "Charity shall cover the multitude of sins." We see the redeeming nature of charity the scene in which Ronia feeds Birk, thereby saving him from starvation. The food she uses is has a fair amount of original sin...

On Ronia, the Robber's Daughter

Please continue posting on Ronia, focusing on turning points in her journey and development from child into young adult.

Ronia and the Leap over Hell's Gap

One of the turning points in this novel occurs on page 93 where it states, "almost in a fever, she took a run and flew across Hell's Gap." This leap that Ronia makes over Hell's Gap to save her brother Birk foreshadows all the change that will take place between these rival families. Additionally, it reveals that Ronia is a reformer. To be a reformer one has to stand up and take risks in order to see the changes. I believe that Ronia takes on these characteristics; even though she is not aware that her actions would become the catalyst the transforms their entire future. It helps bridge the gap between the Matts and Borkas.
Ronia challenges Matt's world by jumping over Hell's Gap. She knows that her action would cause Matt agony. She wants Matt to feel the same anger that she feels which is evident as Lindgren writes, "she had done it, and in a rage that time too, but not as beside herself as she was now" (93). She knows her father's love for her would force Matt to bargain with Borka something that is inconceivable for him. In addition, this forces Matt to experience Borka's emotions. The quote also suggests that the when Ronia and Birk were jumping across Hell's Gap it was preparation for this catastrophic event.
The leap also foreshadows Ronia's emotions about Matt's robbing life. The leap shows that Ronia will not follow Matt's way of life, it reveals her independence. Ronia does not approve of Matt's actions and this is what makes her follow Birk to live in Bear's Cave. The fact that Ronia shows Matt that she is willing to live with his enemy makes him realize that despite all the love that they have for each other, Ronia is her own individual and she will do what she wants even if he does not agree. The leap also signifies the separation every child makes from their parent(s) as she/he searches for identity, own sense of self.
Ronia the Reformer, I think this title is applicable to Lindgren's character. Ronia's actions are the catalyst that makes Matt realize that he should join forces with Borka, Ronia and Birk can openly continue their friendship (without remorse), and Ronia and Birk will be the first generation who do not participate in the robber lifestyle. I have only one question, does anyone think Birk would have done put himself into Matt's hand for Ronia's sake?

Ronia and the Leap over Hell's Gap

Ronia and Birk

I think one of the major turning points in the book I believe was on pg 117 when it was stated that "He [Birk] would gladly fling the knife in the river if only he could have Ronia back again; he knew that now." That revelation type of moment also correlates to the time when Birk proclaims to Ronia: "But do you know what I've been thinking? I've been thinking you're worth more than a thousand knives!" (122). What I found so important about these lines was the fact of how much they are willing to sacrifice to be in each other's presence. We learned that Birk treasured that knife because it was the best hunting knife, and we know of it's importance in the story because when it is the reason that Birk and Ronia have the big argument in which Ronia storms out on Birk. We see hear both characters vulnerabilities because the knife could be a symbol of power and security for Birk, maybe he feels defenseless and weak without in the forest. We also see Birk's intense feelings for Ronia because we are given a detailed account of how he felt empty without her in the Bear's Cave, and how he runs into the forest to search for her.

What also makes these statements more cemented into the story and the bond between Birk and Ronia is how they meet back up to tend to the horse, Lia who was wounded trying to save her mare from the bear. We see Ronia's motherly intuitions when she demands Birk find moss to clean up the wound because that was what she had learned from Lovis. I also enjoyed the passage in which they stay with the mare to ensure it's safety: "It was a night of vigil and a night of cold, but it did them no harm. They sat side by side under a thick pine and talked of many things, but never of their quarrel. It was if they had forgotten it"(120). There is something peaceful and serene about their friendship, signifying that no matter what situation they make their way back to each other in the end.

This whole act of sacrificing is also seen when Ronia made that leap across Hell's Gap. Their bond is somewhat mythical in a sense, it also reminded me of Kay and Gerda and how much Gerda sacrificed to save Kay. Such as her "red shoes", her home just like Gerda (whom both had a friendly familial atmosphere--loving Grandmother, for Ronia: Lovis and Matt). They both also sacrificed themselves physically and emotionally. What I loved about both those stories is the depth and love expressed and displayed in these friendships, and it got me wondering whether children are only capable of the types of bonds displayed between Kay and Gerda, and Ronia and Birk?

Class on Thursday 3/12/09

I, unfortunately, had to miss class on Thursday. I would love to know which books were discussed and whether another paper was assigned, if anyone has a minute. Thanks!! Giuliana

The Sad Seuss and His Wife

Dr Seuss was a great person and literary hero but I thought you might be interested in the pretty troubling life that he had, because it was mentioned in class. I, like many people, would look at his colorful uplifting books and assume that he was the most exciting person and fun to be around but thats not the case. He had a difficult marriage, no kids and often worked alone . He wasnt the social type, in fact he was tricked into speaking at Dartmouth University his alma mater because he was only told that he was to be speaking on the car ride there.
He was very close with his wife who inspired him to write but she was very sick, when she died he was never the same. If you look in the picture books at some weird invetions he would create, he actually like to invent objects in real life as a hobby mostly for the aid of his bedridden wife. The they would come up with goofy names to call them. Odd inventions are in lots of books like the Sneeches, Lorax, cat in the hat..


Helen Marion Palmer: Helen was born in 1899 in New York. Helen and Ted met at Oxford University in England when they were introduced to one another by Joseph Sagmaster. After knowing one another only a few months, they announced their engagement.
After postponing their first wedding date due to the birth of his niece, Ted and Helen were married on November 29, 1927 at 5:00 p.m. in the living room of the Westfield, New Jersey home of Helen's brother Robert. Ted's best man was Whit Campbell.
They had about 40 guests at their wedding. Since only punch and cake were served at the wedding reception, Ted's dad hosted a small champagne supper in a local speakeasy. Ted was 23 years old and Helen was 29 years old when they married.
Early in their relationship, Helen encouraged Ted to draw for a living. A children's author and book editor, Helen supported Ted by helping him editorially and handling most of the business and financial details.
Helen committed suicide on October 23, 1967 at the age of 69 from an overdose of sodium phenobarbital capsules. Helen had been ill since 1954 suffering from cancer, constant pain in her legs and feet, and partial paralysis. Her memorial service was on November 9, 1967.

Symbolism of Bees in the Second Tale

I found some interestings connections between the bees and the Snow Queen. At first glance the pairing made little sense to me but I have made three conclusions. First Bees have a dual nature to them in that they can help and hurt. Their honey provides life and nurtures growth in the plants but at the same time, a bee can have the dangerous side that can cause pain and suffering to most, especially in a swarm. So much duality exists in this story as seen through the mirror itself. Almost like the looking glass in alice there exists a parallel world where nature can be revealed in several ways. Second The Honey Bee also dies after stinging another person almost like the snow queen that loses her power after she is done "stinging" kai. She had latched onto him like a parasite to feed off of his youth and innocence but at the same time when the spell was broken she herself was damaged. Third Also I am reminded of bees from Tristan and Isolde(its a really cool analogy)"It is a fatal style of living-One catches bears with it" is the textual quote. Apparently bees were used as a trap in the middle ages to lure bears and other creatures to their death as a means of seduction . The honey would seduce an animal who would be lured by the hive until he would fall backwards to his death because there was a trap set up behind it. By this way, big Game was able to be caught and then skinned. After reading Tristan I was reminded of how the bees and the Queen also have that sedcutive nature and kai is about to be trapped by the Queen in a dangerous way just as the Beehive Trap would have been used to lure otheres in the medieval period. I liked the responses that were given in class on the matter so now everyone has more than enough comparisons to pick a good reason. Also Id just like to comment on the end of the story, was it me or was the ending somewhat incomplete?The snow queen just dissapeard as quickly as she came which i guess was the point but i would have enjoyed some resolution. She is such an intriuguing figure that like Kai im somewhat allured and also want to know more about her and who she is. Whenver I think of her I picture Tilda Swinton as the White Witch in Narnia-Seth Nadler

The Seventh Tale

"Roses growing in the dale

                                                Where the Holy Child we hail"

 In the Seventh tale, the rescue, the children go through their final transformation. Though it starts out with them still as children, they end as adults, yet still children, in some sort of Peter Pan Syndrome turn of events. They come back home adults – but forever children – and this is their prize, because they can enter Heaven pure and innocent and free of the sin and phoniness and hypocrisy of the nonsense adult world. What’s interesting is that it ends in a way that many famous children epics end, with the children either forever changed, or returning back to the exact way they were before their adventure. It’s almost as if they have to come back unchanged, exactly as innocent as they were before their calamity, or the “child” part of the story will die; if they come back too mature, the story must be ruined.

 When Gerda rescues Kay, she embraces him like a lover, kissing him all over his body to warm him up from being frozen - quite possibly, metaphoric. What becomes clear is that the children are far more mature than they should be, anyway. The children have a more idealized version of love than adults do – their love is uncontaminated, and completely unconditional. The way that Gerda goes after Kay is something the adults would probably never understand; they can never understand that kind of loyalty, that kind of commitment, and the young don’t have anything to dilute themselves from their idealized interpretation of the world. When they fall on each other crying, it moves the reader more than many adult stories of love do, as we find ourselves wishing we can love like they love, without the knowledge that the World is meant to destroy the purity of it, and it is inevitable that in the real world, it is bound to be spoiled by the adult life. The adult world destroys everything. This is why it is so important to keep them as children – they can return, physically adults, so they can love as lovers, physically perhaps, but they forever remain children, emphasizing the fact their love will last, and not be shattered by growth.

The grandmother remarks to them that to enter Heaven must remain like little children – and they will.

When Gerda cries tears onto the frozen Kay, she murmurs the hymn,

"Roses growing in the dale

                                                Where the Holy Child we hail"

 The children hear it amidst the rescue, and the embracing of their love.

 At the end of the story they say that they understand what it means. To me, it identifies the fact that it was that moment when they were changed, the roses began to grow in the valley, just like the children would start growing physically, but they will remain Holy because they will still heretofore remain innocent children, and free from the entropy of adults.

"What's That In My Eye?" - A fragment of sorts

The start of "The Snow Queen" was enjoyably unconventional. Unlike the prior works we surveyed, Anderson provides a premise for the magic in his story. It is not the nonsense of Wonderland. Anderson's magic is logical. It speaks to something practical deep within me and lends a strange comfort I can't  quite put my finger on.

A concrete grounding in Christian ideology helps chisel out a less abstract dreamworld than the abstract evil of a wolf in a forest. The grounding strengthens Anderson's strange logic. However, it also lends an ongoing narrative in between his stories. The common religion puts all his stories in the same world. 

Still, the infusion of strong religious themes also has potential disadvantages. Using religious figures in fictional roles is almost sacrilegious. As a child, can one differentiate between Anderson's fairy tales and the Bible? The task of explaining intricate layering of Anderson's fiction becomes necessary for a parent who wants to raise a pious Christian child.

The religious theme also lends an adult meaning to the story. While a child probably would not find this interesting compared to the strong driving plot, I, as an adult reader found particular enjoyment in decoding Anderson's symbolism. For example, the failed taking of the mirror up to heaven strangely reminded me of the Tower of Babel. 

What struck me most about the chapter is Anderson's amazing ability to explain. "Some people even got a fragment of the mirror in their hearts, and this was quite horrible - the heart became just like a lump of ice." This terrific explanation for the existence of evil is also an interesting metaphor for aging. Do we all eventually get hit by a fragment of a mirror? Lewis Carroll's sadness in part comes from an external struggle with the frozen hearts of those around him, and with a freezing heart within. 

The Power of Innocence

This whole tale was really strange to read. It wasn't as interesting as The Woman and the Children in the Sycamore Tree or had any of the intricate complexities that Alice in Wonderland had but I can't be completely mean, there were some good parts. The opening chapter, Which is About the Mirror and the Fragments was by far the best aspect of the tale. For a child and even for an adult although there is an incredibly fantastical element in the explanation of the origins of good and evil, i completely bought it. It sort of made perfect sense- duh, evil people are bad because they have an evil mirror in their hearts and eyes. It helps to advocate the notion of forgiveness because the callous human beings aren't completely responsible for their behaviors. But I have to be careful when I say that because the idea of accountability comes into question. Who then is to blame for the crimes committed by human beings? If we're all blaming some evil mirror, then can't we literally get away with murder? But I digress. I was assigned the chapter of The Lapp Wife and The Finn Wife.

There were some aspects of this chapter that were a little off for me. First off, I didn't understand the need for the Lapp wife, I get that she was a conduit for getting Greda to the Finn wife but is it just me or did the Finn Wife do all the work. The Lapp Wife's place in the tale didn't seem pragmatic or even necessary. What I loved most about this chapter was that the Finn Wife seemed to explain to me what I wasn't getting for the first half of this book- Greda is amazingly good! For some reason that completely went over my head and I was caught up on the nonsensical songs of the hyacinths, tiger lily and other flowers. "I can't give her greater power than she alreday has. Don't you see how great she is? Don't you see how mortals and animals have to serve her" (178)- in this quote it shows how greatly invested Andersen is to goodness that abides in the souls of children. Her tears alone are sufficient to break the bonds of evil that are wraped around Kay's heart, they even have the ability to cause things to rise from the the dead- the roses in the witches garden. Her tears have an almost medicinal and supernatural element to them, however, Andersen seems to say that these qualities can only be found in the hearts and minds of uncorrupted youth.

This might be a strech but this sort of had a proto femminist feel to it. Greda is the rescuer. She's like the young Xena Warrior Princess in that she takes innitaiative and gets the job done. So much agency is given to this little girl and it manifests in her resiliancy and perseverence. There was one other event in the chapter that caught my eye and that was the many religious allusions and how there seems to be a symbiotic relationship between saying God's paryer and having positive outcomes. As soon as Greda was placed in a perilous situation, she said the Lord's prayer and not only did she get help she had a legion of angels surround and aid her. This imagery definetly has a didactic quality. All in all, this wasn't my favorite tale but it definetly had its moments.

The Third Tale of the "Snow Queen"

As I was responsible for the third part of the seven part tale of the "Snow Queen", I wanted to focus on the depature of Kay, Gerda's journey (meeting the old lady and her flower garden), and the possible reason of the color red since it seems to be pretty dominant in this section of both Gerda and Kay's journeys.

First, I wanted to talk about how Kay departed. It's not part of my section, but it's important because it is the reason why Gerda embarks on her journey in the first place. It seemed to be that Kay was either bewitched or seduced into leaving with the Snow Queen. It also didn't help that he had the fragments of the mirror in his eyes and in his heart. I found that section when he left with her it seemed like Kay was in a trance, and I felt like it had some hidden sexuality embedded into it as well (and in the later parts it seems that his depature and his relationship with the Snow Queen is more than plantonic). But, then we see time has passed and Gerda doesn't want to believe that kay has passed, so she searches for someone or something that would give her clues to his whereabouts. What I wanted to investigate was sacrificing her "red shoes" to the river for answers to where Kay was. What I wanted to know was why is are the "red shoes" are so important? I had a feeling like the "red shoes" signified something sexual, such as Gerda's virginity, since she replied that it was the "dearest thing she owned." I felt like she was willing to give up her virginity in order to get Kay back. Maybe that is a far stretch, but there is something symbolic in those "red shoes". There was such a predominance of red in this section such as the red of the reoccuring red cherry tree or bush, roses, rosy cheeks, the old lady's house being red and blue, or the red silk sheets that Gerda sleeps on. What does it all symbolize?

Then Gerda is thrust upon this journey because she is drifted to another shore, and she lands upon the grandmother's house. Both Kay and Gerda in a sense embarked on their perspective journies not of their own accord. What I found interesting was the house and the character of the grandmother. When we were introduced to her, and were given details of her house I couldn't help but think how much Gerda's quest reminded me of Gretel's. Plus, how the grandmother reminded me of the witch--seems sweet from the outside like her house, but there is something lurking and dangerous behind the surface. How she invited Gerda to "taste her cherries and look at her flowers" (159), or how the old woman locked the door. There was also something menancing in the way that the old woman combed her hair, and stated "I've been really longing for such a sweet little girl" (159). Then just like how Kay forgot Gerda when he meet the Snow Queen, Gerda forgot him when she combed her hair. It seems that both the Snow Queen and the old lady have this bewitching power. It seemed that the old lady wasn't being hospitable, but stalling Gerda from her journey, because she wouldn't allow Gerda to reconginze that she couldn't plant roses, since it is the flower that reminds her of Kay. But, she discovers that roses were missing and that was when she realized how long she had been distracted from her journey to discover and rescue Kay from where he is (she is not aware as to where he is yet). I also was wondering of the significance of the stories that each of the flowers share with Gerda?

I believe Gerda stands as a symbol of pure goodness, and not just purity of the body but of purity of the heart. It was interesting how Kay got pieces of the glass stuck in his eye, but Gerda does not. I think it works for the plot that Kay would become the bitter and "icy" one, and Gerda the pure one who would have to go on this journey to save him. I believe she also is a symbol of goodness, because she was the one who is able to make roses grow out of the black earth. I think we also see later on that Gerda's purity of heart, and strength are the powers that she has over the Snow Queen in order to restore Kay. Gerda's journey if cycled by the "Hero's Journey", starts when she lands on shore of the old lady's house, that is also where she crosses from the "known" to the "unknown", and the threshold guardian that helps her transition before she reaches the "Road of Trials" is the crow. I just wanted to talk of how the crow, which is oddly enough a symbol of darkness and death would be the one to help and guide her on most of her journey. Then we see in the fourth tale the importance of the color red again when Gerda's looks on the bed covered in red for Kay. Why would red be associated with Kay? Maybe it is because he has been seduced by the Snow Queen and is no longer innocent. It seems that Gerda meets a lot of people on her journey to the Snow Queen and Kay, and they all help her in small but meaningful ways to reach the Snow Queen's castle. But, it seems that she has teh greatest connections with the animals that help her on the journey, such as the crow and the reindeer. How she cried when she left the crow and how it was the hardest good-bye, or how the reindeer wept and kissed on the mouth.

I really liked these tales, and I feel like there is so much details meshed into these short tales. There is also so much more to say, and that I wish I could say. But, I wanted to end by saying that the ending is pretty interesting, how they embarked on these journies as preadolscent children and came back as grown-ups. I couldn't believe so much time has passed, as I was reading I thought it might be a month at most. Or was it because they have ventured , matured and grown up before their time? Or because they have witnessed so much, and have suffered and fared difficult times that there is no way that they could return as innocent children? Also, how the ended talking of a "warm, glorious summer" (184) and how they would remain children at heart, how it reminded me of the poems that Lewis Carroll wrote in Alice Adventures in Wonderland and Through the Looking-Glass.

* another note: Why did the grandmother have to die? Or did she?

Andersen's Fairy Tales

How do you make sense of the 7 chapters of "The Snow Queen"? Haunting and strange as the whole is, how does each fit into the journey of Kai and Gerda?

Another question: What is Andersen's view of childhood?

FYI

I just read that Tim Burton is remaking Alice in Wonderland using live action and stop-gap animation. Johnny Depp will be The Mad Hatter, Anne Hathaway-The White Queen, Alan Rickman-Caterpillar, Crispin Glover-The Knave of Hearts, and Helena Bonham Carter -The Red Queen. That is some fairly inspired casting, and with Tim Burton at the helm it should be an interesting take on the whole story!! It is due out in 2010.

Gobblegooky

Apropos of absolutely nothing, I thought I’d share this exercise in silliness by one of my favorite contemporary childrens writers Jon Scieszka (pronounced like Fresca). This is from his book, Science Verse, that teaches basic concepts of elementary school science...

GOBBLEGOOKY

‘Twas fructose, and the vitamins
Did zinc and dye (red #8).
All poly were the thiamins,
And the carbohydrate.

Beware the Gobblegook, my son!
The flavorings, the added C!
Beware the serving size, and shun
The dreaded BHT.

And as in folic thought I stood,
The Gobblegook, with eyes nitrate,
Came gluten through the dextrose wood,
It extracts carbonate.

Oh, can you slay the Gobblegook,
Polyunsaturated boy?
3,000 calories! Don’t look!
The sugars! Fats! Oh soy.

‘Twas fructose, and the vitamins
Did zinc and dye (red #8).
All poly were the thiamins,
And the carbohydrate.

Dreamchild

So, what did you think? What struck you? What questions were you left with?

The Mirror in Through The Looking Glass

As I was thinking about the theme of “mirrors” in general and in Through The Looking Glass, I came across an interesting thought. When Alice gets sucked in to the mirror, she carefully approaches it and as she does, she sees her self getting closer and closer to her own reflection, as any of us would when we are trying to look at ourselves in the mirror.
Well, my interpretation of the mirror is this: Alice is now older and she is of high stature. However, I believe that she is not so happy with her self and her life and she gets closer to her own reflection in the mirror, she sees the imperfections, which she would like to fix, more and more. It's the same process as when you look at yourself in the mirror from a distance, everything looks fine but as you get closer, you may notice, that the cloth is not such a great fit, just as you may start to see all the imperfections which you may have.
The mirror always reveals everything, as Alice looks at herself, she has to face what is not as it should be in her life. Therefore, she enters a world in which she can fix her underlying conflicts and is able to come back to her own time and start a new.

On Alice

Post your ideas here about Alice and Through the Looking Glass. Consider the ways in which each character, each tableau challenges our assumptions about life. Consider Carroll's use of "nonsense" to illuminate the world of "sense."

Jabberwocky Glossary to Clear the Confusion

Bandersnatch – A swift moving creature with snapping jaws, capable of extending its neck.[3]
Borogove – A thin shabby-looking bird with its featheres sticking out all round, "something like a live mop".[4] The initial syllable of borogove is pronounced as in borrow, rather than as in burrow.[5].
Brillig – Four o'clock in the afternoon: the time when you begin broiling things for dinner.[4][6]
Burbled – Possibly a mixture of "bleat", "murmur", and "warble".[7] Burble is also pre-existing word, circa 1303, meaning to form bubbles as in boiling water.
Chortled - Combination of chuckle and snort.[4]
Frabjous - Probably a blend of fair, fabulous, and joyous .[8]
Frumious – Combination of "fuming" and "furious."[5]
Galumphing - Perhaps a blend of "gallop" and "triumphant". Used to describe a way of "trotting" down hill, while keeping one foot further back than the other. This enables the Galumpher to stop quickly.[8]
Gimble – To make holes as does a gimlet.[4]
Gyre – To go round and round like a gyroscope.[4][9] However, Carroll also wrote in Mischmasch that it meant to scratch like a dog. The g is pronounced like the /g/ in gold, not like gem.[10].
Jubjub – A desperate bird that lives in perpetual passion.[3]
Manxome – Fearsome; the word is of unknown origin. [8]
Mimsy – Combination of "miserable" and "flimsy".[4]
Mome – Possibly short for "from home," meaning that the raths had lost their way.[4]
Outgrabe (past tense; present tense outgribe) – Something between bellowing and whistling, with a kind of sneeze in the middle.[4][11]
Rath – A sort of green pig.[4] (See Origin and structure for further details.)
Slithy – Combination of "slimy" and "lithe."[4] The i is long, as in writhe.[5]
Tove – A combination of a badger, a lizard, and a corkscrew. They are very curious looking creatures which make their nests under sundials and eat only cheese.[4] Pronounced so as to rhyme with groves.[5] Note that "gyre and gimble," i.e. rotate and bore, is in reference to the toves being partly corkscrew by Humpty Dumpty's definitions.
Tulgey - Thick, dense, dark.
Uffish – A state of mind when the voice is gruffish, the manner roughish, and the temper huffish.[7]
Vorpal - See vorpal sword.
Wabe – The grass plot around a sundial. It is called a "wabe" because it goes a long way before it, and a long way behind it, and a long way beyond it on each side.[4]

Jack and the Giant's Wife

I think that one of the most nagging problems regarding the fairy tales we’ve read so far is the character of the giant’s wife in “Jack and the Beanstalk”. I simply wasn’t sure where she was coming from and what her role truly was. When Jack first meets her, we are immediately informed that she is “a great big tall woman”, and so is obviously a giantess. Now, this is important because fairy tales are generally black and white. You are good or evil, and often physical size is representative of one or the other of these traits. As we usually side with the underdog, the larger you are, the greater the odds that you are an evil character.

Jack is obviously a trickster character, as we established in class. But his first exchange with the giant’s wife seems pretty harmless, even pleasant. The story makes it a point to say that “the ogre’s wife was not half so bad after all” as she gives in to Jack’s pleas for breakfast. He even asks politely for some food, receives fair warning of her husband’s cannibalistic tendencies, and pushes the topic further. She consents, feeds the boy, and goes as far as to hide him when her husband returns home. Now, she’s obviously used to her husband’s choices in food, and as she cooks this food for him, is surely not squeamish when it comes to murder or cooking human flesh. Why then does she show this compassion when it comes to Jack? We could argue that he, being the trickster hero, has some charisma that makes it easy to garner sympathy or camaraderie with even the most unexpected characters, but I think this situation goes beyond even that.

On Jack’s return visit, she recognizes him from his first time at the house, insinuates that she knows he stole from her house, and yet feeds and protects him again under the pretense of waiting to hear his explanation. Now, while English society does stress hospitality, there’s certainly a limit, and Jack has certainly overstayed his welcome. Another strange aspect of his theft is that while he waits for the giant to fall asleep before making his move, there is no mention of his wife’s whereabouts, or any precautions taken to avoid her gaze. She could easily awaken her husband more effectively than even his harp, but more importantly, could surely beat Jack to death herself if she was so inclined.

I’m definitely making a lot of assumptions and generalizations regarding her behavior and thought process, but it’s only because her character is so confusing and ambiguous that you have to in order to attempt to understand her role in the story. If the giant is the “evil” adult that Jack, the good-hearted youngster must overcome, then who is the giant’s wife? She seems no less concerned for his well-being but quick to anger than his own mother, but we almost feel more for this giantess than for Jack’s own flesh and blood. That she has the power to save him twice, the grace to feed him, but the power to forgive (remember, she doesn’t rat him out on his second visit) establishes her as a pretty strong “good” character, but she is still somehow characterized as evil, making it acceptable to steal from her.

In a story with trickster characters, swindlers, angry mothers, and barbaric giants, this “great big tall woman” is more than simply “not half so bad”. She’s practically a saint. Why then do we disregard her? If fairy tales are supposed to be easy to read, easy to characterize, then the giant’s wife is one of the most interesting characters in the canon. She seems to be a genuinely good character, who, due to some questionable cooking practices, is viewed as a tyrant, and thus deemed unworthy of our sympathy when her husband is murdered in the finale of the story. I may be alone in thinking this, but she deserves better.

"Tom Thumb" versus "Thumbelina"

My post is not so much questions that I still had unanswered, more like interest in how one version of a story can change just by switching it from a boy to a girl. Not only does the story change, but in some ways the meaning of the story can change as well. I couldn't figure out whether "Tom Thumb" or "Thumbelina" came first, but I know what I found most interesting was how dramatically the two versions are even though they center around the same kind of scenario.
Both tales start out with parents who are unable to conceive a child of their own, and in their desperation claim that they would accept a child even if it was no bigger than their thumbs. Like we discussed in class, these tales start out with a real problem--parents not being able to produce children. Where these two tales begin to differ is that in "Tom Thumb" they were able one day to "magically" have this boy no bigger than their thumb. whereas, in "Thumbelina" (Hans Christian Andersen's version) the mother resorts to magic to have her child. She confides her problems to a witch, who gives her a seed (reminds me of "Jack and the Beanstalk") to plant in a pot, which when potted grew into a big and beautiful flower bud. Then when the mother kissed the flower bud a child emerged out of the bud, who happens to be no bigger than her thumb. I think the question is that why when the parents wanted a child even if it was no bigger than a thumb, that they had children no bigger than a thumb? I think like we discussed in class, there is something to be said about the height that plays well into the message of the story. I forgot who said it, but someone made a good point that their height gives them the need to prove themselves, and it gives children the belief that no matter how small they are they could believe that they count too, and that they can some control and have some power over their lives.
What is most strikingly different is the manner in which these tales play out. In "Tom Thumb" it is when he ventures deep into the forest with his father that they come across some men who look at Tom as a form of commodity--something that they could make money off of. At the beginning the father refuses to sell his "prized" son, but after Tom exclaims "Father, let me go; I will soon come back again" (105), his father agrees and sells him for a "fine piece of gold" (105). I just found it funny that one minute he refused all the money in the world to sell him, and then he sells him for just one piece of gold. But despite his size he is clever, cunning, manipulative and able to take care of himself. Even though he meets several sticky ends like: falling into a mouse-hole, finding himself down a cows throat, and then inside the stomach of a wolf. Yet, no matter the situation he is able to discover some way to be rescued. Then in the end he lives happily ever after with his parents. What I get was that Tom wanted to be on his own to realize that he could be independent even though his height might make him seem dependent on others. When he states that he had "other experiences to go through first" (107) before he had been swallowed by the cow and was thinking of going home, signifies that these various journeys was in a way a journey of self-discovery; be able to have control over his own life. But, like all children (or us for that matter) need to know that whatever happens they have their parents or at least some home to return to when things go to badly.
However, in Anderson's "Thumbelina", Thumbelina faces more realistic dangers than Tom and it is others who have to rescue her, rather than her using tricks and schemes to rescue herself. I think there is a lot to be said there also. Why is it that Tom could save himself , and Thumbelina has others protect her? Thumbelina does not choose her "call to adventure" rather the journey is thrust upon her. Thumbelina was kidnapped in the middle of the night (scary situation for a child) by an old toad who wants her to marry his son. Here, Thumbelina's wishes aren't even taken into consideration, she is seen as an object with which the toad could take advantage of. I believe Thumbelina faces more opposition in her life than Tom. Not only is she small, but she is small and a girl. I believe the reason as to why she is so defenseless and passive is the fact that she is supposed to signify the proper woman--one is passive, meek, and compassionate even though she is facing all these dilemmas. She then befriends a mouse who soon threatens to bite her, and then she meets a mole whom she is forced into marrying (in order to ensure her safety and security because she feared that she would never be able to make it home). Whenever she gets out of one situation she quickly falls into another, only until a fairy prince comes along and rescues her. Who she then marries, and she herself is turned into a fairy and then lives happily ever after among the fairies. Throughout all of this Thumbelina remains a true and gentle woman, and I believe after all of Tom's adventures he too becomes a more humble person.
I think that each story targets the opposite sex child. "Tom Thumb" proves to possibly young boys that they could take on "manly" roles, or possibly showing them that adulthood is not something to be taken with lightly. But I believe that "Thumbelina" speaks to young girls like a fairy tale. That goodness wins out, that even in turmoil to remain a compassionate person, that your dreams can come true. I just found it peculiar how each story differed, and how the female character had a lot more real and threatening situations to face. I am wondering what that says about the belief of the dangers lurking out there for boys versus girls? Or what one could handle over the other?

Fairy Tales: Responses

Reminders: for Tuesday 2/10

Hi All:
1) Please post re: what still remains for you in the tales we read and discussed in class under the post titled "Fairy Tales." Will, Tony, Rachel W, and Sabina volunteered. The rest, respond in comments to their responses or add one of your own.

2) Write the story you needed to hear, tell, read or one that someone needed to tell or read to you, repeatedly, when you were young. Summarize the story and/or the details that stood out for you. Most importantly, write about what you were needing/doing/obsessed with/curious about in that story. Remember, it can be a childhood story, a family story, a favorite book, etc. Reflection is what is needed most here.
Have a lovely weekend. Best, Roni Natov

Welcome.

Good morning all seminarites.

I am sitting here on the morning after our class thinking about your many thoughtful responses. Among those I'd like to flesh out on Tuesday, along with new ideas, are: resilience of children; representation of ages and stages; similarities and differences between the tales; challenges to innocence; spirituality in the tales; issues of trust; ethics; representations of adults in the tales; adult v. child reader; representations of class; handling of cruelty; connection between disobedience and understanding/development; belief in overcoming obstacles; importance of forgiving; pacing and structure; empowering the child; how the tales are read now v. at different historical times/contexts; "the child--which child?"

Looking forward, RN