The Stranger Journal 1: Tabbing Method

I will be tabbing The Stranger using five tabs, each with their own meaning:

1. I will be tabbing symbols/motifs, specifically those that relate to self-indulgence, i.e. smoking, sex, sleeping. More symbols will develop as the book progresses.  (Blue)

2. The second tab will be focused on characterization, specifically ways Mersault demonstrates either indifference or feeling. (Green)

3. The third tab will focus on the setting of the book, specifically visual and physical descriptions of setting (imagery). (Pink)

4. The fourth tab will focus on repeating literary techniques. I will also be using this tab to note sentence structure (parallelism, repeating words, etc). (Purple)

5. The fifth and final tab I will use to focus on anything I find to be notable that does not fit into the previous categories. (Yellow)

I will also be highlighting anything of interest. 

Journal 10: Thesis and Quotes

Thesis: Despite societies roles and expectations for women in relationships, women are not obligated to abide by these roles and regulations.

-feels a bit short
-Maybe clarify what these roles are

Quotes in support of this thesis:

"De nigger woman is de mule uh de world so fur as Ah can see." (p.14)

"Ah was born back due in slavery so it wasn't fur me to fufill my dreams of whut a woman oughta be and do." (p.16)

"Janies first dream was dead, so she became a woman." (p.25)

"A pretty dol-baby lak you is made to sit on de front porch and rock and fan yo'self and eat p'taters dat other folks plant just special for you." (p.29)

"She must look on herself as the bell-cow, the other women were the gang." (p. 41)

"She's uh woman and her place is in de home." (...) "It must have been the way Joe spoke out without giving her a chance to say anything one way or another that took the bloom of things." (p.43)

"Ah told you in de very first beginnin' dat Ah aimed tuh be uh big voice. You oughta be glad, 'cause dat makes a big woman outa you." (p.46)

"What makes her keep her head tied up like some ole 'oman 'round de store? Nobody couldn't git me tuh tie no rag on mah head if Ah had hair lak dat." (p.49)

"She didn't change her mind but she agreed with her mouth. Her heart said, 'Even so, but you don't have to cry about it.'" (p.63)

"Somebody got to think for women and chilluns and chickens and cows." (p.76)

"Janie had robbed him of his illusion of irresistable maleness that all men cherish, which was terrible." (p. 79)

"De world picked out black and white for mournin'; Joe didn't. So Ah wasn't wearin' it for him, Ah was wearin' it for de rest of y'all." (p.113)

"And the thing that got everbody was the way Janie caught on (...) She got to be a better shot than Tea Cake." (p.131)

Journal 9: Mini-Pastiche 2

Cheyanne leaned over the balcony and looked out across the lake. It was the time of the night that most people ought to be asleep, but she wasn't. She hadn't slept a wink. The cool night air blew against her nightgown, ruffling the smooth silk behind her in plume, twisting and billowing back towards the door. Then she heard footsteps. She turned around just in time to see Michael coming towards her. He was in the plaid pajamas she had bought him last Christmas. He stopped perhaps five or six feet in front of her, and waited. They stared into eachother's eyes for a long time, thoughts racing through their heads. Then she spoke.
"I can't go on doing this. It's not fair, the things you expect me to do, the person you expect me to be. It's not me. I want to be me." She closed her eyes and let out a breath, waiting for his response.
"Listen to you! Talking to me like this, you act as though this is all my fault, like I'm the one who started all this. You act lik I'm controlling you, you act like-"
"You ARE controlling me!" She yelled angrily. She was about to go on, but she stopped herself. Stay calm. Stay calm. She crossed her arms and turned to look back out at the lake.
"When I first met you, things were incredible. You were the first guy that I'd met that actually seemed to care about me, about MY thoughts, MY feelings. You were great and you- you...er..." She trailed off.
"But I what?" He asked quietly.
"You just changed! I don't even know what you did but you just changed! You started getting this, this weird vision of what we were suppossed to be like. 'Oh, Chey let's go do this' or 'Hey, Chey do it this way,' or whatever the heck you wanted me to do, and I just can't stand it anymore. You choked the life out of me with all of this, and I really can't stand it. Not now." She sighed deeply and turned back around. He stood like a statue, unwavering, the wind lightly tossed his hair.
"I need to go. I'm going home." She walked past him back into the house. Her bags were waiting.

The theme that I used in this passage was that unbalances of power in relationships will ultimately lead to failure of the relationship as time passes. This mirrors TEWWG in that it represents how Janie's first two marriages have failed. The literary techniques that I used in this passage were irony, diction, and syntax. I used irony in this passage by initially having Cheyanne state that he was a great guy, and she had initially expected alot out of him, but he ended up being one of the worst, as demonstrated through the dialogue. This mirrors Hurston's use of irony regarding Tea Cake, in that he is exactly what Janie is looking for, and she comes to trust and love him, but she is forced to kill him in the end. I used diction in this passage specifically when I used the phrase "choked the life out of me", because I believe that it evokes strong images, especially regarding power. This mirriors Hurston's use of diction who often uses this kind of strong imagery in her language. And lastly, I used syntax in this passage at the end, in which Cheyanne gives a long, complex statement regarding her feelings towards Michael, which is then followed by a short but strong sentence in which she informs him of her desire to leave. This mirrors Hurston's use of syntax which often involves complex and simple sentences together to show a shift in feeling or emotion.

Journal 8: Three Literary Techniques In Quotes

1. The first stylistic attribute I noticed was on page 106. At this time, Janie and Tea Cake have been spending increasing amounts of time together and have just woken up from a nap following dinner. Janie wakes up to Tea Cake stroking her hair, and in the following conversation Janie reveals to Tea Cake her anxiousness towards a relationship with a younger man, casuing Tea Cake to leave abruptly. Janie is upset, and the following quote is part of her thoughts as she lies in bed later in the night: "Glad Ah treated him cold. Whut do Ah want wid some trashy nigger out de streets? Bet he's livin' wid some woman or 'nother and takin' me for uh fool." The literary technique used in this passage is that of diction, specifically around the word "nigger." I believe that Hurston's choice of this word produces negative connotations within the readers mind, as opposed to man, fellow, etc. The choice of this word gives very derogatory and stereotypical feelings associated with black people, and I believe it is used to reflect the anger that Janie is feeling. 

2. The second stylistic attribute I noticed was on page(s) 108-109. At this point in the story, Janie and Tea Cake have recently come to the decision of being involved with one another. Just after this, Tea Cake leaves to off to work, not specifying as to when he will return. Janie becomes doubtful that he has made a fool out of her and does not plan to return, however, he comes back four days later in an old car that he has recently bought. He tells Janie that he wants to take her out to a picnic, and she is once again doubtful of his true feelings. The following quote is his response: "Me scramble 'round tuh git de money tuh take yuh- been workin' lak uh dawg for two whole weeks- and she come astin' me if Ah want her tuh go! Puttin' mahself tuh uh whole heap uh trouble tuh git dis car so you kin go over tuh Winter Park or Orlandah tuh buy de things you might need and dis woman set dere and ast me if Ah want her tuh go!" The literary technique used here is syntax, specifically, a complex sentence. I believe that Hurston chooses to use large, complex sentences in this instance to convey effectively the rambling nature of someone that might be angry. It gives the sentence a very realistic, appalled feeling. Had Hurston chose to use a shorter sentence, I believe that the feelings expressed here would have been much more limited and much less realistic.

3. The third stylistic attribute I noticed was on page 114. At this point in time, Janie and Tea Cake have been openly spending more time together, doing various activities such as fishing, dancing, and seeing movies. The rest of the town has taken eager notice to this, and has not been hesitant to begin gossiping. Following a conversation with her husband regarding Janie and Tea Cake, Phoeby goes to talk to Janie about her relationship with Tea Cake. During the course of their conversation, Janie tells Phoeby that her and Tea Cake plan to get married, and sell the store she has been working in since moving to the area. When Phoeby asks why Janie would want to sell the store, she responds with the following: "Cause Tea Cake ain't no Jody Starks, and if he tried tuh be, it would be uh complete flommuck." The literary technique being used here is dialect, specifically towards the word "flommuck." The choice of this slang term instead of something such as mess, issue, etc. shows that Hurston has made a deliberate choice in using this slang. I believe Hurston does this to give the reader a more authentic feeling of the setting, as well as revealing and/or implying certain attributes that may be associated with people of that region. Bottom line, it changes the sentence from a general statement to something that makes one wonder, thus differentiating itself from other forms of language.

Journal 7: Mini-Pastiche

And Jonathan hoped for Freedom. Freedom, the majestic being with the great, iron hooves who lived far away in the North. The one whose home was the great, open fields of the West. What restraints can hold Freedom, what code is he bound to follow? He gazes across the plains, across the world into eternity. He gallops through blistering heat and bitter cold, his great hammer ready, waiting for the cries of the forlorn and the meek. His powerful back has carried them to salvation since the sun first rose over the earth. He was sure to hear his hooves soon, to see the scorched earth from the heat of his breath. But he was also terrified. Oh, Sampson! His back breaking under the cruel crack of a whip! He begged Josiah to protect the boy, but he was far too old. A doctor could heal Sampson's wounds, but they had little to offer for a broken spirit. He would recover once the bearded man had made due on his word. His scars would heal. This he believed. And if they did not, then he would bear eternally the marks of his chains, for they became heavier each day. Men toiled in the fields day in and day out. Wasting away under blinding heat of the sun. Slavery, that diseased, eyeless mule that had founded this plantation.

I chose to use freedom because I thought that it would be an interesting and enjoyable noun to write about. I personified freedom as a horse, because there is a strong image of freedom associated with wild horses and the plains. I also mentioned that freedom possessed a hammer, which I chose because it possesses the implication that it could be used to break chains, a prevalent symbol of slavery/oppression. Conflict within the passage surrounds a boy who is a slave in the Antebellum South, which I thought was a good contrast for freedom. In describing my second noun, I chose slavery, which I see as being the complete opposite of freedom. I described slavery as being a "diseased, eyeless mule" because of the feelings that slavery implies. It is diseased, because slavery itself is a disease, and it is eyeless because the act of slavery is blind to human emotion/compassion. It is represented as a mule because of the work that a mule does, much like the slave labor in the South. 

Journal 6: Analysis of Death Passage in Chapter Eight

Analysis of the following passage:
"So Janie began to think of Death (...) Rumor, that wingless bid, had shadowed over the town." (p.84)

Stylistic choices in this passage and their motivation:

1. Firstly and most obviously Hurston makes death a proper noun, thereby making it a person. I believe that she treats death as a person so that there can be emotion and feeling directed towards him. When someone dies, there is obviously grief and anger. With a personification of death, this can be directed at something. I believe she does this to allow more identification with the reader in this regard.

2. Hurston describes Death as having square toes, again personifying it. I do not really know why Hurston mentions him as having square toes. Perhaps other than that it is an abnormality, which sets him apart from being human.

3. Hurston describes deaths house as "a platform without sides to it, and without a roof." I believe that Hurston does this to give the feeling that death is almost omnipotent, clearly visible of all that is below him, without anything obstructing his vision.

4. There is a recurring theme throughout this passage of of watching and looking. I believe that Hurston does this again to make death seem omnipotent, but I also believe it has a greater meaning relating to the title of the book. Perhaps Hurston is comparing death and God, maybe she is saying that they are the same person, or that God is the cause of death. This may also be the source of personification in the first place.

5. Hurston also tells of death standing, waiting for the "messenger" to come, with his sword drawn back. In this death is perceived similar to a warrior, much like angels are in the Bible. Perhaps Hurston is suggesting Death as being an angel?

6. Hurston mentions being liable to find a feather from Death's wings. I have noticed a recurring pattern of wings and feathers throughout the book, often relating to people. One such instance is when Janie's grandmother is talking to her, saying she doesn't want people "crumpling her feathers" or something to that effect. I believe Hurston mentions this again to perhaps dehumanize death, but at the same time personify it.

7. It says in the passage that medical doctors are alright with the "Godly sick", but that they could not help Jody. I think this is interesting because normally I would have assumed the opposite, thinking medical doctors would not be help to a case of "spiritual sickness." Perhaps Hurston is suggesting that Jody is not a spiritual man, or that he is not "right" with God?

8. This passage is narration, and generally the narrator does not speak with any dialect. However, during the passage the narrator says "wuz", both using incorrect spelling and incorrect subject/verb agreement. I believe Hurston does this to set a certain mood in the passage, in which the reader feels more close towards Janie, in that the narrator is using her dialect, perhaps in a sympathetic sense?

9. Hurston again chooses to mention trees in this passage: "...for people began to gather in the big yard under the palm and china-berry trees." I have noticed trees, especially living and fruit bearing trees, as being a recurring theme in this book. I believe that the tree is a symbol for life, and the blooming is a symbol for marriage. The townspeople gathering under trees as Jody dies presents a sort of parallel structure between life and death.

10. Lastly, Hurston mentions Jody would "be alright as soon as the two-headed man found what had been buried against him." I'm not certain but I believe that this is a reference to witch doctors. It mentions earlier in the book that Jody had been seeing witch doctors of some sort to help him with his illness. I've heard somewhere that in that culture certain items can be buried that will cause pain/misfortune to people until they are discovered. I think that is what Hurston is referencing. I believe that she does this to show how paranoid Jody is becoming, perhaps she is hinting that he is looking for something that he believes Janie buried, showing how greatly he mistrusts her

Journal 5: My Thesis Statement

1. Zora Neale Hurston uses the symbol of mules/work animals to show how women of the time were in a second slavery to their men. Hurston does this to show how oppressive nautre will destroy relationships regardless of race, gender, or creed.

2. I posted comments on Anthony Nyguen, Kevin Li, and Isabella Lewis' blogs.

Journal 4: Three Patterns In TEWWG

Three patterns found in Their Eyes Were Watching God

1. The first pattern that I noticed in TEWWG was the sun/sunlight. It is mentioned pretty often throughout the first few chapters, starting from the first page:
"But now, the sun and the bossman were gone, so the skins felt powerful and human." (p.1)
And again on page 51:
"Every morning the world flung itself over and exposed the town to the sun." (p. 51)

2. A second pattern that I noticed was the comparing of women to animals. This can be seen on page 14:
"De nigger woman is de mule uh de world so fur as Ah can see." (p. 14)
And on page 41:
"Everybody was coming sort of fixed up, and he didn't mean for nobody else's wife to rank with her. She must look on herself as the bell-cow, the other women were the gang." (p.41)

3. The third pattern that I noticed was a repeating pattern of highness or elevation, often relating to Jodie/Janie. This can be seen on page 62:
"Here he was just poring honor all over her; building a high chair for her to sit in and overlook the world and she here pouting over it!" (p. 62)
And lastly on page 32:
"He was very solemn and helped her to the seat beside him. With him on it, it sat like some high, ruling chair." (p. 32)

Journal 3: The Lion and The Foreigner

Part 1: A Harlem Renaissance Figure
For my Harlem Renaissance figure, I chose William Henry Joseph Bonaparte Bertholoff Smith or just Willie Smith. Willie Smith was a jazz pianist and also one of the founders of the "stride" style of piano, which became popular during the Harlem Renaissance. Along with Fats Waller and James P. Johnson, he is often seen as one of the greatest figures in the genres "Golden Age." Willie Smith was also known as "The Lion", a name which he gained during World War 1 for his bravery as a heavy artillery man.

Part 2: My Dialect
My dialect belongs to a race of aliens whose name, and language in general is impossible to pronounce with the human tongue, but for the sake of this journal we will call them the Shnikyats. The following are rules regarding their dialect of the English language:

Grammar:
1. Shnikyats speak only in the present tense, due to their non-linear concept of time.
2. Shnikyats begin and end every sentence with a declaration of their mood.
3. Shnikyats speak in the third person.

Pronunciation:
1. E's become u's.
2. The "th" sound becomes an "f" sound.
3. "Ings" become "ons."

Terminology:
1. Cars are called "skollius."
2. Talking is called "qlakon."
3. Eating is called "flarpon."

Part 3: An Interaction Between Willie Smith and a Shnikyat
Slowly, Willie began to regain consciousness. He attempted to open his eyes, but found that they were unwilling to respond, they felt heavy, and staying awake was a battle all its own. Finally, he managed to get a glimpse of his surroundings, but to no avail. His vision was extremely blurred. He could, however, make out the shape of what appeared to be a man standing in front of him. Then, the shape spoke.
"Nuutral. Gruutons, Uflon. How do you fuul?" Nuutral." it hissed.
"Ugh," Willie grunted, "I can't see a dang thing. And what the heck are you talking about? Where am I?" he grunted. Willie attempted to lift his arm but found resistance. He was tied down.
 The shape advanced. "Nuutral. Vitals appuar to bu good. It apologizus for fu rustraints, but wu cannot run fu risk of you luavon. Fat ruins uvurython. Nuutral."
Willie took a deep breath, and spoke again "Now, listen. I don't know who you are, or what's goin' on. I don't know why I'm here or what you want with me. But I would really appreciate it if you would at least give me something to eat. I'm mighty hungry."
There was a pause, then the creature spoke. "Compassionatu: It allows you to flarp. Compassionatu," it whispered.
"What is flarp?" Willie asked cautiously.
"Informativu. It is your way of consumption. Informativu." It replied.
"Do you mean eating?" he asked excitedly.
It grunted, "Annoyud. Yus. Fat is our dialuct. You suu, It is from an advancud aliun racu, and our four tonguus allow for much moru complux spuuch fan your own. Howuvur, it also gruatly limits our spuuch in your own languagu. Annoyud." It replied condescendingly.
"Uh...alright. I think I understand. So uh, where exactly am I?" he asked.
"Nuutral. You aru on Aigus Six. It is one of our many intur-planutary spacu crafts. Uvun as wu spuak, wu aru milus abovu your planut. Wu nuud you, bucausu you can savu us. Do not worry. Your housu, family, skollius, all of it is safu. As long as you help us. Nuutral," it stated.
"I still don't really understand what you're saying. But I got the help part. You need my help with what? You ever heard of asking anybody for help?" Willie said angrily.
The creature turned around and began fumbling with something as it spoke, "All will bu uxplainud in timu. But right now, you nuud to sluup."
The creature, apparently finished with whatever it had been working on, turned back around and walked over to his side. As it came closer he could make out that it was covered with what looked like red fish scales all over it's body. Aside from an oval shaped mouth, the creature had no visible eyes, ears, or nose. Quickly, it grabbed his arm and stuck what looked like a needle into it, he felt a burst of pain.
"Hey what're you do-." But he was cut off. Blackness engulfed him as he fell back into sleep.

Journal 2: Literary analysis of Their Eyes Were Watching God passage

"She stretched on her back beneath the pear tree soaking in the alto chant of the visiting bees, the gold of the sun and the panting breath of the breeze when the inaudible voice of it all came to her. She saw a dust-bearing bee sink into the sanctum of a bloom; the thousand sister-calyxes arch to meet the love embrace and the ecstatic shiver of the tree from root to tiniest branch creaming in every blossom and frothing with delight. So this was a marriage! She had been summoned to behold a revelation. Then Janie felt a pain remorseless sweet that left her limp and languid." p.11

1. Hurston uses intense and vivid imagery (gold of the sun, thousand sister calyxes)
2. Gives human characteristics to nature, (breath of the breeze, frothing with delight, alto chant)
3. "So this was a marriage!" Perhaps forshadowing?
4. Talks about "the inaudible voice of it all." --> A reference to God?
5. The last line of the passage is mysterious to me, I'm not really sure what it means. "a pain remorseless sweet" also seems a bit contradictory to me. Perhaps Jainie is wishing for a husband?
6. The rythm of the passage is very calm and serene.
7. Hurston is very vague about alot of the things she references, such as "She had been summoned to behold a revelation." She does not explain what this is. It might be plausible to suggest that the "summoning" could be another reference to God and judgement, but I'm not sure about what the revelation might be.
8. At the beginning of the passage, Hurston uses long sentence structure, containing vivid descriptions. At the end the sentences are much shorter and precise.
9. Hurston compares the collecting of pollen to marriage. Maybe she is suggesting that men take something from women when they are married? Male. Vs. Female.
10. Again she mentions the sun, unsure if there is any relevance.
11. Returning to the line about "a pain remorseless and sweet", perhaps this is foreshadowing of Janie's failed marriages. As this line directly follows the one about the "marriage" between the bee and the blossum.

Journal 1: If I were to tell my life story

If I were going to tell my life story to anyone I would probably tell it to one of my children, assuming that I'll have children that is. The main reason that I would tell one of my children and not a friend, work associate, etc. is because I would want my story to be useful to someone. If I'm telling the story of my life (again making an assumption that my life and its story has a meaning) I would like it to be useful, and I think that my child would probably benefit from that. When I was younger, and occasionally still today, my dad would sometimes tell me stories about his childhood. Sometimes the stories had meaning, sometimes they were just random. But I suppose that's not really the point. What really mattered about it was that my father was sharing pieces of his life with me, allowing me to see and experience something about him and who he is- the events that shaped him as a person. I would like my child to have the same experience, in the hope that he could put the knowledge to benefit himself in some way.

Secondly, if I were going to tell my life story to anyone I would begin at the summer between eigth grade and freshman year. This was the first time in my life that I really began to question the principles and beliefs that I was brought up on. It intensified later, around sophomore year, but eigth grade summer was the prelude. I can't predict the rest of my life, nor how it will end, but I can say with relative sureity that from about that point until now have been some of the most influential times in my life, and I expect they will continue to shape whatever events unfold from now until my death.