Solving a Mystery:
1) Never accept "assumptions". Almost always, a mystery novel rests on this particular point. If the author can lead a reader into assuming something false from the beginning, the further they can lead them from the truth which attributes to all the more surprise when the truth is finally revealed. In fact, if a book is obviously taking one path, keep the alternative at the forefront of your mind. In mystery novels, a character presented through the view point of another must never be accepted at face value. Never assume innocence of a character from the hunch of another character or the protagonist himself. An individual can never be pegged unless we are presented with a candid presentation of inner thoughts through a shift in narration. And even then, there have been cases of MPD in which a character may believe they are innocent when, in fact, there is more at play. So at this point, you might be thinking "Useful advice, Evan. Eliminate no one. I'm so much closer solving the mystery." Ah, but that's the key. Too often will an author construct a misleading path in which a reader will assume the innocence of the true culprit.
2) Who should be at the bottom of your list in terms of culpability? The most obvious characters as presented by the book. Mystery novels are chock full of false trails that both the protagonist and the reader go down. For example, let's take Harry Potter and the Sorcerer's Stone. The whole of the book is designed to suggest that Snape is trying to steal the stone. Yes, facts seem to bolster this theory, yet only in the end does Harry discover Professor Quirrel as Voldemort's accomplice. Mystery novels are built for the unexpected twists and "aha!" moments. You can bank on the end being "surprising".
3) Never rely on just the protagonist to solve the mystery. There are many hidden clues that foreshadow events to come. Unfortunately, tv and movies are shorter and the clues made more apparent. I found Larson's book surprisingly lacking in telling clues. I think a reread of the novel would turn up a pattern, but I won't make that call until I do.
Monday, February 28, 2011
Thursday, February 24, 2011
The Girl With the Dragon Tattoo: Predictions for after Chptr 11
At this point in the novel, I have a few predictions - so read at your discretion
Predictions:
1)Vanger setup Blomkvist.
~As seen on tv series Damages, starring Glenn Close, it wouldn't be the first time that a boss has gone to extreme measures to manipulate someone into taking a job. Isn't it all too convenient that Vanger just so happens to have the dirt needed to bring down Wennerstrom? Vanger made Blomkvist need what he had, before he could get him to take the job which explains his timing. Furthermore, familiar with his career and aware of his political stance, if not lackthereof, Vanger seems to have already chosen Blomkvist long before the trial. In the business of mystery and suspense, the world is much smaller than one would hope.
2) Lisbeth is the daughter of Harriet
~At this point in the novel, I highly suspect that Lisbeth's difficult past is somehow part of the Vanger turmoil. Furthermore, her mother seems to be suffering dementia or possibly some other brain damage. How did this illness come about, but more importantly, when did this illness come about. If Harriet suffered a case of amnesia after the incident, than its possible she's lived her life without knowing where she's missing from. I'm curious to see if "Camilla" pops up at all in the plot - a name said by Lisbeth's mother, who's thought to be her sister. The connection at this point can be made because there is an end to Harriet's future, yet no past to Lisbeth. The book is bringing attention to both these incomplete stories. Its possible that the two will link up to form one complete story.
3) Lisbeth helps Blomkvist solve the case
Of course, somewhat of a contradiction with 2, but its possible - most unsupported, as of yet, by textual clues.
Questions:
1) Why would Larsson write such a detailed description of where Blomkvist is staying while in Hedestad. Will this play some important, if not tip-giving role to some pivotal point in plot?
2) Who is sending the flowers? Harriet? I'm tempted to rule out Lisbeth. Albeit she has legendary sleuth skills, I think she'd need a guardian's approval to fly to Florida to send a flower. Furthermore, in her office was a shrivelled plant that she does not acknowledge by name. She simply throws it in the trash. Flower pressing requires detailed precision that presses a flower at its peak. Obviously, from her action in her office, Lisbeth seems not the type to cosset plants.
Predictions:
1)Vanger setup Blomkvist.
~As seen on tv series Damages, starring Glenn Close, it wouldn't be the first time that a boss has gone to extreme measures to manipulate someone into taking a job. Isn't it all too convenient that Vanger just so happens to have the dirt needed to bring down Wennerstrom? Vanger made Blomkvist need what he had, before he could get him to take the job which explains his timing. Furthermore, familiar with his career and aware of his political stance, if not lackthereof, Vanger seems to have already chosen Blomkvist long before the trial. In the business of mystery and suspense, the world is much smaller than one would hope.
2) Lisbeth is the daughter of Harriet
~At this point in the novel, I highly suspect that Lisbeth's difficult past is somehow part of the Vanger turmoil. Furthermore, her mother seems to be suffering dementia or possibly some other brain damage. How did this illness come about, but more importantly, when did this illness come about. If Harriet suffered a case of amnesia after the incident, than its possible she's lived her life without knowing where she's missing from. I'm curious to see if "Camilla" pops up at all in the plot - a name said by Lisbeth's mother, who's thought to be her sister. The connection at this point can be made because there is an end to Harriet's future, yet no past to Lisbeth. The book is bringing attention to both these incomplete stories. Its possible that the two will link up to form one complete story.
3) Lisbeth helps Blomkvist solve the case
Of course, somewhat of a contradiction with 2, but its possible - most unsupported, as of yet, by textual clues.
Questions:
1) Why would Larsson write such a detailed description of where Blomkvist is staying while in Hedestad. Will this play some important, if not tip-giving role to some pivotal point in plot?
2) Who is sending the flowers? Harriet? I'm tempted to rule out Lisbeth. Albeit she has legendary sleuth skills, I think she'd need a guardian's approval to fly to Florida to send a flower. Furthermore, in her office was a shrivelled plant that she does not acknowledge by name. She simply throws it in the trash. Flower pressing requires detailed precision that presses a flower at its peak. Obviously, from her action in her office, Lisbeth seems not the type to cosset plants.
Tuesday, February 22, 2011
The Girl with the Dragon Tattoo: Hook, Line, and Sinker
Stieg Larsson is non unlike Vanger in how he presents the story. Vanger gives a lot of seeminly unimportant information at the beginning of his story, but soon, you're caught off guard by his objective - solve the mystery of his grand daughter's murder. Larsson's story is running in congruency with Vanger's and the two stories actually touch each other at this point. The beginning of the novel is filled with information concerning a legal case, politics, and a anticlimactic story of a spiraling career. It seems to be going nowhere, but suddeny, it becomes a murder mystery.
Blomkvist is our window to this world. He provides a framework to the story. If a reader can see eye-to-eye with Michael's reluctance to continue hearing a seemingly boring story, than Blomkvist becomes a vehicle in which emmersion into the text is all the more possible. The more a reader can relate to Blomkvist, the more a reader can temporarily stand by Michael within the story . Just as Michael wants to make the evening train back to home, the reader would just like to get back their own life.
In the moment that the Vanger reveals the object of the job, Llarsson is revealing the objective of the novel. Solve the case of the grand daughter's murder. It is the same bait and catches both Blomkvist and reader in a double hooked reel.
It would also seem that Lisbeth is somewhat of a personification of the book itsellf. The binding of the book is covered in a dragon tattoo like she. At first, the book starts slow just as Lisbeth's first impressions are lacking in good impression. However, abruptly, the expectation and evaluation of both the book and Lisbeth are changed; Lisbeth with the case and the book when the objective is revealed.
Blomkvist is our window to this world. He provides a framework to the story. If a reader can see eye-to-eye with Michael's reluctance to continue hearing a seemingly boring story, than Blomkvist becomes a vehicle in which emmersion into the text is all the more possible. The more a reader can relate to Blomkvist, the more a reader can temporarily stand by Michael within the story . Just as Michael wants to make the evening train back to home, the reader would just like to get back their own life.
In the moment that the Vanger reveals the object of the job, Llarsson is revealing the objective of the novel. Solve the case of the grand daughter's murder. It is the same bait and catches both Blomkvist and reader in a double hooked reel.
It would also seem that Lisbeth is somewhat of a personification of the book itsellf. The binding of the book is covered in a dragon tattoo like she. At first, the book starts slow just as Lisbeth's first impressions are lacking in good impression. However, abruptly, the expectation and evaluation of both the book and Lisbeth are changed; Lisbeth with the case and the book when the objective is revealed.
Tuesday, February 15, 2011
This Used to Be a Fun Home. But now it's full of Sunbeam Bread.
Bechdel introduces her family character by character. At first I though she was an only child and lived with her father. Because, her family dynamics change dramatically with the addition of another character - brother, brothers, and eventually mother, I was able to reassess my initial assumptions. This is indicative of her overall style in the telling of a story. She gives you one part of a story, and then later goes back to fill in more, and then more until eventually you know the whole story. This approach is effective because she makes sure to give you the prior knowledge needed to appreciate her presentation of her life.
On another note, I find the genre of this novel to be somewhat unclear. I see that this book presents the reality of Bechdel's past constructed through memory. This novel offers a perspective on reality, but specifically Bechedel's point of view. Because she is telling the story of what happened, I'm sure that at least parts of the story are unbiased and that some ground can be safely regarded as neutral. For example, her mother was an actress. I don't feel pressured to analyze why the author decided on the career actress because I know this detail was not up to her discrepancy. Nevertheless, because she is not omnipotent, omnipresent, or omniscient her story cannot be regarded as a completely accurate portrayal of past reality. Memory can play tricks and so she may have remembered somethings differently. Therefore, I think this is well placed in realistic fiction.
Most interesting were the differences in some of her panels. I think she does this to demonstrate, what drawings are derived from memory, and which are from actual past photographs. For example, Roy on page 100 is very different from the majority of her work. From what I've heard, she took many, many Polaroids of actual people in the positions she desired, and then with the picture next to her paper, she drew out her comics.
On another note, I find the genre of this novel to be somewhat unclear. I see that this book presents the reality of Bechdel's past constructed through memory. This novel offers a perspective on reality, but specifically Bechedel's point of view. Because she is telling the story of what happened, I'm sure that at least parts of the story are unbiased and that some ground can be safely regarded as neutral. For example, her mother was an actress. I don't feel pressured to analyze why the author decided on the career actress because I know this detail was not up to her discrepancy. Nevertheless, because she is not omnipotent, omnipresent, or omniscient her story cannot be regarded as a completely accurate portrayal of past reality. Memory can play tricks and so she may have remembered somethings differently. Therefore, I think this is well placed in realistic fiction.
Most interesting were the differences in some of her panels. I think she does this to demonstrate, what drawings are derived from memory, and which are from actual past photographs. For example, Roy on page 100 is very different from the majority of her work. From what I've heard, she took many, many Polaroids of actual people in the positions she desired, and then with the picture next to her paper, she drew out her comics.
Tuesday, February 8, 2011
Rough Draft 1
Sunset Park: A Modern Epic
The classic epic(work on synonyms) Gilgamesh is a tale of glory, sorrow, divine intervention and secular immortality. However, Paul Auster has taken this tale and adapted it to a modern epic. Chronological distortions, character splicing, and fusions reflect Auster’s unique take on the Mesopotamian epic(change from epic to another word). It is told in this manner to be accessible and relatable(combine with another sentence - short(Ayesha likes it thoug). Secondary characters are explored and the designated roles of protagonist are blurred with the shift in narration. Sunset Park beautifully captures the gem cut faces of the same story. The book does not directly come out as an adaptation, but the similarities are endless and uncanny. Characters, events, and relationships reflect the recycling of an old story that captures the essence of Gilgamesh.
Auster anthropomorphizes Gilgamesh. He strips away the 2/3(look into propotion of Willa, Mary, Morris) divinity, kingship, and physical strength to leave a flawed character with a violent, irrational temper: Miles Heller. This humanification(go with humanization) illustrates the internal struggles and personal shortcomings that even the high and mighty must suffer. Miles flees from Providence to wrestle with his internal demons just as Gilgamesh leaves his kingdom to kill the ogre Humbaba. Neither is able to accomplish what they truly desire. Although, Gilgamesh obtains secular immortality but remains mortal and must eventually face death(flesh out to make a better comparison). Similarly, Miles runs from guilt, and for a while succeeds in losing himself, yet eventually is forced to realize that denial is no means to cope or understand his brother’s death. Although Miles is only a diaphanous specter of Gilgamesh, his essence of true humanity embodies a more complete, strong, and alive representation of the same being.
The role of the family in Gilgamesh is one of mutual protection, love, and sacrifice. The Mesopotamian hero’s mother is the minor goddess Ninsun. Adapted to a modern story, Miles mother is a relatively famous celebrity idolize(look for potentially a better word) and worshipped in American culture. Ninsun adopts Enkidu as her own son just as Morris and Mary-Lee Swann adopt Bing into their family after witnessing his displays of unending kindness and loyalty. Ninsun does this to bestow protection on Enkidu along with Gilgamesh. Not surprisingly, “Willa”, the name of Miles' stepmother, from Germanic roots translates to “protection” (Work on it). As secondary characters in the ancient story, Auster does not strip the parents of any qualities, instead promoting their own perspective to the forefront of the story. In Gilgamesh’s quest to attain immortality, his family is greatly affected yet his mother’s viewpoint is not thoroughly addressed. By switching perspectives to Morris, Sunset Park expands on the full effects of the protagonist’s actions and the repercussions in full to secondary characters.
Bing is perhaps the most unchanged character in this modern epic. He epitomizes the primitive Enkidu; Gilgamesh’s bosom friend that was born of the earth and raised by animals. Physically, Bing and Enkidu are large and have “hirsute [chests]” (pg 222) and are large bulking bears. Enkidu is a literal creature of the earth, an animal from the point in which humanity existed before the rise of Mesopotamia. Because Sunset Park occurs in 2007, Bing is instead a creature of the primitive modern: the point proceeding the era of software. The arguably homoerotic relationship between Gilgamesh and Enkidu is seen in Bing’s attraction to Miles. Further strengthening the analogy, Bing gives advice and helps Miles throughout the novel just as Enkidu interprets Gilgamesh’s dreams. Both characters serve to foil their protagonists and demonstrate that despite fundamental differences, friendship can endure hardships. Auster switches narration which shows that the foil to the protagonist can be complex and suffer personal problems. "It also suggests that a true protagonist in the story of a person’s life is on whom the story gravitates (unclear - simplify). The story surrounds Miles; his story establishes him as the protagonist. If during the moments of Mile’s life Auster had instead focused on Bing, than the roles would reverse and Miles would instead be the foil to the protagonist, Bing. Literary roles are in relation to the centralized character and there is a constant fluidity since in a moment, every character’s story is in motion." - potentially new paragraph, but it would be a compare and contrast ( so you'd have to watch out)... Ayesha likes it, though. make sure it fits in with your overarching theme... make a whole new paragraph.
Originally, Enkidu exists outside civilization. It is not until he sleeps with the temple prostitute Shamhat for seven days and seven nights that he understands the language and customs of man(show Bing's specific social changes from living in the house). Bing lives alone due to his social ineptitude but through Ellen, who is of questionable sexual integrity and with whom he later has sexual relations, he is capable of entering society. Interestingly, she works on 7th Ave. and it is only after looking at seven houses do the two find the house in Sunset Park. The house is formed and Bing becomes a member of the tightknit community of Sunset Park. The message is universal and clear in both stories. Human civilization is a creation of people and so it is only through people that a person can enter society. In fact, it is the bond between more than two people that establishes a society.
Sunset Park is the neighborhood in which the four housemates choose to squat within. The house protects them from the cost of living and shields them from the elements. In Gilgamesh, Shamash is the sun god that protects Enkidu and Gilgamesh throughout the epic. The sun god sends wind to bind Humbaba to enable the victory, but more importantly to ensure the survival of Gilgamesh and Enkidu. Eventually, higher powers decide to assail the heroes of Uruk and not even Shamash can grant protection. The house enables Alice to finish her dissertation, Ellen to develop true expression, Bing to exist as a part of society, and Miles to live in New York and confront his past. The house provides an environment in which the characters are able to live together, affect one another, and within this environment(new word) save one another. Both Gilgamesh and Enkidu have prophetic dreams throughout the tale indicating impending, unavoidable disaster. At the house in Sunset Park, the tenants receive many eviction notifications and their refusal to leave ends in violence. The transformation of the sun god into Sunset Park suggests that there is the existence of tangible, positive circumstances and that “all luck isn’t bad” (pg ?). ---(pinto says put nourish)
Ishtar is the antagonist of Gilgamesh and her actions cause the complications and sufferings. Gilgamesh denies this authoritative goddess sex and in retaliation she sends a deadly bull from heaven to destroy him and Enkidu. The two of them are capable to defeat the beast without divine intervention. Pilar’s older sister approaches Miles and demands she provides her with the spoils of gutted houses. At his refusal she angrily sends two thugs to beat him up. They succeed. This dissimilarity might have to do with the absence of Bing. Had his two hundred and twenty pound friend been at his side, the confrontation might have ended differently. Ishtar eventually instigates divine retribution and the gods choose to kill Enkidu seemingly without reason. Miles’ brother is suddenly killed in a small skirmish that should not have resulted in his death. It is a catholic notion that is no different over space or time. Unexpected tragedy does occur without reason.
Gilgamesh travels to the end of the world to the oceans in an effort to learn the secret of immortality. Since he cannot master sleep(explain that), he is convinced to return home but to take a flower from the bottom of the ocean that will restore youth. Miles travels south to the end of the United States yet since he cannot comply with the legalities between him and Pilar he must return north. She is Cuban, which like the boxflower, is from the ocean beyond the end of the earth. Gilgamesh is bathing on his way home and a serpent clandestinely steals off with the flower. It is an abrupt end that seems rushed. Sunset Park ends with Miles’ hopes of the future stolen by the fight with the eviction police. His life with Pilar slips from his grasp and he falls into the despair. Just like Gilgamesh the novel ends abruptly at a point of panic and melancholy.
The classic epic(work on synonyms) Gilgamesh is a tale of glory, sorrow, divine intervention and secular immortality. However, Paul Auster has taken this tale and adapted it to a modern epic. Chronological distortions, character splicing, and fusions reflect Auster’s unique take on the Mesopotamian epic(change from epic to another word). It is told in this manner to be accessible and relatable(combine with another sentence - short(Ayesha likes it thoug). Secondary characters are explored and the designated roles of protagonist are blurred with the shift in narration. Sunset Park beautifully captures the gem cut faces of the same story. The book does not directly come out as an adaptation, but the similarities are endless and uncanny. Characters, events, and relationships reflect the recycling of an old story that captures the essence of Gilgamesh.
Auster anthropomorphizes Gilgamesh. He strips away the 2/3(look into propotion of Willa, Mary, Morris) divinity, kingship, and physical strength to leave a flawed character with a violent, irrational temper: Miles Heller. This humanification(go with humanization) illustrates the internal struggles and personal shortcomings that even the high and mighty must suffer. Miles flees from Providence to wrestle with his internal demons just as Gilgamesh leaves his kingdom to kill the ogre Humbaba. Neither is able to accomplish what they truly desire. Although, Gilgamesh obtains secular immortality but remains mortal and must eventually face death(flesh out to make a better comparison). Similarly, Miles runs from guilt, and for a while succeeds in losing himself, yet eventually is forced to realize that denial is no means to cope or understand his brother’s death. Although Miles is only a diaphanous specter of Gilgamesh, his essence of true humanity embodies a more complete, strong, and alive representation of the same being.
The role of the family in Gilgamesh is one of mutual protection, love, and sacrifice. The Mesopotamian hero’s mother is the minor goddess Ninsun. Adapted to a modern story, Miles mother is a relatively famous celebrity idolize(look for potentially a better word) and worshipped in American culture. Ninsun adopts Enkidu as her own son just as Morris and Mary-Lee Swann adopt Bing into their family after witnessing his displays of unending kindness and loyalty. Ninsun does this to bestow protection on Enkidu along with Gilgamesh. Not surprisingly, “Willa”, the name of Miles' stepmother, from Germanic roots translates to “protection” (Work on it). As secondary characters in the ancient story, Auster does not strip the parents of any qualities, instead promoting their own perspective to the forefront of the story. In Gilgamesh’s quest to attain immortality, his family is greatly affected yet his mother’s viewpoint is not thoroughly addressed. By switching perspectives to Morris, Sunset Park expands on the full effects of the protagonist’s actions and the repercussions in full to secondary characters.
Bing is perhaps the most unchanged character in this modern epic. He epitomizes the primitive Enkidu; Gilgamesh’s bosom friend that was born of the earth and raised by animals. Physically, Bing and Enkidu are large and have “hirsute [chests]” (pg 222) and are large bulking bears. Enkidu is a literal creature of the earth, an animal from the point in which humanity existed before the rise of Mesopotamia. Because Sunset Park occurs in 2007, Bing is instead a creature of the primitive modern: the point proceeding the era of software. The arguably homoerotic relationship between Gilgamesh and Enkidu is seen in Bing’s attraction to Miles. Further strengthening the analogy, Bing gives advice and helps Miles throughout the novel just as Enkidu interprets Gilgamesh’s dreams. Both characters serve to foil their protagonists and demonstrate that despite fundamental differences, friendship can endure hardships. Auster switches narration which shows that the foil to the protagonist can be complex and suffer personal problems. "It also suggests that a true protagonist in the story of a person’s life is on whom the story gravitates (unclear - simplify). The story surrounds Miles; his story establishes him as the protagonist. If during the moments of Mile’s life Auster had instead focused on Bing, than the roles would reverse and Miles would instead be the foil to the protagonist, Bing. Literary roles are in relation to the centralized character and there is a constant fluidity since in a moment, every character’s story is in motion." - potentially new paragraph, but it would be a compare and contrast ( so you'd have to watch out)... Ayesha likes it, though. make sure it fits in with your overarching theme... make a whole new paragraph.
Originally, Enkidu exists outside civilization. It is not until he sleeps with the temple prostitute Shamhat for seven days and seven nights that he understands the language and customs of man(show Bing's specific social changes from living in the house). Bing lives alone due to his social ineptitude but through Ellen, who is of questionable sexual integrity and with whom he later has sexual relations, he is capable of entering society. Interestingly, she works on 7th Ave. and it is only after looking at seven houses do the two find the house in Sunset Park. The house is formed and Bing becomes a member of the tightknit community of Sunset Park. The message is universal and clear in both stories. Human civilization is a creation of people and so it is only through people that a person can enter society. In fact, it is the bond between more than two people that establishes a society.
Sunset Park is the neighborhood in which the four housemates choose to squat within. The house protects them from the cost of living and shields them from the elements. In Gilgamesh, Shamash is the sun god that protects Enkidu and Gilgamesh throughout the epic. The sun god sends wind to bind Humbaba to enable the victory, but more importantly to ensure the survival of Gilgamesh and Enkidu. Eventually, higher powers decide to assail the heroes of Uruk and not even Shamash can grant protection. The house enables Alice to finish her dissertation, Ellen to develop true expression, Bing to exist as a part of society, and Miles to live in New York and confront his past. The house provides an environment in which the characters are able to live together, affect one another, and within this environment(new word) save one another. Both Gilgamesh and Enkidu have prophetic dreams throughout the tale indicating impending, unavoidable disaster. At the house in Sunset Park, the tenants receive many eviction notifications and their refusal to leave ends in violence. The transformation of the sun god into Sunset Park suggests that there is the existence of tangible, positive circumstances and that “all luck isn’t bad” (pg ?). ---(pinto says put nourish)
Ishtar is the antagonist of Gilgamesh and her actions cause the complications and sufferings. Gilgamesh denies this authoritative goddess sex and in retaliation she sends a deadly bull from heaven to destroy him and Enkidu. The two of them are capable to defeat the beast without divine intervention. Pilar’s older sister approaches Miles and demands she provides her with the spoils of gutted houses. At his refusal she angrily sends two thugs to beat him up. They succeed. This dissimilarity might have to do with the absence of Bing. Had his two hundred and twenty pound friend been at his side, the confrontation might have ended differently. Ishtar eventually instigates divine retribution and the gods choose to kill Enkidu seemingly without reason. Miles’ brother is suddenly killed in a small skirmish that should not have resulted in his death. It is a catholic notion that is no different over space or time. Unexpected tragedy does occur without reason.
Gilgamesh travels to the end of the world to the oceans in an effort to learn the secret of immortality. Since he cannot master sleep(explain that), he is convinced to return home but to take a flower from the bottom of the ocean that will restore youth. Miles travels south to the end of the United States yet since he cannot comply with the legalities between him and Pilar he must return north. She is Cuban, which like the boxflower, is from the ocean beyond the end of the earth. Gilgamesh is bathing on his way home and a serpent clandestinely steals off with the flower. It is an abrupt end that seems rushed. Sunset Park ends with Miles’ hopes of the future stolen by the fight with the eviction police. His life with Pilar slips from his grasp and he falls into the despair. Just like Gilgamesh the novel ends abruptly at a point of panic and melancholy.
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