American Modernist Literature

8/12/2019 American Modernist Literature

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AMERICAN MODERNIST LITERATURE

THE GREAT GATSBY.

1. Myrtle and the death car

2. Gatsby as a symbol/ threat

3. The Ash-Hea and the !e" #orld.

The car- $ey- the %&olence' dan(er and seed &n )&t*(erald+s no%el. Encas,lat&on o "hat

modern&sm &s. a** and o,lar m,s&c- class&cal str,ct,re.

Myrtle+s dead- h&t by a car. Retrosect&%e- The death car0 d&dn+t sto. Sho"&n( the seed o "h&ch

technolo(y- th&s er&od o modern&st- death haens %ery ,&cly-e%eryth&n( haens &n an &nstant.

The last l&%&n( th&n(' the last %&tal&ty- the l&e &s ,ns,sta&nable &n th&s "aste land0. A "ar %eteran-

Gatsby. &olence sorro,nd yo, and can haen &n an &nstant. Th&s &s not a (ran tra(&c moment.

r,de anatom&cal d&sc,ss&on-she has become 4,st meat. 5a(e 67. Act,al o,lar son(s o the

er&od8 Broad"ay son(s' "h&te %ers&ons o 4a** m,s&c. Best- sell&n( no%el. Romance no%el &nE(yt- abo,t a Br&t&sh "oman raed by a shee$. e,e- adots the br&t&sh "oman- t&o c&nc,enta

sombras de (rey9 &ty shades o (rey:. &olent se;,al&ty- also rat&al. !on-"h&te s,b4ect more

se;,al. Gatsby-4e,e. Romant&c&sm-ethn&c&ty.

Gatsby &s d&saro%ed by the narrator' !&c$ arra"ay- Gatsby &s &nnocent &n h&s sent&mental

l&al&*es "hat the "orld tr,ly &s- #-ASH SH?5. Th&s &s &n act real&ty. #orld "ar one.

E%eryth&n( &s mater&al no mean&n( at all. #orld has lost stab&l&ty. St, b,t noth&n( means anyth&n(

anymore. Seasonal t&me. #hen "e (o rom s,mmer to all. 5ass&n(. Sr&n( t&me b,t noth&n( &s

(ro"&n( any more.

Gatsby+s ather. Sched,les- someth&n( that can be traced bac$- tra&n yo,rsel- roer rat&onal

c&t&*en. Gatsby arad&(mat&cal &(,re- stra&(ht rom the Enl&(htement. 1@-1@C. Sent&mental&ty. ?t

loo$s l&$e that he has ta$en the model rom a #estern hero- a hero o the o,lar l&terat,re. #hat &s

Gatsby str&%&n( or here- comb&nat&on o tra&n&n( yo,r m&nd and tra&n&n( h&s body. All h&s day &s

,ll. >an ody..?t comletely ad4,st &t. Ganster- shady b,s&ness-,est&onable bac$(ro,nd. Amer&can

>ream- he "ants to be a co"boy hero. Gatsby doesn+t come rom corr,t&on- nostal(&c $&nd o

&nnocence.

e- not l&$e !&c$- honest b,t hard bo&led. Gatsby th&n$s that he can reconnect "&th h&s lost lo%e and

that he can became "hoe%er he "ants to be. Gatsby $&lled by Mr.#&lson. Gatsby has to d&e as a arto the no%el. Gatsby model h&msel &n ad%ent,ro,s no%el o the last art o the 1@ thcent,ry so' he

can+t l&e beca,se the romant&c&sm &s 4,st the oos&te. Ethn&c ol&t&c D d&salo,d- yo, can+t escae

rom the ash-hea' yo, can+t chan(e yo,r class. lass l,&d &n the n&ted States. #hen he Gatsby &s

too close to h&(h soc&ety he has to d&e. God th&n(s e%eryth&n( -sa&d Mr. #&lson. #&lson sees &n

Ec$leber(+s eyes God. They bel&e%e ad%ert&s&n(0. #hat do Ec$leber(+s eyes reresentF #hat do

they meanF #&lson- "ell' &t reresents G. God+s 4,d(ement D hr&s&s- no moral &n soc&ety- some

bel&e &n soc&ety- that there &s a l&(ht &n the end o the t,nnel- a (,&de- he &s a %ers&on o ,s &n the

no%el. ?mmoral "orld' &mmoral landscae. A clear symbol- & yo, are loo$&n( or a mean&n( "hen

there &s not- l&$e a m,te scene. Ec$leber(- ethn&c otherness- the act that Ecleber(+s eyes. The no%el

sta(&n(- roblemat&c no%el beca,se o ol&t&cs. Th&s $&nd o ear o ethn&c&ty...5ermanent loom&n(

threat o ethn&c otherness. Yo, can+t scae. A character l&$e Tom'>a&sy or Tom try to scae the&rethn&c&ty. #hat &s (o&n( thro,(h Gatby+s m&nd beore he &s m,rdered- e&hany- "hen he re


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BARBARA #?==8 Gatsby and the


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ra*y and ?(nat*. Reet&t&%e th&n(s- &t haens e%ery day. E%en the carachters are conc&o,s o the

constant reet&t&o. The &rst com&c boo$' ,bl&shed by Eastern olor 5r&nt&n( omany &n 1@33.

At&on om&cs 19 ,ne 1@37:. S,er Man' >etect&%e om&cs' 1@3@' ata&n Amer&ca...

?nternat&onal om&cs8 Man(a &n aan' ess&nKe &n )rance Her(K+s Ad%ent,res o T&nt&n9 1@2@-1@73:.

a%&d

Ma**,chell&' Art S&e(elman- Ma,s. ?%an Br,nett&' 5. Mondr&an0 2. om&cs orm &n Scott

Mclo,d. nderstan&n( om&cs. G,tter can tell yo, a lot ho" the com&c "or$s. The anels ha%e to

be "ell str,ct,red.

RAY AT8

,r&o,s- ,nny' the mo,se &s the a(ressor' &n%ers&on o nat,re' a m&smatch. The mo,se %&olent' the

cat "ants to be lo%ed. n,est&onable lo%e o the mo,se. The mo,se "ants to h,rt h&m b,t he

doesn+t m&nd. ?(nat*- ather' ra*y &s somet&mes called he0. Herr&man doesn+t ha%e a (ender' hesymbol&*es lo%e' erson&&es ,re lo%e. Art&st&c style- connotat&ons. !ot a lot o bac$(ro,nd deta&l.

The t&me "&tho,t conse,ence.

E.E ,mm&n(s- #or$&n( oet' he ,bl&shed &t &n a l&terary ma(a*&ne8 A )


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Ser&al ,al&ty. Ma4or themes-&ss,es. 32- ,ne 2th1@1.

ra*y at sad- >on &yote- he can+t ta$e the tort&lla. Ar&*ona anel. ra*y at &n ersect&%e.

=an(,a(e o &lm ed&t&n(- c,t- comes rom &lm. En(l,&n( &t bac$ to(ether. Aesthet&c' des&(n

element- te;t,re o that "orld. orothy 5ar$er' Gertr,d

Ste&n-yo,$no" them b,t yo, don+t th&n$ that yo, ha%e to read her boo$s' or &nstance' l&$e T. S

El&ot+s The "aste lad. Sent&mental &ct&on- Gone "&th the "&nd. =o" c,lt,re. M&sread&n(- the she.

>emocrat&c &deal. 221. Alle(ory. E%eryman or 5arad&se =ost. Race. Rac&st character. h&nese d,c$

character. Herr&man "as a m,lato. ra*y cat blac$ness' ?(nat* "h&teness. ra*y at &s not ,er

class' &s a $&nd o o,tcast. ?(nat* "h&te h&(h class. 1C1- learest e;amle. ra*y' bleach blonde.

Se;,al amb&(,&ty. #h&tened $ra*y cat' amb&(,os &(,re. Gatsby- rac&al an;&ety. Rat&ally amb&(,os

&(,re. Great Gatsby- ordan Ba$er- modern "oman- athlet&c' short her' more masc,l&ne %ers&on o

em&n&n&ty. ra*y at emen&ne th&n(s b,t &t &s a man. ?(nat*' &t does a$no"led(e &ts o"n

constr,ct&on. A ser&es o c,ts.

MA!HATTA! TRA!S)ER by ohn >oss 5assos

H&(h/ =o" c,lt,re >&st&nct&on.

9 Art' %al,able c,lt,re/ o,lar c,lt,re:. H&(h c,lt,re. Gender d&st&nct&ons' "h&teness and non

"h&teness.

ohn >os 5assos. ?n Amer&ca there "as not a h&(h c,lt,re l&terat,re &n the S' they coy the

E,roeans. Masc,l&ne ,al&ty. ?t man&,lates t&me ,&c$ly. ohn >os 5assos &s a art o the lost

(enerat&on. A man o some &mortance' an &mortant la"yer' "ealthy. Best schools &n the co,ntry.Har%ard. Absent "ealthy ather. )&n&shed Hard%ard' he "or$ed as an amb,lance dr&%er on the ront.

>os 5assos' he "ants to be art o the "ar. ?n%ol%ed &n the "ar more than Hem&n("ay. Manhattan


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Transer &s ,bl&shed &n 1@2. A %ery &mortant amer&can "r&ter. By the late 1@3s d&ssaears. He

(oes to Sa&n to the &%&l #ar. 1@C %ery conser%at&%e. Ater (o&n( to San&sh &%&l #ar' he became

a comlete conser%at&%e and he &s al&enated rom the "r&ters beca,se Hem&n("ay &s comm,n&st and

d&dn+t l&$e conser%ad,r&sm. ?mortance o the &lm &n h&s "ay o "r&t&n(. He ,nder(oes a ol&th&cal

sh&t that are er4,d&c&al or h&s l&terary re,tat&on. The Steera(e' 1@6 Alred St&e(l&t*. 5a,l Strand'

#all Street' 1@1. He &s &ns&red by >*&(a erto%'non-narrat&%e' &n R,ss&a' he (oes there

E&nseste&n9 a%ant-(arde &lm' narrat&%e:.

Str,ct,re o the no%el' e%erybody &s s"eaty' d&s(,st&n(' &lthy en%&ronment. 5a(e 13 9 m&rar en

casa:. &olence sat,rates th&s "orld. E%eryone' e%en the &nnocent ch&ldren. E%eryone' money (reed'

deserate reta&onsh& to money. As "e sa" &n one o the art&cles. &ty- metrool&s' bas&c cond&t&on

o o,r modern l&e. ?s there some ,tho&an comonent o l&%&n( &n the c&tyF

5eole react %ery bad' e;la&n&n( "hat haen'

Ellen Thatcher/ r&%&n( a carr&a(e and a tra&n. A(rar&an

and the modern. 5oetry o the s,b4ect&%e oem. =&r&c&sm abo,t an ,rban' collect&%e conc&o,sness.

Sense o seed' ers&stence o t&me' synchron&*&ty. arr&a(e' tra&ns mo%&n(' e%eryth&n( $ees (o&n(.

onah- b&bl&cal reerence. A c&ty &nmoral and corr,t- sho,ld be destroyed by God- a dar$ reerence

to doom. &ty &n Manhattan transer. O,al&ty o &ma(ery. Smells' (erman&c ,se o ad4et&%es' "ord,sed to(ether. ?ma(&st&c' S&ncla&r =e"&s. #hat &s race do&n( &n th&s no%el. Secondary characters-

on(o a$e- $&n$y ha&r' he &s not Ar&can. #h&te ethn&c&ty. Emhas&s on smells' the trash smells'


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no%el sat,rated "&th th&s.

Bet"een oe and oo- no se;-marr&a(e oroblems' he &s (ay' o4o homose;,al. S,&c&dal'

melhanchol&c. Ellen' &s s&m&lar to "hat &mmy does as a $&ds. H,n(ry and alone. She "as al"ays

alone' she asses rom ha%&n( her o"n room' she loo$s hersel &n the m&rror not&c&n( she &s yo,n(

and bea,t&,l. B,t the tra&c$+s no&se made her eel&n( so alone. !o&ses- host&le. =&terary

nat,ral&sm. !at,ral c&tyscae.

#orld #ar ?. 5oor old- Geor(e Bald"&n to ec&ly. Merely another $&nd o b&t o e%eryday l&e. T&me

o ,bl&cat&on on 1@2. E%eryday l&e- ASSASS?!AT?E #?== HAE GRAE

- the most ma4or e%ent &s someth&n( that

yo, read "h&le yo,r ar(,&n( "&th yo,r "&e. A "ar "o,ld be an e;traord&nary th&n( to see. >ar$

h,mor. ?t &s &nterest&n( or ho" &s (o&n( to aect the mar$et to them' and "orr&ed abo,t ho" are

they ersonally aected.

?. !e"saers and The ,lt,ral >&%&de.??. Alcohol' &olence and death

???. The #ar and Modern&ty0

5r&nt med&a' by the th&rd sect&on' &mmy Her and another. !"saer- orm and conte;ts' they are

reorters. E&len "he she &s an actress. !e"saer headl&nes. Ser&es o &ma(es. =e%el o orm

someth&n( (o&n( on "&th the ne"saers. Stan' lo%er o E&len sets &re to h&s aartment and d&es. He

&s an alcohol&c. 1 m&n,tes o ame- Andy #arhol- %ery amo,s &n a short er&od o t&me' and then

d&ssaears. Ellen &s a !&ne+s >ay #onder or an art&c,l&st "ho "rote abo,t her. H&s ather $no"s or

the ne"saers she had an aa&r and she "as (o&n( to (et d&%orced. H&(h de(ree o al&enat&on.

)ather-da,(hter relat&onsh&' a (oss& ne"saer. They don+t seem close' the ne"saer ta$es the

lace that &nt&macy "o,ld occ,&ed. 5eole seem rather d&stant. !o &nt&macy anymore. Yello"

4o,rnal&sm- "hat &mmy "r&tes. #hat ne"saer do they readF !e" Yor$ T&mes- the aer o

record- h&(h standard o 4o,rnal&sm' not tablo&ds. The !e" Yor$ Tr&b,ne sensat&onal&st&c' comocs'

l&$e !e" Yor$ Herald. ames Mara%ell- !e" Yor$ tr&b,ne he b,ys &t to read &n the s,b"ay. lassy

ne"saers9 the t&mes: and trashy ones9 tr&b,ne:. Trans&t&on o &mmy' enter&n( to h&s head and to

"hat he &s th&n$&n(. !e"saer headl&nes' the be(&nn&n( o the #ar and Santa la,s $&ller' "ho

$&lled h&s da,(hter and h&msel. )act,al &normat&on' temoral&ty o ne"saers' &n a %ery sec&&c

t&me. Temoraly ,n&,e. Modern &dea o nat&onal&sm. >a&ly ne"saer. Share o e%ents' o

belon(&n(. Sl&t , by nat&on' eole don+t eel ,n&&ed. A"areness o (o&n( on. ?deolo(&cal

,nct&on' belon(&n(' ,n&ty' , to day o "hat &s haen&n(. =e(&ble and &ntell&(&ble. !e"saer'%&olent acts. T&(htens. onnect e%eryone to(ether. Scr,mble+s &mmy+s ,nderstand&n( &s s&m&lar to

be dr,n$. #hen he &s dr,n$ he sea$s l&$e ne"saer' less le(&ble' less ,ndestandable. Ellen'

someth&n( s&m&lar' descr&t&%e assa(es' enter&n( her mo,th' all the s,dden' rac&st car&cat,re o the

ele%ator attendent. ?solat&onF Ellen' rad&cal s"&tches' a $&nd o deress&on to e;,berance. >&d to she

"al$s. atch-, to the resent moment-&nmed&acy' "hen she chan(es mood. #hen she chan(es her

mood loo$&n( &n the m&rror. onsc&o,sness' "hen she loo$s at hersel as a body' rad&cal sh&ts'

al&enat&on' sel-al&enat&on' sense o 4oy' someho". She has dec&ded that she &s (o&n( to abort the

baby' rec$less reedom. >ar$' bac$ alley th&n(. Ellen and &mmy marr&ed and ha%e a ch&ld. 5arallel

str,ct,re. ?solat&on &n mood' rom deress&on to 4oy. !ot co,rtsh& &n the marr&a(e' &mmy and

Ellen' they "ere marr&ed. #e don+t (et acces to the co,rtsh&' &t haens &n E,roe and they don+t

tal$ abo,t &t. They both seem to be temeramental. Art&c,late %ers&ons. &mmy assoc&ated "&th oldmoney and Ellen as "ell. Stan. #hat &s haen&n( to h&mF !arrated rom the m&nd o a dr,n$ man'

he ends , sett&n( &re. He s&lls ,erosene' and matches and the (as. Gas lams. Gas o,r&n(.


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O,erosene catches &re. 5as&%&ty' he &s helless' there &s someth&n( $&nd o monstro,s. 5&nocch&o.

ncanny.

=A ARGA >E !Q!?E- The c&ty o !&n&%eh' destroyed by m&l&tars' not rel&(&os' onah "atched

the c&ty+s s&n and terr&ble soc&ety . Cmo pues yo no voy a tener lstima de Nnive, la gran


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ciudad donde hay ms de ciento veinte mil personas que no saben distinguir el bien y elmal y gran cantidad de animales?

Religious imagery !aste land, images !here modernist !riters !ould return to" #onah isnot a prophet, $"% & Con'o #ac( change, success, representative o) the modern eraa)ricanist )igure*"

+l sol brilla ro'io a trav-s de la niebla, sobre cabrias herrumbrosas, sobreesqueletos de camiones, osamentas de .ords, masas in)ormes de metal corrodo"#immy aprieta el paso para librarse del olor" /iene hambre" 0os apatos empiean alevantarle ampollas en los dedos gordos de los pies" +n una encruci'ada, donde lase1al luminosa parpadea todava, hay"una estacin de gasolina y )rente a ella, unacantina" The Lightning Bug" 2asta con precaucin su 3ltimo quarteren desayunar"0e quedan tres centavos, que le traern buena suerte o mala, es igual" 4n enormecamin de muebles, brillante y amarillo, ha parado a la puerta"

P0iga, 1me de"a usted subir2 pregunta al hombre pelirro"o que lleva el volante.

P1dnde va2P&o s... 3astante le"os.

5imilar to the description o) 2atsby, city6 smo(e and ruins, city has become the historicNiniveh, because o) !or(ing history, because o) industry, secular modern violence, alesson about modern history"

Niniveh /he burthen burn, birth,7anhattan contemporary version o) Niniveh" %os8assos 7anhattan /rans)er about the 7odern City" .orm o) this novel characters

completely alienated" City itsel)" 9n the modern era, a city is actually a character" 9norder to do that, brea( conventional novelistic"

:"%orothy 8ar(er& :;


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%nnabel and )idge came out of the tea room with the arrogantslow gait of the leisured, for their Saturday afternoon stretchedahead of them. *hey had lunched, as was their wont, on sugar,

starches, oils, and butter!fats. (sually they ate sandwiches ofspongy new white bread greased with butter and mayonnaise+

they ate thick wedges of cake lying wet beneath ice cream andwhipped cream and melted chocolate gritty with nuts.

They aren't described as people, reader totally disconnected fromthem, the ideal, perfect consumers.What are Annabel and Mitchlaughting at?What would you do if you had a million dollars? Aplay. Consumers.

"isten, Annabel," she said. "oo!. uppose there was thisterribly rich person, see? #ou don't !now this person, but thisperson has seen you somewhere and wants to do something foryou. Well, $%$ a terribly old person, see? And so this persondies, &ust li!e going to sleep, and leaes you ten milliondollars.

(ow, what would be the first thing you'd do?"

)ery first transition, *uic! response about themseles asconsumers. +t is neer enough. arger &o!e relationship of thestory with the title - the standard of liing/antasy corruptedeconomy. (ot a realistic understanding of the economy.

0lac! and white %rrangement in lack and -hite.1olitical, race relations inAmerica. eft politics. White woman whose husband we don't meet.he wants to meet the singer Walter Williams african americansinger. /amous blac! singer.

"+ am," she said. "+ !now + am. 1oor 0urton2 (ow, me, +don't feel that way at all. + haen't the slightest feeling aboutcolored people. Why, +'m &ust cra3y about some of them.They're &ust li!e children4&ust as easygoing, and alwayssinging and laughing and eerything. Aren't they the happiestthings you eer saw in your life? 5onestly, it ma!es me laugh&ust to hear them. 6h, + li!e them. + really do. Well, now,listen,+ hae this colored laundress, +'e had her for years, and +'mdeoted to her. he's a real character. And + want to tell you, +thin! of her as my friend. That's the way + thin! of her. As + sayto 0urton, 'Well, for heaen's sa!es, we're all human beings2'Aren't we?""#es," said her host. "#es, indeed."

o sofisticated than she says that they are all human beings andthen, she said the most racist thing, + loe my blac! laundress.

"Wait till I tell him I met Walter Williams!" she said. "He'lljust about die. Oh, we have more arguments about coloredpeople. I talk to him like I don't know what, I get so ecited.'Oh, don't be so sill,' I sa. ut I must sa #or urton, he's

heaps broader$minded than lots o# these %outherners. He'sreall aw#ull #ond o# colored people. Well, he sas himsel#, hewouldn't have white servants. &nd ou know, he had this oldcolored nurse, this regular old nigger mamm, and he just


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simpl loves her. Wh, ever time he goes home, he goes out inthe kitchen to see her. He does, reall, to this da. &ll he sas is,he sas he hasn't got a word to sa against colored people aslong as the keep their place. He's alwas doing things #or

them4giing them clothes and + don't !now what all. The onlything he says, he says he wouldn't sit down at the table with onefor a million dollars. '6h,' + say to him, 'you ma!e me sic!,tal!ing li!e that.' +'m &ust terrible to him. Aren't + terrible?""6h, no, no, no," said her host. "(o, no.""+ am," she said. "+ !now + am. 1oor 0urton2 (ow, me, +don't feel that way at all. + haen't the slightest feeling aboutcolored people. Why, +'m &ust cra3y about some of them.They're &ust li!e children4&ust as easygoing, and alwayssinging and laughing and eerything. Aren't they the happiestthings you eer saw in your life? 5onestly, it ma!es me laugh&ust to hear them. 6h, + li!e them. + really do. Well, now,listen,+ hae this colored laundress, +'e had her for years, and +'mdeoted to her. he's a real character. And + want to tell you, +thin! of her as my friend. That's the way + thin! of her. As + sayto 0urton, 'Well, for heaen's sa!es, we're all human beings2'Aren't we?""#es," said her host. "#es, indeed.""(ow this Walter Williams," she said. "+ thin! a man li!ethat's a real artist. + do. + thin! he deseres an awful lot ofit. 7oodness,

Woma perpetually ridiculous husband the reason she does anything.

he called this man mister-

"I liked him," she said. "I haven't any feeling atall because

he's a colored man. I felt just as natural as I would with

anybody. Talked to him just as naturally, and everything. But

honestly, I could hardly keep a straight face. I kept thinking of

Burton. h, wait till I tell Burton I called him '!ister'"

#alt$. !isery% basic condition of life. The female, the men figure, foil, ironic

distance. Identify with her. &haracter embodied in that story, laugh with arker.

&ultivate a sense of distance. arker% divide running parallel. (umor, ironicdistance. )augh with her and the people she is laughting at. *othing but ironic

distance, an incredibly isolating attitude. +ocial space, belong together, a distance,

all the readers have. !ainstream maga$ines, maga$ines of distinction% elite

educated readership% critiue. &reating that distant irony, elite humour, belonging.

)aughter, humour, +he was a good sport, man liked a good sport. -ery factual.

These sleeping pills are uneffective. The failure of the medicine to give her wants

she wants. romise of consumerism. ailure of the commodity tod deliver promise.

The promise of commodities. /oing back to drinking again. ngoing struggle with

alcoholism. &onsumerism, whisky will not make her feel better, it is the onlyrecourse for her. 0rinking as a kind of therapy. &ritiue of the domestic wives,

unmarried, doesn't have a family, emphati$e, allegory of a certain style of


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american product. Identify with her in a certain way. !iddle class family life.

1ssays in modernist era, organ of the ja$$ age. +peciali$ed in a kind of wit and

irony. Ironic wit and ironic disntance. 2 story about a family.The man that

vanishing from his routines, sense, fantasy of individualism. !iddle% class office

worker. Inhability to earn enough money. 3gly, terrible, unconscious. 2lienation,

masculi$ation, femeni$ation.

Irony% !iss &ole% #ilock wants to get out of the situation. *ot beautiful, allusion,

surface, another level of irony. &ritical of not just the modern addicted to

sentimentality% not modern. 2gainst this sentimental woman. !r. #ilock's fantasy

will remain a fantasy. 2 part of a group that is completely mocking this scenario.

&ritiue of convention. /entil or middle class% undesirable here. In a way, they live

the 2merican 0ream. Basis of the american dream. It doesn't give you what you

want.

Moden&st- acces&ble to a broader readersh&. 5ar$er- reser%e her te;ts. H,mo,r. ey. Ho" her

"r&t&n( &nterelles ,s as a reader. Able to &ron&cally ma$e ,n rom ma&nstream eole. Modern&sm

&tsel. Emer(e rom a lar(er modern&ty. r&t&c&ses ,rban l&e. Sense o d&stance. ?solat&on and

al&enat&on. El&te. ?nd&%&d,al&ty. Thro,(h &rony. El&t&sm. =a,(hter-eco. 176. )em&n&ne bea,ty rom

the 2s %ol,t,os' to the standard s$&nny' modern'

3 ma4or th&n(s

lear thes&s cla&m' "hat ? am (o&n( to ar(,e o the essay. ar$ &rony'

>eath' ? tr&ed to $&ll mysel &n all these $&nds o "ay. =etter o res&(nat&on. Yo, can+t e%en $&ll

yo,rsel anymore. 5ar$er embrac&n( the &(,re o modern&st "r&ter. 1@3S descr&b&n( 5ar$er')&t*(erald' Ste&n- =ost Generat&on. a** a(e a %ery narro"' sel&sh er&od. ?nterested &n ser&o,s

,est&ons. Ser&o,s r&nc&les 3s. There &s not ? b,t "e' s&n(,lar to l. AmKr&co 5aredes' !athan&el


12/26

#est' te;ts o the a** A(e' one o the stor&es abo,t modern&sm' ol&t&cal ser&o,sness &n 1@3s.

Gatsby- not a master&ece. E;,berant e;er&mentat&on' (reat l&terary o,t,t' someth&n( rad&cal

haens rom the 1@2-to 3' or #&lson' >eath' Holly"ood. B&o(rah&es o "r&ters that "or$ed or

Holly"ood "as the e,&%alence o death. Today' maybe nostal(&a rom the 1@7s. 1@

(enerat&onal &dent&ty.Modern&st- a (enerat&on' they belon(ed to a (enerat&on' o"er o that

(enerat&onal &dea.

5ar$er+s 5ersona8 a,tob&o(rah&cally' "e (et to $no" >orothy 5ar$er as a erson' o,ts&der' sense o

d&stance rom e%eryone' o,ts&de "atch&n( e%erybody' acces&b&l&ty to the d&stance' a&l,re o

cons,mer (oods' e%eryday moments that ro%&de the el&te d&st&nct&ons.1@2- &nlat&on o the e(o-

then' &n 1@3s tho,(ht ho" sel&sh that "as.

ATS THc,lt,re. Re(&onal&sm' a co,nter or modern&sm. T,rn&n( a"ay rom modern&ty. !e" Yor$'

corr,t&on' ret,rn&n( to nat,re as a "ay to ,rs,e the art' a better l&e. h,n$ . Amer&can "est.

Ale;ander Gardner' Se%en Men and #omen 177. Emhas&s &n landscae' desert' so,th"est desert'

l&$e emale body' bea,ty' then threats9 star%at&on...: b&nary' se; and death. Emer(&n( rom the

landscae. ?ncred&bly stereoty&cal. nchan(ed o%er the co,rse o cent,r&es. ?n%ers&on. >est&ny

retor&c. 5r&m&t&%eness' star$ oos&te o modern&ty. Anc&ent "ays o l&e. Re(a&n ,re s&r&t,al&ty.

T&mothy


13/26

Marr&a(e and %&olence. Ed&ted %ol,me by Blac$"ell- reerence essay. Encycloed&a l&$e essay.

#r&tten or a (eneral readersh&. H&(h real&st d&ct&on. ?nter&or hsycolo(&cal real&sm. act,s thorn-

marr&a(e- Mary A,sten. She "as %ery ,nha&ly marr&ed at a yo,n( a(e. Then' she had some aa&r'

she tr&ed to reconc&l&ate hersel. She "anted to marry a (eolo(&st "&th "hom she had an aa&r b,t

he d&dn+t marry her and that made he terr&bly ,nhay. 5a(e 2. #hat &s adm&rable abo,t >,lc&eF

=ac$ o a(ress&%eness' con%ent&onal&sm o descr&b&n( se;,al&ty' se;,al des&re. =et her &n%&olate',nharmed. 5,ls&%e o"er that let her &n%&olate- she &s let ,nreb,te and &n%&olate' "elcomed. There

&s a antasy here' "&th A&rl&ss seems to ha%e' "&th >,lc&e' she "on+t re,&re th&n(s rom h&m. She &s

let &n%&olate' she &s not aected by se; the "ay the "omen &n the c&ty are. >,lc&e- l&$e nat,ral

reso,rces. He can act "&tho,t eect. A&rl&ss' a to,r&st' re(enerate h&s %&tal&ty. >,lc&e- another

attract&on he st,mbles across. >esert' landscae- a emale body to be con,ered by male. ob o

men- b,&lt on &t' c&%&l&*&n(. !at&%e-Amer&can "oman' nat,re &n orms rod,ct&on-&n%ers&on- the (oal

not to ma$e a bas$et' based &n yo,r $no"led(e o nat,re. ey o emen&n&ty- r&m&t&%e relat&onsh&

"&th nat,re' ,r&ty- mo,ld&n( real&t&es o earth. Mac,l&n&ty a&ls beca,se &s $&nd o lost embod&ment.

A,sten em&n&st. Sel-emloyed "r&ter. )emen&n&ty closed to nat,re emo"ers "omen. #hy "as

she (&%en the da((er' her mother (a%e her to rotect her rom se;,al e%ents. Anc&ent san&sh

"or$mensh&. >a((er' a ersonal and r&m&t&%e' not art o c&%&l&*at&on' r&m&t&%e ast' anc&entsan&sh "or$mensh&. &s&on o the emme atale' "omen "&th a da((er. Se;,al dom&nance. #hat

&s the rom&se o the #est or A&rl&ssF He loo$s or &ns&rat&on' ass&on' A&rl&ss &s s,er&n( o a $&nd

o deress&on. ?n order to re(a&n a $&nd o &ns&rat&on &s (o&n( to the #est. S&r&t,al homeland.

Re4,%enate h&m someho".

#hat tye o l&terary cr&t&c&sm- theory o ho" l&terat,re sho,ld reresent the en%&ronment. >&rected

to st,dents' ad%anced ,nder(rad,ate st,dent or (rad,ate st,dent. !at,ral&sm- she read ac$ =ondon-

nat,re al"ays host&le &n ac$ =ondon- characters ree*e to death &n the most o h&s no%els. 3 rd.

omn&sc&ent narrator-chronolo(&cally-no r,t,re o&nt. =e%el o content' not orm. >,lc&e- a

s&necdo,e o the en%&roment. >esert ass,mes the role o a character. A&rl&ss doen+t ,nderstand the

en%&ronment and >,lc&e yes. A&rl&ss a to,r&st and not the lone e;lorer he &ma(&nes h&msel to be.

#hat are "e s,osed to see &n "hat A&rl&ss &nds &n the desertF Manhood' dandy' Har%ard' s$&nny

and ale. He "as $&lled by !e,rost&m&a9 deress&on:' h,nt to the "est. Theodore Roosel%elt-

amer&can "est- he became an &con. >andy ne" Yor$ ol&t&c&an. #est to reco%er h&s manhood. He

comes rom the "est and he seems rene"al' &lled o,t bod&ly' and "ell' ersonaly. Seems to

,est&on the %al&d&ty. M,rder. >a((er l&$e a thorn' he d&es &n means someth&n( b&((er. ?n !Y he

reresents a m,rder o 4,st&ce and tr,e democracy9m&sread: ' a(ency o the desert' d,lc&e reresents

the desert' the desert $&lls h&m. She (oes to !Y to &nd h&m and $&lls h&m. En%&ronment' the land

contr&b,tes &n o,r l&e' "oman "ho &s abandond' re4ected by her lo%er reco%ers the a(ency by $&ll&n(

her lo%er. >,lc&e $&ll&n( the sna$e and $&ll&n( the man- she does not (&%e &n to the e%&l- adan ande%e. A&rl&ss and the e;lotat&on o her. 5ol&th&cal h&losohy' oence and 4,st&&cat&on. ?n the desert

&s more real. ),s&on o l&e and the en%&roment she l&%es &n.

C.m >A!E SM?TH HA==. Academ&c Tal$ t&enes ,e &r crKd&tosN

1. AmKr&co 5aredes91@1-1@@@: 1@26- ,nt&l the 1@77

2.


14/26

broader readersh&. B&rth o h&cano l&terat,re ater 1@s. Ra&d mo%ement. There are th&n(s that

co,ld be better e;la&ned. 7S' @s. Reco%er&n( lost te;ts. Modern&sm- near all "ere "h&te male

"r&ters. #orld #ord ??. H&s dessertat&on- #&th h&s &stol &n h&s hand8 A Border Ballad.

Te;as Ran(er- not hero&c- ohn Bro"n- rom an an(le &s hero&c' rom the e%ol,t&on&st mo%ement'

and rom the other s&de he &s an &nsane' %&olent erson. #e&rd synta;. Translated lan(,a(e.

Great deress&on no%el' roletar&an no%el' a (enre that lo,r&shed' Ste&nbec$ the o,lar %o&ce o

th&s mo%ements. Alternate- hem&sher&c amer&can h&story. ohn >os 5assos. #orld #ar ?. eterans.

ery e;l&c&t and determ&ne "ay. Translates' d&e(o r&%era' SA tr&lo(y' #orls #ar ?. Three sold&ers.

1@16.

arran*a- one o the ma&n (eneral o the me;&can re%ol,t&on. Me;&can Re%ol,t&on last lon(er than

#orld #ar ?. Me;&co' %ery d&erent %ers&on o 1@thcent,ry. San&sh Amer&can re%ol,t&on' the

ranco-me;&can "ar' East oast co,ntr&es' modern&st' not &n terms o &ts ormal e;er&mentat&on.

n&ted States' descendent o E,roe' or &n d&alo(,e "&th Me;&co. !am&n(8 )rom h&s ather'

acclamate the S c,lt,re. Sel-nam&n(. Amer&can' as&rat&onal nam&n(. 5lace h&m ,lly "&th&n thenat&on thro,(h nam&n(. Border Me;&can $no"s that there &s no brotherhood amon( men9 a(e 13:

!ot oss&b&l&ty o ,n&&cat&on. The Border Me;&can9 ca&tal&*ed:. Recent Amer&can h&story- arb&trary

d&st&nct&on. ?n %ery recent memory. 5( 2@. n&,e soc&al en%&ronment.

1. Alternat&%e h&story

2. The Border &olence.

3. !am&n(sl&t &dent&ty.

G,al&nto- the sl&t ersonal&ty' d,al&ty. There "as not a s&n(le (,al&nto Gme*. He &s not only sl&t'

a d,al&ty' b,t a m,lt&l&c&ty o h&s ersona. >,al &(,re' b,t not red,ceable. !o cho&ce' no oss&ble

cho&ce. Yo, cannot ta$e a s&de. Ethn&c d&erence. Rac&al or ethn&c cate(ory. M&ss ornel&a' sel

hatred.

1. M,s&c' 5arty' )ol$olore

2. The Great >eress&on

3. )antasy and career

Role o m,s&c' oetry and ol$lore &n the no%el' as he (oes to colle(e' ol$lore h&s ma&n &nterest.

5r&mar&ly &nterested' doc,ment&n(' anal&*yn( and reser%&n(. !ot rob,st as the ost-"ar "r&t&n(s'

$ey arts o the c,lt,re. 5ossesed' rat&onal and "&ld.


15/26

E*ra 5o,nd- ma$e &t ne". ?s &t oss&ble to "r&te a son( that &sn+t abo,t lo%eF 5o,lar m,s&c. A ne"

tye o son(. Modern&st as&rat&on. =&m&ted to the access o these tools' that can+t be done.

G,al&nto+s roess&on. Try&n( to do someth&n( d&erent. ncle- a tra&tor to h&s eole. A "ron( set

o %al,es' he had betrayed h&s am&ly and h&s c,lt,re. Has G,al&nto s,ccess or 4,st betrays h&s

am&lyF

GREAT >E5RESS?

The "orst years o Great >eress&on' beore reco%ery' &t &s not aect&n( them the same "ay o the

modern amer&ca. #orld #ar HAREST

>ash&el Hammett.

Mystery no%els. 5assa(e- e%erybody+s a,tob&o(rahy.Red Har%est. Blac$ Mas$' !o%ember and >ecember 1@26.


16/26

Hammet- does not rece&%e a ormal ed,cat&on' ater h&s &rst year o h&(h school. Hammet &n h&s

early 2s. =&terary career. Br&ely &nterr,ted. 5&n$erton detect&%e a(ency. Blac$ mas$' the Maltese

)alcon' The Th&n Man' He stos "r&t&n( l&terat,re. 26 years (o by rom that boo$ and h&s death. By

the 1@3s. Re-enl&st to the S army. 1@1. months &n r&son. Ant&-comm,n&st mo%ement.

months- ederal. Hammmett- b,r&ed &n Arl&n(ton cemetery. E%en & he "as &n ederal 4a&l beca,se he

d&dn+t "ant to cooerate "&th the army. Ed(ar Allan 5oe.

The detect&%e Story- )rom 5oe and >oyle to Hammet-handler.

Gen&o,s detect&%es- 17Cs. Sherloc$ Holmes' &s 4,st a r&-o o an amer&can character. An

ar&thocrath&c (en&o,s detect&%e' (en&o,s "ho trascends. A(atha hr&st&e. A(,ste >,ond. 1@ th

cent,ry to the resent day. Hammet- oos&t&onal orm- not (en&o,s o"ers o d,dect&on- they are

not art&c,larly smart' they are oten dr,n$' and they are o the same soc&al en%&ronment than thecr&m&nals he &s ollo"&n(. ont&nental a(ent- all abo,t money- "ho &s ay&n( h&m. )or Sherloc$

Holmes money- no &mortant roblem. Moral l&ne bet"een the detect&%e and cr&m&nal. Real

&nno%at&on that Hammett br&n(s. Modern %ers&on o the detect&%e story. Ed,cat&onal d&st&nct&ons.

>&st&nct&ons o "ealth. #ho &s ay&n( "hom or "hatF (ly c&ty D M&n&n( to"n' yello"ed

arch&tect,re' a",l oll,ted' ,(ly c&ty. !ot sae d&stance' no (reat man. Ho" does Hammett "r&tesF

Hard-bo&led style- e%eryth&n( &s %ery matter-o-act. He not&ce ho" eole sea$ and dress' he can

cate(or&*e eole rom the&r "ay o dress&n( and sea$&n(. >etect&%e- constant o"er dynam&c. #e

ne%er $no" & the detect&%e- ch&e tact&cs. Esto&c.


17/26

ob4ect&%e. Alb,ry- he ,shes h&m as&de rom a(e on. The detect&%e %ery ob4ect&%e &(,re. The

only character "ho doesn+t all or her &s the cont&nental a(ent. The detect&%e &s not l&$e H,mhrey

Bo(art' he &s short and at' he &s (ett&n( old' he &s ,nhealthy. &nah beats >an. And

>an shots teh cont&nental a(ent. Ho" &s %&olence ortrayedFReal' lon(er. Seed. He (ets slaed

aro,nd. Mathemat&cal ec,at&on. That+s ho" O,ent&n Tarant&no ta$es the &dea or Reser%o&r >o(s.

5,re ca,sal&ty. a,se and eect. Gender. >&nah Brand- the "ay the ser%ant &s reresented. r,eltyto her. >&nah- messy body- %&olence. She &s the one "ho &n&t&ated the "hole roblem. Ten tho,sand

dollars. ? hoe yo, en4oy. S&;ty a(es. 1stm,rder. A (ood 4ob o c&ty clean&n(. Reser%o&r do(s

scenar&o- o,r corr,ts. ?n%aded th&s $&nd o lan(,a(e o eth&cs. Sect&on. T&c$et m,rder. The body

(ets e;la&ned. e todos modos %oy a ed&r a ,n er&to en balQst&ca ,e anal&ce las

balas ,e mataron a #&llsson y las de todas las &stolas del Banco.

El ch&co me m&raba callado' s&n alterarse. ol%& a controlarse. AsQ no me %alQa.

Me obl&(aba a onerme host&l' y le d&4e8

PTe traQa loco la m,chacha. Me conesaste ,e s& no lle(a a ser or,e ella no

,&so...

P!o' no' se lo r,e(o Pd&4o' &ncaa* de hablar. S,b& de color hasta ba4ar los

o4os. =e d&4e8

PHablaste m,cho' m,chacho. Ten&as m,cho &nterKs en e;l&carme toda t,

%&da. omo en ,n l&bro ab&erto. S,elen hacerlo los cr&m&nales no%atos.!eces&tan e;a(erar ara ,e los crean.

Se m&raba las manos. ol%Q a la car(a8

PSabes erectamente ,&Kn la mat. Tamb&Kn sabrs s& la &stola era del

Banco y s& la re,s&ste. S& es asQ' ests en la red s&n rem&s&n. =os tKcn&cos en

balQst&ca lo d&rn. S& no' te ca*arK &(,almente. >e ac,erdo. !o te %oy a dec&r s&

odrs h,&r. TX lo sabes.

- !oonan ,&ere emaelar a Thaler el S,s,rro. !o odr sostener s,s tes&s

ante ,n 4,e*' ero como las r,ebas son llamat&%as' s& matan a Thaler' or,e

se res&ste al detenerlo' el 4ee de ol&cQa tendr las manos l&m&as. Eso es 4,sto

lo ,e ,&ere hacer' matar a Thaler. Thaler se esca anoche de s, (ar&to en

&n( Street' ,e habQa cercado la ol&cQa. !o lo han atraado' s& es ,e no loestn hac&endo ahora. S& lo %e ,n ol&cQa' ad&s Thaler.

- S& ,&eres aostar a ,na carta y no te &morta ,e ,n &nocente m,era or t&'


18/26

all tX. 5ero s& no %es sal&da a t, caso' or,e c,ando se enc,entre la &stola

estars erd&do' or a%or' l&bra a Thaler de ,na alsa ac,sac&n.

PO,&s&era... Pd&4o Alb,ry con med&a %o*. Ret&r la %&sta de las manos y %&o a

>r&tton' y re&t&P8 O,&s&era... P%ol%& a &nterr,m&rse.

P>nde est la &stolaF Ple re(,ntK.

PEn la ca4a de Harer.

1. &olence &n Red Har%est

2. Real&st&c and &(,rat&%e deta&l

3. Sol%&n(0 5o&son%&lle.

=ABE RE!< STARY

El &ba a ser asQ' d,ro' hasta la m,erte.

O,erQa mor&r tal como %&%&' met&do en s, concha. Hablarle en ese momento era tort,rarle' ero no

de4arQa de hacerlo delante de ,n test&(o. El no era n& ms n& menos ,e Reno Star$ey' el hombre

d,ro ,e odQa a(,antarlo todo' y estaba d&s,esto a mantenerse &rme hasta el &nal0. Memo. Th&s

&nal moment- "hat ,lt&mately th&s no%el &s tell&n(F Mas$ed- co%er ,' a necessary e;lotat&onF

5o&son%&lle- rocess- %al,e+s old man a,thor&ty. Escae rom h&s b,rocrat&c e;&stence. =ast three

boo$s o the term' retty short. >4,na Barnes- lac$s lot.

RE> HAREST

He &s 4,st rtryn( to comrehend. onstr,ct&on.They start "&th a br&e s,mmary' then ar(,ment' &rst

o,r ara(rahs' C tyes o labor' they stress the l&n(,&st&c or d&alo(&c o the


19/26

Gan(ster r,led D ?taly- the absence o %&s&ble o"er' not bootle((&n( or (ambl&n( (o&n( do"n. The

(an(ster lac$ the l&n(,&st&c s$&ll that the &c$8PHay ,na ch&ca ahQ dentro' es Helen Alb,ry' t&ene d&ec&ocho aWos' m&de c&n- Mar;&smo. Adorno-

The lesb&ans (ro,- aro,nd her and Gertr,d Ste&n- b,t she "as b&se;,al. Barnes- 1@6s' Barnes'

Secondly- barnes central to the emer(ence o (ay and lesb&an art&c,lat&on' %ery stron(ly been

&dent&&ed to the de%eloment o (ay and lesb&an l&terat,re. Al&enated or o,tcasts. Be&n( 4e"&sh the

cond&t&on o be&n( a modern man. Eect- star$-barnes and Hammet- ad4ct&%es' e%ery 4,n$ &n e%ery

s&n(le' !&(ht"ood- a modern&st no%el. #hyF ? !&(ht"ood &s a d&erent tye o modern&st no%el.

!&(ht"ood not &nterested &n descr&b&n( ho" modern&ty has destroyed the ast- H


20/26

1. !&(ht"ood- Modern&sm

2. Romance the nder"ord0

3. >r. Mathe" onnor

BAR!ES- the old' the decadent. Barnes' ho" modern&ty ma$e th&n(s old. 1@3s- T.S El&ot hadalready "r&tten 5r,oc$' The #aste =and' one o the ma4or l&terary &(,res. ?t+s l&$e ha%&n( Ton&

Morr&sonF. !&(ht"ood- &t has oetry &n &t- tr,e l&terat,re- has oetry' &s oet&c. Essays' ed&tor.

El&ot- %ery old ash&on. Modern&st scholarsh&' %al,es &n oetry. Hem&n("ay' )a,l$er' )&t*(erald-

amer&can modern&sm. 5o,nd' #ool and oyce- "orl"&de modern&sm. )&ts &n modern&sm- oet&c

mode and d&&c,lt. El&ot comletely ,n&nterested. Ho" "e may read th&s no%el.

The e"' e"&shness8 ,ndo&n(' reason to be(&n' chaters abo,t eel&n(s. )el&;. The &rst lo%er o

Rob&n ote. Bo" do"n- ass&%&ty- s,bm&s&%ness' loss' )el&; e;&sts &n hr&st&an "orld' h&s her&ta(e &s

not really h&s' he &s eret,ally d&slaced' d&slaced by h&story' e"&sh D oos&t&on to hr&st&an&ty.

5eret,al deslacedness' al&enat&on' ethn&c or rel&(&o,s terms. Emblemat&c o th&s modernal&enat&on. 3C. )el&;- =a Sonnamb,le. nder"orld- eole o the ,nder"orld- soc&al- c,lt,ral

,nder"orld- c,lt,ral m&l&e,. He eels arec&ated or %al,ed &n th&s ,nder"orld comm,n&ty.

Bohem&an s,bc,lt,res. Actors' actresses' eole "ho erorm' Mo,l&n ro,(e' a 4e" mascarat&n(- a

ho,se- crest that doesn+t belon( to h&s o"n am&ly.

The (oal o )el&; &s to ha%e a ch&ld' that &s "ay he "ants to marry- h&s son' G,&do' &s $&nd o

hand&caed. >r.onnor- ho" the doctor character&*es- a le(acy' a &nher&tance' the reason that )el&;

"ants a ch&ld' to ha%e th&s ar&stocrat&c name. 5er%erse- a$e- the doctor- theatre. #hat does lo%e

seems to meanF

Rob&n ote- &t loo$s l&$e she &s (o&n( to d&e o a desease she hasn+t contracted. Homose;,al&ty-

s&c$ness and death- Rob&n- descr&be- somebody "ho &s s&c$. Barnes- homose;,al&ty- orm o death.

5sychoanalys&s- s&c$ness- homose;,al&ty.

Rob&n and !orah- they meet at the c&rc,s' !orah &s a c&rc,s romoter. They meet sorro,nded by

an&mals' nat,re connotat&on' the l&on cr&es &n ront o her' en&(mat&c center "h&ch attracts eole and

an&mals. =o%e o "omen or "omen- %er )re,d&an- motherhood. Motherly relatonsh&s. on,s&on

o roles' ,ncerta&n and &nsane' ,n"r&tten tye o romance. Romances- ho" &s s,ossed to "or$-

ca&tal&st- ho" &s s,ossed to "or$. nm&t&(ated an(,&sh' terry&n(' $ey ,est&on' &s !&(ht"oodattemt&n( to create a %&e" o the a&l,re o s,ccess o th&s $&nd o relat&onsh&-

!&(ht"ood.

1. Matthe"


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ma$e-,. )em&n&ne and masc,l&ne. ?n th&s ,nder"orld o !&(ht"ood- con%ent&onal (ender

assocc&at&on brea$s do"n. He &s a men' des&te he erorms h&s "ay o,t o h&s se;' em&n&e

ob4ect' masc,l&ne a&r' bo;er tra&n&n(. Med&cal sc&ence. #hat are "e s,osed to th&n$ abo,t

h&m- (ynecolo(&st- >es&re and &dent&&cat&on- des&re the em&n&ne and &dent&&cate "&th the

masc,l&ne. ?moss&b&lty beca,se o b&olo(y. He &s &dent&&ed "&th the emen&ne- "e&rd

b&se;,al- eroc&o,s masc,l&ne an&mal and ch&ld "oman- &nnocence and raac&ty. >&erence

bet"een n&(ht and day-The con%ent&onal "orld-n&(ht and day- one &(nored by the other'd,r&n( the day. =&e &n the n&(ht not s,osed to aect the l&e &n the day. Element o shame

and connotat&ons o death. >&erent tye o l&e Amer&ca and )rance. 5rotestan %s.

athol&c&st- ee,,- e,roe. He sho"s h&s en&s to the altar- ,nconortab&l&ty and

&ncert&d,mbre- O,K %oy a hacer con esoF T&ny oc,ment o moral decay o

the s,bc,lt,reF H&stor&cal acco,nt- "ho &s th&s rost&t,teF >escr&t&on- an a(&n( rost&t,te-

h&stor&cal acco,nt- these %ery sec&&c descr&t&ons- %a(,e comonents. nclear "hen th&s &s

haen&n(. 1C. H&stor&cal d&stance. S&n(,lar and terr&ble attract&on. Gender- not a b&nary. #hat &s

th&s lo%e or the &n%ertF Adolescent male- "hat ma$e the r&ncess attract&%e- a (&rl dressed l&$e a

boy. ?n Amer&ca they reress that s&de.

1. lare as e;cess&%e a ,nathomable0

2. 5ass&n( as threat to m&ddle-class s,bt&tle

3. Race and &dent&&cable.

5sycholo(&cal constr,ct and soc&al real&ty- soc&olo(&cal comle;&ty- "hat race seems to be &n th&s

no%elF#EB >,bo&s- the So,ls o the Blac$ )ol$- lo"er &n the 1@s' decolon&al th&n$&n(- !ella

=arsen- class d&nam&cs- ,er tears- more than =an(ston H,(hes- oors. !ella larsen- ,er m&ddle

class' or m&ddle class roess&onal blac$ eole' 5a(e C- To"ards the end o the &rst art.


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Why, after all,worry ao!t Clare Ken"ry# She wa$ well ale to ta%e are of her$elf, ha" alway$

een ale'An" there were, for Irene, other th(ng$, )ore *er$onal an" )ore I)*ortant to worry

ao!t' +e$("e$, her rea$on tol" her, $he ha" only her$elf to la)e for her "($agreeale afternoon

an" It$ atten"ant fear$ an" !e$t(on$'She o!ght ne-er to ha-e gone'

?rene- challen(es o th&s no%el- relat&%ely con%ent&onal- th&s has been haen&n( or a h,ndred

years- the ma4or tens&ons- no%el o manners- race a ma4or &ss,e. ?nterest&n(- ?rene+s ,nreal&b&l&ty.?rene-lo%e tr&an(le- she can hel b,t &ma(&ne &t. H,sband- to ha%e a romance "&th lare.

?t "as ,nathomable' ,tterly beyond any e;er&ence or comrehens&on o hers. She &s a ol&t&cally

and soc&ally act&%e marr&ed "oman' she &s a soc&al&te' a soc&al &(,re' ol&c&n( a certa&n stat,s &n her

comm,n&ty.

t&me &n h&ca(o.[


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!ot so lonely that that old' ,eer' ,nhayrestlessness hadbe(,n a(a&n "&th&n h&m\

that cra%&n( or some lace stran(e and d&erent'"h&ch at thebe(&nn&n( o her marr&a(e

she had had to ma$e s,ch stren,o,s eorts toreress' and "h&ch yet a&ntly alarmed her'

tho,(h &t no" sran( , at (rad,ally lessen&n(&nter%als.

Blac$ moral code- tran(ress- blac$ m&ddle class- resectab&ly- rac&al- someth&n( "h&ch &s

l&cable- essent&al&sm. )eel&n(s o ello"sh&- lare not ha%&n( any consc&ence o the race.

?rene+s read&n( &s oc,sed &n the &nart&c,lable' not s&mle aearence. The&r o"n comm,n&ty-

amb&(,o,sly ra&sed lare. omar&n( th&s not only to !ella=arsen no%el. ontemorary memo&rs

abo,t race. 5ass&n(. 17@7. on%ent&onal and h&stor&cal aroach. Race- ?rene- a reresentat&%e o

that. entral or r&m&t&%e ,eal&ty o eole- manners and class stat,s- m&ddle class comm,n&ty.

2 assa(es8 ?rene %ers,s lare- race l,&d&ty- race- s,b4ect o debate.

2 essays- t"o d&erent d&erences8en$&ns- "or$&n(- class de&n&t&on o blac$ness. !e(ro oet-

yo,n( oets "ant to be oets not ne(ro oets- =an(ston H,(hes &s ,set "&th that. 16-

!ot beca,se o lare or a h,ndred o a h,ndred- stab&l&ty- Amer&can- stable l&e &n !e" Yor$.

and her h,sband.!o" that she had rel&e%ed hersel o "hat "as almost l&$e a (,&lty $no"led(e'

adm&tted that "h&ch by some s&;th sense she had lon( $no"n' she co,ld a(a&n reach o,t or lans.

o,ld th&n$ a(a&n o "ays to $ee Br&an by her s&de' and &n !e" Yor$. )or she "o,ld not (o to

Bra*&l. She belon(ed ?n th&s land o r&s&n( to"ers. She "as an Amer&can. She (re" rom th&s so&l'

and she "o,ld not be ,rooted. !ot e%en beca,se o lare endry' or a h,ndred lare endrys.

5h&losohy- e&stemolo(Qa- &eld o h&losohy- "ether or not "e can ha%e a $no"led(e- )o,ca,lt.

E&stemolo(y- attaches &tsel to &dent&ty. ?nt,&t&%e sense-some secret "ay o $no"&n( &t.

lare- "ether she &s blac$ or "h&te.

E&stemolo(&cally- same s,er&n( and a&n that ? ha%e. lare- she can+t tell' lare ,nreadable by

?rene. lare &s not maable or ?rene. ?rene &ntent&onally not remember&n( "hat haens.


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the people. But he is most fascinated by the other kinds of people who live inHollywood. He calls them the people who have moved to California to die,and he sets them in his imagination as observers of the farce. He even plansto make them the focus of a painting he wants to do about the end ofcivilization.

Tod falls in love with a woman, Faye reener, who lives in his apartment. !nfact, it"s the only reason he stays in this apartment. But Faye is totallysuperficial and tells Tod that they don"t have a chance romantically becausehe"s not rich and not particularly handsome. #hen Faye"s dad becomes ill,Tod visits him nightly, hoping to make inroads with Faye. He meets Homer$impson through Harry.

Homer falls in love with Faye as well, and Tod encourages him becauseHomer is the epitome of what Todd sees as those regular people who moveto Hollywoodto die.

Tod goes out with Faye camping with %arle and &iguel, two other men wholust after Faye. %arle brains &iguel when that guy gets too fresh with Faye,and Faye runs through the woods with Tod chasing her, his every intention tohave his way with her if he can.

Harry dies and Faye goes into overdrive with her manipulation. $he moves inwith Homer and sponges off him unmercifully, to the point where sheconvinces Homer to let &iguel and %arle live in his garage. 'nd, in caseyoumay have thought that Homer was getting anything out of it, he isn"t.

#hen Homer and Faye invite Tod to a cockfight, things get brutal. (ow, !remember my father taking me to a cockfight when ! was young, and it wasrevolting in every possible way, an assault on every sense. 'fter thecockfight, sponsored my %arle and &iguel in Homer"s garage, they sit arounddrinking, Faye barely dressed in pa)amas. ' fight breaks out, which sadly isreminiscent of the cock fight. The ne*t morning, %arle and Homer find &iguel

in bed with Faye, and another fight ensues.

The end of the novel is shocking.y brutal. Homer goes into a kind of fugue+hysteria and decides to move back to the &id+west. Tod sees him with hissuitcases on a bench. ' little creepy kidthrows rocks at homer from behind atree, hitting the man even in the face with the stones. Homer loses it andchases down the kid and stomps on his back. &eanwhile, a crowd that waswaiting for Hollywood celebrities in front of a theater goes into a riot andattacks Homer. Tod tries to rescue Homer, and has some fantasies about hispainting while the mob rip into him. Tod is rescued by a policeman. The novel

ends with Tod screaming along with the police sirens.

#ork through the (ew orker+ succesful, screenplays, pay the bills, work


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mostly in comedies. -ark comment uality. &usical and romantic comedies.#hat films (athaniel #est worked on, Hitchcock film++ but he didn"t like it. /novels0 $urrealist dream, a guy that falls sleep+ dada e*periment 1234. 5astwork+ The -ay of the 5ocust. #hat it means to be in Hollywood+ #est dies ayear after with 36 years old.

1. (athaniel #est

4. Hollywood

3. 'ctor, -reams, 'rtists, Freaks,

Hollywood destroys modernism. Hollywood kills the creativity of modernism.

Tod Hackett+ historical movie+ he is in his office. (athaniel #est+ short peple+

obsesionado con los enanos. !t is not clear when we are. #e are not surewhere we are, until the third or fourth paragraph. Clich7 about 5os 'ngeles+not historically+ not conscience+ $incere+ being sincere imposible. #orldentirely hypermelodramatic+ it is difficult to distinguish fiction and reality. TodHackett+ !ntelligent+ talented. He seems completely without talent. Fantasticideas. Tod 8 represent a kind of authentic artist. Fey+ talentless artist. High+low in modernism+ overly popular, fake sensibility and the true art. &ess ofreference. (o consitency. %verything impermanent construction. 9eoplebasically live in fake houses. City+ perpetual state of flu*. &ake shift+ 5os

'ngeles in (athaniel #est view.

?t &s hard to la,(h at the need or bea,ty and romance' no matter ho" tasteless' e%en horr&ble' the

res,lts o that need are. B,t &t &s easy to s&(h. )e" th&n(s are sadder that the tr,ly mo nstrous.

Melanchol&c deserat&on &n Holly"ood' as&rat&on to be someth&n( (rand that 4,st a&ls.

Aect&onately yo,rs' )aye Greener'0 b,t she re,sed h&s

r&endsh&' or' rather' &ns&sted on $ee&n( &t &mersonal. She had told h&m "hy. He had

noth&n( to oer her' ne&ther money nor loo$s' and she co,ld only lo%e a handsome man

and "o,ld only let a "ealthy man lo%e her. Tod "as a (ood-hearted man'0 and she

l&$ed (ood-hearted men'0 b,t only as r&ends. She "asn]t hard-bo&led. ?t "as 4,st that

she ,t lo%e on a sec&al lane' "here a man "&tho,t money or loo$s co,ldn]t mo%e.

Tod (r,nted "&th annoyance as he t,rned to the hoto(rah. Tod+s lo%e or )ey. )ey- erson&&cat&on

o Holly"ood- Tom- no "ay o s,r%&n(.

Thes&s cla&m ar(,ment


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lose read&n( &nterrer

se o research

T,esday 12-1

th,rday

American Modernist Literature

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Transcript of American Modernist Literature