AP Literature and Composition

Writing Portfolio

“When nothing seems to help, I go look at a stonecutter hammering away at his rock, perhaps a hundred times without as much as a crack showing in it. Yet at the hundred and first blow it will split in two, and I know it was not that blow that did it, but all that had gone before.”

Riis, Stonecutter Credo

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Joseph FanelliPeriod 1

May 5th, 2009Foreword

One Year of Writing

Coming into this year’s AP Literature and Composition class after taking AP Language and Composition may junior; I quickly learned that adapting a new form of writing was evident. I’ve always prided myself on a certain amount of style that I implement into my own work. I soon found that this style was not accepted in literary criticisms.

As my essays progress, my struggle to find a voice becomes evidence as I continually went against previous teachings and stuck in old habits from last year’s AP class. The one aspect of writing I have learned this year that when writing analysis about poetry or literature, being cute is not accepted. These types of pieces always require direct, clear thinking that addresses a topic quickly and then supports it with sound evidence. To me, this type of writing is boring. One of the biggest transitions during the year was going from writing this straightforward literary analysis to my student publications class where I was given free reign over my works.

Throughout the year, I struggled on my essays. My first essay I received a 70 because of use of second person in third sentence. I found that I often times could not breakdown literature enough to create solid points addressing the specific prompts. Whether it was confusion or sometimes a lack of effort, I did not feel like I ever achieved an essay that could pass as satisfactory in a college classroom. Even when I did eject hours of time and thought into an essay, I still was letdown by a simple “ok” compliment. My Frankenstein essay was the biggest example of a major letdown. After spending two hours of writing and another two editing, I was disappointed to only receive a seven on the paper with comments like “leave the reader out of it” and “like what?”

One aspect of this year’s course that I was disappointed in was the amount of feedback. I feel like my papers always did have comments, but they lacked real depth or explanation. I know part of this is me growing up and taking responsibility for my own actions and maybe that was sufficient feedback, but I still felt like I missed that individual criticism to make me a better writer. Even my student revised papers always lacked any real response.

But any experience is a good experience. Although I do not feel like I ever achieved works of great merit, I did learn the expectations I will encounter if I choose to continue an English education of higher learning. I did enjoy my AP class this year and feel like if anything, I was able to have fun with a great teacher and group of friends.

Joseph AB Fanelli

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Table of Contents

Foreword 1

Essay #1 Compare and Contrast TTTC and SH5 3-5

Essay #2 Position Paper Short Stories 6-8

Essay #3 Frankenstein 9-10

Essay #4 Poetry Response Small Group 11-12

Essay #5 Compare and Contrast Whitman vs. Hughes 13-14

Essay #6 Position Paper Drama Elements Helen 15-16

Essay #7 Othello Literary Criticism 17

Essay #8 “The Pawnbroker” Group Essay 18-19

Essay #9 Prose Response 20-21

Essay #10 Open Ended Question 22-23

College Essay 24-25

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Essay #1 Compare and Contrast- TTTC and SH5

Most fans of literature prefer works in which there is a conclusive ending. The

kind of ending where everyone survives and the guys gets the girl and the puppies live

forever. But a great conclusion to a novel is not defined by the feeling of satisfaction the

reader receives. Both The Things They Carried by Tim O’Brien and Slaughterhouse 5 by

Kurt Vonnegut have endings that are considered less than sati factionary to the reader,

but still conclude keeping to the themes and ideas of their respective books.

War is an emotional topic. This is why the Ending of SH5 may be so unexpected

and unsatisfying. The book as a whole lacks a real sense of plot and story, but the ending

reaffirms Vonnegut’s entire perspective on WWII and the bombing of Dresden. SH5 ends

while Billy Pilgrim and the POW’s who survived the bombing are leaving the remains of

Dresden. Billy hears a bird and the book is over. Nothing is resolved and no use of

emotion is sued to generate any sort of sympathy. This is in contrast to TTTC. Author

Tim O’Brien ends his novel with the fictional story of his character returning to Vietnam

and visiting the place of his friend Kiowa’s death. In an emotional catharsis, O’Brien’s

character returns the moccasins of his friend into the feces infested swamp where his

body once laid.

On an emotional level, these books are miles apart. Throughout SH5, no

sympathy is felt for Billy. The narrator describes Billy often as not wanting to live. But

although the conclusion of Billy Pilgrim’s story may appear to be the result of laziness or

writer’s block, it is extremely appropriate within the boundaries of the novel. SH5 is a

mix of time travel and death and war. The story does not rise or fall, but simply continues

on with no climax. The narrator describes all scenes with the same melancholy tone that

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should be meant for funerals. This is why the abrupt, unemotional ending is so perfect for

the book. Because there is no real story there is no real end. Vonnegut’s ideas of time

manipulate the plot so that events out of order. In the novel, Billy is informed that time is

continuous. Everything that will ever happen has already happen and will always happen.

That is why the ending is so appropriate. Because it just ends. Like all events, they will

start and they will end and there is no telling whether people will survive them. Because

of the narrator’s distance nature, neither happiness nor sadness can be felt for these

characters. So Billy Pilgrim lives on and Dresden is destroyed. “So it goes.”

TTTC contracts to SH5 because of the emotional ties that accompany O’Brien’s

character. Throughout the book, O’Brien details his thoughts to capture and create a

strange sense of companionship with the reader. There is sympathy for him. When he is

happy, it is felt. When he is sad, tears are shed. The novel is an emotional rollercoaster

that’s only just ending could be a cleansing of the soul. O’Brien’s trip to Vietnam

represents so much pain and his ability to drop those moccasins is him dropping his guilt.

Dropping the sadness that had tugged at his soul for all those years after Vietnam. History

says that Vietnam was one of the most debated Wars in American history. The soldiers

were stuck between calls of peace and love and orders to kill and destroy. To return to a

place that created so much turmoil can be a form of redemption. As a kid, O’Brien was

exposed to things that no eighteen or nineteen year old should have to see which is why

seeing Vietnam again through older eyes was so critical to him and to the ending of the

book.

Both of these novels are not happy. But war is not happy. Although, both endings

do not share the same feelings and emotions, both are appropriate to their works. In SH5,

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Vonnegut asks how one writes about a massacre. Well how does one end one? There can

not be happiness for all the death, but sadness escapes because of its numbing ability.

War is numb and whether it just ends or ends with a large parade and celebration, there is

always the need for reconciliation. These two endings both express the stages of life that

people must accept. Surviving and acceptance.

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Essay #2 Position Paper Short Stories

The idea of obligation can be based on many different factors. One may feel

obligated to take care of a family because of love, while others may feel obligated

because of guilt or peer pressure. The idea of obligation is a reoccurring theme in both

“The Metamorphosis” and “Sin Dolor.” In both short stories, the characters feel obligated

to support a family, but the incentives beyond their commitments are drastically different.

This sense of obligation and duty and the different forms of receiving that help from their

families, separates these two stories based on theme.

Gregor Samson, in the Metamorphosis, transforms into a bug. Although, to say

his previous life was more much more than of an insect, would be a major overstatement.

He worked everyday at a job he felt indifferent to, for a boss he really did not like, to

support a family who did not truly appreciate him. Early on in “The Metamorphosis”, it is

obvious the lack of feeling his family has for him. Their initial response to his

transformation is fear, but after the shock has worn off, he now turns into a burden. The

same person who provided for an entire family by himself now becomes a problem to

their household. Gregor always felt obligated to support his family. When his dad lost his

job, Gregor took up the reigns as family supporter, but this is where the difference

between Gregor’s sacrifice and Damasos.

Damaso becomes a street performer. He was forced by his father to burn and stab

and sear himself for money on corners and avenues. Damaso does this out of love for his

family. He has a real, genuine love for the members of his family. When told he does not

have to perform these acts anymore, Damaso tells the doctor, “I have no choice. I owe it

to my family. To my mother.” He sees it his job to support his family because of the love

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they have shown him. Although his father comes off as an evil person, he cannot truly be

judged because he is ignorant to the situation. The father is trying to help his family, and

Damaso accepts his role because he loves his family, because it his duty.

The two families from these stories contrast each other on many levels. Obviously

Damaso’s family is large, Mexican family, where work is essential from every member

for them to survive. Gregor’s family is small. His father had given up work after his past

failings and laid the burden on Greggor. The daughter is seen as just a young woman and

is not expected to help the family. The mother has asthma and cannot even perform small

acts without becoming winded. These different attitudes in the families explain their

appreciation and reaction to the help of their sons. A sense of duty is in both of the

central characters from “The Metamorphosis” and “Sin Dolor”. Damaso does it out of

love. Greggor does it because that is what he has to do. He has not given a choice and due

to his unmoved nature, he accepts his job and his life and his family, even in an

environment that does not care for him. Through a description from Kafka, the reader

learns that there is a hospital directly across the street from their small apartment. But not

one time in the story does Gregor’s family even consider taking him to this hospital.

After he turns into a bug, he becomes dead to him. It is a trend in all human life. People

take the sources that are presented to them with no appreciation, and when that source is

cut off from them, they cut themselves off from it. Gregor was just a wallet to the

Samson family before he turned into bug. His transformation into a bug just reinforced

his family’s lack of consideration for him. Therefore, his obligation, his duty was not

valued, not treasured.

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Sacrifice is never easy. A duty to one’s family is never easy. But showing an

appreciation for that sacrifice is not a hard thing to do. In these stories, the idea of an

obligation towards a family is shown through the eyes of those who had to sacrifice the

most. Greggor Samson sacrificed his time, his job, his money; all to support his family.

Damaso sacrificed his dignity and gifts to provide for money for his family. Both

protagonists do these acts for the family, but there is a difference between love and

simple obligation because of acquaintance. Both of these characters understand their role

to help, but it is a family’s response to that help that truly defines love.

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Essay #3 Frankenstein

According to literary critic Northop Frye, “tragic heroes are so much the highest

points in their human landscape that they seem the inevitable conductors of the power

about them…” In Mary Shelley’s Frankenstein, the dread and pain of Victor

Frankenstein and all his loved ones flows to Victor’s monster. . The monster’s constant

struggle to survive to fit into a world that does not accept him is the chief reason behind

his torment. His afflictions against society reach from the overall themes that Shelley

portrayed in Frankenstein.

Frankenstein’s monster is the antihero who pleads for the reader’s approval. Early

on, the creature demonstrates traits of love and kindness for the human nature he desires.

His initial experiences with human beings, the rejection of his own creator and of the De

lacey family, are the root causes for his suffering and revolting attitude toward mankind.

The creature says, “But again, when I reflected that they had spurned and deserted me,

anger returned, a rage of anger; and, unable to injure anything human, I turned my fury

towards inanimate objects.” This attitude of disgust towards man begins the cycle of

violence throughout the rest of the story. From then on, every act of evil and malevolence

spurs from the monsters feelings of despair and loneliness. His entire purpose becomes

that of revenge against his creator and his loved ones.

The monster’s suffering, either directly or indirectly, becomes the cause of the

deaths in the book. The small child William is killed as an act of vengeance against

Victor for his abandonment. Justine’s death is brought about through the monster’s

placement of the condemning evidence on her person. The murders of Henry Clerval and

Elizabeth are acts of revenge against Victor for his refusal to create the monster a

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companion. Victor’s father dies from the anguish he feels from the slaying of his

daughter. The monster’s own personal damnation becomes the damnation of all those that

he blames for his unhappiness.

The themes in the novel contribute to the tragic vision as a whole. Responsibility

is a common topic throughout the book. Shelley illustrates the results of rejecting one’s

responsibility through the monster’s demise. Victor has the power of knowledge to create

life. Victor’s rejection of his own creation is an act of irresponsibility akin to a parent

abandoning a child. Also, Victor is careless with his power of knowledge in that he

allows his desire to push the limits of science into a domain reserved for that of nature

and God. Victor’s inability to responsibly use his power of knowledge is the end result of

the suffering of both the monster and himself.

The chain reaction of pain and misery gains momentum from the monster’s

accusation of mankind for his suffering. The acts of humans against him in the early

stages of his life fuel his vengeance toward his creator. The creature is a lot like the

person who is abandoned as a child and grows up to abandon his own children. However,

he remains a sympathetic character; He never felt the love of another human and that

void in his live causes him to reject humanity. His only reason for living is his hatred for

Victor. In the end, the death of the creator that he vowed to avenge ends his last

remaining connection to society and his renouncement of his own life.

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Essay #4 Poetry Response

When looking into a poem, it is important to try and understand every aspect

surrounding that poem. While analyzing poetry, readers must question the author, the

environment, their purpose, and every word that is used. The poem Desert Places by

Robert Frost is no different. Frost uses word choice and symbolism to reveal his attitude.

The title Desert Places is significant by itself. After a quick scanning of the poem,

it may seem appropriate because of the barren, snow-covered fields Frost describes, but

the word desert reaches further. Desert can be the noun “desert” or the verb “desert” as in

“to desert one’s family.” The word desert here offers two different meanings all

conveying the feeling of loneliness and solitude Frost feels. Frosts adapts the

environment to himself.

In the first stanza, the line “But a few weeds and stubble showing last”

symbolizes the small glimmer of hope Frost feels. Ugly as they are, weeds are a sign of

life through the icy snow. Frost is barely surviving the loneliness he feels. Like the

weeds, his head is just above the surface, searching for life, for air. As he later explains

the loneliness he feels is like that of a “blanker whiteness of benighted snow, with no

expression to express.” The blank, mundane nature of the snow describes his feelings

inside. He is numb like the icy environment around him. Snow shows no emotion, no

happiness or joy. He in return cannot feel joy because of the deep depression that engulfs

his soul.

The loneliness makes him unconscious of his surroundings. “The loneliness

includes me unawares.” In the last stanza, Frost explains that even the vast emptiness of

the universe is no comparison to what he feels. “Between stars on stars where no human

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race is.” The “stars” he speaks of symbolize space and the giant, vastness of it. Space is

void of all matter. There is no oxygen or life, only emptiness. This is telling the reader

that these places of such pure emptiness compare nothing to his feelings. It is a very dark

and visual image.

Robert Frost’s Desert Places could seem like just a walk in a deep wood

to the untrained eye. But upon further observation, one can see that through the use of

words and symbols, Frost describes the inner battle within himself against the loneliness

he feels.

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Essay #5 Compare and Contrast Whitman vs. Hughes

Both Walt Whitman and Langston Hughes were the celebrated poets of their

times. Walt Whitman usually chose to write about America and natural and social

landscapes that surround it. Hughes chose to question the beliefs of the time and question

the inequality of African Americans at the time. In Walt Whitman’s poem I hear America

singing and Langston Hughes I, too, sing America the poets create contrasting celebratory

and bitter attitudes, while still keeping a common theme of the characteristics of

Americans.

Walt Whitman’s I hear America singing is a celebratory poem of the true, “real”

workers of America. In the poem, he speaks of hearing the voices of America sing; “The

carpenter singing his, as he measures his plank…The mason singing his, as he makes

ready for work.” Each different in the person sings their own song, sings their own life.

Whitman is presenting the many different aspects of the American culture through all

their everyday songs. Nobody sing the same song, but they all sing. The poem is very

positive. It is celebrating America, not denouncing it. In the last line of the poem,

Whitman describes the singing of the “young fellows” and “their strong, melodious

songs.” Their songs are beautiful and through the description, Whitman is describing

America’s beauty. He writes, “Each singing what belongs to her and to none else.” Each

sings their own song, but they all sing together.

Langston Hughes’ I, too, sing America is a response poem to Walt Whitman’s

poem. After reading the first line, it appears that Hughes will continue Whitman’s happy,

celebratory attitude in his piece, but the poem takes a different turn. Hughes does not

center the poem around the American people, but himself as an African American. The

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poem has a bitter attitude. Hughes is sent into the kitchen and writes, “but I laugh, and eat

well, and grow strong.” Hughes’ poem has ha rebelling feel to it as well. In the second

stanza, he tells his audience, “tomorrow, I’ll be at the table…Nobody’ll dare to say to me,

‘Eat in the kitchen.’” Hughes knows he is America as well, not celebrated like that of the

people in Whitman’s poem, but America just the same. He is calling, predicting for the

respect of the white people in America for himself and all African Americans. The title

implies this idea with I, too, sing America. Hughes also is beautiful and sings his song

that defines his life. The title also creates a statement towards America. It is almost as if

Hughes is calling to America saying, “I also sing. I am apart of America.” He is calling

for the recognition by the American people. He has a song to sing as well.

Both poets write about beauty. Although they choose to define different objects,

Whitman the people of America and Hughes himself, both share the stories of America to

show that beauty. Beauty is in the lives of the American people. Beauty is in “The

delicious singing of the mother” and Hughes’ strength to say, “I’ll be at the table when

the company comes.” To Whitman and Hughes, beauty is a relative term that can range

from crusty ship captains to old wood cutters to defiant black men to inspiring words. To

these poets, beauty is in the eye of the beholder.

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Essay #6 Position Paper Drama Elements Helen

In Rachel Hadas’ translation of Euripides’ Helen, Hadas uses customary dramatic

devices to instill the traditional aspects of a Drama, while still adding her own flavor to

the play. Aristotle’s six elements of a Drama include plot, character, theme or thought,

music, spectacle, and diction. The three most prominent elements in Rachel Hadas’ Helen

are character, plot, and theme.

The characters in Hadas’ Helen are significant aspects of the play. A

closer look at the characters reveals that they not only just act out a story and state lines,

but they also represent aspects of the society they inhabit. For example, Helen of Troy,

the antagonist, represents the stereotypical woman of Greek literature. She is whiny and

looks for grief. After hearing of the wreckage of Troy and her husband Menelaus’ death

she exclaims “Because of me, or rather not me, only my wretched name, Troy has been

wrapped in flame” (157). Helen plays the “damsel in distress” who seems to want the

misery and sorrow she wears. She rejects her beauty, citing it as the cause of her pain.

She proclaims, “For some beauty, what a cost! If only I could somehow be erased as

pictures are, and part of me replaced with something plainer,” (158). Like the women of

ancient Greece, she is dependent on the men in her life. She cannot leave for Greece

because of Theoclymenus, the master of house she was transported to by the Gods and is

so reliant on her husband Menelaus that she declares she will kill herself if he is slain.

She says, “I promise you that if you should be slain I will forsake the sunlight” (189).

The plot of Helen contains the five sections of a storyline. These sections are the

exposition, rising action, climax, falling action, and the resolution. Hadas uses these

portions of a plot to create a full, resolving story. The story begins with the Helen in

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Egypt where she explains her current situation. This is the resolution. The rising action

that follows is the discovery of her husband Menelaus and their plan to escape from

Egypt. The climax occurs when Helen, Menelaus, and his crew finally escape from

Theocylmenus’ palace. With the falling action and resolution being Theoclymenus

decision not to go after Helen and to spare his sister Theonoe.

There are many themes revolving around Rachel Hadas’ translation of Helen. One

of these themes in Helen and in all Greek literature is the gods affect on the lives of men.

Again and again, it is the gods’ influence that drives the story forward. The people of

ancient Greece become pawns in the god’s game as the reader witnesses them manipulate

their being. On page 191, the prophetess Theonoe proclaims, “The gods are meeting on

this very day; you are the subject of divine debate. Hera…wants to send you home

together with your wife...I may do as Aphrodite wants, betray your presence to my

brother and destroy you.” The characters of the play will also pray to the God’s for help.

Menelaus prays, “Zeus…Look down; release us from our miseries,” (216).

Another theme throughout the play is idea of duty to self and others. When

attempting to persuade Theonoe not to reveal Menelaus to Theoclymenus, Helen

proclaims that Theonoe cannot tell Theoclymenus because “Hermes bestowed me on

your father to keep me here safely for my husband…Therefore, listen to me! Don’t give

into your scoundrel of a brother. Do not prefer him to your virtuous father” (192).

Because of her father’s commitment, she feels it her duty to protect Menelaus and Helen

and says, “I would be wrong not repay the debt” (195).

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Essay #7 Othello Literary Criticism

Eastman, Arthur M. “Othello as Ironist.” In Honor of Austin Wright 1972: 18-29. Literature Resource Center. Gale Group Databases. Carnegie Series in English, Carnegie-Mellon University Library, 2 Feb. 2009 <http://galenet.galegroup.com>

In this essay, Arthur M. Eastman explains how Iago is able to manipulate and

destroy the reputation and livelihood of Othello in Shakespeare’s Othello. Eastman also

explains how the two characters are closely similar in character, calling them “ironists”.

He defines an ironist as one who “assert(s) authority by confronting situations from a

position of partially or totally masked power.” Eastman describes how both characters

manipulate knowledge and power to better themselves with morality and motivation as

the two differing factors.

Aubrey, James R. “Race and the Spectacle of the Monstrous in Othello.” CLIO 22 Spring 1993: 221-238. Literature Resource Center. Gale Group Databases. 2 Feb. 2009 <http://galenet.galegroup.com>

In this essay, James R. Aubrey explains the role of Othello as a black protagonist

to an English audience and the connection between the black race and “monsters”.

Aubrey offers a brief history of the English discretion towards black people and the root

of the fears that make their culture weary of Africa. Aubrey describes how in multiple

instances someone who is black was thought to be the result of a misdeed of the parents.

He explains how the idea of blacks being “monsters” derives not only from appearance,

but from social and political outlooks as well.

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Essay #8 “The Pawnbroker” Group Essay

In the Poem “The Pawnbroker”, Maxine Kumine shows the life and journey of a

father’s struggle through his daily life. He is constantly in pain, both physically and

emotionally. Kumine uses the outside, physical elements of his life to represent his inner

struggles and emotions through his feet and his shop.

Although most of the possessions the Pawnbroker gives to his daughter are

secondhand items, his love is always a firsthand gift. Even though the father is always

working, he is never slow to show his love for his children. He does not bring his pain

home, but is always willing to show them love. She says that “every good thing in my life

was secondhand”, but “firsthand I had from my father a love ingrown” (Stanza 3/6). The

pawnbroker is not happy with the things his children are stuck with in their status. He

doesn’t want them to be tied down in this life of secondhand possessions and he does all

he can to give them his firsthand love.

Throughout his life, the Pawnbroker worried constantly that he was not providing

enough for his family. In the second stanza, Kumine writes “The sight of his children

barefoot gave him a pain.” This pain is an art of his fear that he is not sufficiently caring

for his own family. Only in death, when he can finally take off his shoes, is the

Pawnbroker able to ease his pain and anxiety. The nakedness of his feet symbolizes his

final state of peace he has finally achieved on his deathbed.

The feet in “The Pawnbroker” are a constant symbol. The father’s feet symbolize

unselfishness for him. He wants his children’s feet to remain covered, so they do not

appear to be lower class. The father pleads that his children will do better than he has.

His bare feet also represent his journey and struggle. The covering of his children’s feet

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symbolizes his efforts, so they may avoid all of the hardships he experienced. The

children’s bare feet “gave him a pain,” because his journey has been trying and painful

for him; he does not want his children to face those same struggles.

Maxine Kumine’s poem “The Pawnbroker” traces the life of a pawnbroker from

the eyes of his daughter. Throughout the poem, Kumine uses his outer physical traits to

symbolize his inner pains and struggles. The poem shows the value of real, firsthand

love over material possessions. This love the father has for his daughter and children

over-shadows his relentless struggle everyday.

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Essay #9 Prose Response

In George Elliot’s novel Middlemarch, the Narrator frequently describes the

character known as Dorothea Brooke. Early on, it is obvious the Narrator holds Dorothea

in high regards. Throughout the passage, he uses direct and indirect characterization to

convey this attitude.

From the first sentence, the narrator seems to be in awe of Dorothea’s beauty. A

beauty he describes as not being lavish or over-the-top, but “that kind of beauty that

seems to be thrown into relief by poor dress” (1-2). He describes her as one that “seemed

to gain more dignity from her plain garments” (55). From these descriptions, the

Narrators adoration towards Dorothea can be seen because of the respect he holds for her.

He does not care about the respect he holds for her. He does not care about expensive

clothes or jewelry, but sees her beauty instead of the simplicity of her.

Throughout the novel, the Narrator keeps this positive attitude about Dorothea,

even describing characteristics that may seem less than appealing. Instead, he turns these

attributes into quirks Dorothea posses that make her so splendid. Instead of being

immature, Dorothea posses “child like ideas about marriage” (71-72). Instead of being

squirrelly or spacey, Dorothea “lacked common sense” (12).

The Narrator also uses comparisons to her sister Ceila to convey this attitude of

caring. Ceila is described by many to be “so amiable and innocent looking” compared to

Dorothea’s “large eyes… too unusual and striking” (43-46). After saying this, the

Narrator declares, “Poor Dorothea,” (46) demonstrating the caring he feels for Dorothea.

While Ceila seems to be considered by many to be prettier and wiser, the Narrator rejects

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the usual opinion and instead chooses to describe Dorothea and her unique

characteristics.

The Narrator also shows his endearing spirit toward Dorothea by commenting and

describing her inner qualities. After the first paragraph, which is dedicated to Dorothea’s

beauty, the Narrator focuses on facets like her charm and her mind. He uses references to

the famous, French philosophers and English clergyman Dorothea adores to describe her

capacity for knowledge. He says she is “enamored of intensity and greatness and

embracing whatever seemed to her to have those aspects” (26). He often describes how

enjoyable her personality is as he says in line 61-62, “it was pretty to see how her

imagination adorned her.”

The Narrator has a loving, respectful, caring attitude toward the character

Dorothea throughout the passage. His failure to recognize her faults and constant

admiring of her physical and inner beauty conveys his deep affection he feels toward

Dorothea.

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Essay #10 Open Ended Question

In the novel Catch 22 by Joseph Heller, the protagonist of the story Yossarian is

put in a dilemma of life and death as he battles the military bureaucracy along with Nazi

forces in Italy. Yossarian is pulled in opposite directions by his leading officers as they

give him a choice. Yossarian has the chance to 1.) Hail his commanders as geniuses and

be commended with a medal and be sent home or 2.) Reject his commanders and sent on

every suicidal bombing mission possible.

The two forces in the novel here are one of reward and punishment, but these

being based on performing an act of will that may go against one’s own thoughts or

values. Yossarian again and again is the target of his commander’s hatred as he

constantly defies their orders. In their eyes, his loyalty to them would be a victory. The

conflict in Yossarian lies in his feelings of disdain and hatred for the commanders against

his fleeting want of leaving the forces in Northern Italy.

The idea of compromising one’s own values is one that is prevalent throughout

the book. The soldiers must conform to a disheveled system to gain honor and respect.

This is a system that Yossarian rejects. For him, honoring his commanders is the ultimate

sin, but put against his desire to leave, his morals are weakened as pleasure trumps value.

This conflict of right and wrong vs. wants and desires and the line that separates them is a

theme throughout the book. Yossarian’s struggle illuminates the internal struggle of the

entire army which is to do what is right and be punished or do what is wrong and be

rewarded. Yossarian’s decision comes down to what he feels is the right thing to do.

Defend his values or save his ass?

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As Yossarian’s mind is pulled in different directions, his actions reflect the

internal chaos. In the novel, Yossarian begins to act wild, insane at times. This is a sign

of the turmoil one’s own indecision in the face of a dilemma can cause. Heller presents

Yossarian as the downtrodden hero or the unlikely victor. But Heller illuminates his

theme of good trumping evil as Yossarian rejects his commander’s offer and leaves the

suicidal bureaucracy that is his air base. In the end, Yossarian’s struggle becomes a

testament to Heller’s theme of the good people always making the right decisions.

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College Essay

The one person who has had the most significant impact in my life has been my

grandpa Augie Bossu. As a child, I never realized the incredible achievements of my

grandpa until I attended his funeral this past January. My grandpa was a football coach at

Benedictine High School over fifty years. His career record of 310 wins and 130 losses is

currently ranked fifth in high school football in Ohio. During his Benedictine tenure he

won fourteen City Championship and three state titles in what many consider to be one of

the toughest classes in all of high school football. His title as football legend in Ohio

remains evident through his many playoff runs and wins.

But stats are just stats and I could list hundreds of people that can brag about

career wins. I did not truly recognize the impact my grandpa had on his community until

I saw his people waiting for over an hour to walk by his casket at his wake. I did not

conceive the lost and respect people had for him until I attended a funeral that had to be

broadcasted separately to a gym holding 300 people because the church could not

accommodate enough. I did not realize his kindness and leadership until I sat next to my

uncles and grandma and listened to the countless number of stories about Augie’s

compassion and humbleness.

My grandpa was a man of little words. He ran a simple offense and believed the

key to winning was out playing a team in execution in toughness. But his regard for his

players and his presence among them truly his most gracious gift. He attended church

every morning and prayed a rosary with his team before games. In all his years of

coaching he never uttered a single curse word, his only sour phrase was an occasional

“hell’s bells.” He lived a life devoted to God and Mary, and he taught that same message

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to his players. He was a natural leader. Along with his accomplishment in football, he is

also one of the most highly regarded high school baseball coaches in Ohio, even though

he never actually played the game in his life.

His view of life goes back to fundamentals. To him, if one could master the

basics, everything else would fall into place. In a time where leaders are loud and

boisterous sometimes to the point of being obnoxious, he led by example and with a quiet

hand. Sitting at his funeral I remember thinking to myself, how can any of us expect to

live a life as good and influential as his? But Augie Bossu never purposely tried to

change the world. He would just want each and every one of us to live to the best of our

abilities in every moment of every day. I have many regrets that I could not have grown

closer my grandpa. At times I felt distant because I never got to play for him or live with

him like my cousins, but I know as I continue to play out a senior football season, I will

have a coach watching from above with a kind heart and a soft, “atta boy.”

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