A difference in perspectives

J.M. Coetzee’s Waiting for the Barbarians and Joseph Conrad’s Heart of Darknes are undeniable similar in many aspects. Each tells the story of a seemingly prosperous man of high social standing succumbing the enticing thralls of nature. In each, nature or the native ways are portrayed by feminine counterparts, and both have surrendered their part in their own society. Their disobedience is seen as threatening. Waiting for the Barbarians and the Heart of Darkness differ in their perspectives.

The Heart of Darkness is narrated, mostly, by Marlow, who is only a witness to the fall of Kurtz. It is Kurtz, the well-respected, most prosperous trader of the region who falls victim to the whims of the wilderness. We see the story through the eyes of someone who has not yet undergone the mental changes associated with the native ways but is currently beginning to question his own ideals. Marlow himself begins to feel the tug of the wilderness upon him. By having Marlow tell the story, readers can more easily associate with the story. It is the it-can-happen-to-them-but-it-will-never-happen-to-me complex. Nature swallows whole the character of Kurtz but leaves Marlow only partially scathed destines to bear Kurtz’s testimony. This narration is only a partial upheaval. Readers can choose to see the destruction of to ignore it and enjoy a good adventure story.

This is not the case in J.M. Coetzee’s Waiting for the Barbarians. As stated in Douglass Kerr’s article, “Three Ways of Going Wrong: Kipling, Conrad and Coetzee,” “the story is not circumscribed by and processed through the lawman’s gaze and memory. The means of narration are in the hands of the transgressor…” The perspective shifts from the witness to the “victim.” It is the Magistrate himself who undergoes a personal revelation. He relinquishes his peaceful life in order to become that “One Just Man,” even in the face of certain failure. His narration is all the more startling. We, as readers, witness both the gradual and drastic shifts in his psyche and his suffering. We cannot ignore the implications of the words on the page. Unlike Conrad’s novel, Waiting for the Barbarians cannot be read for anything other than what it truly is purely because of the perspective. (369)

Questions for Waiting for the Barbarians

Earlier in the story we see the narrator’s sympathy for the prisoners and his outrage because of their mistreatment, but his opinion shifts. The colonel sends him many prisoners to hold; some are not barbarians. At first, they are a curiosity and a pleasure. Both the town and he are entranced. “Then, all together, we lose sympathy with them.” (p. 19). Their differences that were once endearing and tolerable become disgusting and intolerable. He wants them gone just as his people do. He wants peace but at what cost?

 

“It would be best if this obscure chapter in history were terminated at once, if these ugly people were obliterated from the face of the earth and we swore to make a new start, a new empire in which there would be no more injustice, no more pain. It would cost little to march them out into the desert (having put a meal in them first, perhaps to make the march possible), to have them dig with their last strength a pit large enough for all of them to lie in (or even to dig it for them!), and leaving them buried forever…. But that will not be my way…. I struggle with the old story, hoping that before it is finished it will reveal to me why it was that I thought it was worth the trouble.” Waiting for the Barbarians (p. 24) If he wants a quiet life then why is anything worth the trouble?

 

            Lastly, if the Empire is able to formulate an opinion and have it be known as truth, why does the Colonel need to search for the “Truth?” Is it all a mirage, the torture and the abuse, just props needed to convince the public that there truly is a rebellion upon them. The Empire has evoked a feeling of hysteria among its citizens. “The is no women living in the frontier who has not dreamed of a dark barbarian hand coming from under the bed to grip her ankle…” (p. 8) The magistrate does not believe but the incommunicado of the prisoners has a evoked a feeling of disgust towards the barbarians, almost enough to have them “buried forever.” It is a mirage to promote unity? (372).

My Initial Reactions to J.M. Coetzee's Waiting for the Barbarians

The magistrate is both observant and knowledgeable of his small town on the edge of the empire. He demonstrates his awareness of the “native ways” in the very first page of the book.  He considers himself a simple with simple and attainable desires. “ I am… a responsible official in the service of the Empire, serving out my days on this lazy frontier, waiting to retire…. I have not asked for more than a quiet life in quiet times.” (p. 8) But we witness his realizations that perhaps he is not as ordinary as he originally judged himself to be. Observing is much more convincing than listening.

Not only do readers better trust the narrator because of observations but also the narrator is more distrusting of the Empire due to observations. The Empire has evoked a feeling of hysteria among its citizens. “The is no women living in the frontier who has not dreamed of a dark barbarian hand coming from under the bed to grip her ankle…” (p. 8) The rumors spread but the faster they spread the more closely they resembled the truth. The magistrate is not swayed. “Show me a barbarian army and I will believe.” (p. 8) He is not fooled. The employees of the Empire are renamed “devotees of truth [or] doctors of interrogation” (p. 8) but our narrator is not blinded. The seeing of Truth is a major theme that reoccurs often throughout the novella. (I was reminded time and time again of Big Brother from George Orwell’s novel 1984. Especially when telling with the blurring of truth and programmed public opinion.)

            J.M. Coetzee’s style is very understandable. We have a single narrator relaying a story. It felt as if I was in the magistrate head. We see both his observations and participate in his interpretations. The active voice is predominantly used because our narrator is often describing a situation but during specifically striking scenes the narrator begins to use more complicated syntax and vocabulary. His omission of both names of characters and places is one to note. We had yet to learn the name of even the outpost. (355)

Degrees of Racism

As gleaned from her title, “Heart of Darkness and Racism,” Hunt Hawkins attempts to describe the degree of racism found in Joseph Conrad’s novella.

She criticizes Chinua Achebe’s harsh disapproval of the novel as “bloody racist.”

She suggests that perhaps a critique of racism is not the main purpose of the novel but rather Conrad’s main focus was to critique European imperialism.

Conrad does not present a story free from racism. The Africans in the novel have neither names nor many pages devoted to their stories, they are often described as animal-like and even when they display human qualities they are somehow separated from white humanity. Despite the “endemic” racism of his time, he “did not share the racism of his time.”

He very clearly did not demonstrate “bloody racism,” but rather a lesser degree of racism as well as a different kind.

Achebe even goes far enough to state that Conrad’s work promotes genocide. It is clear that in the face of extreme cultural racism, Heart of Darkness is an exception.

The importance of Heart of Darkness lies within the acknowledgement of extreme human rights abuses so that it has entered our language as such.

The Bible as in The Sound and the Fury

After reading the first three sections, I had not noticed much in the form of religion. After reading Mary Fletcher’s article, Edenic Images in “The Sound and the Fury,” I began to feel the religious undertone of the novel. The Compson family seemed not to practice religion at all. Mother preached that each family should be a good Christian but she did not follow her own advice. Father seemed to be a cynic of man. Dilsey, who is not truly a Compson by blood, seemed to be the only true believer in religion. The Compson family is void of both faith and spirituality, yet Faulkner references the bible many a time.

The article main focus is that of the ancient pear tree in the Compson yard; the tree that both Caddy and her daughter climb. Caddy climbs the tree in order to better understand what is going on in the house (Damuddy’s funeral). Although seemingly just another image of the rebellious Caddy the article points to the recurrence of the pear tree throughout the novel. Quentin also climbs the tree in order to escape the madhouse she has been living in and rob both Jason of his money and the Compson family of continuity. In Caddy’s case the tree serves as an allusion to the tree of knowledge as well as a foreshadowing of her “moral fall and consequent alienation.” (p.141, Fletcher) She refuses to obey her father’s command to stay out of the pear tree to instead gain an insight on Damuddy’s funeral.  The tree is a very important point of reference but the Compson grounds offer many allusions as well.

The river that flows through the property brings to mind images of Eden. The children often play in the river. Through Benjy’s eyes, it is at the river we are first introduced to the characters’ characteristics and relationships. The Compson grounds as seen by Benjy are a luscious garden similar to a reader’s image of Eden. Benjy himself serves as a biblical allusion both his name and his innocence reference the bible. Benjy is the only character that does not ever leave his garden or his innocent image of the world. He spends almost all of his time outside whereas Mother stays inside and Jason stays in town. The other children all decide to leave. Benjamin is the only child who stays innocent but that is only because he is “mindless.” The article states he is “Faulkner’s human equivalent of innocence.”(p.142, Fletcher) In Faulkner’s eyes no “normal” human being that has the power to think can be innocent; the power of knowledge is what the tree offers in the bible. Benjy can never have that knowledge.

By reading Fletcher’s article I began to spot the hidden religious analogies throughout the novel before beginning section four. This was very beneficial to me as a reader. An omnipresent narrator relays the fourth section. It is in the fourth section we witness the spirituality of Dilsey juxtaposed with the religion of mother. Mother keeps a bible by her bed but it seems as if even God cannot move her. In class we discussed whether religion could have saved the Compson family and especially Caddy from tragedy. I think that the better question is whether or not the Compson family would be capable of “faith” and if that could have helped their family. Why does Faulkner reference both religion the Compsons’ lack of religion so often? What statement is he trying to make to the readers about faith? (595)

The Bible as in The Sound and the Fury

After reading the first three sections, I had not noticed much in the form of religion. After reading Mary Fletcher’s article, Edenic Images in “The Sound and the Fury,” I began to feel the religious undertone of the novel. The Compson family seemed not to practice religion at all. Mother preached that each family should be a good Christian but she did not follow her own advice. Father seemed to be a cynic of man. Dilsey, who is not truly a Compson by blood, seemed to be the only true believer in religion. The Compson family is void of both faith and spirituality, yet Faulkner references the bible many a time.

The article main focus is that of the ancient pear tree in the Compson yard; the tree that both Caddy and her daughter climb. Caddy climbs the tree in order to better understand what is going on in the house (Damuddy’s funeral). Although seemingly just another image of the rebellious Caddy the article points to the recurrence of the pear tree throughout the novel. Quentin also climbs the tree in order to escape the madhouse she has been living in and rob both Jason of his money and the Compson family of continuity. In Caddy’s case the tree serves as an allusion to the tree of knowledge as well as a foreshadowing of her “moral fall and consequent alienation.” (p.141, Fletcher) She refuses to obey her father’s command to stay out of the pear tree to instead gain an insight on Damuddy’s funeral.  The tree is a very important point of reference but the Compson grounds offer many allusions as well.

The river that flows through the property brings to mind images of Eden. The children often play in the river. Through Benjy’s eyes, it is at the river we are first introduced to the characters’ characteristics and relationships. The Compson grounds as seen by Benjy are a luscious garden similar to a reader’s image of Eden. Benjy himself serves as a biblical allusion both his name and his innocence reference the bible. Benjy is the only character that does not ever leave his garden or his innocent image of the world. He spends almost all of his time outside whereas Mother stays inside and Jason stays in town. The other children all decide to leave. Benjamin is the only child who stays innocent but that is only because he is “mindless.” The article states he is “Faulkner’s human equivalent of innocence.”(p.142, Fletcher) In Faulkner’s eyes no “normal” human being that has the power to think can be innocent; the power of knowledge is what the tree offers in the bible. Benjy can never have that knowledge.

By reading Fletcher’s article I began to spot the hidden religious analogies throughout the novel before beginning section four. This was very beneficial to me as a reader. An omnipresent narrator relays the fourth section. It is in the fourth section we witness the spirituality of Dilsey juxtaposed with the religion of mother. Mother keeps a bible by her bed but it seems as if even God cannot move her. In class we discussed whether religion could have saved the Compson family and especially Caddy from tragedy. I think that the better question is whether or not the Compson family would be capable of “faith” and if that could have helped their family. Why does Faulkner reference both religion the Compsons’ lack of religion so often? What statement is he trying to make to the readers about faith? (595)

April Sixth, 1928

After finished Quentin’s narration, this section proved to be much more “normal” in terms of how it was written. Jason, our narrator, talks and thinks chronologically. He often refers to the past but does not actually immerse himself in it as we have seen with the other two narrators, Quentin and Benjy. Although he does not find himself reliving memories, Jason allows the past to infiltrate his everyday actions and thoughts. His past continually influences him. His contempt for his cursed family is shown again and again. In the yes of Jason, it seems as if Quentin – Caddy’s daughter -- can never escape her mother’s past; “Once a bitch always a bitch.”(180). Many other members of the family also suffer from a permanent branding. He tries to escape the past but we see how he obsesses over Quentin’s supposed escapades with the man in the red tie. He exclaims “let her go to hell as fast as she pleases and the sooner the better. (239),” yet he follows her into the woods in order to stop her. He find himself hating all women. He is brutal, cynical, and tyrannical.

From the beginning we see how he has evolved from the tattletale to the punisher. The first scene makes us disdain Jason. He attempts to beat Quentin for ditching school but then mother intervenes. How can Mother see him as an angel when she is afraid of him losing his temper? Jason often thinks about how he never received the things his siblings received yet he has to provide for what is left of the family. Although he was Mother’s favorite she never sacrificed Benjy’s pasture for him. What has Mother’s favoritism done to him? Does he even love Mother?

A Grandfatherly Vampire

Vampires in the Lemon Grove

Karen Russel

 

I read this short story because of the title, Vampires in the Lemon Grove. I have always found myself gravitating towards stories involving vampires. My second favorite book I have ever read is called The Historian by Elizabeth Kostova, which deals with the most revered vampire of all time, Dracula. However, the usual darkness shrouding a gothic vampire story is absent from this title. A lemon grove does not seem a fitting home for the undead. Immediately I found myself questioning the juxtaposition of this title, and, consequently, reading on.

Clyde, the main character, is described as “a small kindly Italian grandfather,” with a walnut stain peculiar to Southern Italians. He is not a stereotypical vampire: untouched by the sun, red eyed, with the face of living death.  Most likely, “kindly” would be considered an atypical adjective for any vampire. By describing Clyde as so, we see him as very human.

Clyde, the vampire, experiences many human the fears and desires: his loneliness concerning his wife, his disconnect with his, his care for her. However, he is immortal. The question remains, if you had to love someone forever, could you? We empathize with him and the eternal loneliness that accompanies his existence. At the moment we comprehend his total loneliness, we are abruptly reminded of the monstrosity within when he attacks a village girl, Fila. Vampires in the Lemon Grove explores love and loneliness, suffering and reprieve, as well as sacrifice all within the context of immortality. I found it very interesting. (260)

The Evolution of Insanity

Through The Yellow Wallpaper, Charlotte Perkins Gilman portrays the evolution of insanity. The narrator, wife of the overbearing physician John, records her own transition from the grip of sanity into the tumultuous throws of mental instability. Does she realize that she is insane from the beginning or is it only when she breaks through the wallpaper does she knowingly allow it to consume her.  At the beginning of the story we see our narrator as “mere ordinary” (p. 424); her husband and her brother, both physicians, have diagnosed her with a nervous condition, “ a slight hysterical tendency,” (p. 425) and sentenced her to a rest cure. We are never told the catalyst for this diagnosis. However, this condition is the reason for her and her husband’s stay at the house in the country. The narrator is forced into an “airy” room where she can recover her mental stability; she can only concentrate on the yellow wallpaper. Her descriptions of the wallpaper become increasingly lively, as does her condition. Her insanity is shown through her style of writing.

She writes of the house and it’s surroundings, she is very descriptive, her vocabulary is extensive, and her words paint a vivid picture for the readers. When she writes of John, her writing becomes shortened, direct and minimalist, similar to the words of her husband. He is limiting. He does not want her to write; it is almost as if he is forcing her to become more like himself, “practical in the extreme (p 424). The difference between husband and wife can be seen stylistically and through her own descriptions. However, it is as if the narrator refuses to accept that tension. She disagrees with his diagnosis and she blames him for her slow recovery ( p 424), then she reminds herself “he is very careful and loving… he takes all care from me, and so I feel basely ungrateful not to value it more.” She writes “I am too wise.” Then she writes “he is so wise. (p. 429)” She has no power over herself and all of her actions are decided for her with “special direction (p. 425).  John’s influence is so great that the narrator cannot enjoy the solace of a private diary without fear of invasion, both physically and mentally. She reprimands herself as she writes; why would she not edit herself as she writes in order to appease John? I feel as if her most ridiculous thoughts she keeps solely to herself and not on the page, even though it is only “dead paper. (p 424)”

 Ironically, it is within the wallpaper of her room her mind escapes her. As she falls further and further from reality the pattern on the wall becomes more alive. Behind the pattern, she can see “ a strange, provoking, formless sort of figure that seems to skulk around behind that silly and conspicuous front design. (p 428). She is able to escape in the formlessness and haphazardness of the design.  Just as we find her spiral into madness mesmerizing, she finds “ it is so interesting to watch developments (p. 431)” in the paper; her descriptions, all the while, are increasingly insane. The paper begins to appear just as her mind; a loose barrier covering “the creeping woman” inside. Until, finally, she rips free, breaking through her husband’s oppression and her own sanity. It is through her descriptive writing we see her evolution into insanity and we know she is proud of it, for the diary is representation of a conscientious self-recording. (591) 

The Extraordinary

Under the fluorescent lights of an American supermarket, John Updike is able to explore the implications of the extraordinary. The ordinary Sammy is caught up in the humdrum of supermarket life until in walks three extraordinary creatures, to be more specific, three barely clad girls. The appearance of the triumvirate throws both the employees and the customers for a loop. Sammy observes the three during their escapade through the A & P. The girl’s attire could only be described as unconventional; Sammy intently observes the reactions of the customers, which he dubs “sheep.” Sammy realizes that apart from being their “unsuspected” hero, he wants more than to be a part of supermarket society; he wants to be extraordinary as well.

From the very beginning, the narrator presents his skills of observation. He is able to interpret physical action into an aspect of character. The description of Queenie’s gait demonstrates his ability to connect the two. He associates the hardness of her steps with the unfamiliarity of her bare feet hitting the hard floor and the distribution of weight as a determination to push the boundaries. Through the eyes of Sammy, we see that with each step she gains confidence. Queenie is the unconventional threat to the supermarket society. In fact, we see the “sheep scatter” as she forces her way through them, by “walking against the usual traffic (16).” She represents everything foreign, beautiful, and extraordinary to Sammy. He imagines her home as a luxurious alternative to that of his own cookie cutter lifestyle. While her family enjoys extravagant drinks, his family provides generic refreshments. We see his family and community represented by the store manager Lengel, the family friend, and his clerk-mate Stokies, whose greatest ambition in life is to be store manager himself. Lengel reminds Sammy that by quitting his job he will be disappointing his parents and Sammy knows it as well. He is deciding to walk against the norm and to embarrass the supermarket society. He admits that he feels “how hard the world was going to be to… hereafter (19).” Sammy realizes that by choosing to be unconventional he will have to face larger challenges.

By setting his short story in a supermarket John Updike is able to comment on the dreary life unaccompanied by the unconventional. Each customer is the same. They react similarly to each situation. Rather than admit to any disturbance they would rather ignore it. “ I bet you could set of dynamite in the A & P and the people would by and large keep … checking of their list (16).” However, the inexplicability of the girl’s dress and behavior is overwhelming for the clones, “you could see them kind of jerk, or hop, or hiccup but their eyes snapped back to their own baskets and on they pushed (16).” The girls make a point of walking against the flow of sheep, emphasizing their differences. The supermarket itself represents a sort of corral; Sammy aptly names it a “pinball machine (17),” where sheep can be funneled out. Sammy gives the sheep a collective conscience and feeling because one is indistinguishable from the next. The entire journey is supposedly undertaken to obtain “Kingfish Fancy Herring Snacks (17), “ but ultimately, Queenie’s goal is the prove herself extraordinary. By doing so, she inspires the other youth in the store, Sammy, to do just the same.

While reading this story, I was reminded of a song by Malvina Reynolds. She describes the supermarket society as a society filled with the same people, who all follow the same pattern, who live and die following the same journey, in the same “little boxes.” Both John Updike’s and Malvina Reynolds’ work satirizes the ridiculousness of conventionalism and encourages the extraordinary. A & P shows us one boy’s decision to stand out and choose a path different from the expected.

“Little Boxes” Malvina Reynolds

Little boxes on the hillside,

Little boxes made of ticky tacky

Little boxes on the hillside,

Little boxes all the same,

Theres a pink one & a green one

And a blue one & a yellow one

And they are all made out of ticky tacky

And they all look just the same.

And the people in the houses

All went to the university

Where they were put in boxes

And they came out all the same

And theres doctors & lawyers

And business executives

And they are all made out of ticky tacky

And they all look just the same.

And they all play on the golf course

And drink their martinis dry

And they all have pretty children

And the children go to school,

And the children go to summer camp

And then to the university

Where they´re put in boxes

And they come out all the same.

And the boys go into business

And marry & raise a family

In boxes made of ticky tacky

And they all look just the same,

Theres a pink one & a green one

And a blue one & a yellow one

And they are all made out of ticky tacky

And they all look just the same.

A Teenage Clique

In Anne Tyler’s short story “Teenage Wasteland,” we find ourselves surrounded in a world populated solely by teenagers. They all vie for positions in an exclusive club of “acceptability.” Daisy, the insecure one, Cal, the influential screw-up, Matt, unsupportive boyfriend, Donny, the lost boy, and Amanda, the forgotten girl are the members of this so-called group. They compete for the love and attention of each other member, which is gained by popularity. The group or family is missing a parent. Daisy is too caught up in her own insecurities to stand by the right decision and Matt does not care enough. When the turn to a third source, Cal, they are presented with an faulty outlet of responsibility. This lack of authority and guidance leads all of the characters to unhappiness and loneliness.

Daisy, the supposed mother, fails to mature out of adolescence due to her unforgiving insecurities. The narrator fails to name Daisy as the mother during the second paragraph of the story; she never gains a title of respect or care throughout the story. Daisy deals with the constant anxiety of a teenage girl. She is summoned to the principal’s office and her behavior represents that of a soon-to-be reprimanded student, “clutching (p. 36)” her purse. In fact, she describes herself as the “delinquent parent (p. 36).”  She imagines herself sitting before the principal as “an overweight housewife in a cotton dress (p.37), even before he enters the room. Her negative self-reflection is a clear indicator of her teenage immaturity. She focuses only on her appearance and the principal’s interpretation of her behavior as opposed to that of her son.

 Daisy soon finds herself participating in all of the activities a teenager would devote his or her time to while trying to help her son. Her effort fails and the psychologist recommends a tutor, Cal, to help bear the burden of parental responsibility. Donny seems to be happier each day he returns from Cals’ house. After some time Daisy realizes what a negative influence Cal is, but she is manipulated by her desire to “befriend” Donny, her son. She finds herself becoming jealous of Cal and his ability to make Donny happy. Because of the jealously she is again manipulated into giving the other group members what each of them wants; Cal keeps getting paid and Donny gets his free reign. Daisy also faces this struggle alone; she is unsupported by her husband. We see that Matt does have a critical eye; he comprehends the situation at Cal’s house, agreeing to the name of “teenage wasteland” accidentally brought up by Daisy while she is blinded by her love of Donny. Even though he understands the implication of that title, Matt fails to react in any positive way or, more significantly, in any way at all. We see Matt as an apathetic father. With a mother wrapped up in her own issues and a father not bothered to care, Donny has no where to turn but to Cal. Cal eventually deserts Donny as well. Every connection to his “group” has been severed and Donny has nothing left to do but run. 

The twelve books that came to mind...

1. The Count of Monte Cristo, Alexandre Dumas

The Count is so precise in his retribution that it can only be described as perfect. His exactness and foresight are mesmerizing. This is my most favorite book of all time. 

2. The Historian, Elizabeth Kostova

I love Vampires! This book is filled with adventure but also true facts about the most famous and feared vampire ever. You feel like you are discovering it yourself. So much better than Twilight... 

3. Angels and Demons, Dan Brown

The ending of the book.

4. 1984, George Orwell

The images he uses are so powerful.  I can still see big brother staring down at me even now. This book always makes you think.

5. The Golden Compass, Philip Pullman

I really liked the heroine Lyra. I could not put it down, which is always a good sign. Pullman was able to create a completely believable yet fantastical world. 

6. Harry Potter and The Deathly Hallows, J.K. Rowling

I have read this entire series about seven times and have thoroughly enjoyed myself each time. I am a Potter head. 

7. The Devil in the White City, Erik Larson

The criminal mind is very interesting. There is both logic and madness to the murderer's plans. This book got me hooked. I also really like In Cold Blood. 

8. Summerland, Michael Chabon

I really enjoy reading fantasy books. They are a good escape. The creatures in this particular novel were exceptionally creative. 

9. Dune, Frank Herbert

The betrayal by the doctor is so very Shakespearean. The inclusion of religious aspects where really interesting. 

10. Fahrenheit 451, Ray Bradbury

This book is similar to 1984. I can still see the horrible spider-legged machine. I really liked this book because it showed how significant the written word can actually be. 

11. Stargirl, Jerry Spinelli

Taught me that non-conformity is awesome

12. Frindle, Clements 

My first ever favorite book. 

Words Through Actions

I cannot say that I would have picked up The Road of my own accord. After reading only the first paragraph on the back cover, the novel in question seemed to epitomize human’s natural obsession with the apocalypse. Only because of the insistence of a friend, did I finally open the black cover and begin the journey with the man and his son. I am glad I did. The book began as I had imagined, a desolate scene, vacant except for a constant fear. Immediately questions began forming in my mind while I read: “How did this happen?” “What happened to the rest of their family?” “Who else was out there?” “Where was the danger?” and most importantly “Where were they going?” It soon became clear that although my questions where logical, the answers were not important. I had placed too much significance upon the destination. My initial questioning would probably be considered normal. We all at some time or another mindlessly complete the steps set out before us to reach an objective. Some people attend high school in order to attend college, etc. However, The Road tells a different story; one without answers. The Road is rather a depiction of the best and worst aspects of human nature through the same journey. Faced with the same challenges, humanity has the ability to outshine dark impossibility, while it can also be lost to impossibility’s hopeless depths. The man and his son are able to survive starvation, cannibalism, theft, and greed without succumbing to the darkness.

Cormac McCarthy’s genius derives from his ability to lead the readers to a conclusion without directly expressing his own. His writing in the The Road is a great example of how much can be said without actually saying it; which to me, as a reader, makes his writing much more sincere. In my own relationships, I believe that actions are better suited than words. By describing the journey alone, he is able to more clearly emphasize his opinion of human nature. A great example of these would be his non-inclusion of names for his two main characters. Although the son sometimes calls his father “Papa,” the two main characters are most commonly referred to as the man and the boy. This lack of identity helps transfer the emphasis of the individual characters to the relationship between the man and the son. In a world of hopelessness, the tenderness between the man and the son is the only goodness in the world, the only thing that makes the readers believe all hope is not lost. This human goodness is the light that is so important to the son. Ultimately, the goal is the journey and the preservation of the light against all odds. That is the responsibility passed from father to son at the end of the book, the most precious gift the father could give to the son. The Road is able to use language to show readers the stalwart nature of goodness in humanity without giving us the answers we thought we needed to know (511).

Books I have read this summer… 1. The Road, Cormac McCarthy 2. The Post American World, Fareed Zakaria 3. Blink, Malcolm Gladwell 4. Dune, Frank Herbert 5. The Maltese Falcon, Dashiell Hammet 6. The Catcher in the Rye, J.D. Salinger 7. Pretties, Scott Westerfield 8. Outlander, Diana Gabaldon 9. Dragonfly in Amber, Diana Gabaldon 10. Voyager, Diana Gabaldon 11. Being Peace, Thich Nhat Hanh