A Thousand Splendid Suns: Week 6, Post B

I think this post comes at a good time in the reading in the fact that it's not only the end of the section, but also the end of the section. I think I'd like to use this free post as a way of setting forth how I felt about this tough spot in the book.
In the beginning, I really admired Mariam, her courage, her strength, her guts to go with Rasheed even when she didn't know him and had no want to get married. I think that was, in a way, the way to show her character. She's tough in the way that she'll do what she's told without too much complaining, and without questioning the reason.
However, I can't lie, she really made me mad in the middle of the book. I thought, incorrectly at the time, that she'd easily accept Laila into her life, seeing as she had been in a similar spot herself. However, she was stuck, rude, and hurtful without reason.
She finally came around, however, and just in time as Laila seemed to be reaching her breaking point with the baby on the way. Mariam joined up with Laila, and together they rebelled against Rasheed and got more and more freedoms. However, things always seemed to be on edge, and the tension continued. In my own personal preference, however, Mariam continued to move up.
As the story continued, Mariam became more and more of a hero. And finally, she died a hero, strong, couragious, and without question. Although often times when someone passes away, people look back at only the good things they've done. I will remember Mariam as a hard working person who had their ups and downs, but came through when needed and died supporting her friends.

A Thousand Splendid Suns: Week 6, Post A

VOCAB

Condescension (311): Voluntary descent from one's rank or dignity in relations with an inferior

Despondent (315): Feeling or showing extreme discouragement, dejection, or depression

FIGURATIVE LANGUAGE

"Bizarre geometric shapes in the light, worms [...]" (312). This is a metaphor because it compares the shapes Laila is seeing the light (while she's being choked) to worms. We have to assume they're moving, and at the same time decreasing as she slowly moves toward death.

"Be brave....Like a lion, she'd say" (325). This is a simile because it compares Mariam's bravery to a lion, she has to be strong, and not scared to do the right thing.

"One last time, she did as she was told" (329). This is a meaningful quote, but also irony in a way. It's ironic that after doing the right thing and following directions her whole life and always getting punished, it just so happens that doing the right thing gets her killed. It's ironic in the saddest way possible.

QUOTE

"One last time, she did as she was told" (329). This is the saddest part of the book, by far. It's a beautifully written part, sweeping and moving and almost (and probably to some people) tear jerking. I think this line just sums up Mariam's life and how she never, not when she was a girl forbidden from entering the city, not when she was forced to marry Rasheed, and not when she had to die, got her way.

THEME

Sometimes, the hardest, most terrible thing in life is the truth, because Mariam told the truth in court and it let to her death, even when it was an undeserved and terrible punishment.

A Thousand Spendid Suns: Week 5, Post B

QUOTE ANALYSIS

"She watched him walk away, shivering where she stood. She thought, volumes, and another shudder passed through her, a current of something sad and forlorn, but also something eager and recklessly hopeful."

Wow. I called that. I knew Tariq was coming back. They made it seem obvious that he was dead, but, as a veteran 24 watcher, I knew he was NOT dead. It was too easy, he was written out of the story in too simple of a way. So, that to me, was an easy call.
Now, about the quote. I think that the mix of "sad and forlorn" and "eager and recklessly hopeful" shows that while it may never be quite the same between her and Tariq, the eagerness and the the hope can bring things back close to where they once were. I really like the word choice in this quote as well...the "current of something..." and the "shudder passed through her" really give you feeling of what she's feeling, and I think are very descriptive phrases that really display moods.
To just go into a little more detail, I think that the sad and forlorn is the past, the longing for the times they had together, and the knowledge that they'll never have those times again. They may be together again, but the knowledge that they missed all those years and that they can never really be together really stings.
However, the something "eager and recklessly hopeful" are pretty obvious if you know the characters. Two lovers. Separated by war. Believed to be dead. Reunited. It's pretty cliche, but somehow in this story, it works. Even if I did see it coming from a mile away. It still works.

A Thousand Splendid Suns: Week 5, Post A

VOCAB:

Recluse (245): Solitary, marked by withdrawal from society.

Urbane (249): Notably polite or polished in manner.

FIGURATIVE LANGUAGE

"It sounded like a bag of rice dropping to the floor" (267). This is a simile because it uses like to compare the sound of Laila's punch to a bag of rice dropping- Boom!

"[...] his tantrum was a hurricane, sparing no parts of the room [...] (271). This is a metaphor because it compares Zalmai's tantrum to a great storm without like or as.

"Her heart squeezed" (280). This is personification because, obviously, Laila's heart cannot squeeze out anything, save for maybe blood, but definitely not love or forgiving.

QUOTE

"He's been dead for almost 20 years," Laila said to Mariam. "Isn't dying once enough?"

I like this quote because I think it talks about not just death, but the hardships in life. Mariam and Laila have gone through more than most people should in a lifetime, but the bad things don't stop coming. I think the "isn't dying once enough?" shows that Laila is tired of how tough life is, and how sometimes you don't get a break.

A theme from this section is that sacrifice requires strength, because sometimes, like Laila, we have to give up our favorite things just to get by.

A Thousand Splendid Suns: Week 4, Post B

Dear Mariam,

Thank you, thank you, thank you. Finally you come to your senses and realize you have to befriend Laila before you can get anywhere. It took 2+ years, but better late than never, I suppose. You may have been caught, but the friendship formed was many times more important than getting caught one time.
I would also like to say....Wow. Rasheed's punishment of you and Laila, as well as Laila's family was so inhuman it was difficult to read. Locking up two adults was one thing, but detaining a baby...that's so horrible it's hard to even consider. When I realized you'd been caught, I knew Rasheed would not let you go easily, but locking you in a hot room without water...it's a wonder you didn't die.
Enough about that, though. Personally, I couldn't be happier than Laila and you have made up. First, it was no talking, no help. Then there was talk...but it wasn't happy. Finally, things got a little better. You worked together on some chores. Then, you drank tea together in your free time. Finally, you became friends and went on a difficult journey. It wasn't all that hard, was it?

Oh, and one final thing....what took you so long? Not to be mean, but...wow. You were a jerk to Laila. I'm sorry, but it's true, you wouldn't even give her a sideways glance, let alone a hello. I was so angry at parts....I don't know how to say it. Let's just say I'm glad that's over.

Thanks again,

Michael

A Thousand Splendid Suns: Week 4, Post A

VOCAB:

Factions: (238) Self-seeking groups often within a government, a clique.

Muezzin: (242) A Muslim crier who calls the hour of daily prayer.

FIGURATIVE LANGUAGE

"Her eyes screamed in protest" (243). This is personification because, as much as they would like to, your eyes can't scream. It gives human characteristics to something that is not a human.

"It is my responsibility, you see, to maintain order" (238). This is irony, because the police do the opposite of maintain order, especially when people are getting murdered, raped, looted, and attacked every day.

"The room was a pressure cooker" (241). This is a simile because it compares Laila's room to a pressure cooker, since she is locked inside w/ a chair in front of her door, and her windows covered with wood planks. It just gets hotter and hotter.

QUOTE

"'It's not your fault, Mariam,' Laila said weakly. 'It's mine. It's all my fault. Everything is my fault." (239).

I thought this was a key quote because it was the first time the two actually got along, and didn't want to place the blame on the other person. I thought this was a HUGE point, because to survive, they're going to need to stick together, especially to protect the baby. Also, this showed Laila taking the blame for something, which was rare, even though in this case it was no one's fault.

THEME

It may be cliche, but don't judge a book by it's cover, because Mariam did, and it ended up getting them caught and brought back.

A Thousand Splendid Suns: Week 3, Post B

QUOTE ANALYSIS

“Seasons had come and gone; presidents in Kabul had been inaugurated and murdered; an empire had been defeated; old wars had ended and new ones had broken out. But Mariam had hardly noticed, hardly cared. She had passed these years in a distant corner of her mind. A dry, barren field, out beyond the wish and lament, beyond dream and disillusionment. There, the future did not matter. And the past held only this wisdom: that love was a damaging mistake, and its accomplice, hope, a treacherous illusion” (229).

I like this quote because it really shows how although things had changed outside, such as the presidents being killed, and the city being damaged, the same thing was true to Mariam. Things were bleak, boring, hopeless. She had tried to change; she tried to make the best of things when she got married. But it didn’t last. After a while, she went right back to the same old ways. I think this quote is quite the summary of the middle third or so of the book. In the beginning, you think she might have a great life, things could be good. But things take a change, and she’s back to the same ways she is for 16 years. Now, things begin to get better, she makes more friends and starts to think about her life more. This is the end of the beginning, as it were.

On the Waterfront: Film as Literature Essay

On the Waterfront: Film as Literature

As a whole, On the Waterfront, Elia Kazan’s 1954 Oscar-winning film starring Marlon Brando, was a very successful piece. It effectively combines the brute toughness of a gangster flick, such as The Godfather, with the suspense and wit of a classic Alfred Hitchcock film. Brando’s performance was more the worthy of the award for best actor, his apparent toughness combined with his longing to do the right thing while keeping his superiors content kept viewers guessing until the very end. The scenery throughout the film was equally effective, using long shots of the docks combined with city and park backdrops to give you a feel of the action taking place far and wide. Also going for the film are the unique comparisons between the characters and birds, making viewers think while the similarities are set. Most effectual, perhaps, was the way Kazan and cinematographer Boris Kaufman mixed in camera angles of all types to influence views of the characters without having the say a single word. All this came together in one explosive, very well executed piece of film.
Literary aspects are those relating the film to a written text. As trivial as they may sound, they often compose the difference between a great film, and a box office bust. The characters in On the Waterfront are quite developed from the start; each has a unique personality that becomes apparent within the first few minutes. In fact, the personas the characters wear in the beginning are for all intents and purposes the same for the entirety, with the exception of Terry Malloy, played by Brando, who really switches his views. The characters are well played out and akin to the way they would be portrayed in a novel: simple, yet dramatic. They each play a role, much as they would in a book. Another similarity between Waterfront and a written novel would be the intricate use of symbols, items used to represent something else. Often times in literature, an author will use symbols, written clues to move the story. In Waterfront, birds are used to show the character’s personalities and tendencies. A canary is used to describe one who tells everything, or sings, much as a canary does. Someone considered a pigeon is one who is used as a middleman, someone who does what he or she is told but doesn’t necessarily know why. A hawk is pretty self-explanatory; it’s simply one who kills other “birds.” Much as the beast represents fear in William Golding’s Lord of the Flies, these birds of a feather represent the different types of people and who will and will not take a stand. Kazan’s On the Waterfront shares many aspects with a written work, including characters and symbols, which move it along as provides the footholds for an effective film.
Dramatic elements are those shared not between literature and film, but between film and a stage production. To put together a movie or a play, you need strong acting, make-up, props, etc. It all matters to the overall effect of the performance. The strongest aspects of On the Waterfront came in the form of acting. Brando, delivering his finest “Pre-Godfather” performance, was well deserving of best actor. The most famous, and possibly most powerful scene in the movie was also Brando’s strongest. His taxi ride, “I could have been a contender” speech showed that he could not only play the tough mobster, but also the caring, almost compassionate brother. More importantly, he delivered the line without sounding too corny, or forged. The thirty year-old Omaha native played the role like a seasoned veteran, taking both calm and dramatic parts in stride and delivering one of the finest acting demonstrations Hollywood has ever seen.
Another stellar acting performance came from Chicago-native Karl Malden. Playing the dedicated and dependable Father Barry, Malden blew the job out of the water, and proved more than deserving of the Best Actor in a Supporting Role award at the 1954 Oscar Awards. He played the part convincingly, but more than that, he played it perfectly, expressing emotions into parts that could easily be taken as dry or boring. A scene that Malden really shone in was the church meeting scene. Telling Kayo Dugan he’ll “go down the wire with him,” and help stop the crime in the city was very powerful, and erased all doubts that Malden couldn’t play the serious parts. Malden proved to be the best choice for the role, and looked the part as well, staying calm and collected throughout his entire performance.
A third surprising acting performance came from the young Eva Marie Saint. Though she worked largely with television before On the Waterfront, she played the big screen role confidently, and won Best Supporting Actress for her work. Her presence is known as well, with her glowing blond hair always catching the light and giving her an aura of goodness, the opposite of what is becoming a reality around her. She plays the part well, appearing unflustered by what is going on, a woman with a mission. This is exactly how she’s supposed to seem: cool and calm under pressure, but strong, determined, and dominant. Marie Saint hit the nail on the head with this role, sweeping audiences along with Marlon Brando in one of the best side-by-side performances in cinema history.
Another aspect the movie shares with live drama would be the aspect of lighting. Throughout the movie, Eva Marie Saint’s character Edie appears to be lit up, making her appear brighter, almost better than the other characters. She emerges as a heavenly character, providing a ray of brightness in a very dark place. Although, admittedly, some of this “gleam” comes from her glowing blond hair in a black-and-white film, but the cinematographer Kaufman definitely played up the lighting, though rather subtly, and gave her a beautiful, angel-like appearance without doing more than flipping a switch.
Cinematic aspects, unlike dramatic or literary, are those unique to a film. One of many things Kazan does well is utilize high and low angle shots to influence opinions. His low angle shot of Father Barry rising up out of the depths of the docks. The scene begins with more excellent camera work, depicting numerous gangsters occupying the top ring of the dock and watching as Father Barry justifies the troubles. He then proceeds to enter a lift and rise up past the mobsters and out of the dock. The effect is two fold upon audiances: on one hand we seem Father Barry as a powerful character, indeed the scene seems like something tore from Mel Gibson’s Passion of the Christ storyboard. At the same time, we see the Father as something much more practical: A man, doing his best to rise above the crime in the city and take a stand. All that from a simple low angle shot, proving that camerawork is more than worth its weight in gold…gold Oscars, that is.
Another cinematic effect put together by Kazan was that of shot duration. No scene in the film seems to drag-it’s hit, hit, hit, with scenes right after one another. Especially when showing the protesters, or unhappy dock rejects at work, this aspect gives viewers a feeling that no time is lost, things move quickly on the waterfront, as it were. Although barely noticeable, this effect gives the film an overall pleasing appearance, and a quick tempo.
A cinematic aspect very apparent to some viewers, and highly unnoticeable to others is that of the music. The soundtrack of the film, written by Leonard Bernstein, is dark and intense for the majority of the movie, surprising considering Bernstein worked almost exclusively with musicals. It also packs some surprises. For example, the festive, dance music playing at the bar is sandwiched between two emotional, rather mysterious scenes concerning the past and present of Terry Malloy. Although never really brought to the forefront like the music of Harry Potter or the Bond series, the music continues, quite effectively, the direction of the film and provides and excellent base for the remainder of the action.
Though written to actually rival Arthur Miller’s The Crucible, there are many similarities (and differences) to be drawn from Kazan’s On the Waterfront and Miller’s All My Sons. For one, in both cases characters are forced to make difficult ethical decisions that are forced upon them rapidly. For Miller’s character of Joe Keller, it’s the split second decision of whether or not to sent the cracked cylinder heads; know to be potentially dangerous, overseas and into the planes of America pilots. For Terry Malloy, it’s the long running decision of what to do with his life. Though essentially a member of the mob by family, Terry seeks to break out. He needs to chose not once, but twice whether his life as he knows it is more important than his good conscience He is forced to choose between whether he wants to stay with the mob or not, following the murder of his friend Joey Doyle. He chooses to stay with the gang for the time being, in part helped by the bribe of a good paying job with zero work. Like Keller, he makes the wrong choice, and, like Keller, people get hurt when he does. By keeping his silence, Kayo Dugan is killed, as did his brother Charlie, a product of his second indecision. Finally, Terry makes the proper choice and confronts Johnny Friendly, the killer of the three men. So while the two men both make incorrect moral choices, there is a difference. Joe, in the end, takes the painless way out, and takes his own life. Terry, however, takes a stand, and corrects his wrongness by highlighting Friendly’s errors, and helping the general public. What we get out of the Waterfront and All My Sons is simple: People of all sorts make mistakes; it’s where they correct themselves that we can finally judge.
Speaking as a 10th grader, a movie fan, and an open-minded person, I can safely recommend this piece to people of all types. While I think as a whole it takes a certain type of person to enjoy a black-and-white movie, the acting and drama of this movie just blow those guidelines away. Brando, Marie Saint, and Malden provide superior performances, and the camera angles are a notch above the rest. And though there are some slight things that may require work, as in all movies, I don’t think there’s a single major flaw to point out. And as I’m hesitant to recommended a movie solely based on plot (This one’s was relatively routine), the movie can be easily supported by the acting and will continue to be an American classic for years to come.

A Thousand Splendid Suns: Week 3, Post A

Vocab

Bodice: (221) The upper part of a women's dress.

Pakols: (232) Green army uniforms worn by Mujahideen military men.

Figurative Language

"Do you know how lucky you are to have a man who's not afraid of Shaitan himself?" (228). This is irony because the speaker, Rasheed, is one of the weakest and most pathetic men you can find.

"Her heart took flight" (226). This is personification because, obviously, her heart cannot simply fly, it is used to describe her excited feeling.

"...like waves crashing upon her, consuming her." This is a simile because it uses like (or as) to compare the realization of leaving to waves crashing. I really like this one.

Quote

"I guess some people can't be dead enough" (221).

I really liked this quote, because it kind of shows, with out being specific, how people tend to think badly of people, even when they're gone or dead. Rasheed says "if I could get my hands on him..." Even though the boy is dead, Rasheed still feels harsh toward him. And even now, as a general population, we think mean things toward people, even when they're dead. I chose this quote because it is something that struck me as harsh (although I shouldn't be surprised) and is something I think we can fix.

Theme

Nothing is impossible in life, I chose this because I think even though a friendship between Mariam and Laila seemed totally out of reach, Laila kept trying for it, and finally got her wish.

A Thousand Splendid Suns: Week 2, Post B

Well, here it goes...
I was just thinking as I was reading about the differences between our world, and theirs in Afghanistan. The most striking difference to me at least was the arranged marriages. I mean, I'm sure it's happened for centuries, but I've never really thought about it. This first came into play toward the beginning. "You have a suitor[...] His name is Rasheed" (43). To this, Mariam is shocked, just as I was. "Is this true? What she's saying, is it true?" (43) she asks her father. I don't think she'd thought much on the subject, and neither had I. The idea that someone else chooses a husband or wife for you is something we don't have to think about here in the U.S., but it is a big issue in other countries, mainly third-world countries. The whole topic even comes up AGAIN when Rasheed is choosing yet another wife. The fact that he says Mariam is "lucky" to be kept in the house (even if as a slave of sorts) and not thrown on the streets just seems to harsh to us as Americans who don't really deal with this, but I would assume it's a provident, or at least uncommon, occurence to those people.
Just thought I'd touch on something I know I hadn't thought about, and see what I could discover!

A Thousand Splendid Suns: Week 2, Post A

VOCAB:

Stark: (195). Having few or no ornaments, bare.

Mulberries: (205) Any of a genus (Morus of the family Moraceae, the mulberry family) of trees with an edible usually purple multiple fruit that is an aggregate of juicy one-seeded drupes.

FIGURATIVE LANGUAGE:

"You, on the other hand, would be a Benz. A brand-new, first-class, shiny Benz" (199). This is a metaphor, because they talk about someone as if they are an animal. She compares the girl to a car without using like or as.

"Laila's given birth to Gulbuddin Hekmatyar" (213). This is a irony because Hekmatyar was a warlord who killed many, many people, and the baby isn't even a year old and does nothing wrong. Rasheed just gets mad when anything loud happens.

"He threw Mariam one last, murderous stare, and gave the girl a shove in the back on the way back" (216). This is personification because the stare cannot be murderous, it makes it sound more cruel, and harsher for Mariam.

QUOTE

"The girl set the cup on the floor and put her hands out for the shirts, palms up. 'I'm sorry about all this,' she croaked. 'You should be,' Mariam said. 'You should be sorry." (203).

This quote to me....was very tough. We have seen Mariam since she was just a little girl, growing up and being shoved into someone else's life. She should know how hard it is for "the girl" or Laila, to deal with this. For me, this was the toughest part to take in the whole book. I just wanted to yell at Mariam. She had just given a HUGE lecture to Laila about how she's not her slave, even though Laila just tries to help out. I thought this would be a turning point for Mariam. But apparently not. Not yet.

A theme is think before you act, since people (especially Rasheed and Mariam) are making irrational choices based on their moods, and ought to think first.

A Thousand Splendid Suns: Week 1 Post B

Dear Khaled Hosseini,

     I have only read about 200 pages of your book, but let me just say, it's amazing. Now, I have not read Kite Runner, so I'm sure there is better reading to come, but this book as changed the way I look at the world, let me just say that. Your description of life in Afghanistan is amazing,  with rockets flying over houses, and people scared to go outside. I feel like I'm there...which most of the time is not a good thing!

     Another thing I've never really thought about was the switching and courtship of wives by men of all ages. Mariam was 15 when she was essentially assigned to her husband Rasheed. This must have been tough, but I suppose the fact that she was already living unhappily living with her father must have made it easier. Laila was more or less the same age, probably younger when she was chosen as the NEW wife for Rasheed. Not only would that be hard for Laila, it would be tough for Mariam, getting pushed out of the relationship. That's obviously something we rarely think about in America, but it's for sure something to consider.

     The other thing I really like that you did was the subtle relationship between Tariq and Laila. Although we didn't see it too long, it was pretty interesting to see the two interact, and become "more than friends." I thought that, although I don't know how important it will end up being, it was a very interesting story.

      And finally, I'd just like to say that my favorite part of the book was when Mariam comes home from her father's house, after the driver drops her off. I don't like it because it's happy, because it's not. At all. I like it because it's probably one of the few moments in a book that actually caused me to lose my breath. There are moments where this happens, in Harry Potter, To Kill a Mockingbird, and The Perfect Mile, to name a few, but I read a lot of books, and let me say it is not a common occurance. Well done, Mr. Hosseini.

Thanks for the book!

Michael

A Thousand Splendid Sun's: Week 1 Post A

VOCAB

Burqa: (73). A burqa is an enveloping outer garment worn by women in some Islamic traditions for the purpose of cloaking the entire body. It is worn over the usual daily clothing and removed when the woman returns to the sanctuary of the household.
Perfunctory: (110). performed merely as a routine duty; hasty and superficial.

FIGURATIVE LANGUAGE

"She could make out the minarets in the distance, like the dusty fingers of giants[...]" (27). This is a simile because it uses like to compare the minarets to the fingers of giants in the distance.

"They are not friendly countries" (102). This is personification because a country cannot be friendly or not friendly, it gives the country human characteristics.

"[...] And a mouth that, Giti said, ran like a sewing machine" (102). This is a simile because it uses like (or as) to compare 2 things, in this case, Hasina's mouth to a sewing machine.

QUOTE

"You're afraid that I might find the happiness that you never had" (27). This is an important quote because Mariam was leaving and her mother told her she would die if Mariam left her. Mariam took it to be an empty threat, and ranted about how her mother never tried to be happy, and didn't want her to be happy either. It's a turning point for Mariam because she finally decides to leave, and go more than 100 yards away. She gets to see what's really out there.

THEME

I think a theme would be that the grass isn't always greener on the other side, because Mariam thinks the village will be so much better, but it turns out to take a toll on her, and her family.

It's Not About the Bike: Week 5, Post B

Dear Lance,

I'm writing my final letter to you today. No, I'm not trying to be wierd, or all emotional, I'm just finished writing letters. So this may cover a lot of areas....Just to warn you.
First off all, you don't even know how impressed I am by your Tour victories. One day of the pain you go through in that race would do in most people, yet you put up with it for an entire month. The stages in that race are so tough, I don't think I could finish one if you gave me the whole day. Anyway, I think your training is what really set you apart, you were always first to arrive, last to leave, and always the one doing the work. Of course, I really admire that, being a runner, I put it on a LOT of miles, and, although it does pay off, sometimes you just get tired of it. Pounding the pavement is tough, if even for an hour or two. I can't even imagine biking for 12 hours like you did on some training rides. Although if there's one good example of hard working paying off, it's you and your seven Tour victories.
Also, I'm glad you are helping those with Cancer. Your funds and charity rides have helped more than most people ever would have thought, and I think everyone, not just patients, are in debt to you for that. Thank you so much for everything you did and continue to do for those sick and suffering on our world, you do more good than even you know.

Thanks,

Michael

It's Not About the Bike: Week 5, Post A

VOCAB

Sinew: (174) A tendon or nerve, especially one dressed as a cord or thread.
Braggadocious: (166) Overly boastful, showing braggart-like traits.

APPEALS

"You don't get it Bill [...] I keep telling you, I'm not a biker now" (167). This is an emotional appeal, and a pretty big one, because it shows Lance coming to the end of his line, and realizing that he may have have to give up his dream. He thinks that he is no longer going to be able to bike, even though biking is what really drove him through his cancer. It breaks a reader's heart to see someone give up on their dream after struggling for so long.

"By the end of the summer I resembled a healthy person" (172). I think this fits as a logical appeal because not only is it a fact (He looked healthy) it also argues a point, in a way: He's back and ready to go. It's put at the very beginning of a new section because it shows people that this is the beginning of his second chance, and he's going to work at it. (Which, at first, he doesn't.)

"What shape was my life supposed to take? What now? What about my recurring nightmares, my dream?" (181). This is an emotional appeal because it leaves Lance, and readers to think. What will happen? Not only does it make you want to read more, and find out what happens, it makes you almost want to reflect on your life, and find out where you want to go.

QUOTE

"Stacy Pounds had proved that to me. I was physically recovered, but my soul was still healing. I was entering a phase called survivorship" (181). I thought this quote was interesting because it really transitions into a new section of Lance's life, but one word really stuck out to me: Survivorship. Lance hints that you're never really done with cancer, you're either diagnosed, getting surgery, treating with chemo, recovering/waiting, or surviving. Surving means more that people think. Surviving means not only watching out for youself, but also for others: helping those who are diagnosed, giving hope to those going through chemo, and helping to find a cure. It's kind of a second job that comes when you're a survivor.

THEME

You have to work to accomplish your dreams. This is shown because Lance didn't work too hard on his first comeback and it ended badly, then he realized how hard you need to try.

It's Not About the Bike: Week 4, Post B

QUOTE ANALYSIS

"This is what it means to be sick" (134). I picked this quote to analyze because it's very emotional and you can tell it comes from the heart. Also, it means so many different things at the same time. First, the fact that he's finally hurting and feeling the effects of Chemo. Although he expected it to be extremly tough, I don't think anything can prepare you for something like that. I think that Chemo is tough because it attacks you both physically and mentally, it hurts you to the point of tears, degrades you emotions, and makes you question you choices. But it also saves your life.
This quote "This is what it means to be sick" also rings true because Lance is now realizing how Cancer affects those around him. His mother, obviously is hurt, but also his friends, his sponsors, and even those people who he had never seen in his life. They all felt for him, and now Lance realizes it.
I think this is just a great quote that really sums up how Lance is feeling. Sure, he feels defeated sometimes, I think we all do. But he feels something more. He feels what all cancer victoms should feel, but there's something else. It's almost as if he's proud that he's feeling Cancer's effects.
Hurt. Depressed. Yet Somehow: Excited. He feels the pain, and just how he feels the pain in his race, he rallies. He tries harder than before. That's how be beats competitors. That's how he beats cancer.

It's Not About the Bike: Week 4, Post A

VOCAB

Remission: The act of submitting or referring for consideration or judgement (121).
Ifosfamide: A chemotherapy drug used with all types of cancer (125).

APPEALS

"Seven days after the brain surgery, I went home. I would be back to the hospital soon enough. But at least I was beginning to talk this thing down to size" (125). This is an emotional appeal, because it makes you feel that Lance was beginning to cope, which is an important thing. Also, it makes you just kinda feel bad for Lance, but makes you want to get through it with him.

"I began to get good news. None of my sponsors were bailing out on me" (123). This is a logical appeal because it's a fact (none of his sponsors were leaving him even though he may never return to biking again) and also it was put at the beginning of the paragraph because it was such an important fact. He had no medical insurance and this fact just assures readers that he is going to be fine.

"This is the real McCoy [...] This is what it means to be sick" (134). This is an emotional appeal because it tells the readers that he's finally beginning to feel the pain and the effects of chemo. It makes the readers feel sorry for him, but at the same time it shows us readers that even the toughest people can be hurt from the smallest things.

QUOTE

"One day I noticed strange marks on my skin, almost like faint brown stains. They were chemo burns" (134). This is an important quote because it means the effect of the therapy is starting to appear. Lance thought it would be bad, but he assumed he would be tough enough to take it. This can just show us that just because you're physically strong doesn't mean you are invincible. Which just brings up my theme...

THEME

There are many types of Stregnth. Lance discovers this first hand because while he may be the toughest cyclist on the planet, thats got nothing to do with how strong he is versus cancer.

The 400 Blows: Film as Literature Review

I thought The 400 Blows, a Francois Truffaut film starring Jean-Pierre Léaud, was a respectable movie, with certain aspects that shone, and others that disappointed. The plot was passable, a sort of mix between a story of oppressive parents and a child that won’t follow the rules, regardless of who tells him otherwise. The scenery all contributed to the artsy, almost indie feel of the movie, with gorgeous, sweeping shots of the Eifel Tower, and the Paris backdrop. The characters were believable as a whole but the acting really saved the movie in many ways. While Léaud’s Antoine was a strong figure, the acting in parts really did nothing to influence this either way, although full conclusions can’t be necessarily drawn, since the majority of the shots are from a birds-eye view and don’t necessary highlight good or bad performances from the actors. As a whole, however, everything comes together in a successful film with definite some flaws and triumphs.
This classic 1959 film shares many aspects with classic literature. Like some novels, the plot was about as simple or deep as you took it to be. That is to say, you could see it as being a story of a child rebelling against his parents, or you could look further and note the intricate father-son and husband-wife relationships, Antoine’s struggles to excel in school, and his intense passion for the work of Balzac. That being said, Antoine appears to be the same way. Scratching the surface, he comes into sight as a rude child who dislikes all authority. However, his troubled past as well as his disapproving parents force him to rebel and throw off what he knows to live a new life. The setting provided a strong backdrop for the motion picture as well. The phenomenal views of the countryside as well as the panning shots of the city showed the world outside the dismal, shadowy apartment Antoine shared with his uneven step-father and his vindictive mother. Though the movie taught us that crime doesn’t pay, you couldn’t tell that through Antoine’s relentless attempts at stirring trouble. What you could learn from Antoine, however, was that family is a necessary part of a successful life. Although both a mom and dad are present in Antoine life, they provide little to no support for him, and this clearly affects him negatively. When a child is forced to lie to his teacher about the death of his mother, steal a typewriter from his father, and escape a juvenile holding facility, you know something in them is not quite right. And obviously, that fault of misguidance falls on the parents. The story is told from a third person point-of-view, someone seeing and following Antoine from the outside, which I think helps us as viewers see the story in an unbiased sort of way. These literary aspects all help us to further analyze and understand the movie in many different lights.
The dramatic aspects of The 400 Blows are those that it shares with live productions. In a play or musical, acting is what makes or breaks the performance, and there is no exception in cinema, whether past or present . In this film, the leading role falls on a young Jean-Pierre Léaud, aged 15 at the time, but playing a 12 year old Antoine Doinel. Although he represents a very dynamic character, Léaud can’t seem to fully muster the emotion needed to portray a part of such difficulty. While he plays certain parts well- his portrayal of a young school boy causing trouble to an overworked and underpaid professor is superb- there are parts that leave you wanting more. Although he handles a complex part like an experienced actor, there is always something left to be desired. After being placed in a temporary jail, Antoine plays it cool, trying to show is toughness. However, Léaud appears almost too calm, putting a lack of emotion into the role where there should be a distinct air of superiority. Yes, the part comes off fine, but again, the scene is missing something. The casting , however, was first-rate. The choice of a young Léaud, making only his second silver-screen appearance, was a good one, for not many teenagers could have played the part with such distinction. The other major roles- those of Antoine’s mother, Gilberte (Claire Maurier), and Antoine’s father, Julian (Albert Rémy)- are superb, roles that really make you question whether you are watching actors or actual people interacting. Maurier’s performance especially stands out, in her playing of a mother who goes back and forth in her attempts to win back the good graces of her son. Very rarely did Maurier’s performances slip below purely striking. Although we don’t see much of her other than at the apartment, we can gather that she continually swayed between befriending and attacking her son Antoine. Her finest scenes came when she was doing something in the wrong whether it be lying to her husband or trying to make a corrupt deal with her son, and did they ever stand out. She was wickedly cool, making moviegoers love to hate her and wonder at what she would do next. Another role that was almost as entertaining, and equally two-faced was that of Antoine’s father. Played by the Paris-native Rémy, Gilberte was one that was hard to read. He appeared in the beginning to be a step-father trying to make peace in the family, joking with Antoine as much as he was assisting his eccentric wife. However, as the movie progressed, his mask was removed and he was revealed to be a cold, pitiless man, eventually dumping his son for juvenile treatment. His changing performance of good to evil, while still maintaining the seemingly same outer personality, was outstanding, blink-and-you-may-miss-it stuff, a real jem of a routine turned out once in a lifetime. It’s a pity he didn’t receive more screen time, although we’ve been shown again and again by actors such as Anthony Hopkins (Silence of the Lambs) that less really can be more when it comes to the art of film. As with Léaud, Rémy and Maurier are amazing choices for their jobs, each going above and beyond their expected roles, and even without such blatant flaws as those of the young Léaud . Even the lighting was superbly chosen, from the playful shadows of the city streets to the ominous shades of the apartment Antoine called home. The contrast of light versus dark gave a new feel to the movie, causing the viewer to get a sense for what was coming before it even happened. All this added up to brilliant dramatic aspects which made the movie stand apart.
Cinematic elements are those unique to film, those elements that come together when the editing is done and the reel is ready. These silver screen basics can be timidly subtle or immensely powerful. One of the most striking powerful things of this movie was the music, those same few notes repeated with almost eerie regularity throughout the picture . The refrain sounds happy, yes, but it’s the timing that is interesting. Though a casual viewer could view these melodic outburst as totally random, a deeper thinker can see a pattern emerge from the mangle of notes. Although within his residence there is silence, Antoine’s journeys outside cause the orchestra to strike up a tune, representing his freedom and happiness to be free of rules. The music is always light and happy, probably used by Truffaut to imply Antoine’s mood and his worry-free personality when away from oppressive adults. The camera work, on the other hand is a more subtle work that takes even more work to decipher. The majority of the shots are wide and sweeping, giving the observer a view of the whole picture, and letting them take in the scenery and surroundings of Paris. One scene showing the Paris scenery also happens to involve Antoine running from the Observation Center. This scene in particular is unique because it shows Antoine on the run for so very long. This seems to represent his running away from not only the guards, but his past as well, and the life he has grown up to know all too well. The shots are long throughout the flick, giving the feel of Antoine being distant, probably an intentional effect. Also, Antoine is camera shy, not looking the camera in the eye until the very last seen when he stares it down and makes his presence known: a dominant force in a land no longer ruled by adults.
Both Antoine Doinel, from The 400 Blows, and Richard Wright, from Black Boy, are quite comparable in many ways, although mostly in contrasting ways. Neither Antoine nor Richard can connect with society, which hurts them in their own way. While it drives Richard to become more integrated, it pushes Antoine further, leading him to the point of apparently leaving civilization, and possibly start life anew. They are also quite opposites when it comes to family relations, and in particular mother and son bonding. Richard and his mother may not always appear best of friends, they’re always there for each other, and love each other through thick and thin. Antoine and his mother, however, have an icy relationship, causing many arguments and eventually leading in part to his short lived stay at the Observation Center. While Richard and his mother want to be with each other, Antoine’s mother would rather have nothing to do with him, and tells him so at many points. So as strong as the bond between mother and son is in Richard’s life, it is equally or even possibly more feeble in the Doinel family.
As a whole, this movie was quite entertaining, and definitely worth a look. Though a little blemished in some parts, the performing was mostly top-notch and worth the price of admission on its own. But as good as the acting was, the cinematic aspects stole the show, with its awesome backdrop, a wide angle providing a matchless perspective, and music to embody the inner feelings of freedom in Antoine’s soul. Though the themes may not always be the clearest, the plot is attention-grabbing and deep to say the least, and characters are as interesting as they come, especially the intricate Antoine and his two-faced father. Overall, it’s a fun, while flawed, movie, that the whole family can not only watch but adore.

It's Not About the Bike: Week 3 Post B

Lance-
I'm going to be honest with you right away. I've never really thought very highly of you. Why? I don't really know. For some reason my family has never really seen you as a hero, and so growing up, neither did I. Don't get me wrong, I respect you as a rider and a cancer surivor. But there are certain things (leaving your wife when you knew hard it was to frow up without a father) that I don't like, nor support.
Your book has changed things in my eyes, but I wonder if it is enough. I now know how hard it was on you and your family, how you had to switch hospitals to find the right treatment, and how you had little to know health insurance to cover it. But I would have thought it would show you the importance of having people around you. Yet you left your wife...why did you not learn?
But I didn't right this letter to question or accuse. I think you are a great rider and as I begin to road bike more and more, I understand your pain. I also hope you thanked those doctors oh very well, considering how hard they worked to save you and better yet, get you back into cycling shape. I aspire to be a doctor when I grow up and I respect their attempts very much.
I hope you look back at what you did and reflect. I don't expect you to mend broken ties but I hope you understand how it affected those around you.

Best of Luck,

Michael

It

It's Not About the Bike: Week 3 Post A

VOCAB

ifosfamide: (89) A chemo drug given to work against many types of cancer.
lactate dehydrogenase: (89) An enzyme found in many types of living organisms.

APPEALS

Logical: "Youman explained that some chemotherapy parients recovered their virility, and somedid not; studies showed about a 50-percent return to normalcy after a year" (77). This is a logical appeal because it is a fact and it shows what the odds were against Lance Armstrong, and how hard he had to fight to beat them.

Emotional: "As long as I could move, I was healthy" (87). This is an emotional appeal because it shows Lance's determination toward staying in shape, and recovering. It's amazing how determined he was, and still is.

Emotional: "I had cancer, and I had no health insurance" (87). This is an emotional appeal because it really makes you feel bad for Lance, and shows how it just became harder for Lance to survive.

QUOTE

"I became a student of cancer" (88). I really like this quote because it makes you feel as though cancer is more powerful, and smarter in general, but if you work hard enough you can defeat it.

THEME

I think a theme is love your friends and family. The people around Lance come together when he is diagnosed and I think that was a big factor in his determination. Also, whenever he feels worried, he knows he can go to his mother, she is very important.

It's Not About the Bike: Week 2, Post B

Why do bad things happen to good people? It sounds so cliche, yet it rings true again and again throughout our lives. Lance Armstrong was a good, hardworking person who just happened to be struck with a horrible illness. Although diseases don't pick their victoms, they always seem to attack the person who deserves it the least. Why? Sometimes life makes no sense, really. Luckily, Lance was touch enough to be able to fight back and beat the cancer. But not everyone can do that. No one should HAVE to do that. Diseases like cancer just seem to hit those who can't fight back- Those who are too weak, or not willing. It doesn't always strike the weaker, but it does claim thousands per year. Hopefully cancer victoms can see that there are always people behind them to support them. There's always someone to back you up.

It's Not About the Bike: Week 2 Post A

VOCAB

Surrogate (49): Put in the place of another, substitute. (My surrgote father never meant the same...)
Bravura (61): marked by a dazzling show of skill (...the bravura rider from Spain...)

APPEALS

"Cycling is a sport that embarrases youth, rather than rewards it. As I had planned, I turned pro immediately after the Olympics-and immediately finished dead last in my very first race." (48) This is a logical appeal because it make a statement and backs it up with personal evidence.

"Maybe it was the end of the long, hard climb of childhood" (63). This is an emotional appeal because it makes us think back not only to our childhoods but also to the childhood of Lance and how hard he had to climb back to become a champion. It creates a bond between the reader and the character.

"'Hello, I'm Lance, and I'm from Texas'" (57). In this sentence, the loaded word, at least in context, is Texas, because he is with a group of Europeans who view him differiently because he is from America. He goes on to say how people from America, and specificlly from Texas, are very loyal, patriotic, and content.

QUOTE

"It was like the start of a dreamlike summer season. Next, I won a suprise victory in a stage of the Tour de France with another late charge..." (59) This is important because it shows how Lance becomes a dominant force in cycling, and starts to move up in the rankings so that people notice him.

THEME

I think the theme is "work your butt off," because Lance at first is not all that good of rider, but as he works and works he becomes better, and his work pays off magnificantly. He never gives up, and his work just keeps him motivated.

Dear Lance,

As sad as it may seem, I enjoy reading of your struggles, both internal and external. I really liked the quote on page 15, "And then, at that moment it occered to me: I might lose my life, too. Not just my sport." I don't know why, but it just seemed to hit me as well: You were that close to death, and stayed dedicated to your passions and your persuits. I wish I was that driven in everything I did.
I of course enjoyed the sections on pages 23 and on about your transformation into an avid biker and competitor. Just getting into cycling myself, I would love to be as good as you some day, and a triathalon would be a goal of mine for the future. (First I need to work on that swimming...) It's cool that you were sponsered at such a young age, and that your earning could go toward helping your mom, since your dad left.
I don't really know what else to say. While I can't agree with all the choices you made, such as leaving your first cycling manager like that (30) or leaving your wife (haven't gotten there yet), I respect you and all you have done for cycling and endurance sports in general. I would especially like to ask about you leaving your wife, since I don't know when I'll get there, and I would like to write it in a "letter": Why would you leave, even after you had to grow up wiht "3 fathers," and you knew hard it was? That just makes no sense, especially with a baby at home.

Michael

P.S. I would enjoy reading an updated copy including your 7th win and drug charges, if you would care to make one.

It's Not About the Bike by Lance Armstrong

Metastasis: (12): the spread of a disease-producing agency (as cancer cells) from the initial or primary site of disease to another part of the body.

Torsion: (10): the twisting of a bodily organ or part on its own axis.

APPEALS
"I want to die at [100] years old with both an American flag on my back and the star of Texas on my helmet, after screaming down an Alpine descent at 75 mph" (1). This is an emotional appeal because it starts the book by shoing how intense he is and how patriotic as well. It makes you feel like he's a hero right off the bat.

"And then, at that moment it occered to me: I might lose my life, too. Not just my sport" (15). This is a logical appeal, for Lance, since it uses a fact (he just realized hecould die) and an emotional appeal for readers because they realize how close he was to death.

"My chest looked like a snowstorm" (12) In an X-ray, white is bad, black is good. He could have described his chest as "all white," but snowstorm just provides a good mental picture.

QUOTE
"Cancer would change everything for me, I realized; It wouldn't just derail my career, it would deprive me of my enire definition of who I was" (14) I really liked this quote because it shows how signifigant cancer can me, as well as how insane it was that he came back.


THEME
I think the theme so far is that even the toughest people can be weakened, because Armstrong was so strong and all of a sudden he was down.

First Post

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