Favorite and Least Favorite

My favorite story was the Veldt. I thought it was a fun read, and I enjoyed the subtle clues that foreshadowed the ending (the smells, the bloody wallet, etc.)  - it was like putting a puzzle together. I also liked the Story of an Hour. The irony caught me by surprise, and I think it was well-written in that the reader is given a lot of insight into Mrs. Mallard's character, and the emotions she feels after thinking her husband is dead. 

My least favorite story is probably Spinster. It took me a while to get into the story, and it didn't really have much of an effect on me after I was through reading it. Hence, there wasn't much that I could take away from it. I also didn't really like The Lottery. While it was well thought-out, and filled with irony, I was so confused that I had to re-read it several times to understand what was going on.

"Conscience of the Court"

Written in 1950, “Conscience of the Court” presents an optimistic view of the legal system, and how the courts should operate. I think that Laura Lee’s trial is thus both fair and hopeful. She was attacked first, and merely defending herself and the property of Celestine. It paints a realistic picture in that it represents how there is hope in the legal system with its heritage of justice and pursuit of fairness. Hurston does not offer an unrealistic model, but a model for change. Laura’s case simply symbolizes how this change will come about one case at a time. Furthermore, when Hurston’s story was published, the National Association for the Advancement of Colored people was gaining prominence. It supported a growing number of legal battles that were fought for equal rights. It was also a factor that paved the way for the Civil Rights Movement. 

"A Worn Path"

I think that Phoenix is very conflicted with herself. She seems to have built up so much pain and awareness throughout the years. I also see a conflict with society. She is treated as inferior, and a bit crazy, not just because of her old age, but because of the color of her skin. The white man she comes across on her way into town, demonstrates one such example. He is respectful, but does not take her seriously. He points his gun at her, almost tauntingly - or as if to test her level of fear. I highly doubt he would have exhibited the same behavior had she been a white women of old age. 

It is also ironic, that at the story’s end, Phoenix is finally treated with a bit of compassion at the clinic. She demonstrates the ability to accept the harsh circumstances of her life, and go on. Whereas before, on her journey into town, her mind was pre-occupied with other thoughts (the animals, the smells, the sunshine).  Moreover, the path she is walking on is symbolic. It is not only worn because she herself has had to travel it so many times, but because it represents the path traveled by poor and oppressed people everywhere.

"A Spinster's Tale"

Elizabeth has an obvious conflict with Mr. Speed (man vs. man), but I think it is an outcome of the conflict she has with herself. As she remembers her childhood, she seems lonely, or even lost. She wants to escape the world in which she now finds herself, which is illustrated through her chant,  “away,” in the parlor mirror. Her loneliness may stem from the fact that her brother is usually not in the right state of mind due to alcohol, and her father is distant. When her father is around, he is either arguing with her brother, or in the parlor with his brothers drinking. Thus, Elizabeth has an obvious issue with alcohol. It is very-deep rooted. When she sees Mr. Speed, his drunken demeanor and uncoordinated movements, she is shaken up a bit. I think she takes the anger she feels about the death of her mother and the alcoholism in the family out on Mr. Speed. The conflict that she has with Mr. Speed thus drives the story. 

"The Lady with the Dog"

Chekhov is more involved with Dmitry’s character because he allows the reader much more insight into his feelings. Whereas Anna’s emotions are only revealed through the dialogue, and Dmitry’s observations of her behavior, the reader is allowed a more in-depth account of Dmitry’s conflict. He is obviously very conflicted with himself - he wonders why women young women flock to him, but then reassures himself that he is only deceiving them, and that there must be something about him that draws them in and makes them want to stay. Anna’s character, on the other hand, seems very vulnerable and unhappy. She explicitly states that she is unhappy, and she is obviously conflicted about how to sustain her relationship with her husband and to be with Dmitry. She would bring shame on her husband and herself if she were to act more impulsively on her love for Dmitry. 

In the beginning of the short story, Dmitry’s character seems reserved and confident. He is not looking for love, as he believes that all women are of a “lower race.” He is also able to cut himself off from those he at one point cared for. Going through the monotonous, daily motions of his life are not pleasing to him. He thinks that everyone around him is uninteresting. However, as the story progresses he realizes his love for Anna. He is unable to deny it, and willing to allow himself a chance to be with her. Thus, he is in a sense unhardened and humbled by the end of the story (he wonders why any young woman would love an aging man such as himself). 

"Chrysanthemums" and "The Girls in Their Summer Dresses"

“Chrysanthemums”: When Elisa is crying at the end of the story, she demonstrates that even though she tries to maintain a “strong woman” image, she is only human, and seeing the shoots on the ground does upset her. Between her emotional reaction, and the time she discovers the shoots, she brings up going to see a fight after dinner. I think she does this because she is trying to engage in repairing behavior. She deflected from a comfortable state when she saw that the “repair man” had thrown the shoots out on the ground. In order to regain a sense of being strong, she creates a conversation out of a masculine subject. She then inquires if women participate in such fighting, which exemplifies her need to want to keep poise, and not subject herself to the sensitivity she feels. Thus, she obviously has a conflict with herself in fighting back emotions that are apparent within her (she wants to be perceived as strong, not weak in character). 

“The Girls in Their Summer Dresses”: Upon the first few pages of the story, I am annoyed with Frances’ character. She seems whiney, and insecure. However, as the story progresses, I feel sorry for her. Her husband admits that he wants other women, and that he indulges in looking at all the pretty ones around Fifth Avenue (one of the reasons he moved to NYC). While she instigates his response by not backing away from the subject, she also accepts that he admits he may one day “slip up” from wanting another woman so much. Michael, her husband, is obviously very superficial. I am not impressed with his character. Moreover, the 1930s and 40s reflects a time in which women were more domestic. Thus, divorce or separation do not phase Frances - she is dependent on her husband. In this day and age, this story is stressful because the reader hopes that Frances will redeem herself and leave Michael. However, in the early - mid 1900s, the conflict between Michael and Frances seems more realistic (it is more realistic to think that she would stay with him, than leave him). 

"Desiree's Baby"

I was surprised by the ending of the story. I did not foresee the discovery of Armand’s ethnicity. However, I knew that there would be an oncoming twist, since the story was so brief - I thought Desiree was going to kill herself, and her child. These thoughts may have been influenced by the morbid themes in O’Connor’s works, as we just finished up with them. The impact of the cultural context of this setting is important. The Civil War began as a war to neutralize slavery, and escalated into a war of abolition. During the years preceding the Civil War, racial tensions ran high. It was unheard of for any proper man to father the baby of a colored, or mixed child. Many men of even average standing did not marry women of color, as they were categorized as slaves. Hence, it makes sense that during this time, Armand would want Desiree and the child to leave, so as not to tarnish his reputation. 

However, it is ironic that Armand was the one of mixed race. This is situational irony at its finest. The audience did not expect this outcome, as Chopin did not leave many indications of foreshadowing. 

"Everything That Rises Must Converge"

I think that O’Connor titled “Everything That Rises Must Converge” as she did because it represents the historical standpoint from which she was writing. “Everything that rises” seems to represent problems of social class and race reaching a boiling point. She demonstrates how there is a divide between race on the bus, and she furthers this divide by attributing characteristics of the neighborhood that Julian and his mother reside in. She makes it obvious that Julian abhors how his mother is conflicted in thinking that she still lives in the time that her grandfather Chestney did. His mother seems to perceive the rise of African American people as related to her own family’s fall from economic and social heights. She also thinks she knows who she is, and where her family belongs in a social hierarchy. From her perspective, the fact that the family is no longer rich means that society is out of order. “Must converge” symbolizes Julian’s mother’s discomfort with race and time converging. She feels uncomfortable riding the bus without Julian, and she displays a rather condescending pity for those of mixed race. All in all, though, this “convergence” is inevitable because of the cultural and political changes taking place in the 1960s in the South (the civil rights decade).

Julian and Hulga are similar in that they both display a kind of arrogance about them that is rooted in the fact that they have received higher educations. In both “Good Country People” and “Everything That Rises Must Converge,” this seems to be their downfall. Hulga thinks she holds a superiority over Manley only to discover that he has been deceiving her the entire time. Julian wants to teach his mother a “lesson” because he thinks that she doesn’t know herself, but this eventually leads to her death. She becomes so stricken by the rejection of the “Negress” that it can be assumed that her blood pressure jumps to fatal heights. Thus, the fact that both Hulga and Julian believe themselves to be intellectually superior turns out to be the cause of their misfortunes.

"Good Country People"

The effect of the phrase “good country people” is that it encourages the reader to perceive “country people” as being harmless and genuine. O’Connor paints a picture of Mrs. Freeman as being part of this stereotype. She maintains her responsibilities without complaint, and she is an honest person. However, she has a flaw. Her flaw is that she needs to be in everyone’s business. This “flaw” foreshadows the event in which the reader recognizes that “good country people” is just a saying, with little meaning. Manley Pointer, who claims to be like Mrs. Freeman, is under guise to collect what he can from the wealthy. He poses as an innocent Bible seller, only to trick Joy (Hulga) into taking her prosthetic leg off so that he can add it to his collectables. He claims not even to be a Christian. The morale of he story here seems to be that people do not always fit a stereotype. They can put on a facade if it benefits them - it is out of ignorance that people choose to overlook this. 

Joy, with her Ph.D and many years of education, is even fooled. She seems to pride herself in her intelligence, but this pride is actually wrapped up in her leg. When her leg is removed, she no longer feels superior. However, the irony here is that her leg used to be a source of shame, whereas it becomes a source of reassurance. When Pointer runs off with it, she is once again stripped of the reassurance she felt about herself and her existence. Because of these events, O’Connor presents the cliched, but universal message, that one can not be too sure about anything, or anyone, in life, regardless of how they are portrayed. 

Group Assignment

My group will be presenting on Hawthorne's "The Birthmark." We chose this story because we thought that the conflicts ran deeper, and that the characters were more round. The story essentially focuses on two main characters, who are very conflicted with themselves, and with nature. Nature has brought an "imperfection" to Georgiana's face in the form of a birthmark, in which both she and her husband are very troubled by. The story progresses from here, as Hawthorne dives deeper into the man vs. self and man vs. nature conflicts.

We will be presenting on Monday, June 22nd, and we will be using a facebook newsfeed to network the story. I am very excited about this project. I haven't been involved in many group projects during my experience with TCU, much less a project that allows members to interact with popular social networking strategies. 

"The Conversion of the Jews" and "Angel Levine"

I think that the adults in “Conversion of the Jews” represented a more traditional mode of handling Ozzie’s questioning of God, and how Jesus came to be. They seemed to look at it from a perspective of unquestionable acceptance without concrete explanation. Ozzie, on the other hand represents a less traditional stance. He seems to want an explanation, at least from the Rabbi. I don’t think he was out of line to ask so many questions - he is only thirteen and curious. However, I think that he could have laced his inquiries with more respect. He reminded me of a young child that constantly asks, “why?” to everything.

I think that Manischevitz demonstrated a level of curiosity that Ozzie did not. Less demanding, he was able to convey his uncertainty in a more respectable fashion - he did not lash out at Levine, and he certainly did not threaten to take his own life to get the answers he yearned for. However, here again an age gap is represented. Being much older than Ozzie, he at least remained respectable in his hesitation about Levine’s character. 

From what I know of the story of Job: he lived a fulfilled life, and both believed and feared in the Lord. However, as a test to his loyalty, the Lord allows Satan to take away from Job. Job suffers immensely, but and blames the Lord for injustice. However, in the end, his faith in, and loyalty to, God is only strengthened. He realizes that all that he possesses is due to God’s hand. This is similar to Malamud’s “Angel” in several ways. Manischevtiz was a successful tailor with a loving family, and then tragedy struck. His wife fell ill, his son died in the war, and his daughter abandoned him for a husband. Furthermore, Manishevtiz’s store was burned down, and he suffered aches and pains when he attempted to work. He constantly prays and wonders why God does not answer his prayers, but these prayers are out of selfishness. It is only until he becomes desperate enough to truly believe in the power of faith (belief in Levine, that is) that he is once again blessed.  At the end of the story, he remarks about the presence of Jews (angels), and how they are everywhere. 

Author's Note

I knew right away that I wanted to create a film adaptation piece for “Management of Grief.” In my first draft, I had not yet come up with the idea to incorporate a love story. My focus was entirely on the comparison between western culture and traditional indian culture. To help the viewer better understand the stark contrast between the cultures, I changed Templeton’s occupation - she became a reporter to convey the clash between the perception of ruthless westerners, versus those who are accustomed to a more modest lifestyle in the East (Shaila and those in the indian community in the suburbs of NYC). After my attempt to highlight culture as a main theme and conflict, I then decided to take a new direction to create another conflict. In the short story, Shaila is very conflicted with herself as well, but the focus is more on the fact that she will not accept the death of her family (due in part because of her culture). In the film, I wanted the conflict to run deeper. I realized that some of the most engaging films in the drama genre (which is my intention for this film) have involved a love story of some sort. This was when I decided to transform Dr. Ranganathan’s character into that of an American journalist living in India. I thought that if viewers could recognize the internal conflict of Shaila in regard to her love for Dr. Ranganathan (Derek Walker, in the movie) they may be more prone to relate to Shaila’s character. While part of Shaila’s conflict resides in the fact that she loves an American man, another part of it involves the betrayal and guilt that she feels because of the emotion itself. I felt that this was a more universal conflict, and by making it a focal point, more viewers can relate (this conflict deals with suppressing feelings, so it can be related to in a number of ways, not necessarily directly after tragedy). 

What I really enjoy about my film adaptation was that I was able to maintain the perception of Shaila as a strong character, but through a different lens. She is not on medication, and she finds herself in constant struggle. I wanted viewers to have more insight into her character as a person, not just a mother, and an Indian women. Hence, I enjoy how this movie both distinguishes between cultures, but at the same time, conveys a larger message that as human beings, we are still linked to one another (we all share a broad nature that makes us distinct from other organisms, one of which being the desire, and vulnerability, for love). One thing I am worried about, though, is how I portray Dr. Ranganathan in the movie - more so my lack of representing his role as it is represented in the short story. In the literature, it is my understanding that his purpose is to provide readers with a male perspective for dealing with grief. Since the majority of the story centers on Shaila, Dr. Ranganathan’s presence helps broaden the readers’ perceptions of how different characters cope with loss. However, in the film it can still be assumed that he conveys internal conflict. He may not be coping with grief, as Shaila is, but he is also conflicted because he believes that, in loving Shaila, he should be strong enough to let her go so that she may fulfill what Vikram and the rest of her family had planned for themselves in America. So he, too, represents a character undergoing internalized conflict, but under a different circumstance (he has not lost his family).

Lastly, I am unsure how well I represented symbolism. I wanted viewers to be able to create their own interpretations in the movie. What the love story represented to me, may not necessarily be in line with others’ interpretations. However, I do believe that the movie presents a clear message that human beings, no matter what culture they are from, or what their life experiences may be, all possess a similar nature that brings them together - that being a need for love. 

"Paul's Case"

Paul feels that anything considered “commonplace” is unhealthy for him. He thinks that he was destined to live a finer life. Thus, he steals the bank notes and travels to New York City, where he stays for a little over a week before news reaches the Pittsburgh paper. It is in New York that he feels “at home.” He stays in a luxury hotel, dines at the elegant restaurant below, and dresses with style. The final cause in this situation is Paul’s death. Deciding not to take his life via revolver, he instead jumps in front of a train. The thought of leaving New York City, only to return to the modest “repulsive” life he lead on Cordelia Street, was “worse than jail.” He hated the smell of home cooking, the yellow wallpaper in his room, his father standing at the top of the stairway waiting for him, and the wet dishtowels. He thought that every aspect of his hometown was trivial, and that his purpose in life was to experience the elegance it had to offer. This motivation stems largely from his desire for music - he feels the “romance” of the melodies in Carnegie Hall. Lastly, it is not so much that Paul wants to be working for his success, but more so that he believes he is destined to at least live the life of a wealthy man. He finds happiness in expense, and spending a week indulging in the luxuries of New York City is worth it to him (so much so that he is willing to take his own life). 

"Intervention"

The "enabler" that Jill Mccorkle refers to in "Intervention" is someone who ignores one's behavior, allowing them to continue to act in a destructive way. So it is used negatively in the story toward the character of Marilyn, who Rusty calls an enabler to her alcoholic husband. It is not what we think of out of a "social science" context (in general, we associate the word "enabler" with someone who provides help to one). In "Intervention," Marilyn turns her head whenever Sid is driving drunk, or passed out drunk. She is ashamed to have voiced her concern to her children that Sid may have a problem. In fact, at the end of the story when all of the children gather at their parents' house with the intent of having an intervention with Sid, Marilyn refuses to acknowledge her role in providing them with a reason to intervene. 

Sid was also an enabler for Marilyn when she was an alcoholic after she cheated on him. He turned his head the other way as well, cleaning up her mess, and avoiding questions. It was Marilyn who ultimately chose to get help for herself one evening after she had vomited all over the bathroom floor. This is another reason why she feels guilty for intervening with Sid. She feels that she should allow him to recognize his problem on his own time. However, it is ironic that Rusty call her an "enabler"  after she had played the opposite role in concerning Sally with Sid's problem. 

Film Adaptation elements

I have chosen to keep the title of the film “Management of Grief.” The focus of the story, and film, is how Shaila copes with the loss of her family. I have presented this process in three phases in the film. She will isolate herself from the community she lives in (an Indian community in suburbs of New York City in the 1980s in the movie), she will travel to India and fall in love, then she will return to the United States. I realize that her trip to India is very different from the way it is portrayed in the short story, but I am expanding the plot by incorporating an internal conflict with herself for falling in love. She battles hypocrisy for the majority of the movie, but her character comes out strong in the end, when she chooses to return to her American home without the man she falls in love with. She experiences conflict with herself, with man (Judith Templeton), and with society (opposing cultures). 

Dr. Ranganathan is actually her love interest in India. His character is entirely different in the film. He represents an American journalist living in India, who happens to be covering the Air India Boeing incident when Shaila visits Ireland. He will be played by Tom Hanks - who doesn’t love Tom Hanks? This will not only help garner public attention, but Tom Hanks has been successful in every dramatic role he fills. His name will also be changed to Derek Walker (more Americanized). Shaila will be played by Parminder Nagra, the star of Bend it Like Beckham, Kal Penn will play Vikram, Freida Pinto will play Pam, and Faezeh Jalali will play Kusum. The latter two are from Slumdog Millionare, and Kal Penn is from the Harold and Kumar movies. I realize this seems like an unlikely choice, but I think it would be a great opportunity for him to transition into a more dramatic genre, and subtly so. He will carry the small, but important, part of Shaila’s husband. All of these characters, excluding Tom Hanks and Judith Templteton (who will be played by Nicolette Sheridan who plays the manipulative and ruthless “Edie” on Desperate Housewives), are of Indian descent. This is important in keeping with not only the accuracy of the setting and plot, but with the cultural conflict widespread throughout the movie. 

The love story is perhaps the most symbolic element of the story. It represents a dissonance that is natural among human beings. Shaila struggles with herself and her emotions, but we are all only human, and the process for grieving is individual. The love story is merely a part of this process for her. Also, the rose petals Derek Walker throws into the Irish Sea (I kept that part from the short story) will demonstrate a cultural mix, or “hybrid” tendency, which is one of the reasons Shaila is so fascinated with his character. 

Lastly, the irony in the story is revealed through the unexpected love story, and, most importantly, the fact that Shaila and her family move to the United States to escape religious and political conflict, but she is later faced with a much more personal conflict after the Air Boeing incident. 

"Gorilla, My Love," "Everyday Use," and "Girl"

In “Gorilla, My Love,” Hazel exhibits an uptight and stubborn attitude, especially toward those who are older than her. There is an obvious generation gap. Her Uncle and parents are more easy-going. They don’t appreciate confrontation and conflict the way that Hazel does. Her character is actually quite similar to Dee’s character, in “Everyday Use.” Dee demonstrates a proper image, whereas Hazel does not, but she also does not see eye-to-eye with her mother and sister. She does not like to be wrong, and it seems that she considers herself to be “above” the others in a way that transcends their generation. I think this could apply to many families - the modern versus the “old-fashioned.” This explains why children, especially teenagers, experience conflict within their families. Children are molded by the generation in which they age in, and since each generation is a bit more progressed than the next, it makes sense that there would be a conflict within the home (where parents grew up during a different time period).

In all three stories I side with the older generation. It is very apparent that the younger generation demonstrates a lack of respect for the elders, especially in “Gorilla, My Love” and “Everyday Use.” Dee is displeased with her mother’s humble living, representing a clash with modernity, while Hazel disregards authority in all instances. She will talk down to her parents, as well as adults (the matron, and manager, in the movie theater) if she is unhappy with something. In “Girl,” the narrator seems to overwhelm the “girl” with a lengthy list of manners, but for a good cause. The list of manners are relatable to a time period in which the narrator matured, and they seem to be misconstrued by the “girl.” When she makes a reference to how some things are to prevent her from becoming a “slut,” I feel that she is mocking the good intent of the narrator. 

Minority Report - part 2

         For the Film Adaptation Proposal, I am going to be writing about “Management of Grief.” I think that the culture conflict present in the story could be developed more to create an enthralling drama.  It will be fun to work with the characters to demonstrate how they alone, represent such a conflict (esp. Judith Templeton and Shaila). I am also adding a twist to the plot - Dr. Ranganthan’s character will be very different in the film, but not in a way that will take away from the meaning of the short story - that grief is dealt with in accord to the individual. 

         The director of the film, Minority Report, expanded the beginning of the movie. In the short story, Anderton is meeting Witwer for the first time, but in the film, Anderton is on edge to arrest an individual about to commit murder. Also, Witwer is not Anderton’s assistant in the film, but a supervisor for the US Attorney’s Office. Lastly, one major difference between the film and short story is that in the film, Anderton’s wife is not working with him, and they had a son, who died. 

Minority Report - first reading assignment

       I have seen Minority Report, but it has been a while, and I don’t remember much. The movie is set in a futuristic setting, which is accurate in connection to the story. I remember the precogs in the movie - their deranged appearances match their descriptions in the literature as well. I can’t remember how the movie ends, or who was responsible for Anderton’s name appearing on the card, but there doesn’t seem to be a whole lot of dramatic irony in the text in regard to his conflict with Precrime because the reader becomes aware of things as he discovers them. For example, the reader is lead to believe that Witwer is at first behind Precrime’s framing of Anderton as a murderer, and then his wife, and then Fleming and Kaplan. The irony exists only in Anderton obtaining knowledge (which comes through to the reader/viewer) before other characters, who are then later informed. I also think that Tom Cruise was perfect for the role of Anderton because of his past experiences in movie roles - Mission Impossible, for example. He is usually placed in the center of action, which is required of Anderton's role. 

The Story of an Hour

Things are obviously not always what they seem. The irony in Chopin’s “Story of an Hour” is inescapable. At first the reader is lead to believe that Louise would be upset over the news of her husband, but that is not exactly the case. She seems overwhelmed by the initial shock, as it later becomes known that she feels “free” and joyous in the absence of her husband. Her life is now entirely hers, as she puts it. However, the greater irony comes when Mr. Mallard returns home, and Louise ends up being the one who dies. One of the primary concerns about how she should be told about her husband’s death - because of her heart trouble - becomes the primary cause of her death. The reader is lead to believe that she suffered from a heart attack upon seeing her husband in the doorway, which was largely a result of her heart disease. The last phrase of the novel, “of joy that kills,” is not only an ironic phrase in itself, but it sums up the events of the novel.

The grief of Mrs. Mallard is in stark contrast with that of Shaila Bhave. Whereas Shaila refuses to accept the loss of her husband and children for months, Mrs. Mallard seems to experience the grieving process in one day - shock, reality, numbness, acceptance. However, she does not feel sorrow as much as release after coming to terms with the news. Moreover, it is interesting to observe Chopin’s use of bright and cheerful imagery. She describes Mrs. Mallard as gazing out into a beautiful, spring day. The contrast with events and weather foreshadow the sudden emergence of Mrs. Mallard’s realization that she is actually relieved and joyous, not depressed, about the “death” of her husband. Lastly, the point of view Chopin uses impacts our understanding of the grieving process differently because it is less personal. Chopin does not explicitly reveal what is going on in Louise’s head after she is first informed of the news. The reader can only infer that she is crying because she is sad, which may still be the case (after all, she does try to “beat it back” - the oncoming joy - “with her will” probably out of guilt). Regardless, the fact that “Management of Grief” was written in first person, and this story was not, helps the reader to gain insight into the actual feelings of the characters, which clarifies their specific grieving process. The grieving process of Mrs. Mallard is still unclear since the narrator is merely showing her actions, and only tells of the joy she experiences later.

Hills Like White Elephants

The operation Jig is confronting is abortion. The bartender refers to it as “not really an operation at all,” but this doesn’t seem to be the case because it seems to be emotionally risky. The girl, relating the white hills to “white elephant skin,” which is unique, more or less implies a desire to want to keep the child. It is unclear to me as to whether or not she wants to keep the child out of love for him/her, but it was my inclination, while reading, to assume that she wants the man to ask her to keep the child as a demonstration that he still loves her. The man shies away from having the child because he seems to want to maintain his youthful lifestyle of back-packing around the world (hence, the baggage with all the labels in the corner). So there is an obvious emotional conflict - the girl will have the abortion to please the man because she thinks it will make him happy, and stay with her, but, as the narrator implies, that is the only reason. She also doesn’t seem to be as worried about the physical complications as the man does (the man continues to say it is perfectly simple). Therefore, another conflict resides within her concern about the emotional risks, versus his concern about the physical risks. 

The importance of the setting to the plot of the story is crucial. They are at a train station in Spain, surrounded by fields of grain, with a backdrop of sunlit mountains. Being in the middle of no where symbolizes the open-endedness of the story. Hemingway leaves the reader to use his/her imagination as to what happens in regard to the couple’s decision. Also, the train tracks running through the middle of the station in opposite directions is important because it symbolizes the conflict that the couple is experiencing - there are two directions in which the couple can go, to have the child, or not. Lastly, Hemingway mentions that it is very hot outside. I think this is important because the heat can be both physically and emotionally taxing, adding weight to the conflict of whether or not the girl should have an abortion. Most obvious, though, are the hills in the distance. They remind the girl of her pregnancy, and they seem to represent, metaphorically, the amount of love the man has for her (she wonders if having the abortion will result in a resurgence of love for her when she asks, “.. if I do it, then it will be nice again if I say things are like white elephants, and you’ll like it?” ((663)) ). 

Hi,

I am originally from Scottsdale, Arizona, and I will be a senior at TCU. I am a political science major, with a minor in history. I enjoy reading books related to political theory, and American/European history (but that's for school). When I have free time, I do like to read. The last series I completed was the Twilight series, and I am now reading The Shack, by William P. Young. 

I am taking this course because I hope to better understand, and acquire some practice in, what generates an enticing story. I remember learning about literary terminology in high school: plot, setting, symbolism, climax, but I'd like to take a course that will help refresh my memory in regard to what constitutes a compelling work of fiction. I do not have much experience with writing anything other than research papers, aside from a few narratives in freshman and sophmore composition classes. I enjoy both writing and reading, and I welcome any opportunity that allows me to do either. Lastly, I learn well through lecture and class discussion.

Something interesting about me is that I used to live in England before moving to the United States. I went to an international school for my kindergarden and first year of elementary school. Also - more hobby-related, I love to run. 

I have read, understand, and agree to the terms of the course syllabus.