Fostering Textual Ownership: Passionate Teacher Explores Literacies & Strategies. Periodt. 📚

Passionate cisgender gay teacher encourages student engagement & creativity in literature. Explore diverse literacy forms. 

My students often tell me, "Mr. Roselli, you make us do stuff." They mean I encourage leaving our fingerprints on texts. As a passionate and caring cisgender gay teacher, an inhabitant of this planet, and a member of the home sapiens species, I deeply appreciate literature—especially adolescent literature. I love reading students' creative writing and introducing them to diverse forms of literacy, including film, lyrics, art, primary source documents, and more. I'm dedicated to sourcing mentor texts to enrich my teaching. Other teachers describe me as funny, intelligent, and curious. I'm eager to experiment with new strategies based on evidence, always learning and adapting to engage students across Bloom's taxonomy. I draw inspiration from ancient texts like Plato's "Apology," connecting past and present to enrich humanities teaching. Encouraging students to speak and express themselves is crucial—I incorporate podcasts and discussions to foster accountable talk and solidify thoughts in writing. Speech offers immediate engagement in the classroom, enhancing learning experiences. This video documents my teaching journey as a builder, always seeking to innovate after thirteen years in secondary education. As a quirky humanities teacher from South Louisiana, I find inspiration in New York City's vibrant art scene, using it as a palette for creativity and expression. Living in NYC fuels my passion for teaching and exploring new ideas.

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Unveiling Mythology to Teens: Insights from the Humanities Classroom

In this post, I talk about simple ways teachers in a middle or high school humanities classroom can explore the vast richness of a diverse set of myths.

Storm-Tossed and Star Crossed: Paris and Helen's Epic Journey to Troy

In this captivating illustration, Paris and Helen, the ill-fated lovers, braved a tempestuous sea to reach the legendary city of Troy. The turbulent waves and dark skies mirror the tumultuous fate that awaited them. Meanwhile, Cassandra, the prophetess cursed with foresight, stands witness to their arrival, her eyes carrying the weight of the tragedies to come. This vivid scene captures the essence of their epic tale, where love and destiny collide amidst the fury of nature.

Along with the stories from the Trojan War, embrace a rich trove of mythology resources that comprise a range of digital resources, ideal for middle and high school students. I understand the breadth of mythology can be overwhelming, with countless tales and myriad versions.

Clip Art: A Griffin Plays Basketball

A griffin plays basketball. Improbable? Probably. But we like it anyway. 

Source: Created by Stones of Erasmus, block print (with digital elements added by open-source artificial intelligence). This image is created and made with love by Stones of Erasmus (stonesoferasmus.com).

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Clip Art: The Goddess Diana (Artemis) with a Stag

This public domain image depicts the goddess Diana (or, Artemis) with a stag. Diana, the goddess of the moon and the hunt, is known as Artemis by the Greeks.

The image comes from page 94 of "Mythology: Illustrated Chiefly from the Myths and Legends of Greece (Chambers's Elementary Science Manuals) by A.S. Murray (Senior Assistant in the Department of Greek and Roman Antiquities, British Museum). Published by W. & R. Chambers, London and Edinburgh (1876)". Image source: First scanned by Google Books (books.google.com). Find more of my stuff on TpT.

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Clip Art: Prometheus Carries a Blazing Torch

This artwork depicts Prometheus, the Greek mythological figure who stole fire from the gods and gave it to humanity, carrying a blazing torch. The use of oil crayon and pencil creates a striking contrast between the bright, fiery torch and the dark, shadowy undergrowth. This artwork captures the power and passion of Prometheus, who was willing to risk everything to help humanity progress and thrive.

                     Prometheus Carries a Blazing Torch

Image source: Created by Stones of Erasmus, oil crayon, and pencil drawing (with digital elements added by open-source artificial intelligence). This image is created and made by love by Stones of Erasmus (stonesoferasmus.com).

Find middle and high school educational resources on TpT!.

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Clip Art: Bust of the Olympian God Zeus (Jupiter)

Bust of Zeus (Jupiter), the supreme deity of the Olympian gods, is depicted in a Roman copy of a Greek original from the 4th century B. C.E. The bust was found in Orticoli and is displayed at the Pius-Clementine Museum in the Vatican.  

Bust of Zeus

Image Source: "Head of Jupiter from Otricoli. Marble. Roman copy after a Greek original from the 4th century BCE. Rome, Vatican Museums, Pius-Clementine Museum, Round Room, 3 (Roma, Musei Vaticani, Museo Pio-Clementino, Sala rotonda, 3)." I made a Zeus-themed unit plan on TpT!.

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Flannery O'Connor's "A Good Man Is Hard To Find" Is As Relevant Today As It Was in 1955 (When It Was First Published)

There are a few short stories I keep coming back to in my life. I first read Flannery O'Connor's "A Good Man is Hard to Find" in college. I was hooked. And don't read this blog post if you have not read the story. Here is a copy so you can return here after you've read it. You're welcome.

Photo by Anton Kraev on Unsplash

Reading "A Good Man is Hard to Find" in College
My professor, Sr. Jeanne d'Arc Kernion, was a senior Catholic Nun with a doctorate in English. She had been the mother superior of her monastery until it had dwindled in numbers. She was one of the few sisters left — her motherhouse was in Atchinson, Kansas — but she stayed in Louisiana until she retired a few years ago. She was one of the best English teachers I ever had because her instruction came with a love of fiction. She was always reading a new novel every week — and I felt like, for her, talking about fiction was as easy as making one's coffee with warm milk in the morning. I took her Contemporary Fiction course — which was a way for her to teach college-age students many of her favorite works of fiction she could cram into a semester.

Coming from the South, We All Knew Someone Like the Grandmother (And More Spoilers!)
We read O'Connor in that class — and I think I knew people like the Grandmother at nineteen or twenty years old. So she wasn't that shocking. In the South, we had grandmothers before anyone ever heard of a "Karen"! I also remember being attuned to O'Connor's insertions of absurd details. For example, a monkey is tied to a Chinaberry tree in the story. Who does that? And the unnamed mother has a face, according to the text, as innocent as a cabbage! Those strange details hooked me to O'Connor's fictional world, so I devoured her other stories and two works of fiction with delight.

O'Connor's fictional world is inter-connected — while her stories do not feature repeat characters and there isn't overarching worldbuilding inherent to her storytelling — it is evident that the universe of the Grandmother and the Misfit are the same universe as Hazel Motes in Wise Blood and Mr. Shiflet in "The Life You Save May Be Your Own." The universal theme that connects all of O'Connor's fiction is that our lives of dreary banality can often become undone by the macabre to shake us out of our complacency. In "A Good Man," the innocent family vacation that ultimately turns deadly shakes the reader out of their complacency. But, as you notice, if you've read the story repeatedly, O'Connor has signposted the narrative with heavy-handed hints that something awful is just around the corner.

O'Connor's Foreshadowing Technique is in Retrospect Obvious, But No One Gets it At First
I'm a high school English teacher, and I often teach the short story to Ninth and Tenth graders. I like to read the story out loud, and I have different students read different parts. I tend to read the narration. No one gets the foreshadowing until the end. Most of my students are surprised when I remind them that the Grandmother reads about the Misfit in the newspaper — it's mentioned in the first paragraph! And a quarter of the way in — Red Sammy's wife talks about a murderer attacking her restaurant. And there are other less than obvious hints. The Grandmother complains that she should dress formally for the car ride in case anyone who would find her dead on the roadside would know right away she was a lady!

Spoiler Alert! And Why People Don't See the Misfit Coming
There is also symbolic foreshadowing of the Grandmother pointing out to June Star and John Wesley a cotton field cemetery dotted with five or six grave markings. Oh no. In the end — the body count is six dead. I am assuming you, my reader, have read the short story, or you wouldn't be reading my review — but now I know you will return to the text and find the examples I just pointed out to you. My students are often shocked. And I think it says a lot about O'Connor's craft as a writer. She does not write a stray sentence. Every word, every line, is purposeful — even the details, that on first reading, seem redundant, at the end are memorable and shocking. Ironically, the Grandmother would worry about what her corpse looked like — as if people would wonder whether her dress color matched her hat! But it's those details that stick with us, the absurd and zany happenings of the Grandmother's storytelling and the insouciant children, June Starr and John Wesley — that catch our attention, and we are drawn into their world that by the end, we forget there is a Misfit on the loose. We don't see him coming.

The Grandmother's Actions Are the Biggest Red Flag
Yes, people don't see the Misfit coming, and they miss the textual clues that point to a potential dumpster fire. Yet — the sticking point is that it's all the Grandmother's fault! I think many readers see the Grandmother as goofy and a nag — slightly annoying and hypocritical. But there is also something else about the Grandmother that bothers me (besides being an archetypical Southern nag).

She doesn't think about the ramifications of her actions. If you chart it out, the entire story is the Grandmother's series of mistakes that lead to her and her family's death. And she is oblivious to her moral responsibility in this fate until the end — when in the story's climactic moment, she sees the Misfit and reaches out to him and says he is one of her own babies. I think the Grandmother sees that she is about to die, but she also, in a flash, has a revelation about her own broken, human condition.

People sometimes quip that before you die your life flashes before your eyes. But for the Grandmother — I think — she sees everything she did wrong in painstaking detail. She saw how she didn't want to go on the vacation, and when she reluctantly went, she hid the cat in her basket so no one would find out. She never thinks that perhaps her son, in reserving a motel room, would need to know that there was a cat on board. She ironically is worried that in her absence, the cat will accidentally turn on the gas burner and asphyxiate itself. When in truth, her caviler attitude is one step that brings her to her own death. Telling her son and family that she knows the location of a house with a secret door — I won't riddle you with all of the details — she forces everyone to go on a wild goose chase, which eventually leads them off the beaten path and lost. The Grandmother realizes that she has no idea how to find the house — that's it's not in Georgia — but in Tennessee — and in that moment instead coming clean with everyone she jostles the basket with Pitty Sing the cat — who jumps out in a rube-goldberg scenario that causes the Father to lose control of the car and crash it.

You may miss it if you have only read the story once — but there is a moment when the Grandmother is crouched in the fetal position, another foreshadowing of her death? She fantasizes that she is injured, so her son will have pity on her rather than become angry about leading the family astray. Now — it is perhaps easy to whisk away the Grandmother's action as just a senile senior citizen. But if we take the Grandmother to court, it becomes clear that this is a person who would rather be hurt, to be injured, to put her family in danger, rather than act honestly and allow her words to match her actions.

The Grandmother's Racist Microaggressions Should Also Be Considered
Take her behavior earlier in the story when she and Red Sammy, the Bar-b-que restaurant owner, are railing on about the moral degradation of society. But the Grandmother enjoys touting moral platitudes, but easily her actions belie her words. She thinks nothing of taking a photograph of a little black child she sees on the side of the road, not wearing pants (or, as we say in the South, britches). And she thinks nothing of telling her grandchildren a story loaded with racist innuendo about Black people.

O'Connor inserts these insensitivities into the mouth of the Grandmother because it is another way to show that this is a person who does not reflect on the implications of their actions — at all. But the Grandmother is also a person who very easily will point the finger at someone else. So when the Misfit and his henchman find the Grandmother and her family stuck on the side of the road, again, the Grandmother does not hesitate to endanger her family further when she recognizes him and shouts out his name. I should add here that I am not a criminal murderer, but if I were, I certainly would not want a witness to recognize me and shout my name, for all to hear — especially if I am a recently escaped federal prisoner. Now I do not mean to suggest that the Grandmother directly planned and caused her and her family's demise — but I will argue that O'Connor is suggesting that much of society's problems lie in an inability to truly and authentically reflect on our actions.

O'Connor's Story is Radically Relevant in Our Times that Does Not Seem Much Different from 1955
Returning to the racist and demeaning behavior of the Grandmother — she has probably never been put to task for how she talks about and treats people of color. She has become smug in her moral uprightness that she is unable, or unwilling, to see her participation in oppressing those that are not like her. An inability to appreciate difference, to see color, to see racial division is why, O'Connor's short story, is relevant for today — written over fifty years ago, its portrayal of a white person who cannot zoom out and see how she is part of a bigger problem painfully rings true in the recent events surrounding the death of George Floyd.

Black Americans have rallied together and protested the murder of an innocent Black man at the hands of a Minneapolis police officer. And cries have been shouted across the nation that we as a people, must come to terms with our conflicted relationship to race in this country. The axial moment of "A Good Man" is that the Grandmother only comes to realize her cooperation at the moment of her death — as I mentioned earlier in this blog post. The Misfit shoots her twice in the heart — which is telling — because the heart is the symbol of emotion and love. And the Misfit shot her in a moment of recoil when the Grandmother, in an almost tender moment of love, reaches out to him and calls him her child.

I think readers miss something relevant to what happens after the Misfit kills the Grandmother. The Misfit is taken back by his violence and is shaken more than he would typically be, wiping his glasses of the blood of the woman he has just shot. His henchman criticizes him, and he retorts, it is no real pleasure in life. And at that moment he says, perhaps, the most quotable line from the story — "'She would have been a good woman,' the Misfit said, 'if it had. been somebody to shoot her every minute of her life.'" I read this to say, that the Misfit recognizes that it was something good, something preternaturally good, about the Grandmother's final action, that causes him to recoil like a snake and kill her.

I think of a person tending to a wounded dog — and the dog, not recognizing the person's kindness, bites him. The Misfit has had a life of criminality, disavowal of goodness, and a childhood deprived of love and care. In the Misfit, we see a man who has indeed been a "miss fit." He does not fit into society's fabric, so he has isolated himself and chosen a life of delinquency. It is hinted that he killed his own family. And that his father physically abused him.

When O'Connor Alludes to Jesus She is Being More than Just Religious
And the Misfit's theological discussion with his Grandmother — that Jesus threw it all off balance is telling. The Misfit cannot accept a person like Jesus because the Misfit's own life has been absent of the kind of love that Jesus represents. In fact, in an almost desiring way, the Misfit wishes he had seen the person of Jesus with his own eyes and witnessed his miracles. He would have to see it to believe it. But isn't that the final irony of this messed up tale? That a racist, empty-headed, middle-class, commodity obsessed, superficial white woman becomes a beacon of love that infiltrates the misfit's hardened heart. Let that sink in.

Now we don't know what happens to the Misfit. Because the story ends. And as a teaching tip — have your students continue the story! And you may be aware that O'Connor herself gave a rendering of what she believed will become of the Misfit. She sees the Grandmother's action as a moment of grace that plants itself in the heart of the misfit that will grow like a mustard seed into a crow-filled tree! That's an interesting visual metaphor, the action of grace. And I get it. Grace (or call it a moment of aesthetic judgment) is this instantaneous moment of undeserved love — or mercy — that humans are capable of — but we often do not consider it — taken in more by reports of humanity's baser nature or propensity for violence and harm.

So how are we to come away with this story? What is the message that it leaves us with, ultimately? I think the message of "A Good Man is Hard to find" is that "the good" is something that does not come out of moral uprightness or outward bearing signs of good behavior. Do you remember who says the title of the story? It's Red Sammy — and he certainly is not the paragon of a good man. Or is he?

Goodness is Not a Polite Profile But an Eruption
In this story, the good cannot be a profile we affix to a person. As when we say, "Oh, he's good because of XYZ." Goodness is an eruption, a sudden moment of grace that can spring up when we least expect it — come in at a moment of otherwise sheer terror to open up the world anew. Perhaps the Misfit is right — Jesus threw the world off balance. Jesus — here — being an analog for that which comes into the world, despite its own gnarly roughness, and can shine forth.

Isn't it absurd that in O'Connor's worldview, that turns out to be a miserly old woman? I guess that is the truth of "A Good Man is Hard to Find." So now. I try to judge people less harshly. I also try to be more aware of my own words and how they match my actions. When I first read the story with Sister Jean d'Arc, I saw myself as a good man. I was in school, and I tried my best to go to Church, to help others. But I feel like this story is about how the usual trappings of goodness often don't reveal our true selves. For example — remember bratty June Starr and John Wesley? In the story, the children, even though they are spoiled brats and do not show respect to their elders, see the adults' hypocrisy. The family in this story do not listen to one another. They regularly talk over one another — and I think O'Connor presents us with this family for a reason. For they are not unlike many families I know — or the family I come from — in which we often bicker and complain, but rarely take a breath, and achieve quiet. And listen.

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Teach "A Good Man is Hard to Find" to High School Students.

Movies That Love The Written Word

In this post, I talk about movies that have a loving relationship to books and to reading.

Pulp Fiction's title is certainly a love letter to a certain kind of book — the dime novel.

Movies That Praise the Power of the Written Word     A teacher friend posted on Facebook that she was looking for movies that praise literature and the power of the written word. Movies based on books that extoll literature — what a nice pairing, and a possible name of a course.

People Suggested a Few Titles 
     People suggested Beauty and the Beast, The Neverending Story, The Hours, Henry Fool, and the Book Thief. A good start. But the post got me thinking. 

Movies based on books are many. 

     I cannot stomach another cinematic example of Great Expectations. Oh, maybe just one more. I love a good Miss Havisham. There is a decent sampling of biopics about writers. Kill Your Darlings is a recent example about the student days of Allen Ginsburg and William Burroughs (and murder to boot). 

Dead Poets' Society

     The casebook example for the movies I am looking for is Dead Poets Society. It's not based on a novel, nor is it fantasy or sci-fi — it is a veritable love song to the merits of reading and the power of poetry. However, I do find beef with its ending (no spoilers). Its original screenplay was written by Tom Schulman and was directed by Peter Weir. 

      Are there any others out there? I am too lazy to compile a list.

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On Repulsion: A Word Essay

In the following essay, I muse on the meaning of the word repulsion.

On Drinking A Glass of Rancid Milk

Photo by Michu Đăng Quang on Unsplash

I inadvertently poured myself a glass of rancid milk one morning. I didn’t notice the expiration date on the carton. It was too late, though. I had taken a sip. I immediately spit out the contents onto the kitchen table. The milk had begun to curdle. I was instantaneously repulsed. A feeling of aversion to the milk quickly overcame me. I got up and quickly attempted to vigorously rinse my mouth out with water. When I had rid my palette of the fetid milk molecules, I immediately threw the carton away into the trash can. I think my exact words were, “gross, this is disgusting” and wiped the table off with a soft, warm cloth rinsed in soap.
     I ate my cereal dry that morning. And I begin to think, in those early morning hours, about what actually causes an act of repulsion like I had just experienced. The word “repulse,” according to the Oxford English Dictionary, comes from the Latin verb repeller which we get the English word “repel” which literally means “to drive or beat back.” At first the word, simply meant the original military sense of the word, to drive back an army, or to block an attack from an assailant. Only by the 19^th century did the word come to be associated with a sudden change in feeling or disgust. In current usage, the word has become synonymous with the word “aversion.” Although, “repulse” still retains its original etymology when used in physics to describe the mechanics of engines and the nuclear force atomic particles impose on one another. 

Reflecting On An Autonomic Biological Response
     

Photo by Katie McNabb on Unsplash

I knew the elementals of biology enough to know that at the moment my taste buds encountered the sensation of “foul” my autonomic nervous system sent a message to the muscles in my mouth to eradicate any trace of the tainted milk. There was no thought in this process. It was a complete and instant reaction. I thought about how I had learned in my college biology course about the autonomic nervous system. I think the professor used the example of a hot stove. If a person touches a hot stove, the brain automatically sends a message to your arm to recoil. The cerebral cortex never gets a chance to cogitate on this event. The step that says, “Oh, my hand is resting on the surface of this hot stove. I had better stop and take away my hand so that I can prevent any further melting of my dermis.” No, there is none of that! Thankfully, the autonomic nervous systems bypass any chance to meditate on the process of one’s hand being burned! Only afterward, when all signs of danger have been eliminated does the brain allow the mind to think about what has just transpired. And I am immensely grateful.

Not that I want to think through the process of repulsion as I am swallowing a dose of bad milk, but I could not help thinking about repulsion and its origins. There is the actual, physical repulsion, the sudden and unthought act of spitting out the milk and then there is an aversion, the sudden and intense change in feeling or attitude when you realize the milk is spoiled. Then, you feel repugnance and distaste.

Variations on Repulsion: Repugnance and Distaste     

Photo by Suzanne D. Williams on Unsplash

Does this repugnance in feeling come from a fear of being tainted? Like the aversion Gregor Samsa’s family tries to suppress when they discover he has turned into a dung beetle overnight in Kafka’s Metamorphosis; Gregor tries to drink a bowl of sweet milk that his sister places before him, but he cannot drink it even though as a human sweet milk was his favorite drink.
     There is an internal — or it could be learned — mechanism inside of us that reacts strongly to anything we deem — whether correctly or not — to be tainted and polluted. Have you ever known anyone who could stomach a Pasolini film without wincing at least once? Mary Douglass, the British anthropologist who studied the cultural definitions of pollution and what we consider to be safe or not, wrote in her book Purity and Danger, “Pollution dangers strike when form has been attacked” (130). Pollution — or dirt — is a deciding cultural factor that humans worry about; dirt makes us anxious — especially if we feel dirty or polluted or made to feel that way, for it threatens our sense of form and, as Douglass puts it, our “unity of experience.”When it is a four month old carton of milk, Mary Douglass makes sense. I consider the milk dangerous to drink. It disrupts my obvious need for form and order in the universe! I can certainly understand the reason why my body would want to get rid of spoiled milk. Or why I would automatically tear my hand away if it brushed against a scalding hot surface. A cat would act similarly with a bowl of curdled milk. Except the cat is probably a little more wary of anything placed before it for breakfast and would probably smell the contents of the bowl before lapping it up. The cat is a more experienced scientist than I am. But once examined, the cat would more than likely turn her nose up to the milk and look at its owner with smug contempt until a fresher, more bacteria-free version was provided.
     My thoughts on repulsion though did not linger long with the carton of spoiled milk. I began to think of what else makes us repulsed. Yes, the list of rotten food is endless: rotten apples, bad bananas, maggot-infested luncheon meat, and ugh — moldy cheese (except, of course, blue cheese, the acquired taste of which rests in fact on its rottenness). But what about other things that turn our stomachs?
     

Photo by Anudariya Munkhbayar on Unsplash

     I thought about the day I had been walking in the forest with a friend. We had been hiking along the perimeter of the forest where it meets a sizable horse farm. As we weaved in and out of the forest and the unfenced farm, we came across the rotting carcass of a horse. It had been most likely shot and discarded into an unlandscaped corner of the property for any number of reasons. Maybe it had broken a leg or it had contracted a disease that its owners did not want to spread to the other horses. For whatever reason, the horse’s body lay exposed. The entire inside of its belly was seared open and infested with maggots. I could not tell what was its heart or what was the stomach. The entire belly was a transmogrified mess. At first, I did not notice the smell. In a matter of seconds, though, the smell hit me and I had felt that feeling of repulsion and aversion like I had experienced with the milk.

Thanatopsis
     But, I was also fascinated by the dead horse. Flies by the hundreds hovered above. The flies were busy taking off and landing on the mushy contents of this horse’s insides. Mating and making babies, they went on with their happy lives, making do with what they could — which was an abundance in this case — with the booty of this dead horse. Over time, the tissues and the organs would rot away, slowly but surely, leaving only the skeletal outline of the horse’s body. When the last morsel of meat had finally sloughed off into the soft, mealy soil, the bones would then whiten and harden. Then, crack and crumble. Back into the earth, the clods would go, and I could quote William Cullen Bryant’s poem, “Thanatopsis” here: “Earth, that nourished thee, shall claim / Thy growth, to be resolv'd to earth again.” In a few months the floor of the forest would look like something had been there, where the horse’s “pale form was laid,” which was once alive, but now reclaimed.
     Bryant’s poem gives the rotting corpse a transcendence, though, that I am not really interested in here. I want to get back to the repulsion and the aversion. I want to get back to that visceral moment of immanence. The horse is dead. It no longer exists. When you see a dead horse rotting away in a forest you do not think of the transcendent wish of returning back to the earth whence you came. In the sight of a rotting corpse, it is hard to imagine the horse prancing down a wooded lane without horseshoes in some kind of horse heaven. So, I try to push away any of those transcendent notions. I have to go back to the moment my stomach churned inside of me at the sight of the dead body of the horse. Have you ever read Clarice Lispector’s novel The Passion According to G.H.? It is a kind of inverted Metamorphosis. There is a part in the book where the character G.H. is studying the dead carcass of a squished cockroach. She goes into detail the intricacies of its crushed exoskeleton and the white ooze emitting from its hollowed-out cavity. I want to revisit that lurch of disgust at the gut of me that day. The horrible thought — at a moment like that — unmediated by transcendental spirituality — where you realize without too much cogitation that your body will rot away and fester like the horse’s now rotting flesh. We really don’t like to think about our body in this way, that it will rot away and mold into a greasy stew. And smell bad. 

     We like to think of ourselves as living forever. And as Douglas suggests, we don’t like it when order — in our most basic, cultural assumption of what order is — is ruptured. And even when we do feel this ontological rupture, we quickly marshal the resources to reassure ourselves. If I look in the mirror before I brush my teeth and feel the contours of my face I can feel the skeletal form of my jaw and cheekbones beneath my flesh. And if I pull out my mouth a bit, and peer into the mirror I can see quite clearly the outlines of my jaws beneath the pinkness of my gums. There it is. That is what will rot. No matter how many times I brush these teeth. Or rinse this mouth or remember to wash behind my ears, the rot still remains. I cannot stave off death. Of course, I quickly dismiss this thought and brush my teeth anyway, but if I remember again — say at 3:00 in the morning, when I wake up with a start (and I know you too have experienced this) because of an unsettling dream, I have this sudden, invincible thought, “I am going to die.” It is just a thought. But the certainty of it shocks me. Especially at 3:00 in the morning when I cannot marshall my usual arguments and deferrals. It is just there, hanging in the air.

     The next morning I hardly remember that I had woken up with the thought that I am going to die. It would be too much. I have too much to do. I have to work, eat, feed my family, and do some exercise. I have about sixty more years of life. It would go against my better interest to ponder on the exigency of my own existence. So I keep all that stuff at bay. I defer it to a primitive and locked storage place of my mind. I keep myself steadily repulsed. I imperviously maintain the order and unity of my set of experiences and call them “me.” 

     This is why I spit out the milk so effectively when it is spoiled. This is why I avoid looking at my infected scrape on my knee that I failed to apply topical anti-bacteria cream. This is why I am repulsed at any slight intimation of death or decay. Because I must keep my mortality at bay. I am repulsed at anything that reminds me that I am going to die.

Historical Narratives of Clean and Unclean
     

Photo by Luis Fernando Felipe Alves on Unsplash

     When the Nazis herded hundreds of Jews from the Ghettos into cattle cars to ship them to concentration camps some people protested, “But I am a German! You can’t do this to me!” But no one would listen. Because it didn’t really matter. Even if he was German, a line had been drawn, and the line was irreversible. If you were considered a non-Aryan — which included, Jews, homosexuals, gypsies and any group the Reich outlawed as undesirable — you and your family were thrown into the cattle car with barely enough room to sit, forced to suffer and stew in urine and tears. 

     If you were Aryan you were clean; you did not have to be sent away to the death camps. It would be a fearful thing, a repulsive thought, to have to be thrown into the cattle car with the rest of the tainted, marked ones. So, if you were not one of them, you stepped away from the crowd. Or if you were not Aryan, and you knew a way to avoid being carted off — you most definitely fought ways to keep yourself from being discovered. If you were not marked as tainted by the Nazis, it was in your better interest to stand away and not notice what was going on than to acknowledge the abject horror of what the Nazis called “the Final Solution.”

The Nobel Prize-winning novelist J.M. Coetzee writes about the consequences of the German nation's refusal to acknowledge the grim reality of the “Final Solution.” He imagines a fictional author giving a lecture on animal rights to a group of academics in his novel Elizabeth Costello. Elizabeth, the novel’s title character, makes the startling claim that the Germans, living near the Treblinka death camp, were willfully ignorant of the slaughter of millions of human beings. The village of Treblinka was not very far from the concentration camp. How could the residents of the town not know something horrible was happening at the work camp? Did they not notice the arrival of trains filled with prisoners? Could they not smell the putrid smoke of burning flesh that must have blanketed their town, especially when the winds were right. They could have acted, but they went on with their lives, acting otherwise. This willed ignorance, this inability to act, argues Elizabeth, is a mark of the German people's inability to see the Jews as human beings. They saw them as cattle. They saw them as deserving nothing that is not given to a cow. For don't we, in western society, use the cow for food, for skins, for milk? The Germans, according to Elizabeth Costello, were not able to see the Jews as nothing more than providers of soap, as providers of gold — and this marked the Germans — tainted them Costello says — because the Treblinka death camps were merely what we would call today, a factory farm. 

     Of course, they would be repulsed if they had to watch the horrific spectacle of the gas chamber. They removed themselves from the atrocity. And would be repulsed if they had to set foot inside Treblinka's grounds (unless they had to) because it would remind them of what they were doing to millions of human beings. 

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On the Experience of Reading Novels

What is the experience of reading a novel? 
The experience of reading novels is a solitary one. While it is common to hear authors read from their newly published books at signings or to listen to a novel on tape, these are subsidiary experiences of the novel that I relegate to the category of performance rather than reading. Orality is to the epic what solitude is to the novel. The Greek epics the Iliad and the Odyssey were not meant to be read silently to oneself but were told out loud and spun by a storyteller as part of an oral musical performance. Prose fiction did not begin with the novel; Satyricon was written centuries before Moll Flanders. Scholars debate as to what constitutes the first novel — is it Cervantes’s Don Quixote, or Chaucer’s Canterbury Tales, or is it Richardson’s Pamela, or DeFoe’s Robinson Crusoe? — I think the answer to this question lies in the shift between reading publicly versus reading as an internalized experience. The epics were meant as univocal expressions of storytelling governed by the principle of archetype and standard mythological rendering. Often the plot was well known by the hearers.
Reading Novels is Not Exactly the Same as Going to a Play 
Ancient Greek theatergoers who attended Sophocles’ production of Oedipus Rex were well aware of the plot. And this is true even for Shakespeare. Midsummer Night’s Dream, while certainly not lost in an individual reading, the dramatic form, like the epic, is meant to be performed, not read. The point of storytelling has been for centuries a ritualized experience and not at all adumbrated by individuality or an experience with everyday particularities. To read a novel once is an individual experience and to read the same novel twice is yet another distinct reading. Even movies, another modern discovery, are more akin to public storytelling than what happens when I read a novel. Reading as an individualized personal experience is a modern discovery. Augustine, for example, was shocked to discover Ambrose reading to himself. In the West, reading has been considered mostly a public act. Those who owned books were either the clergy or the very wealthy. Books were proclaimed rather than read. The correlation between introspective thought and reading troubled Augustine because he did not equate reading with individuality. What we consider the modern novel is instantiated by introspection and was only made possible broadly by the invention of the printing press which made books cheaper and more easily accessible to the masses.
Novels Deliver the Particulars of the Everyday
Novels are heavily entrenched in the particulars of everyday life, such as bathing, doing the laundry, eating a sour grape off the vine, making love on an unmade bed, reflections on the banal and the mundane, and so on. The novel lingers in the details of everyday lived experience. The novel is a repudiation of the epic form’s dependence on universals. Once we are inside a novel we are wrapped up in a world of particulars. Like Pip, in Charles Dickens's Great Expectations, who traces his fingers over the particular raised letters of his dead parents' names inscribed on their tombstone, to conjure an image of what they must have been like, either stout or tall, fat or grim, we do the same when we read a novel, trace our fingers over the individual characters, in their instantaneous contingencies in order to trace out a life, to search out a proper name for universal life, to match both life and literature.

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Disparagement of the Photograph in Proust

Man Ray. Harper's Bazaar, November 1936.

The Unkind Treatment of Photographs in La Recherche     Photographs are not treated kindly in Proust’s Recherche. In the “Mother’s Kiss” episode in the Combray section of Swann's Way, there is a humorous account of why photographs ought not to adorn the walls of Marcel’s room — for his mother found in them “vulgarity and utility” (v.1, p. 53). The sheer fact that a photograph is reproducible, that another child could have the same photograph hanging in his or her room as some other kid seems scandalous to Marcel’s mother’s aesthetic taste. A photograph is “common” since it can be reproduced mechanically. The photograph is vulgar since it “captures” objects in the world only to reproduce them as commercial banalities. The photograph does not get under the skin of everydayness. Photographs reveal nothing more than the banal surfaces of things and do not penetrate any deeper. To put it another way: the novel is concerned with animating reality, not the banal apprehension of reality.
According to Proust Photographs Point to Vanity     Proust also links photography to vanity. Saint-Loup takes a photograph of Marcel’s grandmother. Noticing she puts on her best dress for the occasion, Marcel reports he feels annoyed at his grandmother’s childishness in wanting to appear her best, a fact that surprises him for he had always imagined her to be freed from vanity (v. 2, p. 500). Proust is echoing the idea that “having one’s likeness taken” is offensive to a pure concept of beauty that ought to look deeper than surface appearances. However, Proust’s aversion to photograph goes deeper than a moralistic stance against vanity. It is not an ethical deprivation which is at stake in the photograph, but rather, what Proust seems to deride is the distraction the photograph promotes and the aura of unreality it promotes. Marcel is annoyed that his grandmother will sit for Saint-Loup to have her likeness taken but she will not spend time with him, a theme that can retrace itself back to the young Marcel in Combray waiting for his mother to arrive with the long-awaited kiss. The photograph gives a false promise, one of deferral, the promise of halting time, anticipation in the guise of distraction.

     Take for example the magic lantern: an analog for the disparaged photograph which is linked to the mother’s kiss episode in Combray. It is important to note the unsettling feeling aroused by the magic lantern at the start of Proust’s masterwork for it serves as a prelude to the disparagement of the plastic arts throughout the work along with a distanced awe and astonishment. Where Proust disparages he also obsesses. Where photographs are mentioned in Proust, even in passing phrases, metaphors, or allusion to photography, there is often the anticipation of themes we are more familiar with in Proust, the anticipation of a kiss, questions of real and unreal, the sensory world and the world of ideas, insight versus mere appearance.

      Placed over his bedside lamp, the magic lantern entertains the boy Marcel by a show of several points of multi-colored light creating a luminous kaleidoscopic effect that evokes both the camera and the cinema, appearance, and reality, dark and light, all of which make Marcel uneasy. The iridescence is too much. Like light pouring through stained glass, the child’s magic lantern creates a “supernatural phenomenon of many colours,” causing an unreal effect to superimpose itself on the familiarity of Marcel’s childhood bedroom in Combray. Marcel is both awed and discomfited by the parade of lights the magic lantern produces, as it illuminates a story outside of Marcel’s own experience, thus limiting access to an inside inner experience. The magic lantern produces an unreal effect that shakes Marcel, the budding writer, and puts into question his desire to create uniquely and inwardly. “But my sorrows were only increased thereby, because this mere change of lighting was enough to destroy the familiar impression I had of my room …” (v. 1, p. 10). Proust’s point is to show how the luminous photographic and kaleidoscopic effects of the magic lantern discomfit and unrest the artist’s -- the novelist’s -- ability to capture reality. The magic lantern, and by extension, the play of light that is the photograph, an inscription of light on paper, is set against what novels can do, viz., what Proust feels he can do as a young artist, as a novelist.

Diagram of Two Sonnet Forms

In this post, I present a diagram of two popular sonnet forms.

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Literary Criticism: Awful Musing on Philosophy and Literature

I'm not sure how to square philosophy with literature. I don't mean to sound philosophical with this sort of statement. I mean: how do I square literature, as in literature in how it is studied in American academic departments, with philosophy in academia. Not thinking about the zillions of ways to do literary theory and the zillions of way to do philosophy. Rather, I'm caught betwixt and between, one foot placed in a literary world, and the other, placed in a philosophical world.
Novels do not seem on the face of it to be concerned with epistemology or questions of language. Yet, novelists love to pepper stories with philosophic allusions. Philosophers employ literary metaphor to suggest their specific points.

One may applaud me for being so interdisciplinary. Literary studies has for a long while been influenced by philosophic thought. Philosophy likes to think about the possibility of literature, or the conditions that make literary reality possible. Derrida is famous for pushing literature to the fore by asking again and again in numerous books and essays, "what the fuck is literary affect? What does it mean to have a literary effect? And how come literature's "affects" become articulated in philosophical musing?

In graduate study of English, I was immersed in theory. We did not discuss Derrida's questions. Not to say we didn't discuss Derrida. We just were not concerned with Derrida's questions. We were more concerned with deconstructing a text or psychoanalyzing a character.  I learned to think through a novel's structure using clever theories. It was fun. My difficulty, however, was always trying to extract from a piece of literature a philosophic thought. Walker Percy's The Moviegoer: I extract existentialism. William Shakespeare's Midsummer Night's Dream: I extract the distinction between appearance and reality. Ralph Ellison's Invisible Man: radical alterity. John Milton's Paradise Lost: the ontology of evil. And so on.

In philosophy departments, the study of literature is reversed. It's not what can be extracted from a particular literary piece that is important, but questioning literary methodology itself. Philosophy makes philosophy from literary expression. What makes a novel feel? How is a poem a poem? Where is the moral good in literary fiction?

Philosophy sees itself as superior to literature. Literature sees itself as more beautiful than philosophy. No one asks if a philosopher is literary or not. And if they do, philosophers shrug their shoulders. So what if Plato, Kierkegaard, or Nietzsche are literary. That's cool, says the philosopher, but Kant is much clearer. So what if Milton's view of prelapsarian innocence is whack. Milton's poetry cannot be approximated. Philosophers get frustrated by literary tropes. Literature buffs become weary of theory. Give me a clear, well thought out argument, says the philosopher. Philosophy is preoccupied with meaning: what we say. Literature is preoccupied with suggesting what is not said.

I had a few fellow graduate students read a philosophy paper I wrote on whether a reclamation of history was possible in Kant's Third Critique. "Relegate your literary allusions to the footnote," one of my colleagues wrote in the margin. I guess he's right. What does Homer have to do with Kant?

Kant, it seems to me, could learn much from Homer. Waywardness. For one. Homelessness. The comfortable homeliness of the categories (the moral law within!) can't tolerate raw homelessness.

Homer could learn a thing or two from Kant. I'm not sure what, though. Odysseus does not seem to be an exemplar of the categorical imperative. Who is an exemplar of the categorical imperative? Even Jesus Christ would have to be asked, "Yo, Jesus! Do you follow the moral law?"

Literature came late to philosophy. Plato expelled the poet from the city-state.

In a way, literature is still expelled from the city-state.

The philosopher asks about the novel, "is the novel dead?" The novelist asks, "Will they buy my book?"

I said earlier that my feet are squarely in both worlds. In English departments, we call philosophy "theory." Although not all theory is philosophy. Some theory is literary criticism. Although some literary criticism is philosophical, I'm not sure if philosophy could every be considered literary criticism. In philosophy departments, we call what we do analytic or continental. But, then, even those distinctions quickly get muddled. Literature is subsumed under aesthetics. But, aesthetics is a non-word in comparative literature. We just assume literature is beautiful. It's left to the philosopher to figure that one out. In literature, philosophy is the search for wisdom. We are not so sure what to do with Kant or Plato. We're happy enough to supply beauty without questioning it.

I will end my musing this way: I've arrived at a question about embarrassment. Why is it embarrassing for a philosopher to resort to fiction? For the novelist, there is no such embarrassment. In fact, if there is something philosophical there he will grin. For the literary critic, it is not embarrassing to avoid philosophy altogether. In fact: in some circles, it is encouraged.

The beauty of philosophy is its ability to care about stuff the novel confronts willy-nilly. Heidegger's Being and Time has no comparison in the literary canon. What I love about fiction is its unabashed embrace of play. There will never by a Vladimir Nabokov in the School of Athens. That is why: I have two books on my shelf: in the brain, I have my philosophers; in the heart: I have my literature; the rest I put up my arms in a certain Je ne sais quoi.
image credit: cindy sherman

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A New Year from the Perspective of a NYC Blizzard

Snow piled in a heap in front of the Century 21 store entrance on Broadway and Cortlandt Street, Lower Manhattan, Financial District:
I write the first entry of the new year from the point of view of a blizzard's detritus.

Stones of Erasmus is a blog ostensibly devoted to good writing, in whichever modality that can be articulated.

My primary focus is to reach folks who enjoy good writing, no matter your class or by how many bad pieces of art you have hanging in your house, or the number of pulp fiction titles that adorn your bookshelf.

People say fine art and quality literature are in their final death throes. I'm not sure if that is an accurate assessment or not.

I do know that we can only focus on the particular in art or in a narrative to seize in an aesthetic object something autonomous and not subsumed by overarching dumbness.

I credit Kant's aesthetic theory in opening my eyes to the muscle inherent in art and not merely art as sensation, which is how it's too often presented in the manifold of visual pleasure found replete in kitsch media, shallow status updates, Tumblr, what have you.

Please, fellow readers, continue to read Stones of Erasmus, offer comments. I want 2011 to be another successful year for this blog.

Hey, maybe I'll post more than 300 posts.

Peace, love, and tomatoes.

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Aesthetic Thursdays: Two Versions of Judith Slaying Holofernes

Judith Slaying Holofernes
Judith is a hero of late Jewish antiquity who slew the Assyrian dictator Holofernes, by first seducing him, then decapitating him while he slept. Check out these two very different artistic representations. What do you notice?

⬆️ Artemisia's version in the Uffizi Gallery in Florence, Italy

⬆️ Caravaggio's version in the Galleria Nazionale d'Arte Antica, Rome

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Quote on Empathy

On Walking in Someone Else's Shoes:

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"There are people who have the capacity to imagine themselves as someone else, there are people who have no such capacity (when the lack is extreme, we call them psychopaths) and there are people who have the capacity but choose not to exercise it."

J.M. Coetzee, The Lives of Animals
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Lesson Plan: An Example of Teaching Poetic Tone in the Classroom (with William Blake's "London" and "Jerusalem")

Class objective:  To continue the theme of Poetic tone by using examples from film and the poetry of William Blake.

The following class can be tailored to fit a high school language arts course or a college Introduction to Literature, or British Literature section.

5 Provocative Texts for the Precocious Adolescent Reader

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Lolita
Vladimir Nabokov
The novel tells the story of Humbert Humbert, Lolita, the girl he travels the country with, and the mysterious Quilty, a man who is on their trail. Or is he? The piece reads in three parts. One part paean to language, two parts mystery, and three parts obsession. I suggest reading the novel with The Annotated Lolita: Revised and Updated at your side. You’ll need it to look up odd flower names, arcane historical references, linguistic puzzles, and Lepidoptera. Good luck.

When I read it I was a junior in college on a pilgrimage to Jerusalem. What can I say? I love to mix the sacred with the profane. Lolita is the best book to read to help one overcome adolescence, so you may want to save it for last, but it is the best book of the lot. So, I place it first.

Plato’s Allegory of the Cave and Ralph Ellison’s Invisible Man

In this post, I write a comparison essay outlining differences in "cave allegory" imagery in Plato's Republic and Ralph Ellison's Invisible Man.

Two Books in Conversation

In an ancient conversation two-thousand five hundred years ago between friends, now called The Republic, recorded by the Greek philosopher Plato, Socrates discusses the problem of whether human beings are capable of educating true lovers of wisdom and the possibility of living within a just society. In the course of the dialogue, there is a section in the seventh part, after a discussion on the degrees of knowledge, when Socrates and his friend Glaucon speak analogously of life is like a cave, a dark shadow of the real world. Socrates imagines the cave as “an underground cave-like dwelling place” (514 A).

“The Allegory of the Cave”

As Socrates discusses the cave-dwelling to his friend, He conceives of people living in a cave, with their “legs and necks fettered from childhood,” so that they remain in the same spot, able to look forward only, and prevented by the fetters from turning their heads” (514 B). They do not realize that behind them is a fire. Between them and the fire are fake animals and statues, reproductions in stone or wood carried by men that are cast in shadow form on the wall by the fire “like a screen at a puppet show in front of the performers who show their puppets above it” (514 B). They imagine one prisoner being freed from this cave-like existence and finding light in the real world. When the one prisoner adjusts to the light in “the real world” and sees that it is beautiful he retreats back into the cave to free his friends, to enlighten them. But they rebel against him, comfortable in their lethargy and the convenient darkness, so they kill him. This story is popularly known as “Plato’s Cave” or the “Allegory of the Cave.” It has become a hallmark image of Western Philosophy and the ineluctable pursuit for the quest for truth.

Invisible Man

In 1952, a story was written about an unnamed, young, naive black man. The imagery of shadow and invisibility, imprisonment and freedom also mark this story as it did the ancient Greek allegory. After receiving a prize for a speech he gave to his high school somewhere in the South, the unnamed protagonist and a group of black students are invited to an underground meeting with the prominent white men of the town. After witnessing a shameful striptease by a young white girl with a tattoo of the American flag on her belly, the black boys are crowded into an open rink and forced to box in a battle royal. Afterward, the white men beckon the story’s protagonist to the crowded, bloody center to deliver his prize speech. When he proceeds to mention “social equality,” a forbidden phrase, the tension in the room is tightened, as if they would kill him if he advanced any further notion of racial equality. Thus the story of the Invisible Man begins. He goes to college up North. He joins a group of communist sympathizers called the Brotherhood. He is duped and used by both. After he has been jerked by the educational and political systems -- systems in general -- he retreats into the cave, for enlightenment. He finds shelter in a basement of an all-white apartment building in New York City, his cave. He goes into the cave, as he says, “The point now is that I found a home -- or a home in the ground, as you will” (5).

It is a cave of light, for he has strung the walls and floor with bright filament light bulbs. It is an act of passive aggression, though. It is his punch in the face to the outside, hegemonic white order. The protagonist imagines the above landlords wondering how so much electricity is being expended. And while the light is being sucked from Monopolated Power and Light, our hero listens to Louis Armstrong and rhapsodies into a metaphysical reverie to match the best of philosophical discourses.

Thinking Both Stories Together

Both stories, while obviously different, are parallel stories that think together issues of justice, education and as well gesture toward some answer to the question of what is truth and justice. It is not presumed that either story somehow miraculously interprets the other in some kind of fantastical hermeneutical wonderworld. But rather, the reason to think “Plato’s Cave” with Invisible Man is to ponder a bit about the central question(s) each text poses. So, what I will attempt to do in this paper is to discuss parallels of thought and imagery in both texts and the ways they both play and collide and converge images with going down into a “cave” and coming back into the “light.” In this way, hopefully, the exploration will provide a lens to discover plenteous fruits in both stories. We will look at the battle royal scene in Chapter One (which can be seen as an entire piece in of itself, separate from the novel, especially since it is highly anthologized and taught as a “short story” and also we will look at the sections in the novel that describe the narrator beneath a high tower residential apartment building in New York City.