Author Archives: Paul Fess

Week 2 Newsletter

Week 2 Newsletter

Hi All,

I hope you are all settling into your classes!

General Reminders & Announcements

  • I have posted the assignment for paper 1 on the course site. I would like you to take a look at it and annotate it with any questions you might have. Use the same tool that you use to annotate the poems. The paper will not be due until 10/16
  • Annotations: This is just a reminder that there is a tutorial for how to do these on the course site.
  • Please check out my screencast about the Jonathan Culler chapter you read this week.

Completed Work

Upcoming work

Next week you should do the following:

Paper 1

ENG 102 

Paper 1

 

Prompt

For this paper I would like you to choose either “The Sea is History” by Derek Walcott or “Diving into the Wreck” by Adrienne Rich and write a paper with a thesis that responds to the corresponding prompt below. Address one of the prompts by analyzing the poem itself; do not use any outside sources or material. (Choose only one of the prompts below.)

  1. Derek Walcott’s poem “The Sea is History” is an extended metaphor about the meaning and significance of history. Walcott, a poet, playwright, and painter from the island of Saint Lucia, often reflected on colonialism and postcolonialism in his work, and “The Sea is History” is a good example of this theme. In the poem, he takes up the question of the role of history for a place that is often said to have no history, especially in the context of euro-centric understandings of world history. Here, Walcott uses the image of the sea–often thought of as a blank void–as the location of his island’s history. Write a paper that discusses Walcott’s representation of history. In the context of the poem, what makes historical events significant? How does he depict his island’s history and how does he recover this history’s significance?
  2. Adrienne Rich’s poem “Diving into the Wreck” uses the imagery of a deep sea exploration of a ship wreck to represent how one comes to gain knowledge, about oneself and the world. Maps, a compass, a camera are some of the tools the poem discusses for the attainment of knowledge about the wreck. Rich, a feminist poet, often explored themes of sexuality that questioned gender norms. In addition to representing the production of knowledge in general, this poem also destabilizes gender norms as the speaker of the poem becomes disidentified from these norms by the poem’s end. Write a paper that discusses how Rich represents the attainment of knowledge or the act of exploration. What does she show us about these activities? Do they clarify the subject they study–does the speaker of the poem gain knowledge about the wreck? Or, does she gain some understanding of herself? Or is it both? And what is the significance of Rich’s representations of this process?

Warning: Both of these poems are very popular and are widely discussed on the Web. I know about these sites and I will know if you get information or, more importantly, analysis from them. Be sure that you are reading the poems in isolation and basing your paper on your own interpretation.

Due Date:

10/18on Blackboard

Format:

1000 words

Typed, double-spaced, 12-point font

“The Sea is History” by Derek Walcott

“The Sea is History”
by Derek Walcott

Where are your monuments, your battles, martyrs?
Where is your tribal memory? Sirs,
in that grey vault. The sea. The sea
has locked them up. The sea is History.

First, there was the heaving oil,
heavy as chaos;
then, like a light at the end of a tunnel,

the lantern of a caravel,
and that was Genesis.
Then there were the packed cries,
the shit, the moaning:

Exodus.
Bone soldered by coral to bone,
mosaics
mantled by the benediction of the shark’s shadow,

that was the Ark of the Covenant.
Then came from the plucked wires
of sunlight on the sea floor

the plangent harps of the Babylonian bondage,
as the white cowries clustered like manacles
on the drowned women,

and those were the ivory bracelets
of the Song of Solomon,
but the ocean kept turning blank pages

looking for History.
Then came the men with eyes heavy as anchors
who sank without tombs,

brigands who barbecued cattle,
leaving their charred ribs like palm leaves on the shore,
then the foaming, rabid maw

of the tidal wave swallowing Port Royal,
and that was Jonah,
but where is your Renaissance?

Sir, it is locked in them sea-sands
out there past the reef’s moiling shelf,
where the men-o’-war floated down;

strop on these goggles, I’ll guide you there myself.
It’s all subtle and submarine,
through colonnades of coral,

past the gothic windows of sea-fans
to where the crusty grouper, onyx-eyed,
blinks, weighted by its jewels, like a bald queen;

and these groined caves with barnacles
pitted like stone
are our cathedrals,

and the furnace before the hurricanes:
Gomorrah. Bones ground by windmills
into marl and cornmeal,

and that was Lamentations—
that was just Lamentations,
it was not History;

then came, like scum on the river’s drying lip,
the brown reeds of villages
mantling and congealing into towns,

and at evening, the midges’ choirs,
and above them, the spires
lancing the side of God

as His son set, and that was the New Testament.

Then came the white sisters clapping
to the waves’ progress,
and that was Emancipation—

jubilation, O jubilation—
vanishing swiftly
as the sea’s lace dries in the sun,

but that was not History,
that was only faith,
and then each rock broke into its own nation;

then came the synod of flies,
then came the secretarial heron,
then came the bullfrog bellowing for a vote,

fireflies with bright ideas
and bats like jetting ambassadors
and the mantis, like khaki police,

and the furred caterpillars of judges
examining each case closely,
and then in the dark ears of ferns

and in the salt chuckle of rocks
with their sea pools, there was the sound
like a rumour without any echo

of History, really beginning.

“Diving into the Wreck” by Adrienne Rich

“Diving into the Wreck”
by Adrienne Rich

First having read the book of myths,
and loaded the camera,
and checked the edge of the knife-blade,
I put on
the body-armor of black rubber
the absurd flippers
the grave and awkward mask.
I am having to do this
not like Cousteau with his
assiduous team
aboard the sun-flooded schooner
but here alone.

There is a ladder.
The ladder is always there
hanging innocently
close to the side of the schooner.
We know what it is for,
we who have used it.
Otherwise
it is a piece of maritime floss
some sundry equipment.

I go down.
Rung after rung and still
the oxygen immerses me
the blue light
the clear atoms
of our human air.
I go down.
My flippers cripple me,
I crawl like an insect down the ladder
and there is no one
to tell me when the ocean
will begin.

First the air is blue and then
it is bluer and then green and then
black I am blacking out and yet
my mask is powerful
it pumps my blood with power
the sea is another story
the sea is not a question of power
I have to learn alone
to turn my body without force
in the deep element.

And now: it is easy to forget
what I came for
among so many who have always
lived here
swaying their crenellated fans
between the reefs
and besides
you breathe differently down here.

I came to explore the wreck.
The words are purposes.
The words are maps.
I came to see the damage that was done
and the treasures that prevail.
I stroke the beam of my lamp
slowly along the flank
of something more permanent
than fish or weed

the thing I came for:
the wreck and not the story of the wreck
the thing itself and not the myth
the drowned face always staring
toward the sun
the evidence of damage
worn by salt and sway into this threadbare beauty
the ribs of the disaster
curving their assertion
among the tentative haunters.

This is the place.
And I am here, the mermaid whose dark hair
streams black, the merman in his armored body.
We circle silently
about the wreck
we dive into the hold.
I am she: I am he

whose drowned face sleeps with open eyes
whose breasts still bear the stress
whose silver, copper, vermeil cargo lies
obscurely inside barrels
half-wedged and left to rot
we are the half-destroyed instruments
that once held to a course
the water-eaten log
the fouled compass

We are, I am, you are
by cowardice or courage
the one who find our way
back to this scene
carrying a knife, a camera
a book of myths
in which
our names do not appear.

“This world is not conclusion” & “Tell all the truth but tell it slant” by Emily Dickinson

Annotation Question

In these two poems Emily Dickinson takes up the subject of “truth”: how it is produced, what it means, etc. As you read through these poems, annotate one place in each where you see an interesting representation of this theme. What is interesting about it?

“This world is not conclusion”–(501)
by Emily Dickinson

This World is not Conclusion.
A Species stands beyond —
Invisible, as Music —
But positive, as Sound —
It beckons, and it baffles —
Philosophy — don’t know —
And through a Riddle, at the last —
Sagacity, must go —
To guess it, puzzles scholars —
To gain it, Men have borne
Contempt of Generations
And Crucifixion, shown —
Faith slips — and laughs, and rallies —
Blushes, if any see —
Plucks at a twig of Evidence —
And asks a Vane, the way —
Much Gesture, from the Pulpit —
Strong Hallelujahs roll —
Narcotics cannot still the Tooth
That nibbles at the soul —

Tell all the truth but tell it slant — (1263)
by Emily Dickinson

Tell all the truth but tell it slant —
Success in Circuit lies
Too bright for our infirm Delight
The Truth’s superb surprise
As Lightning to the Children eased
With explanation kind
The Truth must dazzle gradually
Or every man be blind —

Making Annotations

 

There are different kinds of annotations that you can add yourself. All annotations should be around 50 words. Some kinds of annotations you can write include:

  • Asking questions about the text’s meaning or an element that is confusing
  • Answering other students’ questions
  • Pointing out a detail of the text and describing what you think it means
  • Reflecting on the historical context (you may choose to link to another web page for this and describe the information)
  • Connecting to personal experience, class discussion, or other course materials

Week 1 Newsletter

Dear Students

This is the first of the weekly newsletters I will send out this semester. I am sending this out on a Monday, but in general I will send them on Fridays. For the most part, they will be divided into three sections: “General Reminders & Announcements” (these will concern our class as well as any opportunities, etc. that come up college-wide), “Completed Work” (this will discuss what we have done and will usually focus on the week that the newsletter is sent), and “Upcoming Work.” There will also be a “Highlights” section at the beginning that gives you the most important stuff. But, please read the entire newsletter each week. I will post them as announcements on Blackboard and the course site, and I will email them to you. These will supplement what on the course syllabus, but also check the syllabus once or twice each week.

Highlights:

General Reminders & Announcements

  • It is very important that you keep in touch with your professors, especially while we are holding classes online. All of us want you to succeed in our courses and learn things that will interest and benefit you throughout your lives. Communication—in the case of this class, by email—is very important. Please reach out to me if you are confused, want to schedule a meeting, wish to discuss late work, etc.
  • I have taken one pass at grading Blog Post #1, and I will take another one tonight. If you haven’t done so already, please post yours by the end of today. As I’ve told some of you already, I would like the work for each week to be completed by Friday, but if you get behind on a given week reach out to me and we will work something out.
  • As I read through the posts, I noticed that some of you have not “published” yours yet. I didn’t grade these because I assume you are still editing the post. Please click the “Publish” button once you are done. I also didn’t give you a grade if you posted your blog response as a comment on someone else’s post. Please post all blog responses as stand-alone posts.
  • And, last thing about blog posts, I want you to think of these as informal opportunities to try out ideas from course material. The questions are open-ended, and my hope is that help you to think through ideas from this material. It’s not as important for you to get a question “correct” as it is for you to address it specifically and as fully as you can.
  • Paper 1: the assignment for this paper will be out on Tuesday. Look for an announcement on that day.

Completed Work

  • The big, important task of Week 1 was getting started. You learned to navigate how each of your professors have interpreted this online learning environment. This is a big challenge that you should all congratulate yourselves for seeing through. We have all made different choices, and we have different skills: some of us are very good at digital learning and some of us have never touched a computer. Good job!
  • You also introduced yourselves using the course blog, and I enjoyed reading about all of your interests and what brought you to the College. I won’t get the chance to meet you in person until we go back to campus, and even then, you will have completed this course and gone on to bigger and better things. So, it was really nice to get a chance to learn about you in your posts.
  • In the second half of the week you started “What is literature and does it matter?” from A Very Short Introduction to Literary Theory by Jonathan Culler. This chapter gives you a pretty good overview to a question that should be on your minds. Namely, what makes something literature and is there a point to studying it? You might also be wondering about how writing about literature bears on your degree program. Culler approaches these questions by highlighting the ways that literature asks us to think about language itself, how it’s structured, how others use it to influence us, how we use it in various capacities. Thinking of literature as the study of language makes us more attuned to the function of language, and if you grasp nothing else this semester, it is this that I want you to take away from the course. I will be posting a screencast lecture regarding this chapter later in the week.

Upcoming work

  • I will post a video tomorrow about making annotations to the poems as well as instructions. Look for an announcement.

Part 1:        Read:          Finish: “What is Literature and Does It Matter?,” Literary  Theory: a Very Short Introduction by Jonathan Culler

                 Respond:     Question on course blog

Part 2:        Watch:        Video about annotations

Read:          “Yet Do I Marvel” by Countee Cullen

“Theme for English B” by Langston Hughes

Annotate these poems according to the guidelines in my announcement.

 

 

Cullen/Hughes

Annotation Question:

These two well-known poems are examples of how African-American poets turned to poetry to describe the African-American experience. Please make at least two annotations on either or both of these poems that describe how the poet conveys the African-American experience. To do this follow the instructions I describe on the assignment page. 

“Yet Do I Marvel”
by Countee Cullen

I doubt not God is good, well-meaning, kind
And did He stoop to quibble could tell why
The little buried mole continues blind,
Why flesh that mirrors Him must some day die,
Make plain the reason tortured Tantalus
Is baited by the fickle fruit, declare
If merely brute caprice dooms Sisyphus
To struggle up a never-ending stair.
Inscrutable His ways are, and immune
To catechism by a mind too strewn
With petty cares to slightly understand
What awful brain compels His awful hand.
Yet do I marvel at this curious thing:
To make a poet black, and bid him sing!

Theme for English B
by Langston Hughes

The instructor said,
Go home and write
a page tonight.
And let that page come out of you—
Then, it will be true.

I wonder if it’s that simple?
I am twenty-two, colored, born in Winston-Salem.
I went to school there, then Durham, then here
to this college on the hill above Harlem.
I am the only colored student in my class.
The steps from the hill lead down into Harlem,
through a park, then I cross St. Nicholas,
Eighth Avenue, Seventh, and I come to the Y,
the Harlem Branch Y, where I take the elevator
up to my room, sit down, and write this page:

It’s not easy to know what is true for you or me
at twenty-two, my age. But I guess I’m what
I feel and see and hear, Harlem, I hear you.
hear you, hear me—we two—you, me, talk on this page.
(I hear New York, too.) Me—who?

Well, I like to eat, sleep, drink, and be in love.
I like to work, read, learn, and understand life.
I like a pipe for a Christmas present,
or records—Bessie, bop, or Bach.
I guess being colored doesn’t make me not like
the same things other folks like who are other races.
So will my page be colored that I write?
Being me, it will not be white.
But it will be
a part of you, instructor.
You are white—
yet a part of me, as I am a part of you.
That’s American.
Sometimes perhaps you don’t want to be a part of me.
Nor do I often want to be a part of you.
But we are, that’s true!
As I learn from you,
I guess you learn from me—
although you’re older—and white—
and somewhat more free.

This is my page for English B.