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12 June 2008 @ 02:38 pm
Seniors,
You are BY NO MEANS REQUIRED to come to class tomorrow morning at 7:40, but Nicky asked if we could still have class/congregation for those interested. I'll be there anyway, so I said sure. I'll be making coffee and the Haganator is in charge of half and half.

Feel free to come if you're interested and you can invite friends if you want. I forsee nothing beyond drinking coffee, socializing, and yearbook signing. Unless you decide you do want to do a Freudian analysis of Pootie Tang...

I don't know about you, but I'm pretty pumped for tomorrow's graduation. Congrats again and thanks for putting in all the hard work this year and putting up with me.

jr
 
 
08 June 2008 @ 08:07 am
ALL STUDENTS:
to avoid receiving bookroom fine cards--which mean that you cannot graduate until said fine cards are resolved--bring in any AHS books that you haven't yet returned.

SENIORS:
For Final Projects: Please make sure that your name is on everything. Your letters should be signed by you and placed in addressed envelopes (to whom), and CD jewel cases should have your name on them somewhere as well.
If you were not signed up to present your Final Project on Thursday, then you will present on Monday. OPTIONALLY, you can bring food so that our final class is a potluck...
If you were supposed to present on Thursday but didn't, you will have to make it up during an advisory. If you have not presented in one form or another by Thursday end of school day, you will receive a zero on the project.

SOPHOMORES:
Final draft (along with 1st draft and workshop) of whichever essay you choose to develop.
Printout of your favorite blogs: 1 that you wrote and 1 that a classmate wrote.
OPTIONALLY, you can bring food for a potluck for your Finals period.
 
 
30 May 2008 @ 04:08 pm
Essays due Monday in class. Please come early if you need to print out.

The following is the handout that was ready at the end of lunch. Email me jross415@hotmail.com if you have any questions about anything (unsure of a prompt, wanna run a thesis idea by me, etc) or if you have an alternate prompt idea.


Short Story Unit Essay Prompts

Your essay must include all of the expected elements: a clear, narrow thesis, topic sentences, lead-ins, concise and embedded quotes, direct analysis, transitions, and a conclusion that addresses the author’s intent and/or makes real world connections to the thesis idea. It must be typed, double spaced, and proofread.

“Terrific Mother” Lorrie Moore, 1993
Analyze the author’s use of tone, diction, irony, and other literary devices in helping her to convey her message to the reader (the message of the story).

American Beauty Sam Mendes, 1999
Analyze the use of filmic elements such as color, POV, shots, length of takes, and mise en scene in how they contribute to the message of the film.

The film addresses the traditional definition of beauty, but then goes on to redefine beauty in its own way. Analyze, using filmic elements and direct quotes, the film’s redefinition of beauty. Be sure to include in your analysis with which characters and symbols this new definition of beauty is identified.

How does the film criticize/critique American culture and values? Use characters, symbols, and filmic elements, and direct quotes to prove a clear thesis statement answering the prompt.

“The Remobilization of Jacob Horner” John Barth, 1958
The doctor—a character without a name—explains early on that logic is nothing compared to people’s knowledge of the world. Fully analyze this idea in the context of the story, and then USE ANOTHER OF THE TEXTS WE’VE READ THIS YEAR to support or refute the concept.

“The Kidney-Shaped Stone That Moves Every Day” Haruki Murakami, 2006
Track and analyze the changing meaning of the stone as a symbol from the story within the story, and how it parallels the story. This prompt is asking for multiple angles of analysis of the stone—how it changes in symbolic meaning and how it parallels the outer story (Junpei’s story). Consider how the story within the story relates to (or is a microcosm of) the story within the story.

ANY TEXT/MULTIPLE TEXTS
Clearly analyze how one or more of the texts that we’ve read/viewed in the short story unit contain core existentialist values. Be sure to have an introduction that clearly identifies the principals of the philosophy and how the story/stories relate. Topic sentences should show the connection between specific parts of existentialism and how they relate to specific parts of the text.
If you choose to take on one text for this prompt, I will expect you to prove a wider variety of existentialist principals.
If you take on multiple texts, you should seek to find a specific principal or two that the texts share in common and show the connectedness of the two or more texts through the clearly identified principals. In your conclusion, you may wish to address how the authors might agree on “stuff.”
 
 
25 May 2008 @ 11:29 am
FOR SOPHOMORES ONLY: DUE WEDNESDAY AM!

Select your top 3-5 theme songs. Explain/analyze why/how they represent you. To consider: Do they represent you only when you are in various, specific moods, or are they all purpose theme songs?

Analyze/annotate at least some of the lyrics! This is how we will be able to best see why they are your theme songs.

You should be reflecting as you write; you may even wish to indulge in some free association as you are writing...
 
 
25 May 2008 @ 11:28 am
Pavement, Frontwards (Watery Domestic EP)
To me, this song is about moving forward and standing tall, even if the goodness that we feel within ourselves isn’t universally recognized or socially valued. The opening line has a more romantic tint: "I'm the only one/searching for you/And if I get caught/then the search is through." The obvious analysis would be that everyone has a special someone that they are meant to be with, but I think it would be incredibly pompous and narrow-minded to think that there is really only one person for each of us--pompous to think that, in a world with 6 billion people, you would ever go to the city, let alone the country, in which your one true love resides (let alone meet them). Far more romantic and thematically appropriate to the song, I think this line speaks to the idea that I may see the wonder of someone more than anyone else. We all appreciate different things, and perhaps Girl A might find other guys that love her besides me, but they won't be able to appreciate her unique greatness as well as I can. The line "I hear the natives fussin' at the data chart/Be quiet the weather's on the night news" reminds me of how people tend to obsess over trying to understand things, but all too often they are obsessing over the wrong things. The weather is one of those experiences that we all share in common, so it can be seen as a universal metaphor. Some of us are interested in predictions of the weather, while others of us are not (metaphorically, as well as literally). The classic chorus line, "I've got styles/Miles and miles/So much style that it's wasted" is how I self-indulgently view myself on a good day. I think that style is undervalued in our society for the sake of things like fashion on one extreme and specialization on the other. This also connects to the overall theme of the song and the conundrum of what I personally value versus what society values as important, whether it be personality traits or global affairs. "This pattern's torn and we're weavin'" is standing up to all the crap that life piles on, making claims that perhaps the torn pattern (of life) getting torn isn’t even the worst thing to have happen, and if we care, we can still fix it. "Stolen rims were they alloy or chrome" is just too cool of a line for me to even speak to. Use your imagination.


Weezer, My Name is Jonas (Weezer--The Blue Album)
I love the beautiful opening acoustic guitar of this song. I love how the song picks up momentum until it is rockin' out and I find myself screaming along. I love how underneath it all, it is still the same beautiful song that the intro suggests, the whole way through. The opening lines, "My name is Jonas/I'm carrying the wheel/Thanks for all you've shown us/But this is how we feel" well encapsulates the tone of the overall song. Carrying the wheel seems to be a responsibility to carry, as though a burden--perhaps the wheel symbolizes society since it is one of our greatest inventions. Or maybe it is a slight to the lack of real progress we make in contrast to all the arbitrary, needless, breakthroughs we spend so much time and money on. Regardless, it is certainly ironic to carry a wheel when one could roll it, if the wheel is such a burden to carry. The line is also an allusion to the book The Giver, where one kid--named Jonas--has the responsibility of holding onto the whole world's bad memories so that the peaceful Utopian, communistic society (one predicated upon "sameness") in which he lives is not burdened by these negative thoughts. His holding onto the memories is his job so as to ensure that his society will not be doomed to repeat these errors. My favorite line is "My name is Weepel/I got a box full of your toys/They're fresh out of batteries/But they're still making noise." I just love the idea of having a box full of your toys. To me, it means that I've got your number. I know you, what you like, what you want, and what makes you happy. Still making noise is like how I like to think of myself--you can try to unplug me or wait me out, but I am fairly hardheaded when I think I am right, and don’t mind fighting for/persevering for what I believe in. "The workers are going home" reminds me that the people I see on a daily basis, the randoms and strangers, doing jobs that I barely even think about, have lives of their own that they get to go home to. They might have a job that they hate, or a job that I hate, or a job that doesn’t get much appreciation, but they are human beings who have depths of thoughts that I could never possibly understand. Atticus always tells us to put ourselves in their shoes/skin, and it is an important idea that would make the world a much better place if ever universally endorsed, but I always marvel at how I could never really know what it's like to be another person, what they are thinking, or how they feel. It is kind of humbling in a way.


Silver Jews, Wild Kindness (American Water)
You've already heard me rant on and on about these lyrics, so I will keep it short. "Some power that hardly looked like power/I'm only perfect in an empty room" reminds me that I am really only in competition with myself, which is one of the easiest things on earth to forget. I also think that power is such a relative thing: power over a country, power over another person, power over yourself. It is a reminder that the superficial definitions and views of what power looks like is not always true. If you connect the 2 lines, it also reminds me that the only thing that I truly have any power over is myself and what I do. "It is autumn and my camouflage is dying" is one of my favorite song lyrics of all time. I see myself on this tree branch and the tree is full of growth. As the seasons change, symbolic for the passing of time, the foliage all dies off, shed like clothes, and what is left is me, exposed and naked for the world to see. It is hard to stand there, exposed, but it is an important challenge to take on. It comes with the confidence that I am living my life in a way that I am proud of and believe in. It connects very well with one of the lines that precedes it: "...spurn the sin of giving in." This is a "hang tough" reminder that we will all go through hard times in our lives. It is the way of things. What's important is to learn from these challenges, to face them and grow from them.
 
 
you have 2 short assignments for this blog.

1st, write a 6 word autobiography (examples are below).

2nd, write a personal ad (like a singles dating ad) utilizing a specific tone (OVERDO IT). The ad SHOULD NOT be "the real you" at all--it should be FICTICIOUS. The tone could be self-indulgent, narcassistic, pessimistic, optimistic, sarcastic, angry, sad, emo, lonely, pathetic, carefree, desperate, happy, energetic, or whatever other tone you can think of. This can be just a couple of paragraphs, although if you're liking it, feel free to write on. Right on.
REMINDER: This is a class blog. Nothing inappropriate.
NOTE: if you have some terribly witty idea, I am most amenable to accepting "generally witty and badass" as a tone. Just don't tell anyone.
RANDOM IDEA: you could make the singles ad from the POV of the person whose biography you read...just an idea.
semi-examples below below.

Examples of 6 word autobiographies, courtesy of Smith magazine, via the 2007 Best American Nonrequired Reading (edited by Dave Eggers):
Wanted world, got world plus lupus.
Being a monk stunk. Better gay.
Found true love, married someone else.
Mistakenly killed kittens. Fears anything delicate.
Bad brakes discovered at high speed.
Ex-wife and contractor now have house.
Savior complex makes for many disappointments.
Hugged some trees, then burned them.
Lucky in love, unlucky in metabolism.
Hiding in apartment, knitting against depression.
Never really finished anything, except cake.

Here are some excerpted singles examples from the same book, although these are not all necessarily tone exercise example excerpts (alliteration station). But they ought to be able to give you some ideas:

Emplyed in publishing? Me too. Stay the hell away. Man on the inside seeks woman on the outside who likes milling outside hospitals guessing illnesses of out-patients.

Woman, 43, would like to meet a man--any man--whose evolutionary path isn't that of Homer Simpson. Suspecting that's too difficult, I may go lesbian.

I will marry an intelligent man without any problems of any kind from 50 years old on up.

I'll see you at the singles mixer night. I'll be the one breathing heavy by the art books. Asthmatic, varicosed F (93) seeks M (to 30) with enough puff in him to push me uphill to the post office. This is not a euphemism.

My only academic achievement was contaminating the water supply in my chemistry class by sneezing over the beaker tray. It caused the biggest outbreak of conjunctivitis ever known at Sutton Primary. I wasn't sorry then and I'm not sorry now. Bitter PR exec (F, 34).

The only item you'll find in my fridge is soup. Forty litres of the stuff. Beat that.

M, 34, would like to meet F to 30 able to scientifically prove the validity of the ten-second rule concerning dropped food.

Nihilist, 34, seeks nothing.
 
 
30 April 2008 @ 06:34 pm
Write a letter to a younger version of yourself. Include advice, observations, and reflections. About what things should you really alert/warn your younger self? What things would you encourage yourself to do the same? Differently? BE REFLECTIVE in these memories. Feel free to include your victories and defeats. This could be a great opportunity to warn yourself against some pain. Or perhaps the pain is integral to who you've become, and you want to give yourself words of wisdom about how to deal with it...

Select an age or grade and address yourself in the letter accordingly. Seniors may wish to address their summer-before 9th grade selves (or younger, you're the boss). Sophomores may wish to go farther back than 2 years, but feel free to do what you will.
For example:
Dear 9th Grade Justin,
You never screwed up. I can't believe that you always made the right decision about everything. The odds must have been 1 in 100,000,000,000,000 and you nailed it. I'm very impressed.
Sincerely,
Mr. Justin
PS 100,000,000,000,000!

EXCEPT that your letter should be at least 3/4 of a page. USE PARAGRAPHS!
A new idea=a new paragraph.
 
 
22 April 2008 @ 11:37 am
Reread the story. Answer the following questions
1. What do the bananafish represent in the story?
2. Use Freudian analysis to make at least 3 analytical points, supported by textual analysis, of the short story.

J. D. Salinger
A Perfect Day for Bananafish
The New Yorker, January 31, 1948, pages 21-25

THERE WERE ninety-seven New York advertising men in the hotel, and, the way they were monopolizing the long-distance lines, the girl in 507 had to wait from noon till almost two-thirty to get her call through. She used the time, though. She read an article in a women's pocket-size magazine, called "Sex Is Fun-or Hell." She washed her comb and brush. She took the spot out of the skirt of her beige suit. She moved the button on her Saks blouse. She tweezed out two freshly surfaced hairs in her mole. When the operator finally rang her room, she was sitting on the window seat and had almost finished putting lacquer on the nails of her left hand.

She was a girl who for a ringing phone dropped exactly nothing. She looked as if her phone had been ringing continually ever since she had reached puberty.

With her little lacquer brush, while the phone was ringing, she went over the nail of her little finger, accentuating the line of the moon. She then replaced the cap on the bottle of lacquer and, standing up, passed her left--the wet--hand back and forth through the air. With her dry hand, she picked up a congested ashtray from the window seat and carried it with her over to the night table, on which the phone stood. She sat down on one of the made-up twin beds and--it was the fifth or sixth ring--picked up the phone.

"Hello," she said, keeping the fingers of her left hand outstretched and away from her white silk dressing gown, which was all that she was wearing, except mules--her rings were in the bathroom.

"I have your call to New York now, Mrs. Glass," the operator said.

"Thank you," said the girl, and made room on the night table for the ashtray.

A woman's voice came through. "Muriel? Is that you?"

The girl turned the receiver slightly away from her ear. "Yes, Mother. How are you?" she said.

"I've been worried to death about you. Why haven't you phoned? Are you all right?"

"I tried to get you last night and the night before. The phone here's been--"

"Are you all right, Muriel?"

The girl increased the angle between the receiver and her ear. "I'm fine. I'm hot. This is the hottest day they've had in Florida in--"

"Why haven't you called me? I've been worried to--"

"Mother, darling, don't yell at me. I can hear you beautifully," said the girl. "I called you twice last night. Once just after--"

"I told your father you'd probably call last night. But, no, he had to-Are you all right, Muriel? Tell me the truth."

"I'm fine. Stop asking me that, please."

"When did you get there?"

"I don't know. Wednesday morning, early."

"Who drove?"

"He did," said the girl. "And don't get excited. He drove very nicely. I was amazed."

"He drove? Muriel, you gave me your word of--"

"Mother," the girl interrupted, "I just told you. He drove very nicely. Under fifty the whole way, as a matter of fact."

"Did he try any of that funny business with the trees?"

"I said he drove very nicely, Mother. Now, please. I asked him to stay close to the white line, and all, and he knew what I meant, and he did. He was even trying not to look at the trees-you could tell. Did Daddy get the car fixed, incidentally?"

"Not yet. They want four hundred dollars, just to--"

"Mother, Seymour told Daddy that he'd pay for it. There's no reason for--"

"Well, we'll see. How did he behave--in the car and all?"

"All right," said the girl.

"Did he keep calling you that awful--"

"No. He has something new now."

"What?"

"Oh, what's the difference, Mother?"

"Muriel, I want to know. Your father--"

"All right, all right. He calls me Miss Spiritual Tramp of 1948," the girl said, and giggled.

"It isn't funny, Muriel. It isn't funny at all. It's horrible. It's sad, actually. When I think how--"

"Mother," the girl interrupted, "listen to me. You remember that book he sent me from Germany? You know--those German poems. What'd I do with it? I've been racking my--"

"You have it."

"Are you sure?" said the girl.

"Certainly. That is, I have it. It's in Freddy's room. You left it here and I didn't have room for it in the--Why? Does he want it?"

"No. Only, he asked me about it, when we were driving down. He wanted to know if I'd read it."

"It was in German!"

"Yes, dear. That doesn't make any difference," said the girl, crossing her legs. "He said that the poems happen to be written by the only great poet of the century. He said I should've bought a translation or something. Or learned the language, if you please."

"Awful. Awful. It's sad, actually, is what it is. Your father said last night--"

"Just a second, Mother," the girl said. She went over to the window seat for her cigarettes, lit one, and returned to her seat on the bed. "Mother?" she said, exhaling smoke.

"Muriel. Now, listen to me."

"I'm listening."

"Your father talked to Dr. Sivetski."

"Oh?" said the girl.

"He told him everything. At least, he said he did--you know your father. The trees. That business with the window. Those horrible things he said to Granny about her plans for passing away. What he did with all those lovely pictures from Bermuda--everything."

"Well?" said the girl.

"Well. In the first place, he said it was a perfect crime the Army released him from the hospital--my word of honor. He very definitely told your father there's a chance--a very great chance, he said--that Seymour may completely lose control of himself. My word of honor."

"There's a psychiatrist here at the hotel," said the girl.

"Who? What's his name?"

"I don't know. Rieser or something. He's supposed to be very good."

"Never heard of him."

"Well, he's supposed to be very good, anyway."

"Muriel, don't be fresh, please. We're very worried about you. Your father wanted to wire you last night to come home, as a matter of f--"

"I'm not coming home right now, Mother. So relax."

"Muriel. My word of honor. Dr. Sivetski said Seymour may completely lose contr--"

"I just got here, Mother. This is the first vacation I've had in years, and I'm not going to just pack everything and come home," said the girl. "I couldn't travel now anyway. I'm so sunburned I can hardly move."

"You're badly sunburned? Didn't you use that jar of Bronze I put in your bag? I put it right--"

"I used it. I'm burned anyway."

"That's terrible. Where are you burned?"

"All over, dear, all over."

"That's terrible."

"I'll live."

"Tell me, did you talk to this psychiatrist?"

"Well, sort of," said the girl.

"What'd he say? Where was Seymour when you talked to him?"

"In the Ocean Room, playing the piano. He's played the piano both nights we've been here."

"Well, what'd he say?"

"Oh, nothing much. He spoke to me first. I was sitting next to him at Bingo last night, and he asked me if that wasn't my husband playing the piano in the other room. I said yes, it was, and he asked me if Seymour's been sick or something. So I said--"

"Why'd he ask that?"

"I don't know, Mother. I guess because he's so pale and all," said the girl. "Anyway, after Bingo he and his wife asked me if I wouldn't like to join them for a drink. So I did. His wife was horrible. You remember that awful dinner dress we saw in Bonwit's window? The one you said you'd have to have a tiny, tiny--"

"The green?"

"She had it on. And all hips. She kept asking me if Seymour's related to that Suzanne Glass that has that place on Madison Avenue--the millinery."

"What'd he say, though? The doctor."

"Oh. Well, nothing much, really. I mean we were in the bar and all. It was terribly noisy."

"Yes, but did--did you tell him what he tried to do with Granny's chair?"

"No, Mother. I didn't go into details very much," said the girl. "I'll probably get a chance to talk to him again. He's in the bar all day long."

"Did he say he thought there was a chance he might get--you know--funny or anything? Do something to you!"

"Not exactly," said the girl. "He had to have more facts, Mother. They have to know about your childhood--all that stuff. I told you, we could hardly talk, it was so noisy in there."

"Well. How's your blue coat?"

"All right. I had some of the padding taken out."

"How are the clothes this year?"

"Terrible. But out of this world. You see sequins--everything," said the girl.

"How's your room?"

"All right. Just all right, though. We couldn't get the room we had before the war," said the girl. "The people are awful this year. You should see what sits next to us in the dining room. At the next table. They look as if they drove down in a truck."

"Well, it's that way all over. How's your ballerina?"

"It's too long. I told you it was too long."

"Muriel, I'm only going to ask you once more--are you really all right?"

"Yes, Mother," said the girl. "For the ninetieth time."

"And you don't want to come home?"

"No, Mother."

"Your father said last night that he'd be more than willing to pay for it if you'd go away someplace by yourself and think things over. You could take a lovely cruise. We both thought--"

"No, thanks," said the girl, and uncrossed her legs. "Mother, this call is costing a for--"

"When I think of how you waited for that boy all through the war-I mean when you think of all those crazy little wives who--"

"Mother," said the girl, "we'd better hang up. Seymour may come in any minute."

"Where is he?"

"On the beach."

"On the beach? By himself? Does he behave himself on the beach?"

"Mother," said the girl, "you talk about him as though he were a raving maniac--"

"I said nothing of the kind, Muriel."

"Well, you sound that way. I mean all he does is lie there. He won't take his bathrobe off."

"He won't take his bathrobe off? Why not?"

"I don't know. I guess because he's so pale."

"My goodness, he needs the sun. Can't you make him?

"You know Seymour," said the girl, and crossed her legs again. "He says he doesn't want a lot of fools looking at his tattoo."

"He doesn't have any tattoo! Did he get one in the Army?"

"No, Mother. No, dear," said the girl, and stood up. "Listen, I'll call you tomorrow, maybe."

"Muriel. Now, listen to me."

"Yes, Mother," said the girl, putting her weight on her right leg.

"Call me the instant he does, or says, anything at all funny--you know what I mean. Do you hear me?"

"Mother, I'm not afraid of Seymour."

"Muriel, I want you to promise me."

"All right, I promise. Goodbye, Mother," said the girl. "My love to Daddy." She hung up.

"See more glass," said Sybil Carpenter, who was staying at the hotel with her mother. "Did you see more glass?"

"Pussycat, stop saying that. It's driving Mommy absolutely crazy. Hold still, please."

Mrs. Carpenter was putting sun-tan oil on Sybil's shoulders, spreading it down over the delicate, winglike blades of her back. Sybil was sitting insecurely on a huge, inflated beach ball, facing the ocean. She was wearing a canary-yellow two-piece bathing suit, one piece of which she would not actually be needing for another nine or ten years.

"It was really just an ordinary silk handkerchief--you could see when you got up close," said the woman in the beach chair beside Mrs. Carpenter's. "I wish I knew how she tied it. It was really darling."

"It sounds darling," Mrs. Carpenter agreed. "Sybil, hold still, pussy."

"Did you see more glass?" said Sybil.

Mrs. Carpenter sighed. "All right," she said. She replaced the cap on the sun-tan oil bottle. "Now run and play, pussy. Mommy's going up to the hotel and have a Martini with Mrs. Hubbel. I'll bring you the olive."

Set loose, Sybil immediately ran down to the flat part of the beach and began to walk in the direction of Fisherman's Pavilion. Stopping only to sink a foot in a soggy, collapsed castle, she was soon out of the area reserved for guests of the hotel.

She walked for about a quarter of a mile and then suddenly broke into an oblique run up the soft part of the beach. She stopped short when she reached the place where a young man was lying on his back.

"Are you going in the water, see more glass?" she said.

The young man started, his right hand going to the lapels of his terry-cloth robe. He turned over on his stomach, letting a sausaged towel fall away from his eyes, and squinted up at Sybil.

"Hey. Hello, Sybil."

"Are you going in the water?"

"I was waiting for you," said the young man. "What's new?"

"What?" said Sybil.

"What's new? What's on the program?"

"My daddy's coming tomorrow on a nairiplane," Sybil said, kicking sand.

"Not in my face, baby," the young man said, putting his hand on Sybil's ankle. "Well, it's about time he got here, your daddy. I've been expecting him hourly. Hourly."

"Where's the lady?" Sybil said.

"The lady?" the young man brushed some sand out of his thin hair. "That's hard to say, Sybil. She may be in any one of a thousand places. At the hairdresser's. Having her hair dyed mink. Or making dolls for poor children, in her room." Lying prone now, he made two fists, set one on top of the other, and rested his chin on the top one. "Ask me something else, Sybil," he said. "That's a fine bathing suit you have on. If there's one thing I like, it's a blue bathing suit."

Sybil stared at him, then looked down at her protruding stomach. "This is a yellow," she said. "This is a yellow."

"It is? Come a little closer." Sybil took a step forward. "You're absolutely right. What a fool I am."

"Are you going in the water?" Sybil said.

"I'm seriously considering it. I'm giving it plenty of thought, Sybil, you'll be glad to know."

Sybil prodded the rubber float that the young man sometimes used as a head-rest. "It needs air," she said.

"You're right. It needs more air than I'm willing to admit." He took away his fists and let his chin rest on the sand. "Sybil," he said, "you're looking fine. It's good to see you. Tell me about yourself." He reached in front of him and took both of Sybil's ankles in his hands. "I'm Capricorn," he said. "What are you?"

"Sharon Lipschutz said you let her sit on the piano seat with you," Sybil said.

"Sharon Lipschutz said that?"

Sybil nodded vigorously.

He let go of her ankles, drew in his hands, and laid the side of his face on his right forearm. "Well," he said, "you know how those things happen, Sybil. I was sitting there, playing. And you were nowhere in sight. And Sharon Lipschutz came over and sat down next to me. I couldn't push her off, could I?"

"Yes."

"Oh, no. No. I couldn't do that," said the young man. "I'll tell you what I did do, though."

"What?"

"I pretended she was you."

Sybil immediately stooped and began to dig in the sand. "Let's go in the water," she said.

"All right," said the young man. "I think I can work it in."

"Next time, push her off," Sybil said. "Push who off?"

"Sharon Lipschutz."

"Ah, Sharon Lipschutz," said the young man. "How that name comes up. Mixing memory and desire." He suddenly got to his feet. He looked at the ocean. "Sybil," he said, "I'll tell you what we'll do. We'll see if we can catch a bananafish."

"A what?"

"A bananafish," he said, and undid the belt of his robe. He took off the robe. His shoulders were white and narrow, and his trunks were royal blue. He folded the robe, first lengthwise, then in thirds. He unrolled the towel he had used over his eyes, spread it out on the sand, and then laid the folded robe on top of it. He bent over, picked up the float, and secured it under his right arm. Then, with his left hand, he took Sybil's hand.

The two started to walk down to the ocean.

"I imagine you've seen quite a few bananafish in your day," the young man said.

Sybil shook her head.

"You haven't? Where do you live, anyway?"

"I don't know," said Sybil.

"Sure you know. You must know. Sharon Lipschutz knows where she lives and she's only three and a half."

Sybil stopped walking and yanked her hand away from him. She picked up an ordinary beach shell and looked at it with elaborate interest. She threw it down. "Whirly Wood, Connecticut," she said, and resumed walking, stomach foremost.

"Whirly Wood, Connecticut," said the young man. "Is that anywhere near Whirly Wood, Connecticut, by any chance?"

Sybil looked at him. "That's where I live," she said impatiently. "I live in Whirly Wood, Connecticut." She ran a few steps ahead of him, caught up her left foot in her left hand, and hopped two or three times.

"You have no idea how clear that makes everything," the young man said.

Sybil released her foot. "Did you read `Little Black Sambo'?" she said.

"It's very funny you ask me that," he said. "It so happens I just finished reading it last night." He reached down and took back Sybil's hand. "What did you think of it?" he asked her.

"Did the tigers run all around that tree?"

"I thought they'd never stop. I never saw so many tigers."

"There were only six," Sybil said.

"Only six!" said the young man. "Do you call that only?"

"Do you like wax?" Sybil asked.

"Do I like what?" asked the young man. "Wax."

"Very much. Don't you?"

Sybil nodded. "Do you like olives?" she asked.

"Olives--yes. Olives and wax. I never go anyplace without 'em."

"Do you like Sharon Lipschutz?" Sybil asked.

"Yes. Yes, I do," said the young man. "What I like particularly about her is that she never does anything mean to little dogs in the lobby of the hotel. That little toy bull that belongs to that lady from Canada, for instance. You probably won't believe this, but some little girls like to poke that little dog with balloon sticks. Sharon doesn't. She's never mean or unkind. That's why I like her so much."

Sybil was silent.

"I like to chew candles," she said finally.

"Who doesn't?" said the young man, getting his feet wet. "Wow! It's cold." He dropped the rubber float on its back. "No, wait just a second, Sybil. Wait'll we get out a little bit."

They waded out till the water was up to Sybil's waist. Then the young man picked her up and laid her down on her stomach on the float.

"Don't you ever wear a bathing cap or anything?" he asked.

"Don't let go," Sybil ordered. "You hold me, now."

"Miss Carpenter. Please. I know my business," the young man said. "You just keep your eyes open for any bananafish. This is a perfect day for bananafish."

"I don't see any," Sybil said.

"That's understandable. Their habits are very peculiar." He kept pushing the float. The water was not quite up to his chest. "They lead a very tragic life," he said. "You know what they do, Sybil?"

She shook her head.

"Well, they swim into a hole where there's a lot of bananas. They're very ordinary-looking fish when they swim in. But once they get in, they behave like pigs. Why, I've known some bananafish to swim into a banana hole and eat as many as seventy-eight bananas." He edged the float and its passenger a foot closer to the horizon. "Naturally, after that they're so fat they can't get out of the hole again. Can't fit through the door."

"Not too far out," Sybil said. "What happens to them?"

"What happens to who?"

"The bananafish."

"Oh, you mean after they eat so many bananas they can't get out of the banana hole?"

"Yes," said Sybil.

"Well, I hate to tell you, Sybil. They die."

"Why?" asked Sybil.

"Well, they get banana fever. It's a terrible disease."

"Here comes a wave," Sybil said nervously.

"We'll ignore it. We'll snub it," said the young man. "Two snobs." He took Sybil's ankles in his hands and pressed down and forward. The float nosed over the top of the wave. The water soaked Sybil's blond hair, but her scream was full of pleasure.

With her hand, when the float was level again, she wiped away a flat, wet band of hair from her eyes, and reported, "I just saw one."

"Saw what, my love?"

"A bananafish."

"My God, no!" said the young man. "Did he have any bananas in his mouth?"

"Yes," said Sybil. "Six."

The young man suddenly picked up one of Sybil's wet feet, which were drooping over the end of the float, and kissed the arch.

"Hey!" said the owner of the foot, turning around.

"Hey, yourself We're going in now. You had enough?"

"No!"

"Sorry," he said, and pushed the float toward shore until Sybil got off it. He carried it the rest of the way.

"Goodbye," said Sybil, and ran without regret in the direction of the hotel.

The young man put on his robe, closed the lapels tight, and jammed his towel into his pocket. He picked up the slimy wet, cumbersome float and put it under his arm. He plodded alone through the soft, hot sand toward the hotel.

On the sub-main floor of the hotel, which the management directed bathers to use, a woman with zinc salve on her nose got into the elevator with the young man.

"I see you're looking at my feet," he said to her when the car was in motion.

"I beg your pardon?" said the woman.

"I said I see you're looking at my feet."

"I beg your pardon. I happened to be looking at the floor," said the woman, and faced the doors of the car.

"If you want to look at my feet, say so," said the young man. "But don't be a God-damned sneak about it."

"Let me out here, please," the woman said quickly to the girl operating the car.

The car doors opened and the woman got out without looking back.

"I have two normal feet and I can't see the slightest God-damned reason why anybody should stare at them," said the young man. "Five, please." He took his room key out of his robe pocket.

He got off at the fifth floor, walked down the hall, and let himself into 507. The room smelled of new calfskin luggage and nail-lacquer remover.

He glanced at the girl lying asleep on one of the twin beds. Then he went over to one of the pieces of luggage, opened it, and from under a pile of shorts and undershirts he took out an Ortgies calibre 7.65 automatic. He released the magazine, looked at it, then reinserted it. He cocked the piece. Then he went over and sat down on the unoccupied twin bed, looked at the girl, aimed the pistol, and fired a bullet through his right temple.
 
 
16 April 2008 @ 05:17 pm
Seniors: Due Monday AM
Sophomores: Due Wednesday AM


Write at least 10 separate, developed ideas into paragraphs: Most of us have many random thoughts and anecdotes swirling through our heads. For this blog entry, I want you to indulge some of these thoughts. They can be observations or critiques about the way the world works, funny things that have happened, strategies for eating, or whatever comes to mind. Developing your ideas in separate paragraphs allows you to simply bounce from idea to idea, so enjoy the freedom of it! No transitions needed. 

If all of your paragraphs are really short, you will want to write more than 10...although I would imagine that some of your thoughts will be longer/more developed than others. Similar to the stream of consciousness 12 minute free write, this is a type of exercise to develop stream of consciousness and free association type of writing. If you find yourself enjoying this blog, you can always pretend I assigned you more than 10.

TIP: Trying to do this entry all in one sitting may be very challenging. You might want to open a Word Document and over the next couple of days, add stuff as it comes to you (save as you go). You might be out with friends and think of something funny that you'd like to write about. Make a note of it on a scrap of paper or voicememo yourself on your cell phone (that's what I do).
  Feel free to take a look at the samples below this to help cement your understanding...notice how they deal with myriad topics, and some are longer while others are shorter...
 

 
 
 
16 April 2008 @ 05:12 pm

Things I eat as fast as I can unwrap them include Hersheys kisses, anything else chocolaty for that matter, and pistachios. What you really have to do is unwrap the first couple without putting any in your mouth, then you will always have at least two or three in your mouth, marinating and serenading. Melting and mingling...

  

Is there not a greater monopoly in all the world than the one that YKK has on zippers? Can anybody even name another zipper manufacturer? Didn’t think so.

  

I admit I am not a big fan of SUVs, but one of the things that really gets under my skin is when people try to call their SUVs "trucks." No way Jose. I know what a truck looks like and that, my friend, is no truck.

 

Does anyone else ever get that feeling when they overeat that their stomach skin is getting stretched so taut that a little lotion on the belly would be more soothing than anything else?

 

Every time I buy a new pair of soft suede shoes I face the same conundrum: To spray with suede protecting shoe guard stuff or to let the rains chew away at my new kicks? Shoes are never the same after using that repellent stuff.

 

Popcorn and pickles both count as vegetable servings…

 

I recently had a conversation with Don Benzo, who was nice enough to pick me up from the airport, regarding cookies. Well actually I had said I wanted a cookie. And he said "What kind?" And I said, "What the hell kind you think, chocolate chip." And then he said, "I don’t know, maybe you want an oatmeal raisin cookie." Which is when I began this line of reasoning: even if you have the greatest oatmeal raisin cookie on Earth, there is still one problem. It ain’t no goddamn chocolate chip cookie. I would rather have a crappy chocolate chip cookie than an allegedly "great" oatmeal raisin cookie (and don’t come at me with any "What about an oatmeal chocolate chip cookie?" Forget that too).

 

Memories: Remember your favorite ways to torture your sibling? I used to aim the TV remote right at RR and I would press the button and say, "I’m radiating you. Radiation, radiation, radiation, radiation, radiation, radiation, radiation, radiation, radiation…" and he would cry like a little girl.

 

There’s always the finger-grinding-into-the-chest-plate bruiser move, that one’s great too.

 

In the tradition of the count the SUVs game, I provide you with more hours of endless entertainment. Next time you are shopping, whether in a music store, for clothes, shoes, or whatever, say "DUDE" like you are trying to get your friend’s attention. At least 70% of the people in earshot will turn around. Good times…

 

Ah, the blessed 3-peanuts-in-a-shell…Beats the hell out of its gross cousin, the 2-yolks-in-an-egg. Look ma, twins!

 

Another reason why BART is enjoyable: The rare display of human teamwork on the escalators. 97% (actual statistic) of the people know that the people who are content with the speed of the escalator on it’s own are to stay on the right; those who are not afraid to show a little athaleticism are able to use supplemental human power to pass on the left. Grouse.

  

I don’t know if it is all in my noggin or what, but I am convinced that the bottom half of the bagel is >>>> the top half. And speaking of bagels, does anyone else purposefully cut the bagel slightly less than even and yet put the same amount of cream cheese on each half and then eat the breadier half first? That way it’s a cream cheese eruption on the second half. I still trip on how little cream cheese the goys put on their bagels. One of those little tubs will do me for 2 bagels tops. Cream cheese is a party cheese.

 

When my housemate and I were showing our available bedroom to perspective roommates, a lot of the girls asked us if we cook. My housemate said yes, which forced me to interject with what I consider irrefutable logic. We make food. Tuna sandwiches, pasta, breakfast food, things of this nature…these things are made. We make food. Cooking requires a lot more time, patience, and skill.

 

There are 3 kinds of people: Those who, when running, fake run (bounce up and down) at intersections when they are waiting for the light to change; those who, when running, stop at the intersection and wait like a normal person for the light to change; and those who think running is for suckers.

 

Let’s say a bag of cashews says that it has 10 grams of salt per serving. Everybody who has ever messed with a jumbo bag of cashews knows that when you get to the end there is a half-inch high layer of salt along the bottom of the bag. I think you get to subtract that from the salt/sodium per serving in the nutritional contents on the side of the bag…of course this can be applied to other foodstuffs as well (the grease on the inside of a bag of popcorn being the next best example I can think of).

  

Does Raisin Bran make a cereal without the raisins? Are they just resigned to losing the anti-raisin breakfast cereal audience? Damned if they don’t, sellouts if they do.

  

We must all learn to fear and respect the buffet.

  

The networks seem to put so much stock in their blessed Nielsen Ratings, but I don’t see how that could be accurate. I don’t know anybody who has one of those alleged Nielsen boxes. I don’t even know anybody who knows anybody who has heard of someone who has one of those boxes. Do they even exist? Are they urban legend?

  

If you leave a CD player on pause for long enough, will the laser burn through the CD?

  

I don't know what hiking really is. Is it simply a matter of: You walk on the sidewalk and hike on dirt? Is that the only difference? I just don't get it. I like to take walks, and since I've been doing it (=walking) long enough, I'd venture to say I'm good at it. Would this equate to me being a good hiker? Is it like an "if you skate a lot you would be a good snowboarder" type of analogy?

  

There are two kinds of car owners out there: Those who hate it when it rains because they just got their car washed and those who have been waiting for months for it to rain for a free car wash. My old car was primer gray, so you can guess what kind I was...

  

Another reason why the zippered hoodie is the ultimate security blanket...3 base levels of climate control. The casual open zipper "hang out," the zipped-up "it's getting a bit chilly in here," and then of course the zipped-up hoodie-up third level for the highest heat setting. Available in breathable cotton...

 

Sequels of movies that suck, suck.

 

Anticlimatic is not a word. You are looking for the word anticlimactic.

 

When we were little kids didn't we all think about how if we were on an airplane that was about to crash we would wait until the last second before impact and jump up and out of the plane as high as we could and maybe we would survive? What always worried me most was if it was the same situation and it was a helicopter, would I be cut to shreds by the propeller?

 

Big Pimpin=Foie Gras on challah.

  

There are two kinds of people: Those who take the best bite first and those who save the best bite for last.

    

I think it is totally disgusting how some people get out of the bathtub without taking a rinse off shower. Sitting in a bunch of scummy water and your own filth and you think you are clean? Even worse, you dry off with your formerly clean towel and then your funk is on it also, so when you do shower next you will step out of the shower clean but when you go to dry off you will be wiping day old funk back onto your person.

  

"The average person blinks 12-17 times per minutes. Children blink less and the blink rate drops when concentrating to about 5-8 per minute. You can tell if someone is paying close attention to you by counting the blink rate. I believe that George Bush blinks about 25 times per minute when giving a speech. I don't know what that means."

-Anonymous Ophthalmologist who does know what that means.

  

Yes, Rocky IV played a vital role in ending the Cold War, the downfall of Communism, and the dismantling of the USSR. "If I can change, you can change..."

  

A good trip on BART/MUNI=I don’t have to touch anything (hand rails, stuff on seats, people, escalator rails) with my hands. Otherwise I feel like I need to go wash those hands real bad. I actually have a get-rich-quick scheme that revolves around this most understandable neuroticism. Ok, fine, I'll tell you. Wetnap dispenser/vending machines at BART stations. You could even pay with your BART ticket if you wanted to go that route. Meeting Your Sanitary Needs.

  

I know that it makes me a total dork, and I know that some people think it is terribly tacky, but one thing that almost always chokes me up/gives me the goosebumps, or at least makes me smile is the way that, during the singing of the national anthem, fans always start cheering as soon as "For the land of the free" is sung. Uniquely American, or something. Go America.

  

Could or couldn't care less? This is the type of thing that will make your brain hurt if you stop to think about it. Clearly they can't both be right; one means you could and the other means you could not. People use both though. You can tell by the tone of the speaker what they mean--and despite the two being basically binaries, for all intents and purposes they mean the same thing. For the record, while people do use both, only those who use couldn't are actually correct. Perhaps "could care less" is meant to be more of a rhetorical question type statement? I'm just trying to work it out...

  

Eternal Question: Are honey-roasted peanuts a dessert or a snack? Since I think it is always a good time for honey-roasted peanuts (oi, never a bad time), I guess they are whatever you need to call them so that you can get on them.

 

If you see a hairy scary monster attacking a girl in an overturned phone booth and you have a gun with you, don’t be afraid to shoot that monster in the back as it runs away. Guaranteed, it ain't no good monster.

 

I saw someone tagged "KNOW YOUR ROLL" on a building on the corner of Haight and Masonic recently. Um, I believe you meant ROLE. You slow your ROLL and you know your ROLE. Good times. Would have been terribly witty if it was written on some hip urban sushi spot or something though.

 

There are two kinds of people: Those who, when there is a sustained loud noise in the area, go right on talking even though they should know that the listener can't hear, and those who wait for the loud noise to end before resuming talking.

 

Right up there with the sound of the coffee pot's final gurgle (to denote the coffee is ready): the sound from when you crack open a can of soda. That sound is so sexy. When I hear someone else make that sound, it makes me want a soda real bad. You know what else sounds like that? The sound made from opening a new can of tennis balls. Makes me want to drink up the fresh air formerly sealed inside of the can as if I were in Spaceballs or something. For the record: glass bottle of coke>can of coke>soda fountain coke>>>>>>plastic bottle of coke. Although sometimes fountain coke does have more appeal than canned coke.

  

Speaking of, tapping a soda can on the part that pops open (down) before opening it really does eliminate the opening-a-can-of-soda-that-has-been-jarred-too-much-so-now-half-the carbonated-contents-will-come-overflowing-out-all-over-you-thereby-salting-your-game thing. I don't make the rules; I follow them.

 

There were 3 stages to The Fresh Prince of Bel Air: the real aunt Viv, no aunt Viv, and fake aunt Viv. And that is pretty much their descending order of goodness.

  

The most misleading statistic when you look at the calorie count on food is neglecting to see how many servings there are per box because you know that whole box of cookies is about to get macked. For instance, it might say only 200 calories per serving and 10 grams of fat, so you are like, "These aren't so bad." But if you look at the servings, that is for only 2 little cookies. Who the hell is going to eat only 2 little cookies? Certainly not I.

 

The first step is admitting I am wrong: I'm thinking that overexaggeration is not actually a word. It seems a bit redundant, unless you are really trying to describe exactly how much exaggeration is going on. I think that I used to totally think it was a word. Then, later, I sort of realized that something sounded fishy about it. Yet I could not remove the word from my oral vocabulary. It just kept coming out. Let's face it; I still say it (by accident). I want it to stop.

 

Upset of the Century: How the hell is October not the 8th month of the year? Think about it...

  

I have a dream: How about, instead of some slices of cheese on the burger (or in addition to), a fondue pot for dipping burgers. That would be so grouse. It certainly wouldn’t have to be limited to burgers. And the beauty of the fondue pot is that you can leave it going all day long and have hot melted cheese at your disposal. You could get whimsically experimental if you wanted (I want, I want).

  

Don't forget to periodically clean your mouse balls. They get linty and it affects performance (sincerely). It's like when you pick your nose and then you are able to breath easier.

  

Yeah, I got analogies.

  

3 of every 5 fights I have ever seen in my life have included one person saying to the other (directly preceding the fight), "You don't know me." What's up with that? Maybe if when people arrived at functions, we put more effort into introductions--maybe even name cards--then we could avoid some of this violence.

  

I really don't get the whole NFL community service messages. I mean, the point of the commercials isn't to get beer drinking football fan/dudes to volunteer at their local senior citizens home right? So it's just a woo hoo, the message being: "Despite all the drug addicts, rapists, and murderers in our league, we are like good people or something." If they were really good people they would sell those commercial timeslots to the beer companies (or other female objectifying/domestic violence breeding advertisers) and give the millions of dollars they'd make to those same charities and community organizations. Save millions in production costs for making the commercials too I bet (guessing a lot of those players may take quite a few takes before they get it right).

  

Upset of the Century: I can't believe that Chewbacca just came up on spell check (I had spelled it Chewbakka). Who'd have thought? But I will tell you, I think it couldn't have happened to a nicer Wookie. This is the first step in Chewbacca's healing process too, as far as I am concerned--because at the end of Star Wars, the dude got so freaking hosed. Han and Luke got medals. Chewy deserved one too. I always thought that was some racist bullshit that he didn't get one. Way to go, Chewbacca.

  

I have a dream: I dreamt that I had 3 gigantic brownies in front of me: one chocolate, one peanut butter, and one that they call cheesecake but is actually just a swirl of cream cheese in it. They all looked hella good, and I was all ready to start partying, when, within the dream, I realized it was a dream. And it made me so sad because I realized I wasn't really going to get to eat those brownies.

  

Carrot cake=Vegetable serving. This is indisputable. I can admit that there probably aren’t all that many carrots in carrot cake, so I am proud to announce a resolution: in order to get your vegetable serving from carrot cake, you must simply eat more carrot cake. Next question...

 

 
 
29 March 2008 @ 06:20 pm
 

For your 3rd Quarter outside reading project, you will read either a biography or an autobiography--note that with all the controversies surrounding the idea of the "memoir," it is time to recognize that a memoir is not a biography. If it were, it would be called a biography, not a memoir. This is an opportunity for you to do research on a person who means something to you. I encourage you to take some time to reflect/brainstorm and do the research to find someone you have always been interested in, have always respected, and/or would like to know more about. One of the requirements of the project, regardless of what assessment you choose, is to dress up as the person (or you may interpret this creatively and dress up as something relevant to their life--mmm, dressing up as a symbol).

 

You must have your book on the day of your presentation.

 

Options for Assessment:

 

Poem/Song: You may compose one of the aforementioned. You may perform live in front of the class or pre-record (if it is a song/rap) using audio software. You must turn in a copy of your lyrics to me.

POEMS SHOULD BE AT LEAST 1 MINUTE LONG

 

Art Project: You may do an art project that represents or symbolizes one or more of the major accomplishments/ideas of the person whose biography you have read. A short oral overview of the person's life and the explanation of your art project (why you did what you did, what it means, connections to the person's life) must accompany it.

 

Speech: You will deliver a speech of 3-5 minutes explaining A) a brief history of the person's life (background info), B) the major accomplishments of the person's life, C) their effect on society, D) why you selected the person, and E) an interesting, inspiring, entertaining, funny, informative, educational, or shocking anecdote from that person's life. I understand that not all biographies will have the necessary information to accomplish all of these requirements--most, however, will. If yours does not, you must compensate for the lack of information in creative ways (supplementing other required areas would always be a good place to start).

 

 

MAKE YOUR PROJECT INTERESTING...one of your goals ought to be to make the audience want to learn even more about the person.

 
 
28 March 2008 @ 07:12 pm
glorious students,
in honor of the fact that half of each sophomore class has gallantly volunteered (and some seniors will as well) to do their outside reading projects next week, i am skipping on a blog assignment for all y'all for this week. enjoy the weekend/your biography that much the more.
jr
 
 
18 March 2008 @ 09:33 pm

Write about a TV show or film. You can do this a number of ways. 

You may choose to write an analytical essay about the show/film. You could analyze characters, relationships, secrets, issues, symbols, themes, etc...

You can write a critical review of the show/film. You're the critic and though you still have to do some analysis of what is going on, you also get to be more judgmental and write about why "Everyone must see this tear-jerker" or "I can't believe that there was a studio stupid enough to pay a dollar to get this made." Be sure that you are not ONLY doing a gigantic rant on how much something sucks or rules. CRITICS MUST SUPPORT THEIR OPINIONS!

IF YOU ARE WRITING A CRITICAL REVIEW, YOU SHOULD STAY ONLINE AND GOOGLE SOME SAMPLE REVIEWS TO GET AN IDEA ABOUT WHAT REVIEWS FEEL LIKE

Satire: You may choose to satirize the show/film. Remember that satire pokes fun at something. It uses sarcasm, irony, parody, exaggeration, etc. You can do this a number of ways, such as through an overview of what the show/film is about, or by taking a scene and satirizing it to reveal something about the show.

Blogs should be at least 3/4 of a page. Email or comment with questions. 

SCROLL DOWN for 2 samples from someone who loooooooves satire: me. 
 
 
18 March 2008 @ 07:06 pm

Schema: The Pick Up Artist is a reality television show that brings a group of 25-35 year old male virgins into a house to be trained in the art of "picking up girls." The "Master Pick Up Artist" who instructs them is Mystery, a quite odd fellow to say the least. The following is a satirical piece that I wrote. It serves to mock how the show turns the ideas of love and attraction into a Dungeons and Dragons-like boardgame, complete with its own set of bizarre rules and lingo.

 In this week's The Pick Up Artist, Mystery decides that the AFCs (Average Frustrated Chumps) are ready to take their newfound skills and try to apply them to Day Game. Day Game, he explains, is almost the same as Night Game; the only difference is that Day Game goes slower. Mystery hypothesizes that it has something to do with the sun being out. Silly me--I thought it had to do with BAC (blood alcohol content). I can only presume that Mystery himself hasn’t used his Day Game in years, judging by his pallor. Despite this, he regales the AFCs with a story of how he once met a girl at the supermarket and within 30 minutes he was on his way to her hotel room. Fortunately, I am not leaving out any details on this one.

 

Mystery warns that getting a Kiss Close is highly unlikely in Day Game, but one can totally Build Attraction and Close Numbers. He also warns that you have to be more aware of your target's Comfort Level (I can only infer that it is because they can totally see you and are sober enough to feel everything).

 

Having a Chick Magnet (small, cute dog) can totally help--it can basically Open A Set (interject yourself into a group of people) for you. Joe D has won the Chick Magnet for this Field Test by being the fattest guy in a Speedo at a pool party that had attractive females.

 

A quick refresher on The Pick Up Artist's rules:

 

Don’t wait too long to Open A Set or your Approach Anxiety will build.

 

You approach a 2 Set (2 girls) and you Open The Set with a Gambit (a cheesier than my quesadilla opening line). The most popular Gambits are "If a girl has a boyfriend and she makes out with another girl, is it cheating?" or "Do you floss before or after you brush your teeth." You immediately shift your Routine or you will enter The Comfort Zone (especially during Day Game). If your routine stays too long in The Comfort Zone, you will enter the Just Be Friends Zone. This is why you need to Stack (to move forward into another interesting routine--and you have to Stack more quickly in Day Game).

 

It merits mentioning that although Mystery said the Field Test would be in a coffee shop, the place he takes them to is totally a beer garden.

 

Shortly after you throw an effective Gambit at a 2 Set, you need to Narrow Your Target. You do this by selecting 1 of the girls and using IOIs (indicators of interest) and DHVs (displaying higher values). Once you pick even the subtlest of IOIs, you can invite yourself to join The Set. 3 subconscious IOIs to look out for are when she touches the back of her hand, her shoulder, or plays with her hair.

 

It is never a bad idea, during Day Game, to use a False Time Constraint (lie about needing to leave in a few minutes) before joining The Set. This will allow you to make a graceful exit from an awkward situation if you are getting IODs (indicators of disinterest)--a graceful exit will also allow you to keep you DHV up.

 

After giving Your Target some positive attention via IOIs and DHVs, don’t forget to Neg her (be a slight dick to her). The best initial subtle Neg is posture-based. You simply lean back. Show how casual you are about it all. Another extremely popular Neg whilst working on a 2 Set is to say to Your Target, "Aren't you going to introduce me to your friend? It's the polite thing to do." Another oft-employed one is "You sure blink a lot." There is also the ever-popular, "What do you have going for you besides your looks."

 

While vacillating between IOIs, DHVs, and Negs, don’t be afraid to give a little Kino (kinesthetic, or touch-based IOI).

 

If her phone rings and she answers it, walk away. DO NOT WAIT FOR HER. You can always come back. This too helps to preserve your Value.

 

Mystery's final note of inspirational speech: Don't go up to a girl at a coffee shop and ask her out. She is out. Try to make your Approach lead to an Impromptu Date.

 
 

What if I told you that there was a girl held captive in her basement by this stalker guy, who also had her former best friend, whom she had recently grown to hate, tied up next to her? The former best friend not only used to date the girl's current boyfriend, but it turns out that when the girl had her first boyfriend, the former bestie once slept with that guy while they were still together. The only reason why our girl knows about it is because they videotaped their adulterous experience and he accidentally played it at a big party at which many of their closest friends and classmates were in attendance. His current girlfriend, who is actually his wife--engaged and underaged style--was none too pleased to see the video either.

Anyway, so the stalker was going to kill the former best friend as a gift to the girl of his dreams. She manages to sweet talk her way out of her bondage under the false pretense that she suddenly realizes she loves him--she wants to be the one to get to enjoy killing her former bestie. The stalker unties her and gives her his knife. Just as she is about to stab bestie, she suddenly pivots and stabs stalker, who falls down with a knife lodged in his shoulder. She goes to untie the ex-bestie, but the stalker is clearly only wounded, not dead. She chooses not to hit him with the chair while he is down, stunned. He recovers before she can untie bestie, so she leaves bestie (hey, it is ex-) and runs out of the basement. You might think she would run out of the house, onto the street. No. She runs upstairs and doesn’t even lock the door of the room in which she is hiding. He opens the door, and knowing she is there despite the fact that the room is dark, starts speaking to her menacingly. She jumps out of the shadows with a stun gun and zaps him! He falls again. She says that she isn’t scared of him any more. Wait, what's this? She has on kickboxing gloves! He slowly gets up, then she starts hitting him and he gets kind of hurt and falls a third time. He slowly gets up again (read: a third time) and this time as she tries to kick him, he catches her leg. He throws her down and starts to get undressed. 

Dialogue: "Did you really think you could beat me?" Suddenly ex-bestie enters the room, clearly having freed herself, and hits stalker guy with a big, indistinguishable stick. Stunned again, he rolls off her, hurt. Ex-bestie watches stalker guy to see if he is ok. By the time she realizes he isn't, it is too late for her to hit him again with said stick. For 30 seconds there is some inappropriately hot fighting, 2 on 1 style. The fight moves toward the stairs, where ex-bestie crouches behind stalker guy at the edge of the stairs and says, "Remember 9th grade cheerleading camp?" at which point our protagonist kicks the stalker who trips over the girl behind him and falls down the stairs.

 

What if I said it was her prom night too?

 
Number of exclamation marks: 2.

 

Number of sentences started with he or she: 13.

 

Not having to have watched One Tree Hill, but to still get the dramatic feel of it?


EDITOR'S NOTE: here is a bit of clarification as to the author's intent of the writing below. "He" was attempting, through the short, choppy sentences and "he said/she said" sentence starters, to try to convey the absurdity of the show as well as its formulaic dramatic twists and storylines. It was trying to show one particular scene as a microcosm of all that is troubling within the show--it was satirical (and a bit self-deprecating in that I actually watch the show).  Does that make sense? 
 
 
 See, this is how much I like y'all. Here are some transitional words and phrases to help you keep your noggins running smoothly for your body paragraphs...

Addition

And, in addition to, furthermore, moreover, besides, than, too, also, both-and, another, equally important, first, second, etc., again, further, last, finally, not only-but also, as well as, in the second place, next, likewise, similarly, in fact, as a result, consequently, in the same way, for example, for instance, however, thus, therefore, otherwise.

Time

After, afterward, before, then, once, next, last, at last, at length, first, second, etc., at first, rarely, usually, another, finally, soon, meanwhile, at the same time, most important, later, ordinarily, to begin with, generally, in order to, subsequently, previously, in the meantime, immediately, eventually, concurrently, simultaneously.

Similarity Of Comparison

Similarly, likewise, in like fashion, in like manner, analogous to.

 
 
13 March 2008 @ 06:11 pm

I don't know how many of you are familiar with the fine film, Ferris Bueller's Day Off. The story chronicles the life of the oh-so-likeable Ferris Bueller. The film is about one day in his high school life. On this day, he ditches school. What does Ferris do with his day off, you ask?

He goes over to his best friend's house.
They liberate his BFF's dad's classic '60s Ferrari (in perfect shape) and drive it ALL over town.
They sneak Ferris' girlfriend out of school to come along as well.
They go to Sears Tower, one of the tallest buildings in the country (especially at the time of filming) and chill at the top.
They go to a fancy, pretentious downtown restaurant for lunch and clown on the maitre-d'.
They go to a Cubs game at Wrigley Field and Ferris catches a foul ball.
They go to a museum and see beautiful works of art.
They get caught up in a street parade, and Ferris jumps on a float and sings "Danke Schoen" (which sounds like donka shane--I had to go on google to figure out how it was actually spelled) and "Twist and Shout" to thousands of people (who go crazy for Ferrris).
They even find time to go swimming (sort of) at a pool.
Merits mentioning: they do all of those things and still get Ferris home by like 6:00 pm, so his parents don't know that he was faking being sick.

Of course, I am simply telling you what they did in list form to give you the example. For the blog, describe what you would do on your ideal day. WRITE IT AS A NARRATIVE STORY. Be creative, descriptive, fun, pg-13, and make us jealous of your day.

If you have a friend or loved one go with you, that's swell, but don't focus too heavily on that. As my housemate likes to say, "It's your day."

TO CONSIDER: 

pick a city that would allow you to do several things that you'd love to do. For example, we all love Albany, but a Ferris Bueller day in Albany of going to the plaza and Gordo isn't exactly dreamy. You may wish to be in San Francisco, LA, Chicago, or wherever. 

money shouldn't be a major issue for you, but don't take advantage. you shouldn't not be able to do things you want to do just cuz you ain't loaded...

you don't have to be 100% realistic, but don't be more than 20% unrealistic. ish.

 
 
06 March 2008 @ 04:41 pm
can y'all see all 5 images? at school, only 4 of them loaded, but back at home, all 5 are up. gimme a shout out and lemme know yo son 

EDIT: here are links to the 5 images, although I think the quality might be better on the older post.
http://www.mcs.csuhayward.edu/~malek/Surrealism/magritte6.jpg 
http://www.mcs.csuhayward.edu/~malek/Surrealism/magritte2.jpg 
http://www.comviz.com.ulaval.ca/module1/Images/MagrittePipe.jpg 
http://cgfa.sunsite.dk/magritte/magritte17.jpg
http://www.stanford.edu/dept/DLCL/research/workgroups/la_condition_humaine-magritte.jpg
 
 
05 March 2008 @ 10:03 pm

I may not know much about art, but I know what I like. My favorite type of art is surrealist art--it's just so fun to analyze (and space out whilst staring at).  My favorite surrealist is Rene Magritte; I just love the bizarre juxtapositions, the way he challenges and manipulates perception, and I love trying to construct meaning out of the seemingly random objects that he incorporates into his art. I went to a Magritte exhibit at LACMA last year and was happy as Chinchilla's blog's tagline. In addition to all the beautiful pieces of art on display, there were also some of his notebooks available for viewing. On one page of a notebook, next to a rudimentary sketch of a brick wall, he wrote something to the effect of, "Sometimes what you see--the wall--is of no importance. What is of importance is what you can't see--what the wall is obscuring."  I feel like we could have a cup of coffee and talk about that one for a while. Now that I mention it, the amazing French philosopher, Michel Foucault, whose theories you will all read about in college, actually based an essay on the first of these paintings (and they were penpals).

Select one of the paintings below and write at least 2/3 of a page about it. In your response, consider one or more of the following: your analysis of the art/what it means (including the relationship of objects, what the objects themselves might represent, how/why he bends/breaks rules of logic), your reaction to it/how it makes you feel/what it makes you think of, why you picked it/like it/don't like it, and of course, the artist's intent or message through the piece of art.

I apologize for the lack of quality of some of these images...he is a photorealist quality painter, but this is a digital age. 

It does merit mentioning that if Magritte were alive today, he would be very excited to read your interpretations. Dude wasn't some snobby art-dick; he wanted people to have their own interpretations of his work...



This is not a pipe.








(merits mentioning that this last one is a part of SF MOMA's permanent display...)


 
 
04 March 2008 @ 05:35 pm
 When assigning the reading homework on Monday (due tomorrow), I said to read the 3rd and 4th subchapters of Spring (The Bluest Eye). I also said not to finish Spring, and that it was about 35 pages. 

I BLEW IT. The reading due tomorrow is only to read the 1ST SUBCHAPTER OF SPRING. If you've read the entirety of Spring, all is not lost. It just means you will have less reading for Friday. Just wanted to throw a heads up out there for those of you for whom it is not too late...

jr
 
 
 
 

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