The Writing Anthology

Edited by Hannah Marcum and K.E. Daft Advisor Joshua Dolezal

A Publication of the English Department and the Art Department

Central College Pella, Iowa 2017 Dear Readers,

Welcome to the 37th edition of The Writing Anthology.

It is our delight to share this year’s publication with you. After reviewing submissions representing a wide variety of disciplines, we selected the following eleven pieces to be featured in the anthology. The rigor of this selection process proves the continuing excellence of student writing at Central College. We offer our sincerest congratulations to the published student authors: you should be proud of your exemplary work.

While the goals of specific disciplines are easy to spot in this diverse blend of essays, we hope you will also take notice of the recurring themes that connect them. Gretchen, in the first essay of this anthology, looks at the “future of the past” and considers a great tragedy in light of the creation it has engendered. The title of the final essay, “Rebirth,” encapsulates our overarching message. The rest of the authors take on the monumental task of creating a new way of looking at a subject, be it a landscape, a piece of art, or our own humanity. Creation and innovation are presented in the pieces you are about to read as valid, significant responses to destruction and decay. This anthology encompasses the cycle of life.

Each year, The John Allen Award is granted to the individual exhibiting the highest quality of student writing. We are pleased to announce that Sydney Embray will receive the honor this year. Sydney’s masterly essay “And Here Our Troubles Began: An American Reaction to 9/11 in Comix” is a perceptive analysis of Art Spiegelman’s graphic novel In the Shadow of No Towers. She weaves together critical race theory, political commentary, and nuanced artistic investigation to form an incisive portrait of Spiegelman’s unique response to the personal and national tragedy of September 11, 2001.

We offer our thanks to the tireless professors who inspired and shaped these essays for going the extra mile by submitting them to The Writing Anthology. Your dedication to your students’ success is commendable. Thanks also to Professor Mat Kelly for his discerning eye and to all of the featured student artists for their outstanding contributions. We would particularly like to recognize Kayla Foster for providing this year’s cover art. Finally, our thanks to Steffanie Bonnstetter in Central College Communications for her expertise.

Most importantly, we acknowledge our faculty advisors, Dr. Joshua Doležal and Dr. Elena Vishnevskaya, who have been insightful guides throughout the publication process. Dr. Doležal inherited his role as lead advisor for this edition from Dr. Walter Cannon, who founded The Writing Anthology in 1981 and remained involved with the publication until his retirement last year. One final thank you to all—past, present, and future— who have made this anthology possible.

Without further ado, we present the 2017 Writing Anthology.

Hannah Marcum ‘18 K.E. Daft ‘19

2 Table of Contents

A Note from the Editors...... 2

Representation of the Holocaust through the Memorial to the The Judgement of “Penelope”: Murdered Jews of Europe...... 4 A Day in the Life of Molly Bloom...... 32 Gretchen Kistenmacher Lindsey Greer

Ibuprofen Synthesis...... 11 A Measured Response: Staging the McKenna Kilburg & Rachel Tyler Ambiguity in Measure for Measure...... 46 Hannah Marcum Madness in (Stage)craft...... 15 K.E. Daft And Here Our Troubles Began: An American Reaction Nutrition and Neurology...... 19 to 9/11 in Comix...... 51 Andrea Arthofer Sydney Embray Recipient of the John Allen Award An Identity in the Seams...... 23 Kayleigh Rohr Searching for the Beginning...... 61 Josie Youel Legal and Cultural Contexts of Gay Rights in India...... 28 Rebirth...... 66 Duncan Brumwell Zach Moss

3 Representation of the Holocaust through the Memorial to the Murdered Jews of Europe

LAS-410: The Future Gretchen Kistenmacher of the Past Gretchen’s paper on the Memorial to the Murdered Jews of Europe in Berlin The horrific and impressed me because of its clear, organized writing, thorough and objec- tive approach to the topic and effective appeal to and integration of scholarly inconceivable events of the sources. A unique feature of Gretchen’s paper was the incorporation of per- Holocaust are engraved in sonal photographs from her visit to the Memorial. I like the idea that her lived experience informs her writing without being the focus of the piece. Germany’s past. The mass -Kathy Korcheck murder of more than 6 million Jews tarnished every before the law for all people monument celebrates life while aspect of what it meant and to resist all forms of a memorial commemorates to be German and put the dictatorships and regimes death or loss (Doss 7). In country on a long road to based on violence” (Chin). In recent years, there has been recovery. The Holocaust left this paper, I will analyze how an expansion in memorials. behind a void and a culture well the memorial achieved This is a result of “a highly of guilt. In an attempt to fill these intentions and the successful public art industry this absence and generate controversies surrounding and increased expectations a positive national identity, the memorial in order to of rights and representation Germany commissioned a demonstrate how the memorial of diversity” (Doss 9). Lisa Memorial to the Murdered has allowed Germany to Mahlum argues that “physical Jews of Europe located in overcome guilt and to generate structures engage visitors Berlin, Germany. The German a positive national identity for in the present, connect them Parliament intended: “To modern Germany. with the historical truths of honor the murdered victims, First and foremost, it the past, and instill a memory keep alive the memory of… is important to identify the of the Holocaust in the future” inconceivable events in difference between a memorial (281). The aim of a memorial German history and admonish and monument and to define is to strike a balance between all future generations never the fundamental function of the horrors of the past, engage again to violate human rights, a memorial. Both a memorial visitors in the context of the to defend the democratic and a monument are designed present, and inspire memory constitutional state at all to recognize and preserve for the future. times, to secure equality memories. However, a Commemoration 4 through a permanent scale of the horror of the with sharp lines. Marian structure allows the past Holocaust is such that Marzynski, a Holocaust and present to co-exist an attempt to represent survivor, suggests that the in a social relationship. it by traditional means is slabs resemble architecture However, creating an accurate inevitably inadequate” (qtd. of the Hitler regime. The representation of the past in in Mahlum 282). The lack of slabs plunge out of the the present is much easier said representation and symbolism ground vertically. A wavelike than done. The problem is of this memorial makes it appearance is achieved by the that any past can be distorted much different than most uneven ground and varied by the context of heights of the slab the present. The blocks. Around the act of “claiming a perimeter of the particular history concrete field, the as a method slabs are very low of persuasion to the ground, but modifies the as one walks down art of memory” the narrow alleys (Grenzer 96). between the slabs, Memorials towards the center possess enormous of the memorial, influence and the slabs reach power over a height higher Interior view of the Memorial to the Murdered Jews of Europe collective (Photograph by Gretchen Kistenmacher) than one’s head. memory. Commemorating the Designing the memorials, which tend to give six million Jewish victims Memorial to the Murdered the viewer a strong sense of collectively in this way Jews of Europe was no easy identification. The absence of allows for a highly personal task. It took 17 years of “symbolism reduces it to pure experience and interpretation debate before the memorial presence” (Marzynski). This of memorialization. Nothing was finally opened in May memorial is not about what is is suggested to the viewer. of 2005 (Chin). Designer seen but instead what is felt Eisenman’s original design Peter Eisenman constructed by the viewer. was just that detailed an abstract memorial which Evoking a ‘feeling’ at above; however, many felt avoided all symbolism with the site was achieved by the that German Holocaust the intention of allowing grand scale of the memorial. education was needed at the the visitors to create It consists of 2711 concrete site. Marzynski argues, “art their own interpretation slabs, or stelae, arranged in cannot express the content from the absence of the a grid pattern over 4.7 acres of the Holocaust, education structure. According to (Brody). The concrete slabs is needed.” As a result, the Eisenman, “enormity and are rectangular in shape design was altered to include 5 an underground information concrete above it and breaks progress” (Grenzer 98). The center located below the it down to the level of the mere physical presence of the concrete slab field. In order individual victim,” acting as memorial is an indication that to preserve the aesthetic a link between the abstract Germany has chosen to deal of Eisenman’s design, the architecture and personal with its past and acknowledge entrance is simply a staircase narratives of Jewish victims its role as perpetrator. In going down with minimal (Chin). addition, the field of stelae is signage, not immediately The reality of the located at the political center visible to a passer-by. The exit Holocaust is also present of Berlin. Current German is located in the middle of the in the significance of the government, the Reichstag concrete field, hidden from and Bundesrat, are just meters sight due to the height of the The death of the away, and the memorial is blocks. The structure above on the very site that was ground was integrated into Jews is being Hitler’s ministry gardens the information center in two memorialized on (Chin). The death of the ways: the ceiling is structured the very site where Jews is being memorialized with a grid of the rectangular their death was on the very site where concrete blocks and the form planned. their death was planned. of the concrete blocks is This allows for a deeply imitated in the information reflective memory experience panels (Mugge). The exhibit memorial’s location, at the for visitors. Lisa Mahlum is not a museum. It does not political and social heart of explains this phenomenon contain any artifacts from the Germany. The memorial is very well: “It is the perfect Holocaust. Instead, the center placed near the geographical juxtaposition of perpetration details the fate of the victims center of Berlin, the capital and victimization with and sites of destruction of Germany (Magge 718). culpability and responsibility” through non-fiction stories of At this location, it is a part (300). This location displays Jewish victims accompanied of everyday life. It embodies the willingness of Germans to with pictures of families a social relationship with publicly accept responsibility and concentration camp society in a way that Germans for the Holocaust. scenes (Young). Through cannot ignore its presence. There are many the information provided, Many feel that the memorial interpretations of the abstract Germany takes ownership enriches the aesthetic of the Memorial to the Murdered of its role in producing city (Chin). Furthermore, Jews of Europe. There is no the final solution while the memorial stands as a right or wrong explanation also providing history and sign of the productivity of of the memorial because context of the Holocaust. The Berlin: “A modern city is this was the goal of the information center “takes the reflected in representing the design: to nurture individual abstract nature of the field of past as a demonstration of its experience. Some believe the 6 stelae resemble headstones environment” (Young). however, the path inside the forming a graveyard for Visitors are confronted center is defined and fixed. The victims unburied or thrown face to face with the memory effect of no beginning and no into unmarked graves and feelings of the Holocaust. end is somewhat lost, which (Brody). The absence of Visitors are an integral part takes away from Eisenman’s writing expresses the silence of the memorial because they design of the memorial. of the victims (Grenzer 102). ultimately define how the Germany’s goal with Another interpretation is memorial is experienced. It can this memorial was to honor the that the memorial mimics be entered from all four sides in victims of the Holocaust, keep the experience of a Jew. The multiple spots, offering different alive the memory to educate perimeter of the memorial is viewpoints. Visitors who stay future generations, and warn very open, with blocks future generations to low to the ground. It never violate human acts somewhat like rights (Mahlum 281). a park, with people Does the Memorial sitting and taking in to the Murdered Jews the city around them. of Europe achieve This represents the this goal? Some carefree life Jews lived believe the memorial before the Holocaust was successful in (Brody). As one walks realizing this goal into the interior of while others believe the memorial, the it falls short. Those blocks get higher that feel the memorial Perimeter of the Memorial to the Murdered Jews of Europe and higher. The view (Photograph by Gretchen Kistenmacher) did not reach its full of other visitors and potential believe that the surrounding cityscape only on the perimeter of the the abstract design and the is cut off. Feelings of memorial will have a different lack of signs pointing direction claustrophobia, desolation, experience than those who enter leave people confused. Visitors and confusion set in (Brody). the interior. The path through are merely fascinated by the Each concrete block is the memorial is not defined by a aesthetic impression of the set at a different angle, beginning or end; “the memorial memorial and leave having which generates feelings of is not frozen in time or static only achieved a superficial disorientation. The contrast in space…it resists closure” understanding of what the between the perimeter and (Young). In the same way, the memorial stands for (Brody). the interior of the memorial Holocaust itself resists closure, In addition, it is argued that imitates the journey of a Jew never to be ignored or forgotten. the memorial came too late. “going from the world they The information center adds It was opened 60 years after knew to a lost and lonely context to the space above it; WWII ended (Brody). Since 7 the end of WWII, Germany future that will be mastered” the murdering. Germany has worked to overcome the (102). The existence of has taken a passive voice by negativity and create positive the memorial indicates the focusing on the recipients nationalism for modern success of Germany accepting of the apology and ignoring Germans. However, some responsibility for the past those doing the apologizing. citizens believe focusing on and commemorating the Marian Marzynski, a the Holocaust represents largest targeted group of the Holocaust survivor, speaks for negative nationalism which Holocaust. Mahlum argues the Jewish community, saying, threatens to reverse the that the memorial does not “We did not ask for it. We efforts towards a unified represent negative nationalism do not need it.” The proposal Germany (Grenzer 97). but rather encourages the and design of the memorial On the contrary, reunification of Germany by was conceived by non-Jewish German politicians believe solidifying a collective memory Germans; therefore, it does the memorial was a success for a nation of perpetrators not reflect the true sentiments just based on the sheer (304). Additionally, Chin of the Jewish population number of visitors it has argues that it did not come too (Chin). This suggests that attracted. Attendance to late because the memorial is the memorial was not the memorial each year intended for young Germans, meant to commemorate has been much higher than the third generation. The the Jews, but rather meant was originally anticipated earlier generations had their to flatter the Germans. (Mugge 717). The discussion own personal memories and Mahlum summarizes it best spurred by the memorial connections to the events. It is by stating, “Remembrance building process and the for future generations that this of the Holocaust becomes continued dialogue of its site is imperative. a negotiation between the presence has generated more So far the success of historical records of the past individual memory work the memorial has been defined and the political agenda than there would have been in terms of Germany, but how of the present” (305). It otherwise. Its existence does the Jewish community has been suggested that brings the lessons of the view the memorial? The Germany strategically used Holocaust into public mind site is named Memorial the memorial politically on and consciousness, acting ‘to’ the Murdered Jews of a national and international as a permanent promise to Europe. This insinuates level to wash their hands clean stop human rights violations. that it was constructed (Chin). It provided Germany The notion of representing for the Jewish community, with a convenient opportunity the past in the present but the Jewish community to re-establish itself as an was achieved. Grenzer argues that it provides ethical country. This is an classifies “the memorial greater benefit to Germans example of the past being as a demonstration of the (Marzynski). Furthermore, shaped by the affairs of the past [which] prepares the the title - ‘Murdered Jews’ future. ground in the present for a - fails to indicate who did The decision to 8 dedicate the memorial to The construction of has provided a template for only the Jewish victims the Memorial to the Murdered dealing with the past that of the Holocaust initiated Jews of Europe has allowed other countries could follow. controversy. Some argue Germany to take collective The memorial now that this is discrimination responsibility for the event. stands as an everlasting against non-Jewish victims of The guilt that Germany symbol of German national the Holocaust: homosexuals, has carried for so long has identity. The Holocaust is Gypsies, Slavic people been transformed into a now a permanent memory and the mentally disabled public apology and display of Germany’s history and (Chin). Partial history of of accountability. Every landscape. Since the memorial the Holocaust is ignored by society “sets up images of the was funded by the state, only focusing on the Jewish past…it is not enough for a it is also a sign of political victims. On the other hand, representation (Mugge 713). the murdering of European The concrete This was Germany’s first Jewry was the central blocks could quite national effort to recognize matter within Nazi policy the systematic murder of and ideology. This put the literally be called European Jews. A political Jewish community as the the “foundation and social conviction has been top priority for Germany stones” for a new made to never let this happen to commemorate. Germany society. again. The memorial indicates chose to be specific due to that Germany is on a path the large volume of Jewish toward a more positive sense victims compared to other certain past to be selected” of national identity. groups targeted during the (Mahlum 307). Germany’s The memorial provides Holocaust. However, setting ability to accept its past and memory and hope for the a hierarchy of victimization acknowledge its wrongdoings future of German society. indicates a national position as a country is in some The concrete blocks could on who suffered the most. ways unique. For example, quite literally be called the Mahlum reasons that the America has no memorials “foundation stones” for a Memorial to the Murdered constructed to recognize our new society (Marzyski). For Jews of Europe “contributes crimes (Marznski). One could the past 60 years, Germany to the ignorance regarding argue that America is still has dealt with the Holocaust the full history of the hindered by our past because through guilt; however, the Holocaust…creating division we have failed to fully confess Memorial to the Murdered just like before” (305). Failure our acts of perpetration, Jews of Europe presents the to recognize the whole past whereas Germany has been opportunity for liberation and honor all the victims of able to overcome a great deal from that guilt. Confronting the Holocaust could lead to of relatively recent history the past has allowed it to a portion of history being as a result of how well they move on into the future. forgotten. deal with the past. Germany By making the memory of 9 the Holocaust permanent, the hands of the present” parliament’s goal to honor Germany runs the risk of the (Mahlum 306). Nevertheless, Jewish victims, educate, and memory becoming frozen or the presence of the memorial admonish future generations. buried as new generations has broken Germany from Memorialization of the become further removed from the shackles of the past and Holocaust provides a memory the horrors of the Holocaust. allowed freedom to pursue the tool for future generations to Future generations are now future of a modern Germany. understand the significance obligated to keep the memory The Memorial to the of the Holocaust. Through alive: “The responsibility for Murdered Jews of Europe a field of stelae, the past has preserving the past becomes was overall successful in been immortalized in the increasingly bestowed upon accomplishing the German present.

Works Cited

Brody, Richard. “The Inadequacy of Berlin’s Memorial to the Murdered Jews of Europe.” The New Yorker, 12 July 2012. Accessed 02 Oct. 2016.

Chin, Sharon, Fabian Franke, and Sheri Halpern. “A Self-Serving Admission of Guilt: An Examination of the Intentions and Effects of Germany’s Memorial to the Murdered Jews of Europe.” Humanity in Action. Humanity in Action Inc., n.d. Accessed 02 Oct. 2016.

Doss, Erika. Memorial Mania: Public Feeling in America. UChicago Press, 2010.

Grenzer, Elke. “The Topographies of Memory In Berlin: The Neue Wache And The Memorial For The Murdered Jews Of Europe.” Canadian Journal of Urban Research, vol. 11, no. 1, 2002, pp. 93-110.

Mahlum, Lisa. “The Similarities and Difference: A Comparative Analysis of the New England Holocaust Memorial in Boston and the Memorial to the Murdered Jews of Europe in Berlin,” Intersections, vol. 10, no. 1, 2009, pp. 279-308.

Marzynski, Marian. “A Jew among the Germans: Germany’s Memorial to the Murdered Jews of Europe.” Frontline, May 31, 2005.

Mugge, Maike. “Politics, Space and Material: The ‘Memorial To The Murdered Jews Of Europe’ In Berlin As A Sign Of Symbolic Representation.” European Review of History, vol. 15, no. 6, 2008, pp. 707-725.

Young, James E. At Memory’s Edge: After-Images of the Holocaust in Contemporary Art and Architecture. Yale UP, 2000.

10 Ibuprofen Synthesis McKenna Kilburg and Rachel Tyler

CHEM-236: Organic In my courses (Organic Chemistry I & Organic Chemistry II), most students are Chemistry II exposed to technical writing for the first time. This genre is important because nearly all of the students who complete this course sequence intend to pursue careers that utilize technical writing. To give authenticity to the assignments in Abstract my courses, students are instructed to write their “lab reports” as though they The synthesis of were going to submit the paper for publication to the Journal of Organic Chemistry. I found that McKenna and Rachel were able to write this report in a way that was ibuprofen was accomplished more clear and technically accurate than I have read when reviewing some pa- from isobutylbenzene. pers written by professional scientists for journal publications. I think this work deserves to be showcased as an example of the high-level of technical writing The synthetic process Central students are capable of after less than one year of instruction. included a Friedel-Crafts -Jay Wackerly acylation, reduction, chloride substitution, and Grignard as an over-the-counter drug BHC method is the reduced reaction. The products of each in 1984.1 Since its creation, amount of unwanted waste step were analyzed using IR ibuprofen has been marketed due to the generation of only and 1H NMR spectroscopy under several brand names one molecule of water as the and the final product was such as Advil® and Motrin®. byproduct; this, among other additionally confirmed by In 1992, the BHC factors, have contributed to a melting point analysis. Company developed a genuinely green synthesis.2 new, sustainable synthesis In this report, we Abstract Graphic that halved the number of describe a five-step synthesis of ibuprofen that mimics the industrial BHC synthesis. Like the BHC method, our synthesis began with a Friedel-Crafts acylation and Introduction synthetic steps (Scheme carbonyl reduction. However, Ibuprofen is 1). The first step utilized our synthesis utilized a nonsteroidal anti- anhydrous hydrogen fluoride a chloride substitution, inflammatory drug used as both a catalyst and solvent, Grignard formation, and to relieve pain and reduce which was then recycled Grignard reaction in the final swelling, among other and reused. common treatments. It was Additionally, first patented in 1961 by the true the Boots Pure Chemical brilliance Company, and was approved behind the 11 steps as the industrial method, 1H NMR spectrum validated substituted by chlorine under which uses carbon monoxide the structure of the product. acidic conditions to form (CO) at 500 psi, was avoided The two doublets integrating 4 via an SN1 mechanism. due to safety concerns. to 2 hydrogens at 7.89 and The reaction proceeded Results & Discussion 7.15 ppm suggest 4 aryl smoothly and produced 49.2% yield. The product was analyzed by IR and 1H NMR spectroscopy. The 1H NMR spectrum of 4 does not display the hydroxyl hydrogen at 1.45 ppm, and The synthesis of hydrogens that are ortho and there was a shift in the ibuprofen was accomplished meta to the acetyl group on benzylic hydrogen peak through a five-step process the benzene ring. The singlet from 4.81 ppm to 5.09 ppm. shown in Scheme 2. Initially, at 2.52 ppm indicates the The IR spectrum does not isobutylbenzene (1) and α-hydrogens of the acetyl contain the broad O-H peak, acetic anhydride, were group. The peak at 2.46 indicating a replaced alcohol reacted under Friedel-Crafts ppm suggests 2 methylene group. acylation conditions to create hydrogens, and the peak at Next, the Grignard p-isobutylacetophenone 1.88 ppm indicates a tertiary reagent, 5, was formed by (2). Acetic anhydride and hydrogen. The peak at 0.91 reacting 4 with magnesium AlCl3 formed a lewis acid ppm suggests 6 methyl in refluxing ether. Carbon complex that produced an hydrogens. However, a high dioxide was bubbled through acylinium ion, which was concentration of unreacted 5, which permitted the then attacked by 1 to form isobutylbenzene was observed, nucleophilic attack of the p-isobutylacetophenone (2) and it hindered the experiment Grignard reagent onto through electrophilic aromatic in future steps. CO2 to form 6 followed substitution. This product was In the second step, by protonation. The final obtained in 25.6% yield. ketone 2 was reduced with ibuprofen product, 6, was

Ketone 2 was NaBH4 in CH3OH to form 3. produced in 24.6% yield. analyzed using IR and 1H The product was obtained in The expected product was NMR spectroscopy. The 6.8% yield, most likely due confirmed through IR and IR spectrum displayed the to impure starting material 1H NMR spectroscopy. presence of Csp2-H, Csp3-H, from the first reaction. 3 was The 1H NMR spectrum of C=O, and C=C frequencies confirmed through 1H NMR 6 displayed a shift in the with peaks at 3026, 2954 spectroscopy where a new benzylic hydrogen peak from cm, 1684, and 1605 cm-1, quartet at 4.81 ppm appeared, 5.09 ppm to 3.73 ppm. The respectively. This shows the indicating the addition of a IR spectrum suggests the appearance of the appropriate benzylic hydrogen. formation of the carboxylic ketone functional group. The Next, alcohol 3 was acid with new peaks at 1706 12 cm-1 indicating the carbonyl substitution, and Grignard p-Isobutylacetophenone (2). bond and a broad peak reaction. The structure and To a 50 mL round-bottom ranging from 3300 cm-1 to purity of the product were flask, 5.40 g (60.0 mmol) of -1 1 2400 cm showing the O-H supported by IR, H NMR, AlCl3 and 20 mL of CH2Cl2 bond. Finally, the observed and melting point analysis. were added and cooled on melting point (68 - 69 °C) ice. Slowly, 4.03 g (30.0 is similar to the literature Experimental mmol) of isobutylbenzene and melting point3 (75 - 78 °C) General. All starting 3.06 g (30.0 mmol) of acetic of ibuprofen, indicating the materials were obtained anhydride were added, and synthesis of impure ibuprofen. from commercial suppliers. the solution was stirred for Prior to the loss of IR spectra were recorded 45 min at 0 ºC. The solution product in step 2, was warmed to the overall yield rt and quenched of the synthesis with 0 ºC 4M was 1.74%. This HCl solution. The low yield is mostly aqueous layer was contributed extracted with to the high dichloromethane concentrations (3 × 20 mL). of unreacted The combined isobutylbenzene organic layers within the first were washed with step. The purity 20 mL of 10% could be improved McKenna Kilburg, silver NaOH, 20 mL of by allowing a 50% brine, and 20 longer reaction period or on a Perkin Elmer FT-IR mL of H2O, then separated. by adding a catalyst. After spectrometer in attenuated The solution was dried over supplemental stock product total reflection (ATR) mode. Na2SO4, and the solvent was was obtained, the remainder The 1H NMR spectra were evaporated under a stream of of the synthesis yielded 12.1% recorded on a 300 MHz nitrogen gas to produce 1.1 ibuprofen product. spectrometer. Chemical shifts g (6.3 mmol, 26%) of yellow are expressed in parts per liquid product. 1H NMR

Conclusion million (δ) using residual (CDCl3, 300 MHz): δ 7.88 (d, Ibuprofen was TMS as internal standard (δ 2H, J = 7.5), 7.14 (d, 2H, J successfully synthesized 0 ppm). Coupling constants, = 6.3 Hz), 2.58 (s, 3H,), 2.47 from the starting materials J, are reported in Hertz (d, 2H, J = 6.6 Hz), 1.85 (br, isobutylbenzene and (Hz), and splitting patterns m, 1H), 0.903 (d, 6H, J = 6.0 acetic anhydride through are designated as s (singlet), Hz). IR (ATR): 3027 (νCsp2-H, a Friedel-Crafts acylation, d (doublet), t (triplet), q m), 2954 (νCsp2-H, m), 1684 carbonyl reduction, chloride (quartet) and m (multiplet). (ν , m), 1605 (ν , m) cm-1. C=O C=C 13 1-(4-Isobutylphenyl) funnel was shaken for 3 min, through the resulting ethanol (3). In a separatory and the product was extracted product, 1-(4-isobutylphenyl) funnel, 1.23 mL (6.28 mmol) with petroleum ether (3 × 5 ethylmagnesium chloride, of p-isobutylacetophenone mL). The combined product and decanted in a separatory

was dissolved in 6.0 mL of was dried over Na2SO4, and funnel with 10 mL of methanol. Quickly, 0.237 g the solvent was evaporated petroleum ether and 16 mL of

(13.2 mmol) of NaBH4 was under nitrogen gas to yield 10% HCl. The aqueous phase added to the solution and 534 mg (2.71 mmol, 49.2%) was extracted with petroleum allowed to react for 10 min. clear liquid product. 1H NMR ether (2 × 10 mL) and the

20 mL of 10% HCl were (CDCl3, 300 MHz): δ 7.32 (d, organic layers were combined added and the aqueous layer 2H, J = 8.1 Hz), 7.12 (d, 2H, J and extracted into 5% NaOH was extracted with petroleum = 7.8 Hz), 5.09 (q, 1H, J = 6.9 (2 × 8 mL). The solution was ether (3 × 5 mL). The Hz), 2.46 (d, 2H, J = 7.2 Hz), acidified with 20 mL of 10% combined organic layers were 1.85 (m, 4H), 0.898 (d, 6H, J HCl. Ibuprofen was extracted

dried over Na2SO4, and the = 6.6 Hz). IR (ATR): 3020 with petroleum ether (3 × 10

solvent was evaporated under (νCsp2-H, m), 2954 (νCsp2-H, m), mL), dried over Na2SO4, and -1 a stream of nitrogen gas to 1511 (νC=C, m) cm . the solvent was evaporated yield 76 mg (0.43 mol, 6.8%) 2-(4-Isobutylphenyl) under nitrogen gas to yield of yellow liquid product. 1H propanoic acid (6). To an 138 mg (0.670 mmol, 25%) of 1 NMR (CDCl3, 300 MHz): δ oven-dried, 50 mL round- solid, white product. H NMR

7.25 (d, 2H, J = 7.8 Hz), 7.10 bottom flask, 534 mg (2.71 (CDCl3, 300 MHz): δ 7.22 (d, (d, 2H, J = 7.8 Hz), 4.81 (q, mmol) of 1-chloro-1-(4- 2H, J = 8.1 Hz), 7.11 (d, 2H, 1H, 6.0 Hz), 2.45 (d, 2H, J = isobutylphenyl)ethane, 20 J = 8.1 Hz), 3.72 (q, 1H, J = 6.6 Hz), 2.27 (s, 1H), 1.84 (m, mL of THF, 1.06 g (43 mmol) 7.2 Hz), 2.46 (d, 2H, J = 7.2 1H), 1.45 (d, 3H, J = 6.0 Hz), of magnesium, and a drop of Hz), 1.84 (m, 1H), 1.51 (d, 3H, 1.90 (d, 6H, J = 6.0 Hz). 1,2-dibromomethane were J = 7.2 Hz), 0.881 (d, 6H, J 1-Chloro-1-(4- added. The solution was = 6.6 Hz). IR (ATR): 3014

isobutylphenyl)ethane (4). A placed in a reflux condenser (νCsp2-H, m), 2954 (νCsp2-H, m),

1.0 mL (5.6 mmol) solution of and heated under reflux 1706 (νC=O, m), 1512 (νC=C, m) 1-(4-isobutylphenyl)ethane in 30 min after foaming was cm-1; m.p.: 68 - 69 °C (75-77 20 mL of 12 M HCl was added apparent. After cooling to °C lit.3).

to a separatory funnel. The rt, 1 L of CO2 was bubbled

References and Notes

(1) Ibuprofen: A Case Study in Green Chemistry. http://www.ch.ic.ac.uk/ (accessed 4/7/16).

(2) Green Chemistry | EPA. https://www.epa.gov/greenchemistry/ (accessed 4/8/16).

(3) Ibuprofen | The PubChem Project. https://pubchem.ncbi.nlm.nih.gov (accessed 4/8/16).

14 Madness in (Stage)craft K.E. Daft

ENGL-346: Shakespeare The assignment asks students to consider Shakespeare’s plays as scripts meant for performance; therefore, an informed understanding of how scenes work is Part I: A Haunting Problem dependent on what is theatrically intelligible. K.E. Daft’s witty essay on the selec- tive invisibility of the ghost in the closet scene considers the implications of the In Act III Scene textual and stage direction problems for Hamlet’s ultimate tragedy. Her solution iv of Shakespeare’s “The is informed by a capacious look into conteporary performances and first-hand responses of both professional reviewers and amateur theatergoers. Tragedy of Hamlet, Prince -Walter Cannon of Denmark,” there exists ambiguity regarding the show. If the ghost truly is factors exist for developing proper way to portray the invisible to Hamlet’s mother, Hamlet’s mental state within presence of the ghost. In he is not simply feigning this scene: the existence (or much the same way as it is madness, as he asserts; but, lack thereof) of a physical throughout the rest of the rather, is legitimately mad. presence to play the ghost play, in this scene it is unclear This means, then, that Hamlet and Gertrude’s reaction whether or not the ghost is is not in control of his actions to Hamlet’s conversation real and simply being ignored throughout the show, and thus with said ghost. On a stage, by Gertrude, or if it doesn’t cannot be manipulating the much of the interpretation exist outside of the mind of other characters into doing of Hamlet’s mental state will Hamlet. The stage directions his bidding. If Gertrude is depend upon whether an for this scene (provided by ignoring the ghost, however, actor is cast to play the ghost, editors Evans and Tobin) it reveals Hamlet to be a sane whether the ghost is onstage would seem to indicate that character and instead presents during its conversations with the ghost is present for the the question of why Gertrude Hamlet, or whether the ghost scene; however, Gertrude’s refuses to acknowledge the is included in the production response is to the contrary of ghost’s existence. If this at all. Gertrude’s acting in this notion and, indeed, many latter situation proves true, this scene will also give a directors of both film and the assumption can be made large indication as to how stage have chosen to cut the that Gertrude’s refusal to the audience is supposed to ghost from this scene of the admit to seeing the ghost see Hamlet. If she appears to production altogether. stems from her guilty legitimately not see the ghost, Whether or not the conscience regarding her it is safe for the audience to ghost is visible to other parties hasty remarriage or – perhaps assume that he is in madness; – specifically to Hamlet’s – complicity in her late however, if her body language mother – gives a lot of insight husband’s murder. and voice betray her and into Hamlet’s sanity in the Two important reveal to the audience that she 15 does, indeed, see the ghost in uncontrollable mental health to perceive the ghost in this her closet, this scene discloses issues and that his erratic scene: it simply doesn’t exist. just as much about Gertrude’s actions are not simply an act The character of Hamlet’s character and mental state as it for the benefit of his uncle father was not cut from does Hamlet’s. (3.4.188). the production, however, Ian Rickson developed though the way in which Part II: Hamlet in Madness a more straightforward it was portrayed was very and Onstage approach to Hamlet’s sanity unusual. Michael Sheen, the In Pendleton’s Hamlet (or, in this case, lack thereof) actor portraying Hamlet (presented by the Classic in his 2011 production of in Rickson’s production, Stage company in April also played the role of of 2015 and played by Hamlet’s deceased father Peter Saarsgard), the (and Fortinbras, at the character of the ghost end of the production) and all of its lines were – very visibly depicting completely removed from Hamlet as having split the storyline. The effect personalities and thus of this omission is stated as being very mentally rather pithily by Charles unstable. As stated by Isherwood in his review reviewer Andrew Billen, of the production, in “[Hamlet] is…stark which he asserts, “The raving bonkers. We know decision to excise the this not only because he ghost of Hamlet’s father is in the bin but because from the production… he haunts himself. His points to the possibility father’s first apparition that Hamlet’s pursuit is announced by a total of vengeance may stem Jenny Morrett, watercolor, 11” x 15” blackout. When the ghost from his own psychological returns, it turns out to problems. Perhaps Hamlet Hamlet with his decision be Hamlet in his father’s conjured the ghost himself as to set the play in an insane overcoat and stentorian voice,” a pretext for working out his asylum. Posing Claudius going on to say that, “The mommy and stepdaddy issues?” as the institution’s senior boy has multiple personality (1). The choice to expurgate consultant and establishing disorder” (2). The effect of this the ghost and its lines from that all the other individuals is a complete revamping and the play clearly indicates that within the asylum – including simplification of the character Saarsgard’s Hamlet is not the other characters that saw of Hamlet. By establishing merely “mad in craft” as he the supposed ghost – are his insanity in this manner, avows; but, rather, that he mad explains the reasoning it removes the ability of the is experiencing severe and behind Gertrude’s inability audience to draw their own 16 conclusions, and makes for a the New York Times alludes to which your modesties have very black and white reading when he says that Kinnear’s not craft enough to color. of Hamlet’s character and his delivery of the “Words, words, I know the good King and motivation in the production. words” line “sounded just Queen have sent for you” and While these two how someone would sound “I will tell you why, so shall stage productions centered were he trying to convince my anticipation prevent your very much upon Hamlet somebody else that he was discovery, and your secrecy and his mental instability in out of his mind” (Shakespeare to the King and Queen moult the infamous closet scene, 2.2.192, Brantley 1). Staging no feather” would seem to Nicholas Hytner’s Hamlet the play in this manner gives indicate to me that the Prince (wherein Hamlet is portrayed Hamlet much more control Hamlet is fully in charge of by Rory Kinnear) takes this over the proceedings in the his faculties and is simply scene in an entirely different body of the play, giving his feigning madness to those and compelling direction. lines intentionality and, thus, in positions above him in In Hytner’s production, greater power and resonance. order to buy himself time to originally staged in January plan Claudius’ murder free of 2011 at the National Part III: The Apparition of a from suspicion (2.2.278-281, Theatre in London (and later Solution 2.2.293-295). broadcast at a movie theatre Since the stage This conversation in New York as a component directions clearly indicate with Rosencrantz and of the National Theatre Live the entrance of the ghost – Guildenstern, in conjunction series), the acting is such that “ENTER GHOST [in his with the fact that the the audience can infer “that night-gown]” – I couldn’t soldiers on watch duty at Gertrude has (contrary to find justification in not the inception of the play see the usual interpretation) seen casting an actor to play the the ghost – evident in lines the same ghost that Hamlet deceased King Hamlet or such as “The apparition sees, though she may deny in manufacturing the scene comes. I knew your father” it” (Brantley 2). Staging the in an attempt to convince – substantiates, in my mind, production in this manner not the audience of the young the idea that Hamlet is in only confirms Hamlet’s sanity, Hamlet’s faltering sanity, possession of his sanity but also brings into question because I do not believe (1.2.211). Based upon the the reason for Gertrude’s Hamlet to be mad (3.4.101- reactions of the guards to denial. By confirming 102). In his dealings with the ghost and their ability Hamlet’s sanity, though, this Polonius, Hamlet certainly to consistently perceive its production also establishes for appears to be mad, but in his presence, the assumption can the viewer that all of Hamlet’s interactions with Rosencrantz be made that the ghost is interactions with Polonius and Guildenstern, calculated real and visible to all those in which Hamlet tries his statements such as “You were on stage, but that Gertrude best to appear insane are just sent for, and there is a kind is intentionally ignoring pretenses, as Ben Brantley of of confession in your looks, its presence in the closet 17 scene. Thus, a large part of the floor and the ghost in the the production of the play as ensuring the coherence of opposite direction, it allows a whole. As this interaction the scene relies upon the for a clear line of sight to with Gertrude is the first time acting skill of Gertrude. Her be drawn between Gertrude that someone has challenged reaction to the ghost in this and the late King. The effect the seeing of the ghost, scene needs to be visceral and of this, of course, is that the the way in which Gertrude unmistakable in order to relate location of the ghost is so either reacts to or fails to to the audience that she has, clearly out of what would react to the ghost reveals to in fact, seen the ghost, but is be a natural line of sight the audience the degree to making the conscious decision for the Queen as to make which Hamlet is insane (if to underplay its presence in her recognition of the ghost at all) and her knowledge an attempt to assuage and unmistakable. Having the of the means behind her conceal her guilty conscience. ghost standing also gives it a late husband’s death, if such To accomplish this, touch of otherwise-nonexistent knowledge exists. Either way, I would place the ghost menace and authority in the this scene’s establishment of downstage and to the right scene. Putting the ghost in a Hamlet’s mental state has the of Hamlet and Gertrude with position above Gertrude and responsibility to dictate the its back facing the audience establishing her ability to see way in which all of Hamlet’s on the diagonal. Furthermore, it also means establishing its lines are performed up to this I would place the Queen knowledge of her actions as point, as well as to influence and Hamlet kneeling on the well as her knowledge that the way in which Hamlet floor, upstage left, somewhat her actions have been – and takes action after this pivotal heaped together from the continue to be – seen and moment, and the way in physical scuffle that had just judged from beyond her late which the audience will view occurred between the two. husband’s grave. Hamlet from this point forth. Nothing in Shakespeare’s For these very reasons, it is staging conditions or within Part IV: The Spirit of the important that the acting and the script would seem to Matter directorial choices regarding indicate the existence of a bed The interpretation this scene and the presence of in this scene, so I feel no need of Hamlet’s mental state the ghost be made carefully to unnecessarily play up the in this scene is absolutely and thoughtfully in order to Freudian implications of this essential for developing an clearly communicate what scene with its inclusion. By understanding of Hamlet’s the director sees as being placing mother and son on character and for informing Shakespeare’s authorial intent.

Works Cited Billen, Andrew. “Into the Madness.” Rev. of Hamlet, dir. Ian Rickson. New Statesman 11 Nov. 2011. Brantley, Ben. “On the Stage, Old Words are Reborn: [The Arts/Cultural Desk].” Rev. of Hamlet, dir. Nicholas Hytner. New York Times 1 Jan. 2011, pp. 1-4. Isherwood, Charles. “That After-Party at Elsinore? It Got Completely Out of Hand: [Review].” Rev. of Hamlet, dir. Austin Pendleton. New York Times 17 Apr. 2015, pp. 7-9. Shakespeare, William. “The Tragedy of Hamlet, Prince of Denmark.” The Riverside Shakespeare. Ed. Herschel Baker, Anne Barton, Frank 18 Kermode, Harry Levin, Hallett Smith, Marie Edel. 2nd ed. Houghton Mifflin Company, 1997, pp. 1189-1245. Nutrition and Neurology Andrea Arthofer

HONR-191: Food As Medicine This assignment encouraged students to investigate an area of health around the general topic of food as medicine. Nutrition has gained a lot of attention in metabolic and cardiovascular diseases, but neurology is one area where the dis- This century has cussion of diet is nearly absent. While some research exists on the relationship been the century of medical between diet and the disorders multiple sclerosis and epilepsy, there is a severe lack of research on how nutrition affects other neurological disorders. This led advancement. Worldwide, Andrea to investigate the effect of dietary behaviors on brain function overall understanding of the and apply this information to how nutrition may be a crucial missing piece to the treatment of many neurological disorders. This essay was written to call attention pathology of many diseases to the need for further research in this area. -Sara Shuger Fox has greatly increased, which has led to the development researched include type two epidemiological studies of more effective treatments. diabetes and cardiovascular stating that prevalence of A view near the end of the diseases. For these chronic multiple sclerosis is higher twentieth century was that diseases, diet has consistently in areas where saturated fat eventually, we could develop shown to be a major factor in intake is higher as opposed to a medication for any disease their incidence and prevalence. polyunsaturated fat (Payne, in order to eliminate disease Another health concern 2001). In relation to this, in entirely from the population. that has recently gained a people already affected by However, this generation lot of attention is cancer, multiple sclerosis, there is a is beginning to realize that which has also been strongly significant decrease in death medication may not be what linked to dietary behaviors. rate for people following a we should be relying on. After learning of the high very low-fat diet, defined as Medicine, while capable of correlation between dietary less than twenty grams of fat treating symptoms or even patterns and chronic diseases per day (Payne, 2001). The curing many diseases, also such as these, it is important type of fat being consumed often presents miserable to examine how nutrition is also something that has side effects for its users, as can affect the development been investigated. Essential well as extreme financial and progression of other fatty acids (EFAs) are burdens. One aspect of types of diseases. Specifically, currently being recommended healthcare that is slowly nutrition’s impact on for patients with multiple attracting more attention is neurological diseases should sclerosis. However, three nutrition and lifestyle. Many be of particular interest. studies done on this topic researchers have investigated Multiple sclerosis have actually showed no real the relationship between diet is one of the neurological benefit from the consumption and both chronic and acute diseases that can be greatly of n-3 or n-6 EFAs (Payne, illnesses. The main chronic influenced by nutrition. This 2001). illnesses that have been interaction was suggested by 19 The low-fat diet’s effect While this presents less heavily relied on and that on multiple sclerosis, while the possibility that a low- nutrition interventions should remarkable, can be enhanced fat diet and antioxidant be investigated as a primary by the supplementation of supplementation can reduce treatment. antioxidants. Mauriz et al. progression and onset of One nutrition conducted a 42 day randomized multiple sclerosis, there are intervention that has been prospective placebo-controlled several drug side effects that employed as a primary trial on long-term residents may interfere with a patient’s treatment are specific diets for with multiple sclerosis to ability to follow a proper diet. decreasing seizure prevalence investigate the effect this Drugs commonly prescribed in epilepsy patients. Contrary supplementation would have for patients suffering from to the recommended diet on cell metabolism and the multiple sclerosis include for multiple sclerosis, the inflammatory processes skeletal muscle relaxants, diets proposed for epilepsy related to multiple sclerosis urination frequency reducers, treatment have promoted (2013). In this study, five antibiotics due to frequent high-fat diets, particularly participants were assigned to urinary tract infections, emphasizing the importance the experimental group, which and corticosteroids. These of medium-chain triglycerides. was given a low-fat diet and medications can lead to The ketogenic diet is the antioxidant supplementation, nausea, dry mouth, diarrhea first of these proposed diets, while four participants were or constipation. All of these suggesting epilepsy patients put in the control group, symptoms would cause an consume a diet consisting only receiving the low-fat overall decrease in food of 90% fats and 10% protein diet and a placebo instead of intake, which would inhibit a and carbohydrates combined. the antioxidant supplements. patient’s ability to consume This led to the development Biomarkers were measured a proper diet. Additionally, of the modified medium-chain at baseline, then after the 42 some of these prescribed triglyceride ketogenic diet, days of the trial. At the end, medications prevent sufficient which recommended a slightly participants in the intervention nutrient absorption from food lower percentage of fats, at group had significantly (Payne, 2001). Since these a total of 71-75% of the diet reduced C reactive proteins medications already cause a composed of fat, 10% from and inflammatory markers decrease in food consumption, protein, and 15-19% from isoprostane 8-iso-PGF2α and inability to absorb nutrients carbohydrates. Further, this interleukine IL-6 as compared will further destroy a patient’s diet explained that 30-60% to the control group (Mauriz ability to follow a diet that of the diet should specifically et al., 2013). Therefore, when could delay the progression be from medium-chain treating multiple sclerosis of this illness. These effects triglycerides, while 11-45% through dietary interventions of drugs demonstrate their should come from long-chain of a low-fat diet, it would harmful side effects, only triglycerides, but no matter be beneficial for antioxidant further reinforcing the idea what, this breakdown should supplementation to be included. that medication should be add up to at least 71% of the 20 diet from fats. Newer, less be considered in such an been illustrated in these frequently used diets include extreme diet. These diets two specific neurological the low glycemic index revealed negative effects on disorders. Further, there are treatment, which breaks the children’s biomarkers. One links between nutrition and proper diet composition down study examined children’s lifestyle and the brain’s health to 60% from fat, 20-30% from biomarkers after six months of in general. The efficiency of protein, and only 10-20% adherence to the diet. These the brain tends to decrease from carbohydrates, and the effects included a significant with age as part of the natural modified Atkins diet, which blood plasma increase in process of aging, which can strongly encourages the LDL, VLDL, and non-HDL lead to a decline in cognitive intake of high-fat functioning, and high-protein development foods while limiting of dementia or the intake of Alzheimer’s, or carbohydrates to other neurological 10 to 15 grams per disorders. day (Neal & Cross, However, diet and 2010). lifestyle factors Neal and have been shown Cross (2010) to prevent or conducted a reduce this neuro- literature review of Raigen Furness, “Congestion”, marker, 22” x 30” degeneration that many studies examining occurs with age. This the effectiveness of these cholesterol as well as a correlation can be explained diets. The ketogenic diet and significant decrease in HDL by what is known about how medium-chain triglyceride cholesterol. Additionally, the vascular system is affected ketogenic diets showed to triglyceride levels and by diet, which is important in be most effective. These, on apolipoprotein B significantly the functioning of the brain average, resulted in nearly increased in the blood plasma because the brain consumes one-third of participants of these children (Kwiterovich over twenty percent of the becoming seizure-free. et al., 2003). In response to body’s oxygen and nutrients Further, 30% to 100% of this, considerations from even though it only makes up participants, depending on the Johns Hopkins stated that approximately two percent particular study experienced children should adhere to this of the body’s weight (Kalaria, a 50% or more reduction in diet for only two years, after 2010). seizure frequency. which their seizures may not This relationship While these diets return and their biomarkers between the vascular system’s may be effective in reducing should return to normal health and neurological health seizure prevalence, other (Lawson, 2003). can be explained because health aspects should The role of diet has pathological changes in the 21 smooth muscle of the walls neurological deterioration. are rich in these, making of the cerebral resistance First and foremost, adherence deficiencies of these essential arteries change the brain’s to a Mediterranean diet, which components of the diet nearly autoregulatory responses. promotes the consumption of impossible (Kalaria, 2010). For example, changes in moderate alcohol, olive oil, More research must circulation due to dilation whole grains, and fish, has be done in order for nutrition or constriction of cerebral been significantly associated interventions to be utilized resistance arteries often with a decrease in neuronal as a primary treatment in results in hypertensive degeneration. Additionally, neurological disorders such encephalopathy or cerebral increased fish consumption as multiple sclerosis, epilepsy, hypoperfusion. Many links alone has shown to have a dementia and Alzheimer’s such as these exist between similar effect of decreasing disease, and overall general the cardiovascular system the rate of decline in cognitive cognitive impairment. and the brain’s functioning. functioning and lowering However, there is sufficient For example, hypertension is the risk of developing evidence that nutrition plays a correlated with an increased Alzheimer’s disease due role in neuronal degeneration risk of dementia, particularly to its anti-inflammatory and other neurological Alzheimer’s disease, and properties, ability to develop deficits to reasonably rely adult onset type 2 diabetes vascular tone of the smooth on nutrition interventions mellitus leads to a 2 to 2.5 muscle, and prevention of as minimally a secondary fold increased risk of dementia atherosclerosis. Aside from the treatment for these chronic with aging (Kalaria, 2010). overall diet, there is evidence diseases. Therefore, these Further, the nutritional that fruit and vegetable dietary patterns should be interventions that prevent extracts serve to decrease promoted by medical doctors neuronal degeneration are the neuronal degeneration and other health professionals very similar to those that that leads to dementia and as supplementary to other improve cardiovascular cognitive impairment. This treatments. Eventually, it may functioning. is due to the polyphenols and be possible for research to Many nutrition B vitamins contained inside illustrate nutrition as the most interventions have been these fruits and vegetables. effective treatment for these investigated for their effect Therefore, when consumed as types of conditions. on cognitive functioning and a concentrate, these extracts

References Kalaria, R. N. (2010). Vascular basis for brain degeneration: faltering controls and risk factors for dementia. Nutrition Reviews, 68S74-S87. doi:10.1111/j.1753-4887.2010.00352.x Kwiterovich, J. O., Vining, E. G., Pyzik, P., Skolasky, J. R., & Freeman, J. M. (2003). Effect of a high-fat ketogenic diet on plasma levels of lipids, lipoproteins, and apolipoproteins in children. JAMA: Journal Of The American Medical Association, 290(7), 912-920. Lawson, W. (2003). Seizure Diet is Safe. Psychology Today, 36(6), 29. Mauriz, Laliena, Vallejo, Tuñón, Rodríguez-López, Rodríguez-Pérez, García-Fernández. (2013). Effects of a low-fat diet with antioxidant supplementation on biochemical markers ofmultiple sclerosis long-term care residents. Nutrición Hospitalaria, 28(6), 2229-35. doi: 10.3305/nutr hosp.v28in06.6983. Neal, E. G., & Cross, J. H. (2010). Efficacy of dietary treatments for epilepsy. Journal Of Human Nutrition & Dietetics, 23(2), 113-119. doi:10.1111/j.1365-277X.2010.01043.x Payne, A. (2001). Nutrition and diet in the clinical management of multiple sclerosis. Journal Of Human Nutrition & Dietetics, 14(5), 349- 22 357. doi:10.1046/j.1365-277X.2001.00308.x An Identity in the Seams Kayleigh Rohr

LAS-110: Intersections I submit this paper because of the exceptional creative writing. The au- thor’s use of the symbol is creative and she incorporates narrative well into her piece. Overall, I feel that both the content and writing are very strong. On a hot August day -Linda Laine in 2014, I found myself in a bleak gray shirt, embellished personal identity has also sticky applesauce all over my with a green caterpillar decal, evolved greatly. To this day, I shirt and shoes, causing a standing in front of a local still have that same bleak gray huge mess in the kitchen. My daycare center. My hands shirt, but now it has stains, shirt appeared to be ruined. were clammy and my body small holes, and thousands I tried to scrub out the bits was tense as I hesitantly of life lessons woven into the of applesauce, but instead the punched in the door code to seams. To anyone else, it mess grew and the shirt still Hastings Child Development would just be an old t-shirt, smelled like the sickly sweet Center. I stumbled into the but to me, the t-shirt holds puree of sugar and apples. I office of my new boss, and a plethora of memories and did not have another shirt she directed me to one of life lessons in between the with me, and I still had about the three preschool rooms stitches. Just like the shirt, I three hours left of my shift. I at the end of the noisy hall. may seem more tattered and felt hopeless, just as my shirt When I stepped into the worn compared to when I looked to be. pale blue, peculiar smelling started, but the knowledge I desperately wanted preschool room with twenty and skills I have gained are to go into my boss’s office four-year-old children sitting incredible. the next morning and tell her criss-cross-applesauce on I vividly remember that I could not work in the a colorful rug spelling out after my second day at the center anymore. However, I the ABCs, I could not have daycare center, I went home knew I could not give up that imagined the roller coaster and cried to my mother. easily. The night after the ride I was in for. My job as The first two days were applesauce incident, I tossed a preschool teacher’s aide incredibly stressful; trying my t-shirt in the washing has tremendously shaped to adapt to the cleaning machine, and I decided to my life. Although I have schedule, internalizing the stay at the center for at least gained an abundant amount pure chaos, and keeping up another three months before of knowledge about removing with the kids’ needs—or I made a decision. Today, I stains, identifying unusual tattletaleing—seemed to am incredibly thankful that smells, and sanitizing be nearly impossible. I had I waited to make my choice absolutely everything, my even spilled a gallon jar of because of how my time in the 23 center shaped me. However, and will cherish for years to of my shirt was caught in the next two years would come, similar to those stains one of the chains. When she prove to be difficult. I spent that cannot be removed. For swung forward, the chain countless hours sitting in a example, I will never forget tore a small hole the size of a bathroom, encouraging three- the first time I cleaned up a thumbtack at the hem of my year-olds to use the potty. I ghastly bloody nose, but I do shirt. It was hardly obvious, scrubbed cots until my fingers not remember every bloody but many of the children still felt raw, and I reeked of nose incident I dealt with. noticed. They constantly bleach solutions. questioned me about I nursed bloody what had happened, noses until and eventually I my knees hurt became impatient from kneeling. with their unceasing I accumulated interrogations. stains on my shirt However, their almost daily, but attention to detail I knew that when amazed me, and I went home, a one day, their quick toss in the ability to notice and washing machine comprehend their would make it surroundings greatly

look almost brand Leah Schouten, silver, copper impacted me. new. Not all In June of stains were easily removable, They have been embedded 2015, one of my closest though. Sometimes it took into my memory due to their childhood friends lost her dad stain-lifting spray and extra ability to form my thoughts to type 1 diabetes. I received scrubbing to remove the and judgements. Through the news during a quick stains that had seeped into the these experiences, I gained fifteen-minute break, which fabric a little deeper. Many the identity of perseverance as did not allow time for me to of the daily occurrences of well as a love for children. process the information and the center have escaped my Unlike stains, holes and prepare to return to twenty memory, much like most tears are not easily removed screaming children. I headed stains were quickly erased. with a little bit of laundry back to the pale blue room It was to be expected since detergent and hot water. with red, puffy eyes and tear- I tended to work long hours They can be restitched, but stained cheeks, hoping that in the summer, or I worked they will never look quite the the kids would not notice. I after I had been at school same. One day, I was pushing underestimated their attention all day. However, there are a four-year-old girl on a bright to detail enormously. The first also memories that I cling to yellow swing, and the bottom child to approach me was a 24 little boy named Lane. Lane their education; it is inevitable. lives. Widespread sickness was one of the tallest boys There will be nights spent is easily the low point of the in the class, but his sweet working on homework until winter season in daycare lisp and little baby face with ungodly hours of the morning. centers. Sicknesses spread big blue eyes contrasted his There will be mornings when quickly from room to room height. I was sitting at a getting out of bed seems because the center is such table cutting small squares nearly impossible. There will a large daycare. One of the of brown construction paper be weeks that appear simply worst culprits was strep for the next craft, and he sat unbearable. There will be throat. Oftentimes, children in the teensy red chair right would contract strep next to me. He laid his head throat but show very few on my arm and innocently ...this attention to symptoms, so their parents asked me why I looked so detail allowed him would still bring them to sad. Not knowing how to daycare. After being at the respond to question without to provide the center for a few hours, the losing composure, I told him simple words of symptoms would become that something bad happened encouragement that drastically more noticeable to a close friend’s family. He I so desperately and the poor children would did not say anything at first, needed to hear. become miserable. One day but rather he sat on my lap specifically, I sat in the office and watched me work on the with a four-year-old girl crafts. After a while, he told named Carly for over thirty me that his parents always homesickness. There will be minutes. Her parents worked told him that no matter what loneliness. There will be loss. outside of our hometown, happens, everything will However, if students come and their commuting time always be okay in the end. together and pay attention to was rather lengthy. Carly Lane had taken the time to see their classmates, there will had an incredibly high fever, the small spots on my shirt be triumph. If we notice the and the staff was desperate from the tears I had shed, and small details and changes in to keep it down as much as this attention to detail allowed others, we can comfort and possible. While my coworkers him to provide the simple encourage them. Then we were urgently looking for words of encouragement that I can allow for our friends and icepacks to place on her so desperately needed to hear. classmates to bear through neck and armpits in order to He taught me the importance their low points and climb control her fever, Carly sat on of noticing the small details, to their successes, creating a my lap with steady streams of which is something I strive to more positive environment. tears and snot rolling down include in my identity. Highs and lows occur her cheeks. By the time her Most students will in daycare centers just like mother had arrived at the encounter a difficult time in they do in our day-to-day center to whisk her away to 25 the clinic, the stain of tears Kira and declared with all the have a population that is very and boogers consumed my feistiness that a two-year-old likeminded, and other students sleeve. At first, I was slightly can conjure, “Mama thinks it come from large, diverse disgusted; after all, she was is pretty because I colored it!” cities. Students come from obviously quite sick. But Kira, with wide eyes, turned different types of households, the more I thought about it, and asked me to tell her she cultures, and religions. the more I understood how was wrong. However, when We encounter people from important the stain was to I looked down at the t-shirt different backgrounds that her. Carly needed someone to I was wearing and saw the impact how we reason comfort her and make her feel whitish stain from the bleach and how we act. We are safe, and I had the privilege to solutions I used to clean encouraged to think deeper be that person to her. Every the bathroom and the spot and contemplate perspectives tear that has seeped through where the caterpillar logo that we may not have the seams reminds me of the was peeling, I realized that considered before. College times that I have sat with beauty is a subjective standard encourages us to become a crying child to comfort developed from our differences more accepting of people by them and the importance and shaped by our experiences. forcing students to look past of empathy in my life and To anyone else, my t-shirt the surface of a particular identity. looked like it belonged in subject and reconsider our The day after the trash. Beauty is not initial judgements, changing preschool graduation, I was perfection; instead, beauty the identities of students sitting at a table with two is what makes us different. everywhere. We learn to love sisters, Kira and Ruby, who To me the t-shirt symbolizes others for their differences were coloring flowers with a experiences that have changed instead of their similarities. thick, bolded outline. Ruby, my outlook on the world and So much of who I am being the younger of the who I am today. I now know today was challenged and two, scribbled away with that I may not be considered reshaped by the experiences her bubblegum pink crayon, beautiful by societal norms, I had in the center. I initially paying little attention to the but beauty comes from within, accepted the job expecting outlines of the flowers. Kira, causing me to be far more that I would be teaching who was a recent preschool accepting than I once was. My the children, but rather I graduate, carefully shaded identity changed with me. A was their student. Their the stem with a deep green realization like this seems to pure and innocent view crayon. When Kira saw be a normal pathway for many of the world caused me to Ruby’s disregard for the other college students. At rethink my values. I have dark outline of the flower, some point over the course of learned to be much more she was appalled. She told an education, our beliefs about self-disciplined, empathetic, Ruby that she must color what is true and accepted are and optimistic, and I am in the lines for it be pretty. challenged. Many students far less self-centered than Ruby quickly looked up at come from small towns that I was when I started. Most 26 importantly, I have discovered of absence for school, the STAFF across my back will a passion for working with job was no longer about still be there, the permanent children, which has greatly making money; instead, it stains will not have magically influenced who I want to be was about nurturing and disappeared, and the green in the future. Compassion loving the kids. My last day caterpillar on the breast Child Sponsorship (2013), at the center before I left for pocket will still have the an organization dedicated to Central College was incredibly cliché smile spanning its face. assisting children who live difficult; saying goodbye to all Much like the elements of the in poverty, quotes Angela of my kids was much harder shirt will still be there upon Schwindt stating, “While we than I had anticipated. Now, my return home, everything try to teach our children all my t-shirt sits in my dresser I have experienced and all about life, our children teach at my house. When I return of the lessons I have learned us what life is all about.” By home, the partially peeled will stay with me for years to the time I put in my leave decal letters that scrawl come.

References

Compassion International (2015). Sponsoring a child is just part of Compassion’s ministry to children in need. Retrieved from http://www.compassion.com

Marshal Way, charcoal, 18” x 24”

27 Legal and Cultural Contexts of Gay Rights in India Duncan Brumwell ANTH-290: Marginalization in Indian Society (Independent Study) SR (identity protected) was a gay man from India applying for political asylum in the United States. We were requested to provide background information to aid the court in evaluating his case. Duncan Brumwell 1. We may note firstly put together legal testimony summarizing such evidence, which I used in providing expert witness to the court in November 2016. SR did earn that the U.S. Department of asylum, setting a precedent for other gay men seeking refuge from India. State under Hillary Clinton The assignment demanded a fluency with legal conventions of writing and presentation as well as capabilities in research in a foreign setting. took the initiative in using -Cynthia Mahmood all its diplomatic tools “to press for the elimination of Section 377 of the Indian the High Court did not mean violence and discrimination Penal Code was revoked. This equivalent changes in Indian against LGBT people Section, titled, “Of Unnatural society. (The ruling did not worldwide, particularly those Offenses,” dated from British officially remove the code, forced to flee their homes or colonial times, and punished because it also criminalizes countries” (The Department “carnal intercourse against sex with minors and sex with of State’s Accomplishments the order of nature” with up animals. Instead, it ruled Promoting the Human Rights to ten years’ imprisonment that homosexuality was not of Lesbians, Gay, Bisexual (“India’s Historic Ruling on an “unnatural offence.” The and Transgender People, Gay Rights,” Time, 2009). court is not able to legislate, 2011). In coordination with However, prominent sections and therefore was not able the Department of Homeland of Indian society did not to change the language of Security, the Department accept the revocation of this the law, leaving Section 377 of Health and Human element of the Penal Code. in place and susceptible to Services, and the UN High Representatives of both the overruling by later courts.) Commissioner for Refugees, Hindu nationalist Bharatiya 3. In 2012, three years the State Department Janata Party and the All- after this action, a lawyer continues to work to India Muslim Personal Law for the Home Ministry said implement a comprehensive Board made public statements publicly that gay sex was LGBT refugee protection against the ruling, causing immoral and “against nature” strategy. it to come before the Indian (“Will India Stand Up For 2. India underwent a High Court, which again Gay Rights?” Time, 2012). sea change in its treatment of supported it. Still, this The previous year, the Health homosexuality in 2009, when legislation and its support by Minister Ghulam Nabi 28 Azad said during an AIDS 2009 revocation. This key Criminalizing Gay Sex,” The conference in Delhi that men non-support by the President’s Hindu, 2014). having sex with men was “a new Ordinance opened up 6. In December of disease” and “unnatural.” A the dispute over gay rights 2015, a bill introduced by 2011 survey conducted by once again. It must also be Shashi Tharoor to strike down CNN-IBN news revealed that understood in the context of Section 377 was defeated in 73% of Indians still believed wider non-support for human Parliament 77-24, showing that homosexuality should be rights efforts by the Indian that even the newly elected illegal. Prominent politician government. parliament had no interest in Lalu Prasad Yadav was most 5. In December of decriminalizing homosexuality outspoken in claiming that 2013, a two-member Indian (“Shashi Tharoor’s Bill to gay sex was an obscenity that Supreme Court, responding Decriminalize Gay Sex should not be allowed in the to the petitions of several Defeated in Lok Sabha,” country (“Gay Sex Shoudn’t religious and political groups, Huffington Post, 2015). In Be Legalized At Any Cost: reversed the ruling from early February, 2016, a three- Lalu,” Indian Express, 2012). 2009, recriminalizing the act member bench decided to hear Although the law had been of homosexual intercourse all the petitions filed by gay changed, this change was not (“India Top Court Reinstates activists and organizations, accepted in important venues, Gay Sex Ban,” BBC News, but nine months later, a date nor in society at large. 2013). It issued a statement has yet to be set. This delay 4. A new law on suggesting it was up to the leaves homosexuality in India sexual violence (Criminal Law Indian Parliament to legislate criminalized and without [Amendment] Ordinance on the issue, but this was any respite in the foreseeable 2013) signed by President particularly unlikely given future (“Supreme Court’s Mukherjee in February 2013, that parliamentary elections Next Step on Section 377 and was criticized by human would be held the following LGBT Rights,” The Hindu, rights groups as not living year. Furthermore, the 2016). up to international standards past four years had allowed 7. In June of 2016, (Human Rights Watch, thousands of gay men to be the Indian representative to Human Rights in India: legally open. This ruling now the United Nations abstained Reject New Sexual Violence forced them into hiding to from a vote creating a Ordinance, 2013). Among avoid persecution. In January position for an independent other criticisms was the key of 2014, a two-member bench expert on gender identity failing that the new ordinance of the Indian Supreme Court and sexual orientation did not repeal the infamous denied petitions from several to review the extent and Section 377 criminalizing gay activists, indicating degree of discrimination of consensual same-sex that it was up to Parliament the LGBT community in relationships among adults – to initiate legislation on countries around the world. despite the Delhi High Court’s the matter (“Apex Court The Ministry of External affirmation of the original Refuses to Review Verdict Affairs cited the ongoing 29 court cases, and felt that it discrimination and violence hospitals in programs intended would be inappropriate to in many areas of society,” to “cure” them of homosexuality, vote on an issue which had also commenting that LGBT that police extorted sex from not been ruled on by the persons “faced physical gay men under threat of arrest, Supreme Court. However, attacks, rape, and blackmail,” and that HIV/AIDS outreach the representative continued and furthermore that “police workers were persecuted by to vote on resolutions committed crimes against police (Human Rights Watch, weakening the position, LGBT persons and used the India: Repeal Colonial-Era including one resolution threat of arrest to coerce Sodomy Law, 2006; Human which ensured that the victims not to report the Rights Watch, Epidemic of reports issued Abuse: Police by the office Harassment holder would of HIV/AIDS have to take Outreach into account Workers in the existing India, 2002; laws within UNHCR, India: the countries. Situation of That is to say, Homosexuals, criminalizing Availability homosexuality of Support would not Groups necessarily and State be considered Protection

discriminating Marshal Way, graphite, 18” x 24” June 2004- against April 2009). homosexuals (“Supreme incidents.” This is consonant The U.S. State Department’s Court’s Next Step on Section with the known corrupt comment in its 2004 Country 377 and LGBT Rights,” The behavior of the Indian police, Report that “gay and lesbian Hindu, 2016). not remedied by attempted rights are not considered 8. The ambiguity of workshops and programs in human rights in India” (2005) homosexuality’s standing in police training (Human Rights accurately describes the overall Indian law allows for societal Watch, A Broken System: situation in India still today. prejudices against gay men Dysfunction, Abuse and Legislative changes, ambiguous to continue to flourish. The Impunity in the Indian Police, as they are, show some progress U.S. Department of State’s 2009). In the past, human but have not essentially changed 2011 Country Report on rights groups put out reports the life situation of a gay man in India (released 2012) notes alleging that gay men were India. that LGBT persons “faced held captive in psychiatric 9. Although it is 30 possible for a homosexual man standing. Honor crimes, such cart drawn by oxen, in water, experiencing harassment to as we know are conducted or in the day-time, shall bathe, hire lawyers to press his case against women, are also dressed in his clothes.” This to the highest levels of the conducted against gay family refers to a ritual cleansing Indian judicial system – where members. These are difficult bath restorative of caste status it may get a fair hearing, to prosecute because the in Hinduism. (“Homosexuality particularly if media are whole society rallies around in India: Better Late Than involved – the average person, the family facing the dishonor Never,” India Law Journal.) particularly a little-educated of homosexuality. 12. All the major individual from a rural area, 11. There are deep religions in India condemn simply has no chance to fight religious roots in the majority homosexuality and any legal back against social mores Hindu tradition regarding challenges to decriminalize that allow or even encourage homosexuality. The Manu it. Though the hijras beatings and rapes from Smriti is a text dating back (transgender individuals) gangs or family members as almost two thousand years, did have a valid position in punishment for homosexuality. and it speaks explicitly against traditional Indian society (and Police at local levels do not homosexuality. If an adult indeed the “third gender” have the consciousness of woman was found having has recently been legally the gay rights lobbies in sexual relations with an recognized), this is not the Delhi, Mumbai, or Kolkata, unmarried girl, for instance, position occupied by gay men and regularly simply report her “head should be shaved fleeing India for the United a gay man complaining of immediately or two of her States. These are gay as harassment to his family or fingers should be cut off, and defined by their own culture, village which is then expected she should be made to ride on which is an extremely low, to handle the matter. a donkey.” If two unmarried indeed outcast, position in 10. A factor playing a girls have sex, each must pay a society. A gay man can expect significant role in many cases fine the double of her marriage help from no one, and attacks, of persecution of homosexuals fee, and receive ten lashes rapes, and harassments from is the cultural tradition with a rod. For Brahmins and many. These abuses are likely of family honor. It is not forward-caste men, “causing wherever in India he may only because an individual an injury to a priest, smelling attempt to resettle. is gay that is the source of wine or things that are not to 13. Given the State the scandal, but because he be smelled, crookedness, and Department’s initiative on gay brought shame upon the entire sexual union with a man are rights, particularly focusing family and clan. In India, traditionally said to cause loss on those persons forced to flee the preservation of family of caste.” Likewise, a twice- their countries, the United honor through fulfillment of born (forward-caste) man States should consider each traditional obligations like “who has had intercourse with case of homosexual asylum marriage is key to all social a male, or with a female in a carefully. 31 The Judgement of “Penelope”: A Day in the Life of Molly Bloom ENGL-425: Seminar in Lindsey Greer Literary Studies The major assignment for this senior seminar on James Joyce was to illu- Introduction: The Problems minate something significant in Ulysses drawing on intensive knowledge of Joyce’s works and extensive knowledge of the large critical conversation From the dawn of about Ulysses. Lindsey Greer’s essay on Penelope in James Joyce’s Ulysses is Ulysses in 1922, the character both lucid and authoritative, a delight to read. Lindsey presents us with a seemingly easy grasp of difficult materials ranging Homer’s Odyssey through of Molly Bloom has been Joyce’s own works that precede Ulysses and with the linguistic pyrotechnics of under scrutiny, judged for her Ulysses itself to contemporary criticism in order to perform a kind of feminist rehabilitation of Molly Bloom. -Walter Cannon actions, implied or explicit, on one particular day. Early fragmented among those who and cultural references -- readers called her “‘earth would condemn [Molly] and surface details which hinder a mother’ and ‘satanic mistress’” those who would praise her, reader’s grasp of the symbolic. while 21st century readers even among those wiser souls Once these questions are dealt called her “‘bitch,’ ‘slut,’ and who admit her mysterious with on the reader’s own time ‘thirty shilling whore’” (Norris inaccessibility to limited (“[Ulysses’] margins black 217). Certainly she is often human vision” (407). with cross-references… So perceived to be the latter for In-depth revelations much homework, is done; much of the book, as Bloom of Molly’s character become so many, many facts have seems perpetually obsessed increasingly difficult as been checked out” [Kenner by her body, her actions, her time progresses, and the 63]), issues of symbolism suitors, and her affair. But gap between present world and interpretation abound. such interpretations seem to culture and the extremely And these are much more contradict her chaste religious contextually based Dublin difficult questions to answer, and mythological parallels, constructed by James Joyce considering that Joyce’s the Virgin Mother Mary and becomes more and more writing style and means of ever-virtuous and faithful obscure. One hundred years conveying Molly’s character Penelope, to whom she can be after Joyce’s mind-boggling to readers leave quite wide reconciled with a little reader publication hit the shelves, ranges of possibilities, and insight. Fifty years after the modern (or rather, post- layers of them. Who is Molly world was introduced to Molly modern) readers are left Bloom, or can we even grasp Bloom, Fr. Robert Boyle with mountains of questions the nature of her character? summed up the situation: regarding the plot, the Is she the embodiment of 32 “Critical opinion is hopelessly characters, and the historical Joyce’s own modernist brand of feminism, or the opposite? of or viewed as human; she the 2 Dedalus girls coming What was Joyce trying to is one who “has functioned from school I never know achieve by writing “Penelope” chiefly as an ‘other’ in the text the time… when I threw the as he did? In this essay I will up to ‘Penelope,’ a situation penny to that lame sailor for explore a few lines of thought, that obliges us to think England home and beauty from first impressions to with particular care about when I was whistling there careful considerations, on the justice of the responses is a charming girl I love Molly’s person and purpose, that are being provoked and I hadnt even put on and ultimately I hope to pass to her throughout the my clean shift or powered an arguably fair judgement progress of the text” (Norris myself or a thing” [Joyce on a woman who I believe 229). In terms of symbolic 615, line 344]). She is in the is neither wholly guilty connotations, Molly can be background, not doing much, nor wholly innocent. She is seen in several illuminating just grazing from the light vulgar, but forgivable; she is, breakfast Bloom brought her extraordinarily, normal. She is like a ghost that morning and the fruit haunting Bloom in basket delivered in advance of Molly’s Assumed Identity Boylan’s arrival; not speaking Molly’s nature is his travels, much (her first word of the particularly hard to grasp barely thought of day is “Mn,” actually not a compared to Ulysses’ other or viewed as word at all [46, line 57]): and main characters, mostly human... not knowing much either, as because, while Stephen during the course of her only and Bloom can reveal their conversation with Bloom natures through inner and somewhat conflicting until “Ithaca,” she asks him thought processes, dialogue, views. In order to make sense the meaning of a word she and interaction with other of Molly’s personality, as well does not know. The word, characters and each other, as her purpose, the reader “metempsychosis,” is from a Molly is not given such a ought not to pass judgment cheap erotica novel of highly narrative opportunity until too soon. questionable scholarly merit, the very end of her husband’s For example, if Bloom and she does not understand Odyssean day. The majority is generally understood to be the first explanation he gives of what the readers infer the black panther of Haines’ (52, lines 321-343). The about Molly is based on nightmares, then Molly’s initial impression of Molly’s hearsay and assumptions up animal parallel must be the slow, sluggish cowness until “Penelope,” and even cow. She is assumed to be in becomes noticeably more then, everything one thinks bed for the first half of the of a morally questionable, one knows about Molly is day, and admits herself that promiscuous, and physically still only inferred. She is like she had not even gotten fully objectified cowness as stories a ghost haunting Bloom in dressed by 3:15PM (“because bandied about by Bloom’s his travels, barely thought it was ¼ after 3 when I saw social circle become more 33 derogatory (Norris 230). be taken seriously by his peers as Molly “[sharing] a name They imply that Boylan may or, at times, the readers. What and a birthday with the not be Molly’s first affair, or then, does Molly become? Blessed Virgin” [Boyle 423]) at least that more than one Perhaps an elusive bird, of the religious parallels of man has lusted after Molly. flying out of the cat’s reach, Ulysses, especially considering Her figure being large but preferring to mate with flashy Joyce’s fascination with the pretty, men find her desirable peacocks like Boylan? theme of transubstantiation; and often make passes at her On another note, recall it becomes quite confusing (conveniently leaving her that in A Portrait of the Artist trying to keep straight who reactions to these passes out as a Young Man, the recurring is supposed to be who. As of their stories Christ is an [O’Brien extension 2]). The of God the animalistic and Father, so carnivorous Bloom is seen Bloom as a Christ- introduced figure nearly to readers as much as in “Calypso” he is seen as (“Mr Leopold representing Bloom ate God. This is with relish the especially so inner organs in respect to Parker Hill, paper sculpture, 6” x 6” x 6” of beasts and his issues with fowls. He liked thick giblet cow symbol has maternal Mary and Martha: one his soup, nutty gizzards, a stuffed connotations, and so it is wife and the other his secret roast heart, liverslices fried suitable that Stephen, when penpal. Biblically, the two with crustcrumbs, fried adopted by Bloom, acquires are sisters who accommodate hencods’ roes. Most of all he a cow as a foster mother to Jesus for a short while: Mary liked grilled mutton kidneys replace his own deceased is praised for listening in which gave to his palate a fine mother. reverence to Jesus while tang of faintly scented urine” Following the adoption Martha is chastised for being [Joyce 45, lines 1-5]) likewise theme leads us to the religious a busybody and not knowing lusts after his domesticated parallels, in which Bloom = what is truly important (Luke prey. But Molly “de-lionizes” God the Father, Stephen = 10:38-42). In this case, Molly him by taking the “Leo” out Christ the Son, and Molly becomes simultaneously the of his name and calling him = Marion = Virgin Mother Virgin Mother of Jesus and “Poldy” (Blamires 26-27). He Mary. Some bizarre things one out of the multitudes of then essentially becomes a happen when one delves his followers, but one who 34 domesticated housecat, not to beyond superficial facts (such is commended in particular for her priorities. Molly’s suggest it in any obvious or merely hypothetical. This eagerness to listen to way). Thus, this third Molly- at first makes Molly seem whatever Stephen-Christ Mary parallel is technically slutty and scandalous; after might have to say is in line void; however, all an author all, she is in reality no Blessed with this image: “Id love (especially one like Joyce) Virgin. But as we’ve seen from to have a long talk with an can do is guide the reader’s “Nausicaa,” men find virgins intelligent welleducated interpretation, not dictate just as attractive and seductive person” (Joyce 641, lines it, and so meaning evolves as experienced women, if not 1493-1494). with time, and with every more so. Molly could therefore Having not met new reader (so the parallel is be seen as the victim of double Stephen since he was a child, not historically feasible, but standards; knowing gender Molly idealizes the adult is legitimate nonetheless). In ideologies and stereotyped version (637-638). But then any case, marital and gender expectations to be unrealistic, she contemplates seducing issues do still arise here with Molly committed herself Stephen, thinking that the Bloom still being cuckolded if to none, but let on that she three of them, Molly, Stephen, Molly seduces Stephen, as in had, in this way keeping her and Bloom, ought to be able Molly’s fantasy he is pictured identity safely her own. to live together in harmony bringing Stephen and Molly Here we come to the (“why cant we all remain breakfast in bed (Joyce 641, Homeric symbolism. A clever friends over it” (639, lines lines 1491-1492) -- he is the revelation by Kimberly Delvin 1392-1393); this could also be “new womanly man” and in her article, “Pretending in reference to Boylan, Bloom, genderless God presiding over in ‘Penelope’: Masquerade, and Molly, but is a bit vague his son and wife/daughter- Mimicry, and Molly Bloom,” due to Molly’s moving from in-law (Blamires 248). Such points out one of Joyce’s more “he” to “he” without saying morally and socially would- subtle tricks in making Molly who either “he is). At this, be-frowned-upon thoughts, Penelope’s parallel: “‘Penelope’ present-day readers might coming from Molly herself, actualizes her name, which be tempted to draw another do not help her fight the translates to ‘countenance connection between Molly derogatory cow issue. of webs’ or mask” (72). This and Mary Magdalene, the Of course, given the rings true not just for the sometimes-theorized wife of nature of the comments made Ulyssean chapter of the Jesus; but of course, as Joyce about Molly by Bloom’s same title, but for the entire passed away in 1941 and no friends throughout the book, problem of knowing and conspiratorial evidence for readers are not particularly interpreting Molly Bloom, this theory surfaced until surprised when they find her as “Molly’s contradictions 1945, readers ought to throw pondering sexual encounters are internalized cultural out this connotation (and, with nearly every man she contradictions: she weaves and even if Joyce had thought thinks of in “Penelope,” unweaves ideological cliches” of such a thing, it would whether the encounters are (Delvin 74). Even as a young have been certain heresy to wanted or unwanted, actual girl, Molly was a victim of-- 35 or was she manipulating? similar recalled or imagined zooming out on the world, --double standards. She sexual musings; for example, kissing “the plump mellow recalls her first kiss, with those involving Stephen yellow smellow melons of a sailor named Mulvey: “It have “little to do with the her rump, on each plump never entered my head what fearful, brilliant, introspective, melonous hemisphere, in kissing meant till he put ineffectual” young artist, their mellow yellow furrow, his tongue in my mouth his and more to do with Molly with obscure prolonged mouth was sweetlike young working her way mentally provocative melonsmellonous I put my knee up to him a back towards her husband osculation” (Joyce 604, lines few times to learn the way (Boyle 421). 2241-2243). Bloom is at what did I tell him I was As has been stated, this time experiencing the engaged for for fun to the son Molly is of course the convergence of “antagonistic of a Spanish nobleman named Penelope to Bloom-Odysseus sentiments and reflections” Don Miguel de la Flora and and Stephen-Telemachus in into a “final satisfaction...at he believed me that I was to Joyce’s Homerian parallel, the ubiquity in the eastern be married to him in 3 years staying at home while her and western terrestrial time theres many a true husband, constantly distracted hemispheres…of adipose word spoken in jest there is a by the question of her anterior and posterior female flower that bloometh” (Joyce fidelity to him, embarks on hemispheres…expressive 625, lines 770-775). Before a perilous journey through a of mute immutable mature Mulvey, Molly was actually land in which he is an ethnic animality” (lines 2228-2236). inexperienced, except for stranger. The main issue Once again, Bloom appears whatever sexual knowledge with this parallel is that to prefer not to see Molly she had gained from reading Joyce seems to have inverted as particularly human, but or listening to stories. She certain characteristics of the he has mentally bridged the used Mulvey, leaning on said characters (namely, sexual emotional waters that kept indirectly gained experience, fidelity) so that Molly is also him physically apart from in order to gain actual the unfaithful Odysseus, and his wife; thus, the physical personal experience. All of Bloom is Penelope. inversion which awakens the this was for the purpose Joyce apparently slumbering Molly. The two of later being able to act inverted more than just this briefly parallel the mythical inexperienced, despite being parallel. At the end of “Ithaca” couple, choosing only to more experienced than she let and for six out of eight converse at their reunion (or on, or vice versa to continue “Penelope” paragraphs, we see perhaps not “only,” a question the trend. Also, based on the one of the two scenes which for later). Then another lies she told Mulvey, we can prompted some critics to call inversion commences when deduce that Molly never took Molly an “Earth Mother”: Bloom-Penelope falls asleep, him seriously as a suitor. It Bloom partly curled into the leaving Molly-Odysseus wide is therefore likely that Molly fetal position with his head awake in the wee hours of the is not serious in any of the towards Molly’s feet, mentally 36 morn to embark on her own mental journey of Homeric others in the vaguest and defend others, she must insult proportions, wandering most subtle of lies while also them; in order to love Bloom, through perilous obstacles of giving them due respect to she must see him for who he thought and feeling, relying genuine behavior (Sternlieb is; in order to go forwards, on nothing but memory to 765). Thus, one of Molly’s she must go backwards. bring her home to Bloom and most contradictory points, her their marital bed. apparently constant changing Perceptions of “Penelope” This seems a bit of opinions, is actually “Penelope” is yet contradictory considering the proof that she is intelligent, another of Joyce’s linguistic fact that Molly has just had an “worldly and capable of experiments, yet another affair. She also dedicates much wit” despite being “poorly chapter of Ulysses written of her thoughts to comparing with an “aesthetic of mobility” her husband to her lover, In order to defend (O’Brien 2). Many twentieth- or lovers, past and present. century critics and feminists Molly is almost cruel in her others, she must claimed that “Penelope” was critique of Bloom; in her insult them; in a prime example of ecriture brief “Calypso” appearance, order to love feminine due to Molly’s Molly does act blunt and Bloom, she must perceived “language of flow.” short with him, giving him see him for who he In quite a contrast to Stephen an “imperious set of questions and Bloom’s narrations, and orders” (Norris 218). She is; in order to go Molly’s lack of punctuation of seems to wear the pants in forwards, she must any kind creates the illusion their relationship, being “a go backwards. of disorienting timelessness, woman of few and pointed giving the impression of words, who wastes little simultaneously rushing time on courtesies” (Norris educated” and superstitious and rambling; as the 218). Perhaps, then, Molly is (Norris 218, Boyle 422). monologue of the Other, selfish and greedy, wanting One last Molly- Molly’s narrative “exposes Boylan’s money and absolutely Penelope parallel: the duo the leisureliness of Bloom’s everyone’s attention, treating “[weaves] in order to introspective and often even her own daughter as a unweave...[does] in order maudlin journey” (Sternleib rival. Or perhaps this is only to undo” (Sternlieb 758). 767). Though perhaps not Molly being pragmatic, seeing In order to hold off suitors, always “maudlin” per se, both the pros and cons of each Penelope weaves the same Bloom’s version of stream of lover, all their faults and good burial robe for four years, consciousness is extremely points. But perhaps it is still unweaving it every single fragmented compared to more than that, as Molly is in night and starting over again Molly’s neverending run- truth a good and a fair judge every morning, keeping the ons. It is as if Joyce were of character, giving great pattern in her mind. Molly puddle-jumping, and the attention to detail, catching does the same: in order to scattered droplets equate to 37 every period, every disjointed you not happy in your home Other? At first glance, statement conveyed from you poor little naughty boy? there is no denying that Bloom to the reader. Given Wants to sew on buttons for “Penelope” looks like a time, those droplets will me. I must answer. Write complete mess: seemingly converge into a new puddle it in the library” (137, lines “rogue capitalization” abounds of meaning, but it is largely 612-613) and “Lovely name (Brown 4); “Pronouns have up to the reader to connect you have. Can’t write…. She’s unclear antecedents and the dots, and this is extremely a. I called you naughty boy. words that start with one difficult without knowing from Still the name: Martha. How grammatical connection can which puddles certain droplets strange! Today” are Bloom’s end by shifting to another one originated. reminders to himself to answer in the flow of her language” Take, for example, Martha (226, lines 713-716); (Stanier 3); and “the quotidian Martha’s letter to Bloom. It “Full voice of perfume of what and the epic overlap as is presented to the reader as perfume does your lilactrees” do the present, past and a whole exactly once, in “The is the specific answer to one future” (Sternlieb 770). The Lotus Eaters,” and this is the of Martha’s questions in a syntax of “Penelope” gives main puddle (Joyce 63-64, “Sirens” reference to Molly readers the impression that lines 240-259). Before this, the (lines 730-731); “How many they are listening in on an reader only gets scattered bits women in Dublin have it uneducated and extremely of information about Martha today? Martha, she. Something fickle mind. However, we and the affair, and about in the air. That’s the moon” have already seen that Bloom’s intention to collect is a reflection on women Molly is not so fickle as she the letter (by hiding the card and their periods brought seems at first. Likewise, all of his alias Henry Flower on by Gerty McDowell and of Joyce’s confusing formal in his hat, etc.). After this, connecting to Molly (301, techniques are “ambiguities several events throughout the lines 781-782). All of this the only to the reader and not to day bring to Bloom’s mind reader can catch and connect, Molly” (Stanier 3). Perhaps phrases, often incomplete slowly but surely. Molly’s in Molly’s mind, she hears or or registered only as a thoughts are the opposite, with pictures her thoughts, sees connotation segwaying other details constantly gushing them ending and beginning fragments, that originated forth, overflowing to the point and flowing into one another in Martha’s letter. Thinking that they are connected in too much more clearly; and Joyce of death, Bloom is reminded many ways, and the reader’s could have better conveyed of Martha’s typo: “I do not new concern is not gathering this by doubling up linking like that other world she raindrops but trying to stay words or phrases. But was it wrote” (94, line 1002); “To aid afloat in her female mind’s ever Joyce’s intention to be gentleman in literary work” is flood of information. clear when it came to Molly? a reference in “Lestrygonians” But is this escriture Or any of Ulysses, for that to how the relationship began feminine supposed to be a matter? 38 (136, lines 532-533); “Are positive portrayal of the Just as “Oxen of the Sun” is written in a style the memories she conveys there is no way of knowing that shows the evolution to readers, and all of the exactly how recently Molly of English prose, or as “Mollys” seen in “Penelope” may have read any of them. “Cyclops” moves through are therefore “byproducts of They simply manifest cultural commentary voices of “the identifications with specific ideologies of gender, which legal, the epic, the scientific, texts of femininity” (74); for Molly fantasizes being inside, the journalistic, and so on” example, when thinking of occasionally also acting them (Blamires 118), “Penelope” her potential relations with out. In any case, a multitude is Joyce’s experiment in the the presumably prestigious of different aspects or writing styles expectations of popular of femininity culture, and are present in specifically “Penelope,” feminine ones. and we The language cannot after of Molly’s all take thoughts gender and moves through language such genres as separate as gothic, topics, romantic especially poetry, drama, Drew Willis, paper sculpture, 10” x 10” x 5” regarding a girlish memoir, character and and erotica (O’Brien 3-6). Stephen, she imagines herself a chapter as controversial and However, the episodes which as the female protagonist of syntactically dense as Molly contain such language are not a romantic poem and a song Bloom in “Penelope.” necessarily written in those she once heard (“they all Whether or not styles, per se; rather, Molly write about some woman in Joyce has been successful in herself remains uniform in her their poetry well I suppose the endeavor of accurately running commentary of her he wont find many like me… portraying the Other (or own memory and imagination, two glancing eyes a lattice hid whether this was his endeavor and simply pulls certain Ill sing that for him theyre at all) therefore remains a images and vocabulary from my eyes if hes anything of controversial topic. Molly conveniently corresponding a poet two eyes as darkly is often written off as the literature. According to bright as loves own star” queen of female stereotypes, Delvin, these styles are (Joyce 637, lines 1333-1340)). the “illogical” archetype of supposed to correspond to While we may safely assume feminine thought processes, whatever form of media Molly has done her fair share but these are unfair Molly had been reading at of reading of all the various judgements. Delvin debunks the time of the formation of genres pointed out by O’Brien, the theory that Molly herself 39 is constructed of either though recognizing that Joyce is ultimately just a stereotypes or archetypes; portraying the Other man trying to define the archetypes are the “original was perhaps Joyce’s goal, “Otherness” of the feminine, copies,” simultaneously “‘a challenges feminists’ and his writing cannot perfectly typical example’… conclusions that Molly’s escape his own presumptuous and ‘the most extreme inner thoughts in ‘Penelope’ masculinity (2-3). From example’... which revealingly are the epitome of feminine Stanier’s perspective, Molly’s claim, moreover, the norm writing meant to “destabilize monologue “merely shores up and the exaggeration of it the phallocentric nature this world by being contained are one and the same” (73). of the world that has been and assimilated into it” Molly, though unaware of depicted” (4). His article (4). Indeed, Molly has her being written, is aware of fun knowingly mixing and “being watched” and of the Joyce is ultimately matching stereotypes, but need to “act natural”(without such social commentaries get necessarily “[being] natural” just a man trying her nowhere; she gratifies the [Sternlieb 771-772]). She to define the men she encounters and is in stores up all those cultural “Otherness” of the turn gratified by knowing her ideologies and stereotypes feminine, and his behavior to be an act -- but inside herself and dispenses writing cannot the joke is lost on the men them as she sees fit, casting (Delvin 89). herself as whichever role escape his own All of this debunking seems most suitable for the presumptuous and undermining can be situation and accompanying masculinity. gained only from taking actor (whose pretending she a closer look, from giving despises because they do Molly a chance to defend not know it for pretending). “’The Void Awaits Surely herself -- or rather, giving Meanwhile, despite outwardly All Them That Weave the Joyce the chance to defend acting as an experienced Wind’: ‘Penelope’ and ‘Sirens’ her. There are a few passages seductress, wicked adultress, in Ulysses” is explicitly about in which Joyce’s feminism/ tragic victim, or innocent flirt, the relationship between egalitarianism is indisputable. Molly keeps her self-definition femininity and language, or For example, when Molly separate, safely behind a Joyce’s portrayal and use of goes off on this tangent rant: figurative mask, knowing them. In it he argues that “Men again all over they can herself to be much more than “Joyce’s attempt to portray pick and choose what they she lets on. In this way, Molly the essential feminine as please a married woman “undermines the notion of destabilizing, undermining, (which Molly is) or a fast womanliness as [she] displays and ‘unweaving’ the world widow (which Bloom has it” ( Delvin 73). of phallocentric language earlier imagined her to be) or On the other hand, and presence is ultimately a girl (which Molly has been) Michael Stanier’s article, doomed to failure,” because for their different tastes like 40 those houses round behind Norris, this passage “could be Bloom imagines instead that Irish street no but were to seen as a punishment Bloom he might go home and catch be chained always chained threatens, namely that he her in the act of adultery. up theyre not going to be could as readily leave her as This would give him the legal chaining me up no damn fear” she might leave him” (226). and social ability to leave (Joyce 639, lines 1388-1391, Norris correctly infers that her, with the excuse given parentheses mine). this line of thought is brought to her that he is tired of her about by Bloom’s speculating abstinence from him despite Molly’s Significance to the on a wife losing a husband, blatant indulgence with other Internal Plot of Ulysses as it is preceded by thoughts men. Such an event would Central to the plot of of Dignam’s death: “Gone. surely cause Molly to regret Ulysses is Bloom’s constant They sing. Forgotten. I too” her actions; if she loves awareness of Molly’s refers to Bloom’s observations Bloom, she would cry, she infidelity, though he assumes of Dignam’s funeral and his would miss him, but it would it more than knows it; his own future death. However, be too late, he would be gone. suspicions cause him pain, along with “And one day she Norris likely missed it is a stressful subject for with,” the line has the dual this conclusion because of her him to dwell upon, yet he meaning of Bloom’s realization belief that it is Bloom who cannot avoid thinking about that Molly might leave him is abstaining from sexual it, reminded so often as he for another man, specifically intercourse with Molly. This is by the slightest question, Boylan, potentially as soon confusion on whether it is statement, or association as during the coming concert Bloom or Molly who has been of thought. But what, if tour, a thought that does abstaining from/withholding anything, is Bloom going to indeed briefly cross Molly’s sexual intercourse from the do about it? And why is Molly mind in “Penelope” (“suppose other for the last ten years unfaithful in the first place? I never came back what would of their marriage is of course What has led the couple to they say eloped with him thanks to the insurmountable this day? [Boylan]” [lines 373-374]). vagueness of Joyce-brand In the “Sirens” episode, Norris is again correct in stream of consciousness Bloom contemplates a passive interpreting that Bloom thinks writing. The controversy lies kind of revenge against Molly he could “as readily leave her” in the key line “Could never for her adultery: “Gone. -- but she misses the mark in like it again after Rudy” from They sing. Forgotten. I stating that this hypothetical “Lestrygonians” (line 610). too. And one day she with. leaving would be because Norris seems to think Bloom Leave her: get tired. Suffer “he got tired of her,” as this is the abstainer/withholder: then. Snivel. Big spanishy would imply that Bloom “Bloom blames Molly’s eyes goggling at nothing. tired of Molly in her entirety, lusty libido for the death of Her wavyavyeavyheavyeavy- including her personality Rudy and arguably punishes evyevy hair un comb’d” (lines and living habits, that he no her for what is finally a 806-809). According to longer loved her (226). Not so: fictitious construction of 41 the dynamic of the tragedy reader through Bloom, who, to both seeking solace from by withholding interior sex though frustrated, respects suitors. And, ironically, as from her from then on” (221). her decision both because he Sternlieb claims, Molly’s affair Norris’s support for this loves her and because the loss is what eventually brings claim makes sense. Bloom, as of their son is equally sad to them together again. a Jew, naturally breaks from him. Taking this death-based Norris’s stance does his usual scientific line of logic one step further (they make more sense in light of thought to seek some divine “avoid intercourse for fear of her other arguments. It is the reason for the basis for what emotional event she believes is the of his newborn reason Bloom is son’s death. And so forgiving of he finds one, Molly’s assumed absurd as it may affairs, the next seem: Bloom controversial attributes Rudy’s round of the conception to a blame game: specific morning “Bloom…seems when Molly to take some was apparently responsibility aroused by the for Molly’s sight of two dogs adultery, perhaps mating, and he Jenny Morrett, copper recognizing that decides it must have been just as he scuttles about for sinful to copulate at such a the pain of another death”) compensatory sex, Molly time, for such a reason (Joyce Boyle takes up the third has her own need to find 73-74, lines 77-81; 640, lines stance: “It is not possible, compensation for Bloom’s 1444-1447). it seems to me now, to rusty gun and the decade-long However, Harry determine which of the two, sleep it has induced in their Blamires attributes “Could Molly or Poldy, is responsible bedroom” (228). And Molly never like it again after for their unsatisfactory sexual does indeed defend herself Rudy” to Molly: “Molly relationship” (416). Both are with similar-sounding logic ended their full marital mutually responsible; not only on this point: “Still of course a relationship with the plea for ceasing to copulate but for woman wants to be embraced that she ‘could never like it not knowing when or how to 20 times a day almost to make again’ after their son Rudy’s start again, each retreating her look young no matter by death” (69). The phrase would inside themselves to deal with who so long as to be in love then become an explanation the problem independently or loved by somebody if the for the sexual death of the rather than together as a fellow you want isnt there 42 marriage passed on to the couple, which eventually leads (Joyce 639, lines 1407-1410). Bloom is experiencing self- takes a vulgar turn whenever granddaughter (the “little bitch” blame for Molly’s sexual she has these violent impulses, is Gerty McDowell, whose freeness because it is only showing her irritation with grandfather is Giltrap, “the natural that she would act Bloom’s apparent wishy- citizen” who owns Garryowen so, and Molly also seems to washyness in their long- [289, line 232]). be blaming nature for her dormant sexual relationship. In any case, both Molly actions. Perhaps this aggression and Bloom at least have a However, she also is also pointed at Bloom’s general idea of the other’s affairs, says “its all his own fault hypocrisy. Though Molly is and each makes a decision not to anyway if I am an adultress” generally perceived as the interfere based on the logic that (641, line 1516), blaming unfaithful one, throughout though they may be jealous, the Bloom for orchestrating Ulysses readers witness other’s actions are acceptable her illicit relationship with Bloom lusting guiltlessly because their own marital bed Boylan; Boyle points out after a number of women and is dead. In her article “The several instances where girls. It is revealed that on Oxymoron of Fidelity in Homer’s Molly suspects that Bloom a previous day, Bloom did Odyssey and Joyce’s Ulysses,” Keri has been “plotting and commit physical adultery Ames discusses in depth the planning” everything from with prostitutes (Norris 227). parallels between Molly and her sending Milly away to This is what Molly suspects mythical Greek counterparts, allowing Boylan’s flirting when Bloom returns from his Penelope and Helen of Troy. and further advances, to Odyssean day (“yes he came Ames gives special attention getting himself out of the somewhere Im sure by his to Penelope’s excuse for her way for the day (419). In fact, appetite…so either it was one fidelity to Odysseus during his Molly almost seems to have of those night women if it was absence – that Helen’s infidelity a passive aggressive attitude down there he was really and to Menelaus was due to a sort of about the whole affair. She the hotel story he made up a divine possession or influence, occasionally lashes out at pack of lies to hide it planning an act of the gods rather than Bloom in her imagination; it…or else if its not that its of her own free will – an excuse she more than once thinks of some little bitch or other he one would expect Penelope to overdoing something sexual got in with somewhere or give only if she had been disloyal in order to draw out Bloom’s picked up on the sly” [Joyce (2-3). However, her using this animalistic urges, such as 609, lines 34-45]). Molly is kind of excuse is both a show of using his jealousy to arouse only slightly wrong in her humility and of forgiveness, since him, wanting to seduce him assumptions: Bloom has not it exonerates Odysseus from his by “[letting] him know if committed physical adultery infidelity while also stating that thats what he wanted that his with another woman. No, on she was also tempted and could wife is fucked yes and damn this day, he merely sticks to have been sexually disloyal to well fucked too up to my neck ogling every passing female him too, had the gods willed nearly not by him” (641, lines and masturbating at the sight it (4). This is monumental in 1510-1511). Molly’s language of his “Cyclops” attacker’s reestablishing the couple’s long- 43 estranged marriage relations; list of Molly’s suitors desperate act to shock her Penelope only cares that includes any and all men marital status quo into Odysseus returned to her, who “showed any interest oblivion, in order to pick and nothing he did (or she in Molly as a sex object” up the pieces and glue them could have done) during his and support the theory together again -- or rather, absence matters in the light with the fact that Molly’s in order to weave once more of his return. The two then wandering but blatant the soon-to-be-unraveled have an unspoken agreement thoughts only reference threads -- Molly sleeps with that sexual infidelity is actual past sex with Boylan Boylan. She has “left” Bloom, not as important as others and Bloom (Boyle 415). and now must return to him make it out to be, because Kenner even argues that as he has just returned to her what matters in marriage Molly procrastinated sexual in “Ithaca;” this is “Penelope,” is loyalty of the heart. intercourse with Boylan the aftermath of the affairs, Ames argues that the same while he was in her house the summation of all of can be said of the Blooms’ by having him rearrange the Ulysses crammed into eight marriage, because they are furniture in the living room, paragraph-sentences that take both aware of each other’s an act that was as behind- up 35 pages. Bloom and Molly sexual infidelity and allow the-scenes as Penelope’s are opposites, inverted, one it, forgiving it, and that this weaving and unweaving shocked into a daze and the is real love. In light of this, her father-in-law’s (Bloom’s other into a frenzy. One has the Bloom marriage appears father Rudolph = Rudy for come forward from a slow to be based more on mutual short, the name of their and languorous journey to respect and emotional son) burial robe (66, 70). the marital bed, the other, affection rather than on To Kenner this was Molly’s having already been there, sexual gratification, a point “masterstroke,” a genius plan must recap it all in her own several critics agree on. that belies her reluctance mind, working backwards Furthermore, both to actually act out the affair and forwards again until she Bloom and Molly appear with Boylan despite all her has reached the same place to intend to re-establish lust and all her husband’s (literally: Bertolini points sexual relations. Clearly, the maneuvering - but it fails, out that in Joyce’s original issue of infidelity has been Penelope is caught in the manuscripts, “Ithaca” begins on Molly’s mind quite a middle of unweaving, and at one end of a notebook, bit. Both Boyle and Kenner Molly allows full, not just “Penelope” at the other, so are of the opinion that partial (“She makes Boylan that the reader would have to Boylan is in fact Molly’s withdraw” [Boyle 417]) turn it upside-down in order very first affair, that she intercourse with her lover. metaphorically begin again [5]). put it off for as long as And what place is possible after Rudy’s death Conclusion: The Future of that? It is the dawn of a new (Boyle 415, Kenner 67). the Blooms day, the conception of a new 44 Both point out that Bloom’s So finally, in a “sun,” as Joyce might write to pun on “son,” that other the sixth sentence-paragraph with Boyle’s other, safer, more goal of Bloom’s throughout [Joyce 632, lines 1104-1105]) basic interpretation of things: Ulysses (as Molly cheats to and will not be having Boylan “The breakfast which Bloom remain faithful, Bloom adopts over again, if Sternlieb is demands and which she Stephen in order to beget). correct in believing that finally determines to provide Ames, Sternlieb, and Kenner Molly’s final “orgasmic” Yeses is the most obvious evidence are all staunch believers in love are to be taken as overlapping of a new and healthier shared rather than lost in this with physical events (as Gerty relationship” (420). This relationship. Boyle goes one McDowell’s “Ohs” overlapped simpler breaking of routine step further in speculating on with Bloom’s masturbation (“I love to hear him falling the Bloom couple’s immediate [300, lines 733-740]). Of up the stairs of a morning and long-term future by, once course, as Molly is very tired with the cups rattling on the again, going backwards to find at this point, having been tray and then play with the yet another subtle, cleverly trying to fall asleep for most cat” [Joyce 628, lines 933- concealed cause of Molly’s of “Penelope,” she also could 934]) is the first step towards Bloom-orchestrated affair have merely been slipping off re-establishing anything. The with Boylan: perhaps Bloom into a dream, albeit an erotic couple has mentally worked subconsciously wanted Boylan one, which would make perfect hard to find each other, to to father Molly’s next child. sense given the events of the rediscover their love for one Of course it will not work, day and the course of her late- another, at the end of this one because Molly is not pregnant night thoughts. single, extraordinary, normal, (her period comes at the end of In any case, I agree Odyssean day.

Works Cited

Ames, Keri Elizabeth. “The oxymoron of fidelity in Homer’s Odyssey and Joyce’s Ulysses.” Joyce Studies Annual, 2003, pp. 132+. Literature Resource Center. Accessed 22 Mar. 2016. Bertolini, C. David. “Bloom’s death in ‘Ithaca,’ or the END of Ulysses.” Journal of Modern Literature, vol. 31, vol. 2, 2008, pp. 39+. Literature Resource Center. Accessed 22 Mar. 2016. Blamires, Harry. “Penelope.” The New Bloomsday Book: A Guide Through Ulysses. 3rd ed. Routledge, 2002, pp. 233-49. Boyle, Ft. Robert, S.J. “Penelope.” James Joyce’s Ulysses: Critical Essays. Ed. Clive Hart and David Hayman. UC Berkeley Press, 1977, pp. 407-33. Brown, Richard. “When in doubt do gender’: constructing masculinities in ‘Penelope,’ ‘theyre all buttons men.” Joyce Studies Annual, 2002, pp. 147+. Literature Resource Center. Accessed 22 Mar. 2016. Delvin, Kimberly J. “Pretending in ‘Penelope’: Masquerade, Mimicry, and Molly Bloom.” A Forum on Fiction, vol. 25, no. 1, Fall 1991, pp. 71-89. Joyce, James. Ulysses. Ed. Hans Walter Gabler, Wolfhard Steppe, and Claus Melchior. 1st ed. Random House/Vintage Books 1986. Kenner, Hugh. “Molly’s Masterstroke.” James Joyce Quarterly, vol. 50, nos.1-2, pp. 63-71. MLA International Bibliography. Luke. Holy Bible. New International Version. BibleGateway. Biblica, Inc., 2011. Accessed 17 Apr. 2016. Norris, Margot. “Molly Bloom before ‘Penelope.’” Virgin and Veteran Readings of Ulysses. New York: Palgrave Macmillan, 2011, pp. 217-35. O’Brien, Alyssa J. “The Molly Blooms of ‘Penelope’: Reading Joyce Archivally.” Journal of Modern Literature, vol. 24, no. 1, 2000, p. 7+. Literature Resource Center. Accessed 22 Mar. 2016. Stanier, Michael. “’The Void Awaits Surely All Them That Weave the Wind’: ‘Penelope’ and ‘Sirens’ in Ulysses.” Twentieth Century Literature vol. 41, no. 3, 1995, pp. 319+. Literature Resource Center. Accessed 22 Mar. 2016. Sternleib, Lisa. “Molly Bloom: Acting natural” ELH, vol. 65, no. 3, Fall 1998. pp. 757+. A Measured Response: Staging the Ambiguity in Measure for Measure

ENGL-346: Shakespeare Hannah Marcum

The theatrical problem solving assignment takes seriously the ideas that Silence is far from Shakespeare’s plays are scripts for performances and that textual “prob- conventional in Shakespearean lems” can be “solved” theatrically. Hannah Marcum’s eloquent essay focusing on Isabella’s lack of verbal response to the Duke’s marriage pro- theatre. The most acclaimed posal at the end of the play presents a sensitive and persuasive solution to modern productions are Isabella’s silence in light of recent, significant performances. -Walter Cannon always fast-paced with little downtime; those found left with an opening for a kind a proposition: if she sleeps lacking are often critiqued as of internal processing we’ve with Angelo, her brother sluggish or dawdling. Many of come to avoid. will go free. She declines Shakespeare’s comedies, if not Measure for Measure is immediately, but before long, so zippy for his contemporary different: silence saturates and Duke Vincentio, disguised as audiences, lend themselves settles it. As the last comedy a friar, helps her plot a bed well to a rather breakneck Shakespeare penned, not even trick to save Claudio without pace today. This is especially acknowledged as a comedy sacrificing her maidenhead. true on the thrust stage, by some current scholars, a Although Angelo does not and companies who simulate “dissatisfaction with its own follow through on his end Shakespearean staging dramatic mode” underscores of the deal, another switch conditions are often the the tone of this singular work causes both him and Isabella quickest of the pack. In this (Barton, 579). Set in a bleak, to believe Claudio has been environment, comedies like promiscuous Vienna, the executed. A Midsummer Night’s Dream action circles the government All this troubling and Much Ado About Nothing of pro tem leader Angelo. In his doubling leads up to the can essentially be taken at first act after Duke Vincentio famous final scene, V.1, in face value: happy-go-lucky hands him the scepter, which the Duke sets to work entertainment, low stakes Angelo sentences to death controlling the outcomes and an assurance of a happy an unlucky young man who of all present situations, ending that is never far off. has impregnated his fiancée. which it may be remembered For a modern audience, silence Doomed Claudio’s sister, the are the result of his own onstage is not unlike silence in nun-to-be Isabella, pleads unwillingness to control those a conversation. The experience with Angelo for her brother’s situations in I.1. To fulfill 46 is tense, awkward, and we are life and is finally met with comic traditions, he arranges marriages between Claudio After dealing with him, Lucio, Gay 121) to “sadomasochistic” and Juliet, Angelo and and Claudio, he returns (Libby Appel, 1998, reviewed Mariana, Lucio and a whore, to a softened rehash of his in Taylor 73). As Nicholas and himself and Isabella. proposal: “... Dear Isabel, Hytner, who directed Measure All four of these pairings I have a motion much imports in 1987, said in an interview, are fraught to some degree, your good, / Whereto if you’ll “you can never aim for a but the Duke’s proposal to a a willing ear incline, / What’s definitive production of a novitiate nun seems especially mine is yours, and what is Shakespeare play,” least of prickly. For one thing, there yours is mine. / So bring us all this Shakespeare play with is little evidence of any to our palace, where we’ll its built-in ambiguity (Gay romantic interest between show / What’s yet behind, 139). With this in mind, the them before his proposal; for that’s meet you all should next most admirable step is another, there is no indication know” (534-539). Again, these to create a production based of Isabella’s response. After he final lines of the play shed in textual evidence and which entreats her, “Give me your little light on the nature of edifies textual authority. hand, and say you will be Isabella’s ultimate response, Modern performances mine” (492), nearly 50 more but their mere existence have achieved this in varying lines elapse before the play’s is evidence to assume that degrees of success, especially end, none of them Isabella’s. she did not accept his first in regards to the Duke and Context clues make it proposal. The question we Isabella. In the summer of fairly evident that Isabella’s are left with is whether she 2015, Dominic Dromgoole response to the Duke’s first accepts the second. And with staged a version at the Globe proposal is a nonevent. In the line 539 marking the end of that didn’t quite measure previous breath, the Duke the play, that question easily up: “And the Duke proposes has just revealed Claudio becomes the most important to Isabella and she accepts. alive, standing before Isabella. for a director to consider when ... There are many ways After a shock of that caliber, staging it. to approach the play but little wonder she ignores the Measure for Measure has Dromgoole has gone for, Duke’s next words. If she a rather unique performance essentially, the romantic rushes towards her brother history in that it was largely comedy approach with quite in an embrace, she might avoided in 18th and 19th a lot of excess bawdiness entirely miss the proposal; century theater; the subject added for good measure. this reaction would explain matter was considered too It works well enough, but the Duke’s following qualifier racy to appear on the public it comes nowhere near the of his sudden romantic stage. Modern interest blazing and confronting impulse. His next sentence sparked in the mid-20th heights this play can reach is a short clip: “But fitter century and the past several when its limits are pushed time for that” (493). In the decades have seen a wide and its darkest crevices line after, he changes the range of interpretations from carefully examined” (Collins). subject entirely and metes “comfortably comic” (Frank Another reviewer qualifies the out forgiveness to Angelo. McMullen, 1946, reviewed in production’s shortcomings 47 by recognizing, “Dromgoole “Rylance (Vincentio) repeated traditions by including doesn’t solve this play. I this full stop when he again a dance, a move I hail as doubt any director could at broached the subject of brilliant. Initially, this would the Globe, given its inherent marriage in the final lines have been uncomfortable for sparseness” (Trueman). of the play, pausing after an audience still processing Puzzling, however, since the saying, “What’s mine is yours, the outcome, but would play was likely put on at the and what is yours is mine.” then serve as a transition Globe in 1604 before its first Again, Isabella does not out of the theatrical recorded performance headspace and back at court on December into reality. Finally, 26 of that year this performance (Barton, 579). Or also highlights the didn’t Shakespeare importance of those “solve” his own play, still, silent moments even in “inherent onstage; the action of sparseness”? the final scene is more Admittedly, we can fathomable with these never know how the pauses, uncomfortable King’s Men might but realistic and vital have played out for staging such the proposal scene, ambiguity. either in the Globe A concurrent or at court. What production, directed by we do know is that if Alexis Hunter, watercolor, 11” x 15” Simon McBurney at Shakespeare had wanted his the Royal National Theatre, final comedy to be typical, answer. Yet the production also emphasizes Isabella’s that is, played for laughs with answered for her: just as wordlessness in the final a happily-ever-after ending, Isabella seemed about to scene, although to a much he would have surely written reply to the Duke, Thompson different end: “The Duke it that way. (Isabella) took Rylance’s hand said, “What’s mine is yours,” A decade before and they began to dance” then, with an ominous change Dromgoole, Mark Rylance (99). This production follows in tone, “and what is yours attempted a very different the textual evidence that is mine.” While saying this ending for Measure at the speaks against true romantic line, he gestured upstage, Globe under the direction interest from Isabella toward where the scrim flew out to of John Dove. Reviewers the Duke, and extends the reveal the full vastness of the Hopkins and Orr lay out the Duke’s role as, ultimately, theatre. In the distance was a scene after Vincentio receives a benign manipulator of small white room containing no response from a shocked other characters’ destinies. only one thing: a bed with Isabella to his first proposal: It follows comedic staging a red rose on a pillow. As 48 the lights faded, Isabella was proposes to Isabella and she malice. The audience may left gasping and choking, kind of sighs in an annoyed notice him trying to cover it desperately trying to find rom-com Bridget Jones Diary up when speaking to Isabella words with which to respond type of way. Like, ‘Eh, men!’” at line 381. The one thing to a proposal that left her Katelyn, a self-identified he will not be is bumbling with neither choice nor voice” Shakespeare traditionalist, or inept; if anything, his (Hopkins and Orr, 100). In was not impressed with this plans seem to have been set this interpretation, silence is portrayal of the ending or up long before Act I. When used to “underscore Isabella’s this production in general: “It Claudio is revealed to be alive, ultimate powerlessness,” was too sexual, too fast and Isabella will rush to him and which is furthered by this the sexuality presented in this embrace him. The Duke’s Duke’s unique inflection of specific updated version wasn’t lines 490-492 will occur line 537 (Hopkins and Orr, the sexuality that Shakespeare during this embrace, with a 100). A similarly avant-garde intended.” I immediately long pause before his “But production of Measure for noticed her critique of the fast fitter time for that.” Only as Measure ran concurrently pace. Even in today’s instant he goes on to the next order with Dromgoole’s Globe entertainment climate, we of business, having turned version in 2015. Directed are keenly wired to notice away from the siblings, will by Joe Hill-Gibbins at the unnatural tempos, like jittery Isabella let go of Claudio. She Young Vic, the blatancy high schoolers rushing is obviously overwhelmed of this interpretation made through their first speech to see her brother alive after waves with reviewers. After in public speaking class. In hearing time and time again all, not everyone is going to Measure for Measure, we cannot that he was dead, but she find the opening scene, “a downplay the importance of also extends the embrace swirling mass of inflatable slowing down and taking time as an excuse to ignore the sex dolls” which never to develop the multifaceted Duke’s first proposal— entirely disappear from view, characters rather than creating wishing herself invisible in quite fitting treatment of a simple spectacle. Claudio’s arms to avoid facing Shakespeare (Billington). On my stage, Isabella Vincentio. She remains by Katelyn Stevens, who saw would be more timid and Claudio’s side until line 525, this production when she reserved, prone to long when the Duke bodily pulls studied abroad in London this silences, and saving her Claudio towards Juliet as fall, told me about the playing unbridled emotion for a few he proclaims, “She, Claudio, of the final scene: “The Duke scenes where her temper that you wrong’d, look you matches everyone up and outweighs her training in the restore.” He approaches each they kind of think he’s gone convent. The Duke would start character as he addresses them crazy. I remember Michael out egotistical but benign, slip in the following lines, leaving [her instructor] leaning over into a visibly false gentleness Isabella distanced from the and gleefully commenting, as a friar, then reemerge in group and unguarded. All ‘He’s gone mad!’ And then he Act V with the capability of this movement would place 49 the two of them in opposite and turns his head to gaze beside Mariana, which Brook quadrants as he reaches line one more time at Isabella, still urged his Isabella (Barbara 534. At “Dear Isabel,” his seated. After another tense Jefford) to hold “‘until she felt motion ceases, then he begins silence, she looks down at her the audience could take it no a deliberate journey toward lap, leans forward as if to rise, longer’...usually about thirty- her, one hand extended, while then looks up at the rustling of five seconds” (Gay 125). More she remains stoic. After “what the curtain to see the Duke’s than half a minute of silence heel as he disappears. is an unbelievably long time In effect, Isabella on stage. Making her silences Isabella has been ends up on the outside meaningful is a way to return relegated to an looking in, sitting down power to Isabella in her final onlooker in her with and becoming part of scene, over the audience if not own life at the end the audience to observe the over her own situation, as well of this play. Duke’s final actions. This as upholding the character specific response might not Shakespeare developed. Giving mirror Shakespeare’s staging the audience space to think is yours is mine,” an even of the final scene, but it does what she might be thinking, longer pause than the first communicate his intentions. in the moment she’s thinking is filled by Isabella slowly Isabella has been relegated to it, is a subtle but effective backing away from him to an an onlooker in her own life at method for engaging modern empty gallant stool on the the end of this play. For some audiences, full of multitaskers side of the stage, where she characters, this role would accustomed to high-tempo, sits aghast. Once she sits, a break them, but Isabella is on-demand entertainment. lengthy beat, then the Duke made of sturdier stuff than Suddenly, they are trapped, turns back to the others, that. There is power in her forced to process the lines and delivers the final two lines and silence. Peter Brook’s 1950 acknowledge the problems ushers them offstage ahead of groundbreaking production before them and, ultimately, to him. He remains alone, near hinged on the earlier pause decide what they would have the exit, back to the audience, before Isabella kneels to plead done in her place.

Works Cited

Barton, Anne. Introduction to Measure for Measure. The Riverside Shakespeare. 2nd ed. Houghton Mifflin, 1997, pp. 579-583. Billington, Michael. “Sex, decay and an astonishing Romola Garai.” Review of Measure for Measure, dir. Joe Hill-Gibbins, Young Vic Theatre, 2015. The Guardian, 9 October 2015. Collins, Stephen. Review of Measure for Measure, dir. Dominic Dromgoole, Globe Theatre, 2015. British Theatre, 2 July 2015. Gay, Penny. As She Likes It: Shakespeare’s Unruly Women. Routledge, 1994. Hopkins, D. J., and Shelley Orr. Reviews of Measure for Measure, dir. John Dove, Globe Theatre, 2004 and Measure for Measure, dir. Simon McBurney, Royal National Theatre 2004. Theatre Journal, vol. 57, no. 1, 2005, pp. 97–100. JSTOR. Measure for Measure. The Riverside Shakespeare. 2nd ed. Houghton Mifflin, 1997, pp. 584-621. Stevens, Katelyn. Message to the author. 2 May 2016. Taylor, Nancy. Review of Measure for Measure, art. dir. Libby Appel, Oregon Shakespeare Festival, 1998. Theatre Journal vol. 51, no. 1, 1999, pp. 73–76. JSTOR. Trueman, Matt. Review of Measure for Measure, dir. Dominic Dromgoole, Globe Theatre, 2015. Variety, 2 July 2015. 50 And Here Our Troubles Began: An American Reaction to 9/11 in Comix Sydney Embray

LAS-410: The Future Recipient of the John Allen Award of the Past

Rich with detail, strong with argument and voice, and inventive in its an- alytical process, Sydney’s paper offers us a rare opportunity to examine In the Shadow of No a graphic novel up close and appreciate the form’s visual and narrative com- Towers is a graphic novel by plexity. Sydney approaches Spiegelman’s work with intimate knowledge of and enthusiasm for the graphic novel as a form and with critical sensitiv- Art Spiegelman, completed in ity to the subject of 9/11 and how it has been, and will be, remembered. the years following 9/11 and -Kathy Korcheck published in 2004. It features ten full-color spreads prefaced through the use of motif, or hidden elements or clues by an introductory essay and stylistic choices, and reference to a more ephemeral layer followed by another essay and of historic and nostalgic of the graphic novel which short anthology of historic comix. are communicated mainly comic plates that inspired and through artistic elements consoled the author while Analytic Process and supplementary reference he dealt with the trauma of The close reading of cultural phenomena and his first-hand witness to the portions of this paper are externally-sourced works. By attack on the Twin Towers. based on the analyst’s own recognizing these concepts In this work, Spiegelman close-reading approach— in Spiegelman’s work, the explores his personal reaction firstly, an analysis of overt analyst is able to interpret to the terrorist attacks as narratives, or storylines and not only intentionally obvious well as his perception of the panels that follow a traditional messaging, but also messaging country’s reaction through and simple rhetorical and stashed in rhetorical and the use of literary and artistic stylistic approach; secondly, an stylistic layers. While this methods and deliberate analysis of implicit narratives, paper does explore the overt reference to other comic or storylines and panel sets narratives of In the Shadow works. Art Spiegelman’s In the that offer more commentarial, of No Towers, the close Shadow of No Towers explores “between the lines” reading analysis focuses both personal and nationalized messages and implications; more on detailing and American reactions to the and finally, an analysis of understanding the implicit terror attacks of 9/11/2001 latent narratives: planted and latent narratives layered 51 in Spiegelman’s writing and classmates discussing the from processing his own illustration. attacks with more awe and trauma and the local less terror. He and his wife trauma of his city to focus Expository Comments are eventually reunited with on the nationalized trauma Many of Spiegelman’s their daughter, drawing the and subsequent patriotic implicit and latent narratives personal overt narrative to a nationalism purported in this work reference or close. by his government, mass more clearly explain the overt On page 5, a localized media, and other Americans, narratives he includes. For the narrative begins with providing commentary on purpose of exploring the situation from the implicit and personal, local, latent, I include an and American expository summary perspectives. He of the relevant overt ends the collection narratives. of spreads with a The work recollection of an begins with an interview with a introductory spread, media outlet that providing thematic deemed him “not overlay to set the American enough” tone of the piece. and an image Spiegelman is newly of his family, in traumatized by full Maus style, the events of 9/11, fleeing the influx

and has turned Jenny Morrett, wood, copper of Republicans to historic comics to New York for and retrospective design for commentary on the difference the Republican National comfort. In the first four between the effect of the Convention in 2004. pages, Spiegelman describes attacks on New Yorkers and While the overt the events of the day as well on the rest of the country. narrative does contain a as the days to follow. He Spiegelman has a run-in with broad sense of the personal, and his wife search for their a homeless Russian woman local, and nationalized daughter, Nadia, who attends on page 6, who, rather than reactions to the events school a few blocks away from cursing him in Russian like of 9/11, the implicit and the attack, fearing her school he is used to, screams anti- latent narratives provide may have been affected in the Semitic statements at him, a more complete view immediate fallout. Along the linking the present to his past of the complexities and way, Spiegelman notices his work on the Maus novels. perspectives these reactions fellow New Yorkers taking After page 5, represent. pictures and hears Nadia’s 52 Spiegelman begins to shift Motif can sleep!” While Spiegelman of cowboy boots!” next to a A motif, or a usually does not explicitly explain boot-clad man with a target recurring salient thematic his other allegorical choices painted on his raised behind. element, is a deliberate in the work, it is crucial that Cowboy boots also appear rhetorical tool used by the reader understand and on Spiegelman’s borrowed artist and authors to layer continue to recognize shoes historical cartoon characters, subsequent information, ideas, in each spread; in this effort, identifying these characters as and themes overtop a more Spiegelman illustrates the representative of Americans. explicitly communicated idiom of “waiting for the However, Spiegelman narrative (“Motif”). other shoe to drop.” Lower separates himself from this Spiegelman’s use of motif on the page, Spiegelman crowd in the self-starring strip in In the Shadow of No illustrates the “shoe” as a on page 9, where he makes Towers pervades the entire massive brogue with a lit a blatant point of displaying comic work, providing the fuse falling from the sky his loafers--perhaps in this reader with deliberate yet onto screaming 1950s-style instance boots represent discreet clues to the author’s characters. In this illustration, patriotism, and shoes a more intended purpose. In order Spiegelman recalls the anti-establishment lean. On to engage the reader beyond idiom and manufactures a the final page, boots rain the narrative of the work, mid-century-esque scene in down on a crowd of comix Spiegelman uses three main which the recognizable fear characters (including a motifs throughout In the of invasion and chaos of a Maus-style representation of Shadow of No Towers: shoes, generation past is coupled Spiegelman’s family) as the the towers, and birds. with the anxiety and fear of 2004 Republican national The first of a post-trauma New York: convention is held in New Spiegelman’s motifs, the everyone waits in fear of the York. shoe, appears throughout all next disaster. The towers ten pages of the work. Its Shoes continue to themselves are also used as first appearance occurs in a appear in the panels that a more on-the-nose motif. strip entitled, “Etymological follow. From page 5 onward, The “glowing bones,” as Vaudeville” (1). Illustrating cowboy boots represent Spiegelman refers to them, are the classic use of the phrase, American nationalism, and such a symbol of Spiegelman’s a bumbling drunk drops one can be seen on flag-waving personal trauma that they shoe on the floor while getting Americans and members of appear on every spread— into bed; suddenly conscious the Bush presidency alike, a representative of his struggles of his sleeping downstairs nod to Bush’s Texan roots. with post-traumatic stress neighbors, he places the Page 5’s main illustration, disorder in the years following other shoe gently onto the Americans with their heads the attacks. Spiegelman also floor. Shortly after, he is stuck in the ground (members references the towers in other woken by shouts of, “Drop of the “Ostrich Party”) iterations. On page 2, his the other shoe already so we bears a side note: “Beware panels literally become towers, 53 shifting in 3D to display their nationalist optimism. of humans to kill each other burning edges. At the bottom He continues to en masse. This reference to of the page, Spiegelman humanize the towers by these specific WWII events employs double-entendre representing them as the hearkens back to his days when he writes, “I never “Tower Twins,” a parody of illustrating Maus, calling loved those arrogant boxes, of the classic comic The to mind his own personal but now I miss the rascals, Katzenjammer Kids detailed history as well as the history icons of a more innocent age,” later in this paper, painting of the world and America’s implying that the nostalgia role in it. he feels for drawing comix The falling of the Spiegelman’s is paralleled in his emotions third motif is a bird, used toward the towers. The falling towers has caused throughout his work, each of the towers has caused him him to raise his time with a separate and to raise his pen again, and the pen again, and distinct representative power. dichotomy of loss and gain the dichotomy of His first use of a bird, this has carved a rift between his loss and gain has time an eagle, appears in the past and present life. second spread. Spiegelman The towers are carved a rift portrays himself with a bald also metaphors in a few between his past eagle in an “Uncle Sam” hat senses. The “glowing and present life. tied around his neck, evoking bones” of the towers are an recall of Coleridge’s The anthropomorphic metaphor, Rime of the Ancient Mariner, representing both a skeletal the historically terroristic in which the sailor who spectre that haunts him Kids as the victims of wears the albatross does so and the embodiment of the manipulative authority as a sign of suffering and death of Americanism— figures. This portrayal acts remorse. This use of allegory Eric Darton’s biography of as a referential interpretation through the eagle motif casts the towers describes them of the relationship between Spiegelman as the sailor, as symbolic of a litany of civilian New Yorkers and retelling the tale of the falling American values behind which the U.S. government. towers to a largely indifferent every American could stand: Finally, but perhaps most yet fascinated audience. achievement, renewal, self- importantly, Spiegelman The eagle appears betterment, and above all, references “the twin towers of again on page 4, ridden by the power of the free market Auschwitz and Hiroshima” as a grinning George Bush (Darton). To Spiegelman, the humanity’s last great terrorist and a grim Dick Cheney. “death” of the towers and the event, pulling 9/11 away The former vice president subsequent media frenzy and from the sphere of national is depicted slicing the political action indicate the tragedy and into a universal bird’s neck with a box death of an era of unchecked commentary on the capacity cutter, a direct reference 54 to a CNN article from “Ostrich Party” on page 5 Stylistic Choice 2001 that controversially depicts Americans “sticking According to comic claimed hijackers used box their heads in the ground,” artist, analyst, and author cutters to attack airplane neither Republican nor Scott McCloud, there are passengers and crew. By Democrat but a “third party” five arenas in which an artist placing this particular act that “actually represents us.” can make decisions that will of supposed terrorism (the Page 4 features a vulture on affect the way a comic story is box cutter story has never the back of a photographer understood: moment, frame, been supported or proven by as he shouts, “Watch the imagery, word, and flow. any evidence) in the elected birdy!” at the flaming The first arena is hands of the government, towers, referencing the overt moment. An artist shows Spiegelman inserts an narrative of the first five the moments he believes to implicit narrative into the pages—his confusion and be the most important in a spread—that of an antagonist dismay at seeing amateur and story--a concept that seems government utilizing news professional photographers obvious, but is intentional in media to appear victimized at picking at the remains of the subliminally conveying what the expense and victimization falling towers. A ubiquitously objects and ideas are (and are of its national constituency. omnipresent pigeon, clearly not) important. For instance, The eagle asks, “Why do representative of local New Spiegelman obscures some they hate us? Why???” and Yorkers, appears on page 9 panels in the page 3 spread from the familiar, haggard to illustrate the stupefaction with overlaid illustrations of expression on its face, the of New Yorkers after the postcards and propaganda. reader can infer that this attacks. On pages 2 and 9, Not only do these overlays eagle represents Spiegelman Spiegelman quotes Chicken enrich the storyline with himself, victimized by his Little—“The sky is falling!”— another layer of detail, but own government. Red in an attempt to wake those their presence between the “Republican” eagles appear around him to the daily terror reader and the story heighten alongside blue “Democratic” he perceives thanks to post- the speed and frantic feeling doves and red angels of death traumatic stress disorder. Due of the page, eliciting similar on page 7—while Spiegelman to their prevalence, the reader feelings in the witness of the identifies with neither party, can go so far as to assume story as those likely felt by he clearly believes Democrats that perhaps the presence of the author and his wife as they to be more passive, peaceful birds in Spiegelman’s work searched for their daughter. political agents and is prompted by the nickname The author’s choice Republicans aggressive and given to airplanes, acting as of frame is also important. deadly. an attempted shifting of blame Spiegelman takes more license Spiegelman also from himself—the wearer with his frames in this work employs other symbolic of the albatross—to the real than in previous works like species of birds. The perpetrators. Maus, superimposing one strip 55 atop another, using strips as all include detailed, artistic When he is not using borders for the main artistic parodies of classic 1960’s and the vernacular of a borrowed “event,” and overlapping 1970’s underground comic comic, Spiegelman’s voice strips in order to partially or styles, including highly throughout In the Shadow fully obscure certain moments. disturbing, complex imagery of No Towers is his own. It One example of this can be and symbolism of death, appears as both expository found on page 4 of the graphic pain, and anarchy. He also narration within panels as novel. Spiegelman notes the portrays characters in his well as in dialogue. Though abundance of photography story as characters borrowed much of the commentary and by others on the day of from classic and retrospective story is written in first person, the attacks, and narrates comics and graphic novels, a Spiegelman often switches his ongoing search for his stylistic choice discussed at to third-person-omniscient daughter in “photos” as well, greater length later in this to give the story more of a illustrating in a softer, more paper. One unique example, “newsroom” feel, heightening lifelike style that portrays however, comes from page the drama and playing on the Spiegelman’s characters 7 of the novel. Spiegelman reader’s recall of storytelling as they are rather than as portrays the bipartisanship modes used by news sources caricatures of themselves; for a of the nation as well as his of the time. Page 6 of the moment, pulling the narration blatant disgust and distrust graphic novel juxtaposes from the arena of comix and towards the executive branch Spiegelman narrating himself into the arena of storytelling. of government at the time as The Falling Man on the The panels show only vital through his illustration of the left hand side of the spread moments, snapshots which entire spread in shades of red against his first-person condense the entire experience and blue, with only himself narrative of his encounters to just a few seconds. The and a few “extras” he relates with the Russian homeless layout of the photographic to drawn in grayscale. woman. The choice is effective panels is scattered, evoking Imagery in the form in separating commentary the chaos and surrealism of of non-sequitur is also from active storyline by the experience. used to convey a sense of contrasting present, reflective Spiegelman carefully confusion and disarray in omniscient narration with chooses his imagery to fit Spiegelman’s own mind. On thematic dialogue. the intended mood of his page 9, Spiegelman includes Spiegelman’s choice commentary. While he a self-portrayal strip. In each of flow is the final arena in often resurrects characters panel, Spiegelman’s body, which he can make stylistic from Maus to portray head, or hands are replaced choices to affect the story. himself and his family, he by objects in the room around He uses flow in a variety also dabbles in surrealism him, including his cat, the of ways to convey separate and hyperrealism to evoke lampshade, his own foot, and emotions and settings. Where shock and empathy from the finally, a full transformation the content is technical and witness. Pages 6, 7, and 8 to the mouse from Maus. complex (maps, intricate 5656 step-by-step retellings of the then down the left side. The process through a racially tragedy, complex metaphor), background image from page charged lens, offering a flow from panel to panel 4 is superimposed on the new approach to the idea of is largely uninterrupted. image of the glowing towers, Americanism and patriotism Spiegelman also uses a and the reader is given a cue after the attacks. simple, left-to-right, top-to- to the direction of flow by the To demonstrate and bottom flow when artistic increasing blurriness of the cultivate the overarching differences between panels two joined images. theme of racial terror, hold an important profiling, and fear, storytelling cue. Spiegelman chooses For instance, to use Rudolph Spiegelman’s Dirks’ Katzenjammer commentary on the Kids as a running lower Manhattan theme and operative air quality metaphor for the post-attacks is attacks, towers, positioned around and government the point in the response. In their story when he first appearance and his wife are in Spiegelman’s running to their novel, the usually daughter’s school– terroristic Kids wear his smoking the Towers as hats, habit inhibiting and, rather than Jenny Morrett, “Submerge”, charcoal, 4’ x 4’ his progress. He causing mischief, are intertwines the “real-time” the victims of it. The Kids’ story with a commentary Reference to Nostalgic/ grandfather and parents on air quality, narrated by Historic Comix: Race continue to ignore (and his own character from the Spiegelman’s choice sometimes, exacerbate) the Maus novel. As the panels of certain referenced comix flames shooting from their progress, the cigarette in In the Shadow of No Towers children until at one point smoke surrounding the is deliberate in charging his both children are doused in character gets thicker and panels with racial strife. As oil and pesticides in their the narration more agitated. the son of two Holocaust grandfather’s war on the Spiegelman’s flow is more survivors and as a Jew living Iraknid. Grandfather is complex when he includes in New York, his exposure routinely portrayed as Uncle political commentary more to and experience with racial Sam, though he retains the heavily. On page 5, the flow issues runs deep. He is able German accent of the original of panels progresses across to process certain aspects of character—an offhand the page from left to right, his city and nation’s grieving gesture toward villains from 5757 past Spiegelman works. racial profiling after 9/11 character from Maus and Another racially covers the gendering and Kat, symbolically carrying charged work, Happy racialization of Muslims the burden of the towers as Hooligan, features Spiegelman in the media after 9/11, individual bricks. Like Ignatz, himself as Happy in his own exploring the trope of he is both a perpetrator parodied version. Happy, the “Muslim male” as and prisoner of aggression. an “Irish tramp…an eternal representative of an entire Spiegelman also appears loser with a heart of gold” race and religion (Grewal). as the clueless immigrant epitomizes class and racial Just as Happy is portrayed patriarch from Bringing Up tensions of the day, satirizing clad in a turban and beard in Father, who, in the appended them in a way that appealed the historic strip, Spiegelman plate, props up the leaning to lower-class immigrant features the representation tower of Piza with a pile of families (Sabin). The plate throughout his parodies, scrap wood—more allegorical included in Spiegelman’s drawing the turban and beard reference to U.S. involvement appendix utilizes symbolism on characters to indicate their in the “falling tower” of and storyline with an eerie applied role as “terrorist”— Middle-Eastern tension. connection to the 9/11 even when the character is Spiegelman also attacks. Happy is asked to Spigelman’s own wife. borrows thematic elements dress as an Arab, but when from comix culture not his friends point him out and Reference to Historic/ included in the appendix of the camel recognizes him to Nostalgic Comix: Politics In the Shadow of No Towers. be an imposter, he is thrown and Culture As Mad magazine first into a circus strongman Spiegelman’s choice featured Maus as well as some rehearsal. The final panel of referential comics is an of his other early works, shows a confused Happy exercise in self-portrait as Spiegelman’s connection being asked by a lawyer much as it is a political and to the edgy, symbol-ridden which of the strongmen cultural commentary. His style of the underground “dropped a weight on him.” choices—Krazy Kat, Bringing comic genre is evident in The symbols—of imposters, Up Father, and Mr. Natural his illustrative choices. The legality, and retaliation via (as well as 1970’s comic artist invokes the angst and displaced violence—resonate style)—carry symbolically rage of the age in his final with those who share significant cultural weight. four spreads. Spiegelman Spiegelman’s malcontent. In In the first instance, the uses both the iconic 1970 post-9/11 America, the dual love triangle of Ignatz the Mr. Natural cover art from “weights” of responsibility mouse, Kat, and Offissa the comic of the same name and allegiance were dropped Pup is utilized to show the on page 10 as well as on his on racial relations, especially relationship of the displaced daughter’s t-shirt on pages between Americans of Arab homeless, the police, and 4 and 10—he comments on descent and other Americans. New Yorkers. Spiegelman the destruction of innocence 58 Grewal’s 2010 article on portrays himself as both his through the attacks by pairing such a lurid, violent Spiegelman’s rejection of this print military speculation as comic with his own daughter. line of thinking expresses fact, and rampant financial The simple illustration of a his wish for the terror attack sector crimes for which grinning Mr. Natural bears to be construed as a crime Martha Stewart was made a the caption, “The entire against humanity rather than martyr. The Happy Hooligan universe is insane!”—an apt a political mode of inciting comic in the appendix, observation made especially nationalistic feelings in the explained earlier in this obvious for the final panels of American public. paper, as well as Douglas the work. Spiegelman explores Kellner’s 2004 paper on media Spiegelman’s anti- the idea of displacement— manipulation explore the idea government tendencies align of anger, of terror, of of political propaganda in the with his disdain for media retaliation—on page 9. In form (and under the guise) manipulation, as shown on of news media (Kellner). pages 1 and 2 of his graphic The work solidifies This media hijacking by the novel. He comments that party in power as well as the on television, the towers his identification fundamentalist, dichotomized aren’t any bigger than the as an American— storylines it spread played host’s head, but logos are not from his into the helplessness of huge—ending the criticism patriotism nor Americans in a post-terror with the comment, “it’s a from his love of state. medium almost as well suited as comics for dealing in nation, but from Concluding Remarks abstractions.” Analyses of the creative and Because it explores terrorism and media coverage radical use of his an event so complex and concur. Psychologists Li, First Amendment intrinsic to 21st century Quiong, and Brewer define rights. American identity, the and delineate the differences purposes of the graphic novel between patriotism and are many. As a victim himself, nationalism and their an obvious metaphor. he In the Shadow of No Towers opposites, as the world after likens the replacement of the provides its author with the 9/11 is highly polarized. family cat with the U.S.’s war mode and opportunity to heal Their paper finds that “love in Iraq (a “war on terror” and process his own personal of patriotism” also tends to that Spiegelman believes trauma. While he may never be construed with attitudes, demolished a country rather forget the “glowing bones,” feelings, or actions of what than the terrorism thought to creating the graphic novel one could call “anti-other,” reside there). He continues transformed the fallout of which expresses that a to explore the theme, noting terrorism into an expression love for one’s own nation the New York Times’ apology of the most American value constitutes a disdain for other letter for minor journalistic of all—freedom of speech and errors as they continued to nations (Li and Brewer). of expression. In creating, 59 reading and referencing his his patriotism nor from his it provides an exercise in favorite historic comix, he love of nation, but from the careful study of stylistic finds peace in a personal, creative and radical use of his themes, quick recognition of local, and national sense. First Amendment rights. parallels, and immersion in a The work also gives For the reader who complex melding of artistic Spiegelman a voice—his can remember 9/11, the work and textual language. In experience with the reach and becomes a new lens through the Shadow of No Towers impact of Maus and his local which to view the tragedy explores without explanation, celebrity status provide him a and in turn a new basis for illustrates without means of reaching the greater discussion—for the reader advertising, and censures public with a story untold in who cannot, it acts as a without apology—it is an the mass media. The work supplementary education and iconic and essential facet of solidifies his identification testament to the many voices the American 9/11 narrative. as an American—not from of America. For the analyst,

Works Cited

Alsultany, Evelyn. Arabs and Muslims in the Media: Race and Representation After 9/11. New York UP, 2012. Boettcher, Mike. “Box Cutters Found on Other September 11 Flights.” CNN, 24 September 2001. Darton, Eric. Divided We Stand: A Biography of New York’s World Trade Center. Basic Books, 2011. Grewal, Inderpal. “Transnational America: race, gender and citizenship after 9/11.” Social Identities, 2010, pp. 535-561. Kellner, Douglas. “9/11, spectacles of terror, and media manipulation.” Critical Discourse Studies, 2004, pp. 41-64. Li, Qiong and Marilynn B. Brewer. “What Does It Mean to Be an American? Patriotism, Nationalism, and American Identity After 9/11.” Political Psychology, 2004, pp. 727-739. McCloud, Scott. Making Comics. Harper-Collins, 2006. “Motif.” Merriam-Webster.com. Accessed 24 November 2016. Powell, Kimberly A. “Framing Islam: An Analysis of U.S. Media Coverage of Terrorism Since 9/11.” Communication Studies, 2011, pp. 90- 112. Sabin, Roger. Comics, Comix, and Graphic Novels. Phaidon, 1996. Spiegelman, Art. In the Shadow of No Towers. Random House, 2004.

Cheryl Wells, “Cacophony”, marker, 22” x 30” 6060 Searching for the Beginning Josie Youel

ART-325: History of This research paper is a study of a difficult-to-love painting from 1947. This Modern Art image of a man is coarsely drawn and painted, utilizes a narrow range of dull white, grays, and black, and incorporates scratches and simple shapes in a To be an artist chaotic manner. It rarely catches the eye of students for very long due to the painting’s refusal to give the viewer a pleasing picture and easy interpreta- one must be unique and tion. In short, it’s a very challenging work. Yet, Josie takes the approach of challenge what has been meeting the image at the level the artist hoped viewers would be willing to embrace. She looked closely at what at first appears to most as unfinished done before them. Whether and poorly drawn and instead reveals through her writing the complexity of or not that sentence contains thought and vision that the painting carries and then generates in the viewer. -Susan Swanson any credibility or truth, the painter Jean Dubuffet fits At the end of World deep necessity for something almost perfectly into it. He War II, the whole world let completely new. Fineberg was audacious, interesting, out a sigh of relief as those goes on to say, “In Europe challenging, and fearless, yet involved and affected by the Jean Dubuffet [and other one can think his approach to war knew change was on the artists]…returned to first painting might also be a bit horizon. It was a bleak world principles and reinvented art clichéd within the world of due to the effects of decisions for themselves “from scratch” art if the first sentence holds and events that took place (Fineberg 128). Many artists any validity. Jean Dubuffet, throughout the six years of did not want to return to the affected by World War II, war across the world (Turner way society was before the found himself starting from 332). Commenting on artists war, because what was before the beginning, even going during this time, art historian had led them to, or influenced as far as inventing a term Jonathan Fineberg writes, how, the world had gotten entirely new to the world of “Postwar artists felt they had to the place it was--and art; a term that challenges to construct an authentic new that place was comparable “classical” art. In his work, he foundation for art in response to hell. Despite Dubuffet’s drew from children’s artwork to the pressing social and challenging personality and and their innocent eye and ethical issues which had come his disgust with everything creative minds when, in 1947, to the fore in the thirties mainstream in the culture, he painted a full body portrait and early forties” (Fineberg he jumped in and let the of a man standing on the edge 128).In other words, what current take him with the of town, Le Villageois aux was done during World conventional culture. Cheveux Ras (The Villager with War II by humanity against Starting from the Close-Cropped Hair), an oil on humanity was life-changing beginning, Dubuffet rejected canvas, 51 ¼” x 63 ¾”. and these artists felt the art that mainstream society 61 61 considered “beautiful.” that seemed to eliminate all created are of little extent, Dubuffet described himself: concepts and thoughts about show very small means, are “I am a presentist, an what art was supposed to be even limited in some cases to ephemeralist. Away with all and turned it to a completely sketchy and unsophisticated those stale canvases hanging blank page. He called this small doodles, traced on a in dreary museums. They new art “Art Brut” or “raw wall with the tip of a knife, were paintings: they no longer art.” For Dubuffet, Art Brut or with a pencil on a used are” (qtd. in Rhodes piece of paper. Such 779). He wanted little hasty drawings to throw out every often seem to reveal concept, theory, to me a much broader and piece that was content, and a accepted as “art” in much more precious western society. He meaning, than most goes on, “I think large pretentious this culture is very paintings… I find much like a dead that things are more language, without moving (when they anything in common remain at a humble with the language level, halfway realized spoken on the street. or ruined) when they This culture drifts arise at an early stage further and further of their formation…” from daily life…It (qtd. in Rousseau no longer has real 21). Dubuffet was and living roots” drawn to art that

(qtd. in Rousseau Photo credit: Rich Sanders, Des Moines, IA seemed to reveal Jean Dubuffet (French, 1901-1985) the underbelly of 17). For Dubuffet, Le Villageois aux Cheveux Ras his postwar world (The Villager with Close-Cropped Hair), 1947 society. He was drawn Oil on canvas. Dimensions overall: was dead and no 51 3/16 x 38 3/16 in. (130 x 97 cm.) to the unfinished Purchased with funds from the Coffin Fine Arts Trust; Nathan pieces, sketches, and longer living. He Emory Coffin Collection of the Des Moines Art Center, 1981.41 was disgusted thoughts that were and outraged as he found described art at its beginning rejected. He was moved by himself at the roots of what when the work is rough, “halfway” finished pieces conventional art “is.” Dubuffet rugged, unrefined, and plainly or “ruined” pieces. They was radical in his thoughts unfinished. This was where are the very start of what and actions, and in response Dubuffet saw true art. About is considered a masterpiece to his outrage, he coined a Art Brut, he said: “It doesn’t by society: the bare, raw, whole new term in art, one bother me that the works sketches, and the very root 6362 of beauty. He thought his order to show society the they do not have money or paintings should stay in their same need to start from the a say in what is beautiful or raw state because that is very beginning. His viewers not, because they do not own where they would challenge are drawn to the thick and anything beautiful or have the society to see the world uneven strokes and textures power to declare it beautiful. differently, after World he uses to depict the subject; They are common, everyday War II had left society with however, then they are drawn people. nowhere to go. Dubuffet did to and focus on the material Dubuffet is drawn not contain in his vocabulary he started with. The materials to the common man for his the words “finished,” not only relate to his need to subject matter, but also for “refined,” or “masterpiece.” start over but they also relate his audience. He does not The only time he would use to his subject matter. He want his art to communicate these words was as an insult references tar and asphalt as and speak to the upper part to society’s idea of “charming” similar to sand and pebbles. of society, the bourgeoisie; art. He desperately wanted Art historian Thomas M. he focuses on the common to rid society of its notions Messer describes Dubuffet’s people. Dubuffet commented of what art is. He wanted to method by saying, “Tar and on his choice of subject start over at the beginning, asphalt are materials that matter, writing, “It is the before the brush hit the are considered to be of little man in the street that I’m canvas. value. In working with these after, whom I feel closest Dubuffet incorporates materials, the artist himself to, with whom I want to in many of his paintings sand, becomes a road labourer. make friends and enter into pebbles, or other materials This association between the confidence and connivance, from nature. Art historian artist and the proletariat is and he is the one I want to Colin Rhodes informs readers, indicative of the subversive please and enchant by means “Dubuffet not only draws our power inherent in his art that of my work” (qtd. in Fineberg attention to the fact of the was capable of exploding 131). He wanted his works to works’ painterly construction, narrow-minded bourgeois speak to the common people, but insists that we recognize notions of what is acceptable” the ones who work every day in them the base nature of (Messer 62). Messer argues with sand, pebble, tar, and pigment itself by including that Dubuffet rejects notions asphalt, who have it under stones and other recognizable of the upper society, of their nails, in their hair, inorganic and organic accepted culture, and instead, and in their shoes as they elements” (Rhodes 780). In connects to the laborers; the study the same materials in other words, Dubuffet pulls ones who lay the roads with his pieces. Dubuffet reflects materials from the earth, tar and asphalt. Dubuffet sees on the creation of Adam, essentially from where we these workers as part of the as he was created from the get everything, starting start of civilization. Laborers dust of the earth. As if the from the very beginning, in are not famous or known; pieces are rooted in them, 6463 in the start of civilization, uncontaminated by the ideas, than made with the utmost in the start of the roads, in norms, and accepted concepts care and precision of most the start of production and of culture. For Dubuffet, these masterpieces created in an era manufacturing. Dubuffet individuals have this sense of such as the Renaissance. His was not only focused on innocence just as children are lines draw out the viewers’ the common people as born with innocence to the senses with their physicality. his audience, but also the world around them. In studying the painting, the individuals that society This different way of viewer will see lines where rejected. Even further away looking at the world or at art Dubuffet could have used his from the mainstream upper is what Dubuffet was focused fingers rather than a brush to crust of society, Dubuffet on. Messer claims, “Good draw them, which is similar to searched for inspirational art, according to Dubuffet, finger paintings that children works from children and has to make the viewer see love. There are other lines individuals in psychiatric things differently” (Messer where it seems Dubuffet made hospitals. 62). Dubuffet creates and mistakes, as many young Dubuffet was paints in simplistic forms. His artists think they do. The fascinated with the works piece Le Villageois aux Cheveux brokenness and unevenness of created by children and by Ras (The Villager with Close- the lines add to the viewers’ individuals suffering from Cropped Hair) looks as if a confusion or perhaps interest mental illnesses. He admits: child created it. Proportions in the piece. The lines are “To find a true artist is almost are unequal and harder for comparable to a maze for the as rare among the mentally the viewer to piece together viewer; they are interested ill as among normal people. in their mind and understand in the activity of finding a It happens a bit more often, right away. The color in The way out but unable to and however…. It is because art Villager with Close-Cropped the ending in confusion and is a language in which we Hair consists of black, grays, frustration. Many children apply…our inner voices that white, and a yellowish find these same emotions are not usually exercised, or pigment; staying close to within art, and the tone of that are exercised only in a neutral hues in all his color Dubuffet’s piece as a whole is muffled, stifled way…. Yet, it choices. Dubuffet challenges not a happy one. is the particularity of insanity the formal elements of The subject matter to force open these floodgates design as an adult, however, is a man or possibly boy. and allow the entire bounding the children from whom he However, the viewer notices flow of its wildness to rush draws his inspiration do not the figure to be dressed in a out” (qtd. in Rousseau 24). understand these elements in suit a father or grandfather Dubuffet believes there is a their own drawings. would wear. The figure has quality among individuals Dubuffet’s lines are an Adam’s apple, which is with a mental illness thick, uneven, broken, and drawn with an uneven circle. that elevates them from confused. They look sketched The outline is heavy, and mainstream minds. They are and hurriedly drawn rather the viewer cannot help but 6264 be drawn to it. The form is However, these greys by of the piece, one sees mainly simple and hastily drawn; a no means create realistic or black with white and yellow/ quick observation made by a correct shading. brown/tan etchings coming mind free from shading and The textures seem through to show mostly lines, the complexities of making to be both purposeful and textures, or grids almost, but a shape become three- not purposeful throughout also a city skyline making up dimensional. There is only a the body. The short stubble the horizon and background. foreground and background, hair of the man mimics the There is also a house in the similar to how many hair a child might draw middle ground, or the closest children’s pictures turn out, for a portrait of their bald thing this piece gets to a since they do not understand uncle. The hair is just short middle ground. While the scale and spacing yet. lines and dots on the top man occupies the foreground, When considering and sides of the man’s head. front and center, we are scale, the viewer’s eye goes Dubuffet draws lines on unable to see the man’s feet, from one portion of the piece the suit to show the lapel, as if the artist ran out of room to another, trying to make buttons, pockets and opening for them. This aspect of the sense of it. The viewer knows of the jacket, while on the piece reflects that of a child it’s a human body but also trousers of the man, he artist. Children start in on a knows it looks nothing like draws lines from the crotch painting or drawing without one realistically. They see diagonally down and out a thought of sketching or an abnormally large head, to indicate creases, folding, planning. All they know is thick neck, bell-shaped body, or wrinkles in the man’s they have a paintbrush in rectangular legs, and noodle trousers. This feature of the their hand and an idea in arms. Dubuffet uses basic painting in particular is very their head. shapes to create his man just uncharacteristic of a child Dubuffet demonstrates as a child would. The Adam’s to observe and then feel the his extensive studies of apple, kneecaps, nostrils, and necessity to put it in the children’s artwork through irises are simple, irregularly- drawing. There are other this portrait. He mimics shaped circles. He also uses textures throughout the their tendencies, techniques, the same shapes for the man’s body and suit that do and creative processes. He man’s bow tie and buttons not seem to hold a purpose exposes their creative mind: that complete the man’s suit. for the viewer. These textures a mind that is unspoiled The suit is the same color as look like accidents in some by the world they live in, a the entire man. The viewer areas, but in others they look mind that can create art in only finds white, black, and a like a child’s imagination and its raw nature, a mind that touch of yellow/tan/brown creativity took hold of what it is at the beginning of time throughout the entire body, wanted to, leaving the piece as they know it. Through with the white and black at the mercy of the child’s his neutral, dark colors, mixing in areas to create hand. Dubuffet foreshadowed greys and to add texture. In the background the dark and destructive 6365 nature of society and how emotion in children’s work they were content in their it will contaminate a child’s and individuals with mental cages. Instead, he fostered innocent mind. Ossorio, illnesses. a desire in society to grow an artist, collaborator, and Just as everyone is into a new art; an art that friend of Dubuffet, described affected by their environment, returned to its roots. When what Dubuffet was trying after the war Dubuffet he saw the need to start to express with Art Brut: uncovered and started over after the war, children’s “We witness here the artistic from scratch with what art was his inspiration. By process in all its purity, raw, art is, defying the art that starting from the beginning reinvented on all its levels was before. Art Brut was with the raw material—a by the maker, starting solely Dubuffet’s solution to the newborn thought—Dubuffet from his own impulses” polluted culture the world utilized the genius behind (Rousseau 9-16, 23). From took on; as if he found the children’s untamed, free, the very beginning of the key to the cage he was and uncorrupted artwork to creative process, Dubuffet trapped in, underneath the compel society to open their rejects thoughts, ideas, rubble of his environment. eyes to a world after war, pick and concepts, and desires He tried to set the rest up the fragmented earth at pure impulse. He finds this of society free; however, their feet, and rebuild.

Works Cited

Cooke, Susan J., Jean Planque, Peter Schjeldahl, James T. Demetrion, and Jean Dubuffet. Jean Dubuffet: 1943-1963: Paintings, Sculptures, Assemblages. Smithsonian Institution Press, 1993.

Dubuffet, Jean, Agnes Husslein-Arco, Salzburger Landessammlungen Rupertinum, and Museo Guggenheim Bilbao. Jean Dubuffet: Spur Eines Abenteuers = Trace of an Adventure. Prestel, 2003.

Fineberg, Jonathan David. Art Since 1940: Strategies of Being. H.N. Abrams, 1995.

Ford, Charles Henri, Catrina Neiman, and Paul Nathan. View: Parade of the Avant-Garde: An Anthology of View Magazine (1940- 1947). Thunder’s Mouth Press, 1991.

Hoffman, Katherine. Explorations: The Visual Arts Since 1945. 1st ed., repr. with corrections 1993. Icon Editions/HarperCollins, 1993.

Hunter, Sam. Art Journal, vol. 22, no. 4, 1963, pp. 266-68.

Kramer, Hilton. The Age of the Avant-Garde: An Art Chronicle of 1956-1972. Farrar, Straus and Giroux, 1973.

Museum of Modern Art (New York, N.Y.), Jean Dubuffet, and Virginia M. Allen. Jean Dubuffet: Drawings. Museum of Modern Art, 1968.

Selz, Peter. The Work of Jean Dubuffet. Museum of Modern Art/Doubleday, 1962.

S. R. “1943-1964.” The Metropolitan Museum of Art Bulletin, vol. 61, no. 4, 2004, pp. 43-55.

Rhodes, Colin. “Jean Dubuffet. Paris.” The Burlington Magazine, vol. 143, no. 1185, 2001, pp. 779-81.

Rich, Sarah K. “Jean Dubuffet: The Butterfly Man.” October, vol. 119, 2007, pp. 46-74.

Rousseau, Valérie, Sarah Lombardi, Kent Minturn, Jill Shaw, Jean Dubuffet, Anne-Imelda Radice, Megan Conway, Cindy Trickel, Norman Hathaway, and Käthe Roth. Art Brut in America: The Incursion of Jean Dubuffet. American Folk Art Museum, 2015. 6566 Rebirth Zach Moss

ENGL-213: Nature & I appreciate Zach’s passion for and understanding of the natural world as Environmental Literature well as the philosophical questions that he explores in this short journal. -Mary Stark

Two months ago, a of this ecosystem. The land to me to think that these solid blanket of six-foot-tall has transformed itself and one to two inch tall plants grasses towered over my bounced back from what some could eventually grow into head. The blanket danced would see as a death sentence. the large plants that used to with every breeze like an As I waltzed through the dominate the prairie biome. I ocean with the come-and- prairie, the words of Walt bent down and observed one go of the tide. It is hard to Whitman came to mind: “Oh small green plant, to see if I believe that in the span of how can it be that the ground could tell what it was going a few minutes, almost all itself does not sicken? / How to grow up to be. Judging by five acres of this prairie was can you be alive you growths the square stem and minty burned to the ground. Less of spring? / How can you smell it was emanating, I than one month ago, this furnish health you blood concluded that I was looking area was a bare expanse of of herbs, roots, orchards, at wild bergamot (Monarda charred earth. Some crisped, grain?” (Whitman, “This fistulosa). There were also naked stems of stiff goldenrod Compost,” 6-8). While I was countless ankle-high shoots (Solidago canadensis) were at the prairie, two themes of different kinds of grasses the only signs that a mighty continued to run through my which I could not identify prairie was once there. mind. Looking at the unripe at this point in their life The U.S. Army Corps of regrowth poking up through cycle. The smallness of the Engineers had performed a the black earth, I pondered living things here forced me controlled burn on the area, the resilience of nature as to be more observant and allowing the dense buildup of well as the small pieces of appreciative of finer details. I grasses to be thinned out. life that make up an entire kicked over a tuft of partially- Now, as if through ecosystem. burned dead grass to see some magical transformative Because the area was what was beneath it. “I found power, the land is alive once so open and the plant life a ball of grass among the again with fresh green shoots. was so short, I was able to [prairie] / and proged it as What was once dead and get a new point of view of I passed and went away; / black is now bursting with the prairie as I freely walked and when I looked I fancied life and hope for the future about it. It is bewildering something stirred” (Clare, 6667 “Mouse’s Nest,” 1-3). To my able to defy odds to pack not. It is a race against time surprise, there was a large such a dense population into and against other plants to amount of activity below the such a small space, the prairie establish a foothold in the surface. It was not a mouse, ecosystem is able to defy prairie before the dominant as the persona in Clare’s odds by recovering from a grasses take over. Akin to poem found, but a bustling fire. What amazes me is that the carpe diem theme, the ant colony. In this large smaller plants must struggle open place, these hundreds and try to grow quickly of small creatures had made ...the prairie before the grasses grow up their home—their society— doesn’t just grow around them; otherwise the in a single square foot of back; it grows “… flower that smiles to-day, space. The tiny black ants back healthier and / To-morrow will be dying.” frantically rushed around, (Herrick, “To the Virgins,” trying to gather their senses stronger than 3-4). As I left the prairie, and their eggs and get to before it was I had hope that the small, safety. Feeling bad for having burned. unseen workings of nature disturbed their peaceful will reinforce its resilience goings-on, I flipped the grass and resistance against change ball back over in hopes that the prairie doesn’t just grow brought by human activity. they could rebuild after the back; it grows back healthier If this little five acre prairie, destruction I brought upon and stronger than before with its deep roots, can come their little world. I realized it was burned. An area can back from being nothing that everywhere I look, be engulfed and consumed but burnt black soil, there is invisible or nearly-invisible by flames, all living things hope for the reestablishment activities and relationships being burnt to the ground, of habitats and ecosystems occur right in front of me. and still manage to recover across the world that were These relationships hold the within a short period of time. thought to be once lost. This Earth together, but I simply Nature truly is magical. With prairie’s rebirth is a story of don’t think about them most more sunlight available, hope and optimism in the face of the time. new plants are able to grow of great adversity. Nature has Just as the ants were where before they could something to teach us all.

Works Cited

Clare, John. “Mouse’s Nest.” 1832.

Herrick, Robert. “To the Virgins, to Make Much of Time.” 1648.

Whitman, Walt. “This Compost.” Leaves of Grass. 1881.

6768 Illustration Credits

Paper sculpture by Kayla Foster 12” x 10” x 9”...... Cover

“Softness in Darkness” by Josie Youel Paper sculpture by Parker Hill Charcoal, 4’ x 4’...... Title Icon 6” x 6” x 6”...... 34

Silver sculpture by McKenna Kilburg...... 13 Paper sculpture by Drew WIllis 10” x 10” x 5” ...... 39 Watercolor by Jenny Morrett 11” x 15”...... 16 Copper sculpture by Jenny Morrett...... 42

“Congestion” by Raigen Furness Watercolor by Alexis Hunter Marker, 22” x 30”...... 21 11” x 15” ...... 48

Silver and copper sculpture Wood and copper sculpture by Leah Schouten...... 24 by Jenny Morrett...... 52

Charcoal drawing by Marshal Way “Submerge” by Jenny Morrett 18” x 24”...... 27 Charcoal, 4’ x 4’...... 57

Graphite drawing by Marshal Way “Cacophony” by Cheryl Wells 18” x 24”...... 30 Marker, 22” x 30”...... 60

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