Saturday, May 5, 2007

Become the Choice


In The Kite Runner, Khaled Hosseini writes, “I became what I am today at the age of twelve” (1). Khaled Hosseini makes a bold statement in his opening. He dives into the nature of choice in our lives and implies a single choice, regardless of age and maturity, has the power to define us as an individual for a lifetime. However, Hosseini over-credits the power of choice. The power behind choice resides within the ability to successfully act. It is who we are and the power we possess which determines who we become, not simply an instantaneous moment of choice.

The choice to act does not predetermine us successful in action. The choices we make are declarations to who we are, who we believe ourselves to be, and our intentions. The choice to apply the brakes as we approach a stop sign does not guarantee us to stop. The brakes may fail. Our foot may slip. We may react too late. Some choices are over-ruled by external forces, but predominately, our ability to properly drive our vehicle enables our chance to successfully stop when brakes are applied.

So, if power lies in the ability to choose rather than choice itself, what is it about ourselves that determines our choices? A combination of circumstance, genetics, parental guidance and social influences make up both our empowering ingredients and limitations. Our ability to blend the ingredients and cope with our weaknesses influences the choices we make and dictates our success potential.

A larger scheme encases a moment of choice beyond personal control. The external forces of our environment define the context of limitations and empowerment within which a choice is made. The degree of impact posed by environment may be trivial or significant, depending on the given situation. Choosing left and right with a new pair of socks is simple and straight forward. In contrast, Amir’s choice to find his nephew in Kabul during a time Afghanistan was under destructive Taliban rule typifies significant choices.

Step back for a moment and consider choice to be a single component to a larger equation. The primary variable to the equation represents who we are. That is to say, how we developed as a person through past experiences exacts the value of the primary variable. The secondary variable represents who we believe ourselves to be and how well we know ourselves. The enveloping variable is the environment within which the choice is made, the contextualizing external influences. And, the final result to blending the three dynamics together determines what we accomplish and who we become.

A natural instinct for survival automatically places self before all. The starving animal will eat something. Survival instinct number one: a baby cries to suckle mommy’s teat, filling its belly. With a full belly, the cries subside and a peaceful sleep appropriately follows satisfaction of survival instinct number one. Keep the baby hungry and it will continue crying for food. Hosseini’s narrative character, Amir, was a starving little boy. He did not go hungry for lack of food; I am sure his father, Baba, fed him well. Instead, he yearned for the acceptance and respect of his peers and most of all, his father. Amir searched for a peaceful sleep; he was starving and would eat something. He understood his lack of power needed to overthrow Assef and his hoodlums in the moment his bodyguard, Hassan, needed his help. He knew why he chose to place higher value on his infantile cry for Baba’s respect over Hassan’s virginity. Amir even explains, “Maybe Hassan was the price I had to pay, the lamb I had to slay, to win Baba” (77). It is who he was in the winter of 1975 that determined his decision. It was his cowardice and selfish hunger for Baba’s respect motivating him to flee, not his freedom of choice. His decision did not make him who he was that day; it proved who he was that day, a starving animal.

Consider an alternative choice for Amir on that bitter cold day in the winter of 1975. If Amir woke up that morning powerful, intimidating, courageous, moral and selfless, he might have been opportunistic in the back-alley, defeating Assef and defending Hassan. He may have avoided physical contest all together if his mere presence deterred Assef. Is it even worth mentioning the fact Amir would have likely defended his blue kite, his key to Baba’s heart, in the same stroke of his fist? Ironically, Amir would have already been in Baba’s good graces and not required a materialistic trophy to prove his worth. His ability and self-empowerment would have been visible and respected before interceding between Assef and Hassan’s split cheeks. That is, if he had not woken up a coward on a dark day in the winter of 1975. Unfortunately, an alternative was not an option for Amir. He was what he was and conducted himself accordingly.

Attempting to exert educational power, Amir belittled Hassan, calling him an imbecile then explaining to him, “’Imbecile,’ it means smart, intelligent” (29). Suppose this was Amir’s first lie and he could now be labeled a liar. He was capable of altering the truth prior to uttering the words before he was known a capable liar. ‘Liar’ is the label used to describe someone with the ability to lie, so becoming a liar is not a matter of choice.

Motive lurks behind the scene. A detective searches for motive to justify reason for murder. Suspects are ruled out and separated based on motive. Not just any murderer is responsible for the death in question. Many people have chosen to kill, but not all were successful in their action. The detective uses motive to identify who could have chosen to kill, but only the guilty party had the purpose and power to murder and be the murderer. To be a murderer, murder must be successfully committed; otherwise, the choice to murder merely results a failure, an attempted murderer. Therefore, a choice without substantiating action results in nothing valuable to the choice itself.

Amir’s troubled nephew, Sohrab, attempted suicide. A choice to commit suicide did not kill him because Sohrab’s ability to guarantee his death was not apt enough to anticipate and prevent Amir’s intervention. He did not expect his uninvited guest. Amir woke up and faced the gore, the “water drops dripping from the faucet and landing with a plunk into the bloody bathwater” (347). He wept and ached, but he was there, a man kneeling in the bathroom to save Sohrab from self-inflicted demise. Amir’s presence impeded Sohrab’s intention and overpowered the boy’s attempted suicide.

Encounter a wild animal and see what choice it makes. See what choice you make. Are you brave enough? Are you powerful enough? Out in the wild of things on an open plane, power is the decisive measure you will be weighed against. The tiger will plant its haunches as it assesses your power, in case you engage. Press upon the tiger and the trees begin to disappear, vision sharpens, hearing clarifies, reflexes quicken, breathing paces and the heart pounds. Nothing matters beyond your chance to survive and your ability to make it happen. Choices hang in the balance, waiting for movements by the tiger, waiting for movements by you. Choices are not the real point of contention between you and the tiger. The important questions focus on your power, your ability to successfully survive. If you choose to step toward the tiger, it is forced to respond because your action projects power and confidence, possibly aggression. The encounter between you and the wild determines the powerful and the powerless. How wild are you? If both of you remain confident, a fight to the death is likely near. If one of you loses confidence, you may escape without conflict or one of you may die still. The choices of the wild do not define what they are; it is what they are that decides their choices and whether or not they survive. What they are makes them dead or alive tomorrow.

Just before entering the Taliban compound to speak to the man in white, Amir thought, “Baba, I wished he were standing alongside me now” (273). He reached out to his deceased father for strength. He had to summon every ounce of inner strength and find the confidence to be just as wild as the murdering Talib. The decision to engage the wild was made. Amir chose to push onward, but had to wonder if he was able to substantiate his decision.

In suspense, Amir contemplated his position as he sat inside the Taliban compound. He knew his point of contact was the aggressor in the murder he just witnessed at the stadium. He anticipated the man would soon stand before him. Amir twisted and turned, trying to find a seated position with strong confident posture. Power had to be projected because dealing with the man in white would require every ounce of his strength and confidence; otherwise, he would fail to free his nephew, Sohrab, from the clutch of the Taliban.

Amir believed he was able and desperate courage was on his side. Speaking to himself however, Amir thought, “You’re gutless. Nothing wrong with cowardice as long as it comes with prudence” (275). He knew he was not gifted with bravery or the strength to support his attempt to rescue Sohrab from the Taliban. He surveyed his summoned power pool and determined his wildness. Even still, he questioned whether or not he could win, but courage is the thing he acquired during his maturing manhood. Courage, reinforced by knowledge, ignorance, haunting guilt, and understanding the consequences of fleeing, led Amir to the Taliban compound. His choice to pursue Sohrab simply indicated his heading and he repeatedly chose to continue. He considered the possibility that his efforts to retrieve Sohrab might damn his wife, Soraya, a biwa – a widow (275). Each time doubt spun him into reevaluation, he re-questioned the circumstances and his choice.

Since Amir understood the delicacy of his situation, he attempted to proceed with precise calculations. The Talib in white entered the room and in their first exchange of words, Amir was concerned his voice did not “betray the explosion of terror” he felt inside (276). He made every effort to protect himself from misconstrued actions of aggression and engagement with the Talibanian tiger. He knew if he lost confidence in his ability, Sohrab would be lost. He understood the Talib would not take him seriously if he was not perceived as powerful. The man in white would simply dispatch Amir to death if he felt threatened, so an aggressive stance was not an option for Amir. He had to belong inside the compound with a purpose requiring the Talib’s attention, but not his aggression.

In the face of an engagement between Amir and the Talib, new assessments were made before their next decisions. They both mentally calculated their positions. Who is the opposition in front of me? What power set enables him to face me and how does it measure against my own? Will the man in white kill me before I rescue Sohrab? What does the beardless Afghani from America want with my boy-toy? Having settled their mental quarrels, choice-driven action could begin.

The previously unrecognizable Assef, the Talib in white, slings the question, “Whatever happened to old Babalu, anyway?” (281) Assef’s opener hit Amir “like a hammer between the eyes” (281). Assef remembered Amir’s childhood miseries and knew a weak coward sat before him. All Amir’s hope for an opportunity of balance in fear and power between him and Assef was shattered with a quick question. What little leverage Amir owned in his situation was instantly abolished. Facing Assef, instead of the anonymous Talib, Amir’s choice was fouled.

Now trembling with fear, Amir asked Assef what he was doing there. To which the aggressor responded with, “I’m in my element. The question is what are you doing here?” (281) Assef projected his overt and powerful position over Amir with ease. The scales tipped horribly in favor of Assef. Even if Amir attempted to flee he knew he would fail and it was too late to run.

Amir had mistakenly delivered himself to Assef’s mercy; not merely by choice, but primarily by ignorance and weakness. He miscalculated the encounter he pursued. Had he known Assef was Sohrab’s capture, he would not have blindly strayed into the lion’s den. But, Amir’s mistake had been made and irrationally, he lashed out like a starving child, insulting Assef and realized, “I had crossed the line, whatever little hope I had of getting out alive had vanished with those words” (284). He knew he had taunted the tiger beyond resolve and his life would pay the bounty. Amir unintentionally chose a course of action that pinned him into a corner.

Conversation turned to pokes and prods littered with insult. Assef continued pressing Amir with intimidation. And, understanding nothing more could be lost, Amir pushed back. He chose not to spiritually surrender because that would only feed Assef’s satisfaction. Whether or not Amir had the spiritual stamina to mentally stand his ground with Assef was yet to be determined.

Assef offered up Sohrab for a price. He wanted to settle the score on some old business of unresolved childhood conflicts. Power was monopolized by Assef, they both knew it, and Assef intended to strip Amir down to lifeless rotting flesh. Behind closed doors, Sohrab stood witness to the battle between two wild animals. Wild judgment declared Amir helpless to Assef’s power and left him in a bloody mess, but Assef’s ignorance and poor choice to ignore Sohrab deemed him “One-Eyed Assef” (286). Amir did not choose to be beaten, but he expected Assef to kill him, one bone at a time. Amir knew he was not strong enough to defeat Assef in a brawl and Assef had the same confident assumption. Acknowledge also, Assef had not made a choice to replace his eye with a brass ball, but it happened, “The brass ball was still stuck in his empty eye socket” (291). He chose to ignore the Hazaran boy and turned his back to him.

The point is not to discount choice, but to explain the relevance of its surrounding complexities. The choice is a climax following a build up of development and contemplation. Evaluation of the options premeditates the actual moment of choice. Directly following, is the determination of success resulting from the action attempting to make choice a reality. Choice is often used as a marker for change and considered an all powerful freedom, but choice is not always as simple as pushing a button or selecting a favorite color. Most often, important choices stem from significantly attached depth and have challenging outcomes metered by external influences.

Sohrab chose and then attacked Assef with his slingshot after his shouting attempts to stop the fight had failed. Realizing Sohrab had drawn his weapon upon him, Assef immediately quit beating Amir. He knew how capable Sohrab was with a slingshot and responded to the severity of a surprising shift in his situation. An ability to powerfully and successfully use a slingshot enabled Sohrab to accurately strike Assef. Sohrab not only chose to engage Assef, he was able to carry out his intentions and stop Assef with a crippling blow. Choice did not save Amir’s life. A powerful combination of Assef’s overconfident ignorance and Sohrab’s able purpose saved Amir from death, not simply an instantaneous moment of choice.
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Talk about difficult and significant choice (The Matrix Choice).

Friday, May 4, 2007

Pentagram Pinnacles

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Beware you beholders in possession of narrow mind. Numb yourself and follow your hand in drawing five congruent lines. Nudge them with the tip of your pen to position a display of crossed lines forming five pinnacles in perfect geometry. Begin tracing your pen along a continuous path in a star-crossed pattern from pinnacle to pinnacle, entranced. What have you done? What construct are you following as your blind hand presses pen-cuts into paper?
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The figure is cut before you. Its history is long, defining a path splintering into branches of translation across millennia. There is only room for a single true meaning behind the projection. Only you can realize a profound depth presented to your perspective by its visual effects. I am left as a mere bystander, as you calculate exactness to its geometric ratios and meaningful gains at each fork in translation.



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The image invokes an intimidating intensity in your expression. Attempting to consul my own discomfort and disconnection, I mimic. If sight of a single drawing projects such a powerful message, perhaps, Scott McCloud correctly points out “pictures predate the written word” (698). A certain effectiveness lies within the ability to convey a collaboration of ideas by visual presentation. The simplicity of using an image to deliver messages can be impressive where written and spoken words easily lack similar appeal and efficiency. In precisely the manner an icon can be transformed and called upon by a single word, an entire realm of thought can be transported through a familiar iconic representation.
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Your admirable acceptance of the sketch’s conception speaks to me about translations from void to Lucifer. I am beginning to believe I understand stepping stones touching on symbolic representations for subjects of five. I feel the five elements of Nature pushed onto me as water, earth, idea, fire and air. You pierce me with five wounds of Christ and then pamper me with annunciation, nativity, resurrection, ascension and assumption, Mary’s five joys of Jesus. Now I hear you mouthing, “Frankness, fellowship, purity, courtesy and compassion, five virtues of knighthood.” Your knowledge flows with passion, creating a flood about my feet. Will you dampen your pace for me to catch up, or gain momentum as you dive deeper?
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Christianity, Pythagoreanism, Neo-pagans, Knights Templar, Satanism!? Did you say, “Chaos” and “Devil”?
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“a(a) + b(b) = c(c),” I remember Pythagorean’s Theorem and I see the relations between 1, 1.618..., and 0.618….
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“Endless Knot,” you mention. I am wondering where the branches of translation end. For that matter, where did they begin?
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Sumerians saw nooks and holes where I see sticks and stars.
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Christian Crusaders are protected from witches and demons and I try to understand how.
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I recall the zigzag penciling I drew, as a child, offset by the harsh outline of a white half-crescent moon.
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Your insight has faded to a muffle, as I recall, “When the camera reproduces a painting, it destroys the uniqueness of its image. As a result its meaning changes. Or, more exactly, its meaning multiplies and fragments into many meanings,” John Berger’s words seem truer than ever (686).
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Disgust in my incomprehension points toward my ignorance, realizing I have much to learn. I am overcome by anxiety in my attempt to grasp the full meaning revealed from behind the image. In twists and turns, subject to interpretations, it is difficult to clearly discern its esoteric definitions. Altering vantage points seem to obscure the bridges from one understanding to the next. Leaping from an experience in the particular moment I exist to a place in history baffles me with additional connections to a world and time I can not possibly explain without misunderstanding. I find myself jumping back and forth between the now and the past. The star’s meaning broadens and thickens with each and every jump.
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Your hasty disclosures build my appreciation for recordings. Having you on copy eases my frustration where I lack instant understanding of every delivered explanation. I know I can study in review at my leisure. I possess the power in my remote control to pause time when I require details to digest. Rewind and play afford me the repetitions I seek, and some parts are simply passed over in a glimpse of fast forward. I attain confidence through my own editing and ponder the idea of establishing my own fork in the branched path of translation.
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Pause. Did you just show me the sine of six hundred sixty-six degrees [666º]? Briefly, I am curious about the sine of such a large angle, almost two full circles. Play… A sharp jolt to my senses, I see and think the Devil. I acknowledge 666 to be the Mark and Number of the Beast, but the Devil stands out in focus. I feel a recession in the warmth of what light is present, as it rapidly fades from my eyes. I struggle to reapply my attention to the larger, growing evaluation at hand. It is amazing how the guttural response to the Father of Evil simply sticks, repeatedly forcing its ugly face to the forefront of my mind, against my will.
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At this time, I realize my collection of new knowledge, an impossibly expanding family tree of meanings supporting your drawing, is aloof. I imagine myself peering between two horns. In the distance, I see my own thoughts and ideas whirling about like a loose-paper novel, trapped in a dust devil. Your fun-poking laughter trails into the word “chaos.” Thinking “exactly,” I remember your previous mentioning of the word. Ah, yes, my head nods in revelation and smiling pride finds my face. Difficult, it has been to handle the reins of thought. My own mental process diverts as “the inattentive and jaded eye, passing through a world without interest, helplessly perceives that something in the bland panorama is not as it should be” (121). Why do I have the suspicion Steven Millhauser foreshadowed my current predicament? I should not have been led astray by a simple three-digit number.
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An evolution survives the test to my capacity for truth. You pose an endless challenge to expand my understanding. In acceptance, I integrate separate threads of perspective into a woven braid, strengthening the connecting lines between vertices of the forks. My mind becomes increasingly proficient in tracing my pen-point comprehension from point to point, passing through the intersections more gracefully with every crisscrossing circumnavigation.



Methodically, “Pentagram, around 1830AD, the Greeks began referring to it as the pentagram.” Having missed the full blunt of your words, I replay them to myself. I savor every word like finding a hidden treasure. In a single word, I seem to find a form of grounding. Again, I repeat, “Pentagram.” A burst of energy excites me with an eagerness for more information. Now, I have something tangible to tie to the drawing, anchoring it in my mind as the keystone to a new world of knowledge and understanding.
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Something has changed. Looking at the pentagram again, the initial simplicity as a construct on paper is not so simple. The overlapping stick-figure held in a plane of two-dimensions involves a third dimensional quality. The deep crevasses defining the continuity of its five pinnacles suggest more than heavy ink on paper. Its thick definition must drive into the wooden surface beneath the paper. I am convinced the depth and weight of your pentagram penetrates through the Earth’s crust and deep into the molten-iron core.
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In my transcendence, I remember Sally Stein’s study on Dorothy Lange’s Migrant Mother photograph. She points out, “by the time Lange died in 1965, she had come to think of her model as having only the generic name Migrant Mother” (534 – 535). Through continuous exposure to an iconic image like Migrant Mother or the pentagram, the icon’s likenesses are archived and tabbed by elementary, but significant words. A once limited string of words, now attain status as keys, unlocking doors to a time and place unfamiliar to today.
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Beware. Pace your haste and be careful to not be fooled. Our perspective may not shed light enough to encompass the truth in its entirety. I know my perception lacks the power of an all seeing eye.
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Pentagram
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Works Cited

McCloud, Scott. “Show and Tell.” Seeing & Writing 3. McQuade, Donald and McQuade, Christine. Boston:Bedford/St. Martin’s, 2006. 694-718.

Berger, John. “Ways of Seeing.” Seeing & Writing 3. McQuade, Donald and McQuade, Christine. Boston:Bedford/St. Martin’s, 2006. 680-93.

Millhauser, Steven. “The Fascination of the Miniature.” Seeing & Writing 3. McQuade, Donald and McQuade, Christine. Boston:Bedford/St. Martin’s, 2006. 120-1.

Stein, Sally. “Passing Likeness.” Seeing & Writing 3. McQuade, Donald and McQuade, Christine. Boston:Bedford/St. Martin’s, 2006. 532-43.

“Pentagram.” Wikipedia. 04 Mar. 2007. Wikipedia Foundation, Inc. <http://en.wikipedia.org/wiki/Pentagram>






Wednesday, April 4, 2007

Amir Stands as a Man – Question 13 (2, 14)

Baba recognizes Amir’s cowardice as a young boy in Afghanistan. In conversation between Rahim Khan and Baba overheard by Amir, Baba expressed his frustrations with his son to Rahim (21-22). “I wasn’t like that at all, they push him around. There is something missing in that boy” (22). As a boy, Amir often relied on his position as Baba’s son and Hassan’s fortitude to protect him from harm. It seemed he was incapable of standing up for himself. When confronted by the neighborhood bullies led by Assef, it was Hassan and his slingshot there to defend Amir. Hassan’s defense breaks down though. In the infamous back-alley scene, Amir recognizes Hassan is overpowered by Assef, Kamal and Wali. He knew he did not stand a chance in returning the favor to Hassan by warding off the hoodlums. Besides, he had to get his blue kite to Baba. When Amir did attempt to stand his own ground, the boy just did not have what it takes. He made a feeble attempt to stand toe to toe in the first encounter with Assef, quickly he was put in his chair. He does appear to hold firm with Hassan from time to time, with his educated tongue and the mere fact Hassan was willing to do most anything Amir desired. “For you, a thousand times over!” Hassan says to Amir (67). He would run the kite a thousand times over for Amir, winning Baba’s heart, not knowing the lamb he would become. Sacrificing Hassan haunted Amir for a lifetime, but it also forced Amir to become a man, in search of righting his childhood wrongs, if such a thing were even possible. It wasn’t until Amir and Baba had made a new life in America that Amir found the strength to stand up for himself. The first stand he makes is with Baba, who does not favor an English degree for his son. Amir decides his degree plan is where he will stand his ground with Baba. “But I would stand my ground, I decided. I didn’t want to sacrifice for Baba anymore. The last time I had done that, I damned myself”(135). Amir could not carry the burden and guilt in slaying another lamb for Baba. Amir carried the guilt knowing Hassan had been split from the rear, robbed of his dignity, and he was responsible. But, finally, Amir learned to be a man.

Monday, March 26, 2007

Rahim Khan's Only Downfall

Rahim Khan appears as a constant in Amir’s life. As part of his devotion to a long friendship to Amir’s father, Baba, Rahim plays a significant role in Amir’s development. He represents Amir’s past of unatoned sins with the opening phone call of The Kite Runner. To close conversation, Rahim says to Amir, “There is a way to be good again” (2). In recollection, Amir remembers an old photo where he is reaching out to clutch Rahim’s pinky finger while his father holds him.

Rahim Khan provides Amir with consistent support and respects throughout struggles to becoming a man worthy of his father’s love and acceptance. Through a collection of openness, understanding, acceptance, encouragement and most of all, keen observation of Amir’s circumstance from a neutral vantage point, Rahim is able to guide Amir with his wisdom. Such adept agency builds a much needed momentum in Amir’s writing. Rahim also plays the mirror of truth through which Amir is able to see himself and assess measurable judgment. Ultimately, he affords Amir a comfort his own father was not able to provide. “’-grateful that he’s healthy,’” is what Amir overhears Rahim saying to Baba in discussion when Amir eavesdrops on hidden conversation (21). Rahim proves to be a friendly supporter to Amir, in trying to open Baba’s eyes toward his own son and accept him for who Amir is, rather the son Baba wishes him to be. Rahim even goes so far as to tell Baba he is self-centered, finalizing with, “’You just need to let him find his way’” (22).

“Rahim had been wrong about the mean streak thing,” Amir claims (23). Not even Rahim could see the true darkness growing deep inside Amir, the fear and pain resulting in hateful spite for Hassan. When Rahim agrees with Baba’s statement, “There is something missing in that boy,” he mistakenly mentioned, “Yes, a mean streak”(22). His inept fortune-telling leads to a tough road Amir struggles to negotiate for years to come. Perhaps Rahim dealt Amir excessive length in the parental-leash, though not a parent.

Monday, February 26, 2007

Nerd? Who?

Neal Gabler’s “Inside Every Superhero Lurks a Nerd” makes an interesting argument, declaring Spider-Man fundamentally appeals to American society, resulting in its highly successful deployment as a moviegoing experience and its vigorous receipt by the target audience. If American society was not so moved by both adolescence and moviegoing, Spider-Man likely would not have been so well received, but I say the “nerd” in us may not cease after High School.

Gabler suggests “most adults have experienced adolescent powerlessness,” establishing the common ground on which moviegoers are able to relate themselves to Spider-Man, or more specifically Peter Parker, and allow the viewer to live vicariously thru Peter’s empowering emergence as Spider-Man (562). In the awkward developments of our adolescent years, it is quite probable to endure moments of weakness and confusion. Gabler expounds further to establish adolescent powerlessness and an obtainable empowerment create “two powerful elements: a primary source of moviegoing pleasure with a primary means of audience identification (562).” I am compelled to support Neal Gabler in his explanation as to why Spider-Man reeled-in such an impressive fan base. Gravitating to what we identify with and relate to is a natural instinct we have as humans. By such gravitation, we find ourselves plopped in a cushy-red chair with an overflowing bag of shirt-staining popcorn in one hand and a barely palm-able soda in the other, anticipating the final preview.

Neal Gabler defines Adolescence as “the period where one must move from youth to maturity, which means adjusting individual needs and desires to the larger world (562).” The typical teenager develops individualism, learns responsibility, and finds his or her place among society to play a part of something larger than the individual. Peter Parker endures High School chasms, develops superpowers, struggles to find his new position in humanity as a superhero and eventually “deploys his individualism for the larger good (562).” Gabler exclaims Peter’s symbolic individualism is cornerstone to Hollywood movies by stating, “Hollywood movies invariably celebrate individualism (562).”

Spider-Man does not necessarily only relate itself to an American teenage demographic. While it is reasonable to place substantial weight in the part of teenagers embracing the movie, adults must have played an equally significant role. In the fact teenagers are teenagers; they still require parental influence and guidance. Even if the young adults make up the mass majority of the Spider-Man audience, they do not fulfill the role independently. To further discuss the relational ability of adults to endear Peter Parker in his High School struggles may stretch the “adolescent” theme presented by Gabler to a broader scope. Why does the ability to offer sympathy for Peter Parker require a bridge to the adolescent stage? Is it not common for adults to experience similar times of feeling powerless? Is it not equally plausible adults are able to identify with the superhero side of Peter Parker, having endured and overcome times of powerlessness? Adults can be “nerds” just the same as teenagers and adults may be able to relate to the "Spider-Man" side of Peter Parker on a more personal level than teenagers.

Wednesday, February 21, 2007

Iconic Irony

Icons surround us and bombard us daily with little hidden messages. Taking place in such a variety of forms and locations, today, icons are used to project non-textual meaning in milliseconds. The human brain is an amazing interpreter of our environment with lightening fast sensory. A half-glance is all we require to recognize commonly encountered images. In a split second, we are capable of noticing and understanding entire messages embedded behind little images put before us. We, as people, often use little icons to express ourselves and let the world know something we stand for, believe in, or somehow connect with.

When you are forced to slam on your brakes as the driver of the car in front of you has incomprehensibly applied their brakes and you suddenly visualize your hood crumpling into the rear end of that “idiot,” rage and fear consume you. Oops, now that your car has stopped just short of crumpling, a metallic image pops out at you in the shape of a stick fish. The little stick fish on the back of that “idiot’s” car tells you something quite quickly. Now, the “idiot” begins to mean something new to you, as you understand their involvement with the Christian faith. Granted, a little stick fish, Ichthys, doesn’t tell you the depth of your “idiot’s” religious commitments, but you may be more understanding of their almost cause for a wreck. Maybe you begin trying to rationalize the situation, rather than persecute their actions. Then again, depending on your own thoughts about Christianity, the little gleaming fish image could enrage you even more. Either way, the posted icon on your “idiot’s” car has almost instantly given you more understanding about the driver in front of you.



Sitting, once again relaxed in your car, shift gears. Think about Albert Einstein and what his name brings to mind. Albert Einstein is a stand alone icon, rightfully earned. Ms. Cooper has posted the following image for discussion.



The Einstein button above sends a number of messages to us. Initially, and most commonly, the word or idea of “genius” comes to mind. Einstein’s face, given his genius status, stirs thoughts of intellectual greatness. What are the lines and dots bounced about his head? The loose representation of the Bohr model represents, in its entirety, the basic nucleus structure and orbital electrons making up a generic atom. Einstein’s face has been placed at the center of the Bohr model, possibly signifying Einstein’s central importance to science. After all, Einstein did receive recognition as “Person of the Century.” Let us twist some perspective for a moment, and with no disrespect to the great Albert Einstein. Consider Einstein’s fifteen year strife with fully understanding the laws of gravity and how Newtonian Physics hit a brick wall when an attempt is made to pass from the sciences of “macro-atomic”, or Classical Newtonian Physics to the sub-atomic world. The realm of Quantum Physics quite possibly presented Einstein with his most challenging endeavor. Now, for the twist… The picture of Einstein’s weathered face, as the nucleus of the atomic structure, could also indicate a different proposal than “scientific genius.” Could the button represent the genius’ time-restrained limits to peeking deeper into the sciences of Quantum Mechanics?

Understanding Context

“Ways of Seeing” by John Berger, and “Show and Tell” (Chapter Six) by Scott McCloud
· Discuss the relationship between languages and images.
· How does this relate to the ways in which society produces and/or uses icons?

Language is a broad topic. It is defined with verbiage explaining communication via words among a common people based on sequences of audible sounds of speech. Language also includes communication thru the use of symbols or images, such as letters in string for words and hieroglyphs and the complicated eastern writings, which rely heavily on symbols. Ultimately, the true meaning of specific language, symbols and images are strongly influenced by their context. What is context? Without context surrounding a communicable language, the communication breaks down. The complexity of specific context also lends itself to shifts in interpretations of the real meaning within the communication. Context evolves and changes as time continues to come and go. Take a particular book or painting and make every possible attempt to place either one in exactly the same context as its master originally saw it, and you will fail. At best, we can only hope to see and understand the meat of the piece as we read or view it from our own context. So, again, what is context? You are, right this very moment, in a context. Your mood, your life experiences, your understanding of the world around you, how you feel, the lighting around you, the objects surrounding you, the people surrounding you (or lack thereof), all are in some way makeup of your context. Now begin to read a book or admire a painting in front of you. The object has now been removed from its original context and placed within your realm of context. What we can do, is hope. Hope our context has not so removed a piece from its original context to the point we are simply incapable of seeing or understanding the piece’s real meaning. We can hope we are still able to find some substance in the words or in the brush strokes and possibly gain something in return. “The relation between what we see and what we know is never settled. The way we see things is affected by what we know or what we believe”(681). Understanding your own context and attempting to imagine or understand a sources’ original context is your first challenge as a beholder.

When someone sets out to communicate a message to someone else, a few things are predetermined before communication begins. The language that can be understood by both parties is identified. For the sake of discussion, assume language to include forms other than simple words of the English language strung together in sentence structure. The compilation of media utilized by the communicator is likely to be chosen with a basis of how he or she is most proficient and likely to effectively convey the intended message within the situation of the moment. Sign language would not be an effective communication medium for interacting with a blind man. A whisper would be lost in a noisy construction zone. A novel would be inappropriate as a stop sign.

Everyday, as we communicate with those around us, choices in medium are instantly made without conscious thought. The verbal language we use, the words we speak and our body language flow from us in a hope we will be understood by someone else. Even our attire communicates and is part of our personal context.

Scott McCloud discusses his ideas about a new understanding of effective communication thru the combined use of both words and images situated in a balanced composition. His “Show and Tell” comic-essay demonstrates the scale of balancing images with words. In my own attempt to not remove McCloud’s work from context, I choose not to quote him directly, but I will do my best here to explain his ideas in my own words, as well as, try my hand at a similar demonstration. McCloud uses four main approaches to illustrating his ideas: the evolvement of books from childhood to adulthood (where images are progressively replaced with more text), the transitions from “cave-man” drawings to hieroglyphs to letter-based writing, the growth in pictures and seven identified image-writing combinations commonly seen in comic books. There is definitely a power to combining words and images. Images alone are able to “say” a great deal, without the support of text. When words are provided along with an image, the image can say even more. Words can contextualize an image and an image can contextualize words.


STOP, and take a moment to think about the places you have seen this image before reading further.

Now, look at the following words and recognize where you have seen them, just as you did with the image.

“Annuit coeptis: MDCCLXXVI Novus ordo seclorum”

The above image is an icon… It is believed to have originated from the Egyptians, and first appearing, as shown above, around the seventeenth century. In the course of centuries, since this image first developed, it has been adopted by different sects to represent something to be said or stated as an icon “they” identify with.

The following image is similar to the first, but in a different context. Note the removal of color and its pen and ink design. Also, notice the alteration in the form of the eye.


Next, the image is combined with the words.



Add more context to the image, and it begins to take on a more recognizable form.




Finally, here is the result of combining the words and the image in a common, everyday context.




There is still more to be understood about the combination of the all-seeing eye, or more precisely, the Eye of Providence, and the words “Annuit coeptis: MDCCLXXVI Novus ordo seclorum.” In order to grasp the full meat behind the combination placed upon the reverse side of our Great Seal found on the one-dollar bill, two things are required: knowing why our forefathers chose this imagery for the Great Seal and understanding what message was intended to be conveyed by its presence. Of course, the beholder’s challenge does not stop there. The words must be addressed. What does “Annuit coeptis:” mean. What language is it, and where did such a phrase originate from? “MDCCLXXVI”, which means seventeen hundred seventy-six, what is the significance of 1776? Why not simply write “1776” on the back of our dollar bill? “Novus ordo seclorum,” what do these three little words mean? An entire essay could be written to explain the entire meaning behind the reverse side of our country’s Great Seal, but by placing a little bit of imagery in composition with five little words and a roman numeral, our forefathers were able to powerfully convey a message to the onlookers of the Great Seal, a message that would require much more space and text than allotted on one side of the seal.

Monday, February 19, 2007

Britney Spears, the Bubbly Shark

Tom Perrotta poses a challenge to take a second look into the stardom of Britney Spears. Forget the glances in passing by and ask yourself who Britney is, could she possibly be the music icon, the American icon of our 90’s youth? Tom cleverly places Spears into the arenas of widely accepted and ground breaking artists, such as Elvis, Madonna and Kurt Cobain. Britney places balance in the scales with Madonna, as an opposition to Madonna’s sex-driven-for-religion success. Sitting face to face with Madonna, Britney carried her musical success in a loose, light grip on morality, religious founding and enshrined virginity. Why do I feel dirty mentioning her exposed bubbly flower-print panties? It does appear the unveiled undergarments brought her attention in the same manner Elvis was set before conservative inquiry regarding his attention-getting leg shake. Both, Elvis and Britney persevered to successful and arousing musical endeavors with an easy claim to innocence, to which I imagine the white-head protectors of good morals shaking their heads in disbelief, gauntlet cocked, but with no stiff leg to stand on. Britney Spears verse Kurt Cobain, from where did this comparison gurgle-up? In the early 90’s, Kurt Cobain marred the country with his catchy, prefect timing rip into the music scene. Kurt appealed to the hearts and souls of generations fighting their way thru recession and war. By the end of the 90’s, the pounding overseas and dip in the American pocketbook had subsided. Mark time for entrance, Britney Spears. Britney launched the fireworks for pop music lovers and all who craved departure from war and a return to profitable investments. The stage is fresh and colorful with an abundance of happy thoughts. Who cares what she is singing, it makes me feel good.


When you look at a bubble, noticing all the iridescent colors refracted from the sun and swirling in hippie fashion, do you wonder or even care what holds the spherical shape so perfectly? Most people would not have the slightest interest in a bubble past its trancing visual appeal. Tom Perrotta decided to step back and wonder for a moment. In his “The Cosmic Significance of Britney Spears,” Tom brings us some insight into the substance behind the shell of Britney Spear’s bubble as a late 90’s musical icon. “But there’s more to Britney than that, isn’t there? Isn’t there?” (568), if you are receptive to a head-bopping, people-pleasing blondie taking the stage as an American icon, consider Britney both a prodigy of her dear mother and Hollywood, as well as, modern America in iconical reflection. Britney successfully markets and sells her audience the imagery of the American Dream. She spreads testimonies of religious roots demanding she wait for her worthy husband, but in the meantime Britney casually delivers sensual teases, a bright smile and uplifting music. And certainly, her “most adorable abs in the universe” offer nice packaging for her image (568).
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In the “Taster’s Choice” moment from the movie, Good Will Hunting, Will (Matt Damon) is enlighteningly reprimanded for his presumptuous judgments founded mostly on book knowledge. Sean (Robin Williams), Will’s psychologist, declares Will “just a kid” and lacking substantial real-life experience. I declare Britney Spears’ iconic achievement to be apropos. Her climb in the charts of a highly competitive music market, at such a young age, must have started with her mother, Lynne. “The unintentionally revealing autobiography she cowrote with her mother” (570) - How much was written by Britney and are you curious as to what extent Lynne pressed influence into Britney’s words? Spears has presented a rehearsed image without too much detail, leaving the truth to be conjured by the presumptuous onlooker. Britney has the appeal and ability to captivate her audience and she played her role in simple form. “Like the rest of us, she makes do with simple pleasures… She’s just so pleasant and thoughtful; she wouldn’t want to do or say anything that might upset anyone” (570). All you have to do is like her, Britney tackles that challenge with continued success, and you get to imagine what great moral ground she stands on and how she is everything you always wanted to be, happy! Care-free, simple-minded and always able to enjoy the view, is how most Americans have viewed the young Britney Spears, and why not mention her having plenty of good life ahead?
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What is this seemingly perfect shell surrounding Britney Spears? Could it be the end result of a master-mind mother determined to provide her beloved daughter with as much opportunity as motherly possible? Consider the scenario, finding little Britney a phony and just as intellectually on her game as she is with her abs and fashion sense. Being someone overly concerned with your opinion of her and not able to pinpoint a specific movement she might represent, Britney could be outwitting us all. What a stealthy shark in the pond.


It seems Britney Spears could be a double American icon. She made the dreams of happy opportunity seem possible during a time America was returning to the notion of this being the land of opportunity. Britney just might be willing to do whatever it takes to keep her own dream alive and that is typical of great American success stories. Something tells me the school-girl image Britney’s early fame was hinged upon may not tell the whole story. In the end, whether Britney remains solely the 90’s icon of the time or she is able to break into a larger scale representation of American times, hangs in the balance, waiting for her next move.

Wednesday, January 31, 2007

Millhauser, Bryson, and Sagan

Take a peek thru the looking glass; whether it’s a magnifying glass, microscope or kaleidoscope. Step onto a new playing field of the same old game and see thru the eyes of enlightening and thought provoking writers, such as, Steven Millhauser, Bill Bryson and Carl Sagan. “The Fascination of the Miniature”, “From the Introduction to A Short History of Nearly Everything” and “Reflections on a Mote of Dust, May 11 1996” play part as refracting glassware envisioning the norm with abnormal perspective. “But what I have said is true of all forms of discrepancy, and not only the particular discrepancy that is the miniature.”(121, Seeing & Writing 3, Steven Millhauser) “Of the billions and billions of species of living things that have existed since the dawn of time, most – 99.99 percent – are no longer around. Life on Earth, you see, is not only brief but dismayingly tenuous. It is a curious feature of our existence that we come from a planet that is very good at promoting life but even better at extinguishing it.” (122, Seeing & Writing 3, Bill Bryson) “In our obscurity – in all this vastness – there is no hint that help will come from elsewhere to save us from ourselves.” (124, Seeing & Writing 3, Carl Sagan) Each writer demonstrates the power of newfound perspective as an
"author-itative" beholder, hoping to illustrate, convey and possibly persuade, even if only for a slivered moment of opportunity. Millhauser, Bryson, and Sagan share at minimum, this in common; they have dared to be different, stand out on the edge for a moment (possibly on their heads) and searched for something special in an object or way of life taken for granted by the masses. Discuss the phenomenal coincidences of atomic recipes actually forming living constructs or the humbling effects of astronomy, but challenge yourself to take vantage point to a personal interest and find new respect and admiration for something your fellows pass by everyday.

Saturday, January 27, 2007

"The Keys" by Justin Vandiver

You hear click, click, click… sounding off tumbler pins engaging and pressing into place as the jagged mountainous edges of your finger-pinched key slide into position. With turn of hand and a ratcheting twist of the dead bolt lock in your front door, you hear a young boy’s voice from the park across the street. Looking over your shoulder, you find an older gentleman and young boy resting on a slatted park-bench near the street-side. Judging by the tender care and patience the man uses with the boy and the boy’s uninhibited respect and admiration for the man, they are undoubtedly grandfather and grandson. “What’s making that noise in your pocket, grandpa, is it your spare change?” “No, son,” grandpa says with a chuckling grin. “I have keys in my pocket.” “Keys… why do you have keys in your pocket, grandpa, I wish they were coins?” You notice the ridged and sharply pointed bulges in grandpa’s front right pant pocket, indicating exiguous stowage space for his ample key collection.

“Look here, son.” Grandpa leans with a twist in his hip to allow his forced hand into his front right pocket, pulling a ring of keys up and into the palm of his hand. Turning, you now face the scene of the two sitting in the park. The young boy earnestly looks to the bundle of keys jingling like an open music box in his grandpa’s lap. He remains quiet and observant as Grandpa wrestles back to comfortable sitting in a manner appreciable by weathered men of similar distinction and age. By now, the boy has forgotten about the belly-ache collection of candy he might buy with the expected coins from his grandfather’s jingly pocket. “Son, take a look.” Sounds of key-note music chime again, as he searches for the right key, shaking his head and tilting with each sifting of the key ring. “Ah, here it is.” Sunshine lights up a magnificent piece of art. You believe it to be a key, as you also realize you have crossed the street, yet uncertain a key could be so interesting and elaborate. A red-ruby sparkles from the blunt end of Grandpa’s key, as he holds it up to better light. “Son, this is a skeleton key.” Grandpa begins to tell the boy about skeleton keys and waves at you to join their seating, having noticed your taken interest. You notice the worn, polished edgings of ornate décor in the handle and along the upper half of the sturdy key’s shaft, well-defined by the deep and dark tarnishing of time wedged between each line. Only by the brilliant golden shine in the polished metal can you recognize the key to be made of heavy brass, or could it be gold? “This key is over one-hundred years old.” At the aggressive end, are four blocky, squared teeth protruding from the length of the shaft, like keys of a grand piano. “My great-grandfather passed this very key down to his son, who gave it to his son and hopefully, some day I will give it to you.” “What’s it for, grandpa?” Grandpa’s face lights up like a Christmas tree. With squinting eyes, he says,” This unlocks a lost treasure chest, far beneath the ocean, where an old pirate ship was wrecked in a great big storm. Waves crashed over its decks like thunder, breaking its wooden planks apart.”

The keys begin to ring some more as grandpa passes the old skeleton key to his grandson’s tiny hands. The little guy realizes how heavy it is a little too late, almost dropping it. “Oh, careful, careful, they don’t make keys like that any more.” Now pinched between the old man’s thumb and finger, you see a peculiar key, different from the skeleton key in the boy’s lap. This key is a bit smaller, but still intricately decorated. “This one goes to my old wooden desk, but the lock doesn’t work anymore.” The teeth could be confused with a black metal clover-leaf jammed into the end of the key’s stemming. Dark finishing on the surfaces of the desk-key are well worn and rounded, discernibly from many years of use and rubbing against wood, pocket lint, dirt and calloused fingertips. “Well, I suppose I don’t have much use for it anymore, anyway.” A set of ten little fingers carefully take hold of grandpa’s desk-key, allowing the boy closer study of its design and his grandpa’s engraved initials on one side of the rounded tail-end.

Grandpa is carefully arranging a collection of five similar keys in his right hand, as if there is certain order to be made in their relation to one another. Not nearly as dated as the previous keys from the pile, this set has a satin machined finish, similar in color to the hazy stretch in the upper portion of a sunset glow on the horizon, where the sky reaches an almost yellow metallic-white before fading blue into midnight. Visible fine scratches spider-web the flat surfaces where they have marked upon one another from the banging of stowage in close proximity, and with lasting impression. “Lot’s of memories behind these things.” Where a pinch on the keys is well-suited, tiny stampings distinguish the five keys, not one the same. Labels reading “1” “2” “3” “4” and “M” are identifiably buffed to a slight depression. Numeric keys are aligned accordingly, left to right in the palm of grandpa’s hand, with the “M” key falling just short of tipping past the edges of his finger tips. The stamped keys are flat as sheet metal in form, appearing hard and as durable as a stainless steel hammer. Each key is thinly grooved thumb to tip and has the expected incongruent geometry defining the cut teeth, which are found to be thinned from the main stock. Miniscule ridges along the flats of the teeth are barely visible to the naked eye under proper direct lighting. The ridges were left behind by sharp cuts of a precision cutting instrument, found to be much harder in material than the softer metals of a freshly toothed key.

“The ‘one’ key.... This one goes to box number one.” The “1” key is held precisely, balanced on point of its toothed end, centering on grandpa’s thumb and steadied by his forefinger atop the upper edge of the broader portion, making the stamped “1” easily visible. “Does that one go to box number two?” The boy’s pointer finger shoots out toward the “2” key still in palm. “Why, yes, Mikey, it does.” Proud laughter bellows out thru the park, as grandpa pats and rubs his grandson’s head. “What’s the ‘M’ box for, grandpa?” More laughter fills the park. “I don’t have a box just for that key.” Exchanging the four keys into his left palm to hold the “M” key in place of the “1” key, and in much the same manner, grandpa explains, “This is a master key. It can unlock all four of the boxes, not just one of them.” The young lad wrinkles his nose in upward confusion. Grandpa further explains, with a quick glance in your direction, “The numbered keys are kept together and unlock their own box. The ‘M’ key is kept in a very safe place in case I lose one of the other four keys.” His right hand shakes, just enough to emphasize its importance.

“What’s in the first box, then?” Grandpa conducts the key ring into tiny, crisp musical notations, looking for his grandson’s answer, and locates a clock key. From a firm fist, the bulky post of the clock key jets upward from grandpa’s fist, held only at its end by his curled index finger. The handle portion is flat and free of decoration other than its form in two rounded shapes mocking Mickey Mouse ears with center-punched holes, presumably for grip and string. The shiny and slightly polished shaft is crafted from quality-grade brass stock, marked by black smudges detailing a couple of finger prints. “This key is for winding up the antique wooden wall-clock in the living room.”

While passing the wall-clock key to grandson, the elder slips a piece of paper out from his shirt pocket. The young one promptly states the obvious, as children easily do, and says, “That’s not a key.” Only to be rebutted with, “Ah, but it is actually several keys.” To avoid bombarding questions in argument, grandpa is quick to explain the piece of paper is a list of passwords. He continues on in layman’s terms to explain how passwords can be considered keys in a way Mikey could understand with such clarity, attempted translation would be foolish. In the process, grandpa tells the boy he has written the passwords on paper so he does not have to “cut the keys” from memory every time he uses one. More likely true, the passwords only slip the old man’s memory from time to time, if ever, but the list lays tightly secure behind lock and key of box number three, should it be needed.

“Okay, now for the last box, box number four. I hope I didn’t lose it.” Grandpa becomes slightly unsettled and restless as he continues to thoroughly separate the keys left on the key ring and seems to be looking about the park-bench. Still searching, grandpa starts in, “Well, if I can find the darned thing, I will show you something my Father gave to me just before your father was born. He told me as long as I didn’t lose this, I could never lose anything else.” Grandpa is digging at something between the slats of the park-bench, but seems to be having a difficult time manipulating his arthritis-ridden fingers into position. With one quick motion, Mikey slips his narrow youthful fingers into the seat of the bench, finding a blank key. “Hey, you got it. Now don’t lose it. That will be yours one day.” Grandpa pats him on the leg reassuringly as he pauses for a brief moment to gaze the early evening sky. Something in his gaze let’s you know his brief moment was quite personal, and far more than a possible stretching of the neck. Into grandpa’s elaboration, he describes and illustrates how all keys are cut from a blank key. Wrapping up his stories in keys, grandpa realizes, “Look at the time, it is almost time for dinner.” The two begin sorting the keys, returning them to rightful locations, when Mikey has his own realization and remembrance.

“Grandpa, grandpa, I have a key! I have a key!” Mikey reaches down into the front of his shirt collar and shows his grandpa a house key still attached to a cord around his neck. Excited, the young “man” begins to explain how he can lock the door behind him when he leaves, and unlock it when he gets home. Grandpa listens to youthful explanations with perfect attention, so not to miss a single word his grandson has to say. Watching the boy position his “latch-key” out in front of him, cord still fixed about his neck, you drift a moment in thought. Remembering your first house key, you almost feel the sense of responsibility rushing through your veins when you first felt the cold brass touching the palm of your hand. Starting to realize you have also forgotten the wide-open front door, you are startled by piercing yelps. “Grandpa, grandpa, what’s in box number two!?” His grandfather is impressed with the exhibited attentiveness and patience, as he looks down and gently, with a slight grin and soft eyes, to say, “Mikey, my son, some secrets need to be kept safe until the time is right.”

Wednesday, January 24, 2007

"Illusion of Change" by Michael Parkes

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Inferences:

· The feline is leaping to capture one of the man’s golden balls, judging by the appearance of its forward attacking stance.
· The man will fall if the goose is unable to hold the rope in its beak.
· The man is juggling the three golden balls shown about his head.
· The golden ring held by the lady is on fire with a wisp of smoke trailing from the tip of a small flame straying from the ring’s top.
· The monkey is content to sit and possess its single golden ball, yet curiously interested in the lady as it holds its mask away from its eyes, so to see her better.
· The upward tilt of the man’s head indicates a proud confidence as he performs his should-be enticing talents.
· Looking into the man’s display of entertaining acts, he is desperately trying to gain the attention of the woman in the foreground by placing himself in harm’s way of a potential fall while demonstrating his ability to trust by relying on his own agility and the goose’s ability to prevent his certain doom.
· The lady appears disinterested in the man’s courageous acts by her focus toward the fiery ring she holds. She likely expects the man to leap thru her own chosen hoops of sacrifice before she is willing to redirect her attention upon him.
· Noticing the red outfit and sense of activity centered on the not-so tight rope balancing man gives impression Michael Parkes intends first glance attention to focus on the man. However, further study brings attention to the obviously more important lady in the foreground, framed in brighter light balanced to either side by the highlights on the pedestal and clouds.

Seeing & Writing 3 Introductory summary

This mentioning is summary to the agenda and challenges outlined in the introductory section of Seeing & Writing 3 written by Donald McQuade and his daughter Christine McQuade, entitled “Writing Matters.”

The minds behind Seeing & Writing 3 intend to open new visionary perspective to students toward current day information media flow by stringing imagery observation, brood literacy, instinctive inference and written thought into respectable literary structure. Developing an acute ability to absorb the world around us, process the information effectively and construct impacting and insightful written messages with a personal touch is the target Seeing & Writing 3 sets before us, the students.

This journey into the highlights of writing as an aspiring writer begins with understanding the importance of being receptive to our environment, allowing ourselves to take in information for processing. Though allowing instant response to information absorption may be difficult as clinging for control and analytical thinking instigate desire to withhold any temperable “hypothalamus” responses, the McQuades place this ability as important for establishing a starting point for writing. “The best writing advice I’ve ever received is: ‘Facts are eloquent.’” – Norrie Epstein(6) Wow, facts, quotes and hard fact reference material may feel confining and wake a watchful eye for the first opportune detour! However, sound reasoning founded on supported factual observation facilitates convincing inferences which supersede biased first-glance assumptions.

Seeing & Writing 3 presents a free-form approach to draft development and insinuates acceptance to any drafting vessel an aspiring writer utilizes to compose successful essays. Thru draft revision the writer is able to distance themselves and shed biases to acquire an objective eye for a tasteful final essay. Revision transforms its previous drafting toward an essay projecting confidence with a sense of control by presenting the intended reader with a composition based on concision, effective conveyance and clarity in logically organized format.

But, what building blocks formulate a written composition? The Purpose: The Structure: The Audience: The Point of View: The Tone: The Metaphor: The Context: Master these seven ingredients to a successful writing, throw in the spice of perception, a dash of strength and knead it to perfection and you just might have a loaf of bread worth enjoying.

"Literacy"

Possessing an ability to effectively communicate thru a chosen medium demonstrates literacy. This communication medium may be spoken language, written language, computer-programming language, photography, sculpture or one of many other medium options available to our discretion in today’s diverse world of information delivery.

Tuesday, January 23, 2007

Excremental Summary of Anne LaMott’s Bird by Bird excerpt

Anne LaMott personifies a writer’s strife by depicting a world of insecurity and self-defeat, ensuring her reader loses any potentially misconstrued and innocently ignorant fantasy about a writer’s artful flow. This is how she sets the tone to that of a rough draft only to lead into a winding road of decide to write, write, look for inspiration, write some more, slip a piece of yourself into your work, write some more, then refine your work. This is the writing process. And before ink is dry, Anne allows the Polaroid to show its true colors in the arena of awe inspiring glory as the final literary piece crosses the finish line.

Anne uses a creative thinking approach to explaining the writing process. So creative, in fact, she uses the evolving mood of her piece to demonstrate the refinement process. After reminiscing High School English, I recall the drab textbooks of grammar and my lack of eagerness towards the studied literature. I also remember writing the rough drafts, rewriting and rewriting once again, achieving the final draft to be stowed behind the crisp clear plastic. Anne LaMott has presented a new flavor in the writing process, perhaps a more enticing perspective with a carrot of inspiration dangling off the corner.