Who Killed Gregor?

Gregor dies at the conclusion of The Metamorphosis. At first, I thought his death was underwhelming in a way. Kafka opens the book by dramatically proclaiming that Gregor had been transformed into a giant insect. It was so absurd that for the first few pages, I wondered if it was only a nightmare. Based on the striking beginning, I initially expected Gregor to go out with a bang.
But, as we read, he dies peacefully in his room, shortly after dawn. His death is only really described in one paragraph. I think the nature of his death reflects what we've been talking about in class; how Gregor is reduced from the breadwinner to nothing more but a nuisance. His death seems almost emotionally insignificant to the family, which reflects how they have lost most, if not all sympathy for Gregor.
In contrast, as Gregor has slowly become this dependent creature, the rest of his family members have each becoming working, contributing members to society. So there's sort of a cycle, or reversal of roles.
I found the last part extremely sad to read. It made me dislike Gregor's family quite a bit. I guess I had a faint dislike for them ever since the beginning, where we saw Gregor groveling at his manager's feet while Gregor's dad was lazily enjoying his giant breakfast. I really disliked the fact that although the father was in debt, the whole family pushed the responsibility onto Gregor. Maybe I don't understand enough about family dynamics during the time period, but it seemed extremely unfair. It also made the family look a little pathetic.
The worst part to read was at the end, when Gregor's family had clearly lost all sympathy for him and decided it best to get rid of him somehow, and Gregor agrees. As he dies, all he thinks about is how he "must disappear", for the sake of his family. Despite how badly he has been treated by the family, especially by his father, Gregor still seems to be loyal and still has their best interests in mind.
This makes me wonder if he in a way, committed suicide. I know it's a bold statement, but by the end, Gregor was quite determined to die, to disappear. Perhaps he willingly lost the will to live (if that makes sense). In addition, most people who commit suicide do it because they feel as if they are a burden on family and friends. Gregor clearly feels this way.
Another way you could see it is that his family killed him. One huge blow was his father's apple throwing. Another was the lack of suitable food. It's possible that Gregor felt like he had no choice but to die, especially considering how weak he was due to his family's neglect.
No matter how you interpret Gregor's death, it's definitely a somber ending to an adventurous story.

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Brett Relies on Men

Some of the discussions and panel presentations as of late have brought up the idea that Brett embodies the image of "The New Woman". I think this is true, to some extent. Brett's heavy drinking, smoking, short hair and androgynous clothing suggest that she tries to distance herself from traditional feminine stereotypes. It also seems that all the men in the novel are constantly vying for Brett's attention.

But I believe that Brett, in the end, is as dependent on men as they seem to be dependent on her. Brett relies on them both financially and socially. One example is after her break up with Romero, where she sends a distressing telegram to Jake that says she is trouble. She later confesses that she has run out of money. Is it possible that Brett sent for Jake mainly so he could bail her out of Madrid? On one hand, it's kind of sad to think about, but I think it's plausible. 

In addition, Brett has never truly been alone throughout the course of the book. She was always with the Count, Cohn, Jake, Mike or Romero. It's possible that Brett needed these men in her life partially for financial support, but also partially to exert her dominance. We see Brett toy with the emotions of the men throughout the novel. We could debate about whether or not it's intentional, but in the end, her flirtatious manner is a huge part of Brett's character either way. It's a very 'Brett' thing to do. 

Because Brett is so used to interacting with men in that certain manner, it's odd that Brett is so emotional after her break up with Romero. When she leaves Mike for Romero, Brett doesn't think twice about Mike. But as Brett tells her breakup story to Jake, she is visibly shaken and lacks her usual self control. She tells Jake that they should stop talking about Romero, but Brett herself keeps mentioning his age, birthday, and language skills, among other things. In addition, Brett says that Romero was "ashamed of [her] for a while", but eventually got over it. However, a few lines later, Brett undermines herself by mentioning that Romero "would have gotten used to" her appearance later. The word "would" suggests that Romero was still disapproving of Brett towards the end of their relationship. These details seem to suggest Romero broke up with Brett, instead of the other way around.

This brings me back to Brett's need to asset her dominance over men. When Romero takes the position of power in the relationship, Brett is completely shaken. I highly doubt any man would have broken up with her before Romero (possibly) did, so rejection is a foreign feeling to Brett. In the end, Brett seems to realize that she cannot function alone. Thus, she immediately calls Jake to provide her with financial and emotional support, displaying how much Brett relies on the men in her life.

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Fear no more the heat of the sun

The saying "fear no more the heat of the sun" comes up repeatedly at various points in the novel, both from Clarissa and Septimus' points of view. After a little bit of research, I discovered that the quote is from Shakespeare's Cymbeline, and it is said as part of a funeral song in the play.
In Mrs. Dalloway, Clarissa first encounters the quote through a shop window that displays an open book. At first, this quote may seem confusing or unimportant. We have just met Clarissa and are beginning to learn more about her personality. However, if you look at the quote from the broader scope of the novel as a whole, it is very telling. Right before she sees the book, Clarissa thinks about death. She asks if it mattered that "she must inevitably cease completely", and asks "did it not become consoling to believe that death ended absolutely?" Clarissa, until the end of the novel, seems to fear death. Or, on the contrary, she seems to enjoy life thoroughly, saying "what she [Clarissa] loved was this, here, now, in front of her". Clarissa seems to find comfort in reading the words, "fear no more the heat of the sun" especially in the face of adversary.
Another similar instance occurs when Clarissa is disappointed after hearing that Lady Bruton has asked Richard to lunch. Lady Bruton is someone Clarissa looks up to, and she wasn't invited to Lady Bruton's lunch. Again, Clarissa looks to Shakespeare for comfort, repeating the line from Cymbeline. We also return to the image of death as Clarissa describes herself as feeling "suddenly shrivelled, aged and breastless" and notes her failing "body and brain", both of which are direct results of Clarissa not being invited.
Similarly, Septimus refers to this line of Shakespeare for a sense of comfort. As Rezia makes hats, the frightening images he sees, such as the dogs barking, fade "far away on shore". Septimus can finally relax, and "fear no more", as he relishes the golden beauty of nature in that moment. However, a mere few pages later, he commits suicide. Perhaps "fear no more" was not referring to Septimus' suicide directly, but Woolf seems to constantly put Shakespeare's quote in proximity to death imagery.
The last instance occurs near the end of Clarissa's party. She contemplates Septimus' death in a separate room and then watches the old woman go up to bed and turn off the light. Besides the obvious presence of Septimus' death, I think Woolf created additional death imagery with the old woman. She closes the blinds and turns off the light, and Clarissa watches her intently, saying "fear no more".  It seems that Septimus' death and the old woman have provided Clarissa a frame of reference to what life is, and she accepts the fact that she will die one day. The line also gives her the courage to face her past (literally), despite her regrets about it, and return to Sally and Peter.

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Clarissa and Septimus

As we progress further into the novel, Woolf dives deeper into Septimus' thoughts, as well as providing a background story and further insight into his character. After reading these new sections, I think that quite a few parallels are emerging between Septimus and Clarissa.

The first hint of a connection between the two is when Woolf introduces the "beak-nosed" Septimus as a character. Clarissa was also described as beak-nosed, back in the first chapter. Because "beak-nosed" is quite a specific description, as opposed to just saying "pointed nose" or "large eyes" (features that number of people might share), it seems that Woolf is intentionally connecting the two in terms of physical description.

More important are the numerous parallels between their ways of thinking and attitudes towards the world and humanity itself. We know that Clarissa, for the most part, thoroughly enjoys life. She breathes in the bustling streets of London, and finds beauty in things such as the early morning sky and bunches of carnations and arum lilies. I would argue that Septimus is also able to find his own instances of beauty amidst his mental illness. Although strange to the reader, tears fill Septimus' eyes as he looks up at the plane, "this beauty, this exquisite beauty" (21).

In addition, both Clarissa and Septimus are readers, specifically readers of Shakespeare. In the first chapter, we see Clarissa reading a page from Cymbeline through a shop window. For Septimus, reading Anthony and Cleopatra before the war had a profound impact on him. Much like Clarissa describing Sally's kiss as "the most exquisite moment of her whole life", Septimus describes Shakespeare's work as lighting in him "such a fire as burns only one in a lifetime". I believe these details might be important in the broader narrative due to the reactions both characters received from others for reading Shakespeare. For example, Clarissa's husband, Richard, says Shakespeare's sonnets should never be read because it is similar to listening in on one's conversation through a keyhole. Sir William, who self-proclaims that he "never had time for reading", has some kind of "grudge" against Septimus and looks down upon his character. Perhaps both Richard and Sir William are stifling the true Clarissa and Septimus, respectively, and causing them to conform (intentional or not) to society instead.

I suspect that Woolf created Clarissa and Septimus to be reflections of each other. She puts them in the same city, London, but also in two very different worlds. Clarissa's biggest problems pale in comparison to Septimus' horrendous experiences. But they share other things, like their love of reading and their opinions on the stifling constraints of humanity, for example. I think Woolf might have done this to draw attention to the huge contrast between the different social classes in London at the time. Two people who are very similar at heart, but whose circumstances result in vastly different experiences.

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Isn't it funny? The way the mind works?

The sense of closure is very strong in Sag Harbor, especially compared to the other novels we've read this semester. In Catcher in the Rye, it was tough to tell if Holden had actually grown as a person by the time the novel ends. For both Portrait of the Artist as a Young Man and The Bell Jar, it was understood that both Stephen and Esther were about to open a new chapter in their lives. However, we are left in vague about how the future will fare for each of them.

In Sag Harbor, Ben very lays out a detailed plan for his new school year. He's going to reform his wardrobe, and "make out with three girls a semester". He's also going to be turning sixteen, which will allow him to attend more concerts and parties. As Ben puts it, "It was going to be a great year".
I find it interesting (and kind of cute) that Ben "[is] sure of it". I got the image of a boy standing up straight and taking a deep breath, ready to conquer whatever was thrown his way. A pretty firm image to end upon. No loose strings are left untied in this ending. Ben has gotten a job, kissed a girl, picked out a "little Benji" and it is understood that this chapter of his life, coming out to Sag Harbor, is coming to a close.

But the thing is, the novel doesn't end exactly there. Instead, Whitehead, shifting to present tense, makes the last sentence, "Isn't it funny? The way the mind works?"

It's a very interesting phrase to end on. For me, the fact that it's in present tense makes me think that future Benji is sort of chuckling at old Ben for being so idealistic. I don't really know what this implies. Maybe his school year turned out a lot differently than he initially thought? Or maybe he's commenting on how expectations in general are overrated? Or maybe that's not his intention at all.

Either way, the strong sense of closure I felt during this chapter felt sort of undermined by this last sentence. If I'm following my interpretation, it makes for an uneasy ending. The plan Ben described sounds like it would make for a pretty good year. But maybe the last sentence is indication he had a much crappier year than expected.

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Emotional Roller Coaster

The last two chapters of Black Swan Green were definitely quite intense. You have Jason's pent up frustration finally release. We see his inner "smart ass" come out. He has his first kiss. But while all of this is happening, his family is falling apart.
These sections were my favorite part of the whole book. It's very action packed, and as I read, I could vividly imagine everything playing out in a movie. In addition, I think by this point in the book we know Jason very well. We have experienced his insecurities and internal struggles over popularity and ethics. We know how he idolizes his sister, Julia. We've seen both compassionate and asshole versions of Jason (when he brushes off Dean repeatedly as a moron). Since we've basically befriended Jason, we can't help but let out a satisfactory grin when the calculator is crushed. We smile at Jason's exchange with Ms. Lippetts, banter that almost resembles Julia's rhetoric. I couldn't help but feel proud as Jason finds a girl to share his first kiss with- someone who wasn't Dawn Madden. And I felt heartbroken as Jason's dad struggled to explain that he was getting divorced.
Besides the emotions, I felt like there was closure in these two chapters, which I enjoyed. The fact that Jason was finally brave enough to expose his bullies after all this time was extremely satisfying to read. And of course, replacing Dawn with Holly. I think the title, January Man, really brings home the idea of coming full circle.
But I think with this sense of closure comes a new beginning, similar to novels (most notably) like The Bell Jar  or Joyce's Portrait. Esther steps over the threshold of the door, her future uncertain. Stephen leaves Ireland to pursue something extremely unpredictable. For Jason, the same type of feeling is present. Who knows if there will be bullies at his new school? How will he deal with his new stepmother? Will he find new friends? Although I hope that Jason's experiences will make him well-equipped for the future, you never know.

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Sylvie vs Luna Lovegood

Something that really struck me were the parallels between Sylvie in Housekeeping, and Luna Lovegood from the Harry Potter series (If you've read Harry Potter previously, you may be already drawing connections between the two). Although the chance that J.K. Rowling actually based Luna on Sylvie is near impossible, the two characters are remarkably alike.

If I tried to write about their numerous similarities it would get awfully repetitive, so I made a table:

Sylvie Fisher	Luna Lovegood
Likes to spend time amongst nature. For example, she doesn't sweep the leaves into the corner of her house because she doesn't want to disturb nature. She doesn’t mind the rodents, birds and insects that later inhabit the dilapidated house.	In the 5th movie, Luna is seen bringing apples to the thestrals in the Forbidden Forest, all while barefoot. In fact, Luna goes on in her adult career to become the wizarding equivalent of a naturalist, called a magizoologist.
Sylvie doesn’t mind the rain seeping through her shoes. In fact, she kind of enjoys it. She buys garish jeweled slippers for Ruth and Lucille. One Lucille realizes that the slippers aren’t particularly stylish by society standards, she rips the sequins off.	Luna owns a pink-strawberry printed pair of sneakers, which her classmates hid from her. Thus, for most of the year, she walks barefoot through the halls and outside. In the movie, she doesn’t seem very upset about it.
Expanding on Sylvie’s style, she arrives in Fingerbone wearing a green dress made of silk, complete with an ornate brooch of lilies.	Luna is well known for her odd sense of style. At a wedding, she shows up in bold yellow dress robes, complete with a sunflower in her hair. Luna also regularly wears radish earrings, a beetle ring, pink glasses with one red and one blue lens, and a necklace made of a Butterbeer cork.
Sylvie is a non-conformist by definition. Her idea friends are people who she has just met for mere hours. She does not eating with the lights on. She doesn’t keep the house tidy and often snacks on crackers stored in her coat pockets. Nearly everything about Sylvie’s lifestyle is the opposite of “normal”.	Ravenclaw prizes originality, creativity and individualism. Luna embodies these characteristics. She is well known for reading the Quibbler, her dad’s magazine, upside down. She also keeps onions in her purse, to ward off vampires. Luna’s often described as “bizarre” in the series by other characters.
Standing out in the crowd doesn’t come without judgement, however. In Housekeeping, almost all of Fingerbone whispers about the weird woman who is Sylvie. She is stared at nearly everywhere she goes. Soon, Lucille finds herself unable to live with such a non-conformist. The residents start to question Sylvie’s parenting abilities and turn their noses at the condition of her house. Sylvie doesn’t really mind all the attention until the close of chapter 9.	Luna is often referred to as “Loony Lovegood” for her eccentric appearance and behavior. As mentioned above, she was the frequent victim of stealing and hiding. For the most part, she was unfazed by all the rumors about her and instead chose to be non judgemental and quite accepting of the people around her.
Probably the hardest but most important characteristic to describe is the lofty, carefree manner in which Sylvie conducts herself. She remains calm under all circumstances, including the flooding. She doesn’t mind walking in damp clothes. Sometimes Sylvie, known for being remote, becomes lost in her own thoughts and doesn’t reply when her name is called.	Luna is also characterized by her dreamy and distant demeanor. When faced with an uninteresting conversation, she often drifts away. Luna has no trouble spending time alone with her thoughts. Although Harry, Ron and Hermione find her bizarre, they eventually become quite fond of her, just as Ruth becomes fond of Sylvie and her mannerisms.
Personally, I think Sylvie comes across as intelligent, in her own unique way. Although she does seem detached, I feel as if all her actions and words are very deliberate.	Luna is also smart (Ravenclaw), but not in the same way as say, Hermione is. She loves learning about odd things, and doesn’t care if it had a logical, practical application or not. She doesn’t care if people things she’s nuts or wasting her time. Instead, she wants to know things simply because they are there to know: she values knowledge for its own sake.

Imagining Sylvie as Luna had actually made the book come to life for me. Although there are lots of similarities between the two, there are also differences, which I didn't really address. As we come to the end of the book, I'm looking forward to see how Sylvie deals with some serious judgement coming her way.

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