Final Presentation

Technology

Image Source: http://www.abc.net.au/technology/articles/2011/03/01/3151906.htm

Before this course, I held a strong preference towards in person learning. I had a dreadful experience with online learning in a sociology course many years ago. I was hesitant, to say the least, to try another one. However, having enjoyed a pleasant experience with this course, I am now reassured in the potential of online learning. Online learning is different than in person learning because it emphasizes visual learning abilities. While this emphasis still exists, technology has ushered in a new set of tools which allow previous obstacles to be overcome. Online multimedia technologies such as Skype, Prezi, and Glogs have enhanced visual and auditory learning, allowing a new degree of effectiveness. Ultimately, the kinesthetic aspect of learning in online courses is still lacking. I happen to have a strong inclination towards kinesthetic learning; hence, I still tend to gravitate towards in-person learning. It also depends on the type of course. For example, I took a hybrid, part online/ part classroom, anatomy and physiology course.  While English 102 was manageable, I would never opt to take another difficult lab science primarily online.

I must admit that I was too stubborn to purchase a web-cam for this course. As a result, new experience with technology has been somewhat limited. I benefited most from learning how to use and maintain a blog via web technology. Blogging is a great way to keep a record of writing accomplishments. It is also an easy and effective means to receive feedback. Fortunately, for the time being, it costs nothing. Although my career with not require much writing, the use of a blog may be applicable somewhere down the road. Above all, I enjoyed learning how to obtain information from online databases and apply it in writing. Words cannot describe how frustrated I have become over the years, sorting through all of the rubbish from standard search engines. In general, the sources from online databases are more reliable and educational. I will  continue using online databases in the future; however, I do not believe much of the other technology will pertain to my career. Later this week, I will attempt to create a Glog for my final presentation.To learn more about Glogs, click here.

There are a couple major advantages for taking an English course online. Students may balance completion of assignments and other responsibilities of life with greater flexibility and ease. Also, I received substantially more quality feedback from peers in this course than in my classroom based English 101 course. The only major challenge I struggled with was communication with the instructor. I could not use Skype without a webcam and my classes happened to conflict with office hours. Emailing back and forth is not a good substitute for face-to-face interaction. I managed to receive plenty of feedback and the problem was not difficult to overcome.

Reflection on the Course

English 102 has been an especially enlightening experience for me. Writing will not be a major focus of my career; however, analysis will be a useful tool. Most of the literature I will encounter from now on will be of a scientific nature. Searching for complex meaning and contextual influence will significantly improve my ability to decipher importance, relevance, and meaning in literature to come. I have enhanced my vocabulary through routine thesaurus use as well as interpretation of professional writing and advanced writing from other students. The biggest challenge in this course was developing theses while ensuring they were concise. For more information on thesis development click here. Often, I would try to incorporate excess information into my essays. For example, some of my tentative theses could be divided into separate ideas; each substantial for a separate essay.  I overcame this obstacle by considering the ideas individually and determining which I could make the strongest argument about. Other improvements I have made to my writing include better incorporation of secondary sources and stronger outlines. In addition, I have made a distinguished effort to ensure that body paragraphs have a clear connection with the thesis statement.  

The readings of this class have affected me in different ways. Winter’s Bone was my favorite read and is the closest to something I might enjoy on my own time. Up in the Air was a challenge to say the least. I failed to gather any sense of appreciation for it. The film adaptation seemed to convey the same message, but without the dull and dreary tirades. This is a rare instance where I would recommend a film over a book. Nevertheless, it was helpful to analyze the effect of contextual changes. Good Readers and Good Writers, Bartleby the Scrivener, and A Modest Proposal were mildly entertaining, but more importantly, they forced me to expand my knowledge of the English language and seek deeper meaning. 

As far as the learning outcomes are concerned, I am confident I have excelled in nearly all. The greatest improvement lies in writing focused statements, using organizational strategies, and interpreting/ analyzing texts. A few of the outcomes have improved considerably, but still require attention. These include using organizational strategies, evaluating multiples meanings and perspectives in language, and selecting/ applying a voice. I was fairly proficient with several of the objectives from the beginning such as applying sentence structure strategies and conventions of standard written English. There is always room for improvement and I endeavor to continue perfecting these skills throughout my education. Overall, the course has humbled me as a writer and taught me that I have only scratched the surface of my literary abilities. 

Essay 4 Draft

Aaron Isaacson

English 102

Mrs. Cline

12 April 2012

Reitman Breathes Life into Bingham

The film, Up in the Air, is an adaptation of Walter Kirn’s novel, Up in the Air. The novel was written in 2001, and eight years later the film was produced. Kirn comments about the film in an interview: “… the finished product, though it bears the distinct genetic imprint of the novel, is quite different in some details” (Siegel). During the time elapsed, between the novel and the film, business practices have evolved substantially. Vast changes in American economics and technology have remolded businessmen and changed cultural perception of how business is conducted. The rat race continues to grow and progress exponentially. Ryan Bingham, the main character in the novel and film, is a classic stereotypical businessman. He is disconnected and self-absorbed. The contextual changes inspired the film producer, Jason Reitman, to create a compassionate and charismatic character in Bingham. The differences portrayed in the film reflect a humanization of Ryan Bingham. Reitman’s humanization allows the film to lend itself to a  more sympathetic, family-based audience in difficult financial times.

One of the major changes that occurred in the United States from 2001 to 2009 was a massive economic downturn. Many refer to this catastrophe as the Great Recession, reminiscent of the Great Depression. The United States Department of Labor – Bureau of Labor Statistics provides a graph that reveals devastating effects on unemployment. At the end of 2001 the national unemployment rate was 5.7%, and in 2009 it soared, peaking at 10% (Graph: Unemployment Rate).  As a result, Bingham’s profession, career transition counseling (CTC), has dramatically changed. A great sense of historical irony is apparent when a corporation designed for corporate downsizing is ultimately forced to downsize itself.

In the novel Bingham’s thoughts concerning CTC are: “It’s divided against itself and numb and circular and feels, to someone who does it for a living, like some ingenious suspended animation scheme designed to inject you with embalming fluid while still allowing you to breathe and speak” (Kirn 209). He further states that his clients are not worthy of being committed to memory (Kirn 205). Basically, the novel’s Bingham is clearly disconnected and resorts to a disgracefully robotic approach. In contrast, Reitman portrays no such negative characterization of CTC in the film where Bingham demonstrates concern and sensitivity towards those he must terminate (Reitman). As he carries out his odious task of discharging employees, he makes a notable effort to provide inspiration, motivation and a boost of confidence. Reitman also includes clips of interviews where the victims of corporate downsizing discuss their fate.  The clips portray the level of devastation accompanying corporate downsizing on a deep and personal level not shown in the novel (Reitman). The novel also discusses Bingham’s intentions to move on to a new company, declared in a letter of resignation he has left on his supervisor’s desk (Kirn 4). Reitman’s Bingham is determined to continue his more humanized way of life, and to do so he must tenaciously combat the many technological obstacles blocking his path.  

Reitman depicts Bingham’s disapproval of the pervasive infiltration of impersonality into the business realm to further humanize his character. Deborah S. Hildebrand, a writer for Suite101.com, analyzes the effects of a decline in face-to-face communication in the workplace. She concludes, “…relying solely on technology to share information, communicate ideas and grow relationships seems to have become a common workplace phenomenon” (Hildebrand np.).  The use of technology fosters impersonal relationships that lack sincere bonding and genuine partnership. Three major forms of technology, which had yet to be developed or incorporated into the business world in 2001, are shown in the film. These include text-messaging, Skype and Bluetooth. While these technologies enhance one’s ability to have contact with others, the quality of this contact is often questionable. The increasing demands of the ubiquitous availability of technology for communication may paradoxically result in impoverished communication and frenetic, unsatisfying lifestyles.

Reitman’s film introduces a new character, Natalie, who challenges “business-as-usual” and represents the driving force behind the aforementioned technologies. Natalie suggests the use of Skype as an appropriate replacement for traveling CTC employees. In this pursuit, she creates an algorithm for Skype that, in effect, allows any dullard (completely lacking in counseling skills) to terminate employees through an automated process (Reitman). Natalie is also seen using Bluetooth in the film. The use of Bluetooth, in business, is impersonal because it allows the individual to multitask instead of devoting his full attention to the person on the phone. In the end, Natalie decides CTC is not her “cup of tea.”  Not surprisingly, she resigns via text-message (Reitman). Personal communication is vital to the business of CTC. Many experts are growing increasingly concerned with the lack of personal commitment and real-life interaction in business (Hildebrand np.). While the use of technology in some circumstances may be suitable, becoming over-dependent on it will certainly dehumanize any business (Hildebrand np.). One-on-one contact is essential to inspiring those losing their careers in times of economic crisis. Reitman’s Bingham refrains from using Skype, text-messaging and Bluetooth in a business context throughout the film. He strives to preserve the small amount of humanity he brings to his role of severing a stranger’s livelihood.

Family values have also been affected considerably by the Great Recession. The film emphasizes love and family intimacy more than the novel because hard economic times require more interdependence.  Judith Warner, a writer for the New York Times, analyzes the effect of the Great Recession on middle-class families In trying financial times, “togetherness” is a fresh source of happiness; it sparks solidarity and a new spirit of cooperation (Warner np.). Instead of going out and frivolously spending money, families opt to stay at home, finding strength and sustenance in one another while embracing simple pleasures such as board games (Warner np.).

In the novel, Bingham distances himself from his family to a great extent. His sister, Julie’s, wedding is a prime example. Bingham is determined to be drunk from beginning to end (Kirn 30). He describes the day of the wedding, “when Julie, my kid sister, will try again to camouflage her multiple addictions and general pathological dependency long enough to formalize a bond with a man who has no idea what he’s up against” (Kirn 32). He displays an utter lack of respect and compassion for his own kin. In the film, Bingham’s actions indicate quite the opposite. Just before the wedding, Julie’s fiancé gets cold feet. Bingham seizes the opportunity with a successful one-on-one motivational speech. He says, “Life’s better with company, everybody needs a copilot” (Reitman). Reitman’s Bingham is disheartened when he learns that Julie cannot afford a honeymoon. When he reaches his goal of ten million frequent-flier miles, he generously gifts the newlyweds with two tickets for around-the-world travel (Reitman). Reitman creates a more sympathetic Bingham by depicting him as a loving, devoted family member.

Families cannot afford to break up their households in such trying times (Warner np.). Consequently, the divorce rate is declining (Warner np.). Kirn’s Bingham places little to no value in long-lasting, romantic relationships. Instead, he alludes to casual and often promiscuous rendezvous with a multitude of women throughout the country: “I suppose that it’s time to explain about women. There are lots of them. I credit my looks” (Kirn 33). In the film, he spends the majority of his free time with Alex, his newest fling (Reitman). Ultimately, what begins as a shallow relationship, results in Bingham letting his guard down and falling in love. Reitman, once again, humanizes Bingham by showing he is capable of genuine love. 

         Americans’ motivation to attend movies has been significantly affected by changes in the economy. Misty Faucheux, a writer for Brighthub.com, describes how Americans viewing films are longing for a brief escape from stressful economic circumstances (Faucheux np.) They desire a story reflecting common ground. A. O. Scott, a writer for the New York Times, observes a change in Hollywood character archetypes (np). He describes a paradigm shift where films that, prior to the Great Recession, featured affluence, now tend to include a theme where “Middle-classness is a norm, an ideal and a default setting” (Scott np.) The characters are simpler and are portrayed as hard-working common folk (Scott np.). Consequently, the audience experiences more empathy and identification with them (Scott np.)

The film version of Up in the Air demonstrates this trend of incorporating the middle-class into cinema, with the concept of materialism. Warner concludes that families with depreciated income gravitate less towards materialism (np.). “A craving for a simpler, slower, more centered life, one less consumed by the soul-emptying crush of getting and spending, runs deep within our culture right now” (Warner np). As a result, Reitman must adapt his production.  For the most part, there is less materialism illustrated in the film when compared to the novel. Bingham’s itinerary, in the novel, confirms his preference for premium import rental cars. In addition, he is very particular about hotel accommodations, staying at the plush Homestead Suites whenever possible. He describes particular rooms he favors that include kitchenettes and conference tables (Kirn 5). In contrast, the Bingham of film displays no penchant for upscale hotels or fashionable sedans; a quality that resonates with middle-class viewers. In the novel, Kara, Bingham’s older sister, requests that he order  and inspect twelve pounds of top-dollar, alder-smoked king salmon for the wedding of Julie, Bingham’s younger sister (Kirn 36). She also requests that Bingham cash in his precious frequent-flier miles to fly Julie’s maid of honor to the wedding (Kirn 37). In contrast, Reitman’s Kara requests nothing of material value for the wedding. Instead, she asks only that Bingham take photos of himself, holding a poster board of the married couple, in various settings throughout his travels (Reitman). It is a much more humble request; one to which the struggling middle-class may better relate.  

Reitman brilliantly infuses new life into the Ryan Bingham of the novel, thus transforming him into a more personable and likeable character. Of course, the smooth, charismatic performance of George Clooney assists remarkably in this revitalization. Reitman achieves humanization by creating a character that discards impersonal technology and shows legitimate concern for those he must dispatch. Although he lives life in the air, Reitman’s Bingham maintains a dedicated family relationship and earnestly safeguards their well-being.  By skillfully removing materialist values, in order to achieve a middle-class milieu, Reitman attains his goal of drawing in the audience. Hence, he is able to appeal to a new generation of recession-afflicted families who might otherwise seek a lighter form of entertainment.

Work Cited

Faucheux, Misty. "Is Hollywood in Crisis Mode?." Bright Hub. http://www.brighthub.com, 02 September, 2011. Web. 16 Apr 2012.

"Graph: Unemployment Rate." Labor Force Statistics. United States Department of Labor, n.d. Web. 14 Apr 2012. <http://data.bls.gov>.

Hildebrand, Deborah S. "Decline in Face-to-Face Communication at Work - The Impersonal Side of Technology and its Impact on the Workplace."Career Advice. Suite 101, January 6, 2010. Web. 16 Apr 2012.

Kirn, Walter. Up in the Air. New York: Anchor Novels, 2001. Print.

Reitman, Jason, dir. Up in the Air. Perf. George Clooney, and Vera Farmiga. Paramount Pictures, 2009. Film.

Scott, A. O. "Hollywood’s Class Warfare." New York Times[New York] 22 10 2010, AR1. Web. 20 Apr. 2012. (Scott np.)

Siegel, Robert. "Author Interview." For 'Up In The Air' Writer, Novel, Film Different. NPR.org, December 30, 2009. Web. 13 Apr 2012.

Warner, Judith. "What the Great Recession Has Done to Family Life." New York Times [New York] 6 8 2010, MM9. Web. 16 Apr. 2012. 

Essay 4 - Intro Paragraph

Image Source: http://jindal.utdallas.edu/executive-education/organizational-behavior-and-executive-coaching/program-overview/

The film, Up in the Air, is an adaptation of Walter Kirn’s novel, Up in the Air. The novel was written in 2001, and eight years later the film was produced. Kirn comments about the movie: “… the finished product, though it bears the distinct genetic imprint of the book, is quite different in some details...” During the time elapsed, between the novel and the film, business practices have evolved substantially. Vast changes in the American economy and technology have remolded businessmen and changed cultural perception of how business is conducted. The rat race continues to grow and progress exponentially. Ryan Bingham, the main character in the book and film, is a classic stereotypical businessman. The contextual changes inspired the film producer to create a less self-absorbed, less flawed character in Bingham in the movie. He strives to preserve the small amount of humanity he brings to his role of severing a stranger’s livelihood. The differences portrayed in the film versus the novel, reflect the pervasive infiltration of impersonality into the business realm and the resulting detrimental effects this has on business and personal relationships.


To learn more about personality in business, click here.

Reactions to Up in the Air

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            The novel, Up in the Air by Walter Kirn, was extremely difficult for me to get through.  I found it profoundly anticlimactic.  I lost more interest with every passing page and found myself drifting off.  I would return and reread the portions inadvertently glossed over, only to find that I had missed next to nothing. The bits and pieces that contributed to plot, or were of slight interest, were grossly intertwined with rambling and jargon.  I grew increasingly frustrated as I as tried to recall previously mentioned acronyms, piece together a confusing itinerary, and sort out affiliation among underdeveloped characters. All things considered, the entire book was insignificant for me. With that rant out of the way, I will offer my take on the novel’s content. Although I did not enjoy it, Kirn effectively illustrates the lives of those trapped in the grasp of the ever-growing corporate monstrosity. To learn more about corporate atrocity click here.

The novel’s main character, Ryan Bingham, is a self-absorbed individual who neglects family, healthy interaction, and stable lifestyle. He is engulfed by dysfunctional sexual relationships, which he embraces. Nonetheless, he is clearly distraught by the outcome of his previous marriage. When he concludes his ex-wife’s new husband is genetically superior and more worthy of her marriage, he is slashing a boundary of self-esteem. Bingham lives an artificial life of illusion in what he refers to as Airworld. Although he glamorizes it and accentuates its perks, the reader may peer through the smokescreen and recognize a withering, unfulfilling career.

The notion of career transitioning counseling (CTC) is astounding. It is actually someone’s career to soften the blow of employment termination by providing false hope; summarizing the victim's strengths in a five to six page document. It is no surprise that many recipients tear their review into pieces in disgust. The practice is deceitful and attempts to sugarcoat a tragic reality. It is a form of damage control and essentially requires professional smoke blowing. Bingham began his career faithful to its capacity. He comes to terms with the unfortunate truth, writes a letter of resignation, and resolves to transition to another company, MythTech. Mythtech is mysteriously glorified in the mind of Bingham. As its name implies, MythTech turns out to be just that, a myth. In the end, Bingham has a humbling experience as all of his illusions crumble to pieces. He becomes proactive and addresses long ignored heath issues including routine seizures resulting in memory loss. His impractical, idealistic bubble has been burst and it is time to return to reality and mend a scornful existence.

Work Cited

Kirn, Walter. Up in the Air. New York: Anchor Books, 2001. Print.

Mid-Term Check In

Mrs. Cline,


Thus far, this course has allowed me to enrich skills regarding thesis development, essay structure, vocabulary, and reading between the lines. My first essay was bogged down by quotes and did not transition well between paragraphs. My biggest success has been learning to structure essays to allow a superior flow for the reader. It has been about five years since my English 101 course and I appreciate the opportunity to refine literary ability, as well as add new tools to my literary arsenal. My biggest challenge has been formatting appropriate theses. I struggle with narrowing the focus of my theses and tend pack in excessive information. I believe this results from a fear that my paper will not be sufficient in length. However, I am making great progress and am more confident about upcoming essays.


The readings in the class have affected me in different ways. I did not enjoy A Modest Proposal because I constantly had to use a dictionary to decipher the text. It was very distracting and, repeatedly, made me lose my train of thought. Bartleby, the Scrivener was somewhat more enjoyable, but it did not have enough storyline for my taste. To this point, Winter’s Bone has captivated me most. I lived on a farm in rural Pennsylvania for six months and the Ozark community and its values strongly resonated with me. Up in the Air has been trying because, frankly, it is boring. I am hopeful things will pick up as I progress through the novel.


Practicing literary analysis has forced me to be less objective. However, it is not entirely subjective either; one must be able to substantiate their opinion using examples from the text and secondary sources. In past courses, most papers required a completely subjective or objective approach. In addition, summary is emphasized much less in literary analysis compared with my previous writing endeavors. I learned to assume the audience has already read the literature in discussion; therefore, I was able to devote more content to analysis.


I will strive to improve formulation of concise theses and to uncover deeper meaning within literature. Transitioning between paragraphs effectively is also a work in progress. One goal I have for the remainder of the course is a better practice of annotation. It is much easier to annotate important quotes and information than to search for them afterwards. I struggle with knowing what is important or relevant for an essay before generating a thesis. Another goal I would like to achieve is completing one more level six paper to add to my portfolio. Thanks for a great semester so far.


Sincerely,
Aaron Isaacson

Essay 3

Aaron Isaacson

English 102

Mrs. Cline

14 March 2012

The Humanization of the Ozarks

            Daniel Woodrell’s novel, Winter’s Bone, offers a unique perspective of the Ozark community. Unfortunately, this community has long been subject to negative stereotypes (Jones n.p.). In spite of these rigid and critical stereotypes, the Ozark community boasts many positive attributes which are often overlooked. Woodrell was born and reared in a similar setting. He was once a wild child who resisted the notion of settling down (Tibbetts n.p.). Woodrell’s writing enabled him to establish direction, pursue his dreams and, ultimately, escape these forlorn circumstances (Tibbetts n.p.).   Nevertheless, Woodrell retains a deep connection with Ozark society. He respects genuine, down-to-earth people with no pretensions. Although they struggle, they do the best they can with what they have. Woodrell embraces characters others often disregard; compelling his audience to care more about them (Tibbetts n.p.). The purpose of Woodrell’s novel is to portray the rural Ozark community members as multidimensional people made up of both good and evil qualities. He seeks to elicit an empathetic response for these often misunderstood people by demonstrating their complex character dynamics.  

Woodrell evokes empathy as he sculpts lower class characters that engage in acts of transgression yet have redeeming qualities.  Ben Westhoff, a writer for The Riverfront Times, sees the underprivileged characters as having “superior self-awareness despite often-questionable judgment” (Westhoff n.p.). Ree’s uncle, Teardrop, is a prime example. When Ree first approaches him with her concerns over her missing father, he resists and becomes enraged. However, when Ree’s life is in danger, Teardrop comes through for her, saving her life. Merab and her sisters also display these changeable qualities. In the beginning, they reject Ree’s pleas for help, and when she persists they beat her mercilessly (Woodrell 129-130). Ultimately, they express sympathy for her injuries and the gravity of her situation. They show remorse by coming to her aid and leading her to her father’s corpse, which will ultimately allows her to save her family’s land and continue to care for her younger siblings and disabled mother. Woodrell wants his audience to know that these lower class characters are not simply black and white. In fact, he appears to have more quarrels with the upper class. Woodrell discusses the immoral experience he had in the elitist environment of graduate school: “"There's a whole lot of sucking and fucking to get ahead in the writing racket up there…I came out very angry. The truth is, I found the morality of the place repugnant" (Westhoff n.p.). Although the lower class has its imperfections, Woodrell is sympathetic because their positive qualities frequently outweigh the negative.

            Woodrell believes that poor struggling people who embrace self-reliance at any cost are worthy of compassion. He has always felt a calling to write about rugged and resilient individuals who often go unnoticed by the greater culture (Westhoff n.p.). The Ozarks people are simple folks, capable of sustaining themselves with scant resources and the bounty of their land. There is no need for modern heating appliances to endure harsh Ozark winters. Instead, timber is gathered, split by hand, and burned in old potbelly stoves (Woodrell 9). Deer and squirrels are common fare. “Woodrell plucks his desolate characters from family albums, feeding them navy beans with hambone over cornbread, learning 'em to kill and skin up a squirrel, just like his old granddaddy taught him” (Westhoff n.p.). Woodrell describes characters with great detail regarding their physical stature. It suggests an aptitude for self-sustenance where tough manual labor is required. Self-reliance is a positive quality; however, it may have negative effects as is the case of the family business of manufacturing methamphetamine (crank).

Although Woodrell condemns the manufacture and sale of methamphetamine, he sympathizes with those who produce it as a means of survival. He recognizes, “…in an area where the average income for a guy who could get a job is under $20k a year that it's something where you can go and pick up a quick $3k in one weekend without too much knowledge or effort, it's kind of hard to convince them not to do it” (Tibbetts n.p.). Crank is a rapidly growing industry in the Ozarks. When Ree tells Megan her dad cooks crank, she replies, “Honey, they all do now. You don’t even need to say it out loud” (Woodrell 51). Ever since the stockyards and shoe and cheese factories closed down, years ago, there has been a growing scarcity of decent-paying work (Westhoff n.p.). Although producing crank has harsh consequences, it is an act of desperation. Woodrell resonates with the less fortunate as he once resorted to similar methods of provision during his hard times. Following his discharge from the military, Woodrell chose a life of hitchhiking; escaping conformity and selling marijuana as a principal means of survival (Westhoff n.p.).         

The town might feel more like a prison, if it were not obviously home (Jones n.p.). Woodrell creates empathy for those who use drugs for escapism. Ree is one of a few exceptions. While she does partake in marijuana and alcohol use occasionally, her main “vice” is tranquil sounds (Woodrell 9). In an interview Woodrell says, “There has never been a time when folks didn't seek the balm of psychic escape” (Readinggroupguides.com n.p.). The Ozark people struggle physically and psychologically, and this results in Woodrell’s sympathetic depiction of his characters using drugs as a means of escape. Marijuana and methamphetamine are among the most commonly used substances.  J R. Jones, a writer for the Chicago Reader, wonders “…stuck in a place like this, who wouldn't want to get high?” (Jones n.p.). Crank is especially significant because it implies a modern setting.  However, if illegal moonshine were substituted, the novel could as easily been set in the 1920’s (Jones n.p.). Woodrell appeals for understanding because he has himself struggled with drug-use in the face of trying circumstance. While fighting in the Vietnam War, Woodrell exercised escapism by spending the majority of his time tripping on acid and smoking hash (Westhoff n.p.). Many of Woodrell’s ancestors died walking the same path. As Woodrell and Westhoff walk from tombstone to tombstone in a graveyard, he cites the causes for the demise of each family member: "Alcoholic. Alcoholic. Alcoholic. Alcoholic" (Westhoff n.p.).  He reiterates the trying circumstances of life in the Ozarks that underlie its people’s attempts to cope with drugs that help to soften the harshness of their lives.

The mixture of good and evil qualities, as seen in the traditions of the Ozarks’ clans, represents the complex psychological issues of these people. As Woodrell describes these traditions, the reader experiences a fuller perspective and awareness of the workings of this particular society. Jones summarizes with, “Believe it or not, there are still places in the U.S. that are isolated, inbred, and insular, where poverty and tradition keep people rooted to the land and bound to each other (n.p.). Tradition is important in preserving culture. It contains a mixture of positive and negative qualities. Uncle Teardop states, “The Dollys around here can’t be seen to coddle a snitch’s family” (Woodrell 150). While morally justified as a means of deterring crime in society, snitching in this community is traditionally unacceptable. According to the clan’s tradition anyone who snitches must be eliminated, and Ree’s father is no exception. Another tradition in the Ozarks is the offering of drugs as a courtesy to one’s guests (Jones n.p.). This results in enhanced intimacy but ultimately leads to downward spirals of dysfunction. Woodrell experienced near-poverty most of his life and understands how important tradition is in binding a poor community together (Westhoff n.p.). He portrays traditions in the Ozarks to shed light on his characters’ full range of psychology, thus drawing the reader into a deeper experience of their inherent humanity (Tibbetts n.p.).

Woodrell represents obscure loyalty in the Ozarks community to draw empathy from the audience. Violence is common and folks will not hesitate to use it protecting their family, reputation and belongings. Ree’s brother, Harold, shows his family loyalty after Ree is beaten by the Miltons: “There’s two Miltons from over towards Hawkfall in my grade—want I should fight the both of ’em? …I’m friends with one, but I’ll still fight him anyhow if you say” (Woodrell 152). Vigilantism is a general means of enacting justice. The community is loyal to its own interpretation of law and, if necessary, will combat beurocratic law enforcement. In fact, most hold a natural distaste for anyone wearing a badge (Westhoff n.p.). At the end of the story, Ree receives a large sum of money and may finally leave to pursue a career in the army. However, she forgoes the opportunity, in loyalty to her family, and opts to continue caring for them. She tells her brothers, “I’d get lost without the weight of you two on my back” (Woodrell 193). Loyalty is an admirable trait; it offsets negative qualities contributing to complex characters.

Woodrell effectively pieces together his intentions for Winter’s Bone with a meaningful statement: "The American concept of things is that you're always striving upwards. What they're not getting is that there are a lot of people from the underclass who don't want to be middle class. They don't want anything to do with it" (Westhoff n.p.). The Ozark underclass is satisfied with their way of life. Woodrell appeals for empathy by developing complex characters that have a multitude of positive values intertwined with the negative. Consequently, stereotypes about their community are challenged or eliminated. It is easy to put labels on individuals rather than search for their complex essences.  The same community, prone to addiction and violence, holds value in family, loyalty, self-reliance, redemption, and tradition. Winter’s Bone compels the world to have a second look and perhaps reevaluate their unexamined presumptions.

Work Cited

J R., Jones. "Family Values in Meth Country." Chicago Reader [Chicago] 17 June 2010, 28. Web. 9 Mar. 2012.

"Readinggroupguides.com - Winter's Bone by Daniel Woodrell.”. Little, Brown and Company, 2012. Web. 10 Mar 2012. <http://www.readinggroupguides.com/guides_W/winters_bone2.asp>.

Tibbetts, John C. ""RIDDLES ACROSS THE SKY": DANIEL WOODRELL TALKS ABOUT WINTER'S BONE." Literature/Film Quarterly39.1 (2011): 30-39. Literature Online. Web. 9 Mar 2012.

Westhoff, Ben. "Hillbilly Noir." Riverfront Times [St. Louis] 6 December 2006, N_A. Web. 9 Mar. 2012.

Woodrell, Daniel. Winter's Bone. New York: Back Bay Books, 2006. Print.

Essay 3 Support Article

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The article “Family Values in Meth Country” by J R. Jones.was published in June, 2010 in reference to the motion picture, Winter’s Bone. Although the novel is somewhat different from the movie, the article will, nevertheless, be a great resource for support throughout my essay. The purpose of the article it to expose family values of the Ozark community, extrapolated from Winter’s Bone. Jones begins by discussing the significance of the scenery. He notes that it is important in communicating class, culture, and theme to the audience. He then discusses how it conveys isolation, poverty and tradition. Jones also points out the importance of the setting’s separation from urban squall and mass culture. Moving on, Jones mentions the prevalence of addiction; describing how it holds insight into the region’s values. Jones then elaborates on the authority-defying criminal society presented to the audience and how it reflects a lack of value in law. He continues with discussion of blatant patriarchy and how it defies value in equality. Jones finishes by revealing the communitarian values of Woodrell’s characters. He references the scene where Ree’s neighbor takes in a horse that she can no longer provide for. In conclusion, Jones offers a clever statement about the Dolly household: “It might feel like prison if it weren't so obviously home” (Jones 28)

For the third essay, I will write about social values of the Ozarks depicted in Winter’s Bone. Jones’ article is a tremendous find because it is not limited to a generalized region and its respective populace. Rather, it is directly related to Winter’s Bone. It analyzes characters of the novel that provide evidence for my thesis. Jones touches on many of the same values that I inferred; it is helpful to have a similar perspective from a different approach. In particular, his explanations will be supportive in my arguments about communitarian, material, and vigilante social values. Jones also interprets the Ozark community’s appreciation for isolation. He infers value for simpler way of life. This concept will be fundamental in my essay. Jones’ discussion of addiction and patriarchy is also significant. In themselves, these are not values; however, such lifestyles are a product of social values. The article’s title is a bit misleading. While it does discuss some family values, I found it also encompasses many values of the entire Ozark community. This is good news for me because family values are only one portion of my essay. To learn more about J. R. Jones, visit his profile by clicking here.

Work Cited

J R., Jones. "Family Values in Meth Country." Chicago Reader [Chicago] 17 June 2010, 28. Web. 9 Mar. 2012.

Response to Winter's Bone

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Throughout my reading, two reoccurring themes grabbed my attention. The first theme I encountered is the casual use of drugs by most of the characters. All of the characters seem to have a taste for marijuana. It is offered as a social gesture when guests are greeted. Also, it is used during troubling times to ease the mind. Smoking marijuana is done openly and in front of children. For instance, when Ree and Gale are in the truck waiting for pigs to clear off the bridge, a doobie is lit up and shared right in front of baby Ned. Ree will smoke marijuana but she refuses to use crank. Crank is another drug that plagues the Ozarks. Its use is common and many citizens even manufacture it. It seems to have devastating effects on the region. Those who use it tend to do so in binges and withdraw from society for days on end. The experience renders the user useless and volatile until the binge ends. To learn more about the effects of methamphetamine on society click here. Ree alludes that her father’s disappearance is associated with crank; although, it has yet to be confirmed. Ree also mentions eating hallucinogenic mushrooms. The experience she describes seems enlightening and uplifting until the reader discovers she has been taken advantage of sexually while tripping. A second theme I observed throughout the text is poverty. It appears most of the characters struggle financially. For example, Ree and her family depend of the charity of their neighbors for nutritional needs. This is also apparent when Ree is shopping with Gale and tells her that grated cheese is too expensive and if she buys it once, her younger brothers may become accustomed to it.

Thus far, Winter’s Bone has been a very intriguing novel for me. The plot is a little slow for my taste, but the story is nonetheless enthralling. Daniel Woodrell goes to great lengths to provide elaborate imagery. All of the character’s features and their respective attire are vividly presented. In addition, the imagery gives the reader a clear mental picture of time of day and various environments. At times, the imagery seems a bit overwhelming and tends to drown out the storyline. I would estimate that almost a third of reading, to this point, is devoted to description. That said, I am thoroughly enjoying the book and anticipate an exciting ending.

Work Cited

Woodrell, Daniel. Winter's Bone. New York: Back Bay Books, 2006. Print.

Essay 2 - Literary Analysis

Aaron Isaacson

English 102

Mrs. Cline

20 February 2012

Bartleby’s Ultimatum – Conformity or Death

The short story, “Bartleby the Scrivener” by Herman Melville, is about a legal copyist named Bartleby who works for the narrator in a law office. Bartleby begins as an efficient and seemingly motivated employee, but his efforts soon begin to deteriorate.  He gradually withdraws from work until participation ceases altogether. He spends his days staring through a window at a brick wall. Each time he is asked why he does not perform his duties, he replies, “I prefer not to” (Melville, par. 21).  In essence, Bartleby uses passive resistance to protest the nature of his workplace. Ultimately, the narrator relocates his office and Bartleby is arrested when he refuses to vacate the premises. Bartleby is taken to prison where he continues to challenge humanity’s norms. Bartleby, preferring not to eat, dies in prison. Bartleby is the hero of Melville’s story in his refusal to participate in a workplace that represents the sad, dreary atmosphere of a bureaucratic, industrialized society. Evidence of such a workplace can be seen in examination of Bartleby’s work environment, the nature of his work, the coping mechanisms of the copyists, and the values of his employer.

The environment of the law office is incredibly sterile and lifeless. The narrator describes the office as dusty, uncarpeted and having a haggard appearance. The view from one end is deficient of landscape while the other end offers a view of a brick wall. There is such a lack in furniture and décor that when the office is packed up and moved, it only takes a few hours. Bartleby works in the same room as the narrator; confined to a screened off section which the narrator calls a hermitage. He is kept out of sight but within sound’s reach if he is to be summoned.  Marcus interprets a sense of alienation and a feeling of being trapped: “The setting on Wall Street indicates that the characters are in a kind of prison, walled off from the world” (Lazzari 377).  Until now, the narrator has been shielded from the world’s despair but now he is forced to realize its presence is his own office. He has a moment of clarity: “Ah, happiness courts the light, so we deem the world is gay; but misery hides aloof, so we deem that misery there is none” (Melville, par. 89). Bureaucratic ideology surfaces when the narrator expresses a need to be near city hall. Bartleby is no stranger to dreary and bureaucratic environments as his previous employment was with a dead-letter office.  The reader may reasonably speculate that a dead letter office has a similar type of environment and a sense of hopelessness. It seems it is all Bartleby has ever experienced. The environment of the prison is also sad and bureaucratic. The prison is referred to as the tombs. The name implies it is a place for men to rot away and die instead of rehabilitate. The grub man asks the narrator, ““Does he want to starve? If he does, let him live on the prison fare, that’s all” (Melville, par. 225). The prisoners are condemned to a slow death because the prison fare is inadequate. Bartleby heroically refuses to accept society’s conditions via passive resistance and, finally, must give his life.

The nature of work at the law office is best described as dreary. It has a robotic quality. In fact, in modern times, copying is done almost exclusively by machines. The narrator describes one of the copyist’s duties: “Where there are two or more scriveners in an office, they assist each other in this examination, one reading from the copy, the other holding the original. It is a very dull, wearisome, and lethargic affair” (Melville, par. 19). The tasks of a scrivener are tedious and mind-numbing. The legal papers are essentially indecipherable and full of jargon. Bartleby implies they are of no value when he refuses to proof read his copies. It is a mechanical and monotonous profession that evokes depression. Bartleby’s eyes become “dull and glazed” (Melville, par. 131) from dreary incessant copying. With vision impaired he ceases all work obligations in protest. In the end, the narrator is compelled to discover an inner compassion which has been repressed by a dreary mundane practice.

A third indication of a sad and dreary workplace is the means of coping used by Bartleby and his fellow scriveners. One scrivener, named Turkey, is relentlessly perturbed. He is noisy, blots drafts and scatters papers about. Turkey resorts to alcoholism, rendering him ineffective by midday.  The narrator admits sadness to see a man of his age in such condition. He deduces Turkey is, “… a man whom prosperity harmed” (Melville, par. 11). The narrator does not accept that a sad and dreary workplace results in such behavior and instead blames prosperity. Another scrivener, Nippers, is frantically irritable. He copes by grinding his teeth, muttering and constantly readjusting his table. His speech is likened to hissing. Nippers is incapable of gathering himself until after midday. Bartleby begins as an efficient worker, perhaps to mask the sterility of the office, but loses motivation and unofficially resigns. He copes by complete withdrawal from normal life: “His refusal is paradoxical, for he rejects the illusion of personality in an impersonal world by retreating to another kind of impersonality which alone makes that world endurable” (Lazzari 377). He never speaks except to answer and stares through the window at a brick wall for a large fraction of the day. The narrator eventually recognizes that Bartleby’s soul is troubled and cannot be mended with material goods.  In effect, Bartleby does nothing more than subsist: “Upon more closely examining the place, I surmised that for an indefinite period Bartleby must have ate, dressed, and slept in my office, and that too without plate, mirror, or bed” (Melville, par. 87). Bartleby goes without basic necessities in protest. He prefers not to conform to an industrialized and beurocratic lifestyle and copes by abstaining.

The narrator’s values are exposed throughout the text. He describes himself as a lawyer who lacks ambition, refrains from addressing a jury, and does not seek public approval. The lawyer desires isolation and limits his affairs to include only affluent members of society. Marcus suggests, “The lawyer’s easygoing detachment- he calls himself an ‘eminently safe man’- represents an attempt at a calm adjustment to the Wall Street world, an adjustment which is threatened by Bartleby’s implicit, and also calm, criticism of its endless and sterile routine” (Lazzari 377). His work ethic and fear of taking risks yield a dreary environment whose primary focus is industry and bureaucracy. When Bartleby begins the job, he is valued for industriousness. At first, he is reliable, steady, and productive.  Bartleby has a constant demeanor and is always available when needed for copying of the highest priority. As long as the lawyer’s workers are industrious, he could care less about their psychological welfare or inner qualities such as character. When the lawyer is locked out and learns that Bartleby has been living in the office, he is more concerned about his authority being undermined. It is a very sad situation, when one values their authority over another’s state of well-being. The lawyer does become more generous, but, sadly, his motivation in not in helping Bartleby; it is to ease his own conscience. In a final attempt to ease his conscience and sever his ties with Bartleby, the lawyer offers Bartleby a pity disbursement. Bartleby declines, however, in such a bureaucratic organization, the show must go on.

Bartleby is not only heroic but becomes a martyr in giving his life to support a cause. His willpower and bravery are reflected in his determination to evade compliance. Bartleby observes the other scriveners and cannot accept coping as they have. He rejects sad and dreary elements of an industrialized and bureaucratic work environment; including the value system it represents. Bartleby embraces the power of choice as he prefers to withdraw. Choice being his only device, he battles the system until the bitter end. Bartleby concludes the morose nature of existence does not justify living. His sacrifice has a profound impact on the narrator. Perhaps, the lawyer will be inspired to implement invigoration and humanitarian values into his practice. In Bartleby’s ultimatum, he chooses death before submitting to society’s stranglehold.

Work Cited

Lazzari, Marie. Nineteenth-Century Literature Criticism. 49. Detroit: Gale Research, 1995. 375-430. Web. <http://galenet.galegroup.com.proxy.yc.edu/servlet/LitCrit?dd=0&locID=yava&d1=NCLC_049_0009&srchtp=b&c=14&df=r&d2=1&docNum=FJ3573150009&b0=bartleby&h2=1&vrsn=1.0&srs=ALL&b1=KE&d6=1&d3=1&ste=10&stp=DateDescend&d4=1.0&n=10&d5=d6>.  

Melville, Herman. Bartleby, The Scrivener, A Story of Wall-street. 2. New York: G&P Putnam & Co., 1853. Web. <http://www.bartleby.com/129/>.

Bartleby - Passage Analysis

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“Nothing so aggravates an earnest person as a passive resistance. If the individual so resisted be of a not inhumane temper, and the resisting one perfectly harmless in his passivity; then, in the better moods of the former, he will endeavor charitably to construe to his imagination what proves impossible to be solved by his judgment. Even so, for the most part, I regarded Bartleby and his ways. Poor fellow! thought I, he means no mischief; it is plain he intends no insolence; his aspect sufficiently evinces that his eccentricities are involuntary. He is useful to me. I can get along with him. If I turn him away, the chances are he will fall in with some less indulgent employer, and then he will be rudely treated, and perhaps driven forth miserably to starve. Yes. Here I can cheaply purchase a delicious self-approval. To befriend Bartleby; to humor him in his strange wilfulness, will cost me little or nothing, while I lay up in my soul what will eventually prove a sweet morsel for my conscience. But this mood was not invariable with me. The passiveness of Bartleby sometimes irritated me. I felt strangely goaded on to encounter him in new opposition, to elicit some angry spark from him answerable to my own. But indeed I might as well have essayed to strike fire with my knuckles against a bit of Windsor soap. But one afternoon the evil impulse in me mastered me, and the following little scene ensued" (Melville n.p.).

This passage is important because it demonstrates the inner conflict of the narrator regarding his evaluation of Bartleby. He describes Bartleby’s behavior as passive resistance. This description is effective because it is concise yet intricate.  Bartleby may appear to be openly defiant; however, he is not. Bartleby chooses his words carefully when he says “I would prefer not to”  (Melville n.p.). Instead of bluntly denying a request, he essentially says he would rather not; thus he chooses a passive approach. This is important because it leads the narrator to believe that his behavior is somehow of an involuntary nature. The narrator goes on to explain that if the person being resisted is not of a callous temper, and the resistor is not doing any harm, then the resisted may actually be sympathetic. He is inclined to favor compassion over logic. This is important because, under normal circumstances, a worker who performs inadequately will be terminated immediately. However, the narrator is able to overlook these behaviors, for a while, because he pities Bartleby. Occasionally, the narrator becomes irritated and feels the need to challenge Bartleby.  At this point in the story, Bartleby is still somewhat productive. As Bartleby gradually shifts towards total futility, the narrator becomes irritated more frequently.  After the narrator relocates and learns of Bartleby’s imprisonment, he is again struck with a wave of compassion. The narrator’s emotional duality is a major theme throughout the story as the reader sees him swing back and forth with his sentiments towards Bartleby. To learn more about duality, click here. The internal conflict affects the meaning of the story because, in the end, it teaches the narrator a lesson in humanity. He had an opportunity to offer Bartleby guidance and perhaps inspire him but, instead, he chose to abandon him to salvage his reputation.  He allows his concern for the opinions of others to override his conscience and, ultimately, seems to regret it. The narrator must experience guilt having speculated, correctly, the outcome of driving Bartleby away. He knew Bartleby's fate; he would be “driven forth miserably to starve" (Melville n.p.).

Work Cited

Melville, Herman. Bartleby, The Scrivener, A Story of Wall-street. 2. New York: G&P

            Putnam & Co., 1853. Web. <http://www.bartleby.com/129/>.

Summary and Analysis

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Summary and analysis have a precise relationship which allows the presentation of one’s interpretation. A summary is acquired through observation of literature. The observations are then compiled as evidence to support an analysis. Ultimately, the analyses offer support to the argument presented in one’s thesis statement. Individual claims, which are encompassed by the thesis, must be supported by relevant summary.

 In general, one should assume their audience has already read the literature in discussion. Therefore, use of summary, must be limited to specific details that relate to the analysis. One must use just enough summary to illustrate their points. A summary is not persuasive but rather informs; answering questions of who, what, where, why and how. It provides a context while excluding opinion. A summary may include sequence of events, specific accounts of scenes and pertaining characters, and descriptions of proceedings in the text. If I were summarizing the television show, “Breaking Bad,” I would say “Breaking Bad” is about a high-school chemistry teacher who is diagnosed with lung cancer and resorts to manufacturing methamphetamine to provide for his family after his death.

 Analysis explains what one infers from the text. Its function is to critically evaluate. This requires the reader to read in between the lines, break the literature into pieces and examine its elements. In examination, it is essential to limit one’s focus to one or two elements. For example, one might choose to focus on a character’s relationship or apparent strengths and weaknesses. After examination, one must formulate an argument that explains meaning. It is important that the meaning of the arguments have significance to the meaning of the text as a whole. Using “Breaking Bad” again, I could argue that society is oppressing the chemistry teacher in the form of inadequate wages which forces him into a moral dilemma. He must prioritize his morals and, at the end of the day, the well-being of his family is of higher value than abiding by the law. Another central area of focus should be portions of the text that, at first glance, do not make sense. These are known as moments of cognitive dissonance. Once evaluated, such portions can provide valuable insight. To learn more about summary versus analysis click here.

Dr. Swift's Proposal

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In “A Modest Proposal,” Dr. Swift attempts to address some of the major problems in the country of Ireland in 1729 through satire. One problem that Dr. Swift identifies with society concerns its citizens bearing children without the means to support them. The parents are forced to resort to begging or other forms of charity to ensure their family’s survival. He first identifies mothers as the culprits, but then goes on to include fathers.  Dr. Swift, to some extent, attributes the current economic conditions as the cause and foundation for these matters which plague society. However, he implies that parents should not use this as an excuse, but rather have awareness of their inability to provide for their young before conceiving them.  Dr. Swift also makes mention of an excessive presence of Catholics in Irish society whom he refers to in a demeaning fashion as the Popish.  He also alludes to the greed and exploiting nature of the English saying “…and flesh being of too tender a consistence, to admit a long continuance in salt, although perhaps I could name a country, which would be glad to eat up our whole nation without it.” (Swift) 

As a solution to these problems, Dr. Swift suggests sarcastically, that the children, one year of age, be gorged with food, slaughtered and served as a delicacy to affluent Irishmen.  This, of course, is not a serious suggestion, but instead serves as a wake up call for Irish citizens and creates awareness by ridiculing serious problems. Dr. Swift urges them to consider the harsh realities and take action. He is essentially making fun of the ignorance of the people. To learn more about Dr. Swift's life or see more his works; click here.

Ironically, Dr. Swift does present his solution logically. While it is an expedient, he provides many compelling arguments that illustrate the possible benefits of his solution.  For example, he discusses benefits which include but are not limited to economic progress, self-sustenance, improvement of family dynamics, replacement for a diminishing supply of venison, and removal of a great burden on society. He even goes to great lengths to describe the high quality of the meat derived from a one year old child, describing it as a dainty. However, it is obvious to all, except for the few remaining tribes that embrace cannibalism, that such a concept is profoundly savage, immoral and inhumane.  His concerns are very genuine yet he if so baffled by the lack of action that he chooses to mock a grave set of circumstances.   

Work Cited

Swift, Jonathan. "A Modest Proposal, by Jonathan Swift." Project Gutenberg, July 27, 2008. Web. 2 Feb 2012. <http://www.gutenberg.org/files/1080/1080-h/1080-h.htm>.

Post on Nabakov

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Nabakov suggests a “good reader” must have a multitude of different qualities and abilities. Most are within the control of the reader while a few are not. A reader does not have much control over their memory capacity or artistic sense, but I would agree with Nabakov that both lend a hand in being a “good reader.”  According to Nabakov, being a good reader starts before one has begun reading. He believes when one begins a reading with presumptions or generalizations, they tend to fail in recognizing important details. He recommends treating the literature as if it were a new world to explore. Only after sufficient exploration has taken place should one begin to make links. I would agree with this as well. I think it is important to have an open mind and avoid preconceived notions so one may truly appreciate what the author has illustrated. Nabakov states that a “good reader” should not expect to learn accurate information about time and place. I disagree with this premise because I believe it is relative to the author. In many cases, this is true; however, some authors are very much capable of accurately describing a specific historical context with little bias. I would agree with Nabakov that a “good reader” would make use of a dictionary. A dictionary allows the reader to further appreciate the details articulated by the author which may, otherwise, not be understood. Nabakov thinks a “good reader” should reread literature to allow the mind to fully interpret it as if it were direct stimuli. He postulates that the processes involved with reading itself may hinder the gifts of the mind. Again, while this may occur, the mind varies from individual to individual and, in my opinion, is relative to the reader.  I think some readers are capable of full appreciation the first time reading literature. It also depends on the literature itself. With regards to imagination, Nabakov believes a “good reader” should be more objective than subjective. He emphasizes impersonal approaches that allow “artistic delight.” He warns that relating to context or indentifying with a character, may limit the imagination to what has already been experienced. In my opinion, this it true, but I would lean more towards a happy medium. I believe the author’s artistic presentations are much more meaningful when they resonate with an individual’s reality. 

All in all, I agree with Nabakov’s description of a “good writer.” If I had to add to his list, I would include the following qualities. I believe that a “good reader” must have interest in what they are reading. It seems that when interest is lacking, the imagination performs poorly and, in some cases, completely shuts down.  Another important quality of a “good reader” is perception. If one has limited perception, they cannot appreciate reading as much as, perhaps, a play or movie. The last quality I would include in a “good reader” is patience. Patience allows one to fully appreciate detail. This entails reading at slower pace or rereading all or part of the literature. When lacking patience, one may rush through reading or become distracted easier.  This results in incomplete processing. I consider myself to be a “good reader.” One limitation I face is a lack of time. This impairs my patience and imagination. Another limitation I experience is a tendency to make assumptions about literature. I struggle with not judging a book by its cover. My strengths include artistic sense and imagination when time permits patience.  My artistic sense allows me to experience vivid imagery and understand complex characters. I tend to find an ideal balance between personal and impersonal imagination that put my mind and the author’s mind on a the same wavelength.  To learn a few more tips about being a “good reader” click here for more opinions.

Work  Cited

Nabokov, Vladimir. An Anthology of Nonfiction. 11^th Edition. Norton Reader, 613-17. Print.