What's in a name?

One of the most striking things about Song of Solomon (aside from the incest, murder, etc.) is the amount of unusual names.  First, let us start with the title of the book itself.  Song of Solomon comes from a short book of the Old Testament (and of the Tanakh).  The original title is better translated as "Song of Songs" which is what I believe is a more common translation.  Why Solomon appears in the title is because a fuller title in some editions reads, "Song of songs of Solomon which in Hebrew is said Sir Hasirim."  Solomon is believed to have written it.  It is a dialogue between lovers.  In Judaism, it is seen as allegory for the relationship between God and Israel; Christians see it as allegory for Christ and the Church.  The title is not the only strange name in the book.

Names are given in an unusual manner in the book.  First from Macon Dead I and the drunk Union soldier, then to the Dead family tradition of choosing a random word from the Bible.  The names given in this manner are as follows:
-Pilate (from Pontius Pilate): the Roman judge who handed Jesus over to be crucified
-Reba (from Rebecca): Wife of Isaac, (though there is a Reba who is a king)
-Hagar: Sarah's servant, and mother of Ishmael through Abraham
-First Corinthians: Saint Paul's first letter to the people of Corinth
-Magdalene Called Lena: (from Mary Magdalene): a follower of Jesus present at the crucifixion; some accounts say Jesus expelled seven demons from her; sometimes thought to be a repentant prostitute.

It is possible that these names will be important in each character's actions; there may be a bit of mirroring in the novel.  For instance, Hagar and Ishmael are expelled by Abraham, and Milkman rejects Hagar.  This might be the only instance of crossover, but it will be interesting to see as we continue the novel.  Morrison could have chosen the names for this purpose, but it could also be a parody of giving children biblical names.  (This might make more sense, because if the former is true, what will First Corinthians do? Will Pilate kill Milkman, even though she has been protecting him since before he was born?)

After this, the only unusual names left are ones like "Guitar" and "Empire State" and a few others along with the two Tommys, and some seem to be nicknames.  In the book, characters also get their names in interesting ways: Milkman gets his because of what Freddie sees; Guitar wanted a guitar, and Macon Dead I got his because a drunk soldier wrote the wrong words in the wrong spaces.
  All these names make the book more interesting.  The giving of names is very important in this novel, as we saw in the epigraph and in class discussions.  I guess by the end of the novel we will better understand the significance.

Dialect in Wide Sargasso Sea

     The use of dialect is very common in writing.  Nothing else puts the reader into the environment of the story quite like the approximation of the local speech.  Many writers have been known for using it Zora Neale Hurston, and Mark Twain are just a few.  But Jean Rhys uses it both in this way, but also for a slightly different purpose: it helps draw alliances between different characters.

     

     Wide Sargasso Sea is riddled with Caribbean rhythms and speech patterns in the dialogue, as well as the French-patois phrases that show up.  The first thing Christophine says is. "she pretty like pretty self" when discussing Antoinette's mother.  This helps reinforce the Jamaican setting of the novel.  Later, Antoinette says of Christophine, "she could speak good English if she wanted to, as well as French and patois, but she took care to talk as they talked." This seems to indicate that Christophine does not want to stand out from the crowd because of her Martinique heritage.  She talks in the same dialect as the Jamaicans to try to avoid some of the rivalry between the English and French colonies.

     The most vivid use of dialect, however, appears when we see the story through Rochester's eyes.  The French-patois phrases uttered by Christophine appear much more frequently.  This could be because of Rochester's insecurities, and his feeling of not fitting in.  With Rhys having put them in, the reader, as well as Rochester, can only guess as to the meaning of the words.  During this section, Rochester notices that Antoinette can speak patois, and does many times with Christophine.  This relates to the strong connection between the two women, and adds to Rochester's alienation.

     The last use of dialect relates to the practice of obeah in the novel.  Christophine's dialect is filled with it, especially when she says not to mess with it and béké.  This, as well as the lack of understanding of obeah among the readers (to which I subscribe), adds to the mystery of the novel.  

In Wide Sargasso Sea, Jean Rhys uses dialect to highlight connection between characters, alienation, and the mystery of the landscape in the novel.

Meursault and Maman

When comparing Meursault to other people, one will find that he is certainly unorthodox: he says very little, thinks very little, and feels very little, except for physical contentment, distress, etc.  He responds much more to physical stimuli than emotional stimuli.  This is very evident in his relationship with Marie.  Meursault doesn't seem to have many feelings about anything in particular.  This also shows in his non-judgmental nature.  However, from the beginning, his relationship to his mother is very ambiguous, and unclear.

At the funeral, Meursault does not behave in a common way.  He dozes off, and smokes during the wake, two things that are uncommon, and usually disrespectful.  He does not show much emotion now that his mother has passed; instead, he thinks about food, and fatigue.  In fact, on page 24, he said, "really, nothing had changed."  This shows that he has a somewhat cool attitude to the event.  Before, he talks about it, saying, "After the funeral, the case will be closed" (3).  He calls it a "case"--a very emotionally detached term.  He doesn't really show signs of grief or mourning, except for the black tie and armband.

In spite of all of this, I believe that he did care for his mother.  There are several spots in the novel which suggest this.  When Meursault is lying around his house on Sunday, he remarks that the flat is "too big for [him]."  "It was just the right size when Maman was here"(21). He moves his table into the bedroom, and "only lives in one room."  It is possible then, that he feels different now that she has died.  Later, at the end of Chapter 4, when Meursault is lying in bed, waiting to fall asleep, he "[thinks] of Maman...[he] wasn't hungry, and [he] went to bed without dinner" (39).  For many people, loss of appetite suggests grief.  Earlier, at the funeral, he refuses to see his mother dead.  This to me suggests that he doesn't want to believe that she is dead.

Though Meursault has little emotion, I think that he did love his mother.  The last piece of evidence for this is that he still calls her "Maman"-close to "Mom" or "Mommy" in English.  Throughout the book, he doesn't refer to her as anything else.  Because of this, I think that she meant much more to him than what it appears she did.

A Bug's (After)-Life

Gregor’s transformation and loss of humanity is quite jarring.  In The Metamorphosis, his consciousness stays, but his humanity dwindles.  First, his choice in food changes, then he almost forgets his past, and eventually, he barely eats or moves.  However, he is still moved by his sister’s violin playing.  This suggests a small remaining part of the human Gregor.  This raises a question: does Gregor have a soul?

Kafka was born to Jewish parents in Prague.  I don’t remember it being stated where The Metamorphosis takes place, but Prague is a reasonable guess.  At the time Kafka was writing, Prague was part of the Austro-Hungarian Empire, which was predominantly Catholic.   In the book, Gregor remembers the family celebrating Christmas, and Gregor’s father makes the Sign of the Cross, along with Grete, the mother, and the charwoman.  This suggests that they are Catholic, or Christian.  At this point in the history of the Catholic Church, it was not believed that animals had souls.  (It is still not widely believed).  There certainly wasn’t (and isn’t) any doctrine on people-turned-insects.  Theoretically, he would have one before the transformation, but what about after?

 As Gregor loses his humanity, there are still a few remaining shreds.  Though he is a bug, and his family has given up hope that he remains inside, he still thinks of his family.  He still has some humanity left.  An example of this is when he hears his sister play.  He is enchanted, and walks closer to hear it better.  He eventually starts to walk towards his sister to try to tell her to play in his room, because he is most "worthy" of her playing.  He remembers his plan to send her to the Conservatory, and imagines his sister's reaction when he will tell her.  This is very human, especially his reaction to the music. The narrator presents Gregor's thoughts:

"Was he an animal, that music could move him so? It seemed to him as if the way were opening towards the unknown nourishment he craved."

This "unknown nourishment" seems to be almost religious, and shows the human left in Gregor. 
 Later, when he is dying, "his thoughts went back to his family with tenderness and love."  This shows that he has some humanity left.  In this case, I would argue that he has a soul.  True, his humanity dwindles, but there is some left at the end, and so that is why it seems he has one.  I don't think that Kafka had intention of an exploration of the soul when he wrote the story, but I think it is an interesting thought.

Mike and Brett

     In The Sun Also Rises, we see the entire story through Jake's eyes--all the characters, developments, conversations, are told through his point of view.  This is true with characters' interactions, and they may be somewhat different from what they seem.  A good example of this is the relationship between Brett and Mike.  At the beginning of the novel, it seems to be mostly for convenience on Brett's part.  But, by the end of the novel, it has grown into a more mutually beneficial relationship.

     When we first meet Brett, she is out partying, and Cohn notices her.  He finds her "remarkably attractive", and questions Jake about her (46).  Jake tells Cohn that she is engaged to Mike Campbell, who will "be rich as hell someday" (46).  Though Jake says she loves Mike, Cohn doesn't believe that they will get married, because he thinks Brett would not "marry anybody she didn't love" (46).  Jake responds, saying, "She's done it twice" (46).  Cohn's incredulity and Jake's response suggest that Brett may be wanting to marry Mike just for his money.  

     Mike. however, seems to be interested in Brett from the beginning.  When we first meet him, he can't stop saying how she is a "lovely piece" (84).  Granted, at this point, and at many points in the novel, he is drunk, but he still cares a lot about Brett.  This is clearer later in the novel, when he has trouble knowing Brett is with other men.  He is mad about the relationship with Cohn, and says, "if she would go out Jews and bull-fighters and such people, she must expect trouble" (205-206).  Mike is uncomfortable with her relationships, and drinks out his sorrow.  This shows that he cares about her.

     By the end of the novel, we learn that Mike is a "bankrupt", and is constantly borrowing money.  We know that Brett knows this as well, as she gives Mike the money to pay Montoya back.  She says, "I'm going back to Mike...he's so damned nice and he's so awful.  He's my kind of thing" (247).  These examples show that she cares for Mike, not his money.  At the beginning of The Sun Also Rises, Brett seems to want Mike's money mostly.  But, by the end, we see that she has grown, and that their relationship is much more caring.

The Old Woman

One thing I was confused with in Mrs. Dalloway was the old beggar woman.  She doesn't seem to have much of a place in the novel. Part of me thought that she represented Lucrezia's future, that after Septimus died, she would grow old and impoverished.  That does not seem incredibly likely; it seems a bit far-fetched, as there is nothing solid to connect the two.  She sings about her lover, with whom she had walked in May.  In the notes, it mentions a possible connection to a Richard Strauss song.  I looked around, and the lied, Allerseelen, is about a lover reminiscing on love that happened in May, and mourning.  The text is a poem by the Austrian poet Hermann von Gilm zu Rosenegg.  Here is a translation:

All Souls' Day

The fragrant mignonettes put on the table,

And bring in the last red asters,

Then let us speak of love again

Like once in May.

Furtively give me your hand to squeeze

And if anyone sees us, I don't mind at all.

Just give me one of your sweet glances, 

Like once in May.

Today every grave blooms and shines.

Yes, one day a year the dead are freed.

So come, my heart, and be again my own

Like once in May.

Mignonettes and asters are funeral flowers, and All Soul's Day is a day of mourning and prayer for the souls of the dead.  It seems that Woolf connect a woman she had seen on the street with the poem, as the connections between the two warrant more than coincidence.  The people were in love in May, and the woman says to Peter, "give me your hand so that I may press it gently and if someone should see, what matter they?," an almost direct quotation (though she probably would have seen a different translation.) Woolf must have been familiar with Strauss' song (it was published in 1887, and written two years before that,) or the poem.  Some people have taken it that the speaker of the poem is dead, and that the "table" is a headstone.  This doesn't go along with Woolf's use of it, though, as the woman is alive, and is mourning.  The notes speak of the return of the lover on All Soul's Day, so I think that the woman is the speaker of the poem.  Woolf talks about the woman having sung for "infinite ages," and says that the woman will "still be there in ten million years."  I think this means that there will always be love lost to death.  This perhaps foreshadows Rezia's loss of Septimus.  My opinion is that Woolf liked the poem, and worked it into her novel as the old woman.

The Minutiae in The Mezzanine

One of the first things that caught my attention in The Mezzanine was the incredible, obsessive, almost absurd attention to detail.  However, this would eventually be what I found to be the most endearing quality of the novel.  At the beginning, I had trouble with the novel, becoming easily distracted as I read. The endless tangents were tiresome, and I found I had to reread sections to remember what had been said.  I wondered how Baker could go on like this for 130-some pages.  Though, I slowly began to appreciate his style. I saw how there was actually some logic to his digressions.  I found that I appreciated other parts as well.

What first started to better my feeling of the novel was how I could identify with the narrator at times.  I was glad to know that someone else disliked blow-dryers, or that an aversion to small talk in the restroom was completely reasonable.  In this way, I began to like the book.  What really turned me around, though, was the attention to and appreciation of detail, and the seemingly mundane.  Some things I started the novel already appreciating, such as paper towels, and escalators.  I liked seeing normal things in different light, and the scenes he created of everyday life.  One of my favorite passages was that describing his insomnia, especially with the sheep, having been ordered, travelling all day to jump over a fence for him.  I grew to like the novel through scenes like this.

The detail presented in the book was at first onerous, but, I grew to love it through the details I could relate to.  I then had a greater appreciation for other things I had given no thought whatsoever to, the greatest example being perforation.  So, I grew from being annoyed by a passage on the history of the straw, and not particularly caring for it, to growing a greater appreciation for so many of the generic parts of life.  I admired Baker for having put so much thought into these things.  I probably would not have thought twice about my shoelaces breaking a day apart.  This proved to be a very creative work, and I grew to enjoy it in the end through the little details.