FINAL ESSAY

                                                            Drown: A Plan Built for Success

      Drown, by Junot Diaz, surprised me with the way it was written. Despite having plenty of emotional scenes that readers would expect to include many of the characters’ inner feelings, Diaz rarely shows the reader the characters’ feelings outright. Why Diaz would seemingly leave out so many feelings seemed confusing at first. But, when analyzed more closely, this is a style employed by Diaz that works perfectly for the book. By looking at the effect that not directly giving characters’ feelings has on both the reader and the characters, we can get closer to determining Diaz’s intentions for doing this.

Diaz intentionally leaves out the obvious feelings of the characters as a way to let readers relate to the different and unfamiliar situations that the characters find themselves in, while also keeping the characters interesting, relatable, and important to the story. To build on this, Diaz guides the reader with more subtle and disguised feelings of his characters towards the themes of the story, once the reader has made connections to the text itself. This technique allows the reader to better understand the themes presented by Diaz in the story, because understanding why Diaz leaves out obvious feelings and includes subtle ones helps readers decipher the characters in the story themselves, who help deliver the themes of the book.

This technique is valuable because connecting to characters whose feelings are told to you, especially in an unfamiliar situation, does not aid adaptation to the book.  This style of leaving few feelings for the reader to easily see is important to allow the reader to adapt to the story. Instead of being forced to feel something unfamiliar, the reader can adapt the situation to make him or herself more familiar to it. In one example of an emotional scene, Diaz offers little evidence of what characters actually felt. Instead, the narrator fills the gap with description and dialogue. “She’s gone, he said. So cry all you want, malcriado. I learned later from Rafa that she was in Ocoa with our tios.  Mami’s time away from us was never discussed, then or now. When she returned to us, five weeks later, she was thinner and darker…”(Diaz 84). This scene is intentionally left open by Diaz, to let the readers imagine the situation for themselves, and feel for themselves as well. The reader, at first, has room to connect to the passage however he or she chooses to. This technique allows initial connections to the text to be made.

Diaz allows for this kind of outside-in connection by being ambiguous and leaving space for feelings. In the text, he doesn’t specify any feelings directly, nor does he make it clear what you are “supposed” to feel in this situation. The words are descriptive, but not very forceful. This allows the reader to take the text, add in feelings that he or she sees as fitting, and have an easier time making connections to the familiarized version of the text.

This “ambiguous description” serves as the beginning of how Diaz connects his readers to seemingly strange and unfamiliar situations, but to connect the reader with the themes of the story, Diaz does more.  Diaz guides the reader towards his point with subtle descriptions and actions, which hint at the feelings of the characters, and move the reader towards themes of the story. The reader overlooks these subtle pieces of text at first, which is key to the success of this style. Diaz draws the reader into the text with open connections that the reader makes. But once the reader is drawn into the text, and begins to connect with the text, these subtle parts are more visible to the reader. These subtle feelings act as a railway, guiding the reader towards the main ideas of the book.

Diaz employs this subtle indication of feelings in the passage discussed before, and it compliments and builds off of the open connections the reader makes. Although not immediately obvious, Diaz shows that Yunior was, in fact, upset and saddened by his mother’s departure. Diaz writing “so cry all you want, malcriado”(Diaz 84) shows that in fact, Yunior had been crying over his mother’s leaving, and from this, readers start to see some of the main ideas Diaz wishes to present, like that of the importance of family. This passage originally drew the reader in with its open connections because of its lack of obvious feelings. But after this “phase” of Diaz’s style, the reader was subjected to the more subtle feelings of the passage, which Diaz uses to guide readers towards some of his main ideas.

Diaz’s two-phase plan of open connection and then subtle guiding effectively connects the reader first to the book itself, and then to main ideas. In books that are not designed and built as eloquently as Drown, the reader is thrown into unfamiliarity, and the main ideas are harder to see, even if the book is less complex. Being thrown into an unfamiliar situation without the gentle touch Diaz uses disorients the reader and makes possible themes seem less powerful. Take, for example, a clearly emotional scene in Emily Rodda’s Deltora Quest series: “He felt excitement, eagerness, and a thrill of fear at the thought of what was ahead” (Rodda 131). The reader is directly given the feelings of a character. Indeed, the reader does not have to do anything to realize this feeling but read. This makes possible themes of personal empowerment or, maybe, bravery less obvious, and less potent. The reader, without connecting to the text, has no way to communicate with these main ideas, and so the main ideas do not speak to the reader with the same kind of power as the themes do in Drown.

Just as important as being able to relate and connect to characters in the story are the characters being complex and unique. Without this, relating to the characters would be like relating to a bar of soap- there would be nothing to gain from Diaz’s work to connect readers with the characters through their feelings. Diaz’s style, though, manages to both connect the reader to characters, and develop the characters to be intricate, complex, and realistic.

One way that Diaz makes his characters more complex is through the direct feelings Diaz does leave in, and the effect of having so few obvious feelings otherwise. Feelings that are left in by Diaz are wormholes into another dimension- they are portals that allows us to, finally, look inside parts of the heads of the characters. Instead of being very “two-dimensional” characters in a 3D world, where we can look over the character and see everything inside, the characters are three-dimensional, and so we are limited. We are limited to seeing only what Diaz gives to the reader in these “wormholes”. This “three-dimensional” character is more complex, and it makes it harder for the reader to learn more about the characters than Diaz allows the reader to learn. This limited knowledge makes the character more interesting because we cannot predict every action characters make, and characteristics of different characters are revealed to the reader as the stories go on.

This limited knowledge also makes characters far more realistic. They mimic reality because people also do not know everything about each other in real life. It makes the story seem more real when the reader is not always inside the character’s head, but instead looks on from the outside, wondering what the character is thinking or wondering what the character will do next. This sort of incremental character composition, slowly letting the reader into the character, provides this “real” aspect of the characters.

This incremental character composition that Diaz uses shows little about the character, but enough so that the reader can make important connections to the character that develop the character for the reader. When  Yunior is talking about his dad, this is shown. Through most of the book up to this point, Yunior had rarely shown the reader emotion. Finally, though, we get a small window through a big emotion. “It was like my God-given duty to piss [my dad] off, to do everything the way he hated. Our fights didn’t bother me too much. I still wanted him to love me…” (Diaz 24). Here, Diaz is giving us an obvious emotion from Yunior. These crucial points give the window into the character. From just this emotion, Diaz lets the reader see and understand much more about Yunior and his relationship with his dad. This is a driving force for the story at that point because readers, like meeting any other family for the first time, know very little about the relationship between father and son. This means that to the reader, the characters are complex, and are useful to understanding the story as a whole when they do give information that moves the story.

Aside from this slow and steady character development through remaining feelings in the story, Diaz also uses the lack of many direct feelings to develop his characters so that they are relatable. An important way to make characters relatable is by making them seem more human by bonding or connecting characters, which is a very human idea. The characters’ feelings, though, are often hidden from the reader for some time, which would seem to make character interaction very difficult. However, if the characters did not interact effectively with one another, they wouldn’t be complex or meaningful to the story, and they wouldn’t be as relatable. Diaz solves this paradox effectively by using the actions of the characters to help connect the characters to one another.

Diaz’s characters interact through actions, specifically dialogue and description, and connect to the reader through the open connections that Diaz allows. This technique allows for complex characters that can also be related to.

Even though feelings are often subtle and take time to figure out, Diaz uses dialogue and actions to create interesting and complex character interactions. Yunior’s narration shows this technique. “We’re taking the day off, she [Mom] announced. A day for us as a family. But we don’t need a day off, I said and Rafa hit me harder than normal. Shut up, OK? I tried to hit him back but Abuelo grabbed us both by the arm. Don’t make me have to crack your heads open, he said” (Diaz 85). Feelings are sparse or subtle in the text, but the actions and discussion between characters make for interesting interaction between the characters. We see the action of Rafa hitting Yunior, and the dialogue between those two, and their grandfather as well. The combination of these is a situation that includes lots of interaction.

Aside from helping make his characters relatable, Diaz makes sure that a reader would still be able to connect to the characters more easily because the characters’ feelings are, at first, seemingly left open to interpretation. Diaz does not mess with the open and connection-ready text, because he still makes the feelings subtle, instead of obvious. In this way, Diaz kills two birds with one stone- he makes his characters complex and relatable, and he makes sure that readers can still connect to the story and the characters at the same time.

These effects that this style produces are massively important because it allows the reader to connect to the characters, and because the characters are so complex, gain something out of connecting to the characters. Connecting to the characters helps develop the themes of the book in the reader’s head.

Diaz’s style of subtle feelings is a plan that he uses to take the reader from looking at something new and unfamiliar to understanding the characters and ideas that Diaz presents in the book. This is done by leaving the text seemingly open for connections by not forcing feelings onto readers. Once this happens, Diaz’s second phase enters play- connecting the reader to the characters with the emergence of the subtle, but important feelings of the characters. Finally, the characters in the story are still complex and relatable because of how Diaz works around the lack of many obvious feelings. All in all, Diaz uses this style to write about a series of complex and multidimensional issues in a way that allows most readers to help themselves connect to the issues, and the themes presented in the story that come from these issues and how the characters react to these issues.

Works Cited

Díaz, Junot. Drown. New York: Riverhead, 1996. Print.

Rodda, Emily. Forest of Silence. London: Scholastic, 2003. Print.

Radically Edited Draft

                Drown, a fictional book by Junot Diaz, which mainly depicts the life of a Dominican family both in the Dominican Republic and in the US, surprised me with the way it was written. Despite having plenty  of emotional scenes that readers would expect to include many of the characters’ inner feelings, Diaz leaves many feelings out of the book. Why Diaz would leave out so many character feelings seemed confusing at first. But, when analyzed more closely, this is a style employed by Diaz that works perfectly for the book. Diaz intentionally leaves out the feelings of the characters as a way to let readers relate to the different and unusual situations that the characters find themselves in, while also keeping the characters interesting, relatable, and important to the story, which allows the reader to better understand the themes presented by Diaz in the story, because understanding why Diaz leaves out feelings helps readers decipher the characters in the story themselves.

Diaz is able to help readers adapt to his book by making the book cater to people with all different characteristics. This is done through having few feelings readily available to the reader. By doing so, the reader is able to feel how he or she wants to feel, instead of being told how to feel. Connecting to an unfamiliar situation like many settings in Drown is important to connecting to the meaning of the book. Letting the reader feel how he or she wants to feel lets the reader adapt because the reader is able to make the characters, and then the situation, relate to him or her more easily.

This technique is valuable because connecting to characters whose feelings are told to you, especially in an unfamiliar situation, does not aid adaptation to the book. To adapt, one must understand what they’re adapting to. If the reader is told how to feel, he only knows one thing about the situation at hand- how one specific individual felt in one instance. However, if the reader is left alone to feel the situation for themselves, the reader can more readily place him or herself into the situation. This will teach the reader about the entire situation, not just one feeling, which is far more helpful for making connections and understanding ideas.

Diaz uses this style of few feelings throughout the book, and it connects the reader with the story. One example is on page 84, when Yunior discusses how his mom comes back from living with Yunior’s uncles and aunts for many weeks, because her husband lied about coming to take them to the US. This is clearly an emotional scene, but Yunior offers none of his feelings, or any of his family members’ feelings. This is an intentional move by Diaz. Not all of his readers will have been through such an experience, so just saying what Yunior felt wouldn’t give the reader anything- the reader wouldn’t be able to connect to the passage at all. However, by using this style, Diaz allows the reader to approach this difficult situation from whichever angle the reader chooses. Diaz allows the reader to input his or her feelings into the situation, for multiple characters. Perhaps Yunior was worried for his mom, or maybe relieved she was back. We don’t know. But the beauty of Diaz’s style is that it could be either of those, or something else entirely. Because the reader wants to gain something from reading the book, the reader will input the feeling to this situation that best allows him or her to connect to this passage, and ultimately adapt to this previously unfamiliar situation.

Diaz allows for this kind of outside-in connection by being ambiguous and leaving space for feelings. In the text, he doesn’t specify any feelings, nor does he make it clear what you are “supposed” to feel in this situation. The words are descriptive, but not forceful. This allows the reader to be able to add in feelings in his or her mind, and warp the text into some shape that fits the scheme of the reader’s mind. That is, the reader is able to take the text, add in feelings that he or she sees as fitting, and have an easier time making connections to the text.

This “ambiguous description” serves as the beginning of how Diaz connects his readers to seemingly strange and unfamiliar situations. This is shown on page 84. “Mami’s time away was never discussed, then or now. When she returned to us, five weeks later, she was thinner and darker…” Diaz, like a woodworker expertly trained in his craft, works around the story in such a way that we understand the situation, but we don’t know what the mood or feeling of some characters are. Diaz shows us that this is an emotional topic in the family- it isn’t discussed. Then, he goes on to talk about Mami after she returns after a long time. We don’t know how Mami feels after being away for so long, and we don’t know how Yunior feels about being back with his mom, but we do know about the general situation. Fine-tuned passages like this are the backbone of Diaz’s method of letting few feelings become a jumping off-point for readers to connect with characters in seemingly distant or unrelatable passages in the story.

Just as important as being able to relate to characters in the story are the characters being complex and unique. Without this, relating to the characters would be like relating to a bar of soap- there would be nothing to gain.

Diaz’s few feelings manage to both connect the reader to characters, and develop the characters to be intricate, complex, and realistic.

One way that Diaz makes his characters more complex is through the feelings Diaz does leave in, and the effect of having so few feelings otherwise. Feelings that are left in by Diaz are wormholes into another dimension- they are portals that allows us to, finally, look inside parts of the heads of the characters. Instead of being very “two-dimensional” characters in a 3D world, where we can look over the character and see everything inside, we are limited. We are limited to seeing only what Diaz gives us. This “three-dimensional” character is more complex, and it makes it harder for the reader to learn more about the characters than Diaz allows the reader to. The characters, then, are more interesting and more realistic. They mimic reality because people also do not know everything about each other, and this lack of total knowledge makes the character more interesting. Diaz doesn’t allow readers to be able to predict every character’s every move.

This incremental character composition that Diaz uses is exemplified when Yunior is talking about his dad. Through most of the book up to this point, Yunior had rarely shown the reader emotion. Finally, though, we get a small window on page 27. “It was like my God-given duty to piss [my dad] off, to do everything the way he hated. Our fights didn’t bother me too much. I still wanted him to love me…” Because of how few feelings Diaz puts into the story, this one emotion that Yunior lets out becomes a massive part of Yunior’s character at the time. This is exactly how this slow, incremental character development works. We don’t get to see all of Yunior. We see parts, which is enough to give us some information about him, but not enough to pick apart every aspect of his character. This means that to the reader, the characters are complex, and are useful to understanding the story as a whole.

Aside from this slow and steady character development through remaining feelings in the story, Diaz also uses the lack of many feelings to develop his characters in a relatable manner. Diaz does this by bonding or connecting characters through actions, instead of through feelings. The characters need to have some areas to relate to, and the lack of feelings shown by the characters opens a hole in the character that the reader can connect to easily, by putting his or her own feelings in place of the character’s feelings, as discussed before. However, if the characters did not interact effectively with one another, they wouldn’t be complex or meaningful. Diaz solves this paradox effectively by using the actions of the characters to help connect the characters.

Diaz’s characters interact through actions and connect to the reader via the reader’s inputted feelings, which allows for complex characters that can also be related to. This is achieved mainly through Diaz’s solution to keep characters complex: Interaction and connection between characters through actions. Two main actions that Diaz uses to complete this are description and dialogue.

An example of important character interaction that takes place without feelings being shown by Yunior’s narration is on page 85. “We’re taking the day off, she [Mom] announced. A day for us as a family. But we don’t need a day off, I said and Rafa hit me harder than normal. Shut up, OK? I tried to hit him back but Abuelo grabbed us both by the arm. Don’t make me have to crack your heads open, he said.” Even though feelings aren’t included by Diaz, there is still interesting and complex character interaction going on between the various members of the family. Furthermore, a reader would still be able to connect to the characters more easily because the characters’ sentiments are left open to interpretation.

Diaz’s use of the feelings and lack of feelings to both make his characters complex and relatable compliments his style of using the reader’s feelings to connect to the story very well. This combination is massively important because it allows the reader to connect to the characters, and because the characters are so complex, gain something out of connecting to the characters- connecting to the characters can help develop the themes of the book in the reader’s head.

Some people might argue that if the situations are unfamiliar in the story, then readers will have a very difficult time trying to figure out how they should feel in any given situation. While at first, this might seem true- if someone has never experienced something, how might they know how to feel?

However, Diaz overcomes this issue with one more technique for helping readers understand a situation- the objective correlative. The objective correlative is an artistic technique that uses an object, event, or series of events to evoke a feeling. Diaz adapts this tool to fit his problem by letting the objective correlative simplify complex and unfamiliar situations, and also hint the reader towards the feelings of the characters, which gives the reader some clue about what a situation means to the characters in the story.

Diaz champions the objective correlative, but makes it speak to his needs, instead of using it only for artistic value. One clear demonstration of Diaz’s expert usage of the objective correlative is on page 93. “Starting at the deep end [of a pool] I glide over the slick-tiled bottom without kicking up a spume or making a splash. Sometimes another swimmer churns past me, more a disturbance of water than a body. … While everything above is loud and bright, everything below is whispers.” This is an excellent example of an objective correlative. While the text itself seems to show Yunior’s experience in a pool, the writing, and context around this excerpt, makes this stand out and evoke a general idea of a feeling onto the reader. The context to any objective correlative is important as well, because it can help identify what the objective correlative is really speaking about. In this case, Yunior is thinking about his friend, Beto. Even though Diaz doesn’t explicitly say it in this passage, the objective correlative helps us identify a closer range of possibilities for what Yunior could be thinking about.

From the phrasing and word choice of this objective correlative, we can start to decrypt it. When I read this passage, the word “glide” and the phrase “more a disturbance than a body” stood out to me. Glide gives the connotation of effortless motion, pure and dream-like. To me, this symbolized a kind of deep thought- thinking while moving, not paying attention to surroundings. “Everything below is whispers” seems to further this idea, a kind of muffled reality, stuck in one’s thoughts.

From this objective correlative, I got the feeling of deep thought and reflection- an insight into Yunior. This is half of the job that Diaz assigns the objective correlative- giving off an air of some feeling, or range of feelings, that might help the reader understand the situation Yunior finds himself in a little more.

Other than evoking these feelings, the objective correlative seeks to change the nature of a complex situation into something more tangible. Yunior is in a complex situation outside of the objective correlative. He’s thinking about his relationship with his friend, and doesn’t really know what to do. He’s stuck, and unsure.

The objective correlative seeks to explain this complex and intricate situation into one that a reader might more easily identify with. It does this by explaining the situation in terms of a series of events. It doesn’t describe the situation itself, but what it is like. It takes all the complexities and forms them into on paragraph. Although it is not a perfect representation of the situation at hand, the objective correlative simplifies the situation so the reader can more easily make important connections to it.

These two focuses of the objective correlative work together to counteract the issue of unfamiliar situations the reader might find him or herself in. Diaz uses the main goal of the objective correlative- to emit a sense of a feeling out of some kind of scene- and combines it with a byproduct of the objective correlative- a simplified, but still complicated and useful version of the events. In this way, the reader is able to connect to seemingly unfamiliar situations, and get some idea of the feeling of the character in the situation. These techniques combined mean that the reader isn’t lost, but brought closer to understanding the book.

Diaz weaves his story together without many feelings to create both a more understandable course of events in the story, by letting the reader add in his or her own feelings into the story, and also creating intricate and important characters by using actions to create complex relationships between characters, so that the reader can better understand the messages and characters in the story. By understanding why Diaz leaves out so many feelings, we can better understand the character of figures in the story without their feelings, which allows us a unique and important window into a deeper understanding of the issues of the book.

Center of Gravity and Tree Map

A bit late. Sorry.

Raw Draft

                INTRO TO DO

Diaz is able to help readers adapt to his book by making the book cater to people with all different characteristics. This is done through having few feelings readily available to the reader. By doing so, the reader is able to feel how he or she wants to feel, instead of being told how to feel. Connecting to an unfamiliar situation like many settings in Drown is important to connecting to the meaning of the book. Letting the reader feel how he or she wants to feel lets the reader adapt because the reader is able to make the characters, and then the situation, relate to him or her more easily.

Diaz uses this style of few feelings throughout the book, and it clearly has the effect of connecting the reader with the story. One example is on page 84, when Yunior discusses how his mom comes back from living with Yunior’s uncles and aunts for many weeks, because her husband lied about coming to take them to the US. This is clearly an emotional scene, but Yunior offers none of his feelings, or any of his family members’ feelings. This is an intentional move by Diaz. Not all of his readers will have been through such an experience, so just saying what Yunior felt wouldn’t give the reader anything- the reader wouldn’t be able to connect to the passage at all. However, by using this style, Diaz allows the reader to approach this difficult situation from whichever angle the reader chooses. Diaz allows the reader to input his or her feelings into the situation, for multiple characters. Perhaps Yunior was worried for his mom, or maybe relieved she was back. We don’t know. But the beauty of Diaz’s style is that it could be either of those, or something else entirely. Because the reader wants to gain something from reading the book, the reader will input the feeling to this situation that best allows him or her to connect to this passage, and ultimately adapt to this previously unfamiliar situation.

Diaz allows for this kind of outside-in connection by being ambiguous and leaving space for feelings. In the text, he doesn’t specify any feelings, nor does he make it clear what you are “supposed” to feel in this situation. The words are descriptive, but not forceful. This allows the reader to be able to add in feelings in his or her mind, and warp the text into some shape that fits the scheme of the reader’s mind. That is, the reader is able to take the text, add in feelings that he or she sees as fitting, and have an easier time making connections to the text.

There are many examples of this “ambiguous description” in the example on page 84. “Mami’s time away was never discussed, then or now. When she returned to us, five weeks later, she was thinner and darker…” Diaz, like a woodworker expertly trained in his craft, works around the story in such a way that we understand the situation, but we don’t know what the mood or feeling of some characters are. Diaz shows us that this is an emotional topic in the family- it isn’t discussed. Then, he goes on to talk about Mami after she returns after a long time. We don’t know how Mami feels after being away for so long, and we don’t know how Yunior feels about being back with his mom, but we do know about the general situation. Fine-tuned passages like this are the backbone of Diaz’s method of letting few feelings become a jumping off-point for readers to connect with characters in seemingly distant or unrelatable passages in the story.

Just as important as being able to relate to characters in the story are the characters being complex and unique. Without this, relating to the characters would be like relating to a bar of soap- there would be nothing to gain.

Diaz’s few feelings manage to both connect the reader to characters, and develop the characters to be intricate, complex, and realistic.

One way that Diaz makes his characters more complex is through the feelings Diaz does leave in, and the effect of having so few feelings otherwise. Feelings that are left in by Diaz are wormholes into another dimension- they are portals that allows us to, finally, look inside parts of the heads of the characters. Instead of being very “two-dimensional” characters in a 3D world, where we can look over the character and see everything inside, we are limited. We are limited to seeing only what Diaz gives us. This “three-dimensional” character is more complex, and it makes it harder for the reader to learn more about the characters than Diaz allows the reader to. The characters, then, are more complex, and more realistic. They mimic reality because people also do not know everything about each other.

This incremental character composition that Diaz uses is exemplified when Yunior is talking about his dad. Through most of the book up to this point, Yunior had rarely shown the reader emotion. Finally, though, we get a small window on page 27. “It was like my God-given duty to piss [my dad] off, to do everything the way he hated. Our fights didn’t bother me too much. I still wanted him to love me…” Because of how few feelings Diaz puts into the story, this one emotion that Yunior lets out becomes a massive part of Yunior’s character at the time. This is exactly how this slow, incremental character development works. We don’t get to see all of Yunior. We see parts, which is enough to give us some information about him, but not enough to pick apart every aspect of his character. This means that to the reader, the characters are complex, and are useful to understanding the story as a whole.

Aside from this slow and steady character development through remaining feelings in the story, Diaz also uses the lack of many feelings to develop his characters in a relatable manner. Diaz does this by bonding or connecting characters through actions, instead of through feelings. The characters need to have some areas to relate to, and the lack of feelings shown by the characters opens a hole in the character that the reader can connect to easily, by putting his or her own feelings in place of the character’s feelings, as discussed before. However, if the characters did not interact effectively with one another, they wouldn’t be complex or meaningful. Diaz solves this paradox effectively by using the actions of the characters to help connect the characters.

Diaz’s characters interact through actions and connect to the reader via the reader’s inputted feelings, which allows for complex characters that can also be related to. This is achieved mainly through Diaz’s solution to keep characters complex: Interaction and connection between characters through actions. Two main actions that Diaz uses to complete this are description and dialogue.

An example of important character interaction that takes place without feelings being shown by Yunior’s narration is on page 85. “We’re taking the day off, she [Mom] announced. A day for us as a family. But we don’t need a day off, I said and Rafa hit me harder than normal. Shut up, OK? I tried to hit him back but Abuelo grabbed us both by the arm. Don’t make me have to crack your heads open, he said.” Even though feelings aren’t included by Diaz, there is still interesting and complex character interaction going on between the various members of the family. Furthermore, a reader would still be able to connect to the characters more easily because the characters’ sentiments are left open to interpretation.

Diaz’s use of the feelings and lack of feelings to both make his characters complex and relatable compliments his style of using the reader’s feelings to connect to the story very well. This combination is massively important because it allows the reader to connect to the characters, and because the characters are so complex, gain something out of connecting to the characters.

Some people might argue that if the situations are unfamiliar in the story, then readers will have a very difficult time trying to figure out how they should feel in any given situation. While at first, this might seem true- if you’ve never experienced something, how might you know how to feel? However, Diaz overcomes this issue with one more technique for helping readers understand a situation- the objective correlative. The objective correlative is an artistic technique that uses an object, event, or series of events to evoke a feeling. Diaz adapts this tool to fit his problem by letting the objective correlative simplify complex and unfamiliar situations, and also hint the reader towards the feelings of the characters, which gives the reader some clue about what a situation means to the characters in the story.

Diaz champions the objective correlative, but makes it speak to his needs, instead of using it only for artistic value. One clear demonstration of Diaz’s expert usage of the objective correlative is on page 93. “Starting at the deep end [of a pool] I glide over the slick-tiled bottom without kicking up a spume or making a splash. Sometimes another swimmer churns past me, more a disturbance of water than a body. … While everything above is loud and bright, everything below is whispers.” This is an excellent example of an objective correlative. While the text itself seems to show Yunior’s experience in a pool, the writing, and context around this excerpt, makes this stand out and evoke a general idea of a feeling onto the reader. The context to any objective correlative is important as well, because it can help identify what the objective correlative is really speaking about. In this case, Yunior is thinking about his friend, Beto. Even though Diaz doesn’t explicitly say it in this passage, the objective correlative helps us identify a closer range of possibilities for what Yunior could be thinking about.

From the phrasing and word choice of this objective correlative, we can start to decrypt it. When I read this passage, the word “glide” and the phrase “more a disturbance than a body” stood out to me. Glide gives the connotation of effortless motion, pure and dream-like. To me, this symbolized a kind of deep thought- thinking while moving, not paying attention to surroundings. “Everything below is whispers” seems to further this idea, a kind of muffled reality, stuck in one’s thoughts.

From this objective correlative, I got the feeling of deep thought and reflection- an insight into Yunior. This is half of the job that Diaz assigns the objective correlative- giving off an air of some feeling, or range of feelings, that might help the reader understand the situation Yunior finds himself in a little more.

Other than evoking these feelings, the objective correlative seeks to change the nature of a complex situation into something more tangible. Yunior is in a complex situation outside of the objective correlative. He’s thinking about his relationship with his friend, and doesn’t really know what to do. He’s stuck, and unsure.

The objective correlative seeks to explain this complex and intricate situation into one that a reader might more easily identify with. It does this by explaining the situation in terms of a series of events. It doesn’t describe the situation itself, but what it is like. It takes all the complexities and forms them into on paragraph. Although it is not a perfect representation of the situation at hand, the objective correlative simplifies the situation so the reader can more easily make important connections to it.

These two focuses of the objective correlative work together to counteract the issue of unfamiliar situations the reader might find him or herself in. Diaz uses the main goal of the objective correlative- to emit a sense of a feeling out of some kind of scene- and combines it with a byproduct of the objective correlative- a simplified, but still complicated and useful version of the events. In this way, the reader is able to connect to seemingly unfamiliar situations, and get some idea of the feeling of the character in the situation. These techniques combined mean that the reader isn’t lost, but brought closer to understanding the book.

CONCLUSION TO DO

Text-Exploration

Page 93. “Starting at the deep end I glide¹ over the slick-tiled bottom without kicking up a spume or making a splash². Sometimes another swimmer churns past me, more a disturbance³ of water than a body⁴. … While everything above is loud and bright, everything below is whispers.⁵”

1[Word Definition]: Glide is defined by the OED as “To pass from one place to another by a smooth and continuous movement, without effort or difficulty.” This definitely starts to signal an objective correlative. We start moving out of reality into a dream, in a way, into a very individualized version of reality. Because of the individualistic nature, we are able to start to look for feelings. The importance is not so much the words, yet. The real key is that we are able to see that we have an objective correlative. We don’t really have enough information to critically analyze it for a range of feelings yet, but we might be able to get some ideas: We see that it’s kind of dreamy, smooth, and continuous. When I read it, I also got the connotation of slow.

2[Syntax, Phrasing]: Here the correlative is continued. This adds on to the first feeling, and shows us more of the slow, steady, and dreamlike connotations. This is interesting, and it certainly helps us close in on the feeling that the objective correlative is giving off. The way it does this is through a connection that spans over multiple sentences. This is achieved not by just the words themselves, but the connotation, or feeling of the words. The feeling of the words, plus their context, emits the kind of feelings for the objective correlative itself. This is a great example of how an objective correlative works on the reader.

3[Word Definition, Syntax/Phrasing]: The most important word in this sentence, for me, is disturbance. It essentially single-handedly drives the point of the sentence home, especially when compared to the words later on, especially body. Disturbance is defined as “The interruption and breaking up of tranquility, peace, rest, or settled condition.” This actually starts to, perhaps, change the sentiment offered by this objective correlative, when looked at for the first time. Now it seems that there’s something breaking this dreamlike state. This offers, for me at least, a different range of feelings because of this one word. However, when analyzed more closely, I find that perhaps it doesn’t change the point or feeling of the objective correlative too much. I think that even though the word disturbance is used, it’s actually a rather light word for the situation. It’s a small indent to the dream-bubble of the reality. It doesn’t puncture it, just pushes on it slightly. This is certainly an interesting word. Depending on how the reader views it, it can lead him/her in a different direction, and different feeling, emitted by this objective correlative. This shows the power of the objective correlative.

4[Syntax]: This is a great addition to #3, because it is the comparison to the disturbance mentioned earlier in the passage. When people pass Yunior in this state, he feels it more as a disturbance than a body. This is interesting because of how it connects to a disturbance. A disturbance might seem at first like the less dreamlike occurrence, but because of the context, a body actually might seem worse. It is a matter of opinion, but this opinion really defines the second part of the correlative. It seems to me that a disturbance makes the dreamlike state still lie true, while bodies passing by one another seems to be closer to what could be happening in reality. Perhaps this is importance because it shows that an objective correlative can’t be used by looking at one part. It takes the whole thing to deliver the feeling intended. In a way, this is helpful, because as you dive deeper into the objective correlative, it seems to become more familiar to you, and maybe easier to understand. As you familiarize yourself with the events in the objective correlative, the ideas and feeling evoked become more familiar and easy to grasp.

5[Phrasing]: This kind of wraps up the objective correlative, and completes the feeling. Now that the reader is immersed in the world of this objective correlative, the feeling in its whole can be evoked as the objective correlative comes to a close. I think in this case, this comparison, between above and below, and loud and whisper, really finishes this off. It further enhances the dreamlike state. It’s clearly important, how objective correlatives finish, because that’s the reader’s most recent memory of the whole scene, so it sticks with them more. It also starts to transition back to reality with a realistic description- under water, things do seem like whispers. This symbolizes, perhaps, the end of the objective correlative. The feeling, I think, when all is told, is one of longing, little care, and a sort of tired, uncommitted feeling that’s hard to really describe or pin down. But this is exactly the purpose of the objective correlative- to give an idea of the feelings, but not exactly one necessary feeling.

Weekend 5/16, 5/17 HW: Idea Web and Self-Interview

5/12 HW

Proposal

Creative NF Piece

The trip was to Michigan. We went there every year, and it was usually by plane. But this year, my mom and dad said we should take the train to cut down the cost. So we took the train. A 12-hour ride, they said, and maybe an hour of driving once we got to the train stop. Faster than driving the whole way, but cheaper than taking a plane. We got to Penn Station, where the train would leave. Its massive size and multiple enterances and exits, all with thousands of people running through them, amazed me and my brother.

How long until we go? I asked, eagerly anticipating the time we could see the train.

Not long now, my mom replied, only a couple of hours. We checked in our tickets and extra baggage, and we headed over to the train. 15 minutes until leaving. We jumped on and were guided to our seats. I put my stuff down and looked around. Something I had always wanted was 10 minutes from happening.

I had always liked trains, since I was really little. Besides the subway, though, I had never really been on trains that often, but this love for trains had manifested itself in me over a long period of time. Once I started to like trains, I had never let go. Even though I was old enough to not be obsessed, I still thought it was really interesting and cool. I could never wait to go on another train.

We were moving. I was moving. Flying through the city, into the countryside. Inside the train, yet I could feel the wind through my face as a building, then the next, then the next, passed before my eyes. I could walk forwards, and time would slow down for me as my mind interpreted the images flying into my eyes. I could walk backwards, and relive the images again, only for a moment. I sat down, my face glued to the window. I couldn’t move away, I didn’t want to miss a single moment.

Are you watching this? I asked, before I looked at the rest of us, and I saw that they were. I didn’t need a response, and they weren’t about to provide one. The train rolled through the city quickly, and moved out away from it. We stopped briefly at some places, more passengers entering the cars, filling up the emptiness of open seats quickly. Sometimes, we would stop for longer, long enough to go outside and stretch our legs briefly, and look at the amazing scenery of the countryside. A few short hours in, and we were in a different world. We came to our next stop. I realized, when I saw the sign, that we were still in New York.

New York, still, huh? I asked. I knew we were supposed to go through Pennsylvania, and then it was straight to Indiana, where we would get off and drive. We were around three hours into the trip, and New York was supposed to be a mere blip in the long travel, not a fourth of it.

I guess so, my mom replied. She looked up as we came to a stop, then looked back into her book. The process which I had seen repeated several times now repeated again. Some people got off, more got on. No surprises, just repetition. I wasn’t thinking about it then, but this repetition was not real. Before, only two had gotten off. We were at the station for ten minutes. Two more got off here, but we stayed for thirty. We had just entered Pennsylvania, and it seemed like half the trip should be gone. But the people got on, and got off, and the time didn’t seem to care. The time was flying, faster than we could move. Faster than anything.

It was night. I put my head into one bag we had, searching around for some food. I hadn’t eaten much, just a sandwich for lunch, right as we crossed into Pennsylvania, so I wanted more food.

What do we have in here, mom?

I don’t know what’s left. Just go find it.

Oli, do you want anything? All we have left are two bananas and some cookies.

I’ll have a banana.

Me too. I ate the banana, the sweetness warming me inside. I was ready to go to sleep, to wait until we got closer to wake up for the drive. But the screeching of the wheels, the bouncing of the car, and the chattering of the people kept me awake. When my mind tried to wander and take me away, I was brought back by some disturbance. Mabye I fell asleep for a little while, but it wasn’t for long. We moved forwards, passing small towns and stations. We crossed into Ohio, I remember.

It was late, but I could still see outside. The hills and rivers of Pennsylvania had transformed into the open fields and farms in Ohio. Everything around us was golden brown, but the night made it grey. I imagined these majestic fields in the day. I imagined walking through them. Feeling the corn and vegetables hit me as I ran through the fields, free and unconfined.

I had finally fallen asleep, I realized, because I woke up. I woke up and it was still night. I looked around. My brother was asleep, and I couldn’t tell if my mom was awake. But I wanted to know where we were.

Mom, you know where we are?

Still three or four hours away… and it’s already midnight. Your uncle will be there to pick us up now, but we won’t be there for four hours. This is ridiculous. Four hours. Four hours behind.

You should call him.

No connection.

Let me try.

No. Go to sleep.

I can’t fall asleep, I said. I probably could have, but I wanted to know what was going on. I thought this an adventure- finding our way in the night, nothing to guide us, no simple way to find our path. This method of thinking kept me away from my mom on my right, whose worried and exasperated tone I didn’t then recognize as one of stress, but as one of tiredness.

You have to. Just go to sleep. Don’t stay awake. You don’t have to. Go to sleep.

Ugh, I don’t wanna, mom!

Do it right now. Don’t make me tell you again.

I groaned, seeing that I would not be able to win this particular match. I closed my eyes, but kept myself awake. My mom had the aisle seat, so when a man who worked on the train came by, I woke myself up more, trying to interpret the conversation. I was tired. Easily past midnight.

How long until we get to South Bend?

Uh, I don’t think it will be more than another hour. We’re sorry for the delay, but we couldn’t do much about it.

Honestly, we’re at least a 4 hours over the time it was supposed to take. How does this happen? This is ridiculous.

Sorry, ma’am, but we couldn’t stop any of it from happening. We are trying to go as fast as we can.

God dammit. We’re still an hour away, you said? Seriously, I don’t see how you all can let this happen… it’s kind of crazy.

They conversed on, the words fading as they reached my ears, melting into whispers that I couldn’t hear. Before long, the train man walked away slowly, and mom laid back down slowly, shaking her head. I laid down too, and I was thinking about the little bit of conversation I had overheard. Thinking.

I was woken up violently, being shaken out of a sleep that, though it didn’t seem like it, had only lasted 40 minutes. We were closing in on South Bend, Indiana. Grab your stuff, come on. Let’s get ready. My brother was awake, but he wasn’t as tired as I was- he had slept through the night. I looked around the area of our seats, picking up anything I wanted to keep, and throwing it into the string bag. The repetition of the train occurred again, but this time, something new and completely different would happen, as my family exited the train- one of hundreds who had done so before us on the trip. But they hadn’t experienced 16 hours of the ride before getting off. We did, and we were glad to be gone. The 3 AM wind and humidity was readily apparent as we stepped off. A change. Finally.

Negocios Notes

A, B, C, D HW for week of 5/5

Photos are A and B.

C: One thing I've noticed that came up in discussions is how the different styles Diaz uses are actually related. They add to eachother and help eachother, making the book stronger. This is really interesting. These separate techniques are coming together to make a better whole.

D: I think one common thread throughout my writing, and from what I wrote about for Diaz, is family. I think it's really important in my life, so I see it come up often in my writing.

Instructions on How To Get Ready for School

Wake up, even if you want to go back to sleep, then make the bed, so you don't have to do it later. Get changed, because that way you don't have to run back up the stairs. Walk down three flights of stairs. Eat your breakfast. You only eat a yogurt and maybe a cookie,  becuase you will eat more at Lunch in a few hours. Make the lunch that you're going to eat. Then you should clean out the dishwasher.

If it's a Monday, Wednesday, or Friday, or Sunday, do half the dishwasher and let your brother do the rest. Then, go feed the cat. Bring the bowl up. Pour the food. Make sure to bring the right amount. If it's a Tuesday, Thursday, or Saturday, do the whole dishwasher because your brother will feed the cat. When you're done, go upstairs. Pack your bag. Do it real slow. Check it once, check it again, check it until you can't check it anymore: You'll never hear the end of it if you forget something obvious.

When you're done, you can rest for a bit. Grab your socks, and your shoes. Brush your teeth and get ready to go. Bring your bag downstairs. Pack your lunch in the bag. Even if it barely fits, there's nowhere else to fit it, so you have to. Say goodbye to your family. Leave for school. Leave for a day, but be ready to start again. Don't complain, don't whine. That never solved anything.

Reading Notes for "Edison, New Jersey" and "How to Date..."

They're backwards. So start from bottom and go up.

Objective Correlative.

I don't want to type it, so I'll post an image.

Reading Notes for "Drown" and "Aguantando"

Reading Notes for "Fiesta, 1980" and "Aurora"

FFW #1 From Class, Edited with Kingston's Writing Styles and RESPONSE.

Edited FFW:
For the longest time, one thing had always seemed one step ahead of me, always just out of reach. For as long as I could remember, my brother and I had yearned to have a cat. However, for one reason or another, this wish never came to be, staying out of sight, and receding into the shadows: As I grew older, it seemed like a dream, and I couldn't quite remember what the dream was about as the possibilities for this dream to be a reality grew lesser and lesser, further and further away from tangibility. However, though I didn't know it, I was wrong. What had been a fantasy for my family became a reality suddenly, in the blink of an eye. When I finally had taken in the news, it took me minutes to register for me. I couldn't understand what it meant, but after time passed, it came to me, and I was joyful, though a part of me still couldn't believe that a far-off fantasy had burst into reality, even though fantasies are never supposed to touch the real world.


Response:
Here, I attempted to mimic, or use, some of Maxine Hong Kingston's writing styles. For me, a "style" is how something makes you feel, which is a combination of both the content (what is said) and the form (how it's said). In my opinion, content gives the basic feeling of the piece, and the form modifies that basic feeling, fine-tuning it to the author's desire.

So, I tried to tap into Kingston's style: More than just using figurative language or a combination of clauses in a sentence, I tried to use it to achieve a similar purpose. I thought Kingston used figurative language a lot to emphasize things, like the importance and also unworldly power/uniqueness of giving birth, so I used figurative language to emphasize things in my paragraph as well. I also used the combination of multiple clauses in a sentence as well. I thought Kingston used this technique/style to give a visual/deeper insight onto her feelings on the subject of those clauses, which is something I also tried to repeat here.

Task 4 (I put this on Disqus by accident)

"During the charge, I singled out the leader, who grew as he ran toward me. Our eyes locked until his height made me strain my neck looking up, my throat so vulnerable to the stroke of a knife that my eyes dropped to the secret death points on the huge body. First I cut off the his leg with a single sword swipe, just as Chen Laun-feng had chopped the leg off the thunder god. When the Giant stumped toward me, I cut off his head."

Kingston, Maxine Hong. "White Tigers." "The Woman Warrior: Memoirs of a
Girlhood Among Ghosts." New York: Knopf, 1976. 38. Print.

This describes the Narrator's first battle in command of her army, and the first opponent she faced: A giant. After this passage, she continues narrating the battle and the consequences of the battle.

What interested me originally about this section of the story was the difference from The Ballad of Mu-lan. I remembered the difference so vividly because I remembered that Kingston's fantasy/fan-fiction element was basically the story of Mu-lan with some edits. Indeed, it often felt like that. However, this part was to me the most different. Most of what the Narrator in Woman Warrior talks about is the fighting and war. But in the Ballad, while we know there was a war, the author seems more focused on everything but the war. I remember that there was very little mention of war, even though that seemed like the thing the Ballad was based around- a woman at war. This made me really interested to look deeper into both stories and see why Maxine Hong Kingston might have changed this element of the book so dramatically.

In the content of this passage, we can see the Narrator finally at war, which is actually interesting and distinct when compared to Mu-lan: we never saw Mu-lan actually fighting or doing anything related to war at all, besides joining the army. Kingston gets very specific to the Narrator's actions, which is an interesting contrast to the Ballad.

I think it's interesting how Maxine Hong Kingston writes this passage. We can clearly see the elements of fantasy, with the giant growing in size, and just the idea of a giant in general. However, looking more deeply, we can see that the Narrator compares herself to other Heroes (Chen Luan-feng), and being heroic herself, obviously. But when comparing this to the war-scenes in the Ballad of Mu-lan, it gets very interesting. Mu-lan is never even shown in a battle at all, and isn't compared to heroes or heroines, even though she clearly did excellent work, because she could have gotten anything from the Khan after the war. This is interesting, because clearly Kingston diverted from the norm in writing this with much more attention to detail and to the wars and battles (which, along with the extensive training that Mu-lan didn't have either, take up most of the text).

This idea of a more action and heroic style of writing used by Kingston for this section is very interesting. I think that the importance of this is that Kingston doesn't want to limit the role that the Narrator played in her fan-fiction version of the Ballad. I think this shows some of her deeper intentions with the story: She wanted the Narrator to take a more active role, and for the reader to actually see and understand what the Narrator actually did, rather than just having the reader know that SOMETHING happened. I think that this shows that Maxine Hong Kingston was much more interested in the portrayal of her female characters rather than the actions of the characters. I think that Kingston, when writing the book, thought that having actual actions would speak for Women in the role of men much louder than just words would, like what the Ballad did. So in Kingston's "fan-fiction" version, she was intent on portraying the narrator, essentially the key to the ideas in her story, as a more epic character rather than an amazing character with little detail, like Mu-lan.

Claim "Chunks"

CLAIM CHUNKS

Claim:

 One way to think about the reason that Aimee Bender alienates and confuses the reader in The Healer is to give the readers connections to the similarly alienated and alone characters in the book, because this makes the complex themes of the book, which come from the characters and their precarious situations, stronger and far more meaningful to the reader by making the themes more connectible to the reader’s experience while reading the book. We can see examples of how Bender alienates the reader to make their experience relate to the experience of the characters, and therefore to the themes, when Bender introduces characters like Roy, and also in the interactions between the outcast and strange characters in the story like Fire Girl, Ice Girl, and the narrator, Lisa.

Chunk 1: Aimee Bender alienates and confuses the reader in The Healer

Chunk 2: This give the readers connections to the already isolated characters in the book

                

Part 1: The characters in The Healer are alienated and isolated.

               

  Part 2: If both reader and characters are alienated, then the reader to connect with characters.

Chuck 3: This connection makes the complex themes in the book, which come from the characters and their situation in the book, more meaningful/stronger to the reader, because the reader can more readily connect to the themes.

Part 1: The themes in the book are derived from the alienation of the characters in the story.

Part 2: Being able to connect to characters who show the themes make the themes stronger and more meaningful.

Part 3: Part 2 is true because the reader, like the characters, is also alienated and isolated in reading the story, so the reader understands the alienation-based themes more easily.

Chuck 4 [A+R]:

                Acknowledgement: Some might say that the reader would be able to understand the themes without being alienated first.

                Response: While the reader might be able to see the themes, they wouldn’t be as valuable because alienation is a feeling which isn’t very common, and the themes are based around alienation. So, because the reader gets the feeling of alienation in the text, the themes are more relatable, and therefore stronger and more meaningful, to the reader.