A Milky Holocaust

              The misty fog of a Monday morning makes your eyes small and dreary. It makes you huddle into a little ball after haven woken up. The fog deprives you of seeing the sun rise. The fog impedes you to discover when the world is first illuminated. It's a blinding, impairing your eyes of what the world beholds. In a way, these smoky clouds defend you from the horrible winds that are occurring outside. They are shields, they will keep your mind and body sound. This same fog is a treatment doctors have developed to keep their patients dozy and oblivious to everything. How exactly is this fog comforting to the Chief? Do the patients overall appreciate this operation because they don't feel "as insane" afterwards? Blurry vision signifies a world not seen clearly. Although everything lies still and neat, the fog alters the eyes, causing everything to be seen distortedly. The Chief enjoys living within a lie, within a world of perfect smeariness. 

             The fog is like a perfume, intoxicating those who wear it. Leaving those who smell it mesmerized, tranquil and bathed in a sweet scent; the scent of society.

            The fog machine is like a dreaming machine. It permits those who "ride" it to fall into a limbo, where nothing around them is definite. No man or woman is one hundred percent existant. None of the terrifying screams are real. So how can it be proven that the fog is real? What exactly is the fog? Is it an imaginary zone of unawareness? Or is it an intoxicating smolder, invading those minds who just don't adapt to society's creation? "But if they don't exist, how can man see them. 80" The fog is real. Maybe not to everyone, but it is to someone. Creation lies in a creator. So if a person designs a world of his/her own, it exists because that person lives in it.

          The fog isn't literally a treatment, but it can be a self-protecting mechanism used by the Chief. This character is described as silent, reticent and mysterious, who in some way feels inadequate in the mad house. Nevertheless, at times his perception of the world becomes distorted and changes the readers view on this innocently sane human.

           It secludes the mind from illusions. It takes their power away. Nevertheless, for this reason these try to escape from the fog. For they become victims of horrible tortures from "inexistant" men who fool with their minds. "They start the fog machine again and its snowing down cold and white all over me like skim milk, so thick I might even be able to hide in it if they didn't have a hold on me. 7" The Chief is imprisoned. The fog has captivated his body and embraced it. The Chief has no where to go once the fog gets him. This might as well be the worst crime ever committed. It is a milky holocaust; captivating their victims from the soles of their feet, to every spectacle of their hair.

Clockwork Orange and One Flew Over the Cuckoo's Nest: a symmetrical thought

          One Flew Over the Cuckoo’s Nest has a significant connection to the novel Clockwork Orange by Anthony Burgess. Alexander (main character), alike Chief Bromden is unaware of his own insanity. Both are treated within a facility of terrible means. However among all of the crazy patients, they act as outsiders who observe. In addition, these two demented minds share another trait: they view the world as a machine. Everything functions with the precision of a clock. “The attempt to impose upon man, a creature of growth and capable of sweetness, to ooze juicily at the last round the bearded lips of God, to attempt to impose, I say, laws and conditions appropriate to a mechanical creation, against this I raise my sword-pen. “ (Clockwork Orange. Anthony Burgess. Part One, Chapter Two) Alexander also believes that technology is a medieval technique used to manipulate and alter people. Technology is defined as “the application of scientific knowledge for practical purposes....” In this case, technology is a worldwide method to perfect humanity. 

         “For a tick of time, before it all turned into white dust, I saw it was a miniature electronic element like the ones I helped the Radar Corps...” 31. Through this Chiefs eyes, everything is a machine. For the world around his functions with punctuality and exactitude. In the Clockwork Orange, this element is present as well. Well, everything must be “adjusted to surroundings.” This saying exploits all of the human’s superficiality onto the world. It states that the world is destined to be a humanized utopia: one that is plastic. One that is like a doll. 

          Morality is inexistent when trying to impose “morality” upon people. Dr. Brodsky has the power the sculpt Alexander’s mind, through torture if it guarantee’s successful results. Using music, videos, and images helped distort, the patient’s mind. In the other hand, Nurse Ratched and the “black men in white suites,” use technology to create. 

         “Sometimes a guy goes over for an installation, leaves the ward mean and mad and snapping at the whole world and comes back a few weeks later with black-and-blue eyes like he’d been in a fist fight, and he’s the sweetest, nicest, best-behaved thing you ever saw. 16” Contrasting to Clockwork Orange’s ending, people are manufactured into another product with the use of technology. Patients become different life-forms, but because they are different people, they are unaware of this change. Alexander, in Clockwork Orange,  was aware of what he’d become after his treatment. After having committed such sins, and gaining a conscious, this boy had no alternative but to commit suicide. Although the medical procedures taken in One Flew Over the Cuckoo’s Nest, seem grotesque and inhumane, the person is cured and is able to start fresh. For the patient has no recollection of their previous state. 

          Which method is less sinful? One that tortures, but leads to a conscious? Or, one that clears and corrects the mind? Machines have the power to transform the world, but they will never be able to change its past. Humans live life to become purer souls, to make good deeds and help others. Every act, every thought, and every word that comes out of one’s lips, constructs a definition of oneself. A person who becomes another so abruptly will still remain the same. For their wasn’t an actual transaction. To be able to develop or evolve is completely under one’s determination. No machine is justifiable. Man never had and never will have the power or intelligence to overcome G-d’s creation. The thought of manipulating nature implicates going against scientific means. Well, this simply signifies that no machine is capable of doing so.  

Vladimir and Estragon: the world's babies

                   Estragon is seemingly dense. His slow response to everything, in contrast of Vladimir's intense behavior, creates a stressful emotion to the viewer of the play. The relationship dynamics between these two characters is questionable, for they are awkward and erratic. Something I didn't detect in the play. In addition, their irish accent, although it adds some emotion to the ambiance, the dialogue is meaningless and indifferent. There lack of value to the world around them causes an aloof sensation to all the objects in the play. One is not identified with a character, the setting, nor the dialogue. The world of Waiting for Godot is in black and white.

                  Also, the one moment where there is a happening, these two act like children. This is the greatest flaw. How are they like children? Pondering on what this truly signifies led me to one conclusion: we are all children. Society is demanding, winy, and immature. We believe we know it all, when truly we are ignorant of the world around us.

                  This can be seen in Estragon, but felt with Vladimir. Meaning Estragon appears as naive and gullible (which represents the sweet blissfulness of society), but Vladimir is intense and insecure (which indicates the ego of people). Being able to physically watch these two characters behave has enabled me to understand their purpose. Among all of the grey: the mountains of rubbish, the sky and the dead tree, these two remain with an optimistic spirit. But most importantly, their everlasting faith for Godot's arrival.

                    Vladimir and Estragon don't have patience for one another. They intend to escape, but they are in an abysmal terrain, where their is not exit. This imprisoned setting, tempts their composure and their faith. Which then backfires with the idea of suicide. These two, delegate over who goes first and how they will gain an "erection" by doing this. This behavior indicates truly how childish they are. Vladimir and Estragon are willing to give "everything" up for an erection; an aspect seen in toddlers when they want something really badly. Nevertheless, the only thing retaining them from committing this morbidly innocent decision is Godot. Godot is like the disciplinarian for these two. Godot is a mother, leaving a child in "time-out" for him/her to learn a lesson.

            Is this what we are doing on Earth? Learning lessons through hardships? Must we believe that Godot, our mother is only doing what we perceive as wrong, for our own good? As readers we don't have the right to judge Estragon and Vladimir for they are a representation of humans. They are a crude and utter form of man, which is nothing but a essence in progress; an ignorant being living because "Godot told me to."

Dear Mr. Ferrebee,

           Although my essay of The Stranger was an improvement to the previous one, I do have some things to work on. For instance, many of my sentences have an ambiguous structure. “Meursault was not able to absorb the idea of conforming part of anything, not even the present; until he discovered that death tied humanity together.” After reading this sentence, I noticed my ideas aren’t quite clear or concrete. I can infer that before writing I don’t know what I want to say. Even though I am determined to develop my central topic is in the essay, I barley have any supporting ideas. The lack of variety of thought leads me to commit such mistakes. I don’t make sense, and I simply end up building a grammatically wrong sentence. In addition, many of the words I use to describe “key concepts,” aren’t of best fit. “Meursault understands that everything in life has one destiny and that both the present and the past are the roots that lead this origin.” Throughout this sentence, I detected that some words could have been removed (wordiness: everything, both the, that lead, etc.) Also, this could have been composed into two different sentences, for they are two separate ideas. Nonetheless, the word: destiny is not appropriate. “Finality” could have assembled a more significant idea. Finally, for the upcoming essay, I must be aware of word usage and sentence structure. Most importantly, it is vital for me to establish my ideas and details to support them before writing.

Thank you,

Stephanie Vainberg

Scattered Thoughts and No Commentaries...

           Who exactly is Godot? No one will ever know, including the characters themselves. Nevertheless, their whole lives revolve around him. Waiting for Godot is like waiting for the night sky to fall, or the rope to hang from the tree. It is an uncertainty and a mystery. However, this mystery is never to be resolved. The essence and product of the book: utter confusion. Suicide is the final resolution for Vladimir and Estragon's misery. Nonetheless, throughout their lives they act completely ignorant of their unhappiness. However, at the end of the day they come to realization: life has no meaning. They have no meaning to each other. And Godot is seen as a projection, running their lives forever. Godot is interpreted as the ideal of G-d. He never comes, his existence is not proved, nor are his intentions. G-d and Godot share a power over the world, making people like Vladimir and Estragon live every day awaiting for their ascendance.

           The Bowler’s hat is a representation of personality and identity. Without the hat, the characters seem to be mentally inept. They are unable to think, nevertheless with or without the hats, the characters don’t posses character or individuality. The hat is the free-will given my G-d. They are able to remove this attire (deactivating their faith) or let it lie on the top of their ignorant heads forever.  They live in a world ruled by Godot and a bowler’s hat. Vladimir and Estragon inspect the hats very often. There is one scene where they interchange the hats with Lucky’s. They can’t seem to decide which one they want to wear. Lack of decisiveness is only indicating a lack of faith in the ole mighty Godot.

          These two characters suffer from a “high diagnose ” of stubbornness. In addition, when these two discuss, they act like toddlers. One word per argument gives the reader a sensation of immaturity. The fact that time is unrecognizable leads these two men to never grow. They cannot be separated from each other, and they need to “embrace” quite often. Yet, every time they say good night, and the day has come to an end, they argue over how they wish to part from one another. They state their lives are so different, full of distinct purposes, but they do not separate, for they define each other. This behavior is also seen in The Stranger. For attachment to the material world is seen in this play, it contradicts existentialist ideals. Vladimir and Estragon do not treasure their lives just like Mersault, but these two aren't willing to hand away their last breath to Godot.

            Blindness, a simple punishment for those who don’t appreciate what is in front of them. Pozzo, a wealthy man, encounters Vladimir and Estragon during the two Acts of the play. His significance in the book is the wastefulness of life. (Which is reflected upon the two main characters.) Pozzo lives to travel, drag his slave lucky around, and eat. Pozzo is the materialistic aspect of Waiting for Godot. Towards the end, this man falls to the ground and is unable to get up. He requests the help of Vladimir and Estragon, two strangers to him (he has met them before), but these two characters hesitate. For Pozzo lies far away from the tree, where they are waiting for Godot. The clash between their usual routine and a new event takes place. But, these men don’t know what to do. They have never experimented from outside “Godot’s” boundaries. They are imprisoned.

          “The sun sets, the moon rises.... Everything’s dead but the tree” 107. If everything’s dead but the tree, then every character is dead. Dead to the world, dead to the story. They are not imprisoned, quite the opposite, they are free. Do they just not know it? These two absurd men are homeless to the world, except themselves.

Reversible Minds

             “Here we have a perfect reflection of this entire trial: everything is true and nothing is true” 91. (Camus)

             The human being has a limited conscience, which perceives the world in one way. No other realities are being considered, for our minds are inflexible and in denial. Is the human scared to live in an incomprehensible world? For this matter, humans egocentric as a race. We seclude our minds from millions of possibilities, just so we can live at peace with a simple thought: we are the world. Society has maintained intellectual capacities and skepticism within barriers and named those outer terrains: tabu. Nevertheless, Meursault stands between these two lines. His mind is positioned on a thin obstruction between human reality and reality. This is why he is perceived as deranged. His capacities or incapacity's of thought do not follow humanities guidelines for gifted, but simply crazy. Has Mersault been judged without recognition of his unique perception of life? Have we underestimated his value?

             “I noticed that everyone was waving and exchanging greetings and talking, as if they were in a club where people are glad to find themselves among others from the same world. That is how I explained to myself the strange impression I had of being odd man out, a kind of intruder” 84.

             Who is the intruder exactly? Are the intruders the mass of corrupt lawyers, or the simple man who sits among these? Mersault lives in a world where everyone is an object, even himself. This character is a symbol, he is the intruder in the world of “justice.” Justice: is defined as righteousness. However, how does society know right from wrong in a world where reality is undefined? Who really has the power of justice? For this reason, Mersault cannot be judged within human kind’s terms.

              Society is corrupt, for truthfulness is only a myth. Mersault does not believe in this, so why has he been called a stranger in a world where no one truly knows who they are. We are all strangers to ourselves. Mersault is human kind’s secret.

            “What awaited me back then was always a night of easy, dreamless sleep...as if familiar paths traced in summer skies could lead as easily to prison as to the sleep of the innocent” 97.

             At the end, humanity lives in a mental state of naiveness. “Reality defines ultimate comprehension.” (existencial aphorism) We will remain unaware of our surroundings, we will remain innocent. We will remain blissfully existent.

The Incomprehensible Mersault

           Meursault has no recognition of his own happiness. Marie provides satisfaction, but not emotion to Meursault. He claims that she feeds his craving for human contact, but does not unravel the romantic relationship which is intended. “Together again, Marie and I swam out a ways, and we felt a closeness as we moved in the unison and were happy” 50.
           
This apathetic character contends his sentiments through the use of weather. The blazing sun, color of the sky, movements of the sea and the winds are symbols used to represent Meurault’s thoughts. The atmosphere is a reflection of Meurault’s interior. (Opposites describe this character.) Meursault expresses that his freedom defines his ability of going to the ocean, smoking a cigarette, and being with women. Nevertheless, although these habits seem to be inhumane and animalistic, they are truly the source of his indirect contact with “himself.”
             
As readers, this man can only be portrayed as ignorantly unaware of his unhappiness, but he unconsciously lives within the purpose of life: happiness. The origin of Meurault’s happiness is a gap. This character is not guilty being psychotic, he portrays his emotions in a different manner. Like different styles of learning, people understand certain things within a distinct perspective. If one person is a visual learner and does not absorb the information through hearing, it does not indicate this person is stupid, but unique. Can we consider Mersault a unique person? There are billions of people in the world and every single one of them is special. How does Meursault differ from these people? Is he truly a rare being? Why has he become such a disturb to his readers? Have we no tolerance over the different? Are we being "square?" This gap between readers and Mersault lead to false assumptions and judgements. In the long run, readers will never truly grasp who is Mersault.
             
  “Then I fired four more times at the motionless body where the bullets lounged without leaving a trace. And it was like knocking four quick times on the door of unhappiness” 59.

    After this scene, Mersault comes to be a greater mystery. Why did Mersault do such a crime? The Arab’s significance in The Stranger is one of the most influential collisions throughout the story. Camus inflicts an immense gap within the Arabian characters, however they are the initiators for the unwinding of this novel. They are the motive for Meurault’s awakening. Arabs signify reality. Before the murder, Meurault did not live within the present, however his sin led him to discover his unhappiness. Jail made Meurault discover himself and not the world. The Arabs

A Life from Far

“A minute later she asked me if I loved her. I told her it didn’t mean anything but that I didn’t think so” (35).  Marie: a sex symbol to Monsieur Meursault. She is simply another object in this protagonist’s surroundings.

               Meursault, a man of many actions, does not portray emotions towards these. His relationship towards Marie sprouts, however his love and affection remains like stone.

      This protagonist is abstruse about his attachments to the world, and declares this by building relationships that have no significance. “...but I tried my best to please Raymond because I didn’t have any reason not to please him.” Meurault's ;ack of sentiment leads to cruel and irrelevant conduct. He is a man who is just all right with his life. There are no complaints, and no desires. No dreams or ambitions, life to him is futile. For this reason, constants in his life such as light, weather, laughter, food, cigarette's, sex and the ocean are distinctive. They are either a complete pester or a prerequisite. Constants can be defined as infinite moments, that is the past and the future; but the present is always gone. “Only the words “yesterday” and “tomorrow” still had any meaning to me” (80).  Meurault believes that no experience is permanent, so each unprecedented detail in his life is new, innovative, and then dead. Maman’s death is exemplary towards this concept. Her essence although once persistent in his life, proved wrong when deceased. “ Darkness had gathered, quickly, above the skylight” (8). Meursault: an existentialist, understands he is existent, but just for the present.

         Existentialism is denial of one's own existence. No life is of worth, not even one's own.  No actions will implicate  value to a succession. Meurault is deliberately inhibiting himself from personal freedom. However, through his eyes its simply a matter of reality.
Reality is indefinite for an existentialist, for no presence is proved worthy, none is true.

         Many indian spiritual leaders state that unattachment to the world and life is the healthiest form of living. Nevertheless, this does not implicate living a "lifeless-life." Has Meursault got it all wrong? Has his lack of spirit diminished his existence of the present?

Reflection Letter

Dear Mr. Ferrebee,

While writing my essay I forgot a small detail. Instead of focusing on developing the powerful symbolism behind The Great Gatsby’s themes and details, I was too focused on making my writing sound descriptive and creative. After having read the essay calmly, I also noticed how I didn’t incorporate the background history of the age into the plot of the story, but I only summarized it in the introduction. As a writer, I have always prioritized a strong introduction, however I couldn’t seem to pull my ideas together. Topics I could have unraveled throughout my essay are as follows: “In this ambiance, Daisy interacts quite decently with the “aristocratic,” however she then becomes critical and selfish when speaking of others.” With this observation I could have inferred that the arrogance of this character is a symbol of how “The American Dream” pulled people into becoming hypocrites and  “clones.” Other details mentioned in the essay such as: love affairs, gold diggers, the Oxford man, and so on could have been evaluated and analyzed, exploring different areas other than summarizing the book.  Next time I will attempt to write beyond the literal.

Thank you,
Stephanie Vainberg

The Deceptiveness of White

          “We gave her spirits of ammonia...when we walked out of the room, the pearls were around her neck and the incident was over” 76. During this scene of The Great Gatsby, by F. Scott Fitzgerald, Daisy becomes a doubtful bride. Always dressed in white, Daisy conceals her insecurities with this color. The elegance, splendor and light white affixes is nothing but a mask. Daisy appears to be radiant and praised when using such attire. Her impeccable and presumable reputation is shaped by this single aspect of style. “Daisy and Jordan lay upon an enormous couch, like silver idols weighing down their own white dresses against the singing breeze of the fans” 115. White intends to convey a godly appeal to the American women who wish to become part of the American Dream. This witty technique confounds those who search for wealth. White is the color of pure money. Nevertheless, it can also symbolize the thriving and flourishing America. White embodies a sensation of hope, peace and  love. The contrasting implications this color establishes, generates two view points of America’s future. (A moral loving land –the holy land. Or the materialistic ideal everyone intends to live in.) Although the story seems to have a cynical ending, white transforms into an emblem of a promising time ahead. “Slowly the white wings of the boat moved against the blue cool limit of the sky” 118.