Butler Visiting Writers FYS
Our Class
Monday, April 30, 2012
Final Panel Discussion
From left to right: Ashley Albertz, Brandon Pleake, Lauren Benner, Erin Palm, Andrew Hutson and Tom Curr.
Jhumpa Lahiri Review by Kriste Lapkus
by Kriste Lapkus
The hardships of the immigrants
who make up the unique “melting pot” of America are easily forgotten. These
brave immigrants, arriving from all ends of the world, sacrifice so much to
survive in a new environment while attempting to save their own culture’s individuality.
The excitement and anxiety of leaving behind a beloved home and culture is the
underlying theme in Jhumpa Lahiri’s “Unaccustomed Earth”. Lahiri, who is of
Bengali descent and born in London, was raised in Rhode Island and presently
lives in Brooklyn. She is living proof that the place where your closest
attachment to isn’t always the country from which you are bound to by birth or
blood, but where you feel most comfortable becoming yourself. In this collection
of stories, this forgotten truth is quietly whispered between the pages, with a
raw energy that only Lahiri manages to muster.
Jhumpa Lahiri begins a new type
of storytelling, or writing that doesn’t necessarily teach a moral at the end
of a typical happy ending. Each of the eight stories in “Unaccustomed Earth” doesn’t
have a settled end to the hardships, unlike most classic stories have in the
past. On the contrary, Lahiri
teaches the moral of the stories along the way for the reader to learn on his
or her own. According to the New
York Times, “Lahiri shows that people may be felled at any time by swift jabs
of chance, wherever they happen to live. Uncontrollable events may assail them
— accidents of fate, health or weather”. The hardships and sufferings of the
characters that were uprooted from their homeland are written realistically in
Lahiri’s point of view and don’t always end in a stable ending, such as reality
does. Her stories breathe the concealed reality that immigrants have to deal
with on a daily basis.
Each of the characters of
“Unaccustomed Earth” are brought to life by Jhumpa Lahiri, as if without trying.
She seems to allow them to grow and mature while she sits back and waits from
them to either bloom or crumble. In one of the short stories, “Unaccustomed
Earth”, Ruma blossoms from a simple wife that recently lost a mother, to a
complex woman. Lahiri writes, “there were times Ruma felt closer to her mother
in death than she had in life, an intimacy born simply of thinking of her so
often, of missing her. But she knew that this was an illusion, a mirage, and
that the distance between them was now infinite, unyielding.” Through beautiful
phrases such as these, her stories are brought to life.
Jhumpa Lahiri’s collection,
“Unaccustomed Earth”, is a literary success. Each story is based off of the
same theme, yet completely unlike the other. Lahiri shows the complexity of
immigrant families while keeping it simple for the readers. By reading this assortment
of short stories, the reader cannot stop him or herself from diving into the
drama of Lahiri’s characters’ lives. Jhumpa Lahiri is out to change her
reader’s conceptions of immigrants. So far, she is succeeding with great
triumph.
Wednesday, April 25, 2012
Rachel Frank and Andrea Ruben's Papers
By Rachael Franks
Gregg spoke on many topics, often
relying on examples she quickly spun off to demonstrate her point rather than
insufficient explanations. Yet, perhaps what was most noticeable about Gregg’s
visit was her genuineness. Poetry is her life; she is not just “fooling around”
as she stated. This is evident in the respect she has for her craft, going so
far as to say that poems have rights. A poem has its own journey to take and
therefore as Gregg states, censorship has no place in writing. By altering
poetry for fear of offending the reader, a poem’s integrity is lost.
Respect for her craft was not only shown through Gregg’s words, but also
her appearance. Purposely dressed in grey and black, Gregg tries to “not
notice” herself and not become a distraction so more focus can be paid to her
writing. She is secondary to her work.
Such
dedication takes a great driving force and Linda Gregg has found it in her own
work. She is continually learning, discovering and uncovering facets of her
world when she writes and it is that “magic” that has filled her life. It is
this idea that lends itself to become the standard of good poetry, a topic
heavily debated. Good poetry inspires the reader and reveals their world in a
new way, regardless of topic, form or word count. Gregg’s poems encompass both
of these ideals and therefore embody “good poetry.” Yet, even more as a writer,
Gregg hopes to make her readers understand that all of us “are more amazing
than we know.” She hopes her poems show readers just how fantastic our world
and their life is and can be. I think she has done just that.
Nicole
Krauss Visit
By Andrea Rubens
It was one of the first really
nice days of spring on campus and everyone was loving the weather. I walked
over to the Effroymson Center and grabbed some snacks and took a seat. Nicole Krauss was given a brief introduction
and as she walked to the front of the room, you could feel her calm energy.
Without hesitation she approached the podium in the front of the small room of
students and members of the community wearing her red vest with interesting
gold geometric patterns, holding a bottle of water in hand. She simply asked,
“Okay. So who has a question?” and it began.
In her book History of Love, Krauss uses very unique and developed characters
to tell a story. When asked about how she creates and develops these characters
she simply answers, “I just always follow instinct”. Referring to The History of Love and its characters,
Krauss says the development and characterization of Alma and Leo came from her
realizing that she had empathy for the characters and the writing came out of
her questioning herself: “Why do I have
empathy for Alma and Leo?”.
The
History of Love centers on Leo Gursky, a WWII
refugee from Poland who currently resides in New York. Krauss has often been
referenced as a “3rd Generation Holocaust Survivor” having a close
relation to the Holocaust through family members’ experiences. She does not
agree with that or associate herself with that generalization. She says, “My
existence stemmed from that event. I think of my life as existing in the
aftermath.” In terms of her writing Krauss says, “I think dramatically. The
aftermath of a catastrophic loss or event is interesting because it has to do
with the characters as survivors. In terms of Leo’s character [in The History of Love] his imagination
lets him recreate the situation in his life.”
In terms of her writing style and
the process of writing a novel Krauss says, “It’s a lot of trial and error.
It’s only though allowing myself to go through the liberties of what my
instincts suggest.”
Tuesday, April 24, 2012
History of Love Cake, by Jessica Burton
It's a lemon cake because their love is bittersweet, and it's filled with strawberries because they're shaped like hearts. It's a wedding cake, with pearls, although there was no wedding. In The History of Love all the women are named Alma, and this is the cake the first Alma would have made for Leo, had she known.
Constructed Realities, by Rachael Franks
Constructed Realities
By Rachael Franks
When
I was younger, I was terrified that I would be cross-eyed. An irrational
childhood fear to some, but I lived my tiny life within its constraints. I
would follow my finger with my eyes or obsess over their placement in the
mirror. At night, I even slept with my pinky finger nudged in between my eye
and nose, hoping that it would keep them aligned until morning. These were
imaginary cures for an imaginary problem. Yet, it all felt real to my
five-year-old self. This power of
imagination can be found in Nicole Krauss’s novel, The History of Love.
As the title insists, it is a novel about love but less obvious, it is
about the loss of love. In the novel, the characters Leo and Charlotte
construct their own realities after the person they love is gone. They live
within a constructed reality and much like me as a child, are constrained because
of it. Yet, that is also how they manage to carry on. Leo and Charlotte survive
loss by creating a world in which they can cope.
Leo
creates a world around the love of his life, Alma. Their romance was arguably
the strongest influence in his life. Everything he did or did not do was in
response to her and that did not change with her absence. In fact, it only grew
stronger for “if it weren’t for her, there would never have been an empty
space, or the need to fill it (57). Fill it Leo does, or tries to with his
friend Bruno. When he cannot have Alma, he becomes dependent on Bruno. Leo
cannot “imagine a life without him,” and he creates a reality in which he never
has to be without him (209). Despite Bruno’s death years earlier, Leo continues
to interact with an imaginary version of Bruno. They check up on each other,
tap conversations through the pipes, have breakfast together and even have
fights. However, Leo does not construct this imaginary world for lack of
sanity, but rather the opposite. “The truth is the thing [he] invented to live”
and in this case, the invented truth was a world where Bruno was still alive
(167). After Alma, Bruno is all Leo had and to survive he constructed his own
reality where he could continue to depend on Bruno. Knowing Bruno was not real
did not matter, because to Leo, he was alive and because of that, so was he.
After
losing her husband, Charlotte enters an imaginary world where he still
exists. She recaptures the way he
made her feel through memories. These “memories… soothed her even while they
made her sad,” for Charlotte desperately grabs for any glimmer of her husband
(181). Yet, in choosing to live in a constructed world of memories rather than
reality, Charlotte “sacrificed the world” (46). She even gave up her family, as
they would never “be able to win over the memories she had” (181). However, this is not a reflection of
her feelings for her family, as she tells her daughter, Alma, she loves her
constantly, so much so that Alma wants to tell her mother to “love [her] less”
(43). This is the aftermath of her husband’s death and Charlotte’s reaction to
loss. By shaping the world around her to one in which her late husband exists,
Charlotte will never be lonely nor happy. Charlotte can survive.
Living
in a self-constructed world means giving up life. Yet, it also means preserving
love. In reality, Leo and Charlotte would have to let go of their loves and
move on. In their constructed realities, they can hold on forever. Author
Nicole Krauss speaks about such catastrophic events, like the death of a loved
one, and what those events ask of the survivor. In the case of Charlotte and
Leo, they undergo what Krauss calls a “radical recreation of self” in order to
go on. Their existence is dependent on the life of their loved one and are
therefore forced to create a world where both fallen and survivor can live.
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