Tampilkan postingan dengan label Lee. Tampilkan semua postingan
Tampilkan postingan dengan label Lee. Tampilkan semua postingan

Senin, 06 Desember 2010

East of Eden LV -- chpt55: THE END

I've written about 30 questions for this final entry, but they're all redundant; if you've made it this far, you've answered them all already.  Here are three:

  1. Describe Cal's guilt (a deliberately ambiguous usage), and in the context of his family and family's history.
  2. Discuss the role of the idea of "the sins of the fathers shall be visited upon the heads of the children," especially considering the contextual fact of God as a father.
  3. Is Caleb free?

Minggu, 05 Desember 2010

East of Eden LIII -- chpt53: LOVE&TIMSHEL

Lee is quite the little homemaker.  His awaiting Abra reminds me a lot of my mother awaiting the return home of a loved one after a long time away, only Lee, quite unlike my mother, receives for the first time in his life a display of affection.  And "awaiting" is such a passive word.  My mom and Lee are anything but passive (speaking physically, at least; Lee's moral passivity still bothers me sometimes).

As Adam is progressively sickening, Lee's love radiates further and absorbs all his employer's ills, and Lee advances from his position of helpmeet (already an advancement from hired servant) to caregiver.  Why does he do it?  You might say that he does do it and doesn't do it because it's his job.  It is no longer because of his status as family employee that he tends Adam, the boys, and, as much as he is able, Abra, but because it is his job as a loved one--as a member of the family.  I believe that in this chapter, Lee has truly realized his ambition to have this family as his own.

Need additional evidence, watch how Lee speaks with Cal.  Watch how he observes Cal, Adam, Aron, and Abra.  There is so much tenderness and love in this man.  And though he might prefer it otherwise, he is utterly incapable of solving this family's troubles.  Not because he is not the father--the blood father.  Not because he is only the servant.  But because he is only a man.  I think this is a fascinating point, especially as I participate--as tenderly, lovingly, and attentively as I can--in my own family.  I can't solve my family's troubles, though I crave that ability.  This is the very definition of impotence; while in the context of this book and, I believe, in the context of real life, there is only One with any power--potency--at all.  What we can do--Lee, my wife and me together, Adam, Cal, my kids, whoever--is work with the situations we've got--to choose to do so--and choose to work on them together.  So we do have some power--some very limited (though not at all limiting, as this power has the thrust to elevate us into eternity) power--and that is in the choosing.

Think about it: How often can you hurdle a problem, once that problem's arisen?  How often do you have to slog through its mire?

Of course, there is a measure of difficulties we can avoid by simply making the correct anticipatory choices.  That's timshel.  What else is timshel is that very choosing that I mentioned just sentences ago to deal with your lot lovingly, tenderly, attentively.

Like Lee.  Like Cal and Abra.  Like me, hopefully, and my wife.  And we can only pray that those Arons and Adams out there might do the same--that and do all we can to teach and show and love.

East of Eden LII -- chpt52: DISILLUSIONED, an active state of being

The fantasies of childhood are gone for Abra.  They've been gone--they may have never existed--for Cal.  Adam is broken.  Lee fusses about like a chicken.  Aron is off to war.  Amazing how this boy, so like his mother in fundamentals, is so like his father in practice; but how might the war benefit Aron where it never did for Adam?

What needs to happen before it could even be possible for Abra to love Aron again?

Senin, 29 November 2010

East of Eden XLVII -- chpt47: WHO IS TO BLAME?

Reading Questions
Chapter 47.1

  1. I've noticed a version of Adam's sternness for "excuse and borderline disability" in myself and my teaching.  Though he is weak, though he hates the war and feels he's condemning the boys he sends off, why won't he accept the excuse (which is the same reason he wouldn't be able to hold back his boys)?


Chapter 47.2

  1. There's an interesting question here, which could be answered pertly, tritely, but whose answer could be much more revelatory: If God puts together two boys in a family--Cain and Abel, Charles and Adam, Cal and Aron--and one of them kills the other, even if perhaps there was reasonable doubt that they'd live well together and build each other up, is God responsible?
  2. "All great and precious things are lonely."  (I don't think I agree--or I do agree, but with exceptions.)


Chapter 47.3

  1. Twice now, unless I'm missing one, Cain has remained in "Eden" and Abel has left the garden for the weedy world beyond--war and college.  What is Steinbeck saying by this, as it is not the only reversal from the Bible story?
  2. Could Aron live on and work the farm?  It isn't a question regarding Cal.  Yes, he could.  But here we see the greatest similarity between Aron and Adam.  What is it?  (And if Aron has such distinct similarities to both his parents, what is there about Cal that is at similar to his father, if it is Adam at all, as we see clearly what his similarities are to Cathy?)

Jumat, 26 November 2010

East of Eden XLIV -- chpt44: HUMANS JUST SMELL BAD SOMETIMES

Reading Questions
Chapter 44.1

  1. What's the clear difference between Aron's situation, in which he is creating the girl he loves to be something other than what she is, and his father's situation, when he did the same thing?
  2. Those around him seem to believe that Aron needs to be pulled from the clouds.  There's one sure-fire way to do it, albeit extreme and likely to result in permanent damage.  Is there another way?  Remember, in order to maintain parallels Steinbeck may very well need to kill Abel, and Cain's probably gotta have something to do with it, whether it's a literal of figurative killing.  Regardless, why might a partial killing just not do?
  3. Why doesn't Lee want tell Abra the truth (and how does she trick him) the way he told Cal?  He knows she can handle it.  What is his cowardice (and a cowardice perhaps redoubled for his giving in to her wiles)?
  4. There's a sense in Lee already telling him what will happen regarding Cal's gift.  He can talk to Cal and Cal will listen, yet he doesn't say anything more than he "hopes."


Chapter 44.2

  1. "You'r crazy," said Cal.  "Aron will knock that out you." // "Do you think he will?" // "Why, sure," said Cal.  "He's got to."  

Kamis, 11 November 2010

East of Eden XXXI -- chpt30: SHOT THROUGH THE HEART

Synopsis:
I
  1. Family drives into town to pick up mail and get meat for dinner.
  2. Adam gets a letter from a law firm back East.
  3. Letter announces death of Charles and further inheritance for Adam, to be split with his wife, if she is yet alive.
  4. Cal and Aron bet on an early bed time.
  5. Cal's feelings are significantly hurt--nearly mortally so.
II
  1. Aron wonder's why Cal kicks down anthills--not which anthills, but why.
  2. Cal's heart is pierced anew.
  3. Adam and Lee discuss letter and what to do about Cathy's rightful portion (rightful by which morality?).
  4. Lee stands up to Adam, who is surprised but not bothered.
  5. Lee practices perfectly timed and inflected sarcasm.
III
  1. Cal perfectly demonstrates what it really means to choose.  Timshel.
Questions
Chapter 30.1
  1. The last few chapters have illustrated Adam's tremendous changes.  If his past sins are more visible, remember these moments of triumph and glory, if not, perhaps, as significant as that of Lee's family history.  Here in part 1, what do we see as proof of his embracing the new life he's chosen and the family eagerly accepting?  (more than one)
  2. What does Aron manage to do, though there no way he intended it, that will have eternal significance--recorded by the angels of heaven--for his brother?
  3. Notice the rapidity of sway in Cal's emotions.  Cal fears, a little (and he recognizes it), Lee.  He believes he has power over his brother and potential power over his father.  What or who is Cal really scared of, and why?

Chapter 30.2
  1. What in the world could "the elders" accomplish that Lee hasn't already in this discussion of inheritance?  Why does Lee get so angry with Adam?  What is the truth in Adam that he refuses to admit of himself and why?
  2. What would be required for Cathy to expand into Lee's offering: "What your wife is doing is neither good nor bad.  Saints can spring from any soil.  Maybe with this money she would do some fine thing.  There's no springboard to philanthropy like a bad conscience"?

Chapter 30.3
  1. List all of the possible motivations for Cal's prayer to be like Aron.
  2. What is he really willing to sacrifice--or how far is he willing to go--to buy this miracle?
  3. What is his first step in the "right" direction?
Finally, if the rabbit symbolizes either of the boys, at this point has the significance of the member changed or reversed polarization, or gained an additional object?

Rabu, 10 November 2010

East of Eden XXX -- chpt29: JUST CALL ME JOE!

Is it so wrong to over-read a passage--to look too deeply?  I don't think so, and this is why:  as far as I'm concerned, it doesn't always matter what an author intended.  It matters much more what is there, rather than why it's there.  There are such things as accidental and incidental works of art.  So take this together with the notion that even if Steinbeck didn't intend metaphor by the carved head as cage for a fly, or the rabbit shot through the heart, or, here in chapter 29, the car, it doesn't change the fact that metaphor may be found, and metaphor pertinent to the conflict and characters.  I think the ends--the presence of metaphor or allegory or art--justify the means and/or the author's lack of intent. 

That said...

Reading Questions
Chapter 29.1

  1. Will brings Adam's car, and it's a mess of complications.  Now as long as you can at least partially separate yourself from Tolkein's antagonism toward the Industrial Age, you should be able to recognize Adam's purchase of a car as a sign of progress--he's stepping, rather blindly of course, into the new age.  In order to make the analytic leap I'm looking for though, let's look at this in terms of analogy (THIS kind of analogy: apple is to fruit as herring is to fish, or apple : fruit :: herring : fish).  So here's my analogy, with its requisite blank.  Please fill in the blank and explain your answerAdam's advancement into technology : car :: Adam's new life and finally-assumed fatherhood : ______________.  (Okay, so yeah, I know this is WAY abstract.)

Chapter 29.2

  1. Lee: "I wonder whether I'll ever get used to it."  I've heard it said that one can get used to anything--generally in context of extreme crimes, as some reporter or analyst attempts to explain away the astounding lengths to which humanity manages to push its actions and psyche.  Are there things that an individual--specifically you or someone you know perhaps--will indeed never get used to?
  2. I love Joe, or Roy--or, rather, I Just-Call-Me-Joe.  I love that Steinbeck so totally throws in a hackneyed stereotype.  There's been so much heaviness lately that we need it, I think.  (And Lee's sarcasm...!)

Selasa, 09 November 2010

East of Eden XXIX -- chpt28: LOVE. PERIOD. (not that kind of love)

I am always deconstructing authors' goals and intentions as I read.  What makes them tick, and how are they trying to accomplish exactly what they're trying to accomplish, and why did they do this that way or this way or how, and--in the case of Steinbeck and others whose work I'm always burrowing through and panning--why is it assembled as it is?  I mentioned quite some time ago the impression I get that this book was not planned out beyond a potential list of characters, general plot motivation, and a setting.  One of the reasons I feel this way is my inability (nearly always absent from a reading) of why a chapter was put together in such-and-such a way.  So many of these chapters with their mini-chapters stump me.  And perhaps this is one of the reasons Grapes of Wrath won all the awards and this is merely everyone else's favorite.  Yes, it is less polished, but I don't think it suffers from the lack of sheen; rather, I think its rustic quality enhances it.  But I look at chapter 28 specifically, and I can't figure out the assembly of these three parts--the thematic line drawn through them.  Shouldn't there be?  Such thematic drawstrings bind up all his paragraphs, bind up his sub-chapters, bind up the book as a whole.  Why not his chapters?  Or am I missing something--looking tooo hard?  I hate to say it, because it just seems to darn easy, but could it really be something as simple as time?  I don't want it to be; I want there to be more.  Why isn't it enough?

And yet, reading it again for the sake of writing these questions--and as I come up with a title for this entry--what about love?  Do we not see three distinct, and perhaps more fully demonstrated than the typical examinations, forms or manifestations of love?  Fatherly, communal, fraternal?  Perhaps this is the most Christian of chapters in the book, which book is profoundly Christian.  (And I hope I'm not overstepping myself by saying it.  Maybe "Christian" is a pigeonhole of the broader topic--just what I'm titling this entry....)

Reading Questions
Chapter 28.1

  1. Hail the valient and hopelessly flawed father!  Every father is, and especially those who won't admit it or are totally oblivious to their ineptitude.
  2. What about Cal's search for anthills?  I picture myself driving home in the fall back in my high school days and seeing mountains of leaves piled up along the side of the street.  Impulsively I swerve the car and splash up a great rooster tail and make it home a little more invigorated than I would have had I been just that much more conservative.  Then I hear on the news (later that very season in fact) about homeowners planting bricks, rocks, or cinder blocks under their leaves to get even with the careless drivers wrecking the fruits of their labors.  Needless to say, I don't go barelling through piles of leaves anymore.  But does Cal think ahead at all, and mean further than, "Hey, let's wreck something and if I kick it this way I know I'll really wreck it," or is his wrecking of anthills heedless and impulsive?

Chapter 28.2

  1. Lee's story.  Who needs the telling of it more, Lee or Adam?  (Trick question.  The answer is neither.  Read my mind!  What am I talking about?) 
  2. I will say no more; this story--and maybe I am satisfactorily like Samuel in this regard--is sacred and doesn't need my defense or pathetic disections, so I will leave it to you.  Regarding Samuel, consider Lee's words after Adam asks if he ever told the great man: "No.  I didn't.  I wish I had.  He loved a celebration of the human soul.  Such things were like a personal triumph to him."  What triumph's of the human soul have you recently witnessed and/or celebrated?

Chapter 28.3

  1. Why is the re-newed impulse to write Charles suddenly strong enough--or Adam finally subjectible enough--to actually bring about a letter?  (And I love how obviously self-conscious the writing is, which writing doesn't even feel forced by Steinbeck.  That's talent, my friends.  Talent!  (Don't believe me?  Try it!))
  2. Adam's PS is apropos.  Up to that point in the letter, ask yourself, why does Adam so love Charles?  A love that is clear--now, if it wasn't over the past ten years.  The answer is simple: "...because you were my brother." 

Senin, 08 November 2010

East of Eden XXVIII -- chpt27: ABRACADABRA!

This is a long chapter, though not one of the mightier, at least not as far as metaphors and philosophy are mighty.  This chapter does, however, introduce--and indeed it is like magic for the two boys--a new primary character, Abra Bacon (mmm, bacon!), and not much of tremendous substance (at least not NEW substance) comes around until she does.  So I will greatly gloss over 27.1 with little more notes than these:  Rabbit Hunting, interesting and telling of characters, and are these characters significantly different from their parallels in earlier generations (but notice the interesting physical features each boy possesses and consider to whom they match--Adam, Cathy, Charles?)?; The Strength of Truth When It's Thought to be a Lie (which, of course, empowers the liar (and yes, telling the truth and intending it to be misconstrued is the EXACT SAME THING as a lie) to do both with equal advantage, in Cal's announcement about his knowledge of their mother, as well as the rest of Cal's bravado.

Now, on!

Chapter 27.2, 3

  1. The judgments of the ignorant, and the vanity of the wealthy!  How do the Bacons (including Abra, coming later)  judge Adam, Lee, and the boys?  Obvious question, but there is significance here when we add, How do these judgments affect the judged?  And everyone's been judged like this before.  How hard--if even possible at all (which I honestly doubt) --is it to be unaffected by these judgments?
  2. While in future books I will discuss at length the near impossibility to truly understand "where people are really coming from" when they are part of a culture entirely different from ours, we will also touch on it here.  Even cultures that appear superficially to be like ours are significantly different under examination.  My first thought along these lines is that of Lewis Carroll's "nudie" photography of Alice Liddell and other girls, despite parental permission and supervision.  This is a thing almost impossible for our culture to accept!  I ascribe this same difficulty, though with less severity, to Mr. Bacon's naming of his daughter.  This poor girl (though she likely doesn't see herself "poor" at all--DIFFERENT CULTURE!) will live her life with the reminder written into the very fabric of her name that she was the parents' (and by "parents" I mean the father, who speaks for both by fiat, so "parentS"--DIFFERENT CULTURE!) second choice after a son.
  3. Regarding judgment: "It was not laziness if he was a rich man.  Only the poor were lazy.  Just as only the poor were ignorant."  It would be easy to label me as paranoid, but I can't believe how true this is!  I noticed it as far back as college when I would be literally shunned--even turned down for a date (though there were often other contributing factors as well!) --specifically (and I even asked a couple times) for wanting to be a teacher.  "Teachers don't make any money!  And those who can't do teach!"  Hmm.  And now that I'm "unemployed," I get all kinds of sideways looks and pointed fingers and behind-the-hand whisperings.  Was I guilty of the same when I was employed?  I have selective memory and don't recall.  The thought terrifies me!  What experience have you had with this sort of judgment?
  4. Regardless of judgments, Adam is a bit of an alien.  How?

 Chapter 27.3

  1. "...the inexorable logic of women..."  ! and .
  2. Interesting that in these first pages of the chapter, Aron and Cal are equal in/under/because of the presence of the girl.  --At least until the rabbit comes up again.
  3. And Cal, at the moment Abra begins to love Aron, has one more motive to hate him than ever, but what are his real feelings?
  4. Why would Abra perhaps love the boys more--at least temporarily--if indeed there were a wicked stepmother and faggots to collect or if she could be their foster mother?
  5. Why does Cal lie about Lee, taking advantage of Abra's existing judgment (symptom of her fear) of "the Chinaman?"
  6. Is Cal as evil as his mother?

Kamis, 04 November 2010

East of Eden XXVII -- chapt26: The Beginnings of a New Beginning

The purpose of this chapter, I think, is the foundation of the rest of Adam's life--his new life.  He's sort of undergone a baptism of fire, this crazy couple of days of his, and now he's emerged new and free and young.  Will never thought Adam would buy a car, but he's buying a car; Lee never thought he might have a shot at true freedom for himself, and how he's nearly done (supposedly) with his service to the Trasks.

There's a pretty phenomenal contrast between the first and second parts of this chapter.  Consider the stark differences between Adam's conversation with Will, Samuel's son, mostly regarding the funeral and its subject, and the conversation with Lee.  Is one of these men--Will and Lee--more affected by the death than the other?  Might this argument be different had Adam gone to talk to Tom?

Senin, 01 November 2010

East of Eden XXV -- chpt24: TIMSHEL

Which would you prefer?  A kind of static heaven, where it--heaven--is what it is and never changes (whatever that happens to be) no matter who you are or what you want; or a more subjective heaven, where its stake on "paradise" is subject to the person who achieves it?  If the latter, would it be possible for Samuel and Liza even to exist on the same plane in the Hereafter?

Reading Questions
Chapter 24.1

  1. "I seem to get more Chinese as I get older," says Lee.  Funny, I become more and more like my dad as I get older.
  2. Who do Cal and Aaron remind you of?  (And I'm not talking about Cain and Abel.)
  3. The way Samuel describes his love of the land, it makes me think of the way he loves his wife, just without the shroud of his confessed fantasies, a page (more or less) earlier.  What does appearance and functionality play in the loving of something?

Chapter 24.2

  1. A potential conflict: It is easier to believe or accept a religion whose tenets are close to your lifestyle or existing religious beliefs, yet it requires less of a leap of faith.  (Look for the deliberate, partial flaw in my reasoning, which relegates this argument's validity to those who may be SEEKING (intransitive of "seeking" also intentional).)  Isn't this leap of faith--those of you who have read it, think Life of Pi--necessary for receiving the "better story," or the greater truth or whatever you want to call it?
  2. Here in 24.2 we get the definition, and Lee's backstory, for the "discovery" of timshel, the Hebrew word meaning "thou mayest," or to put it in common language (as we English speakers have virtually done away with the informal conjugations and pronouns), "you may."  While the ultimate importance is referenced here--the significance of this perhaps more accurate translation of the couple words in Genesis indicating that we are responsible--its true significance is masked, at least emotionally so and therefore yet generally ineffective, and we won't get it until the end of the chapter.
  3. On my first read of East of Eden, and up to this point, the book was merely excellent; chapter 24 however elevated it from excellent to resonant, and even life-changing.  While I already tended to believe that I was the one in control of my "destiny," the added foundation this chapter gave was just, well, GREAT.  Consider the general rationale that this CHOICE or freedom to triumph over sin elevates us above the beast to godliness and makes our potential infinite.  AWESOME!
  4. Considering the earlier question, is it easier to make a large leap of faith when that leap promises a greater measure of hope to the leaper?
  5. When Lee says that "These old men believe a true story," what kind of TRUE is he talking about?

Chapter 24.3

  1. I love Doxology.  How could I not, what with the fondness Samuel has for this lousy animal?  I think there's a notable similarity between Doxology, Samuel's pathetic track of land, and his little iron wife, Liza, for all of them demonstrate in Samuel a deep love despite, and maybe even explicitly FOR REASON OF, specific weaknesses and/or shortcomings.  Once Samuel (I think it was Samuel) said that it's easier to love the ugly child.  WHY?  HOW?
  2. A brilliant little twist on the Garden of Eden:  Adam is served, by the benevolent serpent, Samuel, fruit from the Tree of Knowledge ... BACKWARDS!  Without the service of this fruit, according to Lee and Samuel, Adam would surely die; yet the simple partaking of the fruit in this case would, while with tremendous difficulty (as if indeed casting him from the Garden and into the weedy world), open up the possibilities of even timshel itself.
  3. Here at the end of the chapter, it seems to me that the real significance of the new translation of timshel makes itself visible.  How is it that Heaven suddenly exists for Samuel where it apparently didn't before?  Why is the timing of the discovery particularly significant?
  4. What does Lee mean when he says to Samuel, "You've gone beyond me?"
  5. Notice, in the very last line of he chapter, Samuel's halo.

Jumat, 22 Oktober 2010

East of Eden XVIII -- chpt17: Of Meteors and Monsters

"When I said Cathy was a monster it seemed to me that it was so.  Now I have bent close with a glass over the small print of her and reread the footnotes, and I wonder if i was true.  The trouble is that since we cannot know what she wanted, we will never know whether or not she got it.  If rather than running toward something,g she ran away from something, we can't know whether she escaped.  Who knows but that she tried to tell someone or everyone what she was like and could not, for lack of a common language.  Her life may have been her language, formal, developed, indecipherable.  It is easy to say she was bad, but there is little meaning unless we know why."

Reading Questions
Chapter 17.1

  1. Deconstruction: Is Steinbeck just making this up as he's going along?  If this is really Olive's son narrating, then he already knows the story from the end to the beginning and he would have known from his first word--and dwelled on it for a decision--whether his opinion of Cathy was that she was indeed a monster or just a misunderstood alien.  Suddenly, from the quotation above, the first paragraph of chapter 17, she is no longer Cathy Ames the devil, but a Frankenstein's monster without the outward monstrosity, save empty, goatish eyes.  Should Steinbeck have gone back to alter that earlier chapter, held to his monster approach without deviation, or this just right?

Chapter 17.2

  1. Lewis Carroll wrote in Alice's Adventures in Wonderland, "Why is a raven like a writing desk?"  I think it's an aptly applicable question here: "Why is a buried meteorite like a monster's baby?"  Carroll's riddle never intended an answer, at least according to his own claims, but that hasn't stopped people from coming up with their own.  Similarly, maybe Steinbeck didn't intend metaphor (though I doubt it).  So take this is one of two possible directions--or both: 1, Just answer the second question; 2, compare the two questions in context of EoE.
Chapter 17.3

  1. One of my favorite parts of this section is the little bit of Liza that creeps up in Samuel's behavior as he takes over the delivery of the baby.  Notice how there seem to be two babies he has to deliver: the neonate, and Adam.
  2. Which of the many sensations of birthing are bringing the anger, and perhaps evil, into Cathy?  (And don't say "all," because that's lame and a cop-out.  Which are most significant?  And when it comes down to it, I wouldn't ask if the answer were typical.)
  3. Okay, let's let the cat out of the bag: whose are the twins, and what kind of twins are they?
  4. Have you ever felt fear as an adult that caused you to wish you were a child with readily available and excusable foolishness and comfort?
  5. Samuel: "Lee, men are fools.  I guess I hadn't thought about it, but Chinese men are fools too." // "What made you doubt it?" // "Oh, maybe because we think of strangers as stronger and better than we are." // ... // Samuel: "Maybe the foolishness is necessary, the dragon fighting, the boasting, the pitiful courage to be constantly knocking a chip off God's shoulder, and the childish cowardice that makes a ghost of a dead tree beside a darkening road....  I feel wings over this house.  I feel a dreadfulness coming."  (I believe the "wings" Samuel mentions are much like the image of a great black bird hanging over Danny in Tortilla Flat or the crow that comes over Alice after her encounter with Tweedle-Dee and Tweedle-Dum, that is an evil omen--a pall, a type of goose on a grave.)
  6. How is it exactly that Samuel thinks Liza will be able to help?
  7. As you get on to the end of this section, tell me--I dare you--that Liza and Samuel don't love each other; but you'd better back it up if you do.
  8. Maybe it's just me--my family's little predicament right now--but Samuel's attitude is enviable: ""Samuel looked up at Tim with clear eyes and said, 'I'll have to get up,' tried it and sat weakly back, chuckling--the sound he made when any force in the world defeated him.  He had an idea that even when beaten he could steal a little victory by laughing at defeat."
Chapter 17.4

  1. "Lee she used like a slave since she didn't quite believe in him.  Adam she ignored since she couldn't use him for anything.  She did make him wash the windows and then did it again after he had finished."
Chapter 17.5

  1. Cathy to Adam: "I can do anything to you.  Any woman can do anything to you.  You're a fool."
  2. Why didn't she finish him off?
  3. Will this bring him to the point of hitting bottom, like was discussed earlier?

Rabu, 20 Oktober 2010

East of Eden XVI -- chpt15: Divination

Reading Questions
Chapter 15.1

  1. The human heart, I think, naturally tends toward optimism.  Adam, while not the ideal example, experiences a pall falling over his memory of Connecticut, and the memory fades.  There have been parts of my life--shocks of memory--of which I think so irregularly, for reasons of avoidance of pain, that practically speaking I've essentially forgotten.  When skimming along the timeline of my experiences, I naturally and unwittingly skip those dark periods, as if they didn't exist; yet if those times are directly called upon, by someone else present at the time or some specific corollary, the images are yet clear.  What experiences have you had that are similar (not to dredge up the painful), or what is your opinion in this regard?
  2. As we saw a couple chapters ago, we're getting the optimism for change here.  Consider this line: "Can you imagine?  Just think what this land would raise with plenty of water!  Why, it will be a frigging garden?"  Okay, the book is East of Eden, of course, whose third word references one of the two most famous gardens in Western culture.  Is Eden a dream, an ambition, as distant as this optimistically anticipated future, that in likelihood will never come to pass (because, come on, what large body of people are ever so satisfied that they don't look hopefully or enviously toward a better time or circumstance, future or past, left or right)?  If this is so, and Eden will never come, are they not constantly living in the cursed land just Eastward?
  3. "There wasn't any limit, no boundary at all, to the future."  Didn't Walt Disney (Tomorrow Land, isn't it?) and Howard Stark (the old Stark Expo, right?) each have a similar impression of the future?
  4. Ah, count on Samuel to articulate the issue: "There's a capacity for appetite that a whole heaven and earth of cake can't satisfy."
  5. I find the paragraph describing Cathy's mental approach--the picture of passive-aggression--to coping with her baby, her husband, and her new house (for her, not a home); does it not sound like the line describing Olive as disbelieving anything contrary to her realm of possible acceptance?  Of course, there is the fundamental difference of calculation for Cathy and blind, God-fearing faith for Olive.
  6. The introduction of Lee, the cook, is perhaps one of my favorite moments--not because it's a grand introduction, but because I now know who Lee is and what he does.  However, if there is one great thing about the method of his introduction it is that his presence makes Cathy feel uncomfortable.  Is there a surer sign of his potential for goodness than that he arouses fear (though she denies it) in the Devil?  And the last line of the section: "And what harm could he do her?" 

Chapter 15.2

  1. Speaking of accents and shields, Lee, taking standard English rather than his affected pidgin, says, "It's more than a convenience.  It's even more than self-protection.  Mostly we have to use it to be understood at all."  What is he talking about?
  2. When asked why he maintains the queue, Lee says, "Talkee Chinese talk.  Queue Chinese fashion--you savvy?"  Samuel [laughs] loudly.  "That does have the green touch of convenience," he [says].  "I wish I had a hidey-hole like that."  But don't we all have hidey-holes like that?  What's yours?
  3. Lee is a changeling, and metamorphmagus, a two-face, and a  man without a country.  Is he short-changing himself?  Is it laziness--acceptance--settling?  Is it survival or refusal?  What other characters are there like him?  I can't help but thing of frontiersmen or outlaws.  People like Jesse James or Cassidy and Sundance....
  4. "It's hard to split a man down the middle and always to reach for the same half."
  5. "There are no ugly questions except those clothed in condescension."
  6. Is literature no full of wise servants?  Look at Lee's description and list the names and sources of servants you've discovered that fit the bill.  The obvious one from contemporary culture (or newly renewed): Bruce Wayne's Alfred.  (I think I could be a servant....)

Chapter 15.3

  1.  Anyone out there have experience with a divining wand--the forked stick Samuel uses to find water?
  2. Like stones in a field: "The ways of sin are curious.  I guess if a man had to shuck off everything he had, inside and out, he'd manage to hide a few little sins somewhere for his own discomfort.  They're the last things we'll give up."
  3. Of the forked stick: "I don't really believe in it save that it works.  Maybe it's this way.  Maybe I know where the water is, feel it in my skin.  Some people have a gift in this direction or that.  Suppose--well, call it humility, or a deep disbelief in myself, forced me to do a magic to bring up to the surface the thing I know anyway.  Does that make any sense to you?"  Isn't it this way for anyone who "discovers" religion for the first time?
  4. Hmm.  Adam won't plant apples, because it's "looking for trouble."
  5. Could there have been a different girl for Adam?  It's easy to say that Adam is in love with being in love and simply needed an object--it could have been anything or anyone.  But take the hard road: How might it be that Cathy is actually the IDEAL woman for Adam, at least if you consider the gods' oft-misjudged generosity and wisdom in providing all men with the ideal circumstances to return us to them?
  6. Samuel to Adam regarding the latter's oblivion: "I should give you Othello's handkerchief."
  7. On approaching the house together and spying Cathy from a distance: "Even at this distance she looks beautiful," Samuel said (emphasis added).
Chapter 15.4

  1. It seems that good men--well, not exclusively, because there's Charles as well (but is he a BAD man?)--naturally mistrust Cathy.  Adam is not a bad man.  What's his freaking problem?
  2. What's the goose that keeps treading over Samuel's grave?
  3. (I picture Doxology as one of those sorry looking Disney horses from the old shorts....)
Chapter 15.5

  1. Once again, Adam is an idiot.