APLit2012

Argument: Karen Springen in her article "Apocalypse Now" asserts that the dystopian themes in recent books have made a postive impact on the views of society and compel people to continue reading dystopian-type novels. Claim: Springen claims that the negativity in society today is what attracts readers to dystopian novels. News talk about terrorism, wars and global warming that inspires authors to write books. Dystopia also helps people cope with issues they have today but reading books that are absurd in nature and help them appreciate the good in their lives. Also authors are using the genre to come to terms with issues in society today. Evidence: "YA authors "are trying to grapple with the issues of today," says David Levithan" (Springen). "Newspaper headlines about swine flu, terrorism, global warming, and wars in Afghanistan and Iraq are inspiring authors" (Springen). "I think we like to be scared of things that are not real. The idea that we're watching or reading things that are completely outlandish or impossible or really dire helps us cope with what is" (Feiwel).

Argument: The media represents culture with complex stereotypes that cause a decrease in diversity along with a misconception about other cultures. Claims: There are multiple meanings of "culture", some might use behaviors/habits or personal products to describe a certain culture, however stereotypes are falsely being used to describe what these cultures obtain. Evidence: "It is largely accepted that cultural representations in the media are often based on stereotypes. These stereotypes are generalized and simplistic representations of by far more complex social groups and behavioral patterns. The continued use of these representations is largely perceived as being problematic as they can be misrepresentative of the culture in question" ( Hyde-Clarke). "Growing concerns about the continued use of cultural stereotypes in media production, and the subsequent decrease in diversity"( Hyde-Clarke). "Culture is about 'shared meanings' … Primarily, culture is concerned with the production and exchange of meanings between members of a society or a group … In part, we give things meaning by how we represent them - the words we use about them, the stories we tell about them, the images of them we produce" (Hyde-Clarke).

Argument: This article discusses Yann Martel's narrative. Stephens' analyzes its effectiveness and religious appeal. He also juxtaposes the usage of science and religion through their "counteractive" purposes. Stephens' entire article discusses Pi's conclusion of a "better story". Claim: Stephens labels Life of Pi as an allegorical castaway story. He stated the idea of the novel being able to "make you believe in God" was untrue. Instead of making one believe in God, it instead gave them the choice to believe. Religion provides one half of the frame of the novel, the second half is science. Stephens suggests the incompatibility of the two. He claims Martel uses the novel to connect the relationships between human and animals through the main character's religious faith and choices. The nonreligious gain a desire to believe. Evidence: "Martel gives the reader the democratic choice: the desire to believe rather than the belief itself" (Stephens). "The theme of this novel can be summarized in three lines. Life is a story. You can choose your story. And a story with an imaginative overlay is the better story" (Martel qtd. in Stephens). "In what ways would this be seen by the nonreligious as a religious book...what ways might this text actually give secular readers a desire to believe...what ways might this text lead religious readers who already believe in God to re-envision that deity, or to worship him, her, or it in a new way?" (Stephens).

Argument: In the literary critique Camus' The Stranger, written by Arthur Scherr, the concept of Meursault's characterization and the misinterpretations that result due to this characterization are discussed. The author discusses and dismisses the various viewpoints of literary scholars in regards to discussing the intellectual competence of the main character. Claims: The author claims that many literary scholars view the existential hero as an "irrational, unintelligent child" due to his inability to emphasize with others and rationalize his own actions. However, Scherr claims that no such correlation between Meursault's irrationality and intelligence exist. More so, the author discusses how Camus actually presents the stranger as an individual of high intelligence, citing interactions Meursault has with other characters as prime examples. Evidence: "Meursault's ephemeral comrade…Raymond Sintes…trusts that Meursault possesses sufficient intellect and verbal acuity to compose a convincing letter for Raymond to send to his unfaithful girlfriend" (Scherr). "Meursault's boss recognizes his abilities and offers him a promotion" (Schell). "Appropriately enough, the last person to remark on Meursault's intelligence is the prosecuting attorney at his trial for murder. 'The prisoner is an educated man,' he tells the jury. 'You havee observed the way in which he answered my questions; he is intelligent and he knows the value of words'" (Scherr).

Argument: Paul Marchbanks, in his three part literary criticism of Dickens novels, From Caricature to Character: The Intellectually Disabled in Dickens Novels, make the assertion that Dickens usage of intellectually and physically disabled protagonists (as well as smaller secondary and even background characters) brought these otherwise hidden character types to the forefront of the Victorian literary scene. Main Idea of Argument: -Victorian authors spun disability into a spectacle, like a freak show in a circus, but Dickens used the disabilities of the characters as a conflict that tried to hold them back, that they had to either over come, or grow to accept. Evidence: -"The physically disabled character's very distinctiveness can lead, not only to isolation from those other fictional persons who react with distancing pity or disgust, but to a kind of representational disconnect from those real-world individuals with disabilities whose numbers-recognized within the boundary of the novel or short story-would strip the character's exceptional disability of its rhetorical power" (Marchbanks 1). -"Dickens's first three novels bespeak a ready advocate for victims of many kinds of social injustice. The Pickwick Papers (1836-7), Oliver Twist (1837-9), and Nicholas Nickleby (1838-9) together establish what will become life-long, very loud sympathies for the destitute, the orphaned, the poorly educated, and the imprisoned debtor" (Marchbanks 1-2). -"Dickens appears unable, or unwilling, to present a coherent portrait of Smike's mental faculties. Here, the narrator prevents unequivocal praise of Smike's heroic intentions by mixing proof of his valor with doubt about whether the boy's scattered "thoughts" are even worth the name. Other inconsistencies emerge if one considers the former evidence of Smike's faulty memory in conjunction with his surprising ability to navigate London's winding streets, not only those walked multiple times with

Argument: Helena Silva, in her literary criticism of "My Sisters Keeper" argues that the advancements in biotechnology and genetic research are raising ethical questions of scope and the limits of genetic intervention. Claim: Silva argues that the advances in biotechnology and genetic research presented in Picoult's "My Sisters Keeper" are allowing doctors to intervene in the human genome preventing diseases. This intervention is raising concerns in the scientific community that might soon be able to take biological evolution into its own hands. Almost "playing God" in a sense. Evidence: "Playing God" is an expression commonly used to refer to this self-transformation of the species which, from the evidence, might soon be a reality" (Silva). "Jodi Picoult, an American novelist has been devoting her writings to several present-day events and controversial issues such as genetic engineering and the prospect of "savior siblings" with all its ethical implications" (Silva). "Anna wasconceived for a specific purpose and can't be forgotten because she is expected always to be ready for the welfare of her sister" (Silva).

Argument: Joan Hope, in her literary criticism of "A Long Way Gone: Memoirs of a Boy Soldier", makes an assertion that Baeh highlights the complexity of human nature under strenuous conditions. Furthermore, Hope stresses the importance of political discussions on the effects of war on children. Components of Argument: 1) Hope supports her argument by highlighting Baeh's narration technique - helping the reader through story by maintaining the tone of a story teller somewhat distanced from what has happened. Hope also acknowledges the neutral tone in which the story is told which allows the reader to draw his/her own horrific conclusions. 2) Hope's secondary support lies in her recognition of the first person account by a child with little understanding of the reasons for the war. Evidence: 1) "Their conversation shows no compassion for the people they killed and no remorse for their actions" (Hope). 2) "In fact, Baeh's memoir describes a society in so much chaos that it is not clear that even the military leaders have a good understanding of what war is about" (Hope). 3) "In the end, the book gives no evidence that one side had greater moral authority than the other" (Hope). MLA Format (My choice to do this): Hope, Joan. "A Long Way Gone." Magill'S Literary Annual 2008 (2008): 1-3. Literary Reference Center. Web. 11 Dec. 2011.

Argument: Carter Kaplan's "The Advent of Literary Dystopia" argues the similarities and differences of Dystopia and satire in the form of literature. Relates to the dystopian society of The Hunger Games. Claim: The idea of dystopia Kaplan discusses come from menippean satire although they differ when it comes to humor. Menippean satire and dystopia are forms of mythology in which both ideas are not likely to occur in reality but emphasizes orthodoxies in society. Kaplan argues that dystopia creates prophacies based on fictional circumstances that relate to society. In other terms, predictions of the future that are usually in a negative manner; the idea of dystopia portray negative mood in literature. Evidence: "Both forms are converned with intellectual mythology, which they critique by exploring the interrelationships that exist between ignorance, intolerance, conflict, brutality, euphemisn, passivity, scientism, and various modern orthodixies" (Kaplan). "The mood of dystopia is usually dark, pessimistic, and often reflects paranoia, alarm or hysteria" (Kaplan). "Dystopia uses fiction to portray institutions based on intellect mythology and essays prophecy and prognostication" (Kaplan). "The literature of dystopia examines the possible effects intellectual mythology can have on individuals and society" (Kaplan).

Argument: This article's main purpose is to deconstruct Yann Martel's Life of Pi. The author, Florence Stratton argues various points, depicting the novel by reasoning Martel's choices. Stratton also discusses the strengths and weaknesses of the novel's claims. Claim: Stratton proposes Martel's treatment of religion in the novel reigns unpersuasive in the essence that the story would not make others believe in God, but justify the belief in Him. He also argues Life of Pi structures around various philosophical debates such as favoring reason over imagination, science over religion, materialism over idealism and fact over fiction or story; these debates are symbolized through the various characters of the novel. Stratton discusses Martel's elaborative plot and characters, discussing their symbolism. Evidence: "This wonderful book did not make me believe in God but it did reinforce my faith in the considerable redemptive powers of fiction" (Whittaker). "Mr. Chiba, on the other hand, represents the viewpoint of Romanticism, and, in particular, its emphasis on spontaneity, subjectivity, imaginative creativity, and emotion" (Stratton). "The dazzling display of colours and patters suggests that Richard Parker's primary signification is the incantatory or transcendent power of art: the imaginative truths or realities that great art encompasses" (Stratton). "..the heroic struggle of a religiously devout man to overcome the impediments of material reality" (Stratton).

In the literature critique "Dissent, Assent, and the Body in Nineteen Eighty-Four", Naomi Jacobs analyzes how George Orwell groups the public in what is called the 'Body' in order to explain the totalitarian oppression in Oceania. Both utopian and dysutopian empires utilize the collective mind of the public in order to sway opinions, build ignorance and subjugate the masses. Utopian empires aim to build a country where "suffering is minimized and pleasure is maximized" (Jacobs 1) while on the contrary a dysutopian empire maximizes ignorance in order to keep the masses from questioning the totalitarian authority. Jacobs claims that the government in Oceania created by Orwell uses the degradation of the physical body as another way to homogenize the population in hopes of destroying any outliers that may question the government. While a utopia uses the "powers of eroticism to regenerate the [individual]" (Jacobs 4), Oceania undergoes a change towards uniformity where everyone is described as "small, dark and ill-favored" (1984, Orwell 52-53). A dysutopian government suppresses natural human instincts such as lust and desire as a way to break the all desires of humans such as rebellion and reform. Ultimately, Jacobs argues that Orwell builds a dysutopian government through the use of population homogenization and the suppression of human instincts.

-Main Idea: Discusses Albom's book, For One More Day. Explains why Albom wrote the book and what he hopes people will learn from reading this story.  -Claims: After he got off the phone with his mother, Albom realized that his mom was getting older and that time was precious with her and close people in his life. Mitch Albom hopes that readers will be influenced to never take people and moments for granted.  -Evidence: "Albom said he wrote the story in honor of his own mother after speaking with her on the phone one day as he was working on another book. The call was nothing out of the ordinary, he said, but it struck him that his mom was getting older and would not always be there" (Elliott). "In real life people don't come back and spend a day with you," Albom said "so you should try to grab that day now" (qtd. in Elliott). 

Although the author summarizes the novel, they add flashes of insight to each character and relate A Thousand Splendid Suns to The Kite Runner. Chua offers her opinions and literary analysis to characters and the theme of the novel.  With support, Chua offers that Rasheed, Jalil, and Hakim all foil one another, "Hosseini has adadmirably conceived him [ Hakim] as a foil to Jalil (who is weak like Babi [Hakim], but selfish) and to Rasheed (who is far from weak, and also selfish)." Each of the men represent a father figure, either to Mariam or Laila, or Laila's children. What they exemplify, which Chua does not touch on, is how a father treats his daughters. In a society where women are second to men, the way a father may dote (or mistreat) his daughter puts a twist on the gender roles in Afghani society.  Chua does touch on one of the main characters with a specific purpose. Mariam, a bastard child, often finds herself at the blunt end of trauma in the book. The author of the essay speculates that because Mariam's mother killed herself, "the defining trauma, then, teaches Mariam that to assert oneself, to dare, to take the initiative is to suffer pain, cause hurt to others, and precipitate tragedy". She accepts the hatred that comes to her from Rasheed and forces herself to live in a hardened bubble she created because she "deserves" to be punished. Mariam faces the challenged many Afghani women find themselves in and handles it much like the others. Although unhappy she remains with Rasheed and only the bravery found within herself inevitably saves Laila, but destroys Mariam's own life. The change in character after her mother dies should not be over looked and in fact Mariam's subservient attitudes should be noted and compared to whether the death of her mother had any effect on her decisions. 

In the literary criticism by Louis Owens, Of Mice and Men: the Dream of Commitment, Owens portrays the American Dream with a biblical Eden. Owens claims that the people in Steinbeck's novel have the curse of Cain, or to wonder in isolation. That's where Lennie and George come into the picture, to defy their curse. Owens states how Lennie and George upon first introduction are different from the other characters in the novel. They have a joint dream that they are committed to see it become a reality. Lennie, according to Owens, resembles the loner of society. He threatens their commitment to the dream that reality fights. George's commitment rises when he kills Lennie, but when Lennie dies their dream dies with him. 2 usable quotes: "George must reenact the crime of Cain to demonstrate the depth of his commitment. It is a frank acceptance of the way things are," (Owens pg. 149). "The dream of George and Lennie represents a desire to defy the curse of Cain and fallen man-to break the pattern of wandering and loneliness imposed on the outcasts and return to the perfect garden," (Owens pg. 146). http://web.ebscohost.com.lib.chandleraz.gov/lrc/pdf?vid=3&hid=123&sid=44d44b9f-8779-4dc6-841c-0ddc9776cc45%40sessionmgr114

Argument- Author observes a connection between Charles Dicken's, "A Christmas Carol" and Dante's "Inferno". Claims- Both stories revolve around Christian holidays (Dante's story takes place between Black Friday and Easter and Dicken's story from Christmas Eve to Christmas). In addition, both have 3 main parts and have characters that are guided by ghosts/spirits. The main character of both stories struggle with overcoming internal selfishness to receive personal salvation. Evidence- "Deliberately dedicated to religious themes, both stories encourage us to rise above selfishness in order that we may lead a Christian life and thereby attain personal salvation. Though The Divine Comedy is crowded with a multitude of sinners, its plot tracks the spiritual trajectory of a single flawed human being, Dante himself. Similarly, the narrative line of A Christmas Carol follows the spiritual progression of another flawed individual, Ebenezer Scrooge" (Bertman 167). "Each "traveler," Dante and Scrooge, finally arises from his dream-like state to a new vision of life's glorious possibilities" (Bertman 167).

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