Wednesday, February 26, 2020

Due Monday, March 2nd - Composing & Performing Your Own Poetry


Overview:  It has been many years since I included an assignment such as this into the curriculum.  It is so easy to make English class all abut composing essays and writing blog responses. I did not always like poetry.  Point of fact, I always loved novels, plays, and short fiction the best.  My former boss, Ron Howland, taught a professional development course on poetry that made me fall in love with the genre, and I have been writing and performing ever since.  I actually keep most of my work close to my chest.  I always revisit and edit a collection I titled, i know what happens when you die.  It chronicles my life in three section, the first as a young teacher and newly married, the second as a young father, and the last in middle age thinking about next steps.  Recently, I began work on my next collection based on a concept by Stephen Merrick of The Magnetic Fields (see their website).  They put together an album called 50 Song Memoir, where each song captures a year of his life.  I loved this idea and used it as a catalyst to write new poems.  Further, I developed a definite style over the years, and decided to use this opportunity to explore forms, rhyme, and meter.  I will share my poems with you as we go through this unit (you will find four at the bottom of this post). Also, there are three poetry reading opportunities I would like to share with you, as a goal in your writing experience.

Directions:  Please peruse the following poetry reading opportunities, below.  Let me know if, at this time, you may have an interest in participating.  Next, please read some of my work below.  I share it with you because I am going to ask you to do the same and I feel it is only fair that I do so.  Also, I would like to show you my process and some of the possibilities that are out there for poets.  In this blog space, please share any thoughts and reflections you have about your relationship with poetry, the prospect of writing and reading poems in class, the possibility of performing in front of a live audience, comments on the upcoming events, and comments on the work I shared with you.

I look forward to your responses,

Mr. P.


11th Annual AHS Poetry Night

Here is the flyer written by founder Harry Durso (on the right):  The Robert Frost Foundation, has invited students and teachers from Andover High School to participate in a special 11th Anniversary Poetry Night at Café Azteca in Lawrence on Tuesday, March 10, 2020 at 7:00 PM. The event will be hosted by former AHS Teacher Harry J. Durso . The AHS Poetry Night is sponsored by LA VENTURE. Video Production is sponsored by Joe Spanos Productions. English Teacher, Eric Pellerin, will coordinate the event for Andover High School.

We are planning on videotaping this event for a later showing on Andover Public Access TV and local cable access stations in Lawrence and Methuen and on You Tube.

This is a Robert Frost Foundation event that is open to the public and is being held at a full service restaurant that is open for business during the poetry reading.

The student’s best behavior is expected.

Café Azteca is located at 180 Common Street in Lawrence and is easy to get to with off street parking nearby. Instructions and a map are also available on their web site. Although the street area outside the restaurant is supervised, you are asked not to leave valuables in your car.

Parents are welcome and encouraged to attend. Please be aware that the content of some of the poetry performed later in the evening may have adult themes.

If you plan on eating at Café Azteca, please arrive around 6:00 PM so as to be finished before the reading begins. You are welcome to make reservations by calling Café Azteca and mentioning that you will be part of the poetry reading.

Café Azteca is open for business and food and beverages are available during the event, but the participants are responsible for their own expenses.

Students are expected to provide their own transportation due to school rules. Students should call their parents when the reading is over as this will be an undetermined time. This is a Robert Frost Foundation public event.

Other poets from the Merrimack Valley will read after the Andover High School portion of the event is over.



El Taller of Lawrence

From the website:  Fueling the pulse of creativity through literacy, community gatherings, conversation and good food.  El Taller offers an Open Mic from 7:30 - 11 pm every third Thursday. I am hoping to take a group on March 19th!  Visit their website here.






MassLeap Youth Poetry Competition

Overview from MassLeap website:  From 2012 to 2018, The Louder Than A Bomb Massachusetts Youth Poetry Slam Festival succeeded in bringing young people together across geographic, racial, cultural and socio-economic lines. LTAB (a city wide poetry slam model founded in Chicago in 2001) is a friendly competition that emphasizes self-expression and community via poetry, oral story-telling, and hip-hop spoken word. Over the course of 7 years, Mass LEAP served over 1,000 teens and educators through this festival, featuring poetry slam competitions, writing & performance workshops, panels, special partnership opportunities and professional development for coach-educators. The festival went on hiatus in 2019. Mass LEAP hosted several community conversations to help re-name, re-brand and re-envision how a youth poetry festival can better serve the unique needs of our communities. Wicked Loud Festiva will work do further de-emphasize the competition by offering more generative workshops, non-competitive open mics, themed panels and opening pathways for young people to reflect on how their writing can lead to stronger communities.  Visit their website, here.




My Work

Overview:  Who's that guy?  Here are four poems in various styles from my collection.  The first was my first published poem.  The second, "white people cant dance" was my feeble attempt at a spoken word poem, written as a challenge from my SLAM Poetry club members. The last two come from the aforementioned 50 Poem Memoir I am currently working on.  I read "Dam" at an event held by The Robert Frost Foundation of Lawrence, where I was born.  "A New Hope" is an extended metaphor about Star Wars using a variation on the Sestina poetic form. I wanted the stanzas to look like little star destroyers.  Enjoy.

“the prayer of the smoker”

by eric pellerin

(from Merrimack Literary Review ed. by Ron Howland & Greg Waters, 2004)


dear god

it is i
a  subhuman
sneaking outside civilization to smoke a butt
the december wind cuts my face
as do the sharp glances of the passers by
passing judgment with their pretty pink lungs ripe
with self righteous indignation
having visited the oracle who told them

you will live forever

wanna smoke with me lord
i heard you hang with the lepers beggars and whores
wanna slum a bit further down the ladder

take one
lets breathe in together

place the camels to our thirsty lips

no filters
no lights
no ultra lights
low tar
no tar
no way
wusses
right god

quiet now

lets bring the matches to our lips

inhale

hold it now

let tobey and nicky work their magic on our iron lungs

hold it now

breathe it all in

ill breathe in the endless piles of paperwork
you breathe in the 100 years war

hold it now

ill breathe in
the computer glitches
the long rows of cubicles
the pimple on my chin
the copy due by five
the coffee four hours cold
the paper cut on my thumb
the pain in my back
the clinking of my car
the kids screaming in my ear
the wifes disapproving glare
the eyes staring back at my reflection before i go to bed wondering where it all went

hold it now

you breathe in
the gift of freewill
the murders
the rapes
the poverty
the racism
the sexism
the ageism
the thisism
the thatism
the billions who died in your name
the planet you created covered with hot top
the blame you receive for all of the above while others walk away clean
the sad sulks like me who take your list for granted and rant about my own

hold it now

together

breathe in oblivion

hold it now

exhale

drop it

stamp it out

hold the door

2004
“white people cant dance”
by eric pellerin
watch em try
            though
they cannot
            hear
music
            they
make rhythm n
            white
blues
            merely repeating
motown sounds
            slave songs
drowned out
            through olive presses
until the juice loses richness
            complexity
through years of sitting in oak barrels
            waiting for a chance to see the light of day
to breathe
            it is crushed
no longer resembling grapes
            pinot or sauvignon
it is only water
            now
there is no way
            to get drunk on manilow
or maroon 5
            they say they move like jagger
they do
            just
without the swagger
            of james brown
they prefer elvis
            impersonating
forgetting
            muddy waters
in a bar saloon
            billie holiday singing
for a fix
            ray charles
before pepsi ads
            without a remix
they cannot dance
            they cannot move
forward
            you have to know
how to look
            back
step
            to hear
they do not know how to
            listen
they press on
            sung by their own
they claim it
            as their own
forgetting the pain
            they caused
to create it
            apply it
to their petty problems
            then
give themselves a grammy
            give it to beatles
to buddy holly and his crickets
            to little taylors swiftly
who look like their daughters
            they are not ready
no i dont think they are ready
            for this jelly
they cant handle
            jazz
unless its norah jones
            blasting from ceiling speakers
at starbucks
            sipping coffee with too much cream
drown out the flavor
            with white liquids
whipped
            americans
dream
            without
brown sugar
            cain
un abel
            to open their eyes
they sip
            they can swallow
nyc
            in the key of alicia keys
they choke
            on jay z
they just like the chorus
            ignore the verse
which describe why nyc
            is the place to be
not just the upper east side
            near sex and the city
among charlottes and samanthas
            what about detroit
chicago
            need to channel gladys
aretha
            ella
or go further
            back
to ghana
            make you sweat
so
            get up
move
            sing it in rounds
move your feet
            whitepeople
into someone else shoes
            let someone else
do the stomping
            trace the steps
created from a world
            that only offered pain
by those who cannot
            hear
the music
            songs about you
songs about

            me

2013
“1973:  dam”
by eric pellerin
they set out to create a city on the mill
upon foundations of imperishable blue stone
laying granite foundation
upon a system of canals
leading to bodwell’s falls

there stood a great stone dam
to generate power
unable to hold back the current
of immigrants who would populate the
tall brick mills of abott lawrence’s vision

they were married in 1970
all blue eyeshadow and brown polyester
walking their first born son in a stroller down common street
past corpus christi parish where they religiously attend service
past tripoli’s bakery where they eat pizza
with sweet sauce and sparse mozzarella
to where the neon lights are bright
on route 28 broadway

they will stop to see the damn falls
praying it will help this colicky child stop crying
the sound of water crashing
unfailing waves falling into foam
juxtaposing a scarlet sun setting behind the crumbling bricks of
his story

her italian grandparents sorted laundry here
stripped to their waists handling steaming hot sheets
she took his name which means pilgrim in france
then off to canada to louisiana settling in lawrence
where the name signifies nothing

ultimately all their descendants will make missiles for raytheon
to point at the only people less fortunate than themselves

i could not sleep
from my stroller
i look at the falls
noticing how the water transforms
sounding like my mother’s womb
knowing my place is swimming in a sea
where i am at peace

they tried to return home by turning me around
where all i can see is smoke and brick
rows of three story houses
with three generations of families in each cell block
                                                                                                             
i cried
i made them turn me around
to look at the falls once more
at that time my voice determined where i go
silently seeing falls fall crash and settle

eventually they will need to take me home                                                                                                      
bring me back to a reality
where i will carry on traditions
i will never fit in anywhere
i will always feel poor
i will never be manly enough
i will always be too sensitive
too much
not enough

i will spend the rest of my life holding back
feelings i never know how to express                                                                                                            
who i am
until someone opens a gate
unleashing a barrage of rage
crashing down with nowhere to fall
nowhere to settle
nowhere to call home
2019
“1977: A New Hope”
by Eric Pellerin
A long time ago, in a country far, far, away,
under the sign of Libra, Apollo gifts a baby boy
to a family in Eastern Mass, who are movin’ on up to a place
called Groveland, with a white picket fence, a private yard, fulfilling their destiny,
of escaping drugs, alleyways, low performing schools, and other assorted dead ends, free
to dream beyond their parents’ prospects; this boy on a swing-set soars, feet pumping toward a sky full of hope.

He doesn’t know it yet, but his only hope
to escape his INFJ mind is born in a country far, far, away
gifted to a family in Romania who wait in line for bread, no free-
dom to learn, think, dream, own property, or practice religion.  The only girl
of this family will watch her father escape to Greece, work in a refugee camp, hoping to fulfill his destiny,
immigrating to America, praying his wife and daughter will find him in Eastern Mass, where freedom is commonplace.

The boy deals with the silence of this place
by arranging his action figures from Star Wars: A New Hope
on the coffee table, while mom watches black and white movies.  His destiny,
at this time, is to become a Jedi Knight, unlike his father, a teacher who is often away, 
working several labor jobs. There is a daughter, now. She shares the princess’s name, and plays with the boy
who often remains alone. It’s winter. Snowing. He longs to run through sprinklers, as summer always helps him feel free.

Raised by her grandmother, she was free
to be herself, to play with dolls, animals, and knew this place
would be her home forever.  But it is gone. She is gone. They told the girl
America would be like Dallas, with horses roaming on pastures made of grain, only to find her hopes
buried under concreate sidewalks, discarded trash, dilapidated buildings.  She thought they came to get away
from this?  Where is this land of opportunity?  Where are the starry nights shining above the green pasture of destiny?

His mother never thought this would be her destiny
moving an hour away from her mother, one would think she felt free
to live the life of her choosing. She does not.  Her mother never visits her. Castaway
from her family to this new town, it may as well be on the other side of the world, some place
like France, Spain, Romania.  Her husband works three jobs and she keeps house. She is lonely, yet remains hope-
ful, watching her stories and old films where people like her have big dreams, beyond being a mother to a girl and a boy.

Her mother never wanted to have this girl
her husband wanted children, and her mother helped her fulfil her destiny
by watching this child while she worked.  She had so many friends.  They were full of hope,
dancing, smoking, sharing a laugh, quietly gossiping of the goings on in Romania – so young. Well, free-
dom feels like a different word in this lonely, new country of opportunity, only to be scorned or with no place
to escape. She is no longer herself, just a wife, mother, servant, with no life. What purpose does she serve, anyway?

For now, anyway, he is just a boy and she is just a girl.
In this place, in time, they will begin to find themselves. Their ultimate destiny,
is to will freely choose one another, to fill in the missing pieces. Yes, their chance meeting will be their only hope.

2019

Due Monday, March 2nd - Documentary: "Louder Than a Bomb"


OverviewThe documentary Louder Than a Bomb is a film about passion, competition, teamwork, and trust. It’s about the joy of being young, and the pain of growing up. It’s about speaking out, making noise, and finding your voice.

It also just happens to be about poetry.

Every year, more than six hundred teenagers from over sixty Chicago area schools gather for the world’s largest youth poetry slam, a competition known as "Louder Than a Bomb". Founded in 2001, Louder Than a Bomb is the only event of its kind in the country—a youth poetry slam built from the beginning around teams. Rather than emphasize individual poets and performances, the structure of Louder Than a Bomb demands that kids work collaboratively with their peers, presenting, critiquing, and rewriting their pieces. To succeed, teams have to create an environment of mutual trust and support. For many kids, being a part of such an environment—in an academic context—is life-changing.

Louder Than a Bomb chronicles the stereotype-confounding stories of four teams as they prepare for and compete in the 2008 event. By turns hopeful and heartbreaking, the film captures the tempestuous lives of these unforgettable kids, exploring the ways writing shapes their world, and vice versa. This is not "high school poetry" as we often think of it. This is language as a joyful release, irrepressibly talented teenagers obsessed with making words dance. How and why they do it—and the community they create along the way—is the story at the heart of this inspiring film.

(Summary from Louder Than a Bomb Website.  Click the link for more information).


Directions: When we finish the film, please compose a comprehensive blog response of 300-500 words, describing your reactions to the film.  Post the blog response in this blog space.  Please be specific.  You will be asked to compose your own spoken word poems, and your final assessment for Margaret Edson's, Wit will be to create a group poem.


Friday, February 14, 2020

Due Wednesday, February 26th - Finish Reading "The Stranger" & Compose Practice Essay Blog Response

From The Stranger: The Graphic Novel (2016) by Albert Camus, Illustrated by Jacques Ferrandez.


Overview and Directions:  Please finish reading The Stranger by Albert Camus.  As you read, take note of significant moments in your journal.  When you complete reading the novel, take time to reflect.  Then choose one of the following prompts from past A.P. Exams (see blow).  Each one of the chosen prompts had The Stranger listed in the choices below the prompt.  These are perfect matches.  Compose a blog response using one of the prompts below as a guide in your writing. Think of it as a practice essay.  See what you can do in 40 minutes.  I look forward to your responses.

Prompts:

1979. Choose a complex and important character in a novel or a play of recognized literary merit who might on the basis of the character's actions alone be considered evil or immoral. In a well-organized essay, explain both how and why the full presentation of the character in the work makes us react more sympathetically than we otherwise might. Avoid plot summary.

1982. In great literature, no scene of violence exists for its own sake. Choose a work of literary merit that confronts the reader or audience with a scene or scenes of violence. In a well-organized essay, explain how the scene or scenes contribute to the meaning of the complete work. Avoid plot summary.

1986. Some works of literature use the element of time in a distinct way. The chronological sequence of events may be altered, or time may be suspended or accelerated. Choose a novel, an epic, or a play of recognized literary merit and show how the author's manipulation of time contributes to the effectiveness of the work as a whole. Do not merely summarize the plot.

2004. Critic Roland Barthes has said, "Literature is the question minus the answer." Choose a novel, or play, and, considering Barthes' observation, write an essay in which you analyze a central question the work raises and the extent to which it offers answers. Explain how the author's treatment of this question affects your understanding of the work as a whole. Avoid mere plot summary.

2011. Form B. In The Writing of Fiction (1925), novelist Edith Wharton states the following: At every stage in the progress of his tale the novelist must rely on what may be called the illuminating incident to reveal and emphasize the inner meaning of each situation. Illuminating incidents are the magic casements of fiction, its vistas on infinity.

Choose a novel or play that you have studied and write a well-organized essay in which you describe an “illuminating” episode or moment and explain how it functions as a “casement,” a window that opens onto the meaning of the work as a whole. Avoid mere plot summary.

2015. In literary works, cruelty often functions as a crucial motivation or a major social or political factor. Select a novel, play, or epic poem in which acts of cruelty are important to the theme. Then write a well-developed essay analyzing how cruelty functions in the work as a whole and what the cruelty reveals about the perpetrator and/or victim.

Tuesday, February 11, 2020

Due Friday, February 14th - "The Stranger" and "The Myth of Sisyphus" by Albert Camus

Overview and Directions:  Please read the summary of  Albert Camus's The Myth of Sisyphus.  Next, read The Stranger, Chapters 3-6 (the end of Part I).  Finally, compose a comprehensive blog post (300-500 words) applying Camus's theory of the absurd to Part I of The Stranger.  How is Camus trying to explain his theory through literature? How does his theory build and/or differ from Sartre's theory of existentialism?  Where are you seeing yourself in this novel? How can it help you in your life? How could it help us in  our society?




Three Stages of Existentialism 

Humans in Anguish:  "The man who involves himself and who realizes that he is not only the person he chooses to be, but also a law-maker who is, at the same time, choosing all mankind as well as himself, cannot help escape the feeling of his total and deep responsibility.  Of course there are many people who are not anxious; but we claim they are hiding their anxiety, that they are fleeing from it....Anguish is evident, even when it conceals itself."

Humans in Forlornness:  "When we speak of forlornness, we mean only that God does not exist and that we have to face all the consequences of this....The existentialist thinks it very distressing that God does not exist, because all possibility of finding values in a heaven of ideas disappears along with Him; there can no longer an a priori Good, since there is no infinite and perfect consciousness to think it.  Nowhere is it written that the Good exists, that we must be honest, that we must not lie; because the fact is we are on a plane where there are only men....Neither within him or without does man find anything to cling to.  He can't start making excuses for himself.

We are called upon to live without appeal, as appeals are intellectually dishonest. But perhaps there are other alternatives than: 1) accepting absurdity; 2) embracing hopeful metaphysics; or 3) Camus’ defiance. Perhaps we can just say we don’t understand life at all, but we affirm it anyway. We just try to live without being sure of anything. Be open to possibilities. Then we might ground the meaning of our lives in the small part we can play in bringing about a more meaningful reality, by working to transform reality. This is no answer, but a way to live
Humans in Despair:  "As for despair, the term has a very simple meaning.  It means that we shall confine ourselves to reckoning only with what depends upon our will, or on the ensemble of probabilities which make our action possible....No God, no scheme, can adapt the world and its possibilities to my will."



Summary of The Myth of Sisyphus

About the author:  Albert Camus(1913 – 1960) was a French author, philosopher, and journalist who was awarded the Nobel Prize for Literature in 1957. His most famous works were the novels La Peste (The Plague) and L’Étranger (The Stranger or The Outsider) and the philosophical essay The Myth Of Sisyphus.

Summary:  In The Myth of Sisyphus (1955) Camus claims that the only important philosophical question is suicide—should we continue to live or not? The rest is secondary, says Camus, because no one dies for scientific or philosophical arguments, usually abandoning them when their life is at risk. Yet people do take their own lives because they judge them meaningless, or sacrifice them for meaningful causes. This suggests that questions of meaning supersede all other scientific or philosophical questions. As Camus puts it: “I therefore conclude that the meaning of life is the most urgent of questions.”

What interests Camus is what leads to suicide. He argues that “beginning to think is beginning to be undermined … the worm is in man’s heart.”When we start to think we open up the possibility that all we valued previously, including our belief in life’s goodness, may be subverted. This rejection of life emanates from deep within, and this is where its source must be sought. For Camus killing yourself is admitting that all of the habits and effort needed for living are not worth the trouble. As long as we accept reasons for life’s meaning we continue, but as soon as we reject these reasons we become alienated—we become strangers from the world. This feeling of separation from the world Camus terms absurdity, a sensation that may lead to suicide. Still most of us go on because we are attached to the world; we continue to live out of habit.

But is suicide a solution to the absurdity of life? For those who believe in life’s absurdity it is a reasonable response—one’s conduct should follow from one’s beliefs. Of course conduct does not always follow from belief. Individuals argue for suicide but continue to live; others profess that there is a meaning to life and choose suicide. Yet most persons are attached to this world by instinct, by a will to live that precedes philosophical reflection. Thus, they evade questions of suicide and meaning by combining instinct with the hope that something gives life meaning. Yet the repetitiveness of life brings absurdity back to consciousness. In Camus’ words: “Rising, streetcar, four hours in the office or factory, meal, four hours of work, meal, sleep, and Monday, Tuesday, Wednesday, Thursday, Friday, and Saturday…”Living brings the question of suicide back, forcing a person to confront and answer this essential question—should I go on?

Yet of death we know nothing. “This heart within me I can feel, and I judge that it exists. This world I can touch, and I likewise judge that it exists. There ends all my knowledge, and the rest is construction.”Furthermore I can’t know myself intimately anymore than I can know death. “This very heart which is mine will forever remain indefinable to me. Between the certainty I have of my existence and the content I try to give to that assurance, the gap will never be filled. Forever I shall be a stranger to myself …” We know that we feel, but our knowledge of ourselves ends there.

What makes life absurd is our inability to know ourselves and the world’s meaning even though we desire such knowledge. “…what is absurd is the confrontation of this irrational and the wild longing for clarity whose call echoes in the human heart.” The world could have meaning: “But I know that I do not know that meaning and that it is impossible for me just now to know it.”  This tension between our desire to know meaning and the impossibility of knowing it is a most important discovery. In response, we are tempted to leap into faith, but the honest know that they do not understand, and they must learn “to live without appeal…”  In this sense we are free—living without higher purposes, living without appeal. Aware of our condition we exercise our freedom and revolt against the absurd—this is the best we can do.

Nowhere is the essence of the human condition made clearer than in the The Myth of Sisyphus. Condemned by the gods to roll a rock to the top of a mountain, whereupon its own weight makes it fall back down again, Sisyphus was condemned to this perpetually futile labor. His crimes seem slight, yet his preference for the natural world instead of the underworld incurred the wrath of the gods: “His scorn of the gods, his hatred of death, and his passion for life won him that unspeakable penalty in which the whole being is exerted toward accomplishing nothing.” He was condemned to everlasting torment, and the accompanying despair of knowing that his labor was futile.

Yet Camus sees something else in Sisyphus at that moment when he goes back down the mountain. Consciousness of his fate is the tragedy; yet consciousness also allows Sisyphus to scorn the gods which provides a small measure of satisfaction. Tragedy and happiness go together; this is the state of the world that we must accept. Fate decries that there is no purpose for our lives, but one can respond bravely to their situation: “This universe henceforth without a master seems to him neither sterile nor futile. Each atom of that stone, each mineral of that night-filled mountain, in itself forms a world. The struggle itself toward the heights is enough to fill a man’s heart. One must imagine Sisyphus happy.

Reflections – Camus argues that life is meaningless and absurd. Still we can revolt against the absurdity, and find some small modicum of happiness. Essentially Camus asks if there is a third alternative between acceptance of life’s absurdity or its denial by embracing dubious metaphysical propositions. Can we live without the hope that life is meaningful, but without the despair that leads to suicide? If the contrast is posed this starkly it seems an alternative appears—we can proceed defiantly forward. We can live without faith, without hope, and without appeal.



Ryan Gosling reading Camus!


Image result for la la land gosling dancing

Ryan Gosling in La La Land!
Image result for Camus


Camus says, "What does it all mean, Ryan Gosling?"

Monday, February 10, 2020

Due Wednesday, February 12th - Read "The Stranger" by Albert Camus, Chapters 1-3

Overview and Directions:  Read The Stranger by Albert Camus, Chapters 1-3.  Please apply the ideas of Existentialism to your reading of the text.  Pair direct quotations from the novel with Sartre's essay on Existentialism.  I look forward to your responses.



Tuesday, February 4, 2020

Due Tuesday, February 11th - Finish reading "Marjorie Prime" by Jordan Harrison & Reflection


Overview and Directions:  1) Finish reading Marjorie Prime (pages 34-65 in the document).
2)  In class, I asked you to compose a journal response, in which you spoke openly with a loved one you find it hard to speak to.  You imagined this person as a Prime, let your inhibitions down, and speak to this person the way you have always wanted to.  Using that piece of writing as a springboard, compose a polished piece to be read to your loved one as a Prime.  Sign it and place it in an envelope.  Bring it to class so I can see your work and give you credit for the assignment.  My hope?  Someday, you will build the courage to speak to this person and share your feelings like these characters did with their Prime.  If the loved one you chose is deceased, perhaps you read it aloud, as if they may hear you and give yourself closure.  I will be doing this assignment with you.  I look forward to this journey together. (NOTE:  You will in no way be asked to share this work with me or anyone in class, unless you choose to.  This is for you).


Wednesday, January 29, 2020

Due Tuesday, February 4th - "Marjorie Prime" (Part I) by Jordan Harrison


Overview: Jordan Harrison's Marjorie Prime explores our relationships with family, much like Henrik Ibsen did in his time with A Doll House.  However, Harrison also delves into the ways in which memory shapes our choices and future.  By doing so, he attends to the new challenges we face in our psychologically conscious world.

Directions:  Read Marjorie Prime, Part I (pages 1-33 in the document).  Next, compose a comprehensive blog response (300 words) attending to the following questions, using direct evidence from the text:  By using the conceit of a Prime, how do the characters reinvent their loved ones into what and who they want them to be?  How do the Primes and the living, in turn, reinvent themselves?  How are we all like Marjorie, when it come to memory retrieval?  How do the ideas of Existentialism apply to these ideas and this play?  Are there any questions or concepts you found interesting or confusing that you would like to explore in class?