Speaking of classes, I have something to say. This is my last semester as an undergraduate student; I graduate in May. It's something that hit me while I was registering for my classes for this semester. I realized this is my last chance for classes at SUU (unless I came back and got a different degree, which I'm not planning on or even considering), which made me disappointed about all the classes I will not be able to take. I am taking a physics course (for fun. Science classes give great story ideas), a physics lab to go with the course, a script analysis class, a philosophy course on existentialism, an advanced poetry class, and this course on contemporary literature. The Contemporary Lit. professor has given the class a hashtag, by the way: #literaturenow
Too bad I can't use hashtags on a blog. Maybe they'll do that in the future. It sounds like a good idea.
That's a lot of classes. I say this because I'm not sure if you can tell. I am also taking an Institute class, which is kind of like a Bible study class, but for LDS (Mormon) people. So along with all that schoolwork, I'm also learning about the Old Testament twice a week. Love that.
I was considering dropping a class because I realized the work load is going to be overwhelming. Then I looked at the classes, trying to figure out which one I would want to drop, and the thing is, I love each of those classes and sincerely want to be in them. So I'm going to tough it out and hopefully not become clinically insane before the semester is out.
As I was saying, though, I'm taking this contemporary literature class, and the first book the professor has assigned is Vampires in the Lemon Grove by Karen Russell. It's a collection of short stories, so I didn't think I would post about it, but then I realized you might just be interested in the notes I'm taking. I don't generally take notes while I read — I'm more apt to write in the book itself than do anything else — but the professor has asked us to fill a notebook with reading notes this semester. So this is how I handled it. I'm still not completely sure whether I'm posting these notes for you or for my future use, but I'm posting them either way. If I like it enough, I might use the format again ... for myself and on this blog. :-)The first story is Vampires in the Lemon Grove. I chose my own format for making notes, but I kind of like the layout. First is a general response to the story, then come the answers to two separate questions.
So here goes, I guess.
Vampires in the Lemon Grove
I enjoy how Russell writes - there is enough detail to help me imagine without being burdened down with images. The vampire twist was original and left me with questions; I wasn't confused, but experienced a healthy curiosity.
What Makes This Story Work?
I think the story works because we join the narrator in confusion over the vampire figure. Both Clyde and the reader are left wondering what a vampire's purpose is, and we get no real clue from Magreb, Clyde's wife. Maybe it reflects our society's confusion over traditional roles being upset, questioned, and even abandoned.
Now Talk About the Writing, Elizabeth. (Yes, that's what I actually wrote. Also, SPOILER ALERT)
There is a lot of self-reflection in this piece, as well as an obvious use of symbolism that comes off a little heavy-handed. The movie is their relationship, Magreb is a real vampire (cave, bat-hood, etc.) while Clyde never learned what that even meant, etc. Russell uses precise details, but her ending is (disappointingly) vague, filled with overblown images and unexplained ideas, leaving the casual reader confused. *Even casual readers need to be catered to.* The decreased lucidity of the story starts after he attacks Fila (where he loses his humanity, but finds himself still trapped in that body?).
Reeling for the Empire (the second story)
This story is similar in environment to Women of the Silk, except written by a much more talented writer. Both stories involved Oriental (is that word still politically correct? Sigh) silk factories basically run by girls whose entire lives are the silk work, and both factories are owned and controlled by distant men. It is an interesting connection.
What Makes This Story Work?It is different and disturbing, and the characters seem to agree with that. They are even more painfully aware of it than the reader, though the hand-rupture thing doesn't seem to faze them like it did me. It's not remotely believable, but it is definitely intriguing - I think this results from the concept, unhindered by bad writing.
Now Talk About the Writing, Elizabeth
I think believability would have been enhanced by more description of place and the emotions, sensations, and mentality incidental to the physical change and exclusion from the outside world (the latter of which was not touched on). I needed more experience detail, I guess you could call it. Again, however, Russell includes concrete detail, and she does so well. I guess I just want it in other aspects of her story. I think the story is also missing the Japanese culture it deserves. She includes an easily identified villain, which is not usual for a contemporary work. Her villain is the Agent, who has no real name. This dehumanizes him. The kaiko-joko (as she calls them) have names, however, making them just as or more human than the human Agent. This is a traditional device, but Russell puts it to good use that was not painfully apparent.
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