AGENDA:
Watch movie up to Louis scene!
HMWK: Read to page 98 in THE HOURS
Wednesday, March 28, 2018
Monday, March 26, 2018
THE HOURS/End of marking period
AGENDA:
Work on, finish and turn in all missing work and NON-LINEAR STORIES!
Continue to read The Hours, look over the handout on The Hours, look at links to Michael Cunningham and Virginia Woolf's Mrs. Dalloway.
POST AN ANSWER TO QUESTIONS 1 and 2 (see questions below) for class participation credit today!
Your next assignment will be to write in a genre you are most comfortable with (poetry, fiction or drama). The work needs two historical time periods and needs to weave in motifs in both time periods
.
What are some common motifs? Go to these websites:
http://literaryterms.net/motif/
http://study.com/academy/lesson/motif-in-literature-definition-examples-quiz.html
http://softschools.com/examples/literary_terms/motif_examples/297/
http://literary-devices.com/content/motif
Think about the motifs evident in The Hours. You might want to use some of them.
Here are the discussion questions you will be working with today:
1. Clarissa Vaughan is described several times as an "ordinary" woman. Do you accept this valuation? If so, what does it imply about the ordinary, about being ordinary? What makes someone, by contrast, extraordinary?
2. Flowers and floral imagery play a significant part in The Hours. When and where are flowers described? What significance do they have, and with what events and moods are they associated? How do flowers affect Virginia? Clarissa?
HMWK: Read to page 87
Work on, finish and turn in all missing work and NON-LINEAR STORIES!
Continue to read The Hours, look over the handout on The Hours, look at links to Michael Cunningham and Virginia Woolf's Mrs. Dalloway.
POST AN ANSWER TO QUESTIONS 1 and 2 (see questions below) for class participation credit today!
Your next assignment will be to write in a genre you are most comfortable with (poetry, fiction or drama). The work needs two historical time periods and needs to weave in motifs in both time periods
.
What are some common motifs? Go to these websites:
http://literaryterms.net/motif/
http://study.com/academy/lesson/motif-in-literature-definition-examples-quiz.html
http://softschools.com/examples/literary_terms/motif_examples/297/
http://literary-devices.com/content/motif
Think about the motifs evident in The Hours. You might want to use some of them.
Here are the discussion questions you will be working with today:
1. Clarissa Vaughan is described several times as an "ordinary" woman. Do you accept this valuation? If so, what does it imply about the ordinary, about being ordinary? What makes someone, by contrast, extraordinary?
2. Flowers and floral imagery play a significant part in The Hours. When and where are flowers described? What significance do they have, and with what events and moods are they associated? How do flowers affect Virginia? Clarissa?
HMWK: Read to page 87
Thursday, March 22, 2018
The Hours
Agenda:
HMWK: Read to pg. 48 in The Hours
Read over the handout on The Hours. Visit Michael Cunningham's website to read about his other works (more recent ones).
https://www.youtube.com/watch?v=gjtYE_mm--0The Hours Discussion Questions
In this remarkable book, Cunningham draws inventively on the life and work of Virginia Woolf to tell the story of a group of characters struggling with the conflicting claims of love and inheritance, life and death, creation and destruction. The novel moves along three separate but parallel stories, each focusing on the experiences of a particular woman during the course of one apparently unremarkable but in fact pivotal day.
Clarissa Vaughan, a book editor in present-day Greenwich Village, is organizing a party for her oldest friend, Richard, an AIDS-stricken poet who has just won a major literary prize. Laura Brown, a young wife and mother in 1949 Los Angeles, cares for her toddler and prepares a birthday cake for her husband as she tries to resist increasing waves of panic and feelings of alienation from her humdrum yet demanding life. And Virginia Woolf herself, the third woman, works on her new novel, Mrs. Dalloway, chats with her husband and sister, bickers with her cook, and attempts to come to terms with her deep, ungovernable longings for escape and even for death. As the novel jump-cuts through the century, the lives and stories of the three women converge, stunningly and unexpectedly, the night of Clarissa’s party for Richard.
1. Clarissa Vaughan is described several times as an "ordinary" woman. Do you accept this valuation? If so, what does it imply about the ordinary, about being ordinary? What makes someone, by contrast, extraordinary?
2. Flowers and floral imagery play a significant part in The Hours. When and where are flowers described? What significance do they have, and with what events and moods are they associated? How do flowers affect Virginia? Clarissa?
3. Cunningham plays with the notions of sanity and insanity, recognizing that there might be only a very fine line between the two states. What does the novel imply about the nature of insanity? Might it in fact be a heightened sanity, or at least a heightened sense of awareness? Would you classify Richard as insane? How does his mental state compare with that of Virginia? Of Laura as a young wife? Of Septimus Smith in Mrs. Dalloway? Does insanity (or the received idea of insanity) appear to be connected with creative gifts?
4. Virginia and Laura are both, in a sense, prisoners of their eras and societies, and both long for freedom from this imprisonment. Clarissa Vaughan, on the other hand, apparently enjoys every liberty: freedom to be a lesbian, to come and go and live as she likes. Yet she has ended up, in spite of her unusual way of life, as a fairly conventional wife and mother. What might this fact indicate about the nature of society and the restrictions it imposes? Does the author imply that character, to a certain extent, is destiny?
5. Each of the novel’s three principal women, even the relatively prosaic and down-to-earth Clarissa, occasionally feels a sense of detachment, of playing a role. Laura feels as if she is "about to go onstage and perform in a play for which she is not appropriately dressed, and for which she has not adequately rehearsed" [p. 43]. Clarissa is filled with "a sense of dislocation. This is not her kitchen at all. This is the kitchen of an acquaintance, pretty enough but not her taste, full of foreign smells" [p. 91]. Is this feeling in fact a universal one? Is role-playing an essential part of living in the world, and of behaving "sanely"? Which of the characters refuses to act a role, and what price does he/she pay for this refusal?
6. Who kisses whom in The Hours, and what is the significance of each kiss?
7. The Hours is very much concerned with creativity and the nature of the creative act, and each of its protagonists is absorbed in a particular act of creation. For Virginia and Richard, the object is their writing; for Clarissa Vaughan (and Clarissa Dalloway), it is a party; for Laura Brown, it is another party, or, more generally, "This kitchen, this birthday cake, this conversation. This revived world" [p. 106]. What does the novel tell us about the creative process? How does each character revise and improve his or her creation during the course of the story?
8. How might Richard’s childhood experiences have made him the adult he eventually becomes? In what ways has he been wounded, disturbed?
9. Each of the three principal women is acutely conscious of her inner self or soul, slightly separate from the "self" seen by the world. Clarissa’s "determined, abiding fascination is what she thinks of as her soul" [p. 12]; Virginia "can feel it inside her, an all but indescribable second self, or rather a parallel, purer self. If she were religious, she would call it the soul . . . It is an inner faculty that recognizes the animating mysteries of the world because it is made of the same substance" [pp. 34-35]. Which characters keep these inner selves ruthlessly separate from their outer ones? Why?
10. Each of the novel’s characters sees himself or herself, most of the time, as a failure. Virginia Woolf, as she walks to her death, reflects that "She herself has failed. She is not a writer at all, really; she is merely a gifted eccentric" [p. 4]. Richard, disgustedly, admits to Clarissa, "I thought I was a genius. I actually used that word, privately, to myself" [p. 65]. Are the novel’s characters unusual, or are such feelings of failure an essential and inevitable part of the human condition?
11. Toward the end of Clarissa’s day, she realizes that kissing Richard beside the pond in Wellfleet was the high point, the culmination, of her life. Richard, apparently, feels the same. Are we meant to think, though, that their lives would have been better, more heightened, had they stayed together? Or does Cunningham imply that as we age we inevitably feel regret for some lost chance, and that what we in fact regret is youth itself?
12. The Hours could on one level be said to be a novel about middle age, the final relinquishment of youth and the youthful self. What does middle age mean to these characters? In what essential ways do these middle-aged people--Clarissa, Richard, Louis, Virginia --differ from their youthful selves? Which of them resists the change most strenuously?
13. What does the possibility of death represent to the various characters? Which of them loves the idea of death, as others love life? What makes some of the characters decide to die, others to live? What personality traits separate the "survivors" from the suicides?
14. If you have read Virginia Woolf’s Mrs. Dalloway, would you describe The Hours as a modern version of it? A commentary upon it? A dialogue with it? Which characters in The Hours correspond with those of Woolf’s novel? In what ways are they similar, and at what point do the similarities cease and the characters become freestanding individuals in their own right?
15. For the most part, the characters in The Hours have either a different gender or a different sexual orientation from their prototypes in Mrs. Dalloway. How much has all this gender-bending affected or changed the situations, the relationships, and the people?
16. Why has Cunningham chosen The Hours for the title of his novel (aside from the fact that it was Woolf’s working title for Mrs. Dalloway)? In what ways is the title appropriate, descriptive? What do hours mean to Richard? To Laura? To Clarissa?
Clarissa Vaughan, a book editor in present-day Greenwich Village, is organizing a party for her oldest friend, Richard, an AIDS-stricken poet who has just won a major literary prize. Laura Brown, a young wife and mother in 1949 Los Angeles, cares for her toddler and prepares a birthday cake for her husband as she tries to resist increasing waves of panic and feelings of alienation from her humdrum yet demanding life. And Virginia Woolf herself, the third woman, works on her new novel, Mrs. Dalloway, chats with her husband and sister, bickers with her cook, and attempts to come to terms with her deep, ungovernable longings for escape and even for death. As the novel jump-cuts through the century, the lives and stories of the three women converge, stunningly and unexpectedly, the night of Clarissa’s party for Richard.
1. Clarissa Vaughan is described several times as an "ordinary" woman. Do you accept this valuation? If so, what does it imply about the ordinary, about being ordinary? What makes someone, by contrast, extraordinary?
2. Flowers and floral imagery play a significant part in The Hours. When and where are flowers described? What significance do they have, and with what events and moods are they associated? How do flowers affect Virginia? Clarissa?
3. Cunningham plays with the notions of sanity and insanity, recognizing that there might be only a very fine line between the two states. What does the novel imply about the nature of insanity? Might it in fact be a heightened sanity, or at least a heightened sense of awareness? Would you classify Richard as insane? How does his mental state compare with that of Virginia? Of Laura as a young wife? Of Septimus Smith in Mrs. Dalloway? Does insanity (or the received idea of insanity) appear to be connected with creative gifts?
4. Virginia and Laura are both, in a sense, prisoners of their eras and societies, and both long for freedom from this imprisonment. Clarissa Vaughan, on the other hand, apparently enjoys every liberty: freedom to be a lesbian, to come and go and live as she likes. Yet she has ended up, in spite of her unusual way of life, as a fairly conventional wife and mother. What might this fact indicate about the nature of society and the restrictions it imposes? Does the author imply that character, to a certain extent, is destiny?
5. Each of the novel’s three principal women, even the relatively prosaic and down-to-earth Clarissa, occasionally feels a sense of detachment, of playing a role. Laura feels as if she is "about to go onstage and perform in a play for which she is not appropriately dressed, and for which she has not adequately rehearsed" [p. 43]. Clarissa is filled with "a sense of dislocation. This is not her kitchen at all. This is the kitchen of an acquaintance, pretty enough but not her taste, full of foreign smells" [p. 91]. Is this feeling in fact a universal one? Is role-playing an essential part of living in the world, and of behaving "sanely"? Which of the characters refuses to act a role, and what price does he/she pay for this refusal?
6. Who kisses whom in The Hours, and what is the significance of each kiss?
7. The Hours is very much concerned with creativity and the nature of the creative act, and each of its protagonists is absorbed in a particular act of creation. For Virginia and Richard, the object is their writing; for Clarissa Vaughan (and Clarissa Dalloway), it is a party; for Laura Brown, it is another party, or, more generally, "This kitchen, this birthday cake, this conversation. This revived world" [p. 106]. What does the novel tell us about the creative process? How does each character revise and improve his or her creation during the course of the story?
8. How might Richard’s childhood experiences have made him the adult he eventually becomes? In what ways has he been wounded, disturbed?
9. Each of the three principal women is acutely conscious of her inner self or soul, slightly separate from the "self" seen by the world. Clarissa’s "determined, abiding fascination is what she thinks of as her soul" [p. 12]; Virginia "can feel it inside her, an all but indescribable second self, or rather a parallel, purer self. If she were religious, she would call it the soul . . . It is an inner faculty that recognizes the animating mysteries of the world because it is made of the same substance" [pp. 34-35]. Which characters keep these inner selves ruthlessly separate from their outer ones? Why?
10. Each of the novel’s characters sees himself or herself, most of the time, as a failure. Virginia Woolf, as she walks to her death, reflects that "She herself has failed. She is not a writer at all, really; she is merely a gifted eccentric" [p. 4]. Richard, disgustedly, admits to Clarissa, "I thought I was a genius. I actually used that word, privately, to myself" [p. 65]. Are the novel’s characters unusual, or are such feelings of failure an essential and inevitable part of the human condition?
11. Toward the end of Clarissa’s day, she realizes that kissing Richard beside the pond in Wellfleet was the high point, the culmination, of her life. Richard, apparently, feels the same. Are we meant to think, though, that their lives would have been better, more heightened, had they stayed together? Or does Cunningham imply that as we age we inevitably feel regret for some lost chance, and that what we in fact regret is youth itself?
12. The Hours could on one level be said to be a novel about middle age, the final relinquishment of youth and the youthful self. What does middle age mean to these characters? In what essential ways do these middle-aged people--Clarissa, Richard, Louis, Virginia --differ from their youthful selves? Which of them resists the change most strenuously?
13. What does the possibility of death represent to the various characters? Which of them loves the idea of death, as others love life? What makes some of the characters decide to die, others to live? What personality traits separate the "survivors" from the suicides?
14. If you have read Virginia Woolf’s Mrs. Dalloway, would you describe The Hours as a modern version of it? A commentary upon it? A dialogue with it? Which characters in The Hours correspond with those of Woolf’s novel? In what ways are they similar, and at what point do the similarities cease and the characters become freestanding individuals in their own right?
15. For the most part, the characters in The Hours have either a different gender or a different sexual orientation from their prototypes in Mrs. Dalloway. How much has all this gender-bending affected or changed the situations, the relationships, and the people?
16. Why has Cunningham chosen The Hours for the title of his novel (aside from the fact that it was Woolf’s working title for Mrs. Dalloway)? In what ways is the title appropriate, descriptive? What do hours mean to Richard? To Laura? To Clarissa?
Tuesday, March 20, 2018
ESSAY TEST: The Things They Carried
AGENDA:
Using your book for text references, write an essay (see blog post below) using proper MLA form.
"quotation" (176). (only put page number)
Cite at least 3 references (EVIDENCE) to support your CLAIMS.
Be sure to properly distinguish chapters from the title of the book.
examples: "Good Form" The Things They Carried
Distinguish between Tim O'Brien, the author, and Tim, the character
Using your book for text references, write an essay (see blog post below) using proper MLA form.
"quotation" (176). (only put page number)
Cite at least 3 references (EVIDENCE) to support your CLAIMS.
Be sure to properly distinguish chapters from the title of the book.
examples: "Good Form" The Things They Carried
Distinguish between Tim O'Brien, the author, and Tim, the character
Friday, March 16, 2018
The Things They Carried
AGENDA:
Finish reading The Things They Carried for Tuesday--Ghost Soldiers and Night Life and The Lives of the Dead
TEST on Tuesday/ Finish work from last class. Next book: The Hours by Michael Cunningham
Prepare for an essay:
Finish reading The Things They Carried for Tuesday--Ghost Soldiers and Night Life and The Lives of the Dead
TEST on Tuesday/ Finish work from last class. Next book: The Hours by Michael Cunningham
Prepare for an essay:
Essay The Things They Carried
1. Storytelling: Fact or Fiction
Like most of the literature of the Vietnam war, ''The Things They Carried'' is shaped by the personal combat experience of the author. O'Brien is adamant, however, that the fiction not be mistaken for factual accounts of events. In an interview with Michael Coffey of Publishers Weekly soon after the book was published, O'Brien claims: ‘‘My own experience has virtually nothing to do with the content of the book.’’ Indeed the title page of the book announces it as ''a work of fiction.'' The book is dedicated, however, ''to the men of Alpha Company, and in particular to Jimmy Cross, Norman Bowker, Rat Kiley, Mitchell Sanders, Henry Dobbins, and Kiowa." O'Brien himself was an infantryman in Alpha Company and was stationed in the Quang Ngai province in 1969-70. When asked about this device in an interview with Martin Narparsteck in Contemporary Literature, O'Brien explains: "What I'm saying is that even with that nonfiction-sounding element in the story, everything in the story is fiction, beginning to end. To classify different elements of the story as fact or fiction seems to me artificial. Literature should be looked at not for its literal truth but for its emotional qualities. What matters in literature, I think, are the pretty simple things--whether it moves me or not. Whether it feels true. The actual literal truth should be superfluous."
Discuss the implications of "story truth" (fiction) versus "happening truth" (nonfiction/history) using examples from your reading. What is the significance of the following quote in terms of O'Brien's purpose as a writer of this novel and how he achieves this end using metafiction techniques and a reliance on story-truth?
pg. 236
"The human life is all one thing, like a blade tracing loops on ice: a little kid, a twenty-three-year-old infantry sergeant, a middle-aged writer knowing guilt and sorrow.
And as a writer now, I want to save Linda's life. Not her body--her life.
She died, of course. Nine years old and she died. It was a brain tumor. She lived through the summer and into the first part of September, and then she was dead.
But in a story I can steal her soul. I can revive, at least briefly, that which is absolute and unchanging. In a story, miracles can happen. Linda can smile and sit up. She can reach out, touch my wrist, and say, 'Timmy, stop crying.'"
Wednesday, March 14, 2018
The Vietnam in Me
AGENDA:
Read "The Vietnam in Me"
https://archive.nytimes.com/www.nytimes.com/books/98/09/20/specials/obrien-vietnam.html
https://www.youtube.com/watch?v=JIpqzk2bWbM
HMWK: Read "Field Trip" and "The Ghost Soldiers"
Read "The Vietnam in Me"
https://archive.nytimes.com/www.nytimes.com/books/98/09/20/specials/obrien-vietnam.html
The Vietnam in Me
THE VIETNAM IN ME: MULTIPLE TRUTHS IN THE LIFE OF TIM O’BRIEN
“THE VIETNAM IN ME.” NEW YORK TIMES MAGAZINE, OCTOBER 2, 1994.
Comment:
Tim O’Brien has explained multiple times throughout the novel that everything he writes is absolute fiction, even though it may be inspired by actual events, but maintains a special term which is classified story truth (in the sense that it’s true that it is a story and may have happened). He also uses the term happening-truth, which is what is actually occurring in reality. These two clash with the release of the short story “Field Trip” and the article “The Vietnam In Me”, both about his return to Vietnam.
The first, “Field Trip”, is a prime example of story truth, where O’Brien speaks about how he and his daughter return to Vietnam and he goes to the field where Norman Bowker let go of Kiowa and O’Brien wades in and buries Kiowa’s moccasins at the spot where he went under. He then has a heart-to-heart conversation with his daughter on the nature of the Vietnam War and gives a great deal of polished-over romanticism on loss and grief and duty (almost as if you combined Nathaniel Hawthorne, Keanu Reeves, and Tom Clancy for a made-for-TV movie).
Meanwhile, “The Vietnam In Me” is the realistic, factual account of O’Brien’s return to Vietnam, with a female friend (not his daughter), and his return to his own personal killing fields (apologies for the incorrect placement of that term, seeing as killing fields were in Cambodia and not Vietnam). In this account, it’s as though O’Brien allowed Larry Clark to follow him around with a camera and detail everything on his journey through ‘Nam. From visiting the minefields that took the lives of his friends with former VC and NVA officers, to the village of My Lai where American militarism truly failed in 1968, and even to stuffy, hot Ho Chi Minh City (Saigon) hotels where he battles his own personal demons on the “terrible things” he did during the war, though not giving any evidence as to what those things were. The article even takes a turn for the even darker with his constant contemplation of suicide after his female friend leaves him. While this article is much more gritty than the short story, one thing remains the same: his feelings. Throughout both pieces, he cannot escape this insufferable sadness and guilt over the unknown.
“The Vietnam In Me” is more true because O’Brien says that truth is in the gut and this is where O’Brien’s gut is. Based off his writing style alone, one can just literally feel the emotions sweep off the page and hit him or her right in the chest while with “Field Trip”, it’s as if one can almost see the time it took in calculating the perfect emotions and perfect snippets of dialogue for each character from the uncertaintity as to what to say at Kiowa’s death spot to him telling his daughter that the Vietnamese was not angry at him because “all that’s over now”. Almost cliche even though it works wonderfully with the rest of the book. One shouldn’t get upset about the fact that one story is based on fact and the other is based in fiction; it is one’s personal choice to like or dislike whatever they read. And the question of getting upset brings up another question of whether it would be better to stick to the truth or to emotional fiction, and once again, it is whatever one wants. Personally, I would like truth with emotions clearly portrayed so not only do I know what actually happened, but I also know what the people were feeling at the time.
WRITING:
Simulate the original literary form that O'Brien invented for The Things They Carried. Write a fictionalized version of an event similar to one you have experienced. Create a fictional protagonist who shares your name and write a narrative and descriptive passage about what "you" see and think and do. After doing this, write a passage about how you wrote the paragraph and why you wrote it, simulating O'Brien's meta-fictive style.
LISTEN:
An interview with Tim O'Brien
http://bigthink.com/videos/big-think-interview-with-tim-obrienhttps://www.youtube.com/watch?v=JIpqzk2bWbM
HMWK: Read "Field Trip" and "The Ghost Soldiers"
Monday, March 12, 2018
In the Field
AGENDA:
View Soldier's Sweetheart
Respond to the following questions in a blog post.
Chapter 17: “In the Field”
1. Briefly summarize the plot and style of the story. Is this story more of a “true” war story than the account in the chapter “Speaking of Courage”?
2. What point of view is used to narrate “In the Field”?
3. Why is the young man not identified in the story? What is the character’s purpose in the narrative?
4. In “In The Field,” O'Brien writes, “When a man died, there had to be blame.” What does this mandate do to the men of O'Brien's company? Are they justified in thinking themselves at fault? How do they cope with their own feelings of culpability? Consider all of the characters.
5. What, in the end, is the significance of the shit field story (or stories)?
Chapter 18: “Good Form”
1. In “Good Form,” O'Brien casts doubt on the veracity of the entire novel. Why does he do so? Does it make you more or less interested in the novel? Does it increase or decrease your understanding? What is the difference between “happening-truth” and “story-truth?”
View Soldier's Sweetheart
Respond to the following questions in a blog post.
Chapter 17: “In the Field”
1. Briefly summarize the plot and style of the story. Is this story more of a “true” war story than the account in the chapter “Speaking of Courage”?
2. What point of view is used to narrate “In the Field”?
3. Why is the young man not identified in the story? What is the character’s purpose in the narrative?
4. In “In The Field,” O'Brien writes, “When a man died, there had to be blame.” What does this mandate do to the men of O'Brien's company? Are they justified in thinking themselves at fault? How do they cope with their own feelings of culpability? Consider all of the characters.
5. What, in the end, is the significance of the shit field story (or stories)?
Chapter 18: “Good Form”
1. In “Good Form,” O'Brien casts doubt on the veracity of the entire novel. Why does he do so? Does it make you more or less interested in the novel? Does it increase or decrease your understanding? What is the difference between “happening-truth” and “story-truth?”
Thursday, March 8, 2018
A Soldier's Sweetheart
AGENDA:
View Soldier's Sweetheart
Finish stories and blog posts
READ: "In the Field" and "Good Form"
View Soldier's Sweetheart
Finish stories and blog posts
READ: "In the Field" and "Good Form"
Tuesday, March 6, 2018
Speaking of Courage/Notes
AGENDA:
View more of Soldier's Sweetheart
Work on stories.
Post answer to questions on blog.
Group One (Speaking of Courage):
(1) To begin with, why is this story called "Speaking of Courage"? Assume the title does NOT hold any irony. In what sense does this story speak of courage?
(2) Why does Norman Bowker still feel inadequate with seven metals? And why is Norman's father such a presence in his mental life? Would it really change Norman's life if he had eight metals, the silver star, etc.?
(3) What is the more difficult problem for Norman--the lack of the silver star or the death of Kiowa? Which does he consider more and why?
(4) Why is Norman unable to relate to anyone at home? More importantly, why doesn't he even try?
Group Two (Notes):
(1) In "Notes," Tim O'Brien receives a letter from
Norman Bowker, the main character in "Speaking of Courage." Why does
O'Brien choose to include excerpts of this seventeen page letter in this book
?
What does it accomplish?
(2) Consider for a moment that the letter might be made-up, a work of fiction. Why include it then?
(3) In "Notes," Tim O'Brien says, "You start sometimes with an incident that truly happened, like the night in the shit field, and you carry it forward by inventing incidents that did not in fact occur but that nonetheless help to clarify and explain it." What does this tell you about O'Brien's understanding of the way fiction relates to real life?
(4) Compare and contrast possible versions of Kiowa's death in "Speaking of Courage" and the end of "Notes". Who is responsible?
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