Assessment - Professor Incognito Apologizes

1. Are there any prominent symbols in the story? If so, what are they and how are they used?

I feel that the most prominent symbol of this short story are the costumes described. These costumes not only set the characters apart from the "normal" individual, but they represent the hidden sides that any person can be hiding. This "secret self" is what grounds the story, and represents more than just the obvious break between the character's normal life and secret life, but rather the break between their relationship. Their relationship struggled, and I feel that the discussion of needing a costume to differentiate the multiple "selves" also is a comment on how lack of full transparency can lead to ill situations and broken relationships. I feel that Suzanne herself could be considered a symbol as well. A symbol of normalcy - the element that Professor Incognito considered to be part his reasonable, public self. Of course, this symbol of normalcy is shattered by the end of the letter when he recalls his discovery - that she indeed did have her own secret self. And so, the shattering of the normalcy associated with Suzanne marks the beginning of the shattering of any sort of normalcy the Earth still may have.

2. What connections did you make with the story? Discuss the elements of the work with which you were able to connect.

Having been in an ongoing relationship for the past 5 years, I was definitely able to connect with the trials of the relationship described (although, thankfully, the characters have had a much more rocky time than I ever have). Still, I understood many of the pains and joys that were discussed along similar lines, such as the struggles of communication and the simple bliss of having someone to be with. I feel that everyone can relate to the concept of one having a "hidden self" to some extent. Although we may not go so far as to becoming a super-villain behind a loved one's back, everyone has a side of themselves that they reserve for themselves alone. This personal self does not necessarily have to stray far from one's public image - it can be as simple of how you hold yourself when nobody else is around, or how you act with a group of friends as opposed to your parents. By taking this concept to an extreme, the story did a good job at pointing out that even those we think we know wholly and truly will have their own hidden side.

3. What changes would you make to adapt this story into another medium? What medium would you use? What changes would you make.

If I was to adapt this story into another medium, I feel that film would be a good choice. The story, although a list of past events and thoughts, came across as very visual to me even though in theory it is being viewed from one location - the lab, by Suzanne. To give the film more opportunities for expression, beyond the introduction I would rely heavily on flashback scenes for each aspect of the list. This would allow us a greater connection to the characters, and intensify the situation by actually showing us the multiple selves of Professor Incognito. To introduce the flashbacks, narration could be used, but eventually that would fade as the examples progress visually and no longer need explanation, but rather elicit the emotions I wished to convey - such as the tension between the two characters not speaking in the car, or taking notice subtle costume elements that Suzanne notices before entering the lab. Professor Incognito's concept of the future could be visualized, as well as the outcomes that Suzanne's choices could lead to. An opportunity could even be taken to provide the end result, which perhaps, and very likely, would have differed from Incognito's described visions of his rise to power.

After reading both Vampires in the Lemon Grove and Sleep Donation, I feel that the tone of Karen Russell’s writing has become much clearer to me. I very much enjoyed both works, and there are a few characteristics that begin to stand out both during and after reading them.

It is possible that it was not her intention, but I have found that both of her writings displayed a tone of stress, worry, and contemplation. Nothing felt resolute, and the constant state of anxiety on different levels that was stressed in the writing tone made the stories feel that much more real. An attention to detail pushed this even further, but more often than not the detail was in terms of how a particular action elicited certain emotions: how biting into the lemon could not truly satisfy the vampire cravings, how being inside the sleep van made Trish uncomfortable during a donation. The characters questioned themselves constantly, but it was the questioning tone that made us as readers really feel like they did. The voices of the characters are not considered the voice of the author, but there was a connection nonetheless. Amongst all of this seriousness though, her writing is also satirical in some aspects – it has a sharp, “biting” quality that reflects on the issues faces by humanity (or rather, inhumanity but with human qualities in Vampires in the Lemon Grove), without mercy.

When looking towards endings, neither story’s conclusion would be deemed a “happy solution”. Both felt unresolved and contemplative. Russell was not looking to simply guide us to the end of a story, but rather to get a sense for the particular emotions that were emphasized in each piece, whether that be the discontent weaved throughout Vampires in the Lemon Grove, or the guilt and apprehension attempting to hide under confidence in Sleep Donation. The stories seem not to be so much about the characters as they are about the emotions they are overwhelmed with.

In Sleep Donation, Trish is riddled with guilt no matter which way she turns: guilt for using her dead sister’s story as a pitch, guilt for keeping secrets about the illegal exchange of Baby A’s sleep, and of course the guilt of knowing that lives could be lost if she lets her guilt from the former influence her future actions. In conclusion, the situation is not fully resolved, but Trish is able to finally do what she feels is the right thing, whether it truly is in the grand scheme of things or not. Russell’s tone adds to this by bringing into the picture a question of what is worth more – the life of one or the life of many. It allows us to contemplate everything rather than be presented with straightforward facts to simply be accepted.

The tone of Russell’s writing is not just influenced by latching onto particular emotions, however that seems to be the most critical element. Her writing is also very poetic, and she tends to utilize metaphor in her work. This creates a wonderful lyrical reading experience, while still staying true to the emotions of importance and retaining the cutting, reflective qualities.

On a more personal note, I’m very interested in reading the rest of the stories in the Vampires in the Lemon Grove collection. Her story Swamplandia is also going to be added to my list of future reads. I had never been one to read works with such open endings, and although that has it’s own frustrations, I find that it adds a final poetic element to each piece and forces you to contemplate the overall meaning of each work rather than feeling inherently satisfied with a provided ending. I’d like to expose myself to more work of this nature, and hopefully doing so will help me think more critically about the greater significance of writing rather than the straightforward linear elements that usually come to my focus.

Ready Player One - Virtual Reality

 ENTERS CLEARING.

The user exits the forest sequence, and steps into a clearing. This clearing is comprised of a hill, which is decorated with twelve large black stones arranged in in the pattern of a skull.

A map appears in the upper right corner of the screen. The player uses this map as a guide to reach a specified location. In order to do so, they climb atop the hill, and then slowly descend down a cliff face onto an outward ledge. The user is then instructed to utilize their shield as a shovel. The dirt is set aside to reveal a dark tunnel leading underground. The floor of the tunnel is comprised of a mosaic of colorful stones and red tiles. They step inside.

  ENTERS TOMB OF HORRORS.

A new map appears in the upper right corner to guide the player through the Tomb of Horrors. The tomb is very dark. To see, the user must equip their flashlight.

The flashlight creates a circular area of light; only illuminating what it is pointed at. In the areas of vision, the user can see that the walls are dotted with paintings depicting various creatures, such as elves and orcs.

Using the map’s markers as a guide, the user must avoid hidden trap doors in the floor. If they happen to activate one, they plunge down into darkness and return back to their most recent checkpoint.

The tomb holds various rewards for the optional searching of different areas, such as magic items and coins. Searching for these items also runs the risk of encountering enemy creatures that lurk in the darkest areas and guard the most prominent prizes. In the event of being confronted by one, the user is given a brief warning to allow them to equip their weapons, and then must deliver a number of hits in a slow-motion sequence.

The user must pass through six separate rooms before entering the final dungeon. Each room is unique in size, shape, and contents. All rooms have the appearance of being worn down, with the quiet dripping of water from leaks, and crumbling walls and artifacts. The occasional growl or scuttle alerts the user of potential enemies. The sound of a quiet, eerie wind echoes through the corridors between rooms. Upon reaching the final chamber, the entrance is a pitch black void. Nothing is visible until stepping through.

ENTERS FINAL CHAMBER.

The user enters a large square chamber. It is lit by torches, and requires no flashlight to view. The ceiling is high, and the room is filled with massive stone columns. A raised dais stands at the far end of the room. An obsidian throne inlaid with silver and ivory skulls sit atop of it. In the throne sits Acerarak, the demi-lich. A dusty gold crown glints on his head. His skin is withered. His teeth consisted of pointed cut diamonds arranged in a lipless grin. His eyes were large rubies.

When the player approaches the steps of the dais, a cracking sound echoes through the chamber.

Acerarak lifts his head. His ruby eyes glow, and he begins to speak.

BEGIN ACERARAK SEQUENCE.

The Brief Wondrous Life of Oscar Wao - The Ethos of a World

In last week’s class, we discussed various questions that dived into the art of world building. Having read The Brief Wondrous Life of Oscar Wao, one of the questions stuck out to me:

What is the world’s ethos (the guiding beliefs or ideals that characterize the world)? 

This particular question struck me as important, because the ethos of the world that Junot Diaz had spun was both very similar and very different from that of my own world. To start, the ethos of this world seemed to revolve around doing whatever is necessary for success. Masculinity, taking what is “rightfully yours” and emitting a sense of power and influence seemed to be the key elements of finding one’s ideal self. At the very least, one should try to find their place in the world, and accept it as it is. Characters were expected to conform to society’s expectations – and when they broke out of those boundaries, bad things followed.

Find a girl. Man up. Don’t associate with those that are undesirable (Ybon). Do as your told. Don’t attempt to stand up to those that are more dangerous than you (Trujillo).  Conform, conform, conform. It’s a strange balancing act of acting tough enough to assert yourself and submitting enough to keep yourself out of harm’s way.

It is the conformity that I find doesn’t fit into my current world’s ethos. Here, people are prized for sticking out and doing everything that they can to differentiate themselves as artists. In Junot Diaz’s world, sticking out meant being lonely, getting sent to prison, being beaten and of course, getting murdered.

Oscar did not fit into the masculine and outgoing standard that his world had set for him, and thus he was out of place, and therein the story lies. Beli chose to be involved with men who were no good for her rather than heeding the warnings of La Inca, and thus she experienced suffering for her own inability to conform.

What I can relate to is the need to find one’s “proper” place. Past conforming to society standards out of fear of repercussions, or trying your hardest to stick out for the sake of the spotlight, at the end of the day both Diaz’s world and my own expect you to settle down and find your place in the world that is the path of least resistance. 

Lola was shunned for taking chances, traveling and making “questionable” decisions. No good was to come of Beli’s risky relationships. Had either of them made what the ethos of the world would deem reasonable, safer life choices (of which their family would have also agreed with), and found nice, honest men, didn’t bicker with or embarrass their family, and lived the lives others expected of them, their paths would have been less rocky.

The characters themselves may have their own individual ethos that they live by, but I believe that all things considered, the world as a while consists of an ethos that idealizes the things that most of the characters are not. Had this not been the case, Oscar’s far less than masculine, nerdy ways would not have brought upon him the problems he was bound to face, and the story itself would not have been able to provide the struggles that make up its very core. The characters recognize the ethos of the world. Some try to work towards it and wish they had become what the world expected them to be. Others resist, working against the grain, desperate to find themselves through the act of rebellion.