Ross' Blog (by Luke)

At the beginning of The Stranger , it is immediately obvious that Meursault is not a neurotypical individual. His thoughts and behavior diverge noticeably from what would be considered socially acceptable, though the extent of his abnormality initially remains unclear. These notions of abnormality are confirmed at the halfway point of the novel, where Meursault’s sociopathic nature is revealed in his unprovoked, emotionless killing of an Arab man. Prior to the killing, Meursault’s mental state is kept ambiguous, though sociopathy is repeatedly alluded to in his unsettling behavior. Within retrospect, it becomes obvious that these behaviors were indicative of sociopathy or an adjacent underlying mental issue—however, when read without the context of Meursault's future violent actions, his actions seem more innocuous. The first instance of Meursault's unusual emotionless pragmatism is seen in the opening scene of the book where he appears entirely unfazed by the news of his mothe...

Jake’s complex relationship with Brett is the focal point of The Sun also Rises . As the novel progresses, the relationship becomes increasingly complicated in all regards. Rather than offering closure, the final scene creates further convolution, raising the question: does Jake display character development over the course of the novel, or does he end up right back where he started at the beginning of the story?  At the beginning of the novel, it is quite apparent that Jake greatly desires a true romantic relationship with Brett. On their first taxi ride together, he displays immediate physical affection towards her, kissing and holding her close. Brett momentarily breaks contact, upset by the overtly intimate nature of the interaction, but quickly resumes her amicable composure. Jake inquires about her reaction, despite obviously knowing the reason for her conflicting feelings toward romantic interaction. He then asks “‘Isn’t there anything we can do about it [their incompatibili...

In Mrs. Dalloway , the past and present play equally important roles in shaping the plot. Past events, portrayed through the lens of memories from various characters, serve as vital context which allows for deeper understanding of obscure facets of characters’ personalities. Every passage of the novel can be sorted into one of two categories: narration of an important character’s current actions or exploration of their memories. Clarissa Dalloway, being the protagonist, is the character whose past is displayed most thoroughly. As readers become privy to more and more of her thoughts, it becomes increasingly difficult to decipher her attitude towards her past and present state of being. Her opinion on one memory will seem to indicate deep regret of a decision, while in the next instant a different thought will suggest the complete opposite. Such ambivalence paints a complex portrait of Clarissa, making it challenging to categorize her overall view of the past as reminiscent or regretf...

Though unique in many respects, The Mezzanine is defined by two common literary devices – relatability and defamiliarization. The omnipresence of these two conventions transforms an otherwise incoherent document of ramblings into a work of thought evoking art. In isolation, these two conventions seem ordinary – both are implemented to retain reader attention and facilitate plot pacing. However, the simultaneous use of these two devices seems objectively counterproductive. In theory, the concepts of relatability and defamiliarization, being inherently opposed, should detract from each other rather than complementing one another. On one hand, relatability immerses readers into a work of literature by strengthening their bond with the relatable character. In the case of The Mezzanine , relatability is inseparable from humor – often accompanying Howie’s accounts of unremarkable actions that all readers have experienced. Conversely, defamiliarization deals with abstraction, creating enga...

  The plot of Don DeLillo’s Libra is centered around the synthetization and subsequent execution of the JFK assassination conspiracy. Early on in the novel, readers are introduced to the figures of Win Everrett, Larry Parmenter, and TJ Mackey, the original conspirators responsible for setting the plot into motion. It would logically follow that these three masterminds become integral pieces in the execution of the plot, however it quickly becomes apparent that the opposite is true. As the plot advances, only Mackey is able to maintain influence over the proceedings of the conspiracy, while Everett and Parmenter become increasingly irrelevant. By the end of the novel, Everett has no control over his own brainchild, which has branched out and evolved in countless unintended ways. As the initiators of the assassination conspiracy, Parmenter and Everett are undeniably vital figures in the plot, but their relevance primarily lies at the beginning of the novel while their influence is...

Although Dana primarily assumes the role of an active participant in history while in the 19th century, she remains distanced from various aspects of the time period. On her initial visits to the past, Dana is immediately forced to enter an active role in history, interacting with her surroundings in order to survive. However, there are aspects of the past that she is never forced to confront due to the nature of her time-traveling circumstances. On a spectrum of involvement with the 19th century, Dana falls somewhere between the actual slaves who are condemned to a lifetime of brutal servitude and Kevin who is exclusively “an observer” of past events (Butler 101). Dana, a Black woman planted in a time where slavery is a legal institution, has no choice but to integrate herself into the past by taking on the role of a slave, thus becoming an active participant in history. In order to survive, Dana must adhere to the characteristics delineated by nineteenth-century social expectations...