AMERICAN MODERNIST LITERATURE THE GREAT GATSBY. 1. Myrtle and the death car 2. Gatsby as a symbol/ threat 3.

The Ash-Hea and the !e" #orld. The car- $ey- the %&olence' dan(er and s eed &n )&t*(erald+s no%el. Enca s,lat&on o- "hat modern&sm &s. .a** and o ,lar m,s&c- class&cal str,ct,re. Myrtle+s dead- h&t by a car. Retros ect&%e- / The death car0 d&dn+t sto . Sho"&n( the s eed o- "h&ch technolo(y- th&s er&od o- modern&st- death ha ens %ery 1,&cly-e%eryth&n( ha ens &n an &nstant. The last l&%&n( th&n(' the last %&tal&ty- the l&-e &s ,ns,sta&nable &n th&s /"aste land0. A "ar %eteranGatsby. 2&olence sorro,nd yo, and can ha en &n an &nstant. Th&s &s not a (ran tra(&c moment. 3r,de anatom&cal d&sc,ss&on-she has become 4,st meat. 5a(e 67. Act,al o ,lar son(s o- the er&od8 Broad"ay son(s' "h&te %ers&ons o- 4a** m,s&c. Best- sell&n( no%el. Romance no%el &n E(y t- abo,t a Br&t&sh "oman ra ed by a shee$. .e1,e- ado ts the br&t&sh "oman- t& o c&nc,enta sombras de (rey9 -&-ty shades o- (rey:. 2&olent se;,al&ty- also rat&al. !on-"h&te s,b4ect more se;,al. Gatsby-4e1,e. Romant&c&sm-ethn&c&ty. Gatsby &s d&sa ro%ed by the narrator' !&c$ 3arra"ay- Gatsby &s &nnocent &n h&s sent&mental l&-al&*es "hat the "orld tr,ly &s- #<R=>-ASH SH?5. Th&s &s &n -act real&ty. #orld "ar one. E%eryth&n( &s mater&al no mean&n( at all. #orld has lost stab&l&ty. St,-- b,t noth&n( means anyth&n( anymore. Seasonal t&me. #hen "e (o -rom s,mmer to -all. 5ass&n(. S r&n( t&me b,t noth&n( &s (ro"&n( any more. Gatsby+s -ather. Sched,les- someth&n( that can be traced bac$- tra&n yo,rsel-- ro er rat&onal c&t&*en. Gatsby arad&(mat&cal -&(,re- stra&(ht -rom the Enl&(htement. 1@AB-1@CA. Sent&mental&ty. ?t loo$s l&$e that he has ta$en the model -rom a #estern hero- a hero o- the o ,lar l&terat,re. #hat &s Gatsby str&%&n( -or here- comb&nat&on o- tra&n&n( yo,r m&nd and tra&n&n( h&s body. All h&s day &s -,ll. >an 3ody..?t com letely ad4,st &t. Ganster- shady b,s&ness-1,est&onable bac$(ro,nd. Amer&can >ream- he "ants to be a co"boy hero. Gatsby doesn+t come -rom corr, t&on- nostal(&c $&nd o&nnocence. e- not l&$e !&c$- honest b,t hard bo&led. Gatsby th&n$s that he can reconnect "&th h&s lost lo%e and that he can became "hoe%er he "ants to be. Gatsby $&lled by Mr.#&lson. Gatsby has to d&e as a art o- the no%el. Gatsby model h&msel- &n ad%ent,ro,s no%el o- the last art o- the 1@th cent,ry so' he can+t l&-e beca,se the romant&c&sm &s 4,st the o os&te. Ethn&c ol&t&c D d&salo,d- yo, can+t esca e -rom the ash-hea ' yo, can+t chan(e yo,r class. 3lass -l,&d &n the En&ted States. #hen he Gatsby &s too close to h&(h soc&ety he has to d&e. God th&n(s e%eryth&n( -sa&d Mr. #&lson. #&lson sees &n Ec$leber(+s eyes God. They bel&e%e / ad%ert&s&n(0. #hat do Ec$leber(+s eyes re resentF #hat do they meanF #&lson- "ell' &t re resents G<>. God+s 4,d(ement D 3hr&s&s- no moral &n soc&ety- some bel&e- &n soc&ety- that there &s a l&(ht &n the end o- the t,nnel- a (,&de- he &s a %ers&on o- ,s &n the no%el. ?mmoral "orld' &mmoral landsca e. A clear symbol- &- yo, are loo$&n( -or a mean&n( "hen there &s not- l&$e a m,te scene. Ec$leber(- ethn&c otherness- the -act that Ecleber(+s eyes. The no%el sta(&n(- roblemat&c no%el beca,se o- ol&t&cs. Th&s $&nd o- -ear o- ethn&c&ty...5ermanent loom&n( threat o- ethn&c otherness. Yo, can+t sca e. A character l&$e Tom'>a&sy or Tom try to sca e the&r ethn&c&ty. #hat &s (o&n( thro,(h Gatby+s m&nd be-ore he &s m,rdered- e & hany- "hen he re

BARBARA #?==8 Gatsby and the <bscene #orld Gatsby t,rns o,t r&(ht &n the end. The last C ara(ra h- "hat+s (o&n( on &n !&c$+s m&ndF T&me-tra%el&n(. Th&s land "as once &no &nhab&ted. Th&s "as nat,re. / A -resh' (reen breast o- a ne" "orld0 Gatsby the re&ncarnat&on o- that des&re- amer&can&sm- he re-lects &t. Gatby- &nnocence. Gatsby re resents the Amer&can >ream. There &s a (reat moment- !&c$ remar$s' he has lost one o- h&s enchanted ob4ects. ?- yo, ha%e e%er done ra-t&n(- yo, are ro"&n( a(a&nst the c,rrent- des &te the -orce yo, ro"' yo, al"ays (o bac$"ards. He (ets "hat he "ants b,t &s not eno,(h. 16G0 So we beat on, boats against the current, borne back ceaselessly into the past.

How is this novel modernist?Represent urban life. Nostalgia, the past. Romantic conception of the west. Nick represents modernism. stoicism, aware! hard boiled, distant, remote. Nick modernism! ", Nick #arraway! don$t havoooooe this idea of the %merican &ream, he doesn$t have this outdated nostalgia of the %merican modernisty. 'atsby product of crime, of popular culture, he represents this outdated sentimentality. (nderstand 'atsby$s tragedy! old! fashioned,

HEY TERMS )<R 3<M?3S8 Krazy&Ignatz Se1,ent&al Art 5anel #ord/Tho,(ht Balloon G,tter =ayo,t/ Str,ct,re #&ll&ahtt 8//lamardel&bros.-&les."ord ress.com/2A1A/12/y$I hono(ra h.4 (m Ho(arth' A Harlot+s 5ro(ress' S&; En(ra%&n(s. Earl&est %ers&on o- com&c8 Rodol he TJ --er+s / Ad%en,tres o- M&ster <bad&ah <ldb,c$0 A te;tbo; that &s belo". Readers may not necessar&ly $no" ho" to read. Hra*y &(nat*- not that te;tbo;' they rely on yo, to -&(,re &t o,t. B,d )&sher' M,tt and .e--' 1@22. 3omedy and death. The Yello" $&d- rec,rr&n( characters. Sensat&onal ne"s a er' they tendend to -oc,s on more tablo&d. #ether they ,bl&shed or not the yello" $&d.

Hra*y and ?(nat*. Re et&t&%e th&n(s- &t ha ens e%ery day. E%en the carachters are conc&o,s o- the constant re et&t&o. The -&rst com&c boo$' ,bl&shed by Eastern 3olor 5r&nt&n( 3om any &n 1@33. At&on 3om&cs 19 .,ne 1@37:. S, er Man' >etect&%e 3om&cs' 1@3@' 3a ta&n Amer&ca... ?nternat&onal 3om&cs8 Man(a &n .a an' <sam, te*,$a+s Astro Boy9 1@B2-1@G7:. )rench com&c8 Bande >ess&nKe &n )rance Her(K+s Ad%ent,res o- T&nt&n9 1@2@-1@73:. <ne o- =ynd #ard+s s&; "oodc,t no%els' 1@2@. God+s Man. Ma; Ernest' -rom Ene sema&ne de BontK9 A "ee$ o- $&ndness: 1@3C. 3om&c' hybr&d -orm o- &ma(eL te;t. RenK Ma(r&tte-3ec& n+est as ,ne & e. .as er .ohns' )alse Start' ca. 1@GA. Geor(e Herbert+s /Easter #&n(s0' #&ll&am Bla$e / The T&(er0. EE. 3,mm&n(s' #&ll&am )a,l$ner- As ? =ay >y&n(' 1@3A. 3arle Andre' =&mbs' >a%&d Ma**,chell&' Art S &e(elman- Ma,s. ?%an Br,nett&' / 5. Mondr&an0 2AAG. 3om&cs -orm &n Scott Mc3lo,d. Enderstan&n( 3om&cs. G,tter can tell yo, a lot ho" the com&c "or$s. The anels ha%e to be "ell str,ct,red. HRAMY 3AT8 3,r&o,s- -,nny' the mo,se &s the a(ressor' &n%ers&on o- nat,re' a m&smatch. The mo,se %&olent' the cat "ants to be lo%ed. En1,est&onable lo%e o- the mo,se. The mo,se "ants to h,rt h&m b,t he doesn+t m&nd. ?(nat*- -ather' Hra*y &s somet&mes called /he0. Herr&man doesn+t ha%e a (ender' he symbol&*es lo%e' erson&-&es ,re lo%e. Art&st&c style- connotat&ons. !ot a lot o- bac$(ro,nd deta&l. The t&me "&tho,t conse1,ence. E.E 3,mm&n(s- #or$&n( oet' he ,bl&shed &t &n a l&terary ma(a*&ne8 A )<RE#<R> T< HRAMY

5a(e' a $&nd o- &ma(e. Man& ,lat&n( o- the te;t. )ormal e; er&mentat&on. E.E 3,mm&n(s' 3ha l&n' he really lo%ed Hra*y 3at' Sam,el Bec$ett9 re et&t&on:' Gertr,de Ste&n. Hra*y 3at- -rom the 1@13 to 1@CA &ncred&bly o ,lar' Hra*y 3at' Ser&es o- Hra*y 3at' shorts Hra*y 3ats -&ms9 cortos de ,nos C m&n:' &ncl,so en 5r&ncetonN .a** ballet- Hra*y 3at- Adm&red by the o,tmost a%ant (arde "r&ters.

Ser&al 1,al&ty. Ma4or themes-&ss,es. 32- .,ne 2Bth 1@1B. Hra*y 3at sad- >on H&yote- he can+t ta$e the tort&lla. Ar&*ona anel. Hra*y 3at &n ers ect&%e. =an(,a(e o- -&lm ed&t&n(- c,t- comes -rom -&lm. En(l,&n( &t bac$ to(ether. Aesthet&c' des&(n element- te;t,re o- that "orld. <lder -orm- &cto(ra h&c "r&t&n(. Re-erence to l&n(,&st&cs -orms. Mean&n( h&stor&cally roooted &n &ma(es. 3la,stro hob&c somet&mes- a lot o- hand"r&t&n( that doesn+t ma$e sense. Be(&n and end &n the same lace. They can+t tr,ly be to(ether. 3on%ent&onal aesthet&ceach com&c str& a "hole. T&me &s assed. ?(nat* &s added- cocl,de "&th an element o- tens&onstr,((le- ne%erend&n(. #e &dent&-y "&th Hra*y 3at. <,r l&%e and Hra*y 3at+s l&-e' h&s des&re to be lo%ed' m&s(,&ded &dea o- "hat lo%e &s. ?dent&-y and adm&re' erha s. =o%e s&m le &deal and bas&c com onents o- h&s l&-e. #hat Hra*y "ants he (ets %ery "ee$' &t &s not l&$e Gatsby' be h&t "&th a br&c$. 3om ar&n( the t"o stor&es "hat Hra*y cat &s do&n( and "hat &s ?(nat* do&n(. Endless' re et&t&%e' &t 4,st not abo,t a cat and a mo,se' &t de-&nes o,r "orld o- str,((le. Sett&n( &s ent&rely -l,&d' no lace e%ery lace' s ec&-&c &n the So,th #est. 5r&m&t&%&sm. ?(nat* &s e%ery"here Hra*y &s. AB<ET #AR8 All&terat&on- re et&t&on o- -s' &t so,nds r&d&c,lo,s. !onsense term. He &s not s,re "hat &s he re ar&n( -or. 5re ar&n( -or that con-l&ct- ES. 5re ar&n( to &nter%en&r #orld #ar ?. A )<RE#<R> T< 3RAMY by E.E 3,mm&n(s Se arate- d&st&nct l&nes &n d&st&nct order. 13@. The s$y &s blac$' the trees "&th more deta&l. 3amera stat&onary. =&m&tated d&alo(,e s eeds the com&c &n a certa&n "ay. Trans-#ar #orld ??. E%ery"here' no"here o- the desert. ?(nat* e%&l. He &s not e%en loo$&n( the r&(ht "ay' doesn+t $no" "hat &s (o&n( on. A-ter all the br&c$s be&n( thro"ed. Ho" &s th&s "or$&n( as a modern&st te;tF =ayo,t str,ct,re also modern. Re4ect&on o- trad&t&onal &deas. Really &m ortant' sh&-t&n( the trad&t&onal &dea o- lo%e. =o%e &s %&olent' a tr&c$ery. H&(h/ lo" d&st&nct&on. Modern&sm9 los &smos' alta l&terat,ra:/ Modern&ty -&lm' 4a** m,s&c' o ' -&ct&on. Masc,l&ne9 h&(h art:' -emen&ne9 lo" c,lt,re:. >orothy 5ar$er' Gertr,d Ste&n-yo,$no" them b,t yo, don+t th&n$ that yo, ha%e to read her boo$s' -or &nstance' l&$e T. S El&ot+s The "aste lad. Sent&mental -&ct&on- Gone "&th the "&nd. =o" c,lt,re. M&sread&n(- the she. >emocrat&c &deal. 221. Alle(ory. E%eryman or 5arad&se =ost. Race. Rac&st character. 3h&nese d,c$ character. Herr&man "as a m,lato. Hra*y cat blac$ness' ?(nat* "h&teness. Hra*y 3at &s not , er class' &s a $&nd o- o,tcast. ?(nat* "h&te h&(h class. 1C1- 3learest e;am le. Hra*y' bleach blonde. Se;,al amb&(,&ty. #h&tened $ra*y cat' amb&(,os -&(,re. Gatsby- rac&al an;&ety. Rat&ally amb&(,os -&(,re. Great Gatsby- .ordan Ba$er- modern "oman- athlet&c' short her' more masc,l&ne %ers&on o-em&n&n&ty. Hra*y 3at -emen&ne th&n(s b,t &t &s a man. ?(nat*' &t does a$no"led(e &ts o"n constr,ct&on. A ser&es o- c,ts.

MA!HATTA! TRA!S)ER by .ohn >oss 5assos H&(h/ =o" c,lt,re >&st&nct&on. 9 Art' %al,able c,lt,re/ o ,lar c,lt,re:. H&(h c,lt,re. Gender d&st&nct&ons' "h&teness and non "h&teness. .ohn >os 5assos. ?n Amer&ca there "as not a h&(h c,lt,re l&terat,re &n the ES' they co y the E,ro eans. Masc,l&ne 1,al&ty. ?t man& ,lates t&me 1,&c$ly. .ohn >os 5assos &s a art o- the lost (enerat&on. A man o- some &m ortance' an &m ortant la"yer' "ealthy. Best schools &n the co,ntry. Har%ard. Absent "ealthy -ather. )&n&shed Hard%ard' he "or$ed as an amb,lance dr&%er on the -ront. >os 5assos' he "ants to be art o- the "ar. ?n%ol%ed &n the "ar more than Hem&n("ay. Manhattan

Trans-er &s ,bl&shed &n 1@2B. A %ery &m ortant amer&can "r&ter. By the late 1@3As d&ssa ears. He (oes to S a&n to the 3&%&l #ar. 1@CA %ery conser%at&%e. A-ter (o&n( to S an&sh 3&%&l #ar' he became a com lete conser%at&%e and he &s al&enated -rom the "r&ters beca,se Hem&n("ay &s comm,n&st and d&dn+t l&$e conser%ad,r&sm. ?m ortance o- the -&lm &n h&s "ay o- "r&t&n(. He ,nder(oes a ol&th&cal sh&-t that are er4,d&c&al -or h&s l&terary re ,tat&on. The Steera(e' 1@A6 Al-red St&e(l&t*. 5a,l Strand' #all Street' 1@1B. He &s &ns &red by >*&(a 2erto%'non-narrat&%e' &n R,ss&a' he (oes there E&nseste&n9 a%ant-(arde -&lm' narrat&%e:. Str,ct,re o- the no%el' e%erybody &s s"eaty' d&s(,st&n(' -&lthy en%&ronment. 5a(e 13 9 m&rar en casa:. 2&olence sat,rates th&s "orld. E%eryone' e%en the &nnocent ch&ldren. E%eryone' money (reed' des erate reta&onsh& to money. As "e sa" &n one o- the art&cles. 3&ty- metro ol&s' bas&c cond&t&on o- o,r modern l&-e. ?s there some ,tho &an com onent o- l&%&n( &n the c&tyF 5eo le react %ery bad' e; la&n&n( "hat ha en' Ellen Thatcher/ <(lethor e mmmmmm .&mmy Her-- he rmother d&es o- a stro$e. 3olle(e st,dent' s,&c&de. .&mmy read&n( encyclo ed&a. Se1,enc&n(. Bad "ords &n the encyclo ed&a. Se; doesn+t ha en' A r&l cr,elest month' ass&on' ne" th&n( don+t (ro" anymore. H,man as a $&nd o- mach&ne. Absence o- "armth' o- emot&on. >ander&ne- made yo,r ha&r (ro"'"as made 2A er cent alcohol' ad%ert&sement o- th&s ha&r ton&c. The (reat lady &n a "h&te horse. Sense o- -als&ty. Alternat&%e .es,s. Anc&ent (ree$ and roman -&(,res. )a$e %ers&ons o- ant&1,&ty. ?ma(&nary. 1@th cent,ry no%el. Modern -a$e %ers&ons o- some -orm o- ant&1,&ty. Geor(e Bald"&n-the la"yer' he re resent Em&le8 3on(o .a$e Hor en&n( G,s and !ell&e Mc!eal 2erto%- (reat deal o- &n-l,ence &n >os 5assos.#hat does modern l&-e meansF The rom&se o- -&lmre%ol,t&on- collect&%e consc&o,sness.Sym athet&c to com,n&sm' b,t a-ter (o&n( to S a&n' he &s not. !arrat&%e str,ct,res' ,ses o- monta(e or ast&che. Re%&e" o- Manhattan Trans-er. S&ncla&r =e"&s!obel r&*e b,t he became ,n$no"n a-ter"ards. =an(,a(e o- mater&al&ty' the same that 2erto% ,ses. >os 5assos ca t,rates the smell' the scent o- !e" Yor$. The man "&th the mo%&e camera- %erto%. H&no techn&1,e. #hat 2erto% &s do&n( "&th -&lm' >os 5assos &s do&n( "&th no%el. Yo, don+t ha%e a -oc,s &n a character' s eed and 4,;ta os&t&on. Aesthet&c o- mater&al&ty. R,ral to ,rban trans&t&on. Tra&ns and horses. >r&%&n( a carr&a(e and a tra&n. A(rar&an and the modern. 5oetry o- the s,b4ect&%e oem. =&r&c&sm abo,t an ,rban' collect&%e conc&o,sness. Sense o- s eed' ers&stence o- t&me' synchron&*&ty. 3arr&a(e' tra&ns mo%&n(' e%eryth&n( $ee s (o&n(. .onah- b&bl&cal re-erence. A c&ty &nmoral and corr, t- sho,ld be destroyed by God- a dar$ re-erence to doom. 3&ty &n Manhattan trans-er. O,al&ty o- &ma(ery. Smells' (erman&c ,se o- ad4et&%es' "ord -,sed to(ether. ?ma(&st&c' S&ncla&r =e"&s. #hat &s race do&n( &n th&s no%el. Secondary characters3on(o .a$e- $&n$y ha&r' he &s not A-r&can. #h&te ethn&c&ty. Em has&s on smells' the trash smells'

no%el sat,rated "&th th&s. Bet"een .oe and .o.o- no se;-marr&a(e oroblems' he &s (ay' .o4o homose;,al. S,&c&dal' melhanchol&c. Ellen' &s s&m&lar to "hat .&mmy does as a $&ds. H,n(ry and alone. She "as al"ays alone' she asses -rom ha%&n( her o"n room' she loo$s hersel- &n the m&rror not&c&n( she &s yo,n( and bea,t&-,l. B,t the tra--&c$+s no&se made her -eel&n( so alone. !o&ses- host&le. =&terary nat,ral&sm. !at,ral c&tysca e. #orld #ar ?. 5oor old- Geor(e Bald"&n to 3ec&ly. Merely another $&nd o- b&t o- e%eryday l&-e. T&me o- ,bl&cat&on on 1@2B. E%eryday l&-e- ASSASS?!AT?<! <) AR3H>EHE #?== HA2E GRA2E 3<!SEOEE!3ES. AESTR?A! ARMY M<2?=?ME>- the most ma4or e%ent &s someth&n( that yo, read "h&le yo,r ar(,&n( "&th yo,r "&-e. A "ar "o,ld be an e;traord&nary th&n( to see. >ar$ h,mor. ?t &s &nterest&n( -or ho" &s (o&n( to a--ect the mar$et to them' and "orr&ed abo,t ho" are they ersonally a--ected. ?. !e"s a ers and The 3,lt,ral >&%&de. ??. Alcohol' 2&olence and death ???. The #ar and / Modern&ty0 5r&nt med&a' by the th&rd sect&on' .&mmy Her- and another. !"s a er- -orm and conte;ts' they are re orters. E&len "he she &s an actress. !e"s a er headl&nes. Ser&es o- &ma(es. =e%el o- -orm someth&n( (o&n( on "&th the ne"s a ers. Stan' lo%er o- E&len sets -&re to h&s a artment and d&es. He &s an alcohol&c. 1B m&n,tes o- -ame- Andy #arhol- %ery -amo,s &n a short er&od o- t&me' and then d&ssa ears. Ellen &s a !&ne+s >ay #onder -or an art&c,l&st "ho "rote abo,t her. H&s -ather $no"s -or the ne"s a ers she had an a--a&r and she "as (o&n( to (et d&%orced. H&(h de(ree o- al&enat&on. )ather-da,(hter relat&onsh& ' a (oss& ne"s a er. They don+t seem close' the ne"s a er ta$es the lace that &nt&macy "o,ld occ, &ed. 5eo le seem rather d&stant. !o &nt&macy anymore. Yello" 4o,rnal&sm- "hat .&mmy "r&tes. #hat ne"s a er do they readF !e" Yor$ T&mes- the a er orecord- h&(h standard o- 4o,rnal&sm' not tablo&ds. The !e" Yor$ Tr&b,ne sensat&onal&st&c' comocs' l&$e !e" Yor$ Herald. .ames Mara%ell- !e" Yor$ tr&b,ne he b,ys &t to read &n the s,b"ay. 3lassy ne"s a ers9 the t&mes: and trashy ones9 tr&b,ne:. Trans&t&on o- .&mmy' enter&n( to h&s head and to "hat he &s th&n$&n(. !e"s a er headl&nes' the be(&nn&n( o- the #ar and Santa 3la,s $&ller' "ho $&lled h&s da,(hter and h&msel-. )act,al &n-ormat&on' tem oral&ty o- ne"s a ers' &n a %ery s ec&-&c t&me. Tem oraly ,n&1,e. Modern &dea o- nat&onal&sm. >a&ly ne"s a er. Share o- e%ents' obelon(&n(. S l&t , by nat&on' eo le don+t -eel ,n&-&ed. A"areness o- (o&n( on. ?deolo(&cal -,nct&on' belon(&n(' ,n&ty' , to day o- "hat &s ha en&n(. =e(&ble and &ntell&(&ble. !e"s a er' %&olent acts. T&(htens. 3onnect e%eryone to(ether. Scr,mble+s .&mmy+s ,nderstand&n( &s s&m&lar to be dr,n$. #hen he &s dr,n$ he s ea$s l&$e ne"s a er' less le(&ble' less ,ndestandable. Ellen' someth&n( s&m&lar' descr& t&%e assa(es' enter&n( her mo,th' all the s,dden' rac&st car&cat,re o- the ele%ator attendent. ?solat&onF Ellen' rad&cal s"&tches' a $&nd o- de ress&on to e;,berance. >&d to she "al$s. 3atch-, to the resent moment-&nmed&acy' "hen she chan(es mood. #hen she chan(es her mood loo$&n( &n the m&rror. 3onsc&o,sness' "hen she loo$s at hersel- as a body' rad&cal sh&-ts' al&enat&on' sel--al&enat&on' sense o- 4oy' someho". She has dec&ded that she &s (o&n( to abort the baby' rec$less -reedom. >ar$' bac$ alley th&n(. Ellen and .&mmy marr&ed and ha%e a ch&ld. 5arallel str,ct,re. ?solat&on &n mood' -rom de ress&on to 4oy. !ot co,rtsh& &n the marr&a(e' .&mmy and Ellen' they "ere marr&ed. #e don+t (et acces to the co,rtsh& ' &t ha ens &n E,ro e and they don+t tal$ abo,t &t. They both seem to be tem eramental. Art&c,late %ers&ons. .&mmy assoc&ated "&th old money and Ellen as "ell. Stan. #hat &s ha en&n( to h&mF !arrated -rom the m&nd o- a dr,n$ man' he ends , sett&n( -&re. He s &lls 1,erosene' and matches and the (as. Gas lam s. Gas o,r&n(.

O,erosene catches -&re. 5as&%&ty' he &s hel less' there &s someth&n( $&nd o- monstro,s. 5&nocch&o. Encanny. <b4ects- a earance o- l&%&n(' h,man be&n(. <b4ects "&ll $&ll yo,. #ar 261. Re4o&c&n( 3&ty that >"elt 3arelessly. Amer&can -la(s- &ma(ery -rom s,rreal&sm--la(s' ton(,es that are h,n(ry and "ant to be -eed' T&me o- eace' t&me o- ha &ness. 1. The /Great #ar0and the ret,rn to normal&ty 2. 5r&nt and !,mbers 3. The B,rthen o- !&ne%eh 1@16-1@17. Mass&%e e &dem&c' Ma,r&tan&a' assen(er sh& ' (&(ant&c assen(er ocen l&ner' 4,st as the =,s&tan&a "as. 3amo,-la(ed' ,sed to trans ort (oods and "ea ons. So -ast. S,cces-,lly s,r%&%es the "ar and d&dn+t s,n$. ?t has s,r%&%ed' mar%le or modern &nd,stry. Modern &nd,stry has -a&led' e%en &&t &s the -astest' arr&%es 2Cho,r late. PEl Mauretania, que entra con veinticuatro horas de retraso... grit el to del telescopio y

los gemelos. Miren, seores, el Mauretania, el galgo del ocano, el barco m s r pido, con veinticuatro horas de retraso! PEl Mauretania, ma"estuoso como un rascacielo, entra en el puerto. #n rayo de sol acentuaba la lnea de sombra ba"o el puente de mando, y a lo largo de las blancas $ran"as de las cubiertas superiores $ulguraba en las hileras de portillas. %as chimeneas se separaron, el casco se alarg. El negro casco reacio del Mauretania, empu"ado por remolcadores asm ticos, cortaba como un largo cuchillo el &orth 'iver. #n ferry se ale"aba de la estacin de emigrantes, un murmullo recorri la multitud apretu"ada en los bordes del muelle. ()eportados... *on los comunistas que el ministro de +usticia deporta... )eportados... 'o"os... *on los ro"os que deportan., El ferry se ale" del embarcadero. )e pie en la popa, un grupo de hombres, pequeos como soldaditos de plomo. Est n mandando los ro"os a 'usia. En el ferry agitaron un pauelo, un pauelo ro"o. %a gente avan- de puntillas al borde del muelle, de puntillas y en silencio, como en el cuarto de un en$ermo. . espaldas de los hombres y mu"eres apiados a la orilla del agua, policas con cara de gorila y espaldas de chimpanc se paseaban de arriba aba"o balanceando sus porras. P*on los ro"os que mandan a 'usia... )eportados... .gitadores... /ndeseables... %as gaviotas chillan. #na botella de salsa de tomate se bambolea gravemente sobre las ondas de vidrio molido. )el ferry, que se iba empequeeciendo con$orme se ale"aba, llegaba el rumor de una cancin.
!ATERA=?MAT?<! D the harbor &s bleed&n( o,t th&s eo le' the -erry "&th oor eo le lea%es' the le-t ol&t&cs eo le "ent o,t -rom !Y3. 3r,el s ectatorsh& . Tony H,nter- homose;,al- that+s "hy he (oes to the sychoanalys&s to c,re h&msel-. ?t "as cons&dered a mental d&sorder. >os 5assos &s a /macho0' reader to shym at&*e "&th these men. 2&olence' lac$ o- com rehens&on o- the "orld....&mmy and Ellen' co e t,rn&n( themsel%es &nto s&(n&-&ers' n,mber os&t&on. =A 3ARGA >E !Q!?2E- The c&ty o- !&n&%eh' destroyed by m&l&tars' not rel&(&os' .onah "atched the c&ty+s s&n and terr&ble soc&ety . Cmo pues yo no voy a tener lstima de Nnive, la gran

ciudad donde hay ms de ciento veinte mil personas que no saben distinguir el bien y el mal y gran cantidad de animales? Religious imagery !aste land, images !here modernist !riters !ould return to" #onah is not a prophet, $"% & Con'o #ac( change, success, representative o) the modern era a)ricanist )igure*"

+l sol brilla ro'i,o a trav-s de la niebla, sobre cabrias herrumbrosas, sobre esqueletos de camiones, osamentas de .ords, masas in)ormes de metal corrodo" #immy aprieta el paso para librarse del olor" /iene hambre" 0os ,apatos empie,an a levantarle ampollas en los dedos gordos de los pies" +n una encruci'ada, donde la se1al luminosa parpadea todava, hay"una estacin de gasolina y )rente a ella, una cantina" The Lightning Bug" 2asta con precaucin su 3ltimo quarter en desayunar" 0e quedan tres centavos, que le traern buena suerte o mala, es igual" 4n enorme camin de muebles, brillante y amarillo, ha parado a la puerta" P0iga, 1me de"a usted subir2 pregunta al hombre pelirro"o que lleva el volante. P1.dnde va2 P&o s... 3astante le"os.
5imilar to the description o) 2atsby, city6 smo(e and ruins, city has become the historic Niniveh, because o) !or(ing history, because o) industry, secular modern violence, a lesson about modern history" Niniveh /he burthen burn, birth,7anhattan contemporary version o) Niniveh" %os 8assos 7anhattan /rans)er about the 7odern City" .orm o) this novel characters completely alienated" City itsel)" 9n the modern era, a city is actually a character" 9n order to do that, brea( conventional novelistic" :"%orothy 8ar(er& :;<= :<>?* @" 7odernist maga,inesA the Bi(ing portable =" /he Ne! Coman D" Eumor, 5tyle, +lite belonging"

5ometimes not considered very important because it !asnFt a novel, but short stories, humour poems" %orothy 8ar(er a very succes)ul, !ealthy )amily" 5he lived in very eGpensive boarding school" 5he didnFt go to college" Banity .air :<:@ Cor(ing )or maga,ine" Bogue" .irst 9ssue Ne! Hor(er :<@I" $lgonquin Round /able& %orothy 8ar(er and #ames /hurber on )ar right, :<=;*" 7odernist maga,ines" /he Joo(man:<@<" Jig Jlonde" ConteGt Birginia Cool), 7ary $ustin" /he Bi(ing 8ortable #ohn 5teinbec(, /he Bi(ing 8ortable o) heming!ay, %orothy 8ar(er, .it,gerald, .aul(ner" B$N9/H .$9R 7$H :<:I" Bision o) independent !omanhood" 9ndependent, masculine, a (ind o) spectacle at the same time" Coman as a seGual ob'ect" 5u)ragio de la mu'er" Coman, po!er)l spectacle" Radical consumer" Kno!ledge o) )ashion" Consumerism, (ind o) independence" 8ar(er very dismissive o) this )emininity"

%nnabel and )idge came out of the tea room with the arrogant
slow gait of the leisured, for their Saturday afternoon stretched ahead of them. *hey had lunched, as was their wont, on sugar, spongy new white bread greased with butter and mayonnaise+ whipped cream and melted chocolate gritty with nuts.

starches, oils, and butter!fats. (sually they ate sandwiches of they ate thick wedges of cake lying wet beneath ice cream and

They aren't described as people, reader totally disconnected from them, the ideal, perfect consumers.What are Annabel and Mitch laughting at?What would you do if you had a million dollars? A play. Consumers. " isten, Annabel," she said. " oo!. "uppose there was this terribly rich person, see? #ou don't !now this person, but this person has seen you somewhere and wants to do something for you. Well, $%$ a terribly old person, see? And so this person dies, &ust li!e going to sleep, and lea'es you ten million dollars. (ow, what would be the first thing you'd do?" )ery first transition, *uic! response about themsel'es as consumers. +t is ne'er enough. arger &o!e, relationship of the story with the title - the standard of li'ing./antasy corrupted economy. (ot a realistic understanding of the economy. 0lac! and white, %rrangement in ,lack and -hite. 1olitical, race relations in America. eft politics. White woman whose husband we don't meet. "he wants to meet the singer Walter Williams, african american singer. /amous blac! singer. "+ am," she said. "+ !now + am. 1oor 0urton2 (ow, me, + don't feel that way at all. + ha'en't the slightest feeling about colored people. Why, +'m &ust cra3y about some of them. They're &ust li!e children4&ust as easygoing, and always singing and laughing and e'erything. Aren't they the happiest things you e'er saw in your life? 5onestly, it ma!es me laugh &ust to hear them. 6h, + li!e them. + really do. Well, now, listen, + ha'e this colored laundress, +''e had her for years, and +'m de'oted to her. "he's a real character. And + want to tell you, + thin! of her as my friend. That's the way + thin! of her. As + say to 0urton, 'Well, for hea'en's sa!es, we're all human beings2' Aren't we?" "#es," said her host. "#es, indeed." "o sofisticated than she says that they are all human beings and then, she said the most racist thing, + lo'e my blac! laundress.
"Wait till I tell him I met Walter Williams!" she said. "He'll just about die. Oh, we have more arguments about colored people. I talk to him like I don't know what, I get so e cited. 'Oh, don't be so sill!,' I sa!. "ut I must sa! #or "urton, he's

heaps broader$minded than lots o# these %outherners. He's

reall! aw#ull! #ond o# colored people. Well, he sa!s himsel#, he wouldn't have white servants. &nd !ou know, he had this old

colored nurse, this regular old nigger mamm!, and he just

simpl! loves her. Wh!, ever! time he goes home, he goes out in the kitchen to see her. He does, reall!, to this da!. &ll he sa!s is, he sa!s he hasn't got a word to sa! against colored people as long as the! keep their place. He's alwa!s doing things #or

them4gi'ing them clothes and + don't !now what all. The only thing he says, he says he wouldn't sit down at the table with one for a million dollars. '6h,' + say to him, 'you ma!e me sic!, tal!ing li!e that.' +'m &ust terrible to him. Aren't + terrible?" "6h, no, no, no," said her host. "(o, no." "+ am," she said. "+ !now + am. 1oor 0urton2 (ow, me, + don't feel that way at all. + ha'en't the slightest feeling about colored people. Why, +'m &ust cra3y about some of them. They're &ust li!e children4&ust as easygoing, and always singing and laughing and e'erything. Aren't they the happiest things you e'er saw in your life? 5onestly, it ma!es me laugh &ust to hear them. 6h, + li!e them. + really do. Well, now, listen, + ha'e this colored laundress, +''e had her for years, and +'m de'oted to her. "he's a real character. And + want to tell you, + thin! of her as my friend. That's the way + thin! of her. As + say to 0urton, 'Well, for hea'en's sa!es, we're all human beings2' Aren't we?" "#es," said her host. "#es, indeed." "(ow this Walter Williams," she said. "+ thin! a man li!e that's a real artist. + do. + thin! he deser'es an awful lot of it. 7oodness, Woma perpetually ridiculous, husband the reason she does anything. "he called this man mister- "I liked him," she said. "I haven't any feeling at all because he's a colored man. I felt just as natural as I would with anybody. Talked to him just as naturally, and everything. But honestly, I could hardly keep a straight face. I kept thinking of Burton. h, wait till I tell Burton I called him '!ister'"" #alt$. !isery% basic condition of life. The female, the men figure, foil, ironic distance. Identify with her. &haracter embodied in that story, laugh with 'arker. &ultivate a sense of distance. 'arker% divide running parallel. (umor, ironic distance. )augh with her and the people she is laughting at. *othing but ironic distance, an incredibly isolating attitude. +ocial space, belong together, a distance, all the readers have. !ainstream maga$ines, maga$ines of distinction% elite educated readership% criti,ue. &reating that distant irony, elite humour, belonging. )aughter, humour, +he was a good sport, man liked a good sport. -ery factual. These sleeping pills are uneffective. The failure of the medicine to give her wants she wants. 'romise of consumerism. .ailure of the commodity tod deliver promise. The promise of commodities. /oing back to drinking again. ngoing struggle with alcoholism. &onsumerism, whisky will not make her feel better, it is the only recourse for her. 0rinking as a kind of therapy. &riti,ue of the domestic wives, unmarried, doesn't have a family, emphati$e, allegory of a certain style of

american product. Identify with her in a certain way. !iddle class family life. 1ssays in modernist era, organ of the ja$$ age. +peciali$ed in a kind of wit and irony. Ironic wit and ironic disntance. 2 story about a family.The man that vanishing from his routines, sense, fantasy of individualism. !iddle% class office worker. Inhability to earn enough money. 3gly, terrible, unconscious. 2lienation, masculi$ation, femeni$ation. Irony% !iss &ole% #ilock wants to get out of the situation. *ot beautiful, allusion, surface, another level of irony. &ritical of not just the modern addicted to sentimentality% not modern. 2gainst this sentimental woman. !r. #ilock's fantasy will remain a fantasy. 2 part of a group that is completely mocking this scenario. &riti,ue of convention. /entil or middle class% undesirable here. In a way, they live the 2merican 0ream. Basis of the american dream. It doesn't give you what you want. Moden&st- acces&ble to a broader readersh& . 5ar$er- reser%e her te;ts. H,mo,r. Hey. Ho" her "r&t&n( &nter elles ,s as a reader. Able to &ron&cally ma$e -,n -rom ma&nstream eo le. Modern&sm &tsel-. Emer(e -rom a lar(er modern&ty. 3r&t&c&ses ,rban l&-e. Sense o- d&stance. ?solat&on and al&enat&on. El&te. ?nd&%&d,al&ty. Thro,(h &rony. El&t&sm. =a,(hter-eco. 176. )em&n&ne bea,ty -rom the 2As %ol, t,os' to the standard s$&nny' modern' 3 ma4or th&n(s 3lear thes&s cla&m' "hat ? am (o&n( to ar(,e o- the essay. <r(an&*at&on sho,ld -all -rom l&$e that. 5ar$ercr&t&cs (ent&le con%ent&ons' react&on a(a&nst 1@th cent,ry manners and ol&t&cs. S,b,rban l&-e' con%ent&onal -am&l&es. 5ar$er' r&mar&ly an &ron&c "r&ter. =e%els o- &rony' &ron&c relat&on "&th the &ron&c character. ?rony &n 5ar$er- somet&mes a roblem. 5ar$ers o"n ol&t&cs. =e-t' comm,n&st and soc&al&st' act&%e. A co, le o- her ol&t&cal &eces. 5oetry don+t ha%e to see analysed' l&(ht %erse' l&ttle oems to -&ll &n "h&te s ace. !o" at =&berty =&ttle "h&te lo%e' yo,r "ay yo,+%e ta$en8 !o" ?+m le-t alone' alone. 5oem. >&sconnect ho" &t so,nds and the content. >ar$ &rony' >eath' ? tr&ed to $&ll mysel- &n all these $&nds o- "ay. =etter o- res&(nat&on. Yo, can+t e%en $&ll yo,rsel- anymore. 5ar$er embrac&n( the -&(,re o- modern&st "r&ter. 1@3AS descr&b&n( 5ar$er' )&t*(erald' Ste&n- =ost Generat&on. .a** a(e a %ery narro"' sel-&sh er&od. ?nterested &n ser&o,s 1,est&ons. Ser&o,s r&nc& les 3As. There &s not ? b,t "e' s&n(,lar to l. AmKr&co 5aredes' !athan&el

#est' te;ts o- the .a** A(e' one o- the stor&es abo,t modern&sm' ol&t&cal ser&o,sness &n 1@3As. Gatsby- not a master &ece. E;,berant e; er&mentat&on' (reat l&terary o,t ,t' someth&n( rad&cal ha ens -rom the 1@2A-to 3A' -or #&lson' >eath' Holly"ood. B&o(ra h&es o- "r&ters that "or$ed -or Holly"ood "as the e1,&%alence o- death. Today' maybe nostal(&a -rom the 1@7As. 1@BA (enerat&onal &dent&ty.Modern&st- a (enerat&on' they belon(ed to a (enerat&on' o"er o- that (enerat&onal &dea. 5ar$er+s 5ersona8 a,tob&o(ra h&cally' "e (et to $no" >orothy 5ar$er as a erson' o,ts&der' sense od&stance -rom e%eryone' o,ts&de "atch&n( e%erybody' acces&b&l&ty to the d&stance' -a&l,re ocons,mer (oods' e%eryday moments that ro%&de the el&te d&st&nct&ons.1@2A- &n-lat&on o- the e(othen' &n 1@3As tho,(ht ho" sel-&sh that "as.

3A3TES TH<R!-Mary A,st&n 1.Re(&onal&sm8 The Amer&can #est 2. Modern&sm8 5r&m&t&%&sm 3. Mary A,st&n' landsca e and (ender. Re(&onal&sm- a ne" $&nd-1@2As. So,thern a(rar&an&sm. A,sten' ho" th&s "or$s &n the Amer&can #est' as "ell as the So,th- r&me s&te o- &dent&-&cat&on. !e" Re(&onal&sm- ret,rn&n( o&nt' -rom the e;cess o- the 2As' ret,rn&n( to the so&l' !E# REG?<!A=?SM has &ts -eet on the (ro,nd and &ts hands &n the so&l. Mary A,st&n- nat&%e amer&can c,lt,re. Re(&onal&sm' a co,nter -or modern&sm. T,rn&n( a"ay -rom modern&ty. !e" Yor$' corr, t&on' ret,rn&n( to nat,re as a "ay to ,rs,e the art' a better l&-e. 3h,n$ . Amer&can "est. Ale;ander Gardner' Se%en Men and #omen 17G7. Em has&s &n landsca e' desert' so,th"est desert' l&$e -emale body' bea,ty' then threats9 star%at&on...: b&nary' se; and death. Emer(&n( -rom the landsca e. ?ncred&bly stereoty &cal. Enchan(ed o%er the co,rse o- cent,r&es. ?n%ers&on. >est&ny retor&c. 5r&m&t&%eness' star$ o os&te o- modern&ty. Anc&ent "ays o- l&-e. Re(a&n ,re s &r&t,al&ty. T&mothy <+S,ll&%an' <ld M&ss&on 3h,rch ' Ansel Adams' =a,ra G&l &n' 5a,l Strand' ranchos de Taos' 1@31. 5a,l Strand' Abstract&on' Bo"ls' 1@1B. Ed"ard #eston' 5e er !o.3A' 1@3A. Ansel Adams' Moonsr&se' Hernande*' ne" Me;&co. !ot ,rely nat,ral&st&c. )orm. A rec&ate and ,nderstand the landsca e. =a,(h&n( horse- the&r o"n ma(a*&ne.>.H =a"rence' Taos' !e" Me;&co. Ansel Adams' ortra&t o- Mary A,st&n' 1@2@. .ac$ =ondon' Ambrose 5&erce. 3act,s Thorn. #oman o- the tra&n stat&on- she &s art o- the landsca e. Blends &n to &t. Blend&n( &n &nto the landsca e. 5a(e C8 2ery stron( em hasys &n A,sten- "oman- Helsy- =andsca e. ?ncred&bly %ol, t,os "oman. The $n&-e. A,st&n "&ll &ma(&ne' the desert landsca e em o"ers "omen. The $n&-e. 3act,s thorn' she has the $n&-e' cact,s are bea,t&-,l' l&$e "omen' b,t they are dan(ero,s' the $n&-e and the thorn. =andsca e- se; and death. So,th"estern en%&roment- -emale o"er' r&m&t&%e s &r&t,al&ty. 5reh&stor&c -emal -orces. 3onnect&on to nat,re. )emale body. ?nmensely dan(ero,s. 5andora. Her -&rst %&olence. )emale (odess. )emale (odesses that connote ,r&ty and dan(er. < osed)em&n&ty' se;,al&ty' landsca e. Manhood' re(enerat&on' the "est

Marr&a(e and %&olence. Ed&ted %ol,me by Blac$"ell- re-erence essay. Encyclo ed&a l&$e essay. #r&tten -or a (eneral readersh& . H&(h real&st d&ct&on. ?nter&or hsycolo(&cal real&sm. 3act,s thornmarr&a(e- Mary A,sten. She "as %ery ,nha &ly marr&ed at a yo,n( a(e. Then' she had some a--a&r' she tr&ed to reconc&l&ate hersel-. She "anted to marry a (eolo(&st "&th "hom she had an a--a&r b,t he d&dn+t marry her and that made he terr&bly ,nha y. 5a(e 2A. #hat &s adm&rable abo,t >,lc&eF =ac$ o- a(ress&%eness' con%ent&onal&sm o- descr&b&n( se;,al&ty' se;,al des&re. =e-t her &n%&olate' ,nharmed. 5,ls&%e o"er that let her &n%&olate- she &s le-t ,nreb,te and &n%&olate' "elcomed. There &s a -antasy here' "&th A&rl&ss seems to ha%e' "&th >,lc&e' she "on+t re1,&re th&n(s -rom h&m. She &s le-t &n%&olate' she &s not a--ected by se; the "ay the "omen &n the c&ty are. >,lc&e- l&$e nat,ral reso,rces. He can act "&tho,t e--ect. A&rl&ss' a to,r&st' re(enerate h&s %&tal&ty. >,lc&e- another attract&on he st,mbles across. >esert' landsca e- a -emale body to be con1,ered by male. .ob omen- b,&lt on &t' c&%&l&*&n(. !at&%e-Amer&can "oman' nat,re &n -orms rod,ct&on-&n%ers&on- the (oal not to ma$e a bas$et' based &n yo,r $no"led(e o- nat,re. Hey o- -emen&n&ty- r&m&t&%e relat&onsh& "&th nat,re' ,r&ty- mo,ld&n( real&t&es o- earth. Mac,l&n&ty -a&ls beca,se &s $&nd o- lost embod&ment. A,sten -em&n&st. Sel--em loyed "r&ter. )emen&n&ty closed to nat,re em o"ers "omen. #hy "as she (&%en the da((er' her mother (a%e her to rotect her -rom se;,al e%ents. Anc&ent s an&sh "or$mensh& . >a((er' a ersonal and r&m&t&%e' not art o- c&%&l&*at&on' r&m&t&%e ast' anc&ent s an&sh "or$mensh& . 2&s&on o- the -emme -atale' "omen "&th a da((er. Se;,al dom&nance. #hat &s the rom&se o- the #est -or A&rl&ssF He loo$s -or &ns &rat&on' ass&on' A&rl&ss &s s,--er&n( o- a $&nd o- de ress&on. ?n order to re(a&n a $&nd o- &ns &rat&on &s (o&n( to the #est. S &r&t,al homeland. Re4,%enate h&m someho". #hat ty e o- l&terary cr&t&c&sm- theory o- ho" l&terat,re sho,ld re resent the en%&ronment. >&rected to st,dents' ad%anced ,nder(rad,ate st,dent or (rad,ate st,dent. !at,ral&sm- she read .ac$ =ondonnat,re al"ays host&le &n .ac$ =ondon- characters -ree*e to death &n the most o- h&s no%els. 3rd . omn&sc&ent narrator-chronolo(&cally-no r, t,re o&nt. =e%el o- content' not -orm. >,lc&e- a s&necdo1,e o- the en%&roment. >esert ass,mes the role o- a character. A&rl&ss doen+t ,nderstand the en%&ronment and >,lc&e yes. A&rl&ss a to,r&st and not the lone e; lorer he &ma(&nes h&msel- to be. #hat are "e s, osed to see &n "hat A&rl&ss -&nds &n the desertF Manhood' dandy' Har%ard' s$&nny and ale. He "as $&lled by !e,rost&m&a9 de ress&on:' h,nt to the "est. Theodore Roosel%eltamer&can "est- he became an &con. >andy ne" Yor$ ol&t&c&an. #est to reco%er h&s manhood. He comes -rom the "est and he seems rene"al' -&lled o,t bod&ly' and "ell' ersonaly. Seems to 1,est&on the %al&d&ty. M,rder. >a((er l&$e a thorn' he d&es &n means someth&n( b&((er. ?n !Y3 he re resents a m,rder o- 4,st&ce and tr,e democracy9m&sread: ' a(ency o- the desert' d,lc&e re resents the desert' the desert $&lls h&m. She (oes to !Y3 to -&nd h&m and $&lls h&m. En%&ronment' the land contr&b,tes &n o,r l&-e' "oman "ho &s abandond' re4ected by her lo%er reco%ers the a(ency by $&ll&n( her lo%er. >,lc&e $&ll&n( the sna$e and $&ll&n( the man- she does not (&%e &n to the e%&l- adan and e%e. A&rl&ss and the e; lotat&on o- her. 5ol&th&cal h&loso hy' o--ence and 4,st&-&cat&on. ?n the desert &s more real. ),s&on o- l&-e and the en%&roment she l&%es &n. C .m >A!E SM?TH HA==. Academ&c Tal$ t&enes 1,e &r crKd&tosN 1. 2. 3. C. AmKr&co 5aredes91@1B-1@@@: 1@26- ,nt&l the 1@77 / <,r Amer&ca0 )ol$lore The Border and Modern&sm.

3h&cano "r&ter. AmKr&co 5aredes. Th&s &s "r&tten bet"een 1@3A-CAs. He "r&tes be-ore (o&n( to colle(e. T"enty one that t"enty -&%e. Ed,cated m&ddle class "omen.1@7As ch&cano l&terat,re'

broader readersh& . B&rth o- 3h&cano l&terat,re a-ter 1@GAs. Ra &d mo%ement. There are th&n(s that co,ld be better e; la&ned. 7AS' @As. Reco%er&n( lost te;ts. Modern&sm- near all "ere "h&te male "r&ters. #orld #ord ??. H&s dessertat&on- #&th h&s &stol &n h&s hand8 A Border Ballad. Te;as Ran(er- not hero&c- .ohn Bro"n- -rom an an(le &s hero&c' -rom the e%ol,t&on&st mo%ement' and -rom the other s&de he &s an &nsane' %&olent erson. #e&rd synta;. Translated lan(,a(e. Great de ress&on no%el' roletar&an no%el' a (enre that -lo,r&shed' Ste&nbec$ the o ,lar %o&ce oth&s mo%ements. Alternate- hem&s her&c amer&can h&story. .ohn >os 5assos. #orld #ar ?. 2eterans. 2ery e; l&c&t and determ&ne "ay. Translates' d&e(o r&%era' ESA tr&lo(y' #orls #ar ?. Three sold&ers. 1@16. 3arran*a- one o- the ma&n (eneral o- the me;&can re%ol,t&on. Me;&can Re%ol,t&on last lon(er than #orld #ar ?. Me;&co' %ery d&--erent %ers&on o- 1@th cent,ry. S an&sh Amer&can re%ol,t&on' the -ranco-me;&can "ar' East 3oast co,ntr&es' modern&st' not &n terms o- &ts -ormal e; er&mentat&on. En&ted States' descendent o- E,ro e' or &n d&alo(,e "&th Me;&co. !am&n(8 )rom h&s -ather' acclamate the ES c,lt,re. Sel--nam&n(. Amer&can' as &rat&onal nam&n(. 5lace h&m -,lly "&th&n the nat&on thro,(h nam&n(. Border Me;&can $no"s that there &s no brotherhood amon( men9 a(e 13: !ot oss&b&l&ty o- ,n&-&cat&on. The Border Me;&can9 ca &tal&*ed:. Recent Amer&can h&story- arb&trary d&st&nct&on. ?n %ery recent memory. 5R( 2@. En&1,e soc&al en%&ronment. 1. Alternat&%e h&story 2. The Border 2&olence. 3. !am&n(Ss l&t &dent&ty. G,al&nto- the s l&t ersonal&ty' d,al&ty. There "as not a s&n(le (,al&nto GTme*. He &s not only s l&t' a d,al&ty' b,t a m,lt& l&c&ty o- h&s ersona. >,al -&(,re' b,t not red,ceable. !o cho&ce' no oss&ble cho&ce. Yo, cannot ta$e a s&de. Ethn&c d&--erence. Rac&al or ethn&c cate(ory. M&ss 3ornel&a' selhatred.

1. M,s&c' 5arty' )ol$olore 2. The Great >e ress&on 3. )antasy and career Role o- m,s&c' oetry and -ol$lore &n the no%el' as he (oes to colle(e' -ol$lore h&s ma&n &nterest. 5r&mar&ly &nterested' doc,ment&n(' anal&*yn( and reser%&n(. !ot rob,st as the ost-"ar "r&t&n(s' $ey arts o- the c,lt,re. 5ossesed' rat&onal and "&ld. <ne o- the th&n(s' sett&n( , th&s. S l&t &dent&ty. )ol$ c,lt,re. <ral c,lt,re/ r&nt c,lt,re. )ol$ storys tend to deal "&th myth&cal $&ds o- -&(,res. )antast&cal &ma(&nary -&(,res. Re(&ons' d&sney cartoon' mass med&a' or&(&nary -ol$ moment. G,al&nto+s rec&tat&on- h&s ab&l&ty comes -rom the oral trad&t&on o- h&s c,lt,re. 5aredes- C a(es to tal$ abo,t someth&n( that ha ens &n 2 m&n. He (&%es more t&me to the myth than to the h&story. 5aredes' the -act that G,al&nto has been ra&sed thro,(h -ol$lore. He has been memor&*&n( oems h&s ent&re l&-e. Teena(e heartbrea$- he &ma(&nes h&msel- as a oet. G,al&nto+s as &rat&on to became a oet' he "ant h&s oems to be &n the te;tboo$ o- the nat&on' he doesn+t "ant to "r&te someth&n( re(&onal or local' not a corr&do...?s th&s s,ch a th&n( l&$e a ne" son(F Restless the modern&st had.

E*ra 5o,nd- ma$e &t ne". ?s &t oss&ble to "r&te a son( that &sn+t abo,t lo%eF 5o ,lar m,s&c. A ne" ty e o- son(. Modern&st as &rat&on. =&m&ted to the access o- these tools' that can+t be done. G,al&nto+s ro-ess&on. Try&n( to do someth&n( d&--erent. Encle- a tra&tor to h&s eo le. A "ron( set o- %al,es' he had betrayed h&s -am&ly and h&s c,lt,re. Has G,al&nto s,ccess or 4,st betrays h&s -am&lyF GREAT >E5RESS?<! The "orst years o- Great >e ress&on' be-ore reco%ery' &t &s not a--ect&n( them the same "ay o- the modern amer&ca. #orld #ar <ne- d&s laces &t "&th Me;&can Re%ol,t&on- -or them the (reat de ress&on had not a (reat e--ect. Tra(edy o- the (reat de res&on. There &s not a tra(&c element beca,se they already "ere m&(rant laborers. ?t+s someth&n( that a--ects a certa&n class and race oeo le. ?- they ha%e the&r o"n car and can eat bacon' they are not oor. The an(le chan(es. ?n Te;as oor Me;&can' r&ch S an&ards. 2ery clear be(&nn&n(s and ends. Th&s e%ents' they don+t ha en &n a rec&se moment. Ethn&c cate(or&*at&on. En&1,e abo,t Me;&can-Te;an. >&cotomy- Me;&cas3h&cano-?nd&(eno,s and S an&sh. The same dream. Geor(e' (rad,ated -rom colle(e' 4a anese' so,thern border. )antasy. Te;as -orces. Recla&m&n( the so,th"est -rom Me;&co. E%en tho,(h' -,lly ass&m&lated to An(lo Amer&ca. Re(&on and c,lt,re. Translat&on. 1@17s. >reams -or )re,d. Enconc&o,s des&re. Yo,r drams are the tr,th o- yo,. >ream state. Tr,e des&res. Th&s doesn+t re1,&re &nter retat&on. Me;&co-Te;an c,lt,re. He "o,ld rema&n s l&t. =ess a s l&t- consc&o,s- ,nconc&o,s. !e,ros&s. Red Har%est- 1,est&on o- &dent&ty. 5sycholo(&cal &dent&ty. Red Har%est. 3haracters. =on( ara(ra hs. 3r&t&cal essay -or today. Research "or$sho . 3o, le o- $ey moments. 3ambr&d(e com an&on' lon(' dense' ,ses lots o- techn&cal terms'

)a&l,re o- the corr&do and b,&ld&n(sroman. =&%&n( &n modern&ty' l&%&n( &n a r,&n. 3reat&n( a s,b4ect that can do someth&n(. )a&l,re o- that os&t&on to -orm. The no%el ends %ery es&m&st&cally. 2ery dar$ read&n( o- th&s no%el. Moral and ol&t&cal reasons. ?t &s not oss&ble to "or$ &n a h&erch&cal "orld. )a&l,re. Ty e o- l&terary cr&t&c&sm. Best "ay to descr&be. T"o l&terary -orms. =&teral' ol&t&cal ol&t&cal conte;t. !ot %ery se;y. 3orr&do- band&ts. 3orr&do hero a hero. Hero&cally $&lls. End "&th %&olence. Symboll&c' act,al %&olence. ?n order to become a man' $&ll the -ather. #hat do yo, "anna (ro" , to beF H&ll&n( the -ather' -or )re,d' ? "ant to become as des &cable as yo, are.5a(e G6. Bottom o- the a(e. >el&c&o,s -r,&t. Bl,e -lo"ers. Se;,al a"a$en&n( moment. 2&olence- "hat does &t meanF2 moments o- stab&n(- doesn+t really "or$. He d&d act,ally $&ll somebody. =, e- h&s ,ncle. S&mbollyc %&olence o- $&ll&n( the -ather. He $&lls that corr&do cond&t&on. Geo(ra h&cal &ma(&nat&onthe ma&nstream ES. Germany and .a an' not Me;&co. 3A2 d&alo(,e se1,ence.

RE> HAR2EST >ash&el Hammett. Mystery no%els. 5assa(e- e%erybody+s a,tob&o(ra hy. Red Har%est. Blac$ Mas$' !o%ember and >ecember 1@26.

Hammet- does not rece&%e a -ormal ed,cat&on' a-ter h&s -&rst year o- h&(h school. Hammet &n h&s early 2As. =&terary career. Br&e-ly &nterr, ted. 5&n$erton detect&%e a(ency. Blac$ mas$' the Maltese )alcon' The Th&n Man' He sto s "r&t&n( l&terat,re. 26 years (o by -rom that boo$ and h&s death. By the 1@3As. Re-enl&st to the ES army. 1@B1. G months &n r&son. Ant&-comm,n&st mo%ement. G months- -ederal. Hammmett- b,r&ed &n Arl&n(ton cemetery. E%en &- he "as &n -ederal 4a&l beca,se he d&dn+t "ant to coo erate "&th the army. Ed(ar Allan 5oe.

The detect&%e Story- )rom 5oe and >oyle to Hammet-3handler.

Gen&o,s detect&%es- 17CAs. Sherloc$ Holmes' &s 4,st a r& -o-- o- an amer&can character. An ar&thocrath&c (en&o,s detect&%e' (en&o,s "ho trascends. A(atha 3hr&st&e. A(,ste >, ond. 1@ th cent,ry to the resent day. Hammet- o os&t&onal -orm- not (en&o,s o"ers o- d,dect&on- they are not art&c,larly smart' they are o-ten dr,n$' and they are o- the same soc&al en%&ronment than the cr&m&nals he &s -ollo"&n(. 3ont&nental a(ent- all abo,t money- "ho &s ay&n( h&m. )or Sherloc$ Holmes money- no &m ortant roblem. Moral l&ne bet"een the detect&%e and cr&m&nal. Real &nno%at&on that Hammett br&n(s. Modern %ers&on o- the detect&%e story. Ed,cat&onal d&st&nct&ons. >&st&nct&ons o- "ealth. #ho &s ay&n( "hom -or "hatF E(ly c&ty D M&n&n( to"n' yello"ed arch&tect,re' a"-,l oll,ted' ,(ly c&ty. !ot sa-e d&stance' no (reat man. Ho" does Hammett "r&tesF Hard-bo&led style- e%eryth&n( &s %ery matter-o---act. He not&ce ho" eo le s ea$ and dress' he can cate(or&*e eo le -rom the&r "ay o- dress&n( and s ea$&n(. >etect&%e- constant o"er dynam&c. #e ne%er $no" &- the detect&%e- ch&e- tact&cs. Esto&c. <ne o- )re,d+s descendents- -r,strat&n(. There method' to s&t there and don+t say anyth&n(. Sto&c. =et the other erson read yo, and s&n$ themsel%es. <ther eo le "&ll o en , to yo, someho". B&ll O,&nt. 3ollect&ons o- b,s&ness cars. Ma4or labor ,n&ons. He doesn+t ha%e a name or &dent&ty' "or$&n(-class' m&ddle-class amer&can. Yo, don+t say yo,r name all the t&me. =ac$ o- re-lect&on. 5ro4ect "here%er "e "ant. Blan$ a(ent. The hard-bo&led 1. Sonny #&llsson+s m,rder 2. Gender and s,s &c&o,s. 3. The < +s eth&cs C. ?ntele(ant %&olence. !ot 1,&te s,s ense. #hat+s (o&n( on- d&--erent to Sherloc$ Holmes. He &s no really l&$e' $&nd o1,est&on' (ets o,r ma&n character &n%ol%ed &n o&son%&lle. 3on-es&on del hombre 1,e traba4a en el banco- ban$ cler$' del&berately- he con-esses. He tal$ to m,ch' too honest' &t ma$es h&m s,s &c&o,s. Hard bo&led masc,l&n&ty. He &s too emot&onal- Alb,rylo%e or emot&on' cr&m&nal' ma$es h&m a s,s ect. H& ermasc,l&ne' some sort o- com ensat&on' bas&c ar(,ment. Really only one ty e o- masc,l&n&ty cast as someho" cr&m&nal or s,s ect. ?- &t+s only one standard o- masc,l&n&ty. ?n the 1@th cent,ry lots o- ty es o- manhood' ar&sthocrat&c manhood' "or$&n( class manhood' to be a man- "hat are the 1,eal&t&esF =&$e !&c$ 3arra"ay- ,na--ected'

ob4ect&%e. Alb,ry- he ,shes h&m as&de -rom GA a(e on. The detect&%e %ery ob4ect&%e -&(,re. The only character "ho doesn+t -all -or her &s the cont&nental a(ent. The detect&%e &s not l&$e H,m hrey Bo(art' he &s short and -at' he &s (ett&n( old' he &s ,nhealthy. <,t o- sha e. ?- masc,l&n&ty D &- yo, are too emot&onal or sent&mental. <n the botton o- a(e 72. >&nah Brand. >&nah beats >an. And >an shots teh cont&nental a(ent. Ho" &s %&olence ortrayedFReal' lon(er. S eed. He (ets sla ed aro,nd. Mathemat&cal ec,at&on. That+s ho" O,ent&n Tarant&no ta$es the &dea -or Reser%o&r >o(s. 5,re ca,sal&ty. 3a,se and e--ect. Gender. >&nah Brand- the "ay the ser%ant &s re resented. 3r,elty to her. >&nah- messy body- %&olence. She &s the one "ho &n&t&ated the "hole roblem. Ten tho,sand dollars. ? ho e yo, en4oy. S&;ty a(es. 1st m,rder. A (ood 4ob o- c&ty clean&n(. Reser%o&r do(s scenar&o- -o,r corr, ts. ?n%aded th&s $&nd o- lan(,a(e o- eth&cs. Sect&on. T&c$et m,rder. The body (ets e; la&ned. <rder restored to the "orld. ?n&t&al moment o- chaos- then &t &s sol%ed. )?RST m,rder (ets e; la&ned- cl&chK. Then there &s 4,st the to"n' detect&%e+s role' create more %&olence rather than sto &t. The detect&%e &nc&tes cr&me' more than re%ent &t. 5r&%ate detect&%e' not )B? a(ent' not attached to the (o%ernment. <ld man- s, er cold and calc,lat&n(. >oomed or -aded "orld. Yo, can+t conta&n the %&olence. =et the %&olence. 3. The < s eth&cs. 5a(e GC. #hat are s, ossed to th&n$ o- >&nahF 1,e decQa U5res&denteV' el des acho de El&h, el 2&e4o. !o habQa nad&e. =e seWalT ,na s&lla a Alb,ry y co(Q ,na ara mQ. El ca4ero se mo%Qa ner%&osamente a oyado en el escr&tor&o' m&rRndonos. PSeWor' ,ede e; l&carme... PToda%Qa no Ple d&4e' y (&rRndome hac&a donde estaba el ch&co cont&n,KP8 ),&ste am&(o de >&nah' ero ella te en%&T a aseo. STlo tX la conocQas b&en y sabQas lo del che1,e con-ormado' como ara tele-onear a m&stress #&llsson y a Thaler. =a &stola 1,e matT a #&llsson era del cal&bre 32' como las 1,e ,sa el Banco. !o sK s& esa &stola era del Banco' yo creo 1,e sQ. S& no la de%ol%&ste' -altarR ,na. >e todos modos %oy a ed&r a ,n er&to en balQst&ca 1,e anal&ce las balas 1,e mataron a #&llsson y las de todas las &stolas del Banco. El ch&co me m&raba callado' s&n alterarse. 2ol%&T a controlarse. AsQ no me %alQa. Me obl&(aba a onerme host&l' y le d&4e8 PTe traQa loco la m,chacha. Me con-esaste 1,e s& no lle(a a ser or1,e ella no 1,&so... P!o' no' se lo r,e(o Pd&4o' &nca a* de hablar. S,b&T de color hasta ba4ar los o4os. =e d&4e8 PHablaste m,cho' m,chacho. Ten&as m,cho &nterKs en e; l&carme toda t, %&da. 3omo en ,n l&bro ab&erto. S,elen hacerlo los cr&m&nales no%atos. !eces&tan e;a(erar ara 1,e los crean. Se m&raba las manos. 2ol%Q a la car(a8 PSabes er-ectamente 1,&Kn la matT. Tamb&Kn sabrRs s& la &stola era del Banco y s& la re ,s&ste. S& es asQ' estRs en la red s&n rem&s&Tn. =os tKcn&cos en balQst&ca lo d&rRn. S& no' te ca*arK &(,almente. >e ac,erdo. !o te %oy a dec&r s& odrRs h,&r. TX lo sabes. - !oonan 1,&ere em a elar a Thaler el S,s,rro. !o odrR sostener s,s tes&s ante ,n 4,e*' ero como las r,ebas son llamat&%as' s& matan a Thaler' or1,e se res&ste al detenerlo' el 4e-e de ol&cQa tendrR las manos l&m &as. Eso es 4,sto lo 1,e 1,&ere hacer' matar a Thaler. Thaler se esca T anoche de s, (ar&to en H&n( Street' 1,e habQa cercado la ol&cQa. !o lo han atra ado' s& es 1,e no lo estRn hac&endo ahora. S& lo %e ,n ol&cQa' ad&Ts Thaler. - S& 1,&eres a ostar a ,na carta y no te &m orta 1,e ,n &nocente m,era or t&'

allR tX. 5ero s& no %es sal&da a t, caso' or1,e c,ando se enc,entre la &stola estarRs erd&do' or -a%or' l&bra a Thaler de ,na -alsa ac,sac&Tn. PO,&s&era... Pd&4o Alb,ry con med&a %o*. Ret&rT la %&sta de las manos y %&o a >r&tton' y re &t&TP8 O,&s&era... P%ol%&T a &nterr,m &rse. PY>Tnde estR la &stolaF Ple re(,ntK. PEn la ca4a de Har er. 1. 2&olence &n Red Har%est 2. Real&st&c and -&(,rat&%e deta&l 3. / Sol%&n(0 5o&son%&lle.

=AB<R 5<=?T?3S-Then >4,na Barnes !&(ht"ood. He &s no real hero. A sense o- -&nal&ty. 3orr, t en%&ronment. Some t&me o- clos,re. S&m le o os&t&on' cr&t&1,&n( th&s $&nd o- %&olence. 3 sta(es- relat&onsh& s o- dom&nance. Gan(sters ta$e o%er. #ho &s (o&n( to ta$e o%erF 2&olence- a"$"ard and r&m&t&%e. Messy. 3ont&nental < - say&n( someth&n(. A"$"ardness o- the bod&es &n s ace. Grotes1,e. Real&st&c deta&ls' real&st&c deta&l. !o conse(,Q %er nada a la l,* del -o(,eo del d&s aro. !,nca s&r%e ara &l,m&nar nada' a,n1,e lo ,eda arecer. Red Har%est%&olenece &n 1@2As Amer&ca. )a$e &dea o- enl&(hten&n(. 3orrect&%e- ract&cal ad%&ce- "hen somebody shots a (,n &t doesn+t el&(hten anyth&n(. #hat cla&m &s th&s no%el do&n( abo,t modern&tyF =A MEERTE >E RE!< STARHY El &ba a ser asQ' d,ro' hasta la m,erte. /O,erQa mor&r tal como %&%&T' met&do en s, concha. Hablarle en ese momento era tort,rarle' ero no de4arQa de hacerlo delante de ,n test&(o. El no era n& mRs n& menos 1,e Reno Star$ey' el hombre d,ro 1,e odQa a(,antarlo todo' y estaba d&s ,esto a mantenerse -&rme hasta el -&nal0. Memo. Th&s -&nal moment- "hat ,lt&mately th&s no%el &s tell&n(F Mas$ed- co%er , ' a necessary e; lotat&onF 5o&son%&lle- rocess- %al,e+s old man a,thor&ty. Esca e -rom h&s b,rocrat&c e;&stence. =ast three boo$s o- the term' retty short. >4,na Barnes- lac$s lot. RE> HAR2EST He &s 4,st rtryn( to com rehend. 3onstr,ct&on.They start "&th a br&e- s,mmary' then ar(,ment' -&rst -o,r ara(ra hs' C ty es o- labor' they stress the l&n(,&st&c or d&alo(&c o- the < . Econom&c- m&nersabsent- #&lson and O,&nt. =&n(,&st&c- < . 5ol&t&cal labor' related to econom&c- bootle((&n(' (ambl&n(' yo, ne%er see ha en&n(' there &s an &nherent &nner class ol&t&cs' &t &s also &nd&%&d,al&st&c and monolyth&c. Then they mo%e on to the d&alo(&c' the <5' &n the a(e 216- they e; la&n ho" &t "or$s. < - he controls th&s "orld "&th h&s "ords. Amer&can macho- d&--erent $&nd that Marlo"e- he &s more a,thor&tat&%e retor&c. 3on-rontat&on o- ol&t&c and l&n(,&st&c- they share re ress&on. >&nah Brand- se;,al labor' &s to the < l&n(,&stcs' &t l&$e the econom&c to the ol&t&c. Se;,al labor- em hat&cally re ress &n -a%o,r olan(,a(e. B&ll O,&nt and #&lson- econom&c. 213. Th&s "orld l&$e >&nah hersel-' a %&brant body...

Gan(ster r,led D ?taly- the absence o- %&s&ble o"er' not bootle((&n( or (ambl&n( (o&n( do"n. The (an(ster lac$ the l&n(,&st&c s$&ll that the < has' they cannot be -,lly ca &tal&sts. >&nah #&lsoncontracts' letters. #&lson-contrary the < - d&alo(,e. The "ay on the < "or$s- ho" the "orld chan(es- ho" "e man& ,lated e%eryone "&th h&s lan(,a(e. =an(,a(e becom&n(- he -,ct&ons thro,(h lan(,a(e. 21G. Reno Star$ys tal$&n( D hel s h&m sto &n( h&s blood -e%er- and d&stances h&m -rom the (an(ster "orld. < - re%ents l&n(,&st&c al&enat&on- analo(y- < and art+s creat&on. <n 216Har%est.-Gan(ster "orld- ne(at&%e &m r&nt. Eto &an -&(,re. They o erate. The "orld "here they o erate &s the one they try to ,nderm&ne. Red Har%est- becomes three no%els. Ad%ent,re (an(ster no%el. >&--erent cr&t&c &n the ca &tal&st order. 5assa(e 17C. Ho" the < "or$s- l&n(,&st&cally. #omen- #hen he tal$s to Helen Alb,ry- &ncr&m&nat&n( h&msel-Yo, are Robert Alb,ry+s s&ster' =abor allle(ory' Em leK t&em o y traba4o en con%encerla de 1,e no le &ba a hacer daWo. Todo -,e &nXt&l. 3,al1,&er cosa 1,e decQa a,mentaba s, terror. En as,nto b&en desa(radable. >e4K los role(Tmenos y -,& d&rectamente al (rano. PYEs ,sted hermana de Robert Alb,ryF Ple re(,ntK. !o me contestT' sTlo %& esa m&rada enlo1,ec&da y aterror&*ada. =e d&4e8 P3,ando le det,%&eron or el ases&nato de >onald #&llsson' ,sted al1,&lT este a artamento ara tenerla cerca. Y5,ede e; l&carme el mot&%oF Se mant,%o en s&lenc&o. Res ondQ or ella8 P2en(an*a. Ested c,l aba a >&nah Brand de lo 1,e le asT a s, hermano. Es eraba ,na o ort,n&dad. Se resentT anteanoche. EntrT en s, casa s&n ser %&sta' la encontrT borracha y le cla%T el &cah&elos 1,e habQa allQ. Tam oco ahora se d&(nT a abr&r la boca. !o conse(,Q borrar la %ac,a e; res&Tn de s, cara rec,rr&endo a la sor resa. =e d&4e8 P>a"n le ay,dT' le re arT el terreno. O,erQa tener las cartas de El&h, #&llsson. YO,&Kn es el hombre 1,e le encomendT robar las cartasF' Yel hombre 1,e ha s&do ases&nadoF YO,&Kn -,eF 2ol%Q a chocar contra ,n m,ro. S, rostro no e; er&mentT n&n(Xn camb&o. S&lenc&o. Me h,b&era (,stado darle ,na a*ota&na. =e d&4e8 P=e he dado ocas&Tn ara hablar. Estoy es erando esc,char s, e; l&cac&Tn. 5ero ha(a lo 1,e 1,&era. !o me d&4o nada. !o le d& mRs %,eltas. TenQa m&edo de 1,e ,d&era hacer al(o eor 1,e callar s& la -or*aba. SalQ del a artamento ensando en 1,e tal %e* la m,chacha no habQa entend&do nada de lo 1,e le habQa d&cho. Al lle(ar a la es1,&na le d&4e a >&c$8 PHay ,na ch&ca ahQ dentro' es Helen Alb,ry' t&ene d&ec&ocho aWos' m&de c&n- Mar;&smo. AdornoThe lesb&ans (ro, - aro,nd her and Gertr,d Ste&n- b,t she "as b&se;,al. Barnes- 1@6As' Barnes' Secondly- barnes central to the emer(ence o- (ay and lesb&an art&c,lat&on' %ery stron(ly been &dent&-&ed to the de%elo ment o- (ay and lesb&an l&terat,re. Al&enated or o,tcasts. Be&n( 4e"&sh the cond&t&on o- be&n( a modern man. E--ect- star$-barnes and Hammet- ad4ct&%es' e%ery 4,n$ &n e%ery s&n(le' !&(ht"ood- a modern&st no%el. #hyF ?- !&(ht"ood &s a d&--erent ty e o- modern&st no%el. !&(ht"ood not &nterested &n descr&b&n( ho" modern&ty has destroyed the ast- H<# modern&ty has made loo$ the ast as decadent and -rea$. #hat the ne" has done to the old. !e" "ays o- be&n( romant&c' made e%eryth&n( really cree y and er%erse.

1. !&(ht"ood- Modern&sm 2. Romance the / Ender"ord0 3. >r. Mathe" 3onnor

BAR!ES- the old' the decadent. Barnes' ho" modern&ty ma$e th&n(s old. 1@3As- T.S El&ot had already "r&tten 5r,-oc$' The #aste =and' one o- the ma4or l&terary -&(,res. ?t+s l&$e ha%&n( Ton& Morr&sonYF. !&(ht"ood- &t has oetry &n &t- tr,e l&terat,re- has oetry' &s oet&c. Essays' ed&tor. El&ot- %ery old -ash&on. Modern&st scholarsh& ' %al,es &n oetry. Hem&n("ay' )a,l$er' )&t*(eraldamer&can modern&sm. 5o,nd' #ool- and .oyce- "orl"&de modern&sm. )&ts &n modern&sm- oet&c mode and d&--&c,lt. El&ot com letely ,n&nterested. Ho" "e may read th&s no%el. The .e"' .e"&shness8 ,ndo&n(' reason to be(&n' cha ters abo,t -eel&n(s. )el&;. The -&rst lo%er oRob&n 2ote. Bo" do"n- ass&%&ty- s,bm&s&%ness' loss' )el&; e;&sts &n 3hr&st&an "orld' h&s her&ta(e &s not really h&s' he &s er et,ally d&s laced' d&s laced by h&story' .e"&sh D o os&t&on to 3hr&st&an&ty. 5er et,al des lacedness' al&enat&on' ethn&c or rel&(&o,s terms. Emblemat&c o- th&s modern al&enat&on. 3C. )el&;- =a Sonnamb,le. Ender"orld- eo le o- the ,nder"orld- soc&al- c,lt,ral ,nder"orld- c,lt,ral m&l&e,. He -eels a rec&ated or %al,ed &n th&s ,nder"orld comm,n&ty. Bohem&an s,bc,lt,res. Actors' actresses' eo le "ho er-orm' Mo,l&n ro,(e' a 4e" mascarat&n(- a ho,se- crest that doesn+t belon( to h&s o"n -am&ly. The (oal o- )el&; &s to ha%e a ch&ld' that &s "ay he "ants to marry- h&s son' G,&do' &s $&nd ohand&ca ed. >r.3onnor- ho" the doctor character&*es- a le(acy' a &nher&tance' the reason that )el&; "ants a ch&ld' to ha%e th&s ar&stocrat&c name. 5er%erse- -a$e- the doctor- theatre. #hat does lo%e seems to meanF Rob&n 2ote- &t loo$s l&$e she &s (o&n( to d&e o- a desease she hasn+t contracted. Homose;,al&tys&c$ness and death- Rob&n- descr&be- somebody "ho &s s&c$. Barnes- homose;,al&ty- -orm o- death. 5sychoanalys&s- s&c$ness- homose;,al&ty.

Rob&n and !orah- they meet at the c&rc,s' !orah &s a c&rc,s romoter. They meet sorro,nded by an&mals' nat,re connotat&on' the l&on cr&es &n -ront o- her' en&(mat&c center "h&ch attracts eo le and an&mals. =o%e o- "omen -or "omen- %er )re,d&an- motherhood. Motherly relatonsh& s. 3on-,s&on o- roles' ,ncerta&n and &nsane' ,n"r&tten ty e o- romance. Romances- ho" &s s, ossed to "or$ca &tal&st- ho" &s s, ossed to "or$. Enm&t&(ated an(,&sh' terry-&n(' $ey 1,est&on' &s !&(ht"ood attem t&n( to create a %&e" o- the -a&l,re o- s,ccess o- th&s $&nd o- relat&onsh& !&(ht"ood. 1. Matthe" <+3onnors 2.Se; and (ender &n !&(ht"ood 3. The H,man/ An&mal d&%&de 1. 6@. Room- lon( descr& t&on- contrad&ct&on- -em&n&ne and masc,l&ne' "&th er-,me' "&th

ma$e-, . )em&n&ne and masc,l&ne. ?n th&s ,nder"orld o- !&(ht"ood- con%ent&onal (ender assocc&at&on brea$s do"n. He &s a men' des &te he er-orms h&s "ay o,t o- h&s se;' -em&n&e ob4ect' masc,l&ne a&r' bo;er tra&n&n(. Med&cal sc&ence. #hat are "e s, osed to th&n$ abo,t h&m- (ynecolo(&st- >es&re and &dent&-&cat&on- des&re the -em&n&ne and &dent&-&cate "&th the masc,l&ne. ?m oss&b&lty beca,se o- b&olo(y. He &s &dent&-&ed "&th the -emen&ne- "e&rd b&se;,al- -eroc&o,s masc,l&ne an&mal and ch&ld "oman- &nnocence and ra ac&ty. >&--erence bet"een n&(ht and day-The con%ent&onal "orld-n&(ht and day- one &(nored by the other' d,r&n( the day. =&-e &n the n&(ht not s, osed to a--ect the l&-e &n the day. Element o- shame and connotat&ons o- death. >&--erent ty e o- l&-e Amer&ca and )rance. 5rotestan %s. 3athol&c&st- ee,,- e,ro e. He sho"s h&s en&s to the altar- ,ncon-ortab&l&ty and &ncert&d,mbre- YO,K %oy a hacer con esoF T&ny <+toole- le llama a s, cosa. #hy does he erson&-y h&s ZF Se arate -rom h&m and attached. Home;,al&ty- des&re and &dent&-&cat&on&n%erts. 3ase o- the &n%ert- d&ssac&at&on o- h&s o"n body. 3oncl,s&on The 5ossesed- 5er%erse rel&(&o,s scene I ><G HEMA! =?HEI R<B?!I =?HE ><G8 and then l&$e &eta. The -&lth o- the beast &n )rance'concl,s&on- moral&ty- a "ay o,ts&de -rom moral&ty- yo, ha%e to destroy the an&mal&st&c- sacr&-&ce o- o,r an&mal 1,al&ty- Rob&n- she &s the death one. The 5ar&s o- the t&me- lace o- -ree lo%e' rost&t,tes' (ay-lesb&ans or &n%erts' &n the ca-K l=e monde. Yo,n( co, le &n that s,&t- Brassa&- 5rost&t,tes... >4,na Barnes "anted to ma$e th&s s,bc,lt,re d&--&c,lt to cod&-&cate' that &s "hy !&(ht"ood &s that obsc,re. All the relat&onsh& s- -orce relat&onsh& s- th&s th&n$&n( o- se;,al&ty- se;,al relat&onsh& - act&%e and ass&%e -orce- o,t o- (ender. )re,d&an lo(&c- masc,l&na and ass&%e. ?- "e 4,st th&n$ o- &t s,bm&ss&%e. A "ay o- sca &n( (ender- a o"er relat&onsh& - that can e;ceed (ender roles. !&(ht"ood- 1,eer no%el- a no%el abo,t s,bm&ss&on and dom&nance. >oc,ment o- moral decay othe s,bc,lt,reF H&stor&cal acco,nt- "ho &s th&s rost&t,teF >escr& t&on- an a(&n( rost&t,teh&stor&cal acco,nt- these %ery s ec&-&c descr& t&ons- %a(,e com onents. Enclear "hen th&s &s ha en&n(. 1CB. H&stor&cal d&stance. S&n(,lar and terr&ble attract&on. Gender- not a b&nary. #hat &s th&s lo%e -or the &n%ertF Adolescent male- "hat ma$e the r&ncess attract&%e- a (&rl dressed l&$e a boy. ?n Amer&ca they re ress that s&de. 1. 3lare as e;cess&%e a /,n-athomable0 2. 5ass&n( as threat to m&ddle-class s,bt&tle 3. Race and &dent&-&cable.

5sycholo(&cal constr,ct and soc&al real&ty- soc&olo(&cal com le;&ty- "hat race seems to be &n th&s no%elF#EB >,bo&s- the So,ls o- the Blac$ )ol$- -lo"er &n the 1@GAs' decolon&al th&n$&n(- !ella =arsen- class d&nam&cs- , er tears- more than =an(ston H,(hes- oors. !ella larsen- , er m&ddle class' or m&ddle class ro-ess&onal blac$ eo le' 5a(e CB- To"ards the end o- the -&rst art.

Why, after all,worry a o!t Clare Ken"ry# She wa$ well a le to ta%e &are of her$elf, ha" alway$ een a le'An" there were, for Irene, other th(ng$, )ore *er$onal an" )ore I)*ortant to worry a o!t' +e$("e$, her rea$on tol" her, $he ha" only her$elf to la)e for her "($agreea le afternoon an" It$ atten"ant fear$ an" ,!e$t(on$'She o!ght ne-er to ha-e gone' ?rene- challen(es o- th&s no%el- relat&%ely con%ent&onal- th&s has been ha en&n( -or a h,ndred years- the ma4or tens&ons- no%el o- manners- race a ma4or &ss,e. ?nterest&n(- ?rene+s ,nreal&b&l&ty. ?rene-lo%e tr&an(le- she can hel b,t &ma(&ne &t. H,sband- to ha%e a romance "&th 3lare. ?t "as ,n-athomable' ,tterly beyond any e; er&ence or com rehens&on o- hers. She &s a ol&t&cally and soc&ally act&%e marr&ed "oman' she &s a soc&al&te' a soc&al -&(,re' ol&c&n( a certa&n stat,s &n her comm,n&ty.

t&me &n 3h&ca(o.[ <nce "as eno,(h.?-' at the t&me o- choos&n(' 3lare hadn+t rec&sely rec$oned the cost' she had' ne%ertheless'no r&(ht to e; ect others to hel ma$e , the rec$on&n(. The tro,ble "&th 3lare "as' not only that she "anted to ha%e her ca$e and eat &t too' b,t that she "anted to n&bble at the ca$es o- other -ol$ as "ell. ?rene Red-&eld -o,nd &t hard to sym ath&*e "&th th&s ne" tenderness' th&s a%o"ed yearn&n( o- 3lare+s -or [my o"n eo le.[ The letter "h&ch she 4,st ,t o,t o- her hand "as' to her taste' a b&t too la%&sh &n &ts "ord&ness' a shade too ,nreser%ed &n the mannero- &ts e; ress&on. ?t ro,sed a(a&n that old s,s &c&on that 3lare "as act&n(' not consc&o,sly' erha sPthat &s' not too consc&o,slyPb,t' none the less' act&n(. !or "as ?rene &ncl&ned to e;c,se "hat she termed 3lare+s do"nr&(ht sel-&shness. )re,d&an des&re and &dent&ty- &rene "ants to be l&$e 3lare b,t at the same t&me' she hates her' 3lare too s&ncere' too honest. E;cess&%e 1,al&t&es &n 3lare. Loo%(ng at the wo)an efore her, Irene Re"f(el" ha" a $!""en (ne.*l(&a le onr!$h of affe&t(onate feel(ng' Rea&h(ng o!t, $he gra$*e" Clare/$ two han" (n her own an" &r(e" w(th $o)eth(ng l(%e awe (n her -o(&e0 1Dear 2o"3+!t aren/t yo! lo-ely, Clare3[ She co,ldn+t' ?rene tho,(ht' ha%e had an ent&rely serene l&-e. !ot "&th that dar$ secret -or e%er cro,ch&n( &n the bac$(ro,nd o- her consc&o,sness. And yet she hadn+t the a&r o- a "oman "hose l&-e had been to,ched by ,ncerta&nty or s,--er&n(. 5a&n' -ear' and (r&e- "ere th&n(s that le-t the&r mar$ on eo le. E%en lo%e' that e;1,&s&te tor t,r&n( emot&on' le-t &ts s,btle traces on the co,ntenance. B,t 3lareP she had rema&ned almost "hat she had al"ays been' an attract&%e' some"hat lonely ch&ldPsel-&sh' "&l-,l' and d&st,rb&n(. 3lare- ,re body- l&$e a l&-eless doll. =oss- d&stance -or others. Someth&n( that yo, are m&ss&n(Ho" does that erson e;&stsF3lare seems not to be a"are to her relat&onsh& s "&th others- com lete and ,tter con-&dence' not an;&ety. ?rene- manta&n&n( a areances' be&n( a moral' eth&cal erson' "hen 3lare seems 4,st to e;&st. That &s "ay she &s able to ass- she th&n$s that she &s not betray&n( her race. 3lare and Br&an- restless- soc&al bo,ndar&es- &n a "ay that , sets ?rene. ?rene relat&onsh& s to her des&re o- others. >es&res -or the e;ot&c other ma$e ?rene ,ncom-ortable. Ho" &s th&s no%elF Amon( blac$sF Amon( "h&tesF 5er%erse and harm-,l or 4,st a soc&al real&tyF

!ot so

y be(,n a(a&n "&th&n h&m\ that cra%&n( -or some lace stran(e and d&--erent' "h&ch at the be(&nn&n( o- her marr&a(e she had had to ma$e s,ch stren,o,s e--orts to re ress' and "h&ch yet -a&ntly alarmed her' tho,(h &t no" s ran( , at (rad,ally lessen&n( &nter%als.
restlessness had

lonely that that old' 1,eer' ,nha

Blac$ moral code- tran(ress- blac$ m&ddle class- res ectab&ly- rac&al- someth&n( "h&ch &s &ne; l&cable- essent&al&sm. )eel&n(s o- -ello"sh& - 3lare not ha%&n( any consc&ence o- the race. ?rene+s read&n( &s -oc,sed &n the &nart&c,lable' not s&m le a earence. The&r o"n comm,n&tyamb&(,o,sly ra&sed 3lare. 3om ar&n( th&s not only to !ella=arsen no%el. 3ontem orary memo&rs abo,t race. 5ass&n(. 17@7. 3on%ent&onal and h&stor&cal a roach. Race- ?rene- a re resentat&%e othat. 3entral or r&m&t&%e 1,eal&ty o- eo le- manners and class stat,s- m&ddle class comm,n&ty. 2 assa(es8 ?rene %ers,s 3lare- race -l,&d&ty- race- s,b4ect o- debate. 2 essays- t"o d&--erent d&--erences8.en$&ns- "or$&n(- class de-&n&t&on o- blac$ness. !e(ro oetyo,n( oets "ant to be oets not ne(ro oets- =an(ston H,(hes &s , set "&th that. 1A6!ot beca,se o- 3lare or a h,ndred o- a h,ndred- stab&l&ty- Amer&can- stable l&-e &n !e" Yor$. and her h,sband.!o" that she had rel&e%ed hersel- o- "hat "as almost l&$e a (,&lty $no"led(e' adm&tted that "h&ch by some s&;th sense she had lon( $no"n' she co,ld a(a&n reach o,t -or lans. 3o,ld th&n$ a(a&n o- "ays to $ee Br&an by her s&de' and &n !e" Yor$. )or she "o,ld not (o to Bra*&l. She belon(ed ?n th&s land o- r&s&n( to"ers. She "as an Amer&can. She (re" -rom th&s so&l' and she "o,ld not be , rooted. !ot e%en beca,se o- 3lare Hendry' or a h,ndred 3lare Hendrys. 5h&loso hy- e &stemolo(Qa- -&eld o- h&loso hy- "ether or not "e can ha%e a $no"led(e- )o,ca,lt. E &stemolo(y- attaches &tsel- to &dent&ty. ?nt,&t&%e sense-some secret "ay o- $no"&n( &t. 3lare- "ether she &s blac$ or "h&te. E &stemolo(&cally- same s,--er&n( and a&n that ? ha%e. 3lare- she can+t tell' 3lare ,nreadable by ?rene. 3lare &s not ma able -or ?rene. ?rene &ntent&onally not remember&n( "hat ha ens. <ne moment she &s there and then' she &s not. =ast three ara(ra hs' she moaned and s&n$ed' cent,r&es a-ter' let+s (o , and ha%e another loo$ -rom that "&ndo". Ga - she re resents. Em ty s ace. ?rene a art o- the her&ta(e- relat&onsh& to A-r&ca. 3lare- "r&te o,t' don+t -&t &n th&s c,lt,re. 2&olence- she assoc&ates hersel- "&th %&olence. ?rene+s sense o- rac&al belon(&n(.

Tod Hackett is an artist who has moved to Hollywood to work in the movies. He is amazed and disgusted by the artifice and facade of the buildings and

the people. But he is most fascinated by the other kinds of people who live in Hollywood. He calls them the people who have moved to California to die, and he sets them in his imagination as observers of the farce. He even plans to make them the focus of a painting he wants to do about the end of civilization.

Tod falls in love with a woman, Faye reener, who lives in his apartment. !n fact, it"s the only reason he stays in this apartment. But Faye is totally superficial and tells Tod that they don"t have a chance romantically because he"s not rich and not particularly handsome. #hen Faye"s dad becomes ill, Tod visits him nightly, hoping to make inroads with Faye. He meets Homer $impson through Harry. Homer falls in love with Faye as well, and Tod encourages him because Homer is the epitome of what Todd sees as those regular people who move to Hollywood to die. Tod goes out with Faye camping with %arle and &iguel, two other men who lust after Faye. %arle brains &iguel when that guy gets too fresh with Faye, and Faye runs through the woods with Tod chasing her, his every intention to have his way with her if he can. Harry dies and Faye goes into overdrive with her manipulation. $he moves in with Homer and sponges off him unmercifully, to the point where she convinces Homer to let &iguel and %arle live in his garage. 'nd, in case you may have thought that Homer was getting anything out of it, he isn"t. #hen Homer and Faye invite Tod to a cockfight, things get brutal. (ow, ! remember my father taking me to a cockfight when ! was young, and it was revolting in every possible way, an assault on every sense. 'fter the cockfight, sponsored my %arle and &iguel in Homer"s garage, they sit around drinking, Faye barely dressed in pa)amas. ' fight breaks out, which sadly is reminiscent of the cock fight. The ne*t morning, %arle and Homer find &iguel in bed with Faye, and another fight ensues. The end of the novel is shocking.y brutal. Homer goes into a kind of fugue+ hysteria and decides to move back to the &id+west. Tod sees him with his suitcases on a bench. ' little creepy kid throws rocks at homer from behind a tree, hitting the man even in the face with the stones. Homer loses it and chases down the kid and stomps on his back. &eanwhile, a crowd that was waiting for Hollywood celebrities in front of a theater goes into a riot and attacks Homer. Tod tries to rescue Homer, and has some fantasies about his painting while the mob rip into him. Tod is rescued by a policeman. The novel ends with Tod screaming along with the police sirens. #ork through the (ew ,orker+ succesful, screenplays, pay the bills, work

mostly in comedies. -ark comment .uality. &usical and romantic comedies. #hat films (athaniel #est worked on, Hitchcock film++ but he didn"t like it. / novels0 $urrealist dream, a guy that falls sleep+ dada e*periment 1234. 5ast work+ The -ay of the 5ocust. #hat it means to be in Hollywood+ #est dies a year after with 36 years old.

1. (athaniel #est 4. Hollywood 3. 'ctor, -reams, 'rtists, Freaks, Hollywood destroys modernism. Hollywood kills the creativity of modernism. Tod Hackett+ historical movie+ he is in his office. (athaniel #est+ short peple+ obsesionado con los enanos. !t is not clear when we are. #e are not sure where we are, until the third or fourth paragraph. Clich7 about 5os 'ngeles+ not historically+ not conscience+ $incere+ being sincere imposible. #orld entirely hypermelodramatic+ it is difficult to distinguish fiction and reality. Tod Hackett+ !ntelligent+ talented. He seems completely without talent. Fantastic ideas. Tod 8 represent a kind of authentic artist. Fey+ talentless artist. High+ low in modernism+ overly popular, fake sensibility and the true art. &ess of reference. (o consitency. %verything impermanent construction. 9eople basically live in fake houses. City+ perpetual state of flu*. &ake shift+ 5os 'ngeles in (athaniel #est view.

?t &s hard to la,(h at the need -or bea,ty and romance' no matter ho" tasteless' e%en horr&ble' the res,lts o- that need are. B,t &t &s easy to s&(h. )e" th&n(s are sadder that the tr,ly monstrous.

Melanchol&c des erat&on &n Holly"ood' as &rat&on to be someth&n( (rand that 4,st -a&ls.

/A--ect&onately yo,rs' )aye Greener'0 b,t she re-,sed h&s -r&endsh& ' or' rather' &ns&sted on $ee &n( &t &m ersonal. She had told h&m "hy. He had noth&n( to o--er her' ne&ther money nor loo$s' and she co,ld only lo%e a handsome man and "o,ld only let a "ealthy man lo%e her. Tod "as a /(ood-hearted man'0 and she l&$ed /(ood-hearted men'0 b,t only as -r&ends. She "asn]t hard-bo&led. ?t "as 4,st that she ,t lo%e on a s ec&al lane' "here a man "&tho,t money or loo$s co,ldn]t mo%e. Tod (r,nted "&th annoyance as he t,rned to the hoto(ra h. Tod+s lo%e -or )ey. )ey- erson&-&cat&on o- Holly"ood- Tom- no "ay o- s,r%&n(. Thes&s cla&m ar(,ment

3lose read&n( &nter rer Ese o- research T,esday 12-1 th,rday