A little change from the post that went up last night. Today, I was inspired and found a visual that Ivan Karamazov or Raskolnikov might have found useful.
Given that I’ve received installment numero dos from about 4% of you, I have consulted the oracle, who has advised me to push back the target dates for installment tres until December 11. That’s right, that’s not even this week in Mr. McAteer’s class (or any other class for that matter).
So what do we have to look forward to in Mr. McAteer’s class this week? Good question. Depends on what you’re reading, don’t it?
If you’re reading about The Brothers, then there’s murder in the air. Murder, I say. I’m not going to tell you who did it, but let’s just say that Dmitri is going to act awfully suspicious, and we might learn a thing or two about Grushenka. You can try to follow those three thousand roubles, but it won’t be easy. And Alyosha, after all those inspiring stories he recorded from the last moments with the Elder Zosima, is going to have to experience a little bit of discomfort.
Crime and Punishment gets a little trickier, too. Say hello to Svidrigailov, Lebezyatnikov and Lazarus, and get ready to say something to Katerina, too. This is the part of the story when Sonya starts to occupy a central role, and we enter a new meaning of what a crime is, what punishment is. As you read, you’re going to want to track the movements of Raskolnikov (Ray, Rask, whatev) because his exits and entrances are timed pretty interestingly.
In One Hundred Years, the train and the gringos seem to bring something that feels political to the story. There seems to be something very American in the new approach to commerce and economic imperialism that affects Macondo. A few important characters get their endings, and some slip from and into memory, which I suppose, is its own form of time. There’s plenty of solitude, and it’s pretty explicit too. And assuming that you’re going to read until you have about 100 pages to go, it’s going to rain. What’s up with that?
And I know we’ve been dealing with a lot of identity as it relates to past and present, but issues of identity find a little firmer ground in contemporary issues as we get a closer look at Irie, Millat and their new playmate, Joshua Chalfen. You’ll notice in Irie’s insecurities and perceived shortcomings details that might be familiar to any teenager; keep in mind, however, the identity/belonging issues that provide a different context behind Irie’s identity/self-image issues. Those issues of identity are brought to a universal, conceptual with the introduction of Joshua’s father and the mock belief system of Chalfenism, where nothing is left to fate.