Lingering Words

D.H. Lawrence’s Women in Love

2011-09-12T06:59:00.000-07:00

When one reads a novel, one hopes for a compelling plot. D.H. Lawrence does not fail to deliver upon that requirement. However, he plays with the concept of plot development. In order to do so, he lets the plot develop through his focus on the characters in the story.

Throughout the novel, the characters experience previously unheard of sensations deep within themselves. For example, Lawrence wrote regarding Gerald that “A flame flew over him, and he was unconscious” (176). To link those sensations with a feeling of love toward Gudrun appears nonsensical. Another example is Gerald being described as “a striding, mindless body” (177). Again, it is difficult and probably even impossible to see the link between inner feeling and outer action. As a result, the reader cannot connect with the characters, although I have only given examples of Gerald so far. Another example is “Hermione’s [tendency] that at every moment, she had one intimate and turned all the rest of those present into onlookers” (141). Such a statement indicates that she needs minimum intimacy and a capacity to focus solely on one person. However, her “peculiarity” (141) seems quite unpredictable and incomprehensible. As a result, characters would have difficult time maintaining relationships with her and so would the reader.

A lot can be gleaned from dialogue that aids in understanding the plot. For example, when Gerald said “You mean a lot to me, Rupert, more than you know” (194), the reader understands that although Gerald does not see him in a romantic light, he cares about him as a friend. The words “more than you know” (194) are a small hint of the inner world that is so hard to express. Birkin makes an even more significant turn in the plot when he tells Gerald to “Come along with me now – I want you to come” (195). What follows these words is “a pause [that was] intense and real” (195). Words can be said without feeling and without significance but in this case, words lead to action, which consists of Gerald’s refusal (195).

Action can also present itself through physical movement. For example, there is a difference between thinking about killing a person and actually doing it, although the feelings of rage are quite strong in Gerald (478). He could have changed his mind upon seeing Gudrun because he loves her so much but he doesn’t (480). The actions in this book are few, but when they occur, they form bright lights like fireflies amongst a dark literary landscape. For example, Gerald and Gudrun decide to leave London and try to live a life abroad (402), which is significant because up until then, only life in England was written about in this book.

These ways of making the plot move and develop are fascinating and make the reader want to see how authors in general develop their plots from beginning to end.

The Pearl by John Steinbeck

2011-07-29T12:58:00.000-07:00

John Steinbeck’s The Pearl is a short-length book. It could be called a novella. Considering how famous Steinbeck is because of The Grapes of Wrath, the novella The Pearl is expected a punch in so few pages. Steinbeck doesn’t fail to deliver upon that expectation. The significance of this story makes itself manifest when something changes in a person’s life. This change is quite significant to the point of not only impacting an individual’s life, but the lives of others as well.

The statement that “let one man step out of the regular thought or the known and trusted pattern, and the nerves of the townspeople ring with nervousness and communication travels over the nerve lines of the town” (Steinbeck 40) gives the reader pause, especially with the analogy of the town to one entire human body. This passage suggests that socioeconomic status changes unnerve people and become newsworthy information. If there weren’t, according to the narrator, then people can disappear and never be heard of” (41). The possession of the large pearl forms a significant part of the story, starting at the end of chapter two (19-20), and then leaving Kino’s possession at the end of the story (89-90). On the one hand, people are scared of change. On the other hand, Kino’s wish for his son to know “what things were in the books and what things were not” (27) shows that parents might want their children to have better lives than they had. However, this is only one example and should not be generalized. Some parents might want to preserve traditions, and career trajectory is one arena where that can be done.

When something momentous happens to a person, other people can act differently towards him or her. For example, the doctor refused to treat the baby when he was offered little fortune (11-12) but he changed his tune when Kino possessed the large pearl (21-22 and 29-30). In fact, Steinbeck wrote that “[a]ll manner of people grew interested in Kino – people with things to sell and people with favors to ask” (23). However, this interest can have negative effects; Kino’s life is put at risk upon discovering and owning the huge pearl (37-38 and 72-73). Even Juana’s and Coyotito’s lives were put at risk because of that pearl, although the text is not explicit about “the trackers” (74) and their wishes (73-74). No matter what the intention is towards Kino and his family, many people desire to use the pearl for their own gain.

The pearl also changed Kino, the one who discovered it (19). He is sensitive to the melodies surrounding him, which are not actually musical but they have irresistible rhythms. For example, he is aware of “the Song of the Enemy” (6). As irresistible as the melodies are, they might need to be resisted such as “the music of the pearl” (89), which is described as “distorted and insane” (89). This description contrasts with a previous description of it as “secret” (19) and “beautiful, rich and warm and lovely, glowing and gloating and triumphant” (19). This difference shows a need to interpret life correctly because mistakes can be devastating such as “Coyotito lying in the little cave with the top of his head shot away” (89). The pearl is irresistible for Kino, which is why he doesn’t realize its negative effects until the end (89).

Finding a pearl of a large size (22) can change many, but it also reveals people’s dark sides. This book shows that handling any form of change is a challenge.

Ken Ingham’s Ecoepic & other poems

2011-07-23T11:48:00.001-07:00

In Ken Ingham’s Ecoepic & other poems, there are two main sections of writing, which the title of the book indicates. The title and the cover indicate an environmentalism-related theme. However, the title and the cover do not adequately prepare the reader for the creative use of language and form that the author uses.

First of all, one would infer from the word “Ecoepic” that the author would write a story where Nature is the protagonist because an epic is supposed to focus on a hero or a heroine. The truth is, the story is more complicated and doesn’t have such a tight focus. What there is is a desire from the speaker for human beings to work together with “[o]ther species” (Ingham 41) and with the earth (40-41). The goal is to make the Earth livable for both human beings and animals. There is a call for coexistence in this book. However, in order for this coexistence to take place, awakenings must occur. When an awakening happens, it changes a person forever, such as the speaker when he or she realizes that “One thousand Points of Light” (26) form his very being (26). That spiritual awakening doesn’t stop there, though. It needs to be nurtured through spiritual action, such as “meditating in a chair” (76). Ingham also forms a play, as the words “poet/playwright” (39), “stage” (39), and “actors” (39) indicate. However, this play could be argued to last for one act (40-72) and seems to have neither a tragic nor a happy outcome (71-72). Ingham’s actions bend the rules of literary conventions. The reason could be because he wants to chip away the reader’s complacency and realize that the greater good for all is the most important goal of all. He does make “rules … rhyme” (85), however. This action shows that he does not have a blatant disregard for literary conventions. Overall, this combination of actions is meant to enrich the reader’s imagination on what poetry can do.

There is also a creative use of language when it comes to writing about religion. Ingham shows the speaker having two distinct spiritual experiences. The first one comes from a mysterious voice saying “One thousand Points of Light” twice (26). The other spiritual experience occurred when “[a] radiance began to flare” (76). In both cases, the speaker tries to use logic in relation to those experiences because he tries to draw conclusions from them. In the first experience, even though the “Points of Light” (29) were able to “feel so warm inside / Over anyone’s execution” (29), they knew that “killing … was not an option” (29). As for the second spiritual experience, the speaker suggests that his or her readers meditate too (77). The speaker is trying to make sense of religion and spirituality and how they apply to everyday living. This struggle reaches a conclusion that is comfortable for the speaker, which is the use of Christian language such as “Amen” (86), but the being the speaker worships is “Gaia” (87). In addition, this struggle to understand the supernatural reveals itself when the speaker wrote of a supernatural “he” (26) and then later on is seen as a “her” (87). The reader ends up reading about a spiritual journey and a unique perspective on understanding the supernatural. It is true that the words “pagan” (111) and “tree hugger” (111) exist in modern concepts but not “Gaia” (87).

Ingham also creates new language through new words. For example, he succeeds in changing the reader’s perspective of “diversity” (46). This act shows how limited the English language is and how creative writers might have to resort to new meanings of words that are taken for granted. There can even be the creation of new words altogether such as “Speciesism” (59) because there is no adequate way to express an idea with the current lexicon. As a result, the English language evolves and grows.

Through the poet’s creative use of language and form, Ecoepic & other poems make the reader think. The results of thinking are left to the reader to decide upon.

A Note about Poems

2011-07-23T11:47:00.000-07:00

I am learning that poetry is a hard sell when it comes to published works. Honestly, I find that hard to understand, although I have tried to figure out why.

1) Topics are more abundant in a book of poetry. That results in the customary reader only being able to read a little at a time. Unlike a novel or a play, there isn’t usually a specific plot. Even within a poem, there can be different ideas floating around.

2) Forming coherent meanings of the poems takes at least two readings. Most people only have the patience for one, and for a long poem like The Faerie Queene, it is easy to understand why.

This is what I have for now, judging from my own experience and listening to what other people have to say about poetry. If more ideas emerge, I will update this post.

The Faith Club

2011-07-02T06:22:00.000-07:00

     This book, The Faith Club, contains the perspectives of three seemingly ordinary women. Those women are Ranya Idliby, Suzanne Oliver, and Priscilla Warner. This book focuses on these women’s respective religions. Ranya is a Muslim (Idliby, Oliver, and Warner 11), Suzanne is an Episcopalian (7), and Priscilla is a reform Jew (216). In this book, the reader sees that these women are given the responsibility of being representatives of their respective faiths. As a result, the reader learns a lot of the respective faiths of those women.
     When reading about these women’s conversations and interactions, the reader learns that although they are representative of their respective religions, they are moderates. Ranya “was struggling to define her Muslim faith [a]nd she was struggling to have this faith recognized in the West” (12). Suzanne had qualms about Catholicism “in part because Catholics don’t allow women to become priests” (12). Priscilla “became uncomfortable with Israel’s policies on the West Bank” (15). It is true that all three women find faith (179, 165, and 280) eventually. Their definitions of faith, however, would not be satisfactory to narrow-minded people. This book shows, however, how human they really are, such as Priscilla’s adoring good quality “chocolate” (232), Ranya being “a drugstore junkie” (239) and Suzanne prizing “an opal necklace on a silver chain” (280). These moderate voices challenge the authority narrow-minded people have on religion.
     Even though these women are moderates in their respective religions, they are symbols of their religions when interacting with others. When representing a religion, other people plaster these stereotypes on those representing a religion. For example, a Pakistani, upon hearing that Ranya is a Muslim, asks “Then where is your headscarf?” (284). This Pakistani person expected her to wear a “headscarf” (284). Even when one can be mistaken as the follower of another religion, one can be afraid of “being the stereotype of a [specific religion]” (64); that “of a Jew” (64), for example. These stereotypes are shown in this book to not be valid. For example, Suzanne would find her “beliefs” (61) to not carry “rigidity” (61), unlike what Priscilla thought (61). Priscilla shows that stereotypes about Jews, even though they are unfounded, can lead to horrible consequences, most notably “the Holocaust” (65). As for Ranya, in spite of the existing stereotypes surrounding Islam (69), she does not adopt them and “was struggling to define her Muslim faith[, a]nd she was struggling to have this faith recognized in the West” (12).
     As a result, instead of being surrounded by the illusion of stereotypes, the reader discovers that there can be diversity within a religion. Not all Muslims are Palestinian (16). Even within Ranya’s family there are differences in stories, even possibly within the same generation (18). Not all Episcopalians come from a Catholic upbringing (20-22). Not all Jews experience life “in a Quaker girls’ school” (13). This insight leads the reader to want to hear about other people’s religious stories. It is true that whatever religion the storytellers have is important to them, but it doesn’t define them completely.
      Reading The Faith Club leads the reader to a greater understanding of what sincere and sane religion is. It truly shows how human one can be while grappling with the difficult issue of religion.

Krista Tippett's Speaking of Faith

2011-06-27T18:20:00.000-07:00

Krista Tippett, in my view, is a well-known figure in the United States because of her radio show Speaking of Faith. In this book, readers get to know who she really is and her spiritual journey so far. Learning about her is an important part of her book Speaking of Faith.

In Speaking of Faith, Tippett reveals to the reader how religion and spirituality influenced her life. She mentions first historical and societal influences. She wrote that “[r]eligiously, spiritually, [she] was a child of [her] time” (Tippett 7). People from previous generations can also have an influence on a young person. Her grandfather, “a Southern Baptist preacher” (7), got her to “[experience] the drama of faith” (7). Her father also influenced (7-8) her belief “that all of the important and interesting problems in the world were political, and all of the solutions too” (9). This passage suggests that politics were an important part of what she thought mattered in life and hence influenced her spiritual journey. The reader also learns how much she still wants to know about religion and spirituality, even after having “studied theology” (9) because she talks about having adopted “a discipline of listening that keeps [her] mind and [her] spirit stretching” (9). This passage suggests that she is still exploring the deep waters of a religious and spiritual ocean. This exploration becomes even more striking when one compares it to “the failure of hope and the failure of love [that she has experienced ever since she] discovered theology” (214). One would think that Tippett would abandon this exploration when facing life challenges but she doesn’t give up.

The reader sees how interested Tippett is in other people’s points of view. She writes about “[her] most beloved friends” (42) who were “on the bleaker, grayer, eastern of [Berlin]” (42). Even though she doesn’t quote exact words from her conversations with them, she described enough for the reader to understand what their hearts’ preoccupations were (42-43). To this day, she remembers “a vivid aspect of [her] grandfather’s theology” (112) and “a famous line in the book of Revelation that [she] will forever hear in Leander Keck’s, [her professor’s,] voice” (112). These long-lasting memories show what Tippett treasures to remember. She wants to keep in her memory the moments when people she knew revealed themselves in a meaningful manner. Considering that this book address the subjects of religion and spirituality, one can argue that she is writing about memorable moments that reveal religious and spiritual dimensions in those who show parts of themselves to her. This ability to remember becomes a gift for Tippett because her radio show requires that she listen to people talk about one aspect of religion and spirituality such as Leila Ahmed (145-146). It also helps to be able to record one’s radio conversations (146).

The reader learns from Krista Tippett’s book the importance of the wisdom gained in one’s journey and the wisdom of other people’s journeys. That wisdom, in my opinion, should be shared with others.

Various Kinds of Religious Literature

2011-06-27T11:59:00.000-07:00

I have noticed three subcategories in the field of religious literature. Here they are.

1) Sacred scripture (e.g. the Bible, the Bhagavad Gita, the Qur'an). These are historical texts that have been preserved for many generations. For some people, reading these texts suffice for their spiritual journey. Myths can also be included in this subcategory. However, there is more in religious literature than this subcategory.

2) Books on religion by anybody. These people focus on one or more topics surrounding religion and try to write about it or them to the best of their capacity.

3) Religious fiction. One example would be Letters to St. Lydia. You can find the podcast about it on Ancient Faith Radio's feature Speaking of Books.

I think this is relevant to write about because three of the books I will write posts on are related to 2).

Richard Brinsley Sheridan’s The Rivals

2011-06-20T16:33:00.001-07:00

The Rivals is a short play, whose “[t]ime of [a]ction [lasts only f]ive [h]ours” (Sheridan xii). In addition, the author writes a preface in prose (iv-vii), and two prologues in play format (viii-xi). That much preparation for a brief play indicates that there must be a lot of substance in the few words to come. This particular play shows that Sheridan uses deception in order to have a story in the first place.

Deception causes a lack of harmony in the story. As a result, because this play is a comedy, and we expect a more or less, if not completely, happy ending, it is expected that this disharmony will be resolved by the play’s ending. For example, Captain Absolute hides his true identity from his lover Lydia in Act One, Scene 2 (12). There will be an unraveling going on when she discovers who “Ensign Beverley” (12) truly is. In addition, Sheridan adds a little twist to the scene. It turns out that “[his] father wants to force [him] to marry the very girl [he is] plotting to run away with” (25). Since this is a constructed work and not real life, there is an expectation that the author will artfully make the truth be known to the previously ignorant characters. Whether or not Sheridan succeeds in doing so is up to the audience to decide. It seems that the truth is too weighty to hide and needs to be revealed (45), and that can be argued to be an artful revelation.

The use of deception also creates the possibility of there being different scenarios. For example, before Absolute reveals who he truly is to Lydia (45), the audience members wonder how he is going to tell Lydia the truth and how Lydia is going to react to it. However, this device is quite unusual in a play because the play is supposed to guide us in terms of plot from beginning to end. Time to wonder and to think does not exist. Instead, the audience is left with questions on what will happen next. Such questions create a connection between the audience and the playwright because the audience, by pondering the author’s skills in bringing this play to an end, appreciates the skill that the author used to create the play. In addition, thinking about the author in this manner does not diminish the audience’s concentration on the play and its world. The audience wants to figure out the plot more than anything else. Other concerns emerge later on.

Deception can also be used to produce laughter and feelings of joy. It is true that Lydia is unhappy at the discovery of Ensign Beverley’s true identity (46) but the fact that this play is a comedy reassures the audience with optimistic sentiments that the story will end well. For example, Mrs. Malaprop forgives Absolute for describing her in a negative light (45-46) immediately soon after Absolute’s revelation (45-46). In the midst of her forgiving him, she uses an incorrect set of words, which is “anticipate the past” (46) instead of remember “the past” (46). Even though Sir Lucius’ rejection of Mrs. Malaprop can be interpreted as a sad occurrence the deception the so-called “Delia” (64) made in the letters (64) and its results are supposed to be deemed funny because this play is a comedy.

Deception plays an important role in the creation of this play. However, because this is a comedy, the audience knows that the deceptions will be resolved in a way that makes the story end on a light-hearted note. Sheridan seems to succeed in accomplishing this feat.

So Many Genres to Choose From...

2011-06-15T11:51:00.000-07:00

The brief analyses I have made on selected books already show how diverse the book selection in the literary realm is.

So... One question emerges, which is how to choose what to read?

Books can be chosen according to genres such as Teens, Fiction, and Westerns. However, that might not be enough for at least some genres, if not all, because there are subgenres. For example, accoding to Lisa Shearin in July 2011 issue of The Writer magazine, there are subgenres in fantasy, such as "High fantasy" (13) and "Sword and Sorcery" (13). However, choosing according to genre does not guarantee an enjoyable experience. I used to read a lot of Fantasy books when I was young, and I chose a book in that specific genre that I didn't like enough to want to finish, and I had tried more than once. So even with a summary in the back of the book, there can be surprises.

And yet, when I was studying literature in college, I discovered a wide variety of books that I didn't think I would enjoy but I did. For example, Geoffrey Chaucer's The Canterbury Tales was a pleasure to read.

There can be a balance. Read the genres you love but also be open to other books as well. You never know what you'll discover. Reading articles on what people have read, including me, can help. Also, over a certain number of years, people's tastes can change.

Mingmei Yip’s Song of the Silk Road

2011-06-12T05:33:00.000-07:00

I recently found this book at a local Barnes and Noble store. I simply trusted my instinct on getting this novel, and was right in having done so. Mingmei Yip’s Song of the Silk Road is well-written and rich. This book suggests through the protagonist’s experiences that traveling can reveals truths.

Lily Lin, the protagonist, discovers who she really is during her journey to fulfill Mindy Madison’s demands (Yip 4). When she is traveling, her “yin eye” (49) reawakens to the point of needing to be paid attention to. For a long time, she has “made a deliberate effort to suppress, or ignore, [her] yin eye” (49). Her gift turns out to be useful during her trip. She “sensed” (97) that Lop Nor’s wife and son did not die (97), and it turns out that she was right, according to Lop Nor’s letter (150). However, she also ends up not seeing the truth of certain events, such as the wearing of the jade necklace (197-199) and “ivory bracelet” (198) having negative connections with her being. Lily also discovers her tendency to have “all these men chasing [her]” (199) and that only one will turn out to have “true love” (199) for her (199). That person is Alex (349). Even though Lily Lin does not become a fully formed human being as a result of this trip to the Silk Road, she does grow somewhat. What is important to note is that these events of self-discovery are close to the heart because they involve her sense of self, particularly what matters to her. This sensitivity to her trip becomes even more apparent when she decides to write about “[her] Silk Road experiences” (333).

Traveling also teaches Lily Lin about the world surrounding her. We notice that she has a lot of knowledge about life, such as being able to compare “the stench” (116) of a “market” (116) to “a homeless person’s armpits” (116). She is also aware of Chinese history, as she reveals when she thinks about “the colonial days of a hundred years ago, or the Ming dynasty four hundred years before that” (124). Her use of the words “great American novel” (123), especially with the possessive “my” (123), indicates a Western influence. She also has a powerful mind, which the creativity of her analogies indicates. For example, a “smoke-thin voice” (294) is an atypical description, but one that is fully evocative of Mindy Madison’s voice. All in all, Lily reveals herself to be a very intelligent person. Intelligent though she is, she learns more about the religious realm. Even though “[she is] Christian” (185), she receives a memorable religious experience of “Guan Yin[, a Chinese goddess,] crying” (47). Even though she doesn’t spend a lot of time thinking about religious beliefs, she seems to accept a blend of Christian and other beliefs, such as “read[ing] the Heart Sutra for [her] parents” (323) and “pray[ing] to the [Christian] God” (323). In addition, Lily gets mixed reactions to her status in a Chinese land. Ah Hung declares her as “Chinese” (185) without hesitation and that she “[s]hould be either Buddhist or Daoist” (185). And yet, she is described “by a very young waitress” (313) as a “[t]ourist” (313), and that “[she] look[s] so different” (313) from locals (313). Lily also notices that she stands out as a foreigner in Uyghur land (171). She admits “I was wrong to have imagined I’d started to blend in – first the little girl talked to me in English, and now this jade seller in Mandarin” (171). The use of language indicates an awareness that she is not Uyghur. Lily realizes how many people reside in China, whether as travelers or locals.

This book shows that traveling teaches Lily Lin about herself and the country she is visiting. These insights can be applied to any person’s life who can afford to travel. The traveler-to-be will be aware that the upcoming trip will teach him or her a lot.

Perfume: The Creation and Allure of Classic Fragrances by Susan Irvine

2011-06-08T14:29:00.000-07:00

Perfume has been an important part of my upbringing. I distinctly remember my dad buying me from Paris a quintet of perfume samples, including Trésor by Lancôme. My mom would sometimes ask, “Did you put on perfume?”. And yet, I never thought previously about the work that went into creating a bottle of perfume. Susan Irvine’s book Perfume: The Creation and Allure of Classic Fragrances shows the extent of the work that goes into making a bottle of perfume.

The first step in perfume making is the selection of ingredients. At the beginning, one has to know what to grow. Perfume makers don’t simply tell pickers to pick simply anything in the fields (Irvine 28). However, the plants are native to certain lands such as “Indian jasmine” (28) and “May rose” (28). In addition, a certain skill is required when picking flowers for perfumes because the workers, when working “in a rose field near Grasse” (28), only pick “fully opened blossoms” (28) . Irvine also shows that other materials such as “[v]anilla” (46), which “is a product of the vanilla orchid vine” (46). In addition, more than one ingredient is used to create a perfume, as the list of “[t]op notes” (57), “[h]eart notes” (57), and “[b]ase notes” (57) indicate. In addition, the combinations of ingredients have to be skillfully made. Irvine wrote that one of the lessons “young perfumers” (64) “learn” (64) is “the building blocks of fragrance, the classic accords which smell not of their constituents but quite different, more than the sum of their parts” (64).

The packaging of a perfume bottle matters as well. First of all, the perfume bottle is put into a genre. For example, it could be in the “Oriental” (61) group. However, it is possible that the specificity doesn’t stop at that point (58-59). The perfume scent, if it belongs to that category, can be either a “floriental” (61) or a “spicy oriental” (61). Then the categorization reaches a final label of specificity if that is necessary. If the perfume is a “floriental” (61) it can be a “fruity floriental” (61) or a “fruity oriental” (61). If the perfume is a “spicy oriental” (61), it can be an “animal oriental” (61) or a “sweet oriental” (61). However, because sight is important in capturing attention enough to want to buy a bottle of perfume, the design of the bottle matters (66 and 76). However, this necessity became a recent phenomenon. Certainly perfume bottles were used before (75-76) “[t]he twentieth century” (76) but the purchase of the bottle was separate from the purchase of the fragrance (75). Sometimes certain bottles are inspired by the perfume itself such as “Bleu de Chine (‘China Blue’)” (80). However, Salvador Dali does not seem to his inspiration from the perfume; instead, he gets it from elsewhere (80).

Finally, we have the importance of marketing in the product’s process. The title can matter to a customer. For example, a title that is racy such as “Spanking by Schiaparelli” (134) can appeal to people from a “repressed society” (134). Using celebrities and associating them with perfume can be appealing as well. For example, Marilyn Monroe, by wearing “a little Chanel No 5” (110), ended up causing “[s]ales of No 5 shot up worldwide” (110). The word “worldwide” (110) implies that her fame as a celebrity is known all over the world. This influence can also make a particular perfume stand out from all the rest. For example, at least one perfume, “White Diamonds” (136), is well known even close to twenty years later because of its association with Elizabeth Taylor, who is a well-known actress (136). Marketing also requires a large financial commitment from those responsible for bringing a certain perfume to the customers’ attention. For example, “[t]he European launch alone of Dior’s men’s fragrance Fahrenheit cost US$5 million, including US$1.5 million just for placing print advertisements, and US$500,000 to make the commercial” (142). The attempt to attract the customers’ attention results from a variety of marketing methods.

A lot of work and effort goes into the production and advertising of a perfume. And yet, choosing the right perfume or perfumes for oneself remains a trial and error endeavor.

Anthony Bourdain's Medium Raw

2011-06-06T14:56:00.001-07:00

I got this book as a graduation gift from my dad. He is well aware that I am a huge fan of Anthony Bourdain’s show Anthony Bourdain: No Reservations. I discovered in this book a guided tour of many worlds. Those worlds all use food as a medium of expression.

Bourdain’s lingers over the portrayal of certain people cannot be ignored, and sometimes his portraits are blunt. However, they can be balanced as well. Bourdain portrays these people with his own opinions about them. The reason why Bourdain writes about these people is because they are powerful people in the food realm. It matters that Bourdain writes about these people because as someone who has been “in the restaurant business for twenty-eight years [and] much of that time as an employer” (49), he must know a lot about the food world. For example, he describes one of the shows that Brooke Johnson, the head of the Food Network (8), approved of airing, the “Food Network Awards” (8), as “humiliating [and] painful-to-watch” (8). An opinion of her work on the job is an indirect opinion of her and her capabilities as an important figure in the television and food worlds. Bourdain can even be blunt to the point of “call[ing Alan Richman] a douchebag” (168) not only once, but “repeatedly” (167). This man is described as the “respected elder statesman of restaurant criticism, winner of an armload of James Beard Awards, and writer-reviewer for GQ” (167). His honesty about who Richman is shows that he doesn’t mind showing how much prestige the man possesses. This balance also manifests itself when he writes about Alice Waters. He writes: “Let it be said that, on balance, I would like the world to look, someday, much like Alice probably wants it to look like” (129). While he agrees with Waters on that specific point, he point out one detail that makes her dream unrealistic. Bourdain emphasizes a specific point by writing the question in italics: “Who will work these fields?” (130). Alice Waters is deemed “the “Mother of Slow Food”” (127), which suggests that she gets a lot of media attention. This assertion is most likely correct because she appeared on a well-known show called “60 Minutes” (135). She may not possess any cooking credentials (136-137), but she does own a restaurant, “Chez Panisse” (137).

Bourdain also explores the world of eateries big and small (91). He focuses on a particular food for each place. For example, he writes about a pastrami sandwich being made and eaten “[a]t the deli on Houston Street” (89). He describes the sandwich as “so moist and tender you wonder how the guy gets his knife without mashing it” (89). He not only reveals how delicious the sandwich is, but points out the skill that goes into making it. Another example is “the baguettes” (91) from a “tiny Parisian boulangerie” (91). The term “boulangerie” means bakery (91). The combination of bread and butter are so amazing that he describes “[t]he reaction [due to eating them as being] violent” (91). These two examples show that Bourdain is interested in illustrating how amazing simple foods can be. And yet, he refuses to reveal the names of the places where these foods are prepared. He also lingers on certain restaurants by detailing the courses he has had at places such as Le Bernardin (248-252) and Momofuku Ko (216-219). For example, he writes “a tiny plate of oyster, caviar, and sea urchin to start” (218), which he declares as “three ingredients born to be together” (218) and “An extraordinary poached halibut with braised daikon, baby radish, and turnips in a sesame court bouillon” (251). What is revealed is glimpses of life through Bourdain’s eyes. His detailed memories show that he cares about a lot of the ways that food can be presented. This trait in Bourdain is another reason why the reader should trust him in this book.

Bourdain also uses his personal experiences with food to impart wisdom to his readers. For example, in his chapter “So You Wanna Be a Chef” (49-58), he writes “I’m not going to tell you here how to live your life. I’m just saying, I guess, that I got very lucky. And luck is not a business model” (58). And yet, his expertise shows through his spent years in certain culinary institutions. He is “a graduate of the finest and most expensive culinary school in the country, the CIA” (49). He also “was in the restaurant business for twenty-eight years – much of that time as an employer” (49). The culinary school and restaurant are institutions where handling food is important. In both institutions, there is a lot of practice involved, which eventually makes a trainee an expert. Expertise, however, is not the only factor that is needed to trust Bourdain. Bourdain is also very passionate about food. He cares about the production of “meat” (101), for example. He even uses rough language to emphasize how much he cares about this issue (101). His language reveals who he is, such as “It’s my birthright as an American, God damn it” (100). We learn from this sentence that he curses, pays attention to God, and is a patriotic American. All of this is revealed in one sentence, which indicates a skill with words.

Bourdain, as a trustworthy writer, shows us what food can do. It creates institutions and people that are dedicated to it as an art form. The presence of this food world is more prevalent than any outsider would have thought before reading Medium Raw.

MDEW Publishing Contest

2011-06-06T14:51:00.000-07:00

Submit your humorous writing 10 pages to 100 pages, poetry or prose, for magazine publication in December 2011. The deadline is on July 1. Manuscripts 40-100 pages will also be competing for book publication prize with royalties. Reading fee of $20 includes free copy of magazine. Contact me, Ms. Selma Khenissi, at skeditor@linuxmail.org for address and submission guidelines.

Welcome! And the Purpose of this Blog

2011-06-06T14:46:00.000-07:00

Hi everyone,

Welcome to Lingering Words, a blog that I hope will be enriching to your reading experiences. The purposes of this blog are the following:

1) To show my skills as an editor so that anyone who desires to submit their manuscripts can be reassured that I will do their work justice. I am currently an editor at Maryland Editors and Writers (MDEW). If you are interested in sending me a manuscript for publication, please contact me at skeditor@linuxmail.org .

2) To show the variety of books that exist and that are enjoyable ones as well, in my opinion. I will also be writing about books that MDEW is publishing. I have a B.A. in English from the University of Maryland, College Park, so I have training in this field.

3) To highlight news that is related to MDEW. Please also check out www.mdew.org

4) Whatever I find relevant regarding the literary realm.

Another note I should add is the explanation of the blog's title. Good literature is supposed to stay in your memory for a long time, if not forever. Therefore, those words linger. My hope is that this blog will encourage the readers to look more deeply at what they read.

Enjoy!