What can I say about “The Scarlet Ibis” that isn’t on Wikipedia? This 1960 short story is loved by English teachers because of its clear literary symbols — a good introduction to symbolism, especially to colour symbolism.
In this post I’ll break down the story structure from a writing point of view. I’ll be making use of John Truby’s ‘ Morality Character Template’ for the unnamed narrator, because this is a morally flawed individual.
Continue reading “Symbolism and The Scarlet Ibis by James Hurst”
“Rain” by W. Somerset Maugham is a fish-out-of-water story, in which characters wholly unsuited to their environment become marooned somewhere due to external circumstances. As a result, they undergo many trials and change as a result… or they don’t, if it’s a tragedy.
The incessant tropical rain is pathetic fallacy which foreshadows tragedy.
In this case we have Christian missionaries hellbent of converting native Pacific Island culture into something foreign and entirely unsuitable (Protestant, puritanical, cold climate culture). It’s worth remembering that the mainly white, Christian audience of Somerset Maugham’s contemporary readership had to be converted themselves to the view that this was not acceptable.
These characters get stuck on an island because of a travel ban due to a measles outbreak, which is deadly for local populations if not to themselves. By the time we’re told there’s no hotel for them at Pago Pago, we despise them so much we are glad to see them suffer. Continue reading “Rain by W. Somerset Maugham”
On the surface level, “The Wind Blows” by Katherine Mansfield is a coming-of-age short story about an adolescent girl (Matilda) who wakes up one morning, nervous and tense. While the wind blows outside, she gets ready for her music lesson. Before she leaves she has a minor disagreement with her mother. She has her music lesson, goes home, meets her brother walks with him to the sea. They stand together and watch a ship in the water. Then she imagines a time in the future when she and her brother will be leaving their home on a ship like this one.
(The ship is carrying coal. Mansfield uses the word ‘coal hulk’. Interestingly, these ships used to be used as prisons, as well as for freight.)
On the metaphorical level, the wind is an extended metaphor for the feelings of adolescence. It’s not easy to tell whether Katherine Mansfield is empathetic to the tumultuous feelings of adolescence, or if she’s poking fun. She has written “The Wind Blows” in a melodramatic tone. Critics have called this story ‘the most purely symbolist of her stories to this date.. a highly sophisticated and modernist story…achieving new intensity’ (Claire Hanson and Andrew Gurr).
CONNECTIONS TO MANSFIELD’S OWN LIFE
In general, it pays not to conflate characters with their creators. But In Katherine Mansfield: The woman and the writer, Gillian Boddy provides good reasons why we might read Matilda with Katherine Mansfield herself:
Clearly based on the memories she had shared with Leslie during the summer of 1915, this story has a strange power. Matilda is K.M., she used the pseudonym Matilda Berry at this time, while Bogey was the family name for Leslie, which K.M. later transferred to Murry. It gives a hint, too, of the Trowell’s house in Buller Street which must have been central to her artistic development. This presumably led her to the choice of the music teacher’s name — Mr. Bullen. Could her remarkable memory have failed her by one letter, was the change deliberate, or was there perhaps an error in transcribing the story from her handwriting? Is Mr Bullen another composite figure, based on Mr Trowell and her piano teacher Mr Robert Parker?Gillian Boddy
Sadly, Mansfield’s brother Leslie died only a days after this story was published. Once you know that, the admonishment ‘don’t forget’ near the end of the story becomes darkly resonant.
STORYWORLD OF “THE WIND BLOWS”
Continue reading “The Wind Blows by Katherine Mansfield”
1. MIYAZAKI’S FILMS FEATURE A TECHNIQUE CALLED ‘PILLOW SHOTS’
A “pillow shot” is a cutaway, for no obvious narrative reason, to a visual element, often a landscape or an empty room, that is held for a significant time (five or six seconds). It can be at the start of a scene or during a scene.
— Dangerous Minds
It comes from the famous director Yasujiro Ozu and is common in Japanese cinema. Why are they called pillow shots? It’s the cinematic equivalent of ‘pillow words’ used in Japanese poetry. A pillow word represents a sort of musical beat between what went before and what comes after. It functions as a kind of punctuation, signalling the end of something and a transition to something else.
Similarly, silence plays an important part in Japanese films, and Hayao Miyazaki doesn’t subscribe to the Dreamworks school of thought, in which kids need action from the get-go.
Although it looks as if nothing is happening in some of Miyzaki’s pillow shots, Japanese animators are more likely to use dynamic backgrounds and Western animators to use static ones. For instance, something in the Japanese background will be in motion and change. Even when there’s action going on in the foreground, Miyazaki will quite likely have something going on in the background. Continue reading “Things To Know About Miyazaki Films”