7: Fiction Readings and Responses
- Page ID
- 59529
\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)
\( \newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\)
( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\)
\( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)
\( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\)
\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)
\( \newcommand{\Span}{\mathrm{span}}\)
\( \newcommand{\id}{\mathrm{id}}\)
\( \newcommand{\Span}{\mathrm{span}}\)
\( \newcommand{\kernel}{\mathrm{null}\,}\)
\( \newcommand{\range}{\mathrm{range}\,}\)
\( \newcommand{\RealPart}{\mathrm{Re}}\)
\( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)
\( \newcommand{\Argument}{\mathrm{Arg}}\)
\( \newcommand{\norm}[1]{\| #1 \|}\)
\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)
\( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\AA}{\unicode[.8,0]{x212B}}\)
\( \newcommand{\vectorA}[1]{\vec{#1}} % arrow\)
\( \newcommand{\vectorAt}[1]{\vec{\text{#1}}} % arrow\)
\( \newcommand{\vectorB}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vectorC}[1]{\textbf{#1}} \)
\( \newcommand{\vectorD}[1]{\overrightarrow{#1}} \)
\( \newcommand{\vectorDt}[1]{\overrightarrow{\text{#1}}} \)
\( \newcommand{\vectE}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{\mathbf {#1}}}} \)
\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)
\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 7.1: Philip K. Dick, “Beyond the Door,” 1954
- This page tells the story of Larry gifting Doris a cherished cuckoo clock, stirring mixed emotions. Doris values the clock for its sentimental ties, while Larry grows resentful and confrontational, particularly when she interacts with Bob. After Doris leaves, Larry's frustration escalates, and the clock malfunctions, symbolizing his deteriorating relationship with it. An unexpected cuckoo leads to Larry's injury, prompting deeper discussions between Doris and Bob.
- 7.2: Charles Dickens, “The Signal-Man,” 1866
- This page details the haunting story of a lonely signalman who, burdened by an eerie connection to a mysterious figure, experiences a series of foreboding events linked to train accidents. A narrator, reflecting on their unsettling conversation with the man, discovers too late that he has been killed while on duty.
- 7.3: Arthur Conan Doyle, “Scandal in Bohemia,” 1891
- This page explores Sherlock Holmes's analytical nature and unique view of emotions, particularly regarding Irene Adler. He aids King Wilhelm of Bohemia in retrieving a compromising photograph linked to Adler, who is known for her intelligence and wit. Holmes employs clever strategies to gather information but ultimately finds that Adler outsmarts him by leaving for the Continent with her husband.
- 7.4: F. Scott Fitzgerald, “The Ice Palace,” 1920
- This page follows nineteen-year-old Sally Carrol Happer from Tarleton as she navigates her desires for adventure and change. Despite her affection for her Southern roots and fiancé Harry, she feels out of place in the North, grappling with cultural differences and insecurities. Experiences range from excitement at winter festivities to fear during isolation in an ice palace.
- 7.5: Nathaniel Hawthorne, “Ethan Brand,” 1850
- This page revolves around Ethan Brand, a man haunted by his quest for the "Unpardonable Sin." His return stirs fear and unease in a local lime-burner, Bartram, who recalls troubling legends about Brand's past. Brand reveals that the sin lies within him, tied to intellect overshadowing humanity. The narrative explores themes of guilt, isolation, and moral sacrifice, showcasing Brand’s transformation as he becomes detached from human connection.
- 7.6: Nathaniel Hawthorne, “Young Goodman Brown,” 1835
- This page recounts the journey of Young Goodman Brown as he departs from his wife, Faith, into a dark forest filled with temptation and evil. He meets a mysterious elder and faces internal conflict upon encountering familiar faces in a sinister gathering, including Faith, leading him to despair and disillusionment. Ultimately, his harrowing experience transforms him into a distrustful figure, severing his connection to Faith and the community.
- 7.7: Critical Responses to “Young Goodman Brown”
- This page offers critical psychoanalytical analyses of Nathaniel Hawthorne's "Young Goodman Brown," highlighting themes of faith and evil. It includes resources from m3ch1t0s, an ENG2205 Class Blog, and Jeff Derrickson, and is attributed to Lumen Learning under Creative Commons.
- 7.8: Kelly Link, “The Specialist’s Hat,” 1998
- This page follows twins Claire and Samantha spending a summer in a haunted house after their mother's death, while their father focuses on writing and becomes increasingly detached, haunted by a mysterious figure. The twins engage in imaginative games, grappling with grief and their father's erratic behavior. They explore the eerie atmosphere and secretive spaces of Eight Chimneys, facing fears through their "Dead game.
- 7.9: Charlotte Perkins Gilman, “The Yellow Wallpaper,” 1892
- This page follows a woman suffering from "nervous depression" as she feels trapped in a haunted colonial mansion, under the control of her dismissive husband, John. Isolated and frustrated, she becomes obsessed with the room's oppressive wallpaper, which she believes hides a woman mirroring her own confinement. As her mental state worsens, she peels the wallpaper in an attempt to free both the trapped figure and herself.
- 7.10: Saki, “The Open Window,” 1914
- This page recounts Framton Nuttel's visit to a rural home to alleviate his nerves, where he feels out of place. He meets Vera, who shares a tragic story about her aunt Mrs. Sappleton, who waits for her husband and brothers lost in a hunting accident. As Mrs. Sappleton arrives and Framton sees three figures approaching the window, he panics and leaves abruptly. Vera humorously claims his fear stems from a previous incident with dogs, leaving Mrs. Sappleton confused by his sudden exit.
- 7.11: Louisa May Alcott, “Scarlet Stockings,” 1869
- This page follows the evolving relationship between Harry Lennox and Belle Morgan amid the backdrop of war and personal growth. Initially apathetic, Harry finds interest in Belle's spirited personality, prompting her to challenge his ambivalence towards charity and enlistment. When Harry enlists, Belle experiences mixed emotions about his departure and the implications of his commitment.
- 7.12: Mary Shelley, “The Mortal Immortal,” 1833
- This page follows a man's reflection on his 323 years of existence, exploring themes of unrequited love, jealousy, and the burdens of immortality after he accidentally drinks a potion from the alchemist Cornelius. Despite initially experiencing happiness and marrying his beloved Bertha, their lives become strained as he remains youthful while she ages, leading to isolation and emotional turmoil.
- 7.13: Jim Shepard, “The Zero Meter Diving Team,” 2007
- This page encourages exploration of "The Zero Meter Diving Team" by Jim Shepard, highlighting the father-son dynamics and brotherly relationships, while noting the mother's absence. It promotes educational literary analysis and discussion.
- 7.14: Mark Twain, “Eve’s Diary,” 1905
- This page follows a narrator's introspective journey in a new world, marked by wonder, curiosity, and a desire for connection. They engage with a peculiar creature and navigate emotional complexities in relationships, reflecting on companionship, loneliness, and the contrasting perspectives of love and practicality. Joyful experiences in nature blend with deeper reflections on love's intrinsic nature, expressed through a desire for lasting bonds.
- 7.16: Analysis of “Lorry Raja”
- This page critiques "lovely writing," questioning whether self-awareness detracts from beauty. Karen Carlson introduces the "heartstrings effect," arguing that emotional resonance may overshadow great writing's subtleties. Her reflections prompt readers to explore what constitutes authentic literary beauty.
- 7.17: Ambrose Bierce, “The Middle Toe of the Right Foot,” 1890
- This page explores the haunted Manton house, associated with a gruesome murder and strong local supernatural beliefs. Four men prepare for a duel inside, culminating in a mysterious spectral appearance that reinforces the haunting. Sheriff Adams discovers a terrified corpse, and strange footprints suggest deeper mysteries.
- 7.18: Henry Cuyler Bunner, “The Nice People,” 1890
- This page humorously narrates a couple's reflections on the Bredes at a summer boarding house, revealing social dynamics and differing memories. Tensions rise as the couple confronts the Bredes' questionable background, leading to intrigue and concern over their relationship. A poignant scene depicts Mrs. Brede's distress, highlighting themes of deception and camaraderie amidst societal pressures, symbolized by the aftermath of rice showered on an ostracized woman.
- 7.19: Willa Cather, “On the Gull’s Road,” 1908
- This page explores the narrator's reflections on his encounters with Alexandra Ebbling over twenty years, highlighting her beauty, complexity, and unfulfilled potential amidst her life with husband Lars. Their shared appreciation for the sea deepens the narrator's infatuation as they discuss dreams and life's fleeting nature. Despite a strong connection, both face the realities of their situations. The narrative culminates in the news of Mrs.
- 7.20: Anton Chekhov, “Peasant Wives,” 1891
- This page depicts the intertwined lives of villagers in Reybuzh, focusing on Filip Ivanov Kashin, his son Fyodor, and traveler Matvey Savitch, who arrives with orphaned Kuzka. Matvey's tumultuous love for Mashenka leads to her tragic fate after being accused of poisoning her husband, resulting in death in prison. Themes of love, regret, societal pressure, and the search for freedom emerge through characters like Varvara, who yearns for autonomy despite oppressive circumstances.
- 7.21: Kate Chopin, “Regret,” 1897
- This page features a summary of Mamzelle Aurélie's journey from solitude to unexpected childcare, highlighting her struggles and growth over two weeks. It also provides an overview of Kate Chopin's literary contributions, emphasizing her role as a feminist writer and her focus on the emotional depths of women's experiences, particularly through her stories set in Louisiana. Chopin's influential works were published in prominent magazines and showcased strong female characters.
- 7.22: Kate Chopin, “The Story of an Hour,” 1894
- This page summarizes "The Story of an Hour" by Kate Chopin, where Mrs. Mallard initially mourns her husband's death but discovers a sense of liberation and joy in her newfound freedom. Her exhilaration is short-lived, as her husband unexpectedly returns, leading to her shock-induced death. The narrative highlights themes of freedom, identity, and marriage constraints.
- 7.23: Joseph Conrad, Heart of Darkness, 1899
- This page offers downloadable audio episodes of "Heart of Darkness" by Joseph Conrad, organized into sections and parts. It credits contributors, including David Kirkwood and Tom Franks, and links to the production by LoudLit.org, which is available under a Creative Commons license.
- 7.24: Joseph Conrad, “The Idiots,” 1896
- This page presents a complex narrative that weaves together themes of family dynamics, personal despair, societal expectations, and political self-interest in a rural setting. Jean-Pierre Bacadou struggles with the burdens of his family's misfortunes, particularly regarding his children's development. Meanwhile, his wife Susan faces overwhelming guilt after a tragic incident. The emotional turmoil of Madame Levaille and Susan culminates in despair, reflecting disconnect and loss.