Period 1 Blog #22

5 Tips for Talking About Racism With Kids

5 hints for starting the conversation about race (good news: it doesn't have to be awkward!)

Recently after interviewing a potential nanny, I asked my daughter Chloe, 4, what she thought. "I don't like her brown skin?" my daughter replied, phrasing it like a question in that hesitant way she does when she knows she's testing.

I was shocked—and horrified. She'd never mentioned skin color before, despite having good friends of different ethnicities, and I naively believed she was colorblind. Now, faced with the fear that I had inadvertently raised a pint-size racist, I biffed it. "That's not a nice thing to say,' I scolded her. And then, unsure of what else to say, I said nothing at all.

I'm pretty sure that falls on the "how not to handle it" list. We spoke to Dr. Beverly Tatum, president of Spelman College and author to find out what you should say, and when.

1.      Don't be afraid to bring it up

For many parents, the race talk is as difficult as the birds and the bees talk. Dr. Tatum attributes this awkwardness to a lack of communication about race in many of our own childhoods. "There are concerns about saying the wrong thing and sounding racist, even if that is not the intent." says Dr. Tatum. "Sometimes parents naively believe that if they talk about issues of race with their children, they will cause them to notice race in a way that they did not before."

2.      Look for teaching moments

Not sure how to get the conversation started? If your child comments on different skin colors, that's an easy in. Children's books that discuss race are also a gentle introduction. Or, you can look for subtle openings in everyday life. "I was cooking with my 3-year-old," says Dr. Tatum. "We used the last white egg in the carton, and then took out another carton of eggs, this time brown eggs.  My son noted that the eggs were different in color. 'Yes,' I said, as we cracked both eggs open, 'But look—they are the same inside.  Just like people, they come in different shades, but they are the same on the inside.'"

3.      Make the message age-appropriate

For preschoolers, use concrete examples, like the egg example above. Since even young children can understand when something is unfair (how many times have they lobbed the "not fair!" charge at you?), you can break down slavery (or segregation) for them: Slavery happened a long time ago, but holding people captive and making them work without paying them is unfair. So slavery ended, because many people thought it was unfair and worked to change it. "I think it is important to emphasize that no racial group is all bad or all victims," says Dr. Tatum. "For example, in the US, white people were slaveowners, but white people also worked against slavery. Black people were enslaved, but many resisted their mistreatment by running away and helping others escape. Offering examples of people working together is also important."

4.      Accept that prejudiced comments may happen—and that doesn't mean your child is racist

If your kid makes a questionable remark, don't freak. "Children often repeat what they hear others say, and it doesn't necessarily mean that the child believes it," says Dr. Tatum. "Ask questions. 'What made you say....?' Gently dispute the stereotype or prejudiced attitudes. 'I've heard people say X about Y, but my experience with Y people is...' and give an example to dispute the stereotype."

5.      Most importantly, be a role model

"The best way to reduce children's prejudices is to model an inclusive home, demonstrating that you have friends of all backgrounds," says Dr. Tatum. "Parents who have learned to lead multicultural lives, connecting with people different from themselves, are more likely to have children who develop those important life skills at an early age."

As for my own little stumble, we've recovered. Hanging out together on Martin Luther King Day, I asked Chloe if she knew who Dr. King was, and somehow she did. We talked about the work he did, and how unfair it is to treat someone badly just because they have different color skin. And then we went back to coloring.

Your comment must be at least 380 words. Due by Tuesday 4/17 at 11:59pm. Your reply to a classmate is due Thursday 4/19 at 11:59pm.

• Sum up each piece of advice offered by the author.
• What advice might Atticus add if he were writing this article?
• The last piece of advice tells parents that they should be a role model for their kids on how to treat people, how was Atticus a role model for Scout and Jem on how to treat people?

 

Period 3 Blog #22

Arthur Miller: Writing During the Red Scare

By Claudia Adrien. Mar 3, 2017. 9:00 AM.

Topics: History, Drama

The Cold War was an era clouded by persistent paranoia, not only between the United States and the Soviet Union. When it came to its own citizens, the U.S. government was, in some cases, just as fearful as it was about foreign threats—especially when it came to the Hollywood crowd. Indeed, in October 1947, members of a congressional committee, the House Un-American Activities Committee (HUAC), began investigating members of the movie industry who they suspected were communist sympathizers. They banned the work of 325 screenwriters, actors, and directors*. Among those blacklisted were composer Aaron Copland, writers Dashiell Hammett, Lillian Hellman, and Dorothy Parker, playwright Arthur Miller, and actor and filmmaker Orson Welles.

The Creative Environment During the Cold War

The term McCarthyism came out of this period and is now used more broadly to describe unfounded accusations of one group or political party against its opponent, particularly in discussions of patriotism and integrity.

In the 1950s, anyone suspected of communist sympathies was thoroughly investigated with no mind paid for the personal damage such an investigation may have caused. During this time, there were few in the press willing to stand up against Senator Joseph McCarthy and the anti-Communist hunt he led.

In 1950, ten individuals, known as the Hollywood Ten, defied HUAC and refused to cooperate with the investigation. They cited the actions of the committee as a violation of their civil liberties, as the First Amendment to the U.S. Constitution afforded them the right to belong to any political organization. The men were sentenced to a year in jail, although one of the Hollywood Ten, Edward Dmytryk, decided to cooperate with the government and provided the names of more than 20 in Hollywood he alleged were communists**.

Arthur Miller's Response

In response to this period of intimidation, playwright Arthur Miller penned some of his most notable works, including The Crucible (1953), an interpretation of the events that occurred in 17th century Salem, Massachusetts, where twenty innocent people were executed for witchcraft.

The way in which Miller paralleled the witch trials with the era of McCarthyism earned him a seat in front of HUAC. He was convicted of contempt of Congress for failing to name names of communist sympathizers; however, his conviction was later overturned. Nevertheless, the experience continued to impact the playwright and his later works.

In The Creation of the World and Other Business (1972), Miller is inspired by the Book of Genesis and its themes of good versus evil; however, he gives a comedic rendition in The Creation wherein God is powerful but lacks intelligence.

In the Incident at Vichy (1964), Miller explores human nature, guilt, and fear while depicting how the Nazis orchestrated the Holocaust without much resistance.

To better understand Miller and his thought process, it is helpful to look to The Theater Essays. In the work, Miller discusses the roots of modern drama and the state of contemporary theater with reference to other notable writers such as Ibsen, Chekhov, and O'Neill. He also compares attitudes toward theater in Russia, China, and the United States.

In short, Arthur Miller is one of the most important playwrights of the 20th century whose work often reflected the oppressive nature of the contemporary state, especially during McCarthyism. In an era of fear and intimidation, Arthur Miller stands out as someone who wasn't afraid to write his conscience.

 

Your comment must be at least 380 words. Due by Tuesday 4/17 at 11:59pm. Your reply to a classmate is due Thursday 4/19 at 11:59pm.

-How was Arthur Miller using the events around him to shape his writing?

-What influence did the Red Scare have on his writing of The Crucible?

-What parallels can be found between the Red Scare and the Salem Witch Trials?

 

Perid 4/5 Blog #22

Arthur Miller: Writing During the Red Scare

By Claudia Adrien. Mar 3, 2017. 9:00 AM.

Topics: History, Drama

The Cold War was an era clouded by persistent paranoia, not only between the United States and the Soviet Union. When it came to its own citizens, the U.S. government was, in some cases, just as fearful as it was about foreign threats—especially when it came to the Hollywood crowd. Indeed, in October 1947, members of a congressional committee, the House Un-American Activities Committee (HUAC), began investigating members of the movie industry who they suspected were communist sympathizers. They banned the work of 325 screenwriters, actors, and directors*. Among those blacklisted were composer Aaron Copland, writers Dashiell Hammett, Lillian Hellman, and Dorothy Parker, playwright Arthur Miller, and actor and filmmaker Orson Welles.

The Creative Environment During the Cold War

The term McCarthyism came out of this period and is now used more broadly to describe unfounded accusations of one group or political party against its opponent, particularly in discussions of patriotism and integrity.

In the 1950s, anyone suspected of communist sympathies was thoroughly investigated with no mind paid for the personal damage such an investigation may have caused. During this time, there were few in the press willing to stand up against Senator Joseph McCarthy and the anti-Communist hunt he led.

In 1950, ten individuals, known as the Hollywood Ten, defied HUAC and refused to cooperate with the investigation. They cited the actions of the committee as a violation of their civil liberties, as the First Amendment to the U.S. Constitution afforded them the right to belong to any political organization. The men were sentenced to a year in jail, although one of the Hollywood Ten, Edward Dmytryk, decided to cooperate with the government and provided the names of more than 20 in Hollywood he alleged were communists**.

Arthur Miller's Response

In response to this period of intimidation, playwright Arthur Miller penned some of his most notable works, including The Crucible (1953), an interpretation of the events that occurred in 17th century Salem, Massachusetts, where twenty innocent people were executed for witchcraft.

The way in which Miller paralleled the witch trials with the era of McCarthyism earned him a seat in front of HUAC. He was convicted of contempt of Congress for failing to name names of communist sympathizers; however, his conviction was later overturned. Nevertheless, the experience continued to impact the playwright and his later works.

In The Creation of the World and Other Business (1972), Miller is inspired by the Book of Genesis and its themes of good versus evil; however, he gives a comedic rendition in The Creation wherein God is powerful but lacks intelligence.

In the Incident at Vichy (1964), Miller explores human nature, guilt, and fear while depicting how the Nazis orchestrated the Holocaust without much resistance.

To better understand Miller and his thought process, it is helpful to look to The Theater Essays. In the work, Miller discusses the roots of modern drama and the state of contemporary theater with reference to other notable writers such as Ibsen, Chekhov, and O'Neill. He also compares attitudes toward theater in Russia, China, and the United States.

In short, Arthur Miller is one of the most important playwrights of the 20th century whose work often reflected the oppressive nature of the contemporary state, especially during McCarthyism. In an era of fear and intimidation, Arthur Miller stands out as someone who wasn't afraid to write his conscience.

 

Your comment must be at least 380 words. Due by Tuesday 4/17 at 11:59pm. Your reply to a classmate is due Thursday 4/19 at 11:59pm.

-How was Arthur Miller using the events around him to shape his writing?

-What influence did the Red Scare have on his writing of The Crucible?

-What parallels can be found between the Red Scare and the Salem Witch Trials?

 

Period 9/10 Blog #22

5 Tips for Talking About Racism With Kids

5 hints for starting the conversation about race (good news: it doesn't have to be awkward!)

Recently after interviewing a potential nanny, I asked my daughter Chloe, 4, what she thought. "I don't like her brown skin?" my daughter replied, phrasing it like a question in that hesitant way she does when she knows she's testing.

I was shocked—and horrified. She'd never mentioned skin color before, despite having good friends of different ethnicities, and I naively believed she was colorblind. Now, faced with the fear that I had inadvertently raised a pint-size racist, I biffed it. "That's not a nice thing to say,' I scolded her. And then, unsure of what else to say, I said nothing at all.

I'm pretty sure that falls on the "how not to handle it" list. We spoke to Dr. Beverly Tatum, president of Spelman College and author to find out what you should say, and when.

1.      Don't be afraid to bring it up

For many parents, the race talk is as difficult as the birds and the bees talk. Dr. Tatum attributes this awkwardness to a lack of communication about race in many of our own childhoods. "There are concerns about saying the wrong thing and sounding racist, even if that is not the intent." says Dr. Tatum. "Sometimes parents naively believe that if they talk about issues of race with their children, they will cause them to notice race in a way that they did not before."

2.      Look for teaching moments

Not sure how to get the conversation started? If your child comments on different skin colors, that's an easy in. Children's books that discuss race are also a gentle introduction. Or, you can look for subtle openings in everyday life. "I was cooking with my 3-year-old," says Dr. Tatum. "We used the last white egg in the carton, and then took out another carton of eggs, this time brown eggs.  My son noted that the eggs were different in color. 'Yes,' I said, as we cracked both eggs open, 'But look—they are the same inside.  Just like people, they come in different shades, but they are the same on the inside.'"

3.      Make the message age-appropriate

For preschoolers, use concrete examples, like the egg example above. Since even young children can understand when something is unfair (how many times have they lobbed the "not fair!" charge at you?), you can break down slavery (or segregation) for them: Slavery happened a long time ago, but holding people captive and making them work without paying them is unfair. So slavery ended, because many people thought it was unfair and worked to change it. "I think it is important to emphasize that no racial group is all bad or all victims," says Dr. Tatum. "For example, in the US, white people were slaveowners, but white people also worked against slavery. Black people were enslaved, but many resisted their mistreatment by running away and helping others escape. Offering examples of people working together is also important."

4.      Accept that prejudiced comments may happen—and that doesn't mean your child is racist

If your kid makes a questionable remark, don't freak. "Children often repeat what they hear others say, and it doesn't necessarily mean that the child believes it," says Dr. Tatum. "Ask questions. 'What made you say....?' Gently dispute the stereotype or prejudiced attitudes. 'I've heard people say X about Y, but my experience with Y people is...' and give an example to dispute the stereotype."

5.      Most importantly, be a role model

"The best way to reduce children's prejudices is to model an inclusive home, demonstrating that you have friends of all backgrounds," says Dr. Tatum. "Parents who have learned to lead multicultural lives, connecting with people different from themselves, are more likely to have children who develop those important life skills at an early age."

As for my own little stumble, we've recovered. Hanging out together on Martin Luther King Day, I asked Chloe if she knew who Dr. King was, and somehow she did. We talked about the work he did, and how unfair it is to treat someone badly just because they have different color skin. And then we went back to coloring.

Your comment must be at least 380 words. Due by Tuesday 4/17 at 11:59pm. Your reply to a classmate is due Thursday 4/19 at 11:59pm.

• Sum up each piece of advice offered by the author.
• What advice might Atticus add if he were writing this article?
• The last piece of advice tells parents that they should be a role model for their kids on how to treat people, how was Atticus a role model for Scout and Jem on how to treat people?

 

Period 11 Blog #22

Arthur Miller: Writing During the Red Scare

By Claudia Adrien. Mar 3, 2017. 9:00 AM.

Topics: History, Drama

The Cold War was an era clouded by persistent paranoia, not only between the United States and the Soviet Union. When it came to its own citizens, the U.S. government was, in some cases, just as fearful as it was about foreign threats—especially when it came to the Hollywood crowd. Indeed, in October 1947, members of a congressional committee, the House Un-American Activities Committee (HUAC), began investigating members of the movie industry who they suspected were communist sympathizers. They banned the work of 325 screenwriters, actors, and directors*. Among those blacklisted were composer Aaron Copland, writers Dashiell Hammett, Lillian Hellman, and Dorothy Parker, playwright Arthur Miller, and actor and filmmaker Orson Welles.

The Creative Environment During the Cold War

The term McCarthyism came out of this period and is now used more broadly to describe unfounded accusations of one group or political party against its opponent, particularly in discussions of patriotism and integrity.

In the 1950s, anyone suspected of communist sympathies was thoroughly investigated with no mind paid for the personal damage such an investigation may have caused. During this time, there were few in the press willing to stand up against Senator Joseph McCarthy and the anti-Communist hunt he led.

In 1950, ten individuals, known as the Hollywood Ten, defied HUAC and refused to cooperate with the investigation. They cited the actions of the committee as a violation of their civil liberties, as the First Amendment to the U.S. Constitution afforded them the right to belong to any political organization. The men were sentenced to a year in jail, although one of the Hollywood Ten, Edward Dmytryk, decided to cooperate with the government and provided the names of more than 20 in Hollywood he alleged were communists**.

Arthur Miller's Response

In response to this period of intimidation, playwright Arthur Miller penned some of his most notable works, including The Crucible (1953), an interpretation of the events that occurred in 17th century Salem, Massachusetts, where twenty innocent people were executed for witchcraft.

The way in which Miller paralleled the witch trials with the era of McCarthyism earned him a seat in front of HUAC. He was convicted of contempt of Congress for failing to name names of communist sympathizers; however, his conviction was later overturned. Nevertheless, the experience continued to impact the playwright and his later works.

In The Creation of the World and Other Business (1972), Miller is inspired by the Book of Genesis and its themes of good versus evil; however, he gives a comedic rendition in The Creation wherein God is powerful but lacks intelligence.

In the Incident at Vichy (1964), Miller explores human nature, guilt, and fear while depicting how the Nazis orchestrated the Holocaust without much resistance.

To better understand Miller and his thought process, it is helpful to look to The Theater Essays. In the work, Miller discusses the roots of modern drama and the state of contemporary theater with reference to other notable writers such as Ibsen, Chekhov, and O'Neill. He also compares attitudes toward theater in Russia, China, and the United States.

In short, Arthur Miller is one of the most important playwrights of the 20th century whose work often reflected the oppressive nature of the contemporary state, especially during McCarthyism. In an era of fear and intimidation, Arthur Miller stands out as someone who wasn't afraid to write his conscience.

 

Your comment must be at least 380 words. Due by Tuesday 4/17 at 11:59pm. Your reply to a classmate is due Thursday 4/19 at 11:59pm.

-How was Arthur Miller using the events around him to shape his writing?

-What influence did the Red Scare have on his writing of The Crucible?

-What parallels can be found between the Red Scare and the Salem Witch Trials?

 

Period 1 Blog #21

14 Things Nobody Told You While Growing Up

No one ever tells you the hard truths of life. Maybe it’s because they can’t stomach it, or maybe it’s because they think it’s just something you have to experience firsthand to understand. Here are fourteen things nobody told you while growing up that would’ve been nice to know beforehand

1. You’re Going to Spend A Lot of Time Figuring Stuff Out

Unless you’re one of the lucky few who already knows what their passion is and what you really enjoy, you will be spending a lot of time trying new things and figuring out what you’re good at and what you like. Don’t be afraid to try new things and fail at them; failing builds character. You have a lot of growing up to do in your 20s, a lot of self-examination and exploration. Use this time wisely to get to know yourself as best as you can–not that you won’t change as you continue to get older, but it’s definitely a time of discovery, getting to know oneself and what you want in this world and what you have to contribute to the world.

2. Don’t Expect Smooth Seas

There will be many challenges, obstacles and curve balls swung your way. Just try to take life as it comes. Don’t fight against the current because you’ll just wear yourself out. If there’s a door that is standing wide open for you and another that you’re trying to get through by knocking it down, sometimes it’s best to take the door that’s already open for you. In other words don’t try to be someone/something you’re not.

3. Change Will Come

Life is about change; don’t fight it and just go with it. Learn from your mistakes and grow. Let go of things you can’t change. Sometimes change will be so painful you will want to rip your heart out, but you’ll be okay if you just hang on and know that no matter what happens, you will be alright. Win, lose or draw, life will go on and you’ll get another chance to start your life over if things haven’t gone according to plan.

4. Time Is a Limited Resource

Nothing lasts forever. Enjoy every moment that you have. Enjoy life and practice being present in the moment because it goes by extremely fast. There will be both good and bad times. The bad thing about up is there’s always a down. It’s important to really enjoy and savor the good moments in life because you’ll need those memories to reflect back on when the bad times come. The first 10 years after high school go by at a breakneck speed and before you know it you’re 28 and wondering how the time has escaped you.

5. Life is Hard

When you’re a teenager, you’re just at the beginning of your life’s lessons. Life is the toughest teacher you will ever have. “Life is a cruel teacher. She gives the test first, then the lesson.” Life will throw everything that it can at you; it will try to break you and choke you until you can’t breathe, but you can’t let it.

6. You’re Only Young Once

Enjoy being young while you are still young! Enjoy being young as much as possible. Enjoy the metabolism and the fun times. Cross stuff off your bucket list while you’re young because no one knows how much time you truly have. Don’t wait until you’re old and can’t or may not be able to do the things you really want to experience. Seriously, you may be broke while you’re young, but that doesn’t matter. You’ve got time to make money and settle down. Travel, explore and do what your heart desires now. You can still get married, have children and a household and career starting in your 20s if you want, but you should try to balance your life with equal amounts of responsibility and fun. The last thing you want to do is look back on missed chances.

7. Attitude Determines Everything

Attitude is everything and that’s not something they teach you in school. Having a good attitude can make all the difference in your life. It makes life easier and happier when you have a positive outlook and are able to keep your attitude light and flexible when dealing with other people and with life’s challenges.

8. How You Treat People Matters

Treating people with respect and decency can get you a long way in the world. Remember that “honey attracts more flies than vinegar.” Being nice to people really does actually matter to people. You won’t get anywhere tearing other people down or blaming others for anything. Take responsibility for yourself, your actions and your feelings.

9. Relationships Don’t Come Easy

Choosing a life partner/spouse is hard. Relationships in general are hard, not just romantic ones but friendships and family relations as well. Stay in touch with people who you really care about and who really care about you. Make an effort to stay an active person in their life if you really care. You will not have as many close friends as you get older and you will probably lose some friends as well. Remember that it is okay, not everyone who comes into your life is meant to stay forever; let them go and cherish the people who are still in your life.

10. Take Every Chance You Get

Life is about taking chances, grabbing opportunities and taking risks. Don’t be afraid to try something new, move somewhere new, work somewhere new, meet new people and learn something new.

11. Life Is Complex. Try Not to Worry

Don’t worry because everyone has ups and downs. It’s just how life is. Life is extremely messy and complicated, but don’t despair because things will work out in the end. Keep living and keep on doing what you enjoy. Don’t be too hard on yourself.

12. You Will Face Rejection

You will be rejected at some point in your life. Rejection hurts at the very core of your being, but try not to take it too personally. Oftentimes, when you’re rejected it has nothing to do with you and everything to do with the person rejecting you. Take it in stride, let it slide off your back and move on. I know this is easier said than done, but it will go a long way in making you feel better and happier.

13. You Will Not Have Everything Figured Out Anytime Soon

If you don’t have everything figured out by the time you’re 30, you’re not alone. If you’re not where you want to be in your life or career, don’t sweat it, you still have time. Some people never figure out what they really want to do with their lives, but they get a lot of great experience, learn new things and can transfer their skills to many types of jobs. If you know what you want to do in life, start doing it immediately, practice it as much as possible and you will get better at it.

14. Love More and Keep Your Heart Open

Love is all that really matters in the end. Give of yourself more than anything. Try to be patient, empathetic, understanding, caring and gentle with other people. Get to know people better by asking questions and listening attentively. People usually like to talk about themselves and questions are a great way to get conversations going. Love people for who they are, just as they are, and realize that everyone is a work in progress! Life is a continual work in progress. We’re all just trying to find our way, and we’re all confused and looking for contentment. Life is a journey, and happiness is not a destination to arrive at, but a way of living.

 

Your comment must be at least 370 words. Due by Tuesday 3/20 at 11:59pm. Your reply to a classmate is due Thursday 3/22 at 11:59pm.

-What advice from this article do you think Scout and Jem would’ve found the most helpful? Why?

- What advice do you find the most helpful? Why?

-Would you add anything to the list? What would you add?

Period 3 Blog #21

“Nick Carraway is in love with Gatsby”

I’ve read the F. Scott Fitzgerald classic more than any other novel — and with each reading, I grow more convinced

I have read The Great Gatsby more times than any other novel. With each reading, my understanding of F. Scott Fitzgerald’s greatest work deepens, and I pick up something I missed previously.

My reading of the book starts with this premise: Nick Carraway is actually the protagonist of the novel. This is not a hard case to make. It could be argued that the narrator of every first-person novel is the protagonist, even if the book is “about” someone else. Nick is the only character who “changes,” in the way they used to teach in high school, and anyway Gatsby is absent for many of the book’s scenes, including the drawn-out ending.

My other premise is less obvious, but no more difficult to argue: Nick is a) gay and b) in love with Gatsby.

Here’s what we know about Nick Carraway, from what he tells us in the first few pages of the book: he was born in 1896, so is about the same age as Fitzgerald; he went to Yale, as his father did before him; he fought in the First World War; he resembles his “hard-boiled” great uncle; his aunts and uncles are worried about him because he is in his late-20’s and still single. Reading between the lines, we deduce that there is something unusual about him, something that concerns his family. So far, Nick’s is exactly the profile of a (closeted) gay young man in a prominent Middle Western family in 1922.

 

From here, we look to Nick’s impressions of the various characters:

 

Daisy Buchanan is the Southern belle with whom Gatsby is so desperately in love that he joins the underworld, amasses a small fortune, and ultimately ruins his life. It is safe to assume that there’s a reason Daisy has been played in the movies by fair beauties like Mia Farrow and Carey Mulligan. Yet here is how Nick, a distant enough cousin to lust for her with impunity if he had such impulses, describes her:

I looked back at my cousin, who began to ask me questions in her low, thrilling voice. It was the kind of voice that the ear follows up and down, as if each speech is an arrangement of notes that will never be played again. Her face was sad and lovely with bright things in it, bright eyes and a bright passionate mouth, but there was an excitement in her voice that men who had cared for her found difficult to forget: a singing compulsion, a whispered “Listen,” a promise that she had done gay, exciting things just a while since and that there were gay, exciting things hovering in the next hour.

Essentially, Daisy, this legendary beauty, this great love of Gatsby’s life…had a nice voice. A voice they later realize sounds like money.

 

Next up, the golfer Jordan Baker. Nick’s take:

I enjoyed looking at her. She was a slender, small-breasted girl, with an erect carriage, which she accentuated by throwing her body backward at the shoulders like a young cadet. Her gray sun-strained eyes looked back at me with polite reciprocal curiosity out of a wan, charming, disconcerted face.

We can easily imagine Jordan, a prototype of the modern-day female athlete: sporty, fit, trim, and a bit flirty. Other than the word small-breasted—which de-emphasizes the golfer’s feminine attributes—this could be a description of a man.

Nick spends a lot of time with Jordan during the summer when the story takes place—enough so that she is under the impression that he “threw her over.” But we never hear about this. Jordan Baker does not interest him. He is dating her to try and convince himself that he is attracted to her, this boyish woman, but he is not.

 

Then Myrtle, who we can also assume, because a wealthy and athletic man like Tom Buchanan could probably have his pick of available women, is easy on the eyes:

She was in the middle thirties, and faintly stout, but she carried her surplus flesh sensuously as some women can. Her face, above a spotted dress of dark blue crêpe-de-chine, contained no facet or gleam of beauty, but there was an immediately perceptible vitality about her as if the nerves of her body were continually smoldering.

To Tom, Myrtle is the smoldering portrait of voluptuousness, but Nick is not taken with her at all. Granted, he might not be inclined to like his cousin’s husband’s lover, but I find it curious that he’s so sure her dress is made of crêpe-de-chine.

 

Compare the way Nick views the women of the novel with his description of Tom Buchanan, someone Nick does not particularly care for:

He had changed since his New Haven years. Now he was a sturdy straw-haired man of thirty with a rather hard mouth and a supercilious manner. Two shining arrogant eyes had established dominance over his face and gave him the appearance of always leaning aggressively forward. Not even the effeminate swank of his riding boots could hide the enormous power of that body — he seemed to fill those glistening boots until he strained the top lacing, and you could see a great pack of muscle shifting when his shoulder moved under his thin coat. It was a body capable of enormous leverage — a cruel body.

Daisy is about the voice, Jordan the erect carriage, Myrtle the crêpe-de-chine. Only Tom is given such an attractive description.

 

Then Nick meets his wealthy neighbor Mr. Gatsby for the first time:

He smiled understandingly — much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you might come across four or five times in your life. It faced — or seemed to face — the whole external world for an instant, and then concentrated on you with an irresistible prejudice in your favor. It understood you just as far as you wanted to be understood, believed in you as you would like to believe in yourself, and assured you that it had precisely the impression of you that, at your best, you hoped to convey.

If you came across that passage out of context, you would probably conclude it was from a romance novel. If that scene were a cartoon, Cupid would shoot an arrow, music would swell, and Nick’s eyes would turn into giant hearts.

 

Next, we’ll skip to the part where I believe Nick hooks up with Mr. McKee.

This would be the end of chapter two, before he meets, and falls instantly in love with, Gatsby. He is in Manhattan with Tom, who wanted Nick to meet “his girl,” Myrtle. They are at Myrtle’s apartment with her sister Catherine and some neighbors, Mr. and Mrs. McKee—the former being “a pale, feminine man.” They spend the afternoon together and drink into the night—it is, Nick says, one of the few times in his life he has drunk to excess. There are two couples plus Nick and Catherine, and that arrangement suggests that she is who he should wind up with, but at the end of the night, after Tom breaks Myrtle’s nose, here’s what goes down:

Then Mr. McKee turned and continued on out the door. Taking my hat from the chandelier, I followed.
“Come to lunch someday,” he suggested, as we groaned down in the elevator.
“Where?”
“Anywhere.”
“All right,” I agreed, “I’ll be glad to.”

Then the strange ellipses—the only time in the book Fitzgerald uses them—suggesting action that we’re not privy to. And I do mean action.

. . . I was standing beside his bed and he was sitting up between the sheets, clad in his underwear, with a great portfolio in his hands.
“Beauty and the Beast…Loneliness…Old Grocery House…Brook’n Bridge….”
Then I was lying half asleep in the cold lower level of the Pennsylvania Station and waiting for the four o’clock train.

 

The Great Gatsby is often praised, and rightly so, for its economy. So much is packed into this slender volume—not much more than 50,000 words, practically a novella. Why would Fitzgerald bother to include this strange interlude, a loopy Nick in bed with the “feminine” Mr. McKee in his underwear at 3 in the morning, if not to show the narrator’s sexual preference? What other purpose can it possibly serve? That Nick is interested in photography?

 

How might Nick’s sexuality affects what we are reading? Gatsby is, after all, an account written by him in Minnesota the year after the events in the book. We see only what Nick lets us see.. If Nick is in love with Gatsby—and this seems pretty clear—then the entire novel operates as a rationalization of that misplaced love. Nick romanticizes Gatsby in the exact same way that Gatsby romanticizes Daisy.

 

Nick wants us to believe, as he does, that Gatsby is different, that “only…the man who gives his name to his book, was exempt from [his] reaction” of scorn because of Jay’s “extraordinary gift for hope, a romantic readiness such that I have never found in any other person and which it is not likely I shall ever find again.” Translation: “I loved this man.” Unlike Tom and Daisy, “Gatsby turned out all right at the end….”

This is easily disproven when we see that no one comes to Gatsby’s funeral, speaking volumes about how good of a man he really was and how blinded Nick was in his love as he narrated this entire story.

 

 

Your comment must be at least 370 words. Due by Tuesday 3/20 at 11:59pm. Your reply to a classmate is due Thursday 3/22 at 11:59pm.

 

-Do you believe the author made a strong case? Why or why not?

-What were some of the authors strongest arguments? What were some of his weaker points?
-If Nick truly is in love with Gatsby, how does that affect the way the story is told?