Summary and response to a critical article

     Nick Reding's book, Methland,  is a microcosmic representation of the meth problem in America today. He covers the problem Oelwin, a small Iowa community, has had over the last few decades with methamphetamine use and production. However, he directly relates his story to the root causes of meth abuse, both socially and economically. He also covers the personal story of Roland Jarvis, 37 year old ex convict, father of 4, crank cook and addict.
     Reding makes more than one valid point about the proliferation of meth as the "all-American" drug. The ability to work long hours without fatigue, and to do seemingly superhuman feats with ease make this drug extremely attractive to those who are required to do such things. In my own experience as an active duty Marine, I saw men who were using meth outstrip my own athletic prowess and ability with seeming ease. I never saw the downside of meth use where I worked. Instead, I saw men who could run with a pack for hours without any signs of physical stress or distress. While I struggled to complete tasks in a fugue state, the meth users were still fresh and functioning at high levels of competence.

http://vitia.org/wordpress/2009/07/27/meth-lab-fusion/

     What was not apparent in military life were the downsides of meth. After all, what is the risk of jail to people who risk dying in training or combat every day? We were expected to function at the upper edge of human potential at all times. However, seeing older meth users, and even people that I went to high school with, has brought home the consequences of methamphetamine use. People that I know from high school look like they are geriatric, due to their use of meth. Rotten teeth, balding, rapid aging beyond hat should be possible, I've seen all of it. I've seen meth turn a beautiful girl, a friend of mine, into an apparently ancient, toothless hag, who is terminally paranoid, and runs from her former friends. I agree with Doctor Hallberg, that meth is a "sociocultural cancer"(Reding, 11).

Works Cited

Reding, Nick. Methland: The Death and Life of an American Small Town. USA: Bloomsbury Publishing USA. 2010. Print.

winter's bone

Bartleby Analysis

Jacob Sanchez
Laura Cline
English 102
Feb 24, 2012

Bartleby, a Man of Leisure

Bartleby, the Scrivener, a Story of Wall Street, by Herman Melville, is a tragic story. Our main character, by the name of Bartleby, is a sad, melancholy personage, without purpose or motivation. In this dark narrative of the slow death of an otherwise anonymous man, we can see the author’s warning to our modern society. This story is symbolic of the growth of the, at the time, new leisure class. Bartleby’s contemptuous attitude towards work, contrasted to the narrator’s own classic Protestant ethic of work and charity. The author uses these characters to demonstrate the deterioration of society.

Consider first the narrator’s introduction. on the very first page of our story, he makes the claim that his,” first grand point to be prudence; the second, method.”(Melville, 3) His success as an attorney is due primarily to his prediliction towards the avoidance of conflict, and the sublime aspiration towards material comfort makes his affairs profitable and relatively uncomplicated. There is no need to rush such things, and, as a result, he can compensate rather readily for the shortcomings of his employees.

When he employs Bartleby, his profitability initially increases. However, Bartleby shows no interest outside of his writing. This is symbolic of the shallow interests displayed by the shiftless in society. These people care not to advance themselves or society, instead preferring to specialize in an inane task which provides no growth or advance. They seek only the minimal comforts required to sustain themselves,and depend entirelty upon others to provide the impetus of life.
The battle crhy of Bartleby, and those like him, “I would prefer not to.” (Melville, 21) is the simplest expression of apathy. His utter disdain for life, however developed, has made him utterly useless to any productivity besides that which he chooses to engage himself.  The lack of any combative spirit makes it difficult for his employer to dismiss him, due to his highly developed sense of Christian morality, and thus Bartleby gains a foothold to be able to take advantage of his situation.
Once an invidual of this thype begines to realize that it is possible for him to deny any productivithy without reprisal, he immediately begins to extract greater progift with less work ffrom the victim. Bartleby, at this point, begins to ,”Prefer not to” do anything that he does not deign to dox. Of course, this leads to him being an evr greater burden uypon his employer, emblematic of the greast society that refuses to expel those who are not productive in the grand, or minute, scheme of life. He begins to leech upon theemployer, driving him to grreater depths of discontent, ever trying to pull the rest of the office down to his levle of apathetic disrepute.
Rather than retiring from scoiety, Bartleby passively opposes any and all attempts at convincing him to do anything, even to the point of refusing to work at all (Melville, 26). At this junction, our main character ceases to become anything more than a fixture of the office, much like a lamp, or a desk(Melville, 136). Bartleby has given up any small profit that he previously offered society, becoming nothing except a drag upon our microcosm. His very exisytence lessens the progit and pleasure in life of the people who surround him. The black depths of depression that he has allowed himself to descend into have made him a drain uopon the other people, causign much distubance and discontent in thew previously peacegul office.
This turbulence leads his previous employer to be much displeased with him, however, Bartleby refuses to be removed from the prmises except by violence, which our protagonist, being a good Christian man, is loath to utilize. Thus, Bartleby uses the very charity of hte good narrator to his own benefit, forcing the man into the position of benefactor to a person who is no better than a couch.

The passivity of Bartleby’s resistance (Melville, 53), plays upon the heart strings of our narrator initially, who thinks that he must attempt to help this pitiable character. However, like certain of today’s societal leeches, Bartleby rebuffs any attempt to help him improve his flaws, from the offer to have him  “take a good quart of ale every day...” (Melville, 117) tpo the refusal to engage in casual conversation(Melville, 96-108). He refuses to be a beneficial addition, instead preferring to mope around the office, staring at a brick wall as if in a trance(Melville, 92).

There are those at the time of the Melville, and today, who exist in society, without pirpose or drive. They attach themselves to us, sucking the very life outof thethose around them in the manner of bartyleby. Their lack of initiative and drive sends them to death eventually, but until they do cease to exist, they have determined that they prefer drag the remainder of society as low as they can. The distress that thewy cause can be measured in  dollars and cents, or in gthe emotional trauma that they prefer upon those who care for them. By their very passivity, those who live lives ofconscience feel compelled to care for thems, although they have the physical capactiy to care ffor themselves. It is distressing to the casual observer to see the weight of carrying such people on the minds and sould of those who live by the light of conscience.

The man who prefers not to do anything that he does not feel like doing has no place in a mobile and growing society. Lockjed away in a prison they have createc within their own minds, these people have no consideration for others or any thought beyond whaty is the gain for theire own peculiar emotional needs. While it is a pitiable thing to see, there cannot be allowance made for such people in society, because, much like our story, they do irrepairable damage, financially and emotionally, to the people they attzch themselves to. Their listless contempt for industry and disdain for life in general make them drag entire societies to their death.

Works Cited

Melville, Herman. 1853. Bartleby, the Scrivener: a Story of Wall Street. July 2009 by Bartleby.com.http://<wwwbartleby.c.om/br/129.html>

Bartleby assignment

"I think, sir, he's a little luny, " replied Ginger Nut, with a grin. (Melville par. 47)

On this single line, the entirety of the story resolutely stands, unwavering in purpose. Bartleby was a strange man, and there exists a high probability of his being insane, or otherwise mentally incapacitated. This entire document relates the details of a short segment of the life of Bartleby, a scrivener (writer who performed the functions of a photocopier), and his strange and somewhat pernicious habits. 

The first indicator we are given that Bartleby is aught but a normal man is in the first introduction we are given to him. In paragraph 15, our biographer introduces Bartleby, "...-pallidly neat, pitiably respectable, incurably forlorn!" With this simple statement we see that this business association will be anything but normal for our stolid writer, the attorney.

 His description of our subject's silent, pale and mechanical copying of documents in paragraph 18 leads us closer to the conclusion we are desired to draw. Then, when called upon to examine a copy, a common enough happening in a scrivener's office at the time, his reply shocks the author. "I would prefer not to." says the scrivener to his employer(Melville par. 21). It is at this point that a certain amount of friction is introduced into our previously sedentary story arc. 

A Modest Proposal by Jonathon Swift

I’m going to start by stating that satire is one of my  favorite literary devices. Jonathon Swift’s piece, A Modest Proposal, is a darkly sarcastic look at a set of problems that has existed since time began, and has never been solved with any appreciable degree of success. His problem, and thus, our response, is the issue of how to prevent and overcome poverty. The setting of his raillery is Ireland in the early 1700s, where the entire isle chafed under the yoke of English rule and tax.

In the midst of this great, beautiful blather about infant cannibalism, Mr. Swift puts the meat of his message: economy, temperance, prudence, fairness, and patriotism. His statements in paragraph 23 offer solids suggestions for any nation to control the poverty level, but I am digressing from the broad analysis.

The majority of the text concerns itself with a revolutionary tactic in dealing with the undesirable effects of a high rate of poverty. He makes the argument in paragraph 5 that it is impossible for destitute parents to care for their children, illegitimate or otherwise, and that they can provide no social good on their own. He intends to shock the politicians and policy makers of the day into action with the suggestion that these poor infants be sold as a gustatory delicacy to the rich. His voluminous argument is extremely logical, though morally and ethically bankrupt. The program he describes, were it feasible to enact and enforce, and if it were permitted by the standards of any christian society, would have taken a long, cruel step towards the eradication of the suffering of the young Irish poor.

Image from www.buzfed.com

Swift appeals strongly to the emotional mind with his opening argument, drawing the disinterested reader in with bombastic statements of the suffering of these children, then he begins to segue into the logical, quoting an unknown merchant (paragraph 7) and then his mysterious American friend, “that a young healthy child well nursed, is, at a year old, a most delicious nourishing and wholesome food, whether stewed, roasted, baked, or boiled...” (paragraph 8). With this preposterous statement(to the civilized and straight laced English), the enormous weight of sarcasm comes to bear upon the reader.

Blog Post #1

Nabokov believes, and I generally concur, that good readers have imagination, memory, a dictionary, and some artistic sense. I do believe, however, that his description is entirely too limited. He takes the view of a story that another author or a critic would have, viewing the tapestry of story, but remaining detached from the minutiae of character identification. This abstract view detracts from the lush emotional development of individual characters, and may cause the reader to lose the thread of character development entirely. Personally, I do not think that this is the intent of the original authors, who build the environment around the story, not vice versa. Without a firm grasp of the "shuttle" of the story, it is impossible to follow the skein of the background with any certainty. Just as a tapestry is woven on the warp, the characters hold the story together, with the weft of background filling out, and holding together the entire work. I am not what I would characterize as a good reader, as I often have difficulty holding the delicate threads of human emotion, and my memory leaves much to be desired.
The picture is from the Wikimedia Commons, and found on Nabokov's wikipedia page

English 102 introductory video