For Final Essay
12-point font, Times New Roman
Minimum page length: 10 (Max: 12): includes the works cited
Two aesthetic texts: two novels, or a short story and novel, or two short stories
Narratological lens: Jahn
Embed two forms of media. (Don’t worry about including them within the body of the essay as content.): DO make sure you include the media in your works cited
For fiction-project (fight story/near death): 5 extra-credit points
Use the narratological element(s) you’re using in your critical essay
Post on your blog as a page.
Check the title: make sure it sounds “academic.”
Imagine what you read was a section in the essay: what would be a good subtitle for this section
What are the main points the author addresses?
What is this response about?
Read the comments from the first reader, “What is this response about.” And the “main points”
Begin with the last paragraph, then work your way to the first paragraph (read from the beginnings of each paragraph).
ADD five more sentences about what this response is about . . .
First: look to the quoted passages:
Focus on the key words of the quoted passages: underline these
Make sure that the author has some “key words” in their E sections
Add what you see as the “POINTS” of each paragraph at the end of the response
Any films, songs, or other books that you think relate to some of the themes covered in the response? Please list four . . .
Write why the narratological concept in the response is important for understanding stories
Representing dialogue practice
“Tell me what you just said.”
“I like—I like you—when you gif me coo-ookieth.”
–Confusing: doesn’t have the standards of regular books, like a storyline, or at least not in the first part: a regular book has a preface of two or three pages, and this one has 120 pages of prologues
–All of the prologues: the novel better be good . . .
–from the preface: Fernandez is trying to achieve something, maybe something not possible: what exactly is he trying to achieve; what’s the point of the experiment
to do the greatest and worst creation in one shot
the same text as his best/worst creation
to see the story in a certain way (35): characters are not original
–to turn reality into fiction (vii )
–to prove that love wasn’t a waste of time (vi)
–give up understanding the plot: trying to focus on some of his ideas
–set up: short prologues: quick read
–the “skip-around reader”
–gimmicks can’t substitute for a good story, you need a good story: there’s no story, nothing happens, he’s just rambling: trying to be clever, but there’s no technique
–“gimmicks”: tricks that quickly wear out . . .
(tricks—formal tricks, technique) (Postmodernism: depthless)
Form is privileged over content
–expectations for novels:
Narratological concepts class list
1. focalizaztion/narration . . .
2. narrative levels . . .
3. static/dynamic characters . . .
4. characterization . . .
Some passages from the novel
“if every a book demanded hard work it’s this one” (Fernandez 8)
“An irritating read, this book will annoy the reader like no other, with its fale promises and inconclusive and incompatible methodology” (Fernandez 8).
“It’s curious about the story it’s going to tell, a reading of itself, or better a narrative of itself, since self-love is inherent in Art (for Art, and to Art). Art is that which is written without knowing what will happen, and thus has to be written while docilely discovering and then resolving each situation, each problem of action or expression” (Fernandez 23).
“”to slow down the narration” (95). : Jahn, N.5.2.2
“There’s nothing worse than sloppiness, unless it’s the facile perfection of solemnity. This book will be eminently sloppy, which is to say it will commit the maximum discourtesy possible to its readers-except an even greater and all too common discourtesy: the perfect, empty book” (Fernandez 8)
All the inhabitants sensed the dream-like quality of finding themselves there all reunited, on this unstable settlement, due to a lucky encounter with the President, who was passing through just as they were, but who could have left them at any second. They associated this quality with great dreamers like themselves, living there together freely, finely, affectionately, changing, with numerous new sympathies, living their dreams, not being able, no matter how they opened their eyes, to convince themselves that they actually were where they had dreamed they were. They resigned themselves to the fact that it was a dream, which initially made them feel anxious, but later gave them the feeling of being real. (136)