Art in Speak

Being of the “science culture,” I decided to start my investigation on the significance of art in Laurie Anderson’s Speak with a definition of what art actually is. According to Webster’s dictionary, art is the quality, production, expression, or realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance; the class of objects subject to aesthetic criteria; a field, genre, or category or art; the principles or methods governing any craft or branch of learning; skill in conducting any human activity; a branch of learning or university study, esp. one of the fine arts or the humanities, as music, philosophy, or literature.
WHAT?! This definition stunned me. There is no mention whatsoever of emotions in this definition! There is nothing about the love for what you create. Nothing about the role of art as a portal for hidden feelings trapped in the body. Nothing about art as a friend or a dream turned into reality. Nothing about it as something that can be nothing or everything. I realized then that, in order to go into the reason for art and the way it contributed to Melinda’s life I had to throw out its definition. Like Melinda, I had to learn that art is not bound by social constraints. Defining art does not make it so. Society trapped Melinda and turned her into an outcast. It locked her soul into her body. With no way out, the soul ate away at the body until the situation became dangerous to Melinda’ physical and mental well-being. Through art, Melinda’s soul found its only escape. That way to escape is what saved Melinda’s life.
Melinda’s healing through art revolves mostly around her art project. In the beginning of the book, Melinda randomly picks a tree from the broken atlas her art teacher passed around. Her assignment is to artistically make that tree come alive. Although Melinda picks the tree by chance, Laurie Anderson apparently wanted to use the tree as a enveloping metaphor for Melinda’s internal and external struggle to deal with being raped.
The tree is a universal symbol for life and hope. In religion, Eve picked a fruit from the beautiful tree of life that she could not resist. Christians use the evergreen Christmas tree (a tree that never loses its leaves but remains green year-round) as a symbol for everlasting light and life. The needles point up to heaven and the roots rest firmly in the ground. Jews use the Hanukah Bush to represent their struggle through the “cold” times of their past and to remember the bush that God burned to show Moses his power over the Jewish people. Biologically, a tree gives life to every ecosystem. Nobody would be able to survive without trees to turn carbon dioxide into oxygen for animals to breathe. Trees also symbolize antiquity and strength, which is why knights and royalty engraved them onto their shields and crests.
In Speak, however, the tree represents Melinda’s internal death and her hope for an eventual rebirth. If taken care of, a log will sprout new roots and re-grow. Melinda needs to bring her own tree back to life. Melinda works with a linoleum log to carve her tree in art class. After being raped, her personality was hacked to shreds. As long as Melinda hid her rape from everybody her tree could not sprout roots and grow again. She cannot move on if she does not let go of the past. Throughout the entire book Melinda struggles to “bring it [the tree] to life” (78). Her tree constantly lacks dimension and uniqueness. It is always too simple, too bland, or to standard. The tree cannot live because Melinda is hiding all of her feelings. She cannot give life to something else if she does not really live herself. Furthermore, Melinda makes her sculpture out of a linoleum block, which physically is made out of wood dust and oil. Quite literally, Melinda has to take a block of wood dust and recreate a tree full of life. In doing so, she has to pick up the dust left from her past and re-fabricate a new life where she accepts what happened to her.
The tree is also physically empowering because Melinda was raped in the forest surrounded by trees. By building her own tree she is making a new niche for herself. She can leave the dark, haunting trees of that dreadful summer and live in the new, freshly sprouted saplings that she carved herself.
The tree symbol reappears throughout the entire book. For instance, one day Melinda decides to rake the leaves in the front yard. She tries to clear out the “dead leaves still clinging to the oak branches by the street" (167). Just like the dead leaves are still clinging onto the oak tree even though the tree no longer needs them, Melinda feels dead inside and desperately clings onto her past. At that time, Melinda’s dad comes out of the house and notices that the "branches on the left don't have any buds" (167). Later on, he realizes that one side of the tree is rotting from the inside. It has to be cut off or the entire tree will cave in. Melinda’s rape and her trauma from it parallel that rotting tree. Her bleeding lips, weight gain, dirty hair, broken fingernails, and baggy clothes signify her slow physical crumbling. If Melinda does not learn to accept what happened to her and move on then that pain and depressive state will rot the rest of her and ruin her life entirely. It has to be cut away or she will also collapse. Her desire to make her yard more beautiful by clearing out the dead leaves weaves perfectly with her constant yearning to find a way to make her art project “come to life” like her art teacher instructed and with her need to accept what happened to her and share her heavy pain with those around her.
In the end, Andy attacks Melinda again and she threatens to cut him with a shard of glass, Melinda finally faces her fears and her self-image can now slowly heal. When Andy has that shard of glass at his throat it is he whose "lips are paralyzed" (195). In this reversal of roles, Melinda shows Andy and herself that who she is still somewhere within her and that Andy can no loner hurt her. She has silenced him, just like he has silenced her. It is only after this event that Melinda can finally let her pain and frustration out and she does it through her art. Finally, Melinda is able to draw her tree for art class.
Melinda’s process of creating her final tree is also quite interesting. Mr. Freeman, her art teacher, assures her that “perfect trees don’t exist” (153) and that Melinda does not have to reach everybody’s standards if she cannot do so. Each tree is unique and so is each person. At last, Melinda accepts the fact that the rape was not her fault and that she cannot hide from her pain. She lashes that pain out onto her final drawing and with it lets go of her first tears. Melinda sees that her tree is now breathing. It has come alive and now so has she. She can come out of her closet. It is no longer a safe haven for her. She can face the reality of her situation. When observing her drawing, Melinda thinks, “one of the lower branches is sick…that branch better drop soon so it doesn’t kill the whole thing.” (194) Melinda inadvertently acknowledges the fact that the branch has to fall because it is only hurting the rest of the tree . She also has to drop the past and continue her life. The growing of the tree, and in turn her own growth to reach acceptance, is the best part of it all.
Also, Melinda’s relationship to Mr. Freeman and Ivy are also vital to her recovery. Mr. Freeman, opposite to Mr. Neck, is a sensitive and understanding teacher. Although his head is usually in the clouds or in his artwork during classes, Mr. Freeman turns out to be the only adult that Melinda can trust. He is the only one who actually takes the time to sit with Melinda, listen to her, and reassure her. He never lectures or yells at her like the other adults and he never expects anything from Melinda that she is not willing to give. In the end, it is Mr. Freeman who first hears about Melinda’s traumatic experience. Readers are left not knowing exactly what will happen to Melinda, but are reassured that if Mr. Freeman hears her story then there will be someone there to take care of her. Mr. Freeman’s name itself signifies freedom, self-determination, independence, and free expression; all of the characteristics that Melinda so desperately needs to find for herself. He is Melinda’s hero. He is the man who guides Melinda into finding art and her escape from her history.
Ivy, on the other hand, is Mr. Freeman’s teenage counterpart. While Mr. Freeman plays the role of Melinda’s only responsive adult, Ivy plays the part of her only conscientious peer. While all of Melinda’s other friends completely abandon her without really trying to figure out what happened, Ivy still talks to Melinda. At first, Ivy is like everybody else and tries to put up a wall between Melinda and herself. Yet, social pressures to be mean does not come naturally to Ivy and she is ultimately surprised and interested in Melinda’s artwork. Ivy, like Mr. Freeman, gives Melinda advice on art and life. She gives Melinda hope that things can one day get better and eventually even becomes the closest thing Melinda has to a friend.
Ivy’s name is also representative of her role in Melinda’s life. An ivy is a climbing or ground-creeping evergreen woody plant that scales up trees to grow. Ivy does not harm a tree, even though it may compete for ground nutrients and water to a small extent but it does significantly damage buildings and man-made architecture (like Ivy ignoring what her classmates are trying to do with Melinda.) The symbolism behind an ivy is based on the plant’s ability to thrive in the shade, cling to other things, and it being an evergreen. Ivy represents true love, faithfulness, and affection in marriage and friendship. Like other evergreens (such as the Christmas Tree) an ivy symbolizes eternal life and resurrection. It thrives on dead and dying trees. In Greek and Roman mythology, Osiris and Attis, two gods resurrected from the dead, are wreathed in ivy. Thus, to them, an ivy symbolizes that there is an immortal soul that lives even in a decaying body. Also, an ivy represents everlasting friendships because of its ability in interweave as it grows. Even more interestingly, an ivy is very strong and basically indestructible. If cut or hurt it will just grow its lost part and continue to climb its walls. For that reason it is a symbol of survival and fortitude.
When looked closely, Melinda’s friend Ivy is perfectly suited to her name. She is the only teenager who is still able to be faithful in a friendship. Even more so, Melinda mentions in the beginning of the book that she and Ivy were never really close. Only when Melinda becomes the “dying tree” does Ivy take a keen interest in her. Like the plant she is named after, Ivy lives off a decaying body, giving it the hope and life that it needs to survive. Ivy is Melinda’s source of development, renewal, bonding, friendship, and inspiration just like the ivy plant has always been in nature and in history. Ivy does not care what her other friends think of Melinda because she cannot be harmed. Unlike the vulnerable and very fragile Melinda, Ivy is indestructible. She lives in her art and in her being and does not care what anybody else thinks. Thus, she is the perfect counterpart to Melinda.
Melinda’s relationship to art also stems to her home. Throughout the entire book, there were very few instances in which Melinda got along with her overworked and bitter parents. They always refused to listen to her and were constantly punishing her as a way to solve problems. However, the only time Melinda does have a connection to her parents is when they see that she likes to draw and so they get her art supplies for Christmas. This touching moment is quickly lost when the parents begin arguing again. Even though Melinda is upset that she does not get to thank her parents for the surprisingly thoughtful present, it is the first time that she even thinks to tell her parents what happened. She might have even told them at that moment if they had not reverted back to their own selves and left the room arguing. Melinda might not have been able to tell her parents but getting her art supplies was the only time she even came close.

Rooms in Speak

The appearance of certain rooms is of particular importance in Speak. The first room Anderson describes is Melinda’s art classroom. I find it striking that Anderson writes that the entire high school does not receive much light, yet the art room is the most illuminated: “The sun doesn’t shine much in Syracuse, so the art room is designed to get every bit of light it can” (10). Symbolically, the extra light reflects the hope Melinda finds in art. Her art work is the only way she can truly express herself. Anderson also alludes to the salvation Melinda finds in the room by claiming that the room contains a radio that is set to a station Melinda enjoys: “A radio plays my favorite station” (10). As Melinda’s situation worsens thought-out the book, ironically, the art room becomes more beautiful, and Melinda’s art work becomes more expressive: “ Our art room is blooming like a museum full of O’Keeffe’s, van Gogh’s, and that French guy who painted flowers with tiny dots”(77).
Melinda’s strife at home is conveyed through the appearance of her bed room. He room does not reflect her taste, and she does not find comfort in it: “My room belongs to an alien. It is a postcard of who I was in fifth grade” (15). Most people decorate their rooms to reflect themselves. For instance, I believe my room, to some extent, is an extension of myself. It is sad that Melinda can not find peace in the only place that is supposed to be hers. Instead, Melinda finds an empty janitor’s closet to act as her sanctuary. She describes it as dirty and empty, which meteorically represents the distaste Melinda has for her own life: “This closet is abandoned-- it has no purpose, no name. It is the perfect place for me” (26). Throughout the book, Melinda feels more at home in the closet. She even displays her art work in there. She even goes there to think: “The best place to figure this out is my closet, my throne room, and my foster home. The closet becomes the only space Melinda finds comfort in.

Symbolism in Anderson's Speak

Just for the record—I completely changed my mind about Anderson’s book. The class discussion really got me thinking. I decided to go back and reread certain parts, and this time I focused on the subtleties of the story. The second time around I ignored things that annoyed me the first time, like Melinda calling her principal “Principal Principal,” and found myself really enjoying it. I realized that the parts that initially bothered me were sections that a young adult reader would most likely find funny and relate to. Anderson is definitely saying a lot despite the terse descriptions and unadorned language. She is very brave because she explores serious topics that many young adult authors are too afraid to confront.

Anyway, I’m supposed to be talking about metaphors. There is a lot of symbolism in this book, and Anderson goes out of her way to make the reader aware of it. An inexperienced young adult reader might overlook the symbols, so Anderson discusses Hawthorne and how he used light, dark, and the weather to show the reader how Hester was feeling in The Scarlet Letter. Anderson does the same thing as Hawthorne with weather, because it is winter for the majority of the novel. The world is frozen and dark up until the point where Melinda decides to confront her demons and acknowledge her pain. Another primary symbol that runs throughout the novel is the tree. The tree symbolizes Melinda’s growth as a person. When she pulls the paper out of the globe and realizes that she has to draw trees for the entire semester, she tries to put it back and choose another. Mr. Freeman doesn’t let her. He informs her that she has chosen her destiny and that she cannot change it. She initially struggles to create trees and becomes frustrated during the process, which suggests that she struggles with her emotions as well as the idea of coming forward about the rape. She begins by drawing trees that were struck by lighting, which symbolizes her pain. She also creates a beautiful tree, one which displeases Freeman because the tree is too perfect. The drawing of a flawless tree absent of scars suggests her repression of emotions. While she initially struggles with creating trees, she eventually manages to create haunting and impressive images. She takes her pain and transforms it into art. Melinda’s connection to trees is also evident when she returns home to find men chopping off branches from the tree in her front yard. She is certain that they are killing the tree, but her father informs her that the tree is sick and that cutting off the diseased and damaged part allows the tree to grow again. This suggests that Melinda is not destined to remain consumed by her pain and stuck in the past. While she will never forget what happened to her, she can move beyond it and start to live again.

Just One More Thing...

Sorry that I seem to be writing on the blog after classes for this book but there are just so many topics that we just touch upon and not go into fully in class. There are just so many things to think and talk about! One thing that I really wanted to talk about in class but just didn't get the chance to was the topic we constantly come back to about remembering your roots. This book delves deeply into not giving up who you are, being proud of your background, not being afraid of or ashamed of your culture, etc. However, I think it also addresses the opposite: The need to sometimes put those roots in the back of your mind as you continue your life. In order to be successful in life and in society sometimes you do have to put aside "where you come from" and create an image for yourself based on what you believe in and what will help you accomplish your dreams. There are two sides of a person. There is his culture and his history and there is his character, the part of him created by the environment that he grows in. Danny was overwhelmed by the second part of this side due to his embarassment with the first half. This imbalance is what caused him to have problems and insecurities about who he is.
There are a few instances in the book that remind us that we cannot just look blindly at where we come from and forget that sometimes where we come from isn't who we should be. One such example is with the Monkey King, the myth that this entire book is based on. The Monkey King, despite all of his power and strength, was a terrible leader. He forced the monkeys to wear shoes even though it made them fall off of trees. He neglected them for years and did not let them bother him in his personal chamber, where he spent all of his time. He saw all of them as inferior to him just because he had a few tricks up his sleeve. Yet the monkeys blindly followed him because he was their creator. He was born from a rock and all of the monkeys came after him and worshipped him. Thus, the monkeys refused to think for themselves and abandon the Monkey King even though he was not doing the best thing for them.
Maybe the moral of the story is not to follow one's roots but to make the best decision based on the situation at hand. The monkeys would have done better to leave the Monkey King. Maybe in Danny's circumstances the best thing to do would have been to assimilate into society. Human beings naturally gravitate towards "their own kind." Maybe Danny needed to become "American" because he was in America and that is what is expected of him. To build a society you need a certain degree of assimilation. I'm not saying that Danny should forget where he came from just because he wanted everybody to like him or that bullies are right because they are doing "nature's bidding of assimilation" but I think that sometimes people should learn to take on some of the characteristics of their surroundings to better communicate and understand each other. If Gene had not become Danny then he would have never learned that other important side of him. This hero had to learn to be both Danny and Gene in order to survive in his environment.

Some After Class Thoughts

Before class I was sitting in front of the computer and I jsut could not figure out what to write about for this book. I had just read it but there was really nothing specific going on in my mind. There was just so much to think about but no direction to start on. But after talking about it in the classroom I started thinking about so many things and I jut had to run to a computer and type it all out before I forgot.
Firstly, our conversation reminded me about this conversation I had with a Psychology major the other day about teasing. She had a very interesting point of view about teasing, bullies, and revenge. At first glance, a person who is teased will hate and fear the bully. It's a natural instinct for people who get hurt by somebody to stay away from the person they get hurt by. That person might be so hurt and angry that he or she will lash out at somebody. He will want revenge for the hurt that he has been feeling. Of course that is a natural feeling. That person might think, it is the bully's fault that I hate my life and myself and that I hate being somewhere because that bully makes me miserable, and so it is alright for me to get back at that person. However, if you look at the situation from an objective, outside point of view, and or a second take out the "fault" part of it, then all that is left is an action and a consequence. The action causes the consequence and if a person jsut takes that action and consequence into himself and analyzes it then he can always learn from it. It doesn't matter what it is. Instead of just acting on a bully in an angry manner maybe the person being hurt can stand back for a second and think about what is really going on. Why is the bully teasing me? What is wrong with myself, with the way that I think of myself, that makes this is hurtful to me? If people just look at the situation and think, really contemplate, what is going on, instead of just blindly acting on their feelings, then maybe situations would turn out better.
What I mean in the context of the story is that Jin was always being made fun of by his classmates. That obviously really hurt his image and his pride and made him ashamed of who he is. He took that anger out on his best friend and his best friend's girlfriend, even though they were the only ones who supported him. That reaction, that instinct, ended up indirectly ruining Win Shun's life. If he did not do that then maybe Win Shun would not have turned towards that lustful, sinful life.

American Born Chinese

The first thing that struck me about this graphic novel was how the multiple story lines were strung together. I was supposed to write about the second part, the teenage years, but I don't know if I can stick to that. I don't feel that the story has different parts because they are all they same story. I will do my best.

The themes I noticed the most through the teenage parts are the theme of wanting to be accepted and (in turn) loneliness. I think that all students reading this, regardless of their age, can relate to that. I still want to be accepted and I'm 22 years old. I think that's what makes this so appealing. I think it is handled beautifully with Chin-Kee. (I hope I am spelling that right.) He is the catalyst for these uncertain feelings. Poor Danny; I know if it was me I would have killed Chin-Kee a long time ago.

The "Monkey King"

This is the work of Emily Carman and Shawn Simpson-Smith.


He is a larger than life mythological character. He is a character from Chinese folklore. He derives from a Chinese fable in a novel from more than 400 years ago. The Monkey King traces its origins back to the Tang Dynasty of China (602-644), based on a Chinese fable called “Xi You Ji” – Journey to the West” – a renowned classical Chinese novel. It is based on the “true” story of a famous monk, Xuan Zung – a rebellious prophet born out of rock and fertilized by the grace of both Heaven and Earth: after more than a decade of trials and tribulations, the monk arrives on foot in what is today modern India. The Monkey King is the allegorical tale of the monk’s journey, interspersed with Chinese fables, fairy tales, legends, superstitions, and monster stories from the Taoist, Buddhist, and other Chinese religions.

In this legendary story, the Monkey King is seen to have magical prowess, cleverness, a sense of mischief, and a fearless, rebellious spirit. Because he is born out of rock and fertilized by the grace of Heaven and Earth, he is considered to be strong and durable – especially since he has gorged himself on peaches from the orchards that he has been given to guard. He is considered to be the King of the Monkeys. He is extremely intelligent and full of magic tricks – he can transform himself into at least 72 different types of images (a tree, a bird, a beast of prey, sea creatures, etc.) including an insect that can sneak into the body of an enemy and fight the enemy from the inside out!

The Monkey King has an interesting physical appearance. He is constructed with a bronze head and iron shoulders. He has “magical hair” which can be transformed in various situations: on one occasion, it was changed into insects which were used to put people to sleep; on another occasion, his hair was turned into shields to stop enemy arrows. The red and white face paint shows his position as King of the Monkeys. His colorful outfit of shades of gold trimmed in turquoise and red befits his royal position – he is also the guardian of the Peach Gardens. He carries a gold-tipped stick given to him by the deity of the Dragon King. He possesses flexible, malleable legs; using clouds as his vehicle, he can travel 108,000 miles in a single leap!

In a high act of treason, he defies the Dragon King and claims himself as king over the heaven, the seas, the earth and the subterranean world: he calls himself Yu Huang Da Di – The Great Emperor of Jade. He fights with the masters of the high seas, Hell, and the Heavenly army! He even fights the Dragon King and steals his crown treasure – the gold-banded iron rod which is used as the ballast of the waters and which allows the owner to expand or shrink at will! The Monkey King runs amok – he is a disobedient, rebellious monkey out-of-control; he becomes a virtually invincible bully! At their wits end, all of the celestial figures ask the Buddha to intervene. The Buddha captures and imprisons the Monkey King under a great, immovable mountain – Wu Zhi Shan or The Mount of Five Fingers. The obstinate monkey survives the weight of the mountain and remains imprisoned under it for 500 years. He is rescued by Xuan Zang, the Chinese Tang Monk referred to at the beginning of this essay.

Buddha rewards the Monk and arranges to make the monkey the escort for and the disciple of the Monk; he is on his way to the West to get to the Sutras (strings of rules or aphorisms, written in severe form, composed in terse and symbolic language, meant to be memorized). Along the way, they meet two more stragglers who will also join this pilgrimage as disciples: a disgraced, once celestial Pig (who lost his position after he assaulted a fairy); and, a sea monster, once a celestial general (who lost his position after he committed some type of misdemeanor). This party of four – the most unlucky number in Chinese culture and numerology – is supplemented by a horse, who is an incarnation of the Dragon King’s son – and they all embark on a host of adventures where the Monkey King will play a prominent role.

In Gene Luen Yang’s story – which is modeled after the aforementioned Chinese folktale – the Monkey King is also a mythological figure in a Chinese fable that is a flawed, modern-day action figure. In this graphic novel, the figures are drawn with crisp, clean, distinct lines; vibrant yet muted earth-tones; a good number of panels contain scenes which are grotesque and disturbing; there are panels which are reminiscent of action-figures/heroes; and, the linear panel arrangements are of various shapes and sizes. The strong visual style of the distinctive artwork combines with the rich textual narrative to make this modern-day story a powerful and gripping tale.


Our modern Monkey King shares the same type of history with his folkloric predecessor. Yet he is also distinctly different: he is a flawed; he suffers from ‘unwanted identity syndrome’ (our term) – he is unhappy with his being a monkey. Our present-day Monkey King wants to be someone else – someone whom he is not nor can change himself to be: someone who can wear shoes; someone who can go to the finest parties and be admired and fawned-over; someone who wants to be a “hailed god”. When the Monkey King is thrown out of a most prestigious dinner party because he is not wearing shoes (he is, after all, a monkey remember), he suffers humiliation at the hands of the others around him due to their prejudices. This humiliation by others (the outsiders) together with his damaged self-esteem lead the Monkey King to experience anger, personal fear, heartbreak, confusion, and hostility – towards the others and, not surprisingly, directed inward towards himself. Like the previous Monkey King in the old Chinese folktale, our present-day Monkey King starts down an identically-frightening and destructive path; he, too, becomes an invincible bully. Our current Monkey King is reprimanded and disciplined after his face-to-face meeting with Tze-Yo-Tzuh – the “Creator Of All Existence” – who chastises and enlightens the Monkey King:

“I have searched your soul, little monkey. I know your most
hidden thoughts…even before a word is upon your tongue,
even before a word is upon your tongue, I have known it. My
eyes have seen all your days. Where did you think you could
hide from me? Where can you flee from my presence?....Even
at the end of all that is, my hand is there holding you fast. It
was I who formed your inmost being, I who knit you together
in the womb of the rock. I made you with awe and wonder, for
wonderful are all of my works. I do not make mistakes, little
monkey. A monkey I intended you to be. A monkey you are.
Please accept this and stop your foolishness.”

Because of his anger and stubbornness, the Monkey King refuses to listen and accept his mandated fate, Tze-Yo-Tzuh buries him under a mountain of rock and sets a seal over him which prevents the Monkey King from using his Kung-Fu to escape. The present-day Monkey King remains buried for five hundred years – just as his folkloric predecessor before him. It is not until he is set free by and becomes a disciple of the Monk Wong Lai-Tsao, achieves a level of self-actualization, and demonstrates compassion – all part of a plan orchestrated from the hands of– that the Monkey King comes to realize what the really important things are in life. His humanness radiates as he becomes an Emissary of Tze-Yo-Tzuh – along with the other Emissaries who are The Ox, The Eagle, and The Eagle – as he escorts Wong on his journey to the West as a test of the virtue of the Monkey King.

The first principle which stands out in this book deals with Chinese Numerology and the meaning of the number “four” (4). In the Chinese culture, the number “four” is generally feared and considered to be unlucky: the number “four” sounds like the word for “death” when it is spoken in the Cantonese dialect; and, the written character is made to look as though the sun is being obscured by a cloud – a cloudy day and ensuing bad luck.

For example, in Chinese culture: 4 = death; 14 = must die; 24 = early dying; 44 = dying and dead; 74 = surely dead. Thus, in the Chinese culture and in Chinese Numerology, the number “four” is to be avoided at all costs. Yet, in the story, there is repetition of the number “four” in positive practices: Four Major Heavenly Disciplines of Kung Fu; Four Major Disciplines of Invulnerability; Four Major Disciplines of Bodily Form; Four Emissaries of Tze-Yo-Tzuh; and, Four Disciples/Emissaries who accompany Wong Lai-Tsao. The number “four” is used to denote positive disciplines and persons throughout the story; yet, the Monkey King utilizes each of these groups of four practices for negative and self-centered purposes.

In spite of the negativity associated with the number “four” in the Chinese culture, it persists continually in the life and story of the Monkey King, until he comes to terms with and accepts his own identity and role in the world. The number “four” now marks a positive transformation in the life of the Monkey King, as he makes the journey to the West acting as both an assistant to and a disciple of Wong Lai-Tsao. The internal and external struggles and journeys of the Monkey King are now concluded: he has come full-circle, completes his test of virtue, and arrives at the place of self-actualization.

The story of the Monkey King speaks volumes regarding the issues of shame (lack of self-esteem), racism, and self-acceptance. Throughout American Born Chinese, author Gene Luen Yang speaks through his protagonists about their inability to accept their ethnic and racial identities; the racist taunts they experience from outsiders – as well the inner prejudices they feel about themselves, their relatives, and other Asians; and the personal shame they feel because of their heritage.

Each of the three stories deals with the aforementioned issues by using a unique storyline to tell of the protagonist’s internal and external journey. The story of the Monkey King, however, crosses over into the stories of Jin Wang/Danny and his cousin Chin-Kee and brings this book to its riveting climax: as an Emissary of Tze-Yo-Tzuh, the Monkey King’s fight with Jin Wang/Danny forces Jin Wang/Danny to face his ancestral past, connect with his ethnic and racial identities, and accept his birthright with pride and understanding. As the Monkey King speaks, he embraces and enlightens an angry and confused Jin Wang/Danny:

“You misunderstand my intentions Jin. I did not
Come to punish you. I came to serve as your
‘Conscience’ – as a Signpost’ to your soul….You
Know Jin, I would have saved myself from ‘Five
Hundred Years’ Imprisonment’ beneath a
Mountain of rock had I only realized how ‘Good’
It is to be a ‘Monkey’.

The Monkey King has come to accept both his life as a monkey and the important role he to perform – instead of his aspiring to the position of some type of ‘hallowed godlike-figure’. He has also shown Jin Wang/Danny the path to truth, acceptance, and self-respect. And that is Gene Luen Yang’s purpose in telling this story – a story which was his, the Monkey King’s, Jin Wang’s and Danny’s, and every ethnic and immigrant young person’s in America.

The Story of Chin-Kee

The last link to Yang's three-part graphic novel is the story of Danny and his cousin Chin-kee. In this story, Danny is faced with humiliation caused by his cousin's annual visits, which in the end, are explained to be "signposts to his soul" for what he has become. As the main character of this part of the novel, Danny is portrayed as being a seemingly All-American boy, who has blond hair, plays on his school's football team and is attracted to an All-American girl. In this section of the novel, we don't even see the faces of his parents until the very end, because readers are kept in suspense about Chin-Kee's relationship to Danny. Danny's parents faces are always hidden behind something, and this is meant to make the reader question why Danny's skin color, hair color, and behaviors are so "White" and his cousin, so "Asian." We are only able to see Danny's parents faces in the end, when he realizes his true form and returns to his roots as an Asian-American boy.
It is interesting that in the sections of the novel that pertain to this story, Danny's changing hair color also coincides with changes the color of his skin- making it seem whiter and all around, less Asian. Also, besides his skin being less yellow, the illustrator also chose to redraw Danny's Asian features, such as his eyes, as bigger and rounder instead of the characteristic almond-shape.
Perhaps the most interesting part of Danny's entire transformation is the timing with which it happens. Readers are aware of Danny's history of changing high schools and it is only after he breaks all connection to everything Asian in his life, that he is driven to change his appearance to deny his relation to his heritage and culture. This happens after he kisses his Wei-Chen's girlfriend and gets into a fight with this only Asian friend. At that point in the novel, he has nothing to associate with the Chinese culture, and therefore finds refuge in radically changing his personal appearance.

Children's Books

Shrek:
Though there was great controversy surrounding the appropriateness of Shrek, I think there are a few things about the book that are worth mentioning. We spoke about Shrek as a character and how it was his meanness, and not ugliness that might have influenced children in a negative way. However, I thought it was interesting that Steig portrayed Shrek as being so aware and so comfortable with his physical appearance. Shrek not only accepted his looks (or lack thereof), but was also proud of them. I think this would be an important take-home message for kids, who are not always satisfied with the way they look. Children between the ages of five and nine, the audience for which this book was written, first become aware of what others think of them around this time in their lives. This is most significant when they start school and are placed in social situations with the opposite sex. It is usually at this stage in life that individuals establish their sense of self appreciation, and if at this stage insecurities set in, they may take a lifetime to overcome.
Shrek's acceptance of the way he looked can be seen as a good example for the kids, who after reading this book would realize that regardless of the way one looks, he/she will always seem special to at least one other person. Though I do not support Shrek's meanness as a character, I do think that the message of the book, which is to promote the idea that beauty is in the eye of the beholder, and that it is not the same for everyone, is one that children and their parents would find worthwhile.

Selavi:
I think the author of this book did a brilliant job of truly capturing the essence of what children's books are all about. The subject matter of this book was truly very scary, more so than Shrek or even Mommy? because it involved being separated from one's parents. Children are always dependent on their parents for physical and emotional support, and even the thought of being separated from them would be too much for a child to even imagine. The way that Youme presented the horrors of separation, being lost and growing up, is truly commendable because not only did she expose her readers, but she presented the story in a way so that child readers would not be permanently scarred. Youme did a very nice job of showing readers that there is another side to life- where things can get scary, but the way she presented the idea was buffered enough so that the kid's realities would not be too seriously affected. She exposes truths without letting children lose hope. I think that is one of the greatest duties of children's books writers.

Sélavi: A Haitian Story of Hope - Rxn

While I enjoyed reading Sélavi: A Haitian Story of Hope, what struck me was the two page spread dedicated to the different children and their individual stories. Some of the stories were tragic and some were circumstantial. Overall, the stories made me consider the millions of untold stories of the poor children all across the globe. I was happy that at least this book gave them a voice.

Another part that caught my attention was,

"For a large number of them this better life never comes. Like their lost loved ones, some become crime victims. Others fall into crime themselves and are arrested and put in jail. However, some children do find hope."

This quote made me consider how the morals and ethics of children are challenged by the extreme conditions of poverty. I imagine even a well-to-do brought up child would resort to unlawful activities once placed under extreme conditions. I appreciate this quote because it describes the correlation between poverty and crime.

Holy Shrek!

When i signed up to read Shrek as my childrens book i knew it was going to be different. I was not however expecting it to be THAT different. After reading The Amazing Bone and Dominic i knew William Steig to be an uplifting writer who throught his lovable animal characters tells a story. This was not uplifting or lovable and it is even hard to find the story. If Shrek was ugly and found his love it would be understandble that the moral was there is someone for everyone. Since Shrek was ugly and loved it, and was mean and cruel to everyone it is hard to say where the story or the tenderness lies. When going into this assignment i promised myself that i would not compare it to the movie but i cannot help myself due to the mere fact that the movie is so much better. They take things that happen in the book and totally turn them around. There are even parts that are totally opposite in the book than in the move. One can almost gather that the film makers saw the story and hated it but loved the name so they made a new movie with a better story and the same name. Yes i am possitive that there is an underlying moral to the story but no matter how hard i looked a cannot find it and it would be absolutley rediculous to expect a child to find it in this near scary book that was perhaps uglier than it's own main character.

Shrek...scary!

John and I volunteered to read the children's story Shrek by William Steig. I must say--I was appalled! I don't know what I thought, but with every page I think my jaw dropped more and more! Now I know that everyone here hates Disney...but I'm sorry--I still love it! And I can’t believe just how different this one from the Shrek I know and love. It was so vulgar and mean that I just couldn’t believe it was a children’s book. Throughout the story, Shrek is killing people and animals, eating lightning bolts, and laughing about scaring everyone. He is so vicious and horrible to everyone, and actually likes being this way! The donkey in the story is nothing like the lovable Donkey in the Disney movie; he basically just tells Shrek where the ugly princess is that is he to rescue and marry. That’s another thing! When he gets to the princess, he kills the knight guarding her! And when he finally meets her, this is what they say to each other…it's not nice, so don't get excited! Said Shrek:

Oh, ghastly you, With lips of blue,
Your ruddy eyes With carmine sties
Enchant me.
I could go on, I know you know.
The reason why I love you so—
You’re ugh-ly!

Said the Princess:
Your nose is so hairy,
Oh, let us not tarry,
Your look is so scary,
I think we should marry. That is terrible! I was very upset reading this. I do not recommend it if you love Shrek and wish to keep it dear in your heart.

FOX

FOX was definately a sort of bittersweet story about a young fox and his desire to explore the world on his own. Protected by his mother and father fox, they shelter him for his own well being, ensuring him that one day he will be ready to embark out into the world for himself. As a young fox, his curiousity gets the best of him but that is when his mother or father step in to bring him back down.
I like this story because I believe that people can relate to it on many different levels. First, as adults we can probably recall being ambitious and curious as children and perhaps even as adolescents. Looking back on my childhood I remember I would love writing my bicycle on my street and around my block, but God forbid I left my block! It was a boundary set for me, for my own safety and well being offcourse, but naturally as a child I hated it! I wanted to ride my bike everywhere, and anywhere. I'm glad now that boundary was set, who knows what could of happened or where i may have ended up!
in the end, as most foxes, and kids do, they grow up. Letting go, similar to holding on, is also a part of growing up.

Names In Edward Tulane

I really got to thinking about names. It easy to forget how important names are in a book or story. Details and dialogue are not the only ways to convey vital information about a character. Names can express subtle messages about a character’s disposition. In The Miraculous Journey of Edward Tulane, by Kate Dicamillo, the various names Edward receives throughout the book reflect the nature of situations he encounters and his different states of mind.
In the beginning of the story, Edward lives in England with his owner, Abilene, and her family. He is described as arrogant and vain: “In all, Edward Tulane felt himself to be an exceptional specimen” (6). Abilene deeply cares for Edward; however, Edward finds humans to be petty, and he even disregards the conversations her family has: “But, in truth, he was not very interested in what people had to say” (9). Edward is emotionally distant and does not express feelings of love for Abilene. It is ironic that Dicamillo chooses the name “Edward” for the rabbit. In England, during the 1930’s, Edward VIII became king. He deeply cared for Wallis Warfield Simpson, an American woman, who was in the process of divorcing her husband and had two previous marriages. The church and Parliament frowned upon his intention to wed Simpson and denied his request for marriage. As a result, on December 10, 1936, he became the first king in England’s history to willingly renounce his title. George VI, Edward’s younger brother, received the title of king, but he kindly gave Edward the title of Duke of Windsor. With his new freedom, Edward married Simpson in France on June 3, 1937. Even though The Miraculous Journey of Edward Tulane was written seventy years later, Dicamillo possibility juxtaposes Edward VIII, a king who cared so deeply for love that he was willing to give up his kingship for it, with Edward Tulane, a rabbit who does not care for love at all.
After Edward is thrown overboard, he is found by a fisherman, who gives Edward to his wife, Nellie, as a present. Nellie renames Edward, Susanna. Edward’s name not only changes. His gender is changed as well. Dicamillo conveys that this is the first instance that Edward changes; however, the change cannot be subtle. Edward must change in every way possible to gain the ability to love. Edward learns to appreciate listening to human conversations and being loved by Nellie: “But now, the stories Nellie told struck him as the most important thing in the world and he listened as if his life depended on what she said” (69). Edward realizes that Nellie confides in him, and he abandons his vanity and becomes grateful that he has people who care about him: “But then Edward remembered lying on the ocean floor, the muck in his face, the stars so far away, and he said to himself, What difference does it really make? Wearing a dress won’t hurt me” (68). Edward learns that superficial details and items are not essential for one’s true happiness and that love makes one truly whole.
Next, Edward is given the name “Malone” by a homeless man, Bull, who finds him in the dump. The name “Malone” is interesting because the prefix “mal” suggests something negative. The rest of the name is the word “one.” This suggests that solitariness is bad, or that it is harmful to exist by oneself without loved ones. The homeless community takes much comfort in each other, and Edward soon becomes a member of the group. The members, like Nellie, tell Edward their grievances and treat him as if he were a human being: “After this, wherever Bull and Lucy and Edward went, some tramp would take Edward aside and whisper the names of his children in Edward’s ear” (103). Edward further learns the comfort one can find in a family.
After Edward is separated from Bull and Lucy, he is found by a woman, who names him “Clyde” and uses him as a scarecrow. Edward feels despair and loneliness. The name “Clyde” is not well thought out and suggests that the woman uses Edward as a tool and does treat him with love, like Abilene, Nellie, and Bull had. Unlike his previous owners, his new name holds no significance. Edward realizes how important it is that he has been loved: “I have been loved, Edward told the stars” (113). Edward learns the pains of loneliness and being given a thoughtless name.
Edward’s next name is “Jangles.” He is found by a young boy, Bryce, who gives Edward to his sickly sister, Sarah Ruth, as a present. She cares deeply for Edward. Edward beings to truly love her: “He wanted to take care of her. He wanted to protect her. He wanted to do more for her” (135). The name “Jangles” may allude to Edward’s discovery that Bryce can make him dance using strings. This thrills Sarah Ruth. Also, Edward gets his wish granted in that he can do one more thing to reward Sarah Ruth for her love for him. Edward is able to recognize and feel love: “I have been loved by a girl named Abilene. I have been loved by a fisherman and his wife and a hobo and his dog. I have been loved by a boy who played the harmonica and by a girl who died” (183). Edward’s journey is complete in that he learns how important it is to love and be loved.
I am very curious to know what others think about the names in the book.

Show Way by Jacqueline Woodson

Woodson's "Show Way" is a story about the road to freedom told through the eyes of eight little girls, eight generations embedded in history for "sewing" their way out of struggle and oppression- beginning with the bondage of slavery to fighting discrimination and segregation and coming full circle to remembering the struggle and labors of their ancestors.

Each young girl is taught the talent of sewing, thus a piece of cloth, some thread and a needle are all the aids that each girl needs in order to fulfill her role in the fight for freedom. This fact is shown in each illustration, as each page shows pieces of cloth- either as a torn piece of muslin or the pattern work of triangles and rectangles used to create the stars and moons of the quilt; the roadway marking freedom.

The emphasis on passing down the tradition of quilt-making was striking to me. It was not only a familial heirloom, but a people’s heirloom- as if every slave or oppressed person were members of an extended family.
I noticed that the pages which used triangle scraps of cloth as part of the illustration represented the event or picture drawn next to it- at least in the tones of color used. For example, when joyous events such as marriages and births are depicted, the colors of the scraps are light and joyful- hues of light green and pink cover the page. However, when serious ideas are depicted, such as the drawing of slaves escaping in the dead of night, the scraps are darkly colored, blue and black.

The Number 7
The repetition of the number seven as the age that each girl is taught the talent to sew her own “Show Way” quilt is important to the story. It is an age when a child understands and is able to handle the responsibilities of the adult world- such as doing chores, cleaning up one’s room, etc. For some people, their earliest memories of their childhood come from that time. Seven also represents the number of days in a week and the number of continents. I do believe Woodson deliberately used the number seven, whether to infuse a story-telling quality of repetition or either as a significant number in the creation of the roadway to freedom.


Illustrations
One illustration which struck me was that of the United States and of the Confederate States. Each state is represented by a separate patch of cloth, the union colored blue, the confederates a shade of dull grey. What’s striking is the separation between the two sides, a continuous tear around the shapes of the states leaving a stark, red background where the shadows of a man with a rifle chasing down a slave trying to escape, with the help of a couple of dogs. The illustration depicts the terms of the split between the states in a simple, explanatory way while still pointing out the intricacies and complexities of the issues being fought over during the American Civil War in the red-colored space.

Another illustration that I thought especially significant was that of the narrator (whom I believe to be Woodson herself) sitting at her desk staring up into space, surrounded by a patchwork star pattern of her own words, her biography, her autobiography, her own patchwork quilt and road of freedom- her “Show Way.” I think its unique that she continues to remember the hard work her ancestors went through by representing it through her words and stories. Although she is not literally sewing, the author does indeed use her talent to put together the stories of her great grandmothers and leave a legacy for future generations to learn from.

FOX

Fox takes me back to my childhood when my first "grown up" experiences like going to school on my own or using the stove for the first time with my egg omelets, meant a series of steps i had to learn from my grandmother to ensure my readiness. The story for me recapituates these learning experiences in a child's life to develop him for his place in the world. For example, Fox is eager to step out into the big blue gorgeous world because it looks beckoning, ripe and harmless. While he learns patience because his parents tell him to he is not ready yet, he learns the neccessary tools of survival that he must have to survive on his own. He learns how and when to perceive danger, for example his parents teach him how to "leap like shadows" in the nighttime when it may be less dangerous for him because he is a prey. He learns how to sense danger and calm by the soundwaves on the winds and where he must go to hide and protect himself.

Each time Fox learns something new, he asks "am I ready yet?" This is so funny because I remember the times when I myself learnt something more to prepare me for doing something for the first time, howimpatient I got because I thought i couldn't be anymore prepared, it was now or never; and this is exactly how Fox behaves. We experience this urgency and impatience to jump into the world all through our journey to adulthood and I could not help feeling that the author wants to remind us of experiences like these in out childhood and the importance of patience and learning process of the neccessary steps to standing on our own before we jump into the unknown.

The Artwork

The artwork is amazing and I couldn't help noticing how very Expressionistic the art is. The brushstrikes are vivid and there is no uniformity or perfection intended because it is the world through Fox's eyes. The hues of the warm colors like the browns and oranges and the bold and primary greens, reds and blues capture the vitality of the natural environment and nature Herself . Together with the glory of how Fox sees the world and the author's perception of how children see the world, the illustrator fuses these two ideas with his brush.

Fox

The first thing I noticed when I opened the book were the colors. They reminded me of an old canvas painting which gave me a relaxing, protective feeling while reading. The book is about a baby fox, who is guided by his parents through the forest. They teach him how to find food, and when to stay away from danger. This baby fox is eager to explore and constantly asking his parents when he'll be ready to go out on his own.

The colors take you through the seasons. The seasons changing represent changes the fox undergoes from a completely dependent babe, to a young independent fox. The role of the parents represent the circle of life. They offered protection and shielded their young fox from danger for several seasons. But, when the time came, they willingly allowed him to go out into the world comforted by the fact that what they taught him would last a lifetime.

And If the Moon Could Talk by Kate Banks

This is the work of Shawn Simpson-Smith and Emily Carman:

What struck us first of all is the color of the moon. It is not dark or haunting, but a bright golden color. This suggests safety and security. Nighttime is not frightening or dangerous, but warm and embracing. The golden moonlight suggests unconditional love, rebirth, warmth, protection, and the promise of tomorrow.

The second thing that struck us are the illustrations. The illustrator Hallensleben shifts between white borders and "full-bleed spreads" in his illustrations. He uses the white borders in all the indoor scenes, which suggests the security of a contained environment. He uses border- less, "full-bleed spreads" in his outdoor scenes. This suggests the vastness, the limitlessness of life.

The colors struck us as well. The colors are vibrant, warm, and draw you into the picture. The colors of the little girl's room are bright, Southwestern colors. There room is gold, red, blue, green, and turquoise. In the exterior pictures, the colors are deeper and richer. The colors are soothing and tranquil, which suggests all is right with the world. The illustrations evoke the peaceful Chrismas carol "Silent Night" (All is calm, All is bright). It is also reminiscent of The Miraculous Journey of Edward Tulane when Edward spent his evenings staring up at the sky; the light comforted him in a way he could not initially understand.

The central character in the story is the moon. The moon is in every outdoor illustration and most of the indoor illustrations. What struck us is the picture that says "And it would murmur." This is an illustration of the moon looking down on the little girl who is now sound asleep in her bed. This is the only outdoor picture where you don't see the moon because we get the moon's perspective. The final picture in the book is interesting as well because this is the only indoor picture without white borders, it is a "full-bleed spread" picture. It gives you the sense that moon is watching over her, and that she is now one with the world. She is part of the vastness, the great circle of life.

History in "Tibet through the Red Box"

I think that one of big challenges in writing books for children that have to do with real events and real history (especially of faraway, half-known places like Tibet and China) is to avoid overburdening them with facts that they 'must' know. I think this book does a wonderful job of giving just enough information to get the reader to ask questions, but not enough to get them to lose the sense of the characters and the miracles and the journey. I think the little historical 'side-notes' that Sis includes in the book are wonderfully concise - after all, this is not a history book, this is a book about a son and a father and a journey, but the son, the father and the journey ultimately were the product of history. China moving into Tibet, the Dalai Lama, even the little facts about how mail was delivered in Tibet during that time - I think all of these facts really add to the book without overburdening it. I, personally, might've wanted more history from the book, but it may be in part because I've gotten lazier about asking questions and want the answers to be right where I want them. I think this book makes history alive, and this is ultimately what any good book dealing with a subject should do.

Tibet through the Red Box as an autobiography

When I was about ten years old, I discovered a picture of my mother that was taken by my father on their first date. Upon discovering this photograph, I began to realize that there was so much that I didn't know about my parents, and so much that I would never know. This memory reminds me of Sis' work. In Tibet Through the Red Box, Sis tries to discover who his father is by looking at the journals, keepsakes, and drawings from his father's past. The autobiography in this story relates to Sis trying to understand who is father is. By learning more about his father, he also gains knowledge about himself. You get the impression that Sis resented his father because he didn't understand his father's absence or what he had experienced during his absence. Exploring the red box allows Sis to connect with his father and get a better understanding of who he is. Piecing together moments from his father's life allows Sis to put his own past behind him and finally forgive his father for not being there. The incomplete plot suggests that Sis cannot get the entire story, because no one can fully understand another person's experience. However, he gets enough of his father's story to be at peace with himself. He also recognizes that he doesn't have a complete story, and he's fine with that.

Significance of the quote at the end of Tibet Through the Red Box

I think the quote at the end of the book truly represents the themes of uncertainty. Even though I have never read Nabokov's The Gift, the quote conveys the idea that one tends to fear the unknown. Just as the pilgrims were afraid of the foreign sounds they heard, we learn, through the father's entries, that Tibet is a beautiful place. However, I am not sure if anyone else felt this way, I'm not sure ho many of the father's stories I really believe. It could be that he wanted his son to have peace of mind by reading that his father encountered such adventures and beauty. I think it also suggests that we do not appreciate more than half of the wonders of the world we encounter. Any other thoughts?

The Significance of the Drawing of "The Bluest Lake"

Although I have thoroughly enjoyed reading Tibet Through The Red Box, I am particularly struck by and drawn into both the story and the drawing of "The Bluest Lake". The son recalls the story his father has told about an encounter with a beautiful blue lake filled with human faces on the bodies of fish. Immediately thereafter, the father meets a Lama who tells him of the story of the lake named An'n.

I believe that in order to understand the significance of this story and the beautifully haunting drawing of "The Bluest Lake", I have to provide some historical background regarding Tibetan culture and Tibetan Buddhism.

The Chinese/Tibetan people are considered to be descendants of "Dragons". The "Dragon" is a symbol of nobility and power. The "Dragon" represents the element of water -- one of the four elements found in nature, the other three being earth, wind and fire. In the Tibetan language, the word "Zhug" means "Dragon"; and in Tibetan Buddhism, "Zhug" is a religious deity who was thought by the ancient Tibetans to live in the clouds. In Tibetan Buddhism, rivers and lakes are believed to be the homes of the "Dragon Kings" -- and all living things in the rivers and lakes (fish, snakes, frogs, etc.) are considered to be religious deities; the Tibetan people are forbidden to harm them in any way.

In Tibetan Buddhism, water represents cleansing, purification, and baptsim -- the ordination by a religious rite into a spiritual world or community; that spiritual community being a Tibetan Buddhist "Mandala".

The symbol of "Buddha" lives in the center of a Tibetan Buddhist "Mandala". There are eight other smaller Buddha figures which surround the larger symbol of "Buddha" for meditation purposes: four of these Buddhas are male; four of these are female. These figures face the four corners of the Eastern part of the earth (which are in direct inversion to the four corners of the Western part of the earth). These eight figures come together to form a lotus blossom flower -- which is the symbol of the teachings of "Buddha" in the "Mandala". The "Manadala" is oriented to the "East": the "East" is a male-figure meditation Buddha who is named "Aksobhya" who embodies the following requisite qualities of Tibetan Buddhism:

1. The Color "Blue": This is his color -- it represents
calmness, coolness, healing and purity -- all the
qualities necessary for a peaceful ascension into
infinity (the air and the heavens above).

2. The Element "Water": This is his element -- it represents
cleansing, purification, and baptism -- all the religious
fundamentals necessary for the ordination into a spiritual
community or a "Manadala".

3. The Religious Zodiac Sign of "Air": This is his Chinese/
Tibetan symbol -- it represents the religious location of the
of his soul after its spiritual ascension, where it may be
revered after is passage into the spiritual community or
the "Mandala".

4. The Emotion of "Anger" & The Action of "Death":
The emotion he exhibits when he is defiled, disrespected,
or dishonored by a follower is "Anger"; the penance he
extracts for such effrontery is the killing of the soul and the
resulting action of "Death" on the follower.

5. The "Transformation": This is his conversion -- where he
turns his rudimentary anger into mirror-like wisdom.

6. "Associated Human Body Part": This is his ears -- which
must be used for hearing as well as listening in order to both
understand and aspire to the "Mandala".

One of the most important ways for Tibetan Buddhists to gain entrance into their spiritual afterlife is through meditation on metaphysical thoughts and pictures -- pictures such as the "Mandala".

In the story of "The Bluest Lake", we are told of a lake which is such beautiful blue that it reflects the surrounding mountain range and the monastery located thereon. The story tells us that the lake was an oracle (a "prophecy") as well as a hallowed burial place. But it is in the visually stunning drawing that we are drawn into both the beauty and the mystery of "The Bluest Lake".

This drawing is a visually stunning yet deceptively peaceful. It is vision of bucolic splendor and embodies the feeling of an ethereal, almost heavenly type of beauty. The skies, the mountains, the land and the lake are all shown in various shades of greens, blue-greens, jade greens and teal greens. The deep blue, clear skies resembled those seen at dusk on a summer evening. The numerous mountain ranges resemble bluish-whitish peaks which seem to rise from the background and appear to ascend towards the heavens. A gentle pale blue and white fog also appears in the background and lends an almost mystical feeling to the drawing. The land masses are dense, lush and verdant and are punctuated only by a small hut (to the far lower left of the drawing); the simple yet majestic blue-green monastery (to the far upper right of the drawing) which seems to rise up to meet the mountains and the sky; the small figure of a man standing at the edge of the water; and the figures of the small caravan of monks and the Lama in the middle far right of the drawing.

Most importantly, at the bottom foreground of the drawing is the clear, deep, brilliant blue of the magnificent lake. The lake seems to have a sea of whitecaps on top of it. That is, until you take a closer look towards the very bottom of the page and you are shocked to learn that these are not whitecaps: they are row-upon-row of blue-patterned human faces -- faces which are all totally different in shape, size, and appearance; some with white, razor-like teeth; all with bright, white, exaggerated eyes; and every single face with bizarre, penetrating, queer facial expressions.

The drawing seems to capture the essence of everything that is put forth in the "Mandala" of the "East Buddha" of Tibetan Buddhism: The color of Blue all around, but especially as it relates to the water in the lake; the element of Water in the lake; the airy, ethereal surrounding, especially the blue airiness of the sky; the emotion of anger and the action of death as seen in the bizarre human faces in the lake; and the transformation from anger into the mirror-like wisdom also found in the human faces in the clear lake. But there is a catch to this oracle and hallowed burial place.

The one notable contradiction that we see -- at least in the first two very long rows of human faces -- is the lack of ears on the faces; the ears which are necessary for hearing and listening in order to and into spirituality. These particular human faces have the necessary and requisite ears replaced with the exaggerated eyes. Does this mean that the lack of ears on the human faces is due to the fact that these souls did not respect, hear, and listen to the story about "The Bluest Lake"? Are these the human faces and souls of those who dared to challenge the legacy of the lake? Are they those who did not adhere to the tenets of Tibetan Buddhism? Can they be both the human faces and souls of good Tibetan Buddhists (those whose faces reside in the lake and are not shown to us in the drawing) as well as those who dared to defy the religiosity and spirituality of Tibetan Buddhism? Are these the "Dragons"? The drawing does not give us the answers to these questions; neither does the actual story -- the story only alludes to the fate of the two, defiant, European traders who did not listen to the Lamas. What can we surmise from the drawing and the story?

I have no answers to these questions. I can only believe that, from all that I have read and from what I have seen, I personally would try to hear, listen to and follow the the warnings of the story told by the Lamas; and I would put faith in the startling images in the drawing. I guess that each of us has to decide for ourselves what are the meanings and significance of the story and its attendant drawing. I lhonestly and truly loved them both.

What's made him ready for the red box?

I'm wondering -besides the purpose of the plot line- what it is that has given this man the right to look into the box.
The story starts with the son returning to his childhood home, so what has happened to allow him insight into the box. Age? Time? Is something wrong with his father? Why is he ready now?

There are no clues, at least none that I could find, to answer this...he sits in his father's office, reading the diary, compiling and summarizing dozens of pages, for our sake, and reverting back to his childhood versions. So what's changed, besides the flooding disco-light effects on the room?

Also, I prefer the real white room with the foe visions, than the glazed over office, with the real recounting. I'd rather paint my own room, than have a box do it for me. I think you'd all agree, except for you "truth seekers" blah.

And when you know everything, you're room turns black...what, because you no longer have to see?? STAY AWAY FROM THE TRUTH!!! Or you're ConEd will turn on you!

Tibet Through The Red Box: Story of the Father

In Tibet Through the Red Box, we get the biography of the father from two similar, yet very different point of views. There is the diary, which represents the father's real experiences in Tibet and his own personal feelings during that time. Then, there is the son's memories of his father and the stories that he would tell him from Tibet. The son's stories are magical interpretations of what really happens. Though the story is disjointed because it jumps back and forth from the son's stories to the father's diaries, if you only read the son's childhood stories, it sounds like a fairytale adventure. However, the father's diary always brings you back to reality. Both sides are even pictured differently in the book. When we get the father's diary, the beige color of the pages, the writings on the side, the little drawings, and the handwriting font looks as if it is the father's actual diary. In contrast, the son's stories are on a stark white page, with typed-looking font, always has a picture in a perfectly neat box in the center and the writing is structured the same way with the large title and italicized introduction. The father's story is presented in a very rich, colorful, realistic and inviting way. Whereas, the son's stories sound as if they are coming straight from a story book, rather than being a great experience of his father's time in Tibet. The childhood stories were appropriate for the son's youth but I think in order for him to truly understood the magnitude of what his father experienced, he needed to read the diary. The childhood stories merely sheltered him away from reality, when the diary exposes his father's true emotions and allows him to truly connect with his father's experience in Tibet. For example, when he is writing about his wife Alenka about her birthday, when he is sad that he has not heard from his family or even minor details like having problems with chopsticks.
Kayonnoh Cooper

Epic Hero in Tibet Through the Red Box

When reading this book, the real question for me was: Who is the epic hero? Is it the father, whose journey is described in this tale, or is it the son, who, through his father, follows his own internal quest? The father's journey in Tibet is a story of an epic hero. He is summoned for his filming ability to teach students and instead is forced into an adventure where he has to get through the mountains and reach the Dalai Lama. Along the way, the father meets many obstacles and finds many helpers. He survives the collapse of the highway, lives through a dangerous snowstorm, surpasses all of the coldness and tiredness of his travels, and tries to overcome loneliness and desperation. At the same time, the father meets people like the monks, the Jingle Bell Boy, and the "Dark Mountain" natives, all who are friendly and helpful, giving the father the energy, hope, and supplies needed for him to complete the journey. In the end, the father reaches the Dalai Lama and is able to accomplish his goal. He tells him of the highway that is coming.
Like the classic epic hero, this man was singled out to come to Tibet for his skills in filming. He was forced into his journey by getting lost in the Tibetian mountains and, through skill, luck, and knowledge, accomplished his task and reached a more enlightened self. One interesting thing is that the father was singled out from the beginning by being the only Czechoslovakian in the group. He was able to speak a different language and knew things about advanced civilization and filming that nobody else knew. Thus, in this way, he was a hero, and, by reaching the Dalai Lama, was able to find his "true self" and become an elightened person.
On the other hand, the story is really an internal struggle as well, both by the father and his son. Peter Sis always thought of his father as a hero whose realistic adventures were magical and extraordinary. He spent most of his childhood imagining his father as a warrior; a man who Peter could be proud of and love. This idolization kept Peter from being upset that his father left him and his family to fend for themselves. Thus, while reading the journal, Peter imagines himself in his father's position. He embodies his father, trying to understand how and why he left and why he came back a different man. Peter's own journey mimics his father's, only his is not real. It is within his mind, but that is also a story of a hero. Peter is the hero in that he learns to accept his father for who he is. He forgives him for not being there when Peter was growing up and that is a feat in itself. When Peter first opens up the red box he says, "The stories I heard as a little boy faded to a hazy dream. It was not until I myself had gone far, far away and received the message from my father that I became interested in the red box again." Peter's internal struggle to understand his father, and in so doing, understand and find himself, is a quest worth noting only to an epic hero. In the end, Peter does finally realize what the box is telling him. He writes, "Only now, after I have visited it through the pages of my father;s diary, do I realize that I should not have wanted him back. Or did he ever completely return? Is he still happy and young somewhere in Tibet?"

According to Wikipedia, a Dalai Lama "is the title given to an individual who is the spiritual and, sometimes, temporal leader of Tibetan Buddhists worldwide. This person is believed to be the current incarnation of a long line of Tulkus, or Buddhist Masters, who have chosen of their own free will to be reborn to this plane in order that they might continue teaching humanity. A Lama (meaning "Teacher") is a title given to many different ranks of Tibetan Buddhist clergy. The modifier "Dalai" has a rough english translation of "Ocean", which would make the full title "Ocean Teacher", meaning a teacher who is spiritually deep as the ocean." The Dalai Lama signals the end of both of their journeys. The Dalai Lama's wisdom, spirituality, and simple power brings both father and son to a sort of tranquility, happiness, and understanding that they could not have ever achieved without their journeys.
Peter's father had to quest through the physical maze of Tibet while his son fumbled through the maze of his mind and his heart.

Tibet Through the Red Box

Even though every illustration in the book is breathtakingly intricate in detail, the picture that really caught my interest was the black page that coincided with the narrator’s father finally meeting the Dalai Lama. As this very minimalist page was preceded by several images of very colorful and decorated full-page illustrations, the simplicity of it was very interesting. There are no large symbols or patterns to distract the eye, and the central focus is just the small image of the Dalai Lama sitting cross-legged at a distance on a pedestal, with just the hint of a glimmering star over his head. Just as Peter’s father has a realization at this point, the construct of the page also sheds a level of clarity on the whole plot of the book. The illustrator also places a small, unidentifiable red object in the Dalai Lama’s hand.
When readers turn the page they are exposed to yet another page of just darkness with only Peter’s father’s red box sitting on the desk. The darkness of this picture is different from the blackness of the picture that came before it, but like the first picture, all other details are seen as silhouettes or shadows, and light only shines on the red box and the sculpture of the Dalai Lama, again with the star over his head.
I think this pair of images was a beautiful and brilliant way to culminate the book, as it drew parallels between the Dalai Lama, and Peter’s father. It is mentioned that Dalai Lama actually means “sea of knowledge,” and just as the Tibetan leader goes through the experience of enlightenment, which he then shares with his people, Peter’s father also shares a similar journey. Imparting his knowledge Peter’s father was Peter’s Dalai Lama, who first left, discovered himself and then came back to tell his child- who would keep his stories alive. The same effort to preserve history and tradition is seen when the time comes to search for a new Dalai Lama.
In Tibet, when one Dalai Lama dies, there is a massive search for the next one. The process is very complex and involves the state oracle, who defines a region where the next child-god-king will be found. When the child with the special qualities is found, he is given the task of identifying the late Dalai Lama’s belongings from a large pile of things that are meant to trick him. Similarly, after the death of his father, Peter must go through his father’s things and find the red box that will help keep history alive. In addition, in both of the mainly black images, the figure of the Dalai Lama is kept at a distance- signifying the difficulty with which enlightenment is obtained.

Edward Tulane

Yesterday in class, we spoke about how Edward's story is told only with regards to his sense of sight and the observations he makes. Since he is a porcelain china doll, he obviously does not have a sense of smell, taste or touch. This is why even when he is buried under piles of garbage, he never comments on the horrid stench of the waste, and even when his head smashes into several pieces at the end of the novel, he does not feel the physical pain associated with it. It is interesting that DiCamillo is able to tell such a rich story based solely on the things that Edward sees and what he feels. He is not affected by the things he cannot touch, smell or taste and as a result, all of his interactions are based on what he really feels-which is only influenced by the things he sees and hears. Even though we are often told to be wary of things we witness with our eyes, in Edward's case it is the opposite. Since he can only rely on his vision and hearing to formulate judgments on the many people he meets, he gets a better look at their personalities and characters. For instance, because he lacked the ability to smell, he was not able to compare the smells of Abiline's well-furnished home with the stench of the hobo and his dog. As a result, he did not judge the hobo for his presumably bad body odor, and rather was able to appreciate his generosity as a human being.

Similarly, because Edward could not feel physical pain, it made him really aware of his inner emotions. None of the physical trials he endured left a lasting impact on him because he was immune from bodily pain, but when he felt the loss of all those that cared for him, it was from the depths of his being. It is easy to track Edward's growth as a character because of his development from a self-centered, judgmental doll, to a very emotionally aware hero that earns the reader's empathy and love.

Personally, I did not like Edward at the beginning of the story. His self-obsession and pompous attitude was annoying. He thought of himself being above others, and almost at the level of humans. This made me less and less likely to feel his pain when he was separated from Abiline, and I was actually kind of relieved that a young, innocent child like Abiline was freed from being associated with such a selfish and pretentious figure in her life. Edward's gradual development as a hero helped change my perception of him, as I enjoyed his altered views on life and relationships after his fall from grace. By the end of the novel, in addition to being happy about his evolution as a character, I was glad that I actually believed that the changes he experienced with regard to his feelings were truly believable, and seemed like lasting changes. There was no doubt in my mind that Edward's new personality was a result of some hard-hitting reality checks- that had changed him for the better, and forever.

Edward Tulane

I remember how Edward expressed a kind shock when he finds himself listening to Nellie's stories "as if his life depended on what she said." He is surprised and wonders if his time in the sea affected him. It immediately struck me what the image of him sinking into the depths of the sea could mean. I thought of how little he looked in this gigantic blue of complete nothingness and felt that the sea represented a kind of complete vulnerabilty for Edward where he is forced to wait. And in waiting he is forced to listen, he listens to everything around him whether it mattered or not. It took me back to Lyra and the aliethemometer in TGC and how she has to face complete vulnerabity before she shifts to another state of consciousness.

The Power of Edward Tulane

Although there were many things about the story that struck me, I would have to say one of the most poignant was the concept of "power" in the text. I mentioned this in class, but, physically, Edward is powerless. Unable to move on his own, he has no say in what he does or where he goes during his life. His journey is miraculous because he had no control over where he went, yet he went where he was needed most.

Nevertheless, at the same time, Edward becomes powerful. When we're children, we always hear about the importance of listening to other people. Not just listening to instructions, but listening how others feel and what is going on with them; that way, we are able to connect with them more. Edward gains this skill over the course of his journey, becoming invaluable to those who meet him because he is able to listen for as long as they need him. They discuss their troubles and longings with him because, as a china rabbit, he is unable to repeat them or vocally judge them. Although he's just a toy, everyone confides in him because he becomes the perfect ear.

So, overall, I guess what I'm trying to say is that although he is physically powerless, the comfort he is able to bring people simply by being there and listening gives him another sort of power, one where he is able to soothe and heal others.

Edward Tulane

Edward's undying drive for redemption is what most stands out to me from this story. Only to be stuck at the bottom of the ocean. Which at once reminded me of a great song actually titled "Six days at the bottom of the Ocean", I highly recommend "YouTubing" it , because it was resonating in my head as I read on! As always, in life, as cliche as it may sound you have to travel through the darkness to reach the light. I believe that is what this whole story and Edward's journey was all about.

Edward Tulane

Reading The Miraculous Journey of Edward Tulane I noticed Edwards many emotional changes. His first emotion impacted me the most. Edwards’s emotion of fear was very heart felt. It’s awful to have your first genuine emotion be fear. As human beings I feel that emotions that are negative have a longer lasting impact on us then the positive ones. Fear is one of the most humble and solitary feeling anyone can have. Fear brings the incapability to act upon. DiCamillo demonstrates that fear can teach us not to take anyone for granted. People sometimes have to be at their worst state in order for them to realize what they have lost.

Edward Tulane

I was struck by Edward Tulane's journey. It is not only a physical journey, but an emotional journey as well. At the beginning, Edward is cold and incapable of loving Abilene. By the end of his journey, he is capable of love and happy to be home. He changes as the story progresses, because he learns a valuable lesson from the different characters he meets along the way. Tulane's journey is definitely miraculous.

Edward Tulane's Patience

What shocked me about Edward Tulane is how patient he is throughout the story. I could never imagine being face down on the bottom of the ocean for months or on a shelf for years. I surround myself with electronic devices and time-wasters so I never have to feel like I am waiting. Edward Tulane's journey makes me consider what time possibly feels like when it is not mechanical, with no pocket watches, and no measurement of time except the nights, the days, and the seasons.

Edward Tulane: poor Bryce

As usual, I was struck by how universal hope is. I don’t know how much of this is due to the Obama posters declaring ‘HOPE,’ but that was what leapt off the page. When the china doll in the baby bonnet tells him that “You must be awash in hope,” Edward responds, “I am done with being loved… It’s too painful.” (189) Sounding like a jilted lover, Edward has given up on hope altogether. I confess that I wish Bryce had come to take him back at the end of his ‘miraculous’ journey. There is something to be said that that little boy, later as a young man, deserves the china rabbit just as much, if not more than privileged Abilene. Though all that matters to Edward is love and where he received it first and most ardently, it was the wish of this reader to see him in more deserving hands. Did anyone else feel this way?

Paradise Lost Quote

"Did I request thee, Maker, from my clay
To mould me Man, did I solicit thee
From darkness to promote me?"
-Paradise Lost, X, 743-745

Just a quote I thought about during Lee Scoresby's conversation with Serafina.

What My Daemon Would Be...

If I had to choose one animal to be my daemon, I would say that it would have to be a mouse. Ever since I was a baby, my parents (especially my dad) have always called me "Little Mouse." I have so many childhood memories of falling asleep to "Good night, Little Mouse" and it makes me so happy any time I hear someone reference a mouse. Also, I am a pretty extroverted person and if my daemon is going to be my counterpart, I would think it would be someone more introverted and quiet, someone who thinks things through more and doesn't act as rash as I do.

my deamon

I think my deamon would be like the golden monkey because I am a very guarded person who tends not to be that emotional. So, whatever my deamon would be it would have to reveal my true feelings.

On the subject of fixed form

I was thinking a lot about this in class, and one of the posts below got me thinking again. It's interesting how much a fixed form of daemon can truly say about humans, psychologically. On one hand, it's a shaping of character, a knowledge of who you are, which is both positive and negative. It is also something over which you don't have that much control, since I don't think Pullman ever said that one can choose what their daemon stays as -- the daemon has a will of its own. In some way, this makes me think of all the ways our personalities are influenced and 'shaped' by factors over which we have no control, upbringing, society, trauma, but which ultimately become an inherent part of our being.
In a way, I think a fixed form for a daemon is almost terrifying to me, it speaks of something which cannot change, something that is so fixed and immobile. On the other hand, perhaps our souls and our personalities really are that way - and since no animals are truly 'good' or 'evil', no daemon is good or evil. All the same, there is something about the finality of this transformation that makes it difficult to wrap my brain around - hey, I wish I knew what I was when I turned thirteen or fourteen.

My daemon

I took the quiz too because it sounded interesting. Personally, I feel the questions are too general. They actually reminded me of questions that were on a personality test I had to take to get a job at a bookstore. However, what do I expect from a quiz about something that doesn't really exist, on a website for a movie that I heard was really bad? Anyway, it was somewhat fun. My daemon is a jackal named Pereus because I'm modest, assertive, and outgoing. I tried to think of a daemon on my own, but I couldn't come up with anything good. I would really like to have a tiger cub daemon though.

Everyone has a Daemon

Well, I also have taken the "Daemon Quiz" on the website to determine which Daemon is mine
My Daemon appears to be "Clymonistra", a Lynx Daemon which is female.
The quiz determined that some of my qualities are : Spontaneous, inquisitive, humble, assertive and relaxed.

From the beginning we notice that the world Lyra lives in is very different from our world, here daemon is already a testament to that. A deamon, basically a human soul on the outside, in the form of an animal. A daemon in essence reflecting your soul, or what condition your soul is in, whether it's at peace or in turmoil. I like that.

My Daemon

I went to the offical Golden Compass website and took a 20 question quiz to determine who my daemon should be. My daemon is a male wildcat named Pereus. You should all take the quiz. It's so much fun!

Daemons

We often see in cartoons that when the main character is faced with a difficult decision, he can always refer to his inner conscience for guidance. Sometimes these guides are portrayed as miniature versions of the protagonist that pop on on each of his shoulders offering timely advice favoring both the negative and positive aspects of the dilemma. Since I was a child I have always wondered if these creatures exist within each one of us, and if in the process of decision making, we actually seek guidance from our "daemons." Lyra's daemon is attached to her, and it can be cut away, as Pan is only a companion in her adventures, and does not really control her fate. Her fate is determined only by her own actions and the choices she makes. Similarly, I think that though we all have the good and bad voices of reason inherent in our mind, body and soul, we are only able to be influenced by them. When we make a choice or go ahead with an action, we have freed ourselves from our daemons because we have acted as an individual who is capable of free will.
I often wonder if such personal daemons do exist and if they lose their significance as we become accustomed to making decisions that are based more on emotion and impulse rather than on practical reasoning and logic. It seems like we are more likely to weigh the moral consequences of our actions as a child when we are naive and afraid of what may happen. I believe, like it is shown in the novel, that personal daemons are most active when we are children but lose their worth as we grow older and come in contact with reality, greed, and temptation. This is especially true during adolescence and early adulthood, when we are searching for our "true" selves. At this time, we are most likely to suppress the influencing powers of our daemons and act upon only what we think we feel and experience, and not the actual reality of things. (As emotions, impulse, greed and temptation begin to cloud our judgement.)