Each story has a slightly different approach to our topic. They are as follows:

1. Two Kinds, by Amy Tan
2. The Lesson, by Toni Cade Bambara
3. On the Rainy River, by Tim O’Brien

If you were absent, you will need to get a copy of the story from me, unless linked.

“Two Kinds” Amy Tan

Like all the stories in the book, "Two Kinds" is concerned with the complex relationships between mothers and daughters.

1. List adjectives that describe the narrator, Jing-Mei?
2. Describe the relationship between Jing-Mei and her mother?
3. Create a list of pros and cons for the mother.  In other words, list ways mom might be a little overbearing and other ways mom is trying to be a good mom.  Use specific examples.
4. How does the narrator envision herself in paragraph 9?
5. When the narrator looks in the mirror, she discovers “the prodigy side,” a face she had never seen before.  What do you think she is discovering? (19)
6. How do you think the events of the story influenced the narrators identity?
7. Think of an embarrassing moment in your life or an instance of someone controlling how you should be.  How did that moment(s) affect you?

“The Lesson”  ToniCade Bambara

Toni Cade Bambara

1. On page 4, why does the narrator feel ashamed?
2. On page 5, the narrator says “And I’m jealous and want to hit her. Maybe not, but I sure want to punch somebody in the mouth.” What does she mean?
3. According to Miss Moore, what defines you? What does she think you have to do? (2nd to last graph on 5)
4. What will the narrator be thinking about when she is alone at the end?
5. What is the lesson?
6. Is Miss Moore a good teacher? Explain

“On the Rainy River” Tim O’brien

The Rainy River in Minnesota

1. Explain the financial metaphor about courage that O’Brien uses on the bottom of page 43 and top of 44. You might have to look up some of the terms.
2. Describe the importance of the narrator’s job at the meatpacking plant (p.46)?
3. What are the narrator’s choices?
4. What “seemed so impossible and terrible and sad”? (p. 54)
5. What influences the narrator? Can he escape his identity?
6. Explain the last paragraph of the story, especially the last two sentences.

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[goog doc="dc4kzt6f_22gvbsdq64"]Class Notes[/goog]

Raisin Study Questions

Raisin Study Questions

19.31 KB, pdf, 2 hits, 2010-03-11

US Literature II, Handouts

A Raisin in the Sun was first produced in 1959 and anticipates many of the issues which were to divide American culture during the decade of the 1960s. Lorraine Hansberry, the playwright, was an unknown dramatist who achieved unprecedented success when her play became a Broadway sensation. Not only were successful women playwrights rare at the time, but successful young black women playwrights were virtually unheard of. Within its context, the success of A Raisin in the Sun is particularly stunning.

In part because there were few black playwrights—as well as few black men and women who could attend Broadway productions—the play was hindered by a lack of financial support during its initial production. Producers hesitated to risk financial involvement in such an unprecedented event, for had the play been less well-written or well-acted, it could have suffered an incredible failure. Eventually, however, the play did find financial backing, and after staging initial performances in New Haven, Connecticut, it reached Broadway.

Compounding the racial challenges the play posed was its length of nearly three hours as it was originally written. Because audiences are not accustomed to plays of such length, especially by a newcomer, a couple of significant scenes were cut from the original production. (These scenes are sometimes included in later renditions.) These scenes include Walter’s bedtime conversation with Travis and the family’s interaction with Mrs. Johnson. In addition, the scene in which Beneatha appears with a “natural” haircut was eliminated in the original version primarily because Diana Sands, the actress, was not attractive enough with this haircut to reinforce the point of the scene. This scene would become more crucial as cultural ideas shifted.

Lorraine Hansberry–>

Lorraine Hansberry was born in 1930, and was the first African-American woman to win the Best American Play award from the New York Drama Critics Circle. She was the fifth woman and the youngest American to ever have done so. She was given this award for her play, A Raisin in the Sun, which was written when she was in her twenties, and was first performed on Broadway in 1959.

Lorraine Hansberry started writing when she was a young woman. When she was 22 years old, she declared to her later-to-be husband, Robert Nemiroff:

I am a writer. I am going to write!

Her husband then later became her literary executor (the person in charge of handling her writing) after her early death due to cancer, when she was 34 years old.

When she was a college student, she wrote a piece for her school magazine which foretold the driving concerns which would form the basis for A Raisin in the Sun:

What is it exactly that we Negroes want to see on the screen? The answer is simple reality. We want to see film about a people who live and work like everybody else, but who currently must battle fierce oppression to do so.

Even so, when she had completed writing A Raisin in the Sun, Ms. Hansberry could not quite believe what she had accomplished. As described in her autobiographical work To Be Young, Gifted and Black:

…I had turned the last page out of the typewriter and pressed all the sheets neatly together in a pile, and gone and stretched out face down on the living room floor. I had finished a play; a play I had no reason to think or not think would ever be done; a play that I was sure no one would quite understand…

Where did Lorraine Hansberry get the impetus to carry forward her vision through her writing? As Robert Nemiroff related it, she “had herself as a child been almost killed in such a real-life story”4 as the one depicted in her play.

In addition to these works, Ms. Hansberry also wrote another play, The Sign in Sidney Brustein’s Window, a novel Les Blancs, and Lorraine Hansberry: The Collected Last Plays, in addition to numerous magazine and newspaper articles, and other work in progress, left unfinished when she died. No matter how famous Ms. Hansberry became, though, and no matter how much she achieved during her brief lifetime, she never forgot her commitment to carrying forward her ideals to the young people who would follow her.

When she died, her ex-husband inscribed these lines from her Brustein play on her tombstone:

I care. I care about it all. It takes too much energy not to care…the why of why we are here is an intrigue for adolescents; the how is what must command the living.

Historical Overview

Into what milieu was Lorraine Hansberry born? What was America like when she was growing up? What experiences would she have had as a student? What was this country like when she reached adulthood?

In order to understand the historical background of A Raisin in the Sun, it is necessary to understand the impact of the United States Supreme Court’s 1954 Brown vs. Board of Education school desegregation decision. That law changed the previous “separate but equal” status of education in the South.

“Separate but equal” meant that until the 1954 ruling, black children and White children were separated into different schools. There were no exceptions to this segregationist policy. Also, public facilities such as parks, theaters, etc., had sections and utilities segregated by race. This was because of what were known as “Jim Crow laws,” which were not real laws, but local statutes which everyone followed.

Until the Brown vs. Board of Education ruling and other civil rights activity in the 1950s, it was very dangerous for people of different races to be friends. Works of literature from that time, such as Strange Fruit by Lillian Smith, depict the outrageous injustice of that time.

In addition, any black person who challenged these Jim Crow statutes in any way was subject to abuse, arrest, or lynching (being hung by a lawless mob). Heroes such as the Reverend Dr. Martin Luther King, Jr., and Mrs. Rosa Parks, however, challenged these Jim Crow laws and “separate but equal” protocols through boycotts, marches, and other nonviolent means, which often originated in black churches.

At the time Ms. Hansberry wrote A Raisin in the Sun, then, the country was being forced for the first time to truly put into practice Abraham Lincoln’s words in reference to the Civil War freeing the slaves about a century before:

Four score and seven years ago our fathers brought forth, upon this continent, a new nation, conceived in liberty, and dedicated to the proposition that “all men are created equal.”

Even after the school desegregation ruling, however, it took quite some time for the schools in the South to be integrated. Children who tried to go to schools previously off-limits to them were harassed, humiliated, had rocks thrown at them, were set upon by dogs, and otherwise threatened and persecuted. Churches with predominantly black congregations were bombed, and church members, including children, were killed. Families who moved into previously all-white neighborhoods had crosses burned on their front lawns by the Ku Klux Klan and other hate groups, and were subject to being terrorized in many other ways.

This situation occurred mainly in the South, but the North was not that much better off when it came to these kinds of injustices; they were just more subtle. It has been said that one of Lorraine Hansberry’s purposes in writing A Raisin in the Sun was to show that things were not much better in the North in the 1950s than they were in the South.

Jewell Handy Gresham-Nemiroff said this of Hansberry’s vision:

…She had to possess a powerful cosmic sense of the magnitude of human struggle in the modern world waged by ordinary men and women. Such battles against themselves and others, against wretchedness, and against fate she believed to be of comparable worth as dramatic material to the woes of ancient kings and queens in whom grave flaws of character led to disaster.

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As this unit progresses, you will form your own notion of what the American Dream is. In class, we will also read other people’s idea of what it means. The following is from an old speech by Barack Obama:

In big cities and small towns; among men and women; young and old; black, white, and brown – Americans share a faith in simple dreams. A job with wages that can support a family. Health care that we can count on and afford. A retirement that is dignified and secure. Education and opportunity for our kids. Common hopes. American dreams…

What is unique about America is that we want these dreams for more than ourselves – we want them for each other. That’s why we call it the American dream. We want it for the kid who doesn’t go to college because she cannot afford it; for the worker whose wondering if his wages will pay this winter’s heating bill; for 47 million Americans living without health care; for the millions more who worry if they have enough to retire with the dignity they have earned.

When our fellow Americans are denied the American dream, our own dreams are diminished. And today, the cost of that dream is rising faster than ever before. While some have prospered beyond imagination in this global economy, middle-class Americans – as well as those working hard to become middle class – are seeing the American dream slip further and further away.

President Barack Obama, 2007–Read the full speach

He is not alone in his ideas of what the American dream means. Here are two items we read in class.

• Obama Dream Abridged
• King Dream Abridged

“Let America be America Again”

Hear it:

Read it:

“Let America Be America Again” by Langston Hughes (printable)

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[goog doc="dc4kzt6f_223g757pgg4"]Notes[/goog]

Huckleberry Finn, one of the central works of American literature and a worldwide best seller, traces the moral education of a young boy whose better impulses overcome both self-interest and the negative forces of his culture. Huck, a homeless boy whose only relative is his disreputable father, is taken in by a respectable widow who seeks to educate him. She forces him to go to school, but Huck dislikes being “so cramped up and sivilized [sic] as they call it.” His father abducts him, and Huck prefers the freedom of his father’s shack to the constraint of more genteel surroundings.

This is what we are reading.

Freed from civilizing influences and placed in the company of his father, a vicious racist who boasts of his own illiteracy, Huck seems like a poor candidate for moral growth. But when Pap Finn nearly kills the boy during an alcoholic delirium, Huck escapes and meets the runaway slave Jim, who provides him with the opportunity to make a significant moral choice. Huck has been shaped not only by his father’s view that one should act out of self interest, but also by his society’s belief that God’s law mandates slavery. As he protects Jim, Huck feels certain that he will go to hell. Nonetheless, he transcends his upbringing and learns to value essential human bonds of trust beyond his own interest. Throughout the novel the boy witnesses a variety of human corruption, pretension, and violence, but maintains his integrity through his ability to identify with others.

“All modern American literature comes from one book by Mark Twain called Huckleberry Finn. American writing comes from that. There was nothing before. There has been nothing as good since.”

–Ernest Hemingway

Mark twain was born Samuel Langhorne Clemens in the town of Florida, Missouri, in 1835. When he was four years old, his family moved to Hannibal, a town on the Mississippi River much like the towns depicted in his two most famous novels, The Adventures of Tom Sawyer (1876) and The Adventures of Huckleberry Finn (1884).

Author and humorist Mark TwainClemens spent his young life in a fairly affluent family that owned a number of household slaves. The death of Clemens’s father in 1847, however, left the family in hardship. Clemens left school, worked for a printer, and, in 1851, having finished his apprenticeship, began to set type for his brother Orion’s newspaper, the Hannibal Journal. But Hannibal proved too small to hold Clemens, who soon became a sort of itinerant printer and found work in a number of American cities, including New York and Philadelphia.

While still in his early twenties, Clemens gave up his printing career in order to work on riverboats on the Mississippi. Clemens eventually became a riverboat pilot, and his life on the river influenced him a great deal. Perhaps most important, the riverboat life provided him with the pen name Mark Twain, derived from the riverboat leadsmen’s signal-”By the mark, twain”-that the water was deep enough for safe passage. Life on the river also gave Twain material for several of his books, including the raft scenes of Huckleberry Finn and the material for his autobiographical Life on the Mississippi (1883).

Clemens continued to work on the river until 1861, when the Civil War exploded across America and shut down the Mississippi for travel and shipping. Although Clemens joined a Confederate cavalry division, he was no ardent Confederate, and when his division deserted en masse, he did too. He then made his way west with his brother Orion, working first as a silver miner in Nevada and then stumbling into his true calling, journalism. In 1863, Clemens began to sign articles with the name Mark Twain.

Throughout the late 1860s and 1870s, Twain’s articles, stories, memoirs, and novels, characterized by an irrepressible wit and a deft ear for language and dialect, garnered him immense celebrity. His novel The Innocents Abroad (1869) was an instant bestseller, and The Adventures of Tom Sawyer (1876) received even greater national acclaim and cemented Twain’s position as a giant in American literary circles. As the nation prospered economically in the post-Civil War period-an era that came to be known as the Gilded Age, an epithet that Twain coined-so too did Twain. His books were sold door-to-door, and he became wealthy enough to build a large house in Hartford, Connecticut, for himself and his wife, Olivia, whom he had married in 1870.

Twain began work on Huckleberry Finn, a sequel to Tom Sawyer, in an effort to capitalize on the popularity of the earlier novel. This new novel took on a more serious character, however, as Twain focused increasingly on the institution of slavery and the South. Twain soon set Huckleberry Finn aside, perhaps because its darker tone did not fit the optimistic sentiments of the Gilded Age. In the early 1880s, however, the hopefulness of the post-Civil War years began to fade. Reconstruction, the political program designed to reintegrate the defeated South into the Union as a slavery-free region, began to fail. The harsh measures the victorious North imposed only embittered the South. Concerned about maintaining power, many Southern politicians began an effort to control and oppress the black men and women whom the war had freed.

Meanwhile, Twain’s personal life began to collapse. His wife had long been sickly, and the couple lost their first son after just nineteen months. Twain also made a number of poor investments and financial decisions and, in 1891, found himself mired in debilitating debt. As his personal fortune dwindled, he continued to devote himself to writing. Drawing from his personal plight and the prevalent national troubles of the day, he finished a draft of Huckleberry Finn in 1883, and by 1884 had it ready for publication. The novel met with great public and critical acclaim.

Twain continued to write over the next ten years. He published two more popular novels, A Connecticut Yankee in King Arthur’s Court (1889) and Pudd’nhead Wilson (1894), but went into a considerable decline afterward, never again publishing work that matched the high standard he had set with Huckleberry Finn. Personal tragedy also continued to hound Twain: his finances remained troublesome, and within the course of a few years, his wife and two of his daughters passed away. Twain’s writing from this period until the end of his life reflects a depression and a sort of righteous rage at the injustices of the world. Despite his personal troubles, however, Twain continued to enjoy immense esteem and fame and continued to be in demand as a public speaker until his death in 1910.

Huck Finn and Jim on the raft

Although regarded as a classic, The Adventures of Huckleberry Finn has engendered controversy from the start. The Concord Public Library in Massachusetts banned it shortly after publication. In reporting approvingly of this action, the Boston Transcript noted that members of the library committee found the book “the veriest trash” and “rough, coarse, and inelegant.” The Springfield Republican found the novel “a gross trifling with every fine feeling” and “harmful.” These objections, grounded on the view that only idealized portrayals of young persons can be edifying, can be dismissed easily by contemporary readers; more serious, however, are charges that the book encourages racism.

“We said there warn’t no home like a raft, after all. Other places do seem so cramped up and smothery, but a raft don’t. You feel mighty free and easy and comfortable on a raft.” –Huck

In 1957 New York City junior and senior high schools dropped the novel from a list of approved books because it uses the term “nigger” and allegedly stereotypes Jim. More recently, a number of court cases have been fought to remove it from lists of required reading on grounds of racism. For example, in 1982 an administrative aide at, ironically, the Mark Twain Intermediate School in Fairfax County, Virginia, stated, “The book is poison … it works against the idea that all men are created equal. . . anybody who teaches this book is a racist.”

Listen to the program “The ‘n-word” on Minnesota Public radio by clicking here. Or download a copy of the article. Radio Transcript N-Word

Some elements in Jim’s character do suggest stereotyping – his superstition, his seeming passivity and gullibility – but he is generally superior to the book’s white characters. Pap Finn’s “whiteness” stands in contrast to Jim’s color as does his vice to Jim’s virtue. Pap’s color is linked to his racism. He is white “not like another man’s white, but white to make a body sick, a white to make a body’s flesh crawl – a tree toad white, a fish-belly white.” He gains his sense of worth by feeling superior to black men, whatever their attainments. Far from degrading Jim, Twain measures the worth of all of the other characters against him. The impact of the term “nigger” cannot be discounted, however. The sensibilities of readers may be offended by its use if they come to the book without adequate historical background: The characters’ attitudes and terminology must be measured against the times in which they live.

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Here is a copy  of “The Raven” with a side-by-side translation. The Raven and translation

Or, you can listen to Christopher Walkin read it:

And a study guide:  The Raven Study Guide

Here are the notes on the literary terms that go with poetry:

Poetry Lit Terms

[Show as slideshow]

Click to enlarge the side.

The Simpsons’ tree house of horror version of “The Raven”

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“The Fall of the House of Usher,” Edgar Allan Poe
Roderick Usher is not only alone, but the last of his line. The Fall of the House of Usher

“The Raven,” Edgar Allan Poe
The narrator is has been left alone by loss. See the Raven post for more info.

“Mariam,” Truman Capote
Time is not kind to Mariam.  Read how this little old lady deals with isolation. Mariam

[QUIZZIN 9]

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Jonathan Edwars, author of Sinners in the Hands of an Angry God

For better or worse, the sermon for which Edwards is probably most famous—or infamous—is the one preached to the congregation of Enfield, Massachusetts (later Connecticut) in July 1741. “Sinners in the Hands of an Angry God” represents in many persons’ minds the bleak, cruel, and hell-bent outlook of Edwards and his Puritan predecessors. But of course such a representation is only a caricature, for Sinners, if it represents anything, stands for only a small part of Edwards’s view of the relationship between humankind and God. As a specially crafted awakening sermon, Sinners was aimed at a particularly hard-hearted congregation. But, at the same time, the awakening sermon and all it expressed—the awful weight of sin, the wrath of an infinitely holy God, and the unexpectedness of the moment when God will execute justice—were integral to Edwards’s theology. This sermon, therefore, deserves to be studied and meditated on for its own sake, but also as part of a larger vision of the spiritual life.

This sermon helps illustrate oratory, or persuasive speaking.  Edward’s goal is convince his audience to live more obedient and repent for their sins.  This sermon, in its time, achieved that purpose.  How?  What about this sermon do you think was so convincing?  How did Edward’s make his argument.  What techniques did he use?  Listen to the sermon and think about the images and what the audience must of felt as they listened to it. You can download a copy here: Sinners Text (8 hits)

Here are the questions from class:

1. Towards the end of the sermon, what does Edwards say sinners can obtain? What must they do to obtain these things?
2. List two images of natural destruction that Edwards uses to depict the wrath of God. Describe why these images are particularly appropriate to Edwards’s message and audience.
3. How does Edwards achieve his purpose (what persuasive techniques does he use)?
4. In which situations (besides drinking and driving and smoking) is it justifiable to use fear to get a person to improve his or her behavior? Can you think of a specific example?

“Sinners in the Hands of and an Angry God”

Audio of the sermon. This is slightly different than the textbook.

Brief Biography of Edwards: Edwards was born in East Windsor, Connecticut, to Timothy Edwards, pastor of East Windsor, and Esther Edwards. The only son in a family of eleven children, he entered Yale in September, 1716 when he was not yet thirteen and graduated four years later (1720) as valedictorian. He received his Masters three years later.

As a youth, Edwards was unable to accept the Calvinist sovereignty of God. He once wrote, “From my childhood up my mind had been full of objections against the doctrine of God’s sovereignty… It used to appear like a horrible doctrine to me.” However, in 1721 he came to the conviction, one he called a “delightful conviction.” He was meditating on 1 Timothy 1:17, and later remarked, “As I read the words, there came into my soul, and was as it were diffused through it, a sense of the glory of the Divine Being; a new sense, quite different from any thing I ever experienced before… I thought with myself, how excellent a Being that was, and how happy I should be, if I might enjoy that God, and be rapt up to him in heaven; and be as it were swallowed up in him for ever!” From that point on, Edwards delighted in the sovereignty of God. Edwards later recognized this as his conversion to Christ.

In 1727 he was ordained minister at Northampton and assistant to his maternal grandfather, Solomon Stoddard. He was a student minister, not a visiting pastor, his rule being thirteen hours of study a day. In the same year, he married Sarah Pierpont, then age seventeen, daughter of James Pierpont (1659–1714), a founder of Yale, originally called the Collegiate School. In total, Jonathan and Sarah had eleven children.

Solomon Stoddard died on February 11th, 1729, leaving to his grandson the difficult task of the sole ministerial charge of one of the largest and wealthiest congregations in the colony. Throughout his time in Northampton his preaching brought remarkable religious revivals. Jonathan Edwards was a key figure in what has come to be called the First Great Awakening of the 1730s and 1740s.

Yet, tensions flamed as Edwards would not continue his grandfather’s practice of open communion. Stoddard, his grandfather, believed that communion was a “converting ordinance.” Surrounding congregations had been convinced of this, and as Edwards became more convinced that this was harmful, his public disagreement with the idea caused his dismissal in 1750.

Edwards then moved to Stockbridge, Massachusetts, then a frontier settlement, where he ministered to a small congregation and served as missionary to the Housatonic Indians. There, having more time for study and writing, he completed his celebrated work, The Freedom of the Will (1754).

Edwards was elected president of the College of New Jersey (later Princeton University) in early 1758. He was a popular choice, for he had been a friend of the College since its inception and was the most eminent American philosopher-theologian of his time. On March 22, 1758, he died of fever at the age of fifty-four following experimental inoculation for smallpox and was buried in the President’s Lot in the Princeton cemetery beside his son-in-law, Aaron Burr.

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