Let's Talk Politics

Politics shape literature in both fictitious and historical settings. The issues that we deal with as a global society on a day to day basis will make textbooks as soon as next year. But why is this important? Because these political and social issues often tie into allegorical levels that can be analyzed while watching films or reading literature. Furthermore, events go on to shape society for not only this generation, but for generations to come. This is evidenced by the lingering distrust in the U.S. government from the days of counterculture and the Vietnam War. The works that were crafted because of political happenings from ten, fifteen, even fifty years ago still hold relevance today. Part of this is because we are still dealing with the same issues today that have always been there. 

The most prominent of these politically-influenced works that I've had personal experience with is Harper Lee's To Kill a Mockingbird. The plot is set in a 1930s Alabama that faces the issues of poverty and racism, because of the Great Depression and the Jim Crow laws, respectfully. Its release was during a time of great racial strife that resulted from the politics surrounding the South and even up north. Lynchings were still popular and African-Americans were still victims of violent attacks from the Ku Klux Klan. This racial tension is shown in the book when the town is quick to accuse Tom Robinson of rape, simply because of the color of his skin. This dilemma goes on to challenge the morals of the Finch family as well as the public's views of the local government. The parallels between the novel and the events during its release go without being noticed. It's obvious that Lee's intention was to open up an important conversation that concerned race and race relations in America. It's astounding that these issues are still an issue today. 

Another work that affects us on a personal level today (that is especially close to Booker T.) is Hair, a musical set in the late 1960s/early 1970s that highlights the conflicts that came with the Vietnam War, desegregation, and counterculture. This also helps establish a platform for race and political corruption in a time where it was hushed. As we continue to move into a more tolerant society, we still have to remember what the past held for this country, and with that comes with the lingering effects that we still debate about today. Police brutality and discrimination aren't anything new, but they still seem to be inextricably tied to minorities, for the worse. And in a way, it has become easier to voice political opinions because of social media, thus making it almost acceptable to excuse questionable police behavior in some settings (gross). But with Hair coming to our own campus at a time where Ferguson, Baltimore, and many other cities are dealing with extreme racial tensions, it once again reveals the importance of these issues. 

It's up to our own individual opinions whether or not we enjoy political works, but it's undeniable that these works seem to be timeless. They may highlight different issues based on a certain era, but at the end of the day, the same issues are still around, and there's a reason for it. We can't keep ignoring these issues if they keep coming up time and time again in the media, literature, or film. The writers of these works are practically begging for a revolution. 

Something to consider: http://www.nytimes.com/2015/02/22/books/review/does-fiction-have-the-power-to-sway-politics.html?_r=0

My Oldest Friend

Reading is, understandably, a source of comfort for people of all ages. And what adds to that comfort? Perhaps the fact that all forms of art - from visuals to films to poetry to literature, etc. - tend to mimic and derive from one another. Now, I'm not trashing anyone's writing style (okay, maybe I was a bit snarky with my last post...sorry, Mrs. Meyer?), but it's easier to create works after they've been written and rewritten thousands of times. Regardless of whether or not an author has read a novel before or a screenwriter has watched a film prior to actually sitting down and creating their own, somewhat original work, it seems as if all of these works follow an equation of sorts. And of course, we've seen it in our own English studies: 

.....and we have a plot, ladies and gentleman. Yet, that's not the point. Plot is easy to structure, and easier to mimic, as mentioned in the fourth chapter of How to Read Literature like a Professor, "Now, Where Have I Seen Her Before?." Film, song, and literature have proved that throughout time. 

There are 12 unique notes in music and many, many other unique chords that could be produced by augmenting or diminishing any given note in a chord. So with this information, you would think that musicians would produce their own individualized sounds and rhythms. However, this isn't exactly the case because especially in popular music, chord patterns tend to resemble one another, give or take a few minor chords and different keys. One example that took place relatively recently was the melodic similarities between Madonna's "Express Yourself" and Lady Gaga's "Born this Way." It didn't help that both songs were anthems of self-love and acceptance. After giving both a listen, you realize that there are some similarities between the two, and it does raise questions of how many of them were pure coincidence and also a few shady comments as well ("It feels reductive...look it up."). But now, let's look at both sides of the argument at hand. Let's say that the "copier" revamps a old melody and incorporates it into a new song. Is that being "reductive" or being inspired? Or, let's say that the "copier" has no recollection of the older melody. Shouldn't the original song be so innovative that it doesn't risk the chance of being copied? 

Also, how many times have we seen the same plot? It seems like every time travel movie ever made either resembles Back to the Future or is a copy like it is. And it starts off with some young man in Anytown, USA, finding a time travel machine or device and using it for innocent curiosity at first. Later on, said young man tries to change whatever is wrong with the world or his own personal past, and like always, something goes wrong and he HAS to fix it or the entire history of anything ever has to saved before the world is gone forever. Of course, though, the story always works itself out. Hollywood has a thing for happy endings, right? Or how many times have we seen unrequited love? How many times have we read about the guy or gal falling in love with the best friend? How about the deemed "nerd" who gets the makeover and their supposed "one true love?" These scenarios have incorporated themselves into so many different forms of media that it's astounding. But again, it's comforting knowing how things are bound to turn out, give or take a few plot twists here and there. 

This brings me to the conclusion that literature, music, and film all follow their own sort of cultural diffusion. Similarly to the "melting pot" that America should be, plots all take place in the same world. They all base off of one another and influence each other and once you think about that, it's kind of inspiring. Maybe nothing is original anymore (or nothing was ever "original" to begin with) but does that change our enjoyment and entertainment? It doesn't. Perhaps it's a bit simpleminded but maybe this diffusion is a good thing. Sure, new ideas are always appreciated, but so are old ones and past events as well. We're inspired by things we find captivating and beautiful, so why not express that with a recreation? 

Something to think about: http://www.businessinsider.com/nothing-we-do-is-original-anymore-so-find-things-worth-imitating-2012-8

Vamps, Virgins, and Villainy

There's something that's eerily familiar and almost comforting in the pallor, fangs, and blood-thirst that vampires provide us with. Needless to say, mainstream media has sucked this up (pun intended?) and turned it into a multi-billion dollar industry in its own. Thanks to our great American writer and hero of modern literature, Stephanie Meyer, society has resurfaced a new curiosity for the supernatural and evil forces of this universe, fiction or otherwise. From Twilight to Dracula, however, this phenomena has lasted centuries in literature and has transpired into other forms of media, such as film. 

In the third chapter of How to Read Literature like a Professor, Thomas C. Foster shows us the symbolism of one of the most familiar and ordinary supernatural figures to date. Not only are vampires of mystics and evil, but they also hold a sensuous nature as well. There must be something arousing their bloodsucking nature that I’m not quite aware of. Nevertheless, audiences worldwide are captivated by the sexual nature of vampires. Between Twilight and the Vampire Diaries, society is latching onto the sexuality of vampirism, whether they acknowledge it or not. The Twilight Series is infamous for its mediocre writing and even more cringe worthy film adaptations, yet has dominated ticket offices upon release and managed to become earn billions of dollars in total, and it doesn’t end there. Twilight has somehow influenced a world of alternate universes and realities that could only come from one source: fan fiction. What is the most famous of this fan-written, fan-submitted works? Fifty Shades of Grey, which has created an industry of its own by captivating middle aged and young women. This proves another one of Foster’s theories: that an evil, sensuous character doesn’t even have to be supernatural, a relatively good-looking, young man with a fetish for domination of women does the trick.

This also reveals another horror about vampires and other dominant figures in literature: that we’re captivated by them, despite the example that they set for young people everywhere. Even in non-fiction works, dominant male figures play central roles and their behaviors are justified. In Devil in the White City, H. H. Holmes uses his wits and sexuality to charm dozens of women for his own benefit. Throughout the course of the book, he embezzles thousands from women and their families in an attempt to fund his own mischief. Horrible, right? But the reader still gets a chance to read about his background and childhood as a way to almost justify the way that Holmes turned out. This pattern, although real in this case, follows in Fifty Shades of Grey as well. Christian Grey uses his virginal submissive for his own selfish agenda. Even though a contract of sorts was created, there’s still a human being that is emotionally and physically affected by this sexuality, and audiences eat this up without a second thought. 

These things considered, are vampires really a subject to glorify and fund? Human manipulation, abuse, and mistreatment isn't something to be taken lightly, but of course when adding fictitious elements, it turns into a source of entertainment which is detrimental to the mindsets of young adults. 

Something to consider: http://www.care2.com/causes/fifty-shades-of-grey-is-a-lesson-in-fifty-shades-of-abuse-says-study.html