Before the Flood: A Discussion of Climate Change

After a long wait, National Geographic has finally premiered what is hoped to be a groundbreaking documentary headed by the acclaimed Leonardo DiCaprio. More than a simple narration of marine life or evolution, this film is a striking portrait of reality, a slap in the face if you will, to the potentialities of a bleak future, of the affect a fast paced, high energy consuming society has on the basic environment that granted us humans with the perfect conditions to evolve and thrive. This documentary, Before the Flood, is an hour and forty six minutes of climate change and the harsh consequences we face. It is a desperate plea to raise awareness, a call to action.

Bravely and boldly, the film takes on one of the most challenging foes to ever face mankind. The stubbornness to accept reality and change age old ways. It is widely known by now, after years of environmental activism, that there are still far too many who refuse to believe that climate change exists, or that the earth is facing a dire future full of rising sea levels and arid landscapes as well as a dehydration of necessary resources to keep this highly mechanized world functioning. This attempt at refute even makes its way to the presidential stage, with candidates filling several minutes of debate with statements on how renewable energy takes away from the prosperity of institutions like business. Little do they realize, business will not exist if there is no environment healthy enough for businessmen to make their transactions.

DiCaprio, known for his environmentalism, firmly presses the urgency of which this acceptance of reality must occur. Filled to the brim with scientific evidence, interviews from all perspectives of the issue, and social patterns leading up to this circumstance, Before the Flood is meant to be the ultimate persuasion, appealing to the scientifically inclined and the social/entertainment enthusiasts alike. The film presses the imperative need for a solution, crying out over and over that the earth is rapidly changing, and we as a species are not strong enough to withstand such dramatic alteration.

The reality is frightening, and rightfully so. It's definitely not a bright and sunny future that we face. However, while scare tactics are indeed effective (just take a look at the election), solutions also work to draw people to the issue. With a solution, there is less hopelessness, and more people feel able to contribute to healthy change. The film achieves both of these aspects, jarring us into the harsh world in store for us, while also continually repeating that the window for salvation has not passed.

We can still fix this, we must simply become more aware. 

After viewing this unique and exceptionally serious piece on what many consider to be the most important issue the world faces, it is difficult not to think about the impact humanity's actions have on earth. Climate change and the environment may always be in the back of one's mind, but through this bold statement and calling out of the ignorance of society, it is yanked violently to the forefront of daily thought. For it is obvious to those who are inclined to the realities of their surroundings that this issue is not merely going to work itself out like so many others of the past. The clock is ticking and when time runs out, there will be no chance to remedy our self inflicted undoing. The coral reefs are already dying, there have not been this high a rate of species extinction since the great Cretaceous-Tertiary event 65 million years ago, storms are more violent before. The evidence is all around, and this documentary summarized it neatly into an understandable and, dare I say, entertaining platform for everyone to analyze. Once again, National Geographic takes the time to draw every point of an argument and prove it right or wrong in an attempt to raise awareness to reality.

Still not convinced? Go watch the film.

A Tangent on Tangents

After the past few weeks of dredging through Austen's Pride and Prejudice, it was high time for a momentary pause and a turn towards a more entertaining, yet excessively drawn out work, Hugo's Les Miserables. It's no secret that this particular novel is a long time favorite, and any time there is an opportunity to delve back into the pages, I will do so with nothing short of endless excitement.

While Pride and Prejudice is much shorter than Hugo's twenty year endeavor, affectionately called the Brick, it is much more blase, with one main idea surrounding one main story line, while Hugo's novel consists of several main ideas surrounding numerous story lines. True, the unabridged version of Les Miserables fills over 1000 pages, there are never filler pages or a dull moment. It is blatantly apparent that Hugo took every single detail into account, almost in excess. It is so full of minor tidbits or descriptive thoughts and imagery that the near thirty to fifty pages of protagonist Jean Valjean simply walking through French country side without definite purpose has an abundance more of thoughts and rising action than the majority of the first half of Austen's own masterpiece novel. 

Hugo ensured that his work was filled to the brim with every aspect imaginable to create an impressive representation of France during the turbulent early 1800s. While this detail creates a work that is rarely repetitive or dull, Victor Hugo also has a tendency to veer off into tangents that are rather irrelevant to the plot. This is a primary factor as to why the abridged version of the Brick exists, as not many find the idea of 150 pages dedicated to one fraction of a detail particularly pleasing. To me, however, these tangents are almost comical and provide an insight to the mind and writing process of one of the most renown French novelists of his time.

Each tangent is essentially an entire essay or thesis on a topic that is rather irrelevant to Jean Valjean's journey towards redemption. One of the most prominent examples is the over 100 page side note about the Battle of Waterloo, with a well rounded, extraordinarily well thought out analysis on the French tactic compared to that of the British, Belgian, and German alliance, along with what makes a victor and what makes a loser. All of this leads up to a single line at the conclusion, depicting how one minor character happened to be present for a brief moment near the battle field. The fact that Hugo took the time an effort to write over 10 chapters on something so minuscule reflects the dedication with which he approached penning this work. The man left nothing out, not even the slightest detail, and he becomes so wrapped up in each point that he creates these extra sections of irrelevance that could be formed into their own separate pamphlets. 

Waterloo is only one example of Hugo's notorious tendencies to become sidetracked. The book is home to another hundred pages dedicated to an elaborate description of Paris sewer systems, as well as a history of specific church denominations and their practices. In these hundreds of pages, there are few lines that are actually relevant to the plot overall. Les Miserables is so full of different bits of information that it is hardly a wonder that so many fear to take the plunge or have difficulty in completing or understanding the work. Despite all this, it is entertaining to see the process of Hugo's writing during the twenty years he worked on it. His eagerness to show the significance of different topics, however unrelated they may be, shows his determination to describe a well rounded picture of his country in all respects. His dedication paid off in the form of a read that is as unique as it is comical for the literary enthusiasts, or as excruciating as it is depressing for those who are not as literature based. 

Thoughts on the Ultimate American Fantasy: New York City

It is the city of hopes and dreams. The place to be. The Big Apple. The greatest city in the world.
It is idolized in all places near and far, a shining light that acts as a symbol for American triumph. It is the place imagined by every person who wants to be in the center of the action, ready for their big moment. A symbol of opportunity. It is a relic, persisting through time to be an illusion of the glory days of old. It is New York City.

 Anything and everything is in the crowded Burroughs, from the bright white lights of Broadway to small shops and restaurants on lesser known side streets, and to the green expanses of Central Park. There are prestigious colleges, world governing centers, and business after business. World landmarks, from the Statue of Liberty, to Ground Zero, and the Empire State Building, all call New York their home, as do the millions of people crammed into the endless row of apartment buildings, all wanting a taste of the action in the most significant center of the world.

 NYC stands alone as an image of regal beauty, with the glory of the old industrial era, the fierce stock market, and booming business. The city is glorious, with tall illuminated towers, a skyline that is one of the most recognizable to anyone who happens to see it in person, on a postcard, or on a screen. It is the perfect example of what a bustling city should be, and is the basis for any stereotype of modern America.

New York City is more than just a large commercial, social, and governmental center. It is an illusion. It is success. NYC represents the big break. When one wants to take a chance, they go to downtown Manhattan. When the dream is to be a star on the stage, or even on the screen, they turn to Greenwich Village. When one wanted to escape their poor circumstances, they did so through Ellis Island. The idea of such a place, where opportunity is said to be around every corner, has transformed a once simply large metropolis into a fantasy land, one that is dreamed about in young minds all over the world.

The city fuels the story line for books, plays, musicals, and movies. It connects modern pieces such as the smash hit Hamilton to the epics of the early 20th Century such as The Great Gatsby. It is the first thing that anyone thinks of when asked to picture America, American standards, or even just an American city in general.

Of all the symbols America has to offer, NYC is perhaps one of the most significant in terms of showing the realities of the nation. It has a bit of everything that makes up American character, the positives and the negatives alike. It has more diversity than any other major metropolis, with the rich immigrant history continuously influencing every aspect of daily life. There is always something for everyone.

Without the city, the culture of a widely diverse nation would have no center point. With a place for each art form, religion, or political view, NYC combines every important attribute into one large exhibit. Essential to the portrayal of not only American history, but American values and people, New York City continues to be one of the most important sites in the nation. With its permanent image of old elegance and symbolism of opportunity for those down on their luck, New York is truly the place where one can begin anew, whether it be in the arts, business, or simply in terms of personal morals.

Rambles From the Underwhelmed, Unimpressed, and Uncomfortable

You have to read this! This is a staple! How could you not have read this before? It's excellent!

Common phrases often heard in literary establishments such as classrooms, book clubs, or libraries, the expectation of a book's magnificence is often what propels us fans of writing to fill notebooks with scribbles of "to read next" and "have read"  that act as grocery lists for our weekly stop at the supermarket of intellectual stimulation. Picking up new reads, hot sales, or necessities of life, the readers of the world gain energy and keep the mind sharp through and endless cycle of literature, new and old alike. And just as one would buy milk, eggs, and bread at the market, there are certain pieces, classics, that become standard for every book lover to peruse at least once. 

Pride and Prejudice by Jane Austen is one of these such standards. A classic, a masterpiece, a staple of literature. The novel is considered by many to be an elegant and eye opening portrayal of the past. With its own culture surrounding it, Pride and Prejudice is a trademark not only for high school reading requirements, but also for a supposedly thrilling plot line, with romantic whirlwind and a long list of movie versions that keep anyone entertained on a quiet evening. With this hyped up image in mind, it is only logical that my expectations were high upon finally picking up the novel myself. 

At first, the novel was just as exciting as any classic I delve into. A perspective of life in the past and the unique writing style of the time is always thrilling and entertaining, drawing me continuously in to the plot and theme, genuinely excited to know what comes next. The first hundred pages or so of Austen's work had me hooked. Who is this Mr. Darcy? What are his intentions? The irony of the character's actions, opinions, and thoughts, were immensely humorous to me, and I was overwhelmingly curious to know how the novel would play out. 

However, 285 pages in, it soon became apparent that the plot over all is rather flat. There is not much differentiation than the events that once drew me in. Being well versed in the movie depictions and the many cultural parodies of the work, I assumed I would know how the novel would play out, and be at least relatively entertained. Unfortunately, this is not the case. With a hundred pages left to go, I find myself dragging. The pace is somewhat agonizing, with the same basic descriptions of events happening repeatedly with only slight variation. Is this merely Austen's attempt at accurately portraying life of the time? Or is it simply that I have lost the patience for a slow paced work? Regardless, one of literature's greater staples, which has been revered by many for decades, has failed to hit me as particularly impressive or outstanding.

Mr. Darcy and Elizabeth Bennet's relationship is entertaining, yes, and the theme Austen presents is excellent and relevant to social climate. Nevertheless, the continual discussion of marriage proposals gets old after a third of the novel is dedicated to it. And while I would love to simply abandon the book for another time, and pick up on where I left off in the ever enthralling world of Dickens or Hugo, I find that I cannot allow myself to leave the novel unfinished. Perhaps it is my streak of perfectionism, or the hope that the last hundred pages will offer a redeeming quality that snatches hold of my interest. Regardless of the reason, Pride and Prejudice will continue to drag at the pace of a snail, and I will continue to be underwhelmed by one of the literary community's favorites.

Ambiguity and Arsenic

Ambiguity in writing is always a plus, especially when the openness of a passage evokes deep discussion and creates exhilarating revelations in a reader. The passages that spark long discussions as one walks to class, or heated debated over what is or what isn't that fills each free moment. It is deeply satisfying to find a story that is presented with a spectacularly vague writing style that still allows for an understanding of intended themes and basic plot while also appearing as unique and thought provoking.

William Faulkner's "A Rose For Emily" is one of these such stories. Told from the brilliant perspective of an outsider, the life of one Miss Emily is speculated on, specifically leading up to the events of her death. The lack of fact, thoughts, or feelings from the character in question allows for the reader to make their own decisions regarding the events surrounding the years of Emily's life. Her biography is told in snippets, giving brief glances from a limited outside perspective. What actually happens versus what is suspected creates a unique set up of the plot, connecting to both the deeper meaning of Faulkner's writing and the actual events themselves.

The prime example of this occurs when the narrator recounts Miss Emily's acquisition of arsenic. She is described as being firm in her desires, asking a druggist for strong poison, then refusing to state what her use would be for. Because of the traditionally set respect the town seems to have for her, the druggist allows her to purchase said poison. It is only after this that it is discovered that her once lover Homer Barron is never seen to leave her secluded home again.

It is never directly stated what the arsenic is used for, which leaves the reasoning open to debate. Homer Barron is discovered to be long dead at the end of the story, yes, but it is never confirmed how he died or what role Miss Emily may have played in it. Faulkner does however, deliberately mention the arsenic purchase before the death is even revealed, perhaps throwing the reader a breadcrumb.

Despite inferences the reader can readily make, Faulkner leaves this part of the story ambiguous. There is no inside perspective to tell what really happened, there is only the outside view. This can lead to many different interpretations of Miss Emily and the plot itself. Did she kill Homer Barron? If so, why? If she didn't use the arsenic to kill him, what else could it have been for? There is technically no right or wrong answer, which makes discussion particularly unique.

This is just one example of the lovely ambiguous style Faulkner embodies. He is able to make the reader go deeper, and work for the answers they desire instead of simply giving them. In short, he isn't boring. Specifically in "A Rose For Emily," Faulkner leaves loose ends to keep the interest, even after one has read through the passage several times. In this, he accomplishes the sought after goal of many authors in all time periods, he makes a reader think.