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Many people die in the novel. The old woman burns herself to death, Clarisse is killed by a speeding car, Montag kills Beatty with the flamethrower, and the Mechanical Hound kills an innocent man. Among all this destruction, Montag survives and is given new life, reborn after his trip down the river and after meeting Granger and taking the concoction to change his chemical balance. While Montag survives, the city and everyone he knew there are destroyed. Montag's interest in knowledge and dedication to a new and better society saved him. Thus, Bradbury seems to suggest that life is dependent on knowledge and awareness. If we become idle and complacent, we might as well be dead.

Animal Imagery

The animal imagery in the book expresses the importance of nature in life. The lack of nature, or the manipulation of nature (i.e. the development of the Mechanical Hound), causes death and destruction.

Technology

Technology in Bradbury's 24th century is highly advanced. Montag discusses this issue briefly with Clarisse and reflects on it as he opens up to the world of books. When he finally escapes his old life, the city is destroyed by atomic bombs (yet another example of negative technology), and Montag begins a simple life with very little technological tools as he sets out to rebuild society with Granger and the other intellectuals. Clearly, Bradbury is commenting on the negative influence of technological development in this world and the destructive potential of technology in our society. (He is a technofobe, as you remember from his biography J)

Religion

Although it appears no character in Fahrenheit 451 holds any religious beliefs, Bradbury includes many religious references in this novel. The book Montag saves from the old woman's house is The Bible. Throughout his tribulations, Montag holds on to this book, reading it on the subway, showing it to Faber, and finally, with Granger and the other intellectuals, Montag agrees that The Bible is the book he will memorize in order to one day, in a new society, reprint.

Later on in the novel, Faber compares himself to water and Montag to fire, saying the cooperation of the two will produce wine. This is an allusion to the biblical story of the miracle at Canaan where Christ transforms water into wine.At the conclusion of the novel, Montag, Granger and the rest of the intellectuals walk up the river to find survivors of the ultimate atomic destruction of the city. In his walk, Montag remembers passages he read in his Bible from Ecclesiastes 3:1, "To everything there is a season," and Revelations 22:2, "And on either side of the river was there a tree of life...and the leaves of the tree were for the healing of the nations." The apocalypse Montag has witnessed has clear connections to the apocalypse foreseen in the Bible.

5.3 James Baldwin. Sonny’s blues.

James Baldwin (August 2, 1924 – December 1, 1987) was an American novelist, essayist, playwright, poet, and social critic. Baldwin's essays, for instance "Notes of a Native Son" (1955), explore palpable yet unspoken intricacies of racial, sexual, and class distinctions in Western societies, most notably in mid-20th century America. His novels and plays fictionalize fundamental personal questions and dilemmas amid complex social and psychological pressures thwarting the equitable integration of not only blacks yet also of male homosexuals—depicting as well some internalized impediments to such individuals' quest for acceptance—namely in his second novel, Giovanni's Room (1956), written well before the equality of homosexuals was widely espoused in America. Baldwin's best-known novel is his first, Go Tell It on the Mountain (1953).

Some facts to remember about Baldwin: Baldwin was trying to combine blues and literature. He tried to make plays, but failed. It was hard to be a black gay at that time in America, so in 1966 he left the USA and went to Paris. Baldwin wrote mostly novels and essays, essays were very angry.

"Sonny’s Blues" (1957) is a short story by James Baldwin. It later appeared in the 1965 short story collection, “Going to Meet the Man”.

Sonny' Blues is a story written in the first-person singular narrative style. The story opens with the narrator, who reads about his younger brother named Sonny who has been caught in a heroin bust. The narrator then goes about his day; he is a teacher at a school in Harlem. However, he cannot get his mind off Sonny. He thinks about all the boys in his class, who don’t have bright futures and are most likely doing drugs, just like Sonny. After school, he meets a friend of Sonny’s, who tells him that they will lock him up and make him detox, but eventually he will be let out and be all alone.

Originally, the narrator doesn’t write to Sonny. After his daughter Gracie dies of polio, he decides to write Sonny a letter. Then Sonny writes back, so they got in contact again. At this point, we learn how Sonny is related to the narrator—they are brothers. They keep in contact, and after Sonny gets out of jail, he goes to live with the narrator and his family. They eat a family dinner, which then turns into a flashback about their parents.

The narrator describes his father, a drunken man, who died when Sonny was fifteen. Sonny and his father had the same privacy; however they did not get along. Sonny was withdrawn and quiet; while their father pretended to be big, tough, and loud-talking.

The narrator then thinks back to the last time he saw his mother alive, just before he went off to war (most likely fought in World War II). She told him the story of how his uncle died (was run over by some drunken white kids), how his father was never the same, and that the narrator has to watch over Sonny. The narrator was married to Isabel two days after this talk, and then he went off to war. The next time he came back to the states was for his mother’s funeral.

When he comes back for the funeral, he has a talk with Sonny, trying to figure out who he is, because they are so distant from one another. He asks Sonny what he wants to do, and Sonny replies that he wants to be a jazz musician and play the piano. The narrator does not understand this dream and doesn’t think it is good enough for Sonny. They also try to figure out his living arrangement for the remainder of his high school career. Both of these subjects lead to an argument. Sonny calls his brother ignorant for not knowing who Charlie Parker is, and argues that he does not want to finish high school or live at Isabel’s parents' house. Eventually, however, they find a compromise; Isabel’s parents have a piano, which Sonny can play whenever he wants, provided he goes to school. Sonny, begrudgingly (but somewhat excited about the piano) agrees.

Sonny stays at Isabel’s and supposedly is going to school. When he gets home, he constantly plays the piano. Sonny, however, is more like a ghost; he shows no emotion and doesn’t talk to anyone.

It is soon found out that Sonny is not going to school. Instead, he is going over to Greenwich Village, and hanging with his jazz friends (and most likely doing drugs). Once Isabel’s parents find this out, Sonny leaves their house, drops out of school, and joins the navy.

They both get back from the war and live in New York for a while. They would see each other intermittently, and whenever they would they would fight. Because of these fights, they did not talk to each other for a very long time.

It then flashes forward, and he talks about Gracie and her polio affliction. It was then that the narrator decided to write to Sonny. It seems that the narrator could better understand his brother now. (“My trouble made his real.”)

It then flashes forward to what we would assume is the present. It’s a Sunday and Isabel is gone with the children to visit their grandparents. The narrator is contemplating searching Sonny’s room and begins to describe a revival meeting that both he and Sonny are watching. There is a woman singing, which seems to hypnotize them both.

Sonny comes into the house, and asks the narrator if he wants to come and watch him play in Greenwich Village, and the narrator, unsure, somewhat begrudgingly agrees to go.

Sonny then begins to talk about his heroin addiction in somewhat ambiguous terms. He says that when the lady was singing at the revival meeting, it reminded him what it feels like when heroin is coursing through your veins. Sonny says it makes you feel in control, and sometimes you just have to feel that way. The narrator asks if he has to feel like that to play. He answers that some people do. They talk about suffering. And the narrator asks Sonny if it’s worth killing yourself, just trying to escape suffering. Sonny says he is not going to die faster than anyone else trying not to suffer. Sonny divulges that the reason he wanted to leave Harlem was to escape the drugs.

They go to the jazz club in Greenwich Village. The narrator realizes how revered Sonny is there. He hears Sonny play. In the beginning, he falters, as he hasn’t played for seven months, but after a while, it becomes completely magical and enchants the narrator and everyone in the club. The narrator sends a cup of scotch and milk up to the piano for Sonny and the two share a brief connecting moment. His brother finally understands that it is through music that Sonny is able to turn his suffering into something worthwhile.

Characters:

Sonny is the main character's brother. The reader sees him through his brother’s eyes, as a quiet, introspective person with a tendency to withdraw inside himself. Sonny is also described by the narrator as wild, but not crazy. He has a heroin addiction, which led him to jail, but because of his passion for jazz, he became a musician.

Sonny’s brother is the narrator and main character; his name is never mentioned throughout the story. He is a high school algebra teacher and family man. Unlike Sonny who is constantly struggling with his feelings, he chooses to ignore his own pain.

Isabel is Sonny’s sister-in-law, she is open and talkative. After Sonny’s mother died, he lived with Isabel in her parents' house for a while, while his brother was in the army.

Creole is a bass player who leads the band that Sonny plays in at the end of the story. He functions as a kind of father figure for Sonny.

Sonny's Mother

Sonny's Father

Sonny's Uncle (His father's brother)

Sonny's Friend

Major themes:

Suffering - One of the most important aspects of the short story is how Sonny and his brother endure suffering. This reveals how different they are and the reason why Sonny’s brother cannot understand him. While Sonny feels more intensely all the hardships in his life, his brother keeps his feelings locked in. Most importantly, the short story focuses on the sufferings of black people in America.

Artistic Expression - Baldwin believed in art as a powerful mean to ease or relieve one’s suffering. It is only through music, by playing jazz, that Sonny is able to externalize his pain and also help his brother to face his own issues.

Racism and Segregation - Racism is a recurrent theme in Baldwin’s work. In the short story, much of Sonny’s blues result from the condition African Americans live in. Although Baldwin only presents one clear example of racism, the entire story reveals a separation made by society between blacks and whites. In spite of being an algebra teacher, Sonny’s brother has to continue living in Harlem and cope with the poverty and violence existent in the neighborhood. In this manner we can see that his efforts to have better lifestyle were not successful.

Some more black brothers (writers): Ralph Ellison – wrote just one novel – “Invisible Man”, lots of essays and philosophical letters.

Tom Morrison – a noble prize-winner in science fiction. Uses many folk believes.

Also Alex Haley and Alice Walker.

3 facts about Black American Literature: 1) Black literature has its rhythm and specific. 2) Black Literature is protest and blues. 3) There is a lot of violence in their literature.

5.4 Poetry selection:

5.4.1 Theodore Roethke. Dolor.

Theodore Huebner Roethke [ ˈrɛtki ] (1908 – 1963) was born in Saginaw, Michigan, the son of Otto Roethke and Helen Huebner, who, along with an uncle owned a local greenhouse (оранжерея, теплица). As a child, he spent much time in the greenhouse observing nature. Roethke grew up in Saginaw, attending Aurthur Hill High School, where he gave a speech on the Junior Red Cross that was published in twenty six different languages. In 1923 his father died of cancer, an event that would forever shape his creative and artistic outlooks (творческие и художественные взгляды). From 1925 to 1929 Roethke attended the University of Michigan at Ann Arbor, graduating magna cum laude (окончил с отличием). Despite his family’s wish that he pursue a legal career, he quit law school after one semester. From there he spent 1929 to 1931, taking graduate courses at the University of Michigan and later the Harvard Graduate School.

When the Great Depression hit Roethke had no choice but to leave Harvard. He began to teach at Lafayette College, and stayed there from 1931 to 1935. It was here where Roethke began his first book, Open House. By the end of 1935 Roethke was teaching at Michigan State College at Lansing. His career there, however, did not last long. Roethke was hospitalized for what would prove to be a bout of mental illness, (психическое, душевное заболевание) which would prove to be reoccurring. However the depression, as Roethke found, was useful for writing, as it allowed him to explore a different mindset.

By the time he was teaching at Michigan State Roethke’s reputation as a poet had been established. In 1936 he moved his teaching career to Pennsylvania State University, where he taught seven years. During his time there he was published in such prestigious journals as Poetry, the New Republic, the Saturday Review, and Sewanee Review. His first volume of verse, Open House, was finally published and released in 1941. Open House was favorably reviewed in the New Yorke, the Saturday Review, the Kenyon Review, and the Atlantic; W. H. Auden called it "completely successful." His first work shows the influence of poetic models such as John Donne, William Blake, Léonie Adams, Louise Bogan, Emily Dickinson, Rolfe Humphries, Stanley Kunitz, and Elinor Wylie, writers whose verse had shaped the poet's early imagination and style.

In 1942 Harvard asked Roethke to deliver on of their prestigious Morris Gray lectures. Then in 1943 he left Penn State to teach at Bennington College. The second volume of Roethke's career, The Lost Son and Other Poems was published in 1948 and included the greenhouse poems. Roethke described the glasshouse, in An American Poet Introduces Himself and His Poems in a BBC broadcast, on the 30th of July 1953, as "both heaven and hell.... It was a universe, several worlds, which, even as a child, one worried about, and struggled to keep alive."

He penned Open Letter in 1950, and explored eroticism and sexuality with I Need, I Need, Give Way, Ye Gates, Sensibility! O La!, and O Lull Me, Lull Me. He later wrote Praise to the End! in 1951 while at Washington University, and a telling Yale Review essay, How to Write Like Somebody Else in 1959. Roethke was awarded Guggenheim Fellowship in 1950, the Poetry magazine Levinson Prize in 1951, and major grants from the Ford Foundation and the National Institute of Arts and Letters the year after.

In 1953 Roethke married Beatrice O'Connell, whom he had met during his earlier at Bennington. The two spent the following spring honeymooning at W. H. Auden's villa at off the coast of Italy. There Roethke began editing the galley proofs for The Waking: Poems 1933-1953 which was published later that same year, and won the Pulitzer Prize the next year. It included major works such as Elegy for Jane and Four for Sir John Davies, which was modeled on Davies's metaphysical poem Orchestra.

During 1955 and 1956 the Roethke and his new wife traveled Europe, on a Fulbright grant. The following year he published a collection of works that included forty-three new poems entitled Words for the Wind, winning the Bollingen Prize, the National Book Award, the Edna St. Vincent Millay Prize, the Longview Foundation Award, and the Pacific Northwest Writer's Award for it. The new poems included his famous I Knew a Woman, and Dying Man. Roethke began a series of reading tours in New York and Europe, underwritten by another Ford Foundation grant.

While visiting with friends at Bainbridge Island in 1963, Washington, Roethke suffered a fatal heart attack (инфаркт). During the last years of his life be had composed the sixty-one new poems that were published posthumously in The Far Field in 1964--which received the National Book Award--and in The Collected Poems in 1966.

DOLOR

I have known the inexorable sadness of pencils,

Neat in their boxes, dolor of pad and paper weight,

All the misery of manilla folders and mucilage,

Desolation in immaculate public places,

Lonely reception room, lavatory, switchboard,

The unalterable pathos of basin and pitcher,

Ritual of multigraph, paper-clip, comma,

Endless duplicaton of lives and objects.

And I have seen dust from the walls of institutions,

Finer than flour, alive, more dangerous than silica,

Sift, almost invisible, through long afternoons of tedium,

Dropping a fine film on nails and delicate eyebrows,

Glazing the pale hair, the duplicate grey standard faces.

ПЕЧАЛЬ

Я изведал печаль карандашей,

Аккуратно лежащих в коробках,

Я знаю грусть дырокола, клея и скоросшивателей —

Боль, тоску и безродность безупречных учреждений,

Одиночество туалетов и пустоту приемных.

Обязательность кувшина и непременность тазика,

Священность авторотатора, скрепки и запятой,

Бесконечное повторение жизней, лиц и предметов.

Я видел, как сеялась пыль с высоких стен учреждений —

Тоньше тонкой муки, опаснее угольной пыли.

Невидимая почти в однообразии будней,

Она покрывала пленкой брови, ресницы, ногти,

Садилась на светлые волосы совершенно стандартных людей.

The overall theme of this poem is to condemn institutions. He is angry and bored with the monotonous environment they create. He thinks they just create boring individuals that become ultimately the same, photocopied, image.

He's written it to resemble an Italian sonnet, which is 8 and 6. Roethkes is 8 and 5. The change of mood comes at the end of the first sentence. Note that the poem has only two sentences and is very continual and fluid. He could possibly have written it different than the average sonnet to defy the rules of the norm. This supports his overall theme of being unique and not submitting to the dullness of routine.

5.4.2 Robinson Jeffers. Cassandra.

John Robinson Jeffers (1887 – 1962) was an American poet, known for his work about the central California coast. Most of Jeffers' poetry was written in classic narrative and epic form, but today he is also known for his short verse, and considered an icon of the environmental movement.

Jeffers was born in Allegheny, Pennsylvania (now part of Pittsburgh), the son of a Presbyterian minister and biblical scholar, Reverend Dr. William Hamilton Jeffers, and Annie Robinson Tuttle. His brother was Hamilton Jeffers, who became a well-known astronomer, working at Lick Observatory. His family was supportive of his interest in poetry. He traveled through Europe during his youth and attended school in Switzerland. He was a child prodigy, interested in classics and Greek and Latin language and literature. At sixteen he entered Occidental College. At school, he was an avid outdoorsman, and active in the school's literary society.

After he graduated from Occidental Jeffers went to the University of Southern California to study medicine. He met Una Call Kuster in 1906; she was three years older than he was, a graduate student, and the wife of a Los Angeles attorney. In 1910 he enrolled as a forestry student at the University of Washington in Seattle, a course of study that he abandoned after less than one year, at which time he returned to Los Angeles. Sometime before this, he and Una had begun an affair that became a scandal, reaching the front page of the Los Angeles Times in 1912. After Una spent some time in Europe to quiet things down, the two were married in 1913, and moved to Carmel, California, where Jeffers constructed Tor House and Hawk Tower. The couple had a daughter who died a day after birth in 1914, and then twin sons in 1916. Una died of cancer in 1950. Jeffers died in 1962; an obituary can be found in the New York Times, January 22, 1962.

In the 1920s and 1930s, at the height of his popularity, Jeffers was famous for being a tough outdoorsman, living in relative solitude and writing of the difficulty and beauty of the wild. He spent most of his life in Carmel, California, in a granite house that he had built himself called "Tor House and Hawk Tower". Tor is a Celtic term describing a large outcropping of rock. Before Jeffers and Una purchased the land where Tor House would be built, they rented a small cottage in Carmel, and enjoyed many afternoon walks and picnics at the "tors" near the site that would become Tor House.

To build the first part of Tor House, a small, two story cottage, Jeffers hired a local builder. He worked with the builder,and in this short, informal apprenticeship, he learned the art of stonemasonry. He continued adding on to Tor House throughout his life, writing in the mornings and working on the house in the afternoon. Many of his poems reflect the influence of stone and building on his life.

He later built a large four-story stone tower on the site called Hawk Tower, based on similar structures he had seen while traveling through Ireland. Construction on Tor House continued into the late 1950s and early 1960s, and was completed by his eldest son. The completed residence was used as a family home until his descendants decided to turn it over to the Tor House Foundation, formed by Ansel Adams, for historic preservation. The romantic Gothic tower was named after a hawk that appeared while Jeffers was working on the structure, and which disappeared the day it was completed. The tower was a gift for his wife Una, who had a fascination for Irish literature and stone towers. In Una's special room at the top were kept many of her favorite items, photographs of Jeffers taken by the artist Weston, plants and dried flowers from Shelley's grave, and a rosewood melodeon which she loved to play. The tower also included a secret interior staircase – a source of great fun for his young sons.

During this time, Jeffers published volumes of long narrative blank verse that shook up the national literary scene. These poems, including Tamar and Roan Stallion, introduced Jeffers as a master of the epic form, reminiscent of ancient Greek poets. These poems were full of controversial subject matter like incest, murder and parricide. Jeffers' short verse includes "Hurt Hawks", "The Purse-Seine", and "Shine, Perishing Republic". His intense relationship with the physical world is described in often brutal and apocalyptic verse, and demonstrates a preference for the natural world over what he sees as the negative influence of civilization. Jeffers did not accept the idea that meter is a fundamental part of poetry, and, like Marianne Moore, claimed his verse was not composed in meter, but "rolling stresses". He believed meter was imposed on poetry by man, not a fundamental part of its nature.

His poems have been translated into many languages and published all over the world. Outside of the United States he is most popular in Japan and the Czech Republic.

Inhumanism

Jeffers coined the phrase inhumanism, the belief that mankind is too self-centered and too indifferent to the "astonishing beauty of things." Jeffers articulated that inhumanism symbolized humans' inability to "uncenter" themselves. In The Double Axe, Jeffers explicitly described inhumanism as "a shifting of emphasis and significance from man to notman; the rejection of human solipsism and recognition of the transhuman magnificence.... This manner of thought and feeling is neither misanthropic nor pessimist.... It offers a reasonable detachment as rule of conduct, instead of love, hate and envy.... it provides magnificence for the religious instinct, and satisfies our need to admire greatness and rejoice in beauty."

CASSANDRA

The mad girl with the staring eyes and long white fingers

Hooked in the stones of the wall,

The storm-wrack hair and the screeching mouth: does it matter,

Cassandra,

Whether the people believe

Your bitter fountain? Truly men hate the truth; they'd liefer

Meet a tiger on the road.

Therefore the poets honey their truth with lying; but religion-

Venders and political men

Pour from the barrel, new lies on the old, and are praised for

kindly Wisdom. Poor bitch, be wise.

No: you'll still mumble in a corner a crust of truth, to men

And gods disgusting.-You and I, Cassandra.

КАССАНДРА

Безумица с острым взором длинными белыми пальцами

Вцепилась в камни стены,

В волосах — ураган, во рту — крик. А скажи, Кассандра,

Так ли важно, чтоб кто-то поверил

Горьким твоим речам? Воистину люди возненавидели истину,

им приятней

По дороге домой встретить тигра.

Потому-то поэты подслащают истину ложью; но торговцы

Религией и политикой новую ложь громоздят на старую,

и их прославляют за добрую Мудрость. Дура, одумайся.

Нет: ты жуешь в углу свою крошку истины, а люди

И боги возмущены.- Такие уж мы с тобой, Кассандра.

To focus on Jeffers's women seems beside the whole point of Jeffers's philosophy, which is that men and women alike ("You and I, Cassandra") are doomed in their human, evolutionarily misguided drive to wreak destruction through greed (жадность), avarice (алчность), desire, and power-mongering. No doubt there is a personal psyche at work in Jeffers which allows him to portray women as so much bigger, more flexible, stronger than most of his male figures. But I interpret Jeffers as caught in the paradox of trying to have an "inhuman" vision while still bound by his humanity, which includes the fact that he is a man and limited by that gender.

It is not accidental that, in this lyric poem, "Cassandra," coming after the bitter time of his Double Axe persecution and unofficial literary blacklisting, he makes himself equal or a twin to a woman. It is a gesture, I think, showing his stance as a poet, and one that can be found in many other of the short lyric poems. The poet is outside, an observer. "It" (the poet) can be either male, as Jeffers is, or female, as Cassandra is. The haunting lament, "You and I, Cassandra," is a statement of his equality with her, and the hopelessness of the human condition out of which, for the duration of the poem, they both remain. They both have given up their personal (i.e., gender) identities in the pursuit of truth. This lyric offers a glimpse into Jeffers's view of the godly androgyny which he wishes he could imagine in an "inhuman" world.

5.4.3 Allen Ginsberg. America. Sunflower sutra.

Ginsberg, Allen (1926 - 1997), was an American poet and one of the leading figures of the Beat Generation in the 1950s. He vigorously opposed militarism, materialism and sexual repression. Нe was born in Newark, New Jersey, the younger son of Louis Ginsberg, a high school English teacher and poet, and Naomi Levy Ginsberg. Ginsberg grew up with his older brother Eugene in a household shadowed by his mother's mental illness; she suffered from recurrent epileptic seizures and paranoia. An active member of the Communist Party-USA, Naomi Ginsberg took her sons to meetings of the radical left dedicated to the cause of international Communism during the Great Depression of the 1930s.

In the winter of 1941, when Allen was a junior in high school, his mother insisted that he take her to a therapist at a Lakewood, New Jersey, rest home, a disruptive bus journey he described in his long autobiographical poem "Kaddish." Naomi Ginsberg spent most of the next fifteen years in mental hospitals, enduring the effects of electroshock treatments and a lobotomy before her death at Pilgrim State Hospital in 1956. Witnessing his mother's mental illness had a traumatic effect on Ginsberg, who wrote poetry about her unstable condition for the rest of his life.

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