Foreshadowing: The Ferris Wheel Scene

During the ferris wheel scene, the author does a commendable job in tricking the reader through his cunning use of foreshadowing. As Miu approaches the Ferris Wheel, she thinks, "It would be fun to see my apartment from the Ferris Wheel, she suddenly thought, instead of the other way around" (148). At this point, my mind began to jump to conclusions. I became to think that she would peer into her apartment to find someone occupying it. Maybe she would see a burglary, or maybe her father had made a surprise visit. Just as I make this prediction, Murakami brings a seemingly drunken ferris wheel operator into the scene who locks the red gondola "from the outside" (149). At this point, my mind jumped in another direction. I knew she was going to be locked in, but I had an idea whether she would become stuck in the gondola overnight by herself, or if the operator planned to give her a ride from hell. Murakami foreshadowing in a manner that keeps the reader in the dark; he sheds no light upon the outcome until it actually occurs. As I continued to read, both of my suspicions proved correct. Someone was in Miu apartment, or so she thought. (as she saw herself, or at least half herself in her apartment) Miu was always locked in the gondola. I found this instance of foreshadowing interesting because it did not give the reader concrete information, but Murakami does provide the reader with enough information to make informed speculations about what will occur.

Flying First Class

Although the phrase Flying first class generally means experiencing luxury and contentment while on a plane ride, I could not help but notice how Murakami throws this phrase around. Murakami uses this phrase on two separte occasions, once in its traditional sense, and another in a sensational sense. Murakami mentions this phrase as Miu is talking to K trying to convey the necessity that he needs to make a trip to Greece as Sumire "would want [him] to come here" (80). During this conversation, Miu makes its clear that she will cover K's traveling expenses. She tells him, "Just come. The sooner the better. Just buy a ticket. First Class, whatever you like." (80) Here Murakami uses this phrase in the traditional sense. In a previous scene, Murakami uses this phrase in a more sensual, almost perverted manner. He uses this phrase to refer to K's sex life with older married women. Speaking of an older, but still attractive women he slept with, K writes about the woman, "She knew all my desires, everything I wanted and everything I didn't want. She knew just how far to go and when to stop-in bed and out. Made me feel like I was flying first class" (77). From his usage of this phrase of this situation as well as the other scenes, notably the scene with Miu and Sumire in the bed, it occurs to me that Murakami is somewhat pervert. Maybe, the author was simply trying to give the reader some insight into the deeper character of K, but using the first class methaphor to speak of K's sexual relationships is in the proper context, but doesn't neccesarily add to the overall quality of the story.

Talking to the Dead

Amidst the confusion of Rich's poem "Sources", I was able to interpret a small portion of her poem which seems to give some insight as to who Rich is speaking to in this poem as well as her view on the idea of talking to the dead. On p.113, section XXII,Rich makes it clear that she is talking to someone other than her father as she states, "it's been different with my father:he and I always had a kind of rhetoric going with each other, a battle between us, it didn't matter if one of us was dead or alive" (113). Not only does this excerpt serve to clarify who Rich isn't speaking to, but it also tells the reader that Rich believes communication with the dead is indeed a possibility. She believes that writers can either speak about or directly to the dead. For her personal purposes she tells that she often has to speak to the dead. Beside from her own intentions, Rich writes how she hates the living writer because they are terrible "projectionists" (113), and she doesn't like the way they "use the dead" (113). Although it seeems Rich is using the dead in some fashion to converse about her suffering due to being a Jew, and not "giving herself away", Rich fails to clarify the reader with any other purpose for this talking to the dead. I am unclear the significance the dead are far as being part of a source. It seems Rich talks to the dead to avoid feeling alone so the dead can be possibly considered a source of company, encouragement, and support.

Understanding Planetarium based on Info in other Essays

Upon my first reading of this poem, I was confused as to whom the woman in the poem respresented. I asked myself, is Adrienne Rich speaking of herself, or is she speaking of Caroline Herschel, a superb astronomer in her own right. Based on the stanza, "a women 'in the snow among the Clocks and instruments or measuring the ground with poles" (38), I though Rich was speaking of Herschel. Rich, herself is not physically using instuments to observe astronomy, but this may be some sort of a metaphor about the discovery of something unexpected in her life. In a later stanza, it seems that Rich is talking about herself in this poem. She writes, "I have been standing all my life in the direct path of a battery of signals the most accurately transmitted most untranslatable language in the universe" (39). From this stanza, with the use of the personal "I", it seems Rich is talking about herself, and possibly her inability to understand certain details of her life. After reading Rich's essay "When We Dead Awaken: Writing as Re-Vision", the poem "Planetarium" is the companion poem to "Orion". Interestingly enough, the poem "Orion" reconnects Rich with part of herself, she feels like she's losing her energetic imagination. She uses "cold and egotistical" (175) to apply to herself. With this in mind, she gives some background about "Planetarium". She writes that "Planetarium" is a companion poem to "Orion" written three years later. More importantly she writes, "the woman in the poem and the woman writing the poem become the same person" (175). The poem was written after visiting a real planetarium and reading an account of the work of Caroline Herschel, an astronmer. With these detailed, knowing Rich is speaking of herself in the "Planetarium", we can conclude that she sees her body as an instrument with a purpose. She also mentions that her ultimate goal is relieving the body and reconstructing the mind. Knowing Rich is writing about herself in this poem not only gives us insight into her personal problems, but it also gives the reader more legitimacy in assuming that some of her other more personal stories are about herself as well.

Iago the Diablo! A "Special" piece of the plot!

The majority of people who read "Othello" view Iago as the antagonist of a majority of the characters in this work. Throughout the work, his demoralizations are personal and persistent. He has no problem subordinating his wife, using her a means to achieve his ultimate goal (hankerchief scenario). When Cassio is injured, Iago has no problem calling Biana "a strumpet" (125), and blaming her for Cassio's unfavorable situation.
Iago's actions as well as his words reflect his ill will. When he is not busy demoralizing women, he manages to find time to betray his most promient client as well as spark suspicion in Othello's trustworthy, innocent mind. Being a "devil", or at least from "evil", he effectively uses the natural condition of darkness to accomplish his villainous plot. Himself armed with the only light, Iago uses the darkness to betray Roderigo, betray Cassio, and befriend Cassio all at his own convenience.
While Iago's genious seems to be infinite, like all bad people, he eventually falls. While Othello is one of Iago's greatest pawns, he is also the angriest pawn once he discovers Iago's ill intent. Upon Othello's discovery, that Cassio and Desdemona never eloped, and he had killed an innocent Desdemona, Othello searches for answers. Although Iago's plot seems spoiled at this point in time, he still defends his actions stating, "I told him what I thought, and told no more than what he found himself was apt and true" (136). Even after causing an unnecessary death, Iago is still reluctant to take responsilbity of his actions. As the reader, I was thrilled to hear that Othello had ran at Iago, and Iago was eventually taken captive. I felt like the book was complete at this moment. In my eyes, it was unnecessary for anyone else to die in order for the book to be complete. Once the reign of the "notorius villain" (139) came to a halt, I began to lose interset in the remainder of the story. Because Iago is a diablo, his role as a perpetrator of evil, keeps the story interesting, and actally establishes the plot in many cases. Once his role as the devil ceases to exist, the story is devoid of a fundamental element, conflict. As much as the reader hates Iago's character, most love the role he plays in the overall story and the conflict he creates between a myriad of characters.

Are Othello's actions justified?

While Lodovico and Gratiano view Othello as a villain, one can confer that Othello's actions were those of an honest, but enraged gentleman, the heat of the moment. While speaking to Lodovico after the death of Desdemona, he says, "an honorable murderer, if you will; for nought I did in hate but all in honor" (142). I believe many readers would believe Othello would not kill Desdemona unless he was thoroughly convinced she had cheated on him. Othello's conversation with Emilia revealed that Othello honestly believed "Cassio did top her[Desdemona]" (134). Othello also gave Desdemona the option to repent her sins before her death, as he did not want to kill her soul, just her body. His final decision to smother her can be reflected in the fact that he was enraged in the heat of the moment. As they exchange their last words, Desdemona "weep'st" for Cassio to "my [Othello's] face" (131). His hatred of Cassio, rather than his hatred of Desdemona may have been a more significant reason for him to actually begin the smothering. At the time of the smothering, Othello truly believed Desdemona's death was justified. After Othello finds out that Cassio and Desdemona never had sexual relations, he was enraged at Desdemona's unnecessary death as a direct result of Iago's villanious plan. These emotions eventually lead him to stab Iago and kill himself. While some readers may not believe Othello was justified in his actions, at the time of the smothering, Othello did in fact feel justified in his actions.

Cassio: an honest, faithful servant w/o a Reputation

As I read "Othello", Cassio was the character that I felt like I knew the best, as well as the character that truly was a gentleman. Despite Cassio's unfortunate drinking habit, Cassio is a man of honesty and admiralty. In his dealings with Othello, aside from the drunken incident, he is professional and sincere. While waiting for Othello's ship to return to Cyprus, he speaks to the lord, "please give him [Othello] defense against the elements, for I have lost him on a dangerous sea!" (33).
Cassio's gentlemanly habits are exemplified in the mannerly way he greets Emilia, and in his attempts to calm the emotions of Desdemona and Emilia as they are insulted by Cassio. Because Iago is such a gentleman it is tough to see him lose his position over his love of the spirits [alcohol]. After telling Othello that with "his personal eye, will he look" (45) to the guard, he fails to complete his promise to Othello.
Unable to uncover Iago's plot of evil, Cassio becomes the victim of Iago's conspiracy. Cassio reluctantly accepts a drink, which ultimately leads to him chasing Roderigo and stabbing Montano. After being condemned by Othello, he loses his post as an officer for Othello. This event has a significant impact upon Cassio as he had always been a faithful servant. He speaks to Iago, "O, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial" (55). Cassio, a good natured loving servant loses his livelihood as a result of this incident.
Although many may not consider Bill Clinton as honest as Cassio, Bill's situation was similar to that of Cassio during the last days in which he occupied the White House. After his affair with Monica went public, and Bill evacuated his position as president, he had experienced a loss of reputation similar to that which Cassio felt. Although Bill was a servant of the U.S. loved by many, lust, not alcohol as in Cassio's case, caused him to lose his position of office that he loved very much. Despite the lack of a villainous plan, Bill Clinton probably still felt "past all surgery" (55) as did Cassio.

The Motive of Revenge

The motive of revenge is present in many of Cassio's actions. His revenge is primarily directed towards Othello, as he and Othello are not on good terms because Othello promoted Cassio instaed of himself to the level of Lieutenant. This idea of revenge is also present in his second soliloquy. Here he concocts his master plan to get even with Othello for allegedly sleeping with his wife. His plan involves pouring "pestilence into [Othello's] ears" (Shakespeare 58). To make Othello jealous, he has decided to turn the "virtue" of Desdemona into "pitch" (Shakespeare 58). The anger Cassion feels as a result of Othello reluctance to put him in a position of authority is similar to the feeling many college seniors feel when they don't get offered a job. Unlike Cassio, real moral people rarely concoct devilish plans to get revenge with their prospective employers. Times have changed, instead of fighting, most people today tend to use rejection as a motivator to try harder and do a better job the next go around. With the increases in societal civilty over time, people have shifted their instincts from revenge to trial and error.