The Glass Menagerie (:

WONDERFUL PLAY [:
The Glass Menagerie is the best play I have read, well compared to prior Shakespeare plays. Tennessee is a brilliant writer not only his style but the way in which he develops characters with such detail. I disliked how Tom made a little problem into a huge argument with his mother. Also, how Amanda was just the catalyst to those arguments; she tried to make everything perfect but nothing came out right. The best part of the play is when Jim and Laura begin to talk and sit on the floor with illuminating candles. Laura already had a crush on Jim in high school and they were reunited once again. (so adorable) Jim opens her eyes to make her realize that she is worth something and that her crippled leg is not even noticeable. This is where Laura’s imaginary world breaks down and she begins to emerge into the real world. Even though Jim was engaged, Laura realizes that she is a normal person which is portrayed when the glass unicorn breaks and becomes a normal horse. I loved that metaphor. (:
--------------------------------I'm going to see this play!!-------------------------------------------------

In Tennesse Willaim’s family drama play, The Glass Menagerie (1945) William narrates the play directly as a memory to portray the ideas of confinement, responsibilities, weakness, deception, dreams, marriage, love, alcohol, and abandonment. The play is introduced with a monologue by Tom explaining to the audience that the play is a memory being retold and gives a brief summary of how his father left him, his mother (Amanda), and his sister (Laura). The conflicts begin once Amanda finds out that Laura was not actually going to business school. Laura thinks she is worthless because she is crippled, but her mother is in denial and goes hysterical saying that she only has “a little defect”. Laura spends most of her time polishing and “obsessing” over her glass menagerie and uses it to retreat from the real world. Tennessee William compares Laura to the glass menagerie to symbolize that she is fragile yet, beautiful. William uses emotional appeal when he argues with his mother because he hates his job and wants to leave but has a duty to support his family. Amanda overbearing character serves as a metaphor in the play for lost dreams and regret. When Tom and Amanda makeup she ask him to get a gentleman caller for his sister. Tom brought Jim to his house which was Laura’s high school crush. Jim and Laura bond and speak; one can see that Laura is shy and nervous with the usage of telegraphic sentences. They have a passionate moment and kiss but Jim is engaged to someone else. Tension is brought when Amanda yells at Tom for bringing an engaged gentleman caller. Tom reveals a tone of remorse when he states that ever since he abandoned his family he has been haunted by his sister, Laura. The purpose of this play is to demonstrate the realism that families are not perfect and speak out against oppression. This play was intended for the audience during the Great Depression however, it is also for those who can connect with the social disabilities of the characters.

Vocabulary
Ineluctably (adv.): not to be avoided or escaped
Emissary (n): a person sent on a special mission
Paragon (n): a person or thing regarded as a perfect example of a particular quality
Perturbation (n): Anxiety; metal uneasiness
Unobtrusive (adj.): not conspicuous or attracting attention

Tone: Regretful (Tom’s remorse for leaving), Reflective, Melancholic (Laura’s Situation)

Rhetorical Strategies:

Rhetorical Questions: “So what are we going to do the rest of our lives? Stay home and watch the parades go by? Amuse ourselves with the glass menagerie, darling?” (Scene 2)

Similes: “Mother, when you're disappointed, you get that awful suffering look on your face, like the picture of Jesus' mother in the museum!” (Scene 2) and “Muttering to yourself like a maniac!” (Scene 3)

Emotional Appeal: “Look! I'd rather somebody picked up a crowbar and battered out my brains--than go back mornings! I go! Every time you come in yelling that God damn "Rise and Shine!" "Rise and Shine" I say to myself, "How lucky dead people are!" But I get up. I go! For sixty-five dollars a month I give up all that I dream of doing and being ever! And you say self-self's all I ever think of. Why, listen, if self is what I thought of, Mother, I'd be where he is--GONE!” (Scene 3)

Suspense: “With an outraged groan he tears the coat off again, splitting the shoulder of it, and hurls it across the room. It strikes against the shelf of LAURA's glass collection; there is a tinkle of shattering glass. LAURA cries out as if wounded”. (Scene 3)

Rhyme: “Sticks and stones can break our bones.” (Scene 4)

Compare and Contrast: “Superior things! Things of the mind and the spirit! Only animals have to satisfy instincts! Surely your aims are somewhat higher than theirs! Than monkeys – pigs.” (scene 4)

Listing/Similes:”… the type of journal that features the serialized sublimations of ladies of letters who think in terms of delicate cup-like breasts, slim, tapering waists, rich, creamy thighs, eyes like wood-smoke in autumn, fingers that soothe and caress like strains of music, bodies as powerful as Etruscan sculpture.” (Scene 3)

Discussion Questions:
1. What is Tom trying to escape from? Does Tom really escape at the end?
2. Tom and his father both leave from their family. But in what ways are these situations different? Is Tom really like his father?
3. How does the fact that Tom is the narrator affect the style of The Glass Menagerie?

Memorable Quote:
This was a huge exaggeration from Tom towards his mother, Amanda.
“I'm going to opium dens! Yes, opium dens, dens of vice and criminals' hang-outs, Mother. I've joined the Hogan gang, I'm a hired assassin, I carry a tommy-gun in a violin case! I run a string of cat-houses in the Valley! They call me Killer, Killer Wingfield, I'm leading a double-life, a simple, honest warehouse worker by day, by night, a dynamic czar of the underworld, Mother. I go to gambling casinos, I spin away fortunes on the roulette table! I wear a patch over one eye and a false mustache, sometimes I put on green whiskers. On those occasions they call me--El Diablo! Oh, I could tell you things to make you sleepless! My enemies plan to dynamite this place. They're going to blow us all sky-high some night! I'll be glad, very happy, and so will you! You'll go up, up on a broomstick, over Blue Mountain with seventeen gentlemen callers! You ugly--babbling old--witch.” (scene 3)-Tennessee Williams

-(I sort of lost my book so I did not put page numbers :( )

The Glass Menagerie: Author's Background and Cultural Context

The Glass Menagerie premiered in Chicago in 1944 and was published in 1945. Thomas Lanier Williams, also known as the famous author Tennessee Williams, was born in a small town in Columbus, Mississippi on March 26, 1911 and died on February 25, 1983. Williams received theoretical awards for The Rose Tattoo (1951), A streetcar Named Desire (1948), and Cat on a Hot Roof (1955). He lost a writing contest and moved to the University of Iowa were he received his name “Tennessee”. “He spent most of his time closing his eyes. He could see wonderful, magnificent scenes in his mind.” He spent his time doing this because his childhood was not the best. William’s father was a shoe salesman, a heavy drinker, and was never around for his childhood. Therefore, he was forced to spend time with his sister Rose, his mother Amanda, and his grandmother.  Tennessee was diagnosed with Diphtheria at the age of seven and for two years he could do nothing so, his mother encouraged him to use his imagination. Because of his magnificent imagination, he became an overnight success as a result of The Glass Menagerie. The Glass Menagerie has some biographical background to it; he himself is “Tom” and shows how he struggles to support his mother and sister after his father leaves.

The Glass Menagerie takes place in St. Louis, Missouri during the 1930s, the era of Great Depression. Abandonment was common during the Great Depression because of their was no money to support a family. This illustrates the plot of the play. War in Guernica and turmoil in Spain compared to the uneasy peace in America, establishes a tense atmosphere as the play’s background. Americans of the thirties lived in relative peace but the 1945 audience of the play believed that the thirties would be seen as more calm before WW2. Therefore there is symmetry between the uneasy time period and uneasy peace in the Wisngfield’s house.

"Tennessee Williams." The Mississippi Writers Page Online." www.olemiss.edu/depts/english/ms-writters/dri/williams-tennessee/ 2/21/01 

Ms. Roz is this what you wanted us to post or the first impressions in reading the first few scenes of the play?

In the Heart of the Sea: Ch 9-11

In Nathaniel Phillbrick’s nonfiction narrative, In the Heart of the Sea- The Tragedy of the Whale ship Essex (2000) Phillbrick narrates the tragedy of the whale ship Essex and the crew’s decisive strategies to survive at sea to their destination in South America. In chapter nine, Phillbrick brings a sense of hope once the three boats reach Ducie Island, “Land Ho.” He describes the desperate need of food and water by vividly describing how the crew eventually ate nearly everything on the island. Then, Phillbrick’s tone shifts from hopeful to sorrowful when Mathew Joy dies. Once, the three whale boats were separated the need for food was unbearable. Phillbrick provides studies and facts, such as; the effects of starvation and a black person’s life expectancy at sea, to ensure credibility. Cannibalism at sea was widespread by the nineteenth century, and shipwrecked sailors often ate their dead shipmates when they had no other alternative. Therefore, Phillbrick provides and compares examples of tragedies that led to cannibalism with the Essex tragedy, such as; the Nottingham Galley and Peggy.  Throughout chapters ten and eleven, four black sailors died and were eaten in less than a week and a half this shows how cannibalism took over their beliefs.  Phillbrick also compares shipwrecks with Nazi concentration camps to provide similarities of what starvation causes. He ends chapter eleven with Pollard’s boat casting lots leading to Coffin’s death. His purpose is to describe the tragedy of the Essex by including the struggles, decisions, and the descriptions of cannibalism and starvation to show the terrible life lived by the sailors. However, to also hit the ideas of leadership, teamwork, race differences, and survival. This nonfiction narrative seems to be intended for those who enjoy reading historical tragedies and to understand the way in which humans act when put into dangerous situations.

Vocabulary

Eerie (adj.): Strange and frightening.

Nil (n.): nothing

Euphoria (n): A feeling of happiness, confidence or wellbeing

 Voracious (adj.): Consuming or eager to consume great amounts of food; ravenous.

Repine (v): to be fretfully discounted

Shorn: past participle of shear: to cut

Feral (adj.): existing in a natural state: not domesticated or cultivated.

Tone: hopeful (chapter 9), sorrowful (chapter 10 and +11), grievous

Rhetorical Strategies:

Simile: “They wandered the beach like ragged skeletons, pausing to lean against trees and rocks to catch their breath” (pg. 138) and “Like the men of the Essex, birds and plant species had to fight their way upwind and upstream to reach Henderson”(pg. 144)

Facts/ Statics: “The biological anthropologist Stepen McGravey has speculated that the people who survived these voyages tended to have a higher percentage of body fat before the voyage began…allowing them to live longer on less food…” (pg. 146). “The life expectancy of a black infant in 1900… was only thirty-three years, more than fourteen years less than that of white infant” (pg. 146).

Personification: “death itself staring us in the face” (pg. 150).

Imagery: “Still, the distribution of provisions remained the most important part of the day. Some of the men attempted to make their portion last as long as possible, nibbling it almost daintily and savoring each tiny morsel with the little saliva their mouths could generate. Others ate their ration virtually whole, hoping to provide their stomachs with at least some sensations of fullness” (pg. 160) and “…they next would have removed Thomas’s heart, liver, and kidneys from the bloody basket of his ribs. Then they would have begun to hack the meat from the backbone, ribs, and pelvis” (pg. 166)/.

Irony: “It was a black night, and the noise that had once signaled the thrill of the hunt now terrified them” (pg. 162) and “As it turned out, the lot fell to the man who had originally made the proposal, and after lots were cast again to see who should execute him, he was killed and eaten” (pg. 174).

(a lot of comparisons in these 3 chapters)

Discussion Questions:

1.       What is meant by, “Who tempers the wind to the shorn lamb” (pg. 169)?

2.       The statistics were suspicious because of the first four sailors to be eaten were black, so was this because of “natural” death or racial deaths?

3.       If you were put into a situation of life or death like the sailors of the Essex, would you consider cannibalism as one of your choices?

Memorable Quote:

“Still, the distribution of provisions remained the most important part of the day. Some of the men attempted to make their portion last as long as possible, nibbling it almost daintily and savoring each tiny morsel with the little saliva their mouths could generate. Others ate their ration virtually whole, hoping to provide their stomachs with at least some sensations of fullness. Afterward, all of them fastidiously licked the residue from their fingers.” (pg. 160) (Phillbrick, 2000)

In the Heart of the Sea: Ch. 5- 8

In Nathaniel Phillbrick’s non-fiction narrative In the Heart of the Sea-The Tragedy of the Whale ship Essex (2000) Phillbrick illustrates the tragedy of the whale ship Essex and man’s struggle against nature to their destination in South America. In chapter five, Phillbrick descriptively describes how the “strange whale” violently attacks the Essex, causing the crew to rely on their three whale boats to survive. He includes quotes from the crew members to evoke a first person feeling into the suspenseful tragedy. Phillbrick uses the style of describing a conflict with similes, metaphors and vivid imagery, to simply end with a telegraphic sentence with the result of it. In chapter 6 and 7, Phillbrick describes the decision Chase and Pollard have to make in order to travel to South America rather than going to Society Islands or to the West. Phillbrick illustrates the conflicts the crew members go through, by using complex sentences and descriptive images to evoke a tone of suspense. Such as, the decisions that they have to make, like: modifying the boats and having an equal distribution of food and people amongst the three boats. Only after 10 days, Phillbrick foreshadows how the men will become savages, by using heavy diction and very vivid descriptions while they eat the tortoise towards the end of chapter 7. Chapter 8 is introduced with a sense of relief with the extra food (goosenecks and flying fish), Lawerence's idea, and praying to God even though they were dying from thirst and hunger. Phillbrick concludes with a suspensuful telgraphic quote, "There island" their last hope of survival was found. Phillbrick’s purpose is to tell the tragedy of the Essex and describe the crucial obstacles, decision and suffrage that the crew members went through. This nonfiction piece seems to be intended for those who enjoy reading decisive sea adventures, and historical tragedies.

Vocabulary

Gale (n.) - Strong wind

Jittery (adj.) - having or feeling nervous unease

Qualms (n.) – an uneasy feeling of doubt, worry, or fear

Bludgeoned (v.) - beat repeatedly with a bludgeon or other heavy object

Squall (n.)  - a sudden, sharp increase in wind speed

jounce (v.) – move in an up- and down manner

Tone: Suspenseful, reflective, Hopeful(chapter 8) 

Rhetorical Strategies:

Analogy: “Like male elephants, bull sperm whales tend to be loners, moving from group to group of females and juveniles and challenging whatever male they meet along the way. The violence of these encounters is legendary” (pg.88).

Personification: “She was constructed almost entirely of white oak, one of the toughest and strongest of woods. Her ribs had been hewn from immense timbers, at least a foot square. Over that, laid force and aft, were oak planks four inches thick” (pg. 87).  

Imagery –“After ten days of eating only bread, the men greedy attacked the tortoise, their teeth ripping the succulent flesh as warm juice ran down their salt- entrusted faces. Their bodies’ instinctive need for nutrition led them irresistibly to the tortoise’s vitamin-rich heart and liver” (pg.118).

Irony: “Without their ship to protect them, the hunters had become the prey” (pg.116). “If they did succeed in reaching South America in sixty gays, each man knew he would be little more than a breathing skeleton” (pg. 107).

Simile: “Essex might at any moment break up and sink like a stone” (pg.90). “Pollard ordered that they tie up to the ship but leave at least a hundred yards of line between it and themselves. Like a string of duckling trailing their mother…” (pg.90). “…the ship’s deck had broken almost entirely from the hull. Like a whale dying in a slow motion flurry…” (pg.94). “…batting it around with its head and tail as a cat might to with a mouse…” (pg.115).

Discussion Questions:

1.       Why are there so many “ifs” and “would have’s” if what is done is done? What is the purpose of including them?

2.        “After ten days of eating only bread, the men greedy attacked the tortoise, their teeth ripping the succulent flesh as warm juice ran down their salt- entrusted faces” (pg.118). Is the diction used while the men in Chase’s boat eat the tortoise used to foreshadow the savage lives of the men in the boat?

3.       If the crew knew that Tahiti was closer than their destination in South America, would there have been fewer conflicts if they chose to go in that direction? Decisions are crucial, so should one person make the choice or the group as a whole?

Memorable Quote:

“The whaling business is peculiarly an ocean life…the sea, to mariners generally, is but a highway over which they travel to foreign markets; but to the whaler it is his field of labor, it is home of his business.” – Obed Macy (p.99)

In the Heart of the Sea: Ch. 1-4

Precise

                In Nathaniel Phillbrick’s non-fiction narrative In the Heart of the Sea- The Tragedy of the Whale ship Essex (2001), Phillbrick illustrates the tragedy of the whale ship Essex and man’s struggle against nature. He introduces his nonfiction piece with a description of Nantucket: the inhabitants, the economy, and their religious accustoms. He uses imagery, allusions, similes, and metaphors to describe the location. He foreshadows a tragedy, by providing an allusion to a comet that meant that something unusual is going to happen, before the voyage began.  Essex set out from her home of Nantucket in August of 1819, planning to be away for two years or more, only to return with a full cargo of oil from sperm whales. Phillbrick narrates the voyage by including quotes from the ship mates, especially from the youngest boy; Thomas Nickerson. He describes the voyage with vivid images to engage the reader into feeling like he or she is in the whale ship. Suspense is created when Essex suffers a violent storm attack in the Atlantic and is nearly knocked down, and how the ship mates had to make a decision to keep going or to go back to Nantucket. Phillbrick’s purpose is to tell the tragedy of the whale ship, Essex and describe the people, conflicts, diseases and decisions throughout the mission of whale hunting. This nonfiction bestseller seems to be intended for those who are interested in American historical tragedies, decisive sea adventures, and interested in whales.

Vocabulary

• Promontory (n): a prominent mass of land which overlooks lower lying land or a body of water (peninsula)
• Sphinxlike (adj.): difficult to understand or find out about
• Nadir (n): the lowest point of anything
• Regurgitate (v): to pour or rush back
• Hobble (v): a device that prevents or limits the locomotion of a human or an animal, by tethering one or more legs

Tone: informative, reflective, objective

Rhetorical Strategies

Simile: “…whaling became easier for the green hands to take as they grew to appreciate that each was just part of a process, like mining for gold or growing crops...” (pg.65) and “The ship rode over them as buoyantly as a seagull” (pg.63) and “…quivering like a piano wire down the centerline of the boat” (pg. 53)

Metaphor: “The darkness was licked up by the fierce flams” (pg.57).

Allusion: “The first day of a whaling voyage included yet another ritual- the captain’s speech to the crew. The tradition was said to date back to when Noah first closed the doors of the ark, and was the way the captain officially introduced himself” (pg. 34).

Imagery: “Then he’d take up the eleven- to twelve-foot-long killing lance, its finding “the life” of a giant swimming mammal encased in a thick stab it as many as fifteen times, probing for a group of coiled arteries in rounded the whaleboat in a rushing river of bright red blood” (pg. 54).

Foreshadow: “The comet (which appears every clear night) is thought to be very large from its uncommonly long tail,” he wrote, “which extends upward in opposition to the sun in an almost perpendicular direction and heaves off the eastward and nearly points for the North Star.” From earliest times, the appearance of a comet was interpreted as a sign that something unusual was about to happen.” (pg. 3-4).

Analogy**: “Instead of seeing their prey as a fifty-ton creature whose brain was close to six times the size of their own (and, what perhaps should have been even more impressive in the all-male world of fishery, whose penis was as long as they were tall” (pg. 65).

Discussion Questions

1.        What is Nathaniel Philbrick’s purpose in including the whispered words of a Nantucket mate on page 51?
2.        Why is Captain Pollard so furious when the kid was “stealing” beef without permission?
3.        If killing whales is so dangerous and has little pay, why do people still risk their lives doing it?

Memorable Quote

“Nantucket Girl’s Song” J

Then I’ll haste to wed a sailor, and send him off to sea,

For a life of independence, is the pleasant life fr me.

But every now and then I shall like to see his face,

For it always seems to me to beam with manly grace,

With his brow so nobly open, and his dark and kindly eyes,

Oh my heart beats fondly towards him whenever he is nigh,

But when he says “Goodbye my love, I’m off across the sea”

First I cry for departure, then laugh because I’m free. 

Pearl Touches Dimmesdale

Chapters 7-8

“Pearl, that wild and flighty little elf stole softly towards him, and taking his hand in the grasp of both her own, laid her cheek against it; a caress so tender, and withal so unobtrusive, that her mother, who was looking on, asked herself--"Is that my Pearl?" Yet she knew that there was love in the child's heart, although it mostly revealed itself in passion, and hardly twice in her lifetime had been softened by such gentleness as now…the minister [Dimmesdale] looked round, laid his hand on the child's head, hesitated an instant, and then kissed her brow. Little Pearl's unwonted mood of sentiment lasted no longer; she laughed, and went capering down the hall.” (p. 105-106)

This passage is significant because it demonstrates that Dimmesdale has a bigger part in the novel, than just being the minister. Pearl seems to be playing with Dimmesdale as said in the passage that her “mood of sentiment lasted no longer”. As, I have said, I believe that Dimmesdale might be the father, since the scene where Hester is place in front of the crowd. In chapter 8, he stands up for Hester and the Governor decides not to take Pearl away from her. He is the only character in the novel that has sympathy for her. Is that not quiet mysterious?

This passage is meaningful because its shows how the narrator is giving clues that Dimmesdale is the father of Pearl. Maybe this is another reminder from Pearl to Hester of her sin. Since, again Hester questions, “Is that my Pearl?”  This passage also shows how Pearl is for once not angry in the chapter. It is like a scene between a daughter and a father, in the way she caresses her cheek against Dimmesdale’s hands.

Nathaniel Hawthorne uses many commas in this passage to provide suspense. The commas show how Dimmesdale is hiding something since he “hesitates an instant” and then kisses Pearl. The comma usage makes him seem even more nervous because the governor, Chillingworth, and Wilson are already looking at him. Nathaniel also organizes this situation after the questioning if Hester should or should not keep Pearl, since Chillingworth was present; to make him think that Dimmesdale is the father.

1.       What purpose did Nathaniel Hawthorne have in providing the part in which the slave believes Hester is a good lady because of her “glittering symbol”? (pg. 95)

2.       Do you think that Chillingworth has any suspicion of Dimmesdale being the father of Pearl?

3.       Why does Pearl not answer Mr. Wilson’s question of her existence? Why didn’t she answer him like she did to Hester? (that the Heavenly Father did not make her)

Happy New Year! 2011 (:

Chapter 5 and 6: Pearl Touches the "A"

"Child, what art thou?" cried the mother.
"Oh, I am your little Pearl!" answered the child.
                But while she said it, Pearl laughed, and began to dance up and down with the humorsome gesticulation of a little imp, whose next freak might be to fly up the chimney.
"Art thou my child, in very truth?" asked Hester….
"Yes; I am little Pearl!" repeated the child, continuing her antics.
"Thou art not my child! Thou art no Pearl of mine!" said the mother half playfully; for it was often the case that a sportive impulse came over her in the midst of her deepest suffering.

"Tell me, then, what thou art, and who sent thee hither?"
"Tell me, mother!" said the child, seriously, coming up to Hester, and pressing herself close to her knees. "Do thou tell me!"
"Thy Heavenly Father sent thee!" answered Hester Prynne.

                But she said it with a hesitation that did not escape the acuteness of the child. Whether moved only by her ordinary freakishness, or because an evil spirit prompted her, she put up her small forefinger and touched the scarlet letter.
"He did not send me!" cried she, positively. "I have no Heavenly Father!" (Chapter 6, pg. 89-90)

                This is the passage where Pearl first speaks in the novel! Before this passage little Pearl is playing and throwing wild-flowers at her mother’s bosom. Causing Hester to cry out to Pearl, “Child, what art thou?” Pearl turns the question back on her mother, which was very interesting since she is so young. Pearl insists that she wants to know where she came from; she probably sees all the other children with a father. So where is hers?  Hester tells her that the “Heavenly Father” has sent her but Pearl screams to say that he did not. Therefore, Hester now wonders if her child is the child of sin that the townspeople speak of. Also, it is like Pearl is intentionally torturing her mother by touching and playing with the scarlet letter.

                Pearl is Hester’s treasure but also the evidence of her sin. A mother loves he child but sometimes she cannot explain certain things to her children.  Pearl is like a reminder to go to work; she reminds Hester of the “sin” that she committed every day.  Therefore, this passage is meaningful since it is the first time Pearl speaks in the novel and it is where Pearl confronts her mother about her origin of existence. I also think that Pearl is starting to notice that she has no father, and that her mother has committed a sin. This is because Pearl sees how the townspeople treat her mother and how she squeezes her hardly when they look at her up and down.

                Nathaniel Hawthorne uses dialogue in this passage to present the first time that Pearl speaks. However, it is not a happy dialogue but rather a reveling one. He also adds in exclamation points to emphasize that the intensity in the conversation between Pearl and Hester. Because, Pearl is asking about her origin of life.

Questions:

1.       Why do YOU think Pearl says that she was not sent by the Heavenly Father? (Ch. 6, pg. 90)

2.       Why does Hester dress Pearl with gorgeous robes? (Ch. 6, pg. 82)

3.       What is the meaning or what is meant about Hester Prynne in this quote, “She stood apart from mortal interests, yet close beside them, like a ghost that revisits the familiar fireside, and can no longer make itself seen or felt…” (Ch. 5, pg. 78)