Journal Comments

To Amy:

Sara Golestaneh said...

I hadn't thought about the specific numbers/measurements elements at all! Do you think Orwell uses this to characterize Winston as a precise man?
I also like how you talked about the poster of Big Brother being personified. It makes you question if Big Brother is even a real person or not. It seems like the totalitarian government has done a good job of installing fear in the hearts of people by having his haunting face every where.

To Thomas:

Sara Golestaneh said...

I didn't notice the significance of the name The Victory Mansion before, but you have a cool analysis. I agree with that you said about the name of Hate Week though. It seems as if the totalitarian government is telling people "you have to feel hatred". What do you mean when you say "socialistic party"? It's cool idea and you should expand on it more.

To EJ:

Sara Golestaneh said...

It's cool how you connected it to numbers and measurements as well! I didn't even think of that before.
I like how you highlighted the size words like "big". I think it's a really cool idea and you should expand on it more.

1984, Journal 1

"The hallway smelt of boiled cabbage and old rag mats. At one end of it a colored poster, too large for indoor display, had been tacked to the wall. It depicted simply an enormous face, more than a meter wide: the face of an man of about forty-five, with a heavy black mustache and ruggedly handsome features. Winston made for the stairs. It was no use trying the lift. Even at the best of times it was seldom working, and at present the electric current was cut off during daylight hours. It was part of the economy drive in preparation for Hate Week. The flat was seven flights up, and Winston, who was thirty-nine, and had a varicose ulcer above his right ankle, went slowly, resting several times on the way. On each landing, opposite the lift shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran" (1)

The imagery that Orwell uses right off the bat in the first sentence creates an eerie, almost foul mood for the text. The words "boiled cabbage" and "old rag mats" gives the reader the idea that everything is old, forgotten and not taken care of. Orwell then goes on to describe the face of Big Brother and illustrates the importance of the propaganda poster. By saying it was a "colored poster, too large for indoor display" in a run-down building almost falling apart shows that the only thing people care enough about is to take care of the poster. This stresses the idea that people care more about Big Brother than their own lives. Also, Orwell's description of Big Brother's face creates the image of power. In history, "black mustache[s]" are associated with powerful leaders and politicians. The idea with the broken "lift", which is slang for an elevator in British dialect, connects with the idea that everything is old and falling apart, and instead of fixing it, people devote their lives to Big Brother. Orwell then introduces the concept of Hate Week. Orwell's strong word choice for "Hate" could be a possible hyperbole or it could be used to show the control the totalitarian government had over the people. Basically by calling it "Hate Week", Orwell is implying that the government is telling the people that they must feel hatred. Orwell then carries onto describing Winston, who is the protagonist in the novel, and his varicose ulcer. Ulcers can often be caused by stress, which helps characterize Winston as a man who worries and questions the set doctrines place by Big Brother or the totalitarian government. Orwell finishes the passage off by stating Big Brother's slogan of "BIG BROTHER IS WATCHING YOU". The Big Brother slogan has a very threatening tone. 

The Stranger, Cultural Journal

French Occupation of Algiers 

France controlled Algeria from 1830 to 1962 and in 1954, Algerians revolted for freedom. The Stranger takes place about ten years before the Algerian War during the time period where tensions between the French immigrants and native Algerians were at an all time high. Camus portrays this tension through Meursault and Raymond's discriminatory behavior towards the Arabs. An example of this is when Meursault says "When he told me the woman's name I realized she was Moorish" (32). I did some extra research and discovered that in European culture, especially French and Portuguese, calling a Muslim a Moor has become an offensive term in the past 100 years. Meursault calls the woman a "moor" so casually, almost without a thought, which shows how the French immigrants were raised/taught to use derogatory terms towards Arabs. Camus illustrates how the Arabs were viewed as second-class citizens. 

Camus also spotlights this discrimination through Meursault's interpretation of the Arabs. The Arabs are often described as standing affair, not doing anything, yet Meursault sees them as a threat. A prime example of this is "I saw a group of Arabs leaning against the front of the tobacconist's shop. They were staring at us in silence, but in that way of theirs, as if we were nothing but stones or dead trees" (48). When Meursault says "in that way of theirs", Meursault is stereotyping Arabs as all behaving the same. Meursault speaks of the Arabs as if they were criminals, just for staring or looking at something. Camus creates this racism to show the reader how the French immigrants were raised to perceive Arabs as less than themselves. 

The Stranger, Journal 6

1. "it had been decided by men who change their underwear" (109)
2. "the guillotine is on the same level as the man approaching it" (112)
3. "But everybody knows life isn't worth living" (114)
4. "I had to free myself" (118)
5. "I was guilty" (118)
6. "It was all the same" (120)
7. "cries of anger and cries of joy" (120)
8. "nothing mattered" (121)
9. "the gentle indifference of the world" (122)
10. "meant nothing to me" (121)

But everybody knows life isn't worth living
So I had to free myself
The guillotine is on the same level as the man approaching it
I was guilty
Nothing mattered
The gentle indifference of the world
It was all the same
I was guilty
It had been decided by men who change their underwear
I was guilty
Cries of anger and cries of joy
Nothing mattered
I was guilty

The Stranger, Journal 5

The first stylistic difference I noticed in Part 2 was that the sentences were longer. In Part 1, rarely would you see a sentence with a comma, or a semicolon. Each sentence usually only contains one single idea and is short and choppy. An example of this from Part 1 is "I worked hard at the office today. The boss was nice" (25). Camus could of conjoined the sentences and made it one fluid statement, but instead  he chose to create two separate sentences. This gives the writing an almost monotonous effect. But in Part 2, the sentences are longer and much more fluid.  An example of this is "It was getting hotter, and I could see the people in the courtroom fanning themselves with newspapers, which made me a continuous low rustling sound. The presiding judge gave me a signal and the bailiff brought over three fans made of woven straws which the three judges started waving immanently" (86-87). Right away there is a noticeable difference in sentence structure and length. In Part 2, Camus seems to be using more description in his writing. He gives details about simple things like the "low rustling sound" and the "woven straws". Before it seems, Camus had Mersault focus more on the big picture, but in Part 2, Mersault notices minor details.
The biggest difference I found in Mersault was his sudden acceptance of societal norms. A prime example of this is "The policemen told me we had to wait for the judges and one of them offered me a cigarette, which I turned down" (82). Earlier on in the novel, Mersault smoked at his mother's vigil, even though it was condemned wrong by society. Now, it seems Mersault is aware of what society expects from him and he rejects the cigarette. He knows he shouldn't smoke in this certain situation and he confines to the expectations. Another example is "And again I almost thanked him. But I thought that would be ridiculous" (84). Before in Part 1, Mersault was very blunt and said whatever came to his mind, no matter how ridiculous it was. Mersault now seems to pay attention to what he says and chooses to not say anything that may be condemned different, or weird. This shows that Mersault is beginning to follow societies rules.
Mersault's behavior also seems to become more emotional. For the fist time, Mersault expresses the need to cry, when he says "For the first time in years I had this stupid urge to cry" (89-90). In Part 1, Mersault gets annoyed by people who cry or show too much emotion. It seems as if Mersault has switched roles with the minor characters, and he is now possessing qualities like being melodramatic, which are characteristics that he once despised in them.
Mersault describes the setting in a longing way, almost making the reader feel terrible for him. Mersault was always very in touch with his surroundings and showed deep appreciation for the simplicity of the city. Mersault has a desperate tone while talking about the city in Part 2. He says things like "assailed by memories of life" (104). Assail means a violent attack or a physical sensation. Mersault feels like his memories of the past are attacking him and he seems to feeling hopeless. Camus uses Mersault's description of the world to portray Mersault's desperation.

The Stranger, Journal 4

5. What symbolic role does the sun/light play in the novel? What theme does it connect to?

"I was absorbed by the feeling that the sun was doing me a lot of good" (50).

This is the ONLY time the sun is talked about positively from Mersault. 

"The was the same as it had been the day I'd buried Maman, and like then, my forehead especially was hurting me, all the veins throbbing under my skin" (58-59).

"I wanted to hear the murmur of its water again, to escape the sun and the strain and the women's tears, and to find shade and rest again at last" (57). 

"Once out in the street, because I was so tired and also because we hadn't opened the blinds, the day, already bright with sun, hit me like a slap in the face" (47). 

"By now the sun was overpowering (55).

"The sun glinted off Raymond's gun as he handed it to me" (56).

"He was lying on his back, with his hands behind his head, his forehead in the shade of the rock, the rest of his body in the sun" (58).

"And this time, without getting up, the Arab drew his knife and held it up to me in the sun" (59)

"The trigger gave; I felt the smooth underside of the butt; and there, in that noise, sharp and deafening at the same time, is where it all started. I shook off the sweat and sun" (59).

It seems like once he killed the Arab, the sun stopped bothering him. Relief?

First quote to analyze: "She said, 'If you go slowly, you risk getting sunstroke. But if you go too fast, you work up a sweat and then catch a chill inside the church.' She was right. There was no way out" (17).

In this quote, the nurse is speaking to Mersault about the unrelenting sun following them on the day of Mersault's Mother's funeral. Mersault takes a different spin on the nurse's words though. Mersault thinks of the sun as something unavoidable. He is constantly being followed by the sun's rays and when Mersault says "there was no way out" (17), this implies Mersault's understanding that there is no escape from the sun. The sun represents destiny, but  more specifically, when a human is chosen to die. Mersault realizes that every man is born with a same destiny and that destiny is death. Every man must die and until that point, they will be followed by the unavoidable sun. This quote shows Mersault coming to terms with the inescapable fact that that every life must end in death.

Second quote: "Once out in the street, because I was so tied and also because we hadn't opened the blinds, the day, already bright with sun, hit me like a slap on the face" (47).

Mersault trying to avoid the sun by saying "we hadn't opened the blinds" (47). Mersault is haunted by the idea that the sun is inescapable and he tries to suppress the idea. But once he does acknowledge the bright sun, he is "slapped" on the face (47). Obviously Mersault is not literally slapped by the sun, but he is once again awoken to the realization that the sun is still there watching over him. His destiny of death is still awaiting him and to Mersault, this harsh realization is like a slap on the face. Also, later on in the novel when Mersault is about to shoot the Arab, Mersault states that the sun is "cutting" his eyes. Mersault often uses graphic and violent language to describe the sun. Mersault thinks of the sun as the enemy.

The Stranger, Journal 3

All titles of the book The Stranger, The Foreigner, and The Outsider to me represent someone who has not adapted to the norms of society. Basically they are different, so they are being called an "outsider", a "foreigner" or even a "stranger". These titles of the book can be connected to two different characters. One connection I made was to Mersault. Mersault knows what the social normalities are in society and he knows that he should follow them, but he still completely disregards them. In a sense, Mersault is a stranger and an outsider to the world. He does not fit in. Also, Mersault is technically a foreigner. Mersault is of French descent and he lives in Algeria, an Arab nation occupied by the French. Mersault is a foreigner who has taken over Arab land and is part of the white race that dominates Algeria.
I also viewed the "Arab" as the stranger, the outsider, or the foreigner. Camus never identities who this Arab is and he never even gives him a name. I found this odd because this Arab plays such a vital role in the novel, yet he is a complete stranger to us. We have no idea who he is and what he is even doing at the beach, yet Camus is able to create this Arab out to be a criminal. During the 1940s, all Arab Algerians were looked upon as outsiders by the higher class, which mainly consisted of the French. Arabs were outsiders and foreigners of society, even though Algeria was their native land.
In my opinion, I think the title of the book connects with the nameless Arab more than Mersault, but several connections can be made for both.

The Stranger, Journal 2

Minor Characters:

The first minor character I will talk about is Mersault's boss. "The boss" is never addressed by a name, but it is obvious that Mersault highly respects him. Mersault seems to be afraid to disappoint his boss, for when he was gone for his mother's funeral, Mersault actually sympathized with his boss for being upset by him missing work. I found this very odd. Also, while Mersault talks about his boss, he usually says things like "The boss was nice" (25). Mersault has never spoken about his boss negatively.  Mersault and his boss also seem to share common characteristics. When Mersault's boss asked how old Mersault's mother was, Mersault simply answered with "about sixty" (25). The boss didn't bother to question why Mersault didn't know the exact age and according to Mersault, he seemed "relieved" and considered "the matter closed" (25). Just like Mersault, the boss does not bother to question people and accepts whatever people tell him. He is completely indifferent.

I examined the minor character Céleste as well. In French, Céleste means heavenly or unworldly. Calling someone "unworldly" can mean two possible things. One meaning is someone who is not aware of the realities of life. Another meaning is someone who is extremely strange. As for heavenly, it means divine, sublime or delightful. What I found interesting was that Céleste is actually the one to defend Mersault in court and stick by his side, so in Mersault's eyes, Céleste could be "heavenly". Céleste is one of Mersault's only loyal friends.

Raymond Sintes is the final minor character I examined. Right off the bat, I noticed how manipulative Raymond is. Mersault is easily persuaded and not very opinionated, so Raymond uses that for his own advantage, especially when convincing Mersault to write a letter to this woman (who may be a prostitute) to lure her in, so Raymond can seek revenge. Raymond is also extremely violent and he justifies beating a woman by saying "I realized she was cheating on me" (30). Mersault and Raymond serve as foils for each other.

I noticed two cultural connections in chapter three, one of them being with Mersault's work ethic. In French work ethic, it is normal to have lunch breaks lasting longer than two hours. It is part of French culture to take naps, go to cafes or spend time with friends during this time. Unlike American work ethic, lunch breaks are a half hour and extremely rushed. The French lifestyle is much more relaxed.
Another cultural connection I saw was when Mersault calls the woman Raymond is sleeping with as "moorish". Moors were people of Arab descent who lived in North Africa, many Moors were also Muslim. This is one of the first references we see to Arabs and Muslims in The Stranger.

The Stranger, Journal 1

Camus' character Mersault is complicated to say the least. Several times while reading, I found myself wanting to scream because of how ridiculous Mersault's actions are. Mersault is incredibly lazy and he is literally thinking of sleep 24/7. Even after finding out about his mother's death, Mersault's first reaction is to sleep. Normally a person would be distraught, but on the way to his mother's funeral, he "dozed off", not even seeming to care (4). I began to count how many times Mersault thinks about sleeping and how he desires sleep at the strangest times. While everyone around him is weeping, Mersault is "tired" and he "[dozes] off again" (11). It is obvious that the death of his mother is not having much of an impact on him, for people who have a lot on their mind tend to have difficulty sleeping. Mersault almost seems completely emotionless.

Another thing regarding emotions I found interesting was how Mersault gets annoyed by people showing too much emotion. During his mother's vigil, a friend of Mersault's mother is weeping and Mersault becomes irritated by her. He says "I wish I didn't have to listen to her anymore" (10). Instead of feeling sympathetic or even feeling mournful himself, he becomes agitated by the people around him for showing emotion.

Yet another recurring idea I found was how quickly Mersault sees the beauty in things, which I found odd. An example of this is when Mersault is drinking coffee next to his dead mother's body in the quote "It was pleasant; the coffee had warmed me up, and the smell of flowers on the night air was coming through the open door. I think I dozed off for a while" (9). Finding something pleasant while next to a dead body is a strange notion, especially when the body is of a person's loved one. On top of that, the imagery is incredibly untimely. The smell of flowers while next to a decaying body in the heat? 

The last recurring idea I will talk about is how Mersault constantly says words or phrases referencing to a court room. He says words like "judge", "fault", "guilty", "criticizing",  and "justify" while speaking about his mother. His word choice almost makes him seem guilty for this mother's death, even though it was not his fault at all. This could be potential foreshadowing for the end of the book.