Katie’s Comments (group member since May 20, 2016)

Katie’s comments from the Mills AP Lit and Comp group.

Mr. Eric Mills wrote: "1) Copy and paste, or type up your 4-10 (more is ok) lines of Shakespeare. Then 2) comment with a brief description of the verse. Make note of how you see a contemporary incarnation. What I mean is..."
Katie Luchtenburg
P. 2

Shakespeare Sonnet 12: When I do count the clock that tells the time,
And see the brave day sunk in hideous night;
When I behold the violet past prime,
And sable curls, all silvered o'er with white;
When lofty trees I see barren of leaves,
Which erst from heat did canopy the herd,
And summer's green all girded up in sheaves,
Borne on the bier with white and bristly beard,
Then of thy beauty do I question make,
That thou among the wastes of time must go,
Since sweets and beauties do themselves forsake
And die as fast as they see others grow;
And nothing 'gainst Time's scythe can make defence
Save breed, to brave him when he takes thee hence.

Although overly popular, this sonnet is my favorite by Shakespeare as it accurately illustrates the passage of time. The nogolstia that sinks through the 12th sonnet, perhaps placed twelfth to represent the 12 months in a year, goes beyond the simple passing of time depicted through the language and leaves the reader breathless; time is an abstract idea. The idea of mortality is so bluntly displayed in a way that relieves copious amounts of anxiety surrounding the idea of the beginning and the end. I found that this especially applies to enter senior year, as ridiculous as it sounds, as a part of our lives we believed would last forever is coming to an end; our piece of forever is fading.

Gianna wrote: "Bella wrote: "Bella Speelman, Period 2
One of the most interesting aspects of Dickens’ Great Expectations is the existence of two endings; one in which Estella has remarried after the death of her ..."

Although I agree with your idea that what truly captivates readers throughout the novel is the relationship between Pip and Estella, I would have to generally disagree with you on the idea that had the original ending been used Pip would be left with no happiness and the novel wouldn't be as strong. I believe that although the relationship with Estella is Pip's primary motivation to seek a higher social and financial status, the novels true moral values can be seen in Pip's relationship with Hubert, Joe, Biddy and most importantly Magwitch, who is his benefactor. The relationships he develops with these characters all teach him lessons that are deeply impactful, and leave him knowing more about himself and the world he leaves in, whereas his relationship with Estella does the complete opposite "The lady whom I had never seen before, lifted up her eyes and looked archly at me, and then I saw that the eyes were Estella's eyes. But she was so much changed, was so much more beautiful, so much more womanly, in all things winning admiration had made such wonderful advance, that I seemed to have made none. I fancied, as I looked at her, that I slipped hopelessly back into the coarse and common boy again. O the sense of distance and disparity that came upon me, and the inaccessibility that came about her!" (416). This therefore disproves the idea that throughout the novel the feelings of both characters have lead up to this, as the entire time Estella has been disinterested and nearly cold to Pip. Although the original ending proves to be much harsher, I believe it proves to be more true to the feelings of both characters throughout the novel, and leaves the readers to believe that happiness can be found without great wealth, it will just be delivered at a slower rate.

Mr. Eric Mills wrote: "July post 2
Great Expectations was originally published in serial installments from Dec 1, 1860 to Aug 3, 1861. (Think of the “old” way we had to watch television, if you can remember that, where w..."


Katie Luchtenburg
P. 2

Charles Dickens set out to publish the last chapter of his year-round novel, “Great Expectations”, in 1961 and sent it quickly off to be printed. Soon after, he revealed the ending to his companion and fellow author, Bulwer-Lytton, who strongly advised him to change it After Bulwer-Lytton begged Dickens to change it, Dickens re-wrote the ending to his great novel to satisfy the readers and wrote a letter to the publisher that stated: ‘Bulwer was so very anxious that I should alter the end… and stated his reasons so well, that I have resumed the wheel, and taken another turn at it. Upon the whole I think it is for the better’.

Although the original ending was more abrupt and left less closure for the reader, I believe that the original ending would better serve the purpose of the story. “As the morning mists had risen long ago when I first left the forge, so the evening mists were rising now, and in all the broad expanse of tranquil light they showed to me, I saw no shadow of another parting from her” (865). By allowing for Pip and Estella to find this happiness together, which is left open for romantic or platonic interpretation by the reader, leaves an overly sweet taste in the reader's mouth after finishing an otherwise bittersweet book. Many argue that this ending sufficiently serves the purpose of teaching the reader that the Great Expectations you have for life are not always served and happiness, just as Pip learned through life’s lessons, is not always easily delivered to you. ““Suffering has been stronger than all other teaching, and has taught me to understand what your heart used to be. I have been bent and broken, but - I hope - into a better shape” (865) I believe that this message is too subtle in the published ending, and is too optimistic for the events that have occurred in Pip’s life, despite the bitterness and misunderstandings between Estella and Pip that had healed over time.

The published ending also fails to fully provide closure to reader regarding the status of Pip and Estella's relationship, as Dickens chose to omit the line ‘I saw the shadow of no parting from her, but one.’ and end it at ‘I saw the shadow of no parting from her’. In doing this, he leaves the relationship of the two in the hands of the readers, who have just found the Estella was widowed and that Pip is already an “old bachelor” whose dream of Estella has “all gone by” (860). In an arduous attempt on Dickens part to allow Estella and Pip to have it both ways, not forcing wedding bells nor forcing just a platonic bond, the reader is left wondering primarily about the status between them and not the moral commentary that the foundations of “Great Expectations” was built upon; leaving readers such as me dissatisfied.

Mr. Eric Mills wrote: "In questioning the value of literary realism, Flannery O’Connor has written, “I am interested in making a good case for distortion because I am coming to believe that it is the only way to make peo..."

“Great Expectations” by Charles Dickens was originally published as a “year round” novel, piece by piece. Dickens primarily did this not only to share his work and the importance of the messages it held, but to financially profit from the pieces of his novel as well; this required the reader to be captivated. Although I have read many a realistic novels and been captivated by what they contained, I have more often found myself enchanted with that which seems so fantastical and yet practically plausible, as it breaths life into the otherwise harsh realities. In using literary realism along with distortion in “Great Expectations”, Charles Dickens accomplishes capturing the audience through fairy-tales elements and imaginative commentary that also deeply delves into wide felt themes of abuse, loss, guilt, love, and most importantly social status. Through the bizarre elements, Dickens captures these themes and leaves a stab wound in the heart of the reader that is deeper than they anticipate. He is also able to paint a picture of young Pip's transformation of identity and wealthy by using distorted elements.


Dicken's uses a gentle breeze of fantasy, similar to that which you would see in folklore or fairy tales to enchant and distort his text in a gently impactful way. He uses these fantastical elements to both alleviate and magnify Pip's troubles. These epic elements can be seen in Miss Havisham's decomposing mansion, Estella's enchanting mystic, and a wealthy benefactor whose appearance in the boy's life is all a matter of complete coincidence and bizarre chance. "So unchanging was the dull old house, the yellow light in the darkened room, the faded spectre in the chair by the dressing-table glass, that I felt as if the stopping of the clocks had stopped Time in that mysterious place, and, while I and everything else outside it grew older, it stood still" (221). In using these well distorted characters and scenarios, Dickens uses the novel as social commentary and allows for the moral to be crystal clear in the murky waters of his painted story. In the same way the tortoise and the hare teaches children that "slow and steady wins the race", Charles Dickens is successful in using Pip to criticize the culture fantasy that in England at the time regarding wealthy, social status and moral identity. "I am ashamed to say it," I returned, "and yet it's no worse to say it than to think it. You call me a lucky fellow. Of course, I am. I was a blacksmith's boy but yesterday; I am—what shall I say I am—to-day?” (440).

Mr. Eric Mills wrote: "In The Writing of Fiction (1925), novelist Edith Wharton states the following: “At every stage in the progress of his tale the novelist must rely on what may be called the illuminating incident to ..."

Katie Luchtenburg
P. 2
In ‘The Great Gatsby’ there are numerous moments that serve as casements to different aspects of the story, and ultimately provide clarity for the novel as a whole. The most striking illumination brought on by a moment was that brought upon by the car crash and Myrtle’s death. Although this moment also serves as a climax, the reader is exposed to Daisy’s selfish behavior in her decision to allow Gatsby to capture all the blame, along with the true depth of Gatsby’s obsession with Daisy. “I’ll say I was. You see, when we left New York she was very nervous and she thought it would steady her to drive- and this woman rushed out at us just as we were passing a car coming the other way" (143). Up to this point Gatsby and Daisy are drenched in romanticism by Nick Carraway, but Myrtle’s death ends this. With this, Gatsby reveals the truth of his upbringing, Daisy’s refusal to marry him as a poor man. Nick peeks into the Buchanan house the night of the car incident, which allows both him and the reader to see the true selfishness that lies inside of Daisy and Tom. “There was an unmistakeable air of natural intimacy about the picture, and anybody would have said that they were conspiring together” (145) The facade of charisma and wealth built around Jay Gatsby falls, and his dreams seem to fade before his death, as he has built them around Daisy. “”Jay Gatsby” had broken up like glass against Tom’s hard malice, and the long secret extravaganza was played out.” (148)
This moment in the book for me is the most illuminating, as it breaks apart all of the character’s the reader has grown used to and exposes the fact that they are all struck by the human condition. Though they each have their “cardinal virtues” (59), they are ultimately all just humans and though their mistakes bare more depth and are more extravagant, they are struck with the same human oblivion as the reader. This lonely, nostalgic illumination suddenly brings clarity to the picture as a whole. There is no happy ending, and the death of Gatsby and the exposure of the Buchanan's as “careless people” (173) merely accompany the idea of oblivion and humanity as Gatsby fades into an Eastern Urban legend destroyed by false accusations surrounding Myrtle’s death and “the organic future recedes before us” (180).

Mr. Eric Mills wrote: "One of the most over-looked quotes from The Great Gatsby is: “I see now that this has been a story of the West, after all—Tom and Gatsby, Daisy and Jordan and I, were all Westerners, and perhaps we..."

Katie Luchtenburg
P. 2

When Nick Carraway muses over his encounter with Tom near the end of the novel and parallels the events surrounding Nick, Jordan, Daisy, Tom and Gatsby to that of a great western he unconsciously connects the blurred moral values and faster-paced lifestyle to the East, which challenges the frame of their beings as they are all from the opposite side of the Appalachians. In staying “I see now that this has been a story of the West, after all--Tom and Gatsby, Daisy and Jordan and I, were all Westerners, and perhaps we possessed some deficiency in common which made us subtly inadaptable to East”, Nick Carraway is intrinsically saying that the actions of those throughout the novel were all affected by the fast-paced and morally distorted society that they had inadvertently exposed themselves to. In this Nick practically claims that their actions were morally incorrect due to where they were, and they were no match of the East.
This musing calls into question the balance between staying true to one’s birthplace and seeking adventure, and leaves the reader with no true answer. The west, Jay Gatsby, and Nick Carraway ultimately are characterized by virtues, innocence, and decency. The East and New York is corrupt and insensitive, words that describe Tom and Daisy; they become the "careless people" (54) Gatsby detests.This moral and social decay can also be seen in the valley of ashes, as it represents how the elite indulge themselves purely for pleasure. Although Nick is exposed to a myriad of experiences throughout his time with Gatsby, he always wants to return to the West. This loyalty to his home and near catapult into the hollowness that the East hold represents Nick’s own balance between birthplace and adventure, and yet those around him all stumble and fall, losing their balance.

Gatsby's stumble into the morally unstable ground of the East is triggered entirely by his obsession with Daisy and his denial of ever being who he was at core; a poor westerner. "His parents were shiftless and unsuccessful farm people-his imagination had never really accepted them as his parents at all. The truth was that Jay Gatsby of West Egg, Long Island, sprang from his Platonic conception of himself." (98) In fully disclosing Gatsby's past, Fitzgerald that Gatsby was never faithful to his birthplace and because of this he endlessly values adventure over any loyalty (beyond basic moral loyalty) to his birthplace. The same can be seen in the way that Tom Buchanan finds no solace in his wealth or travel, and grows restless in his search for adventure, entirely loosing the honesty that originated with his birthplace. "Something was making him nibble at the edge of stale ideas as if his sturdy physical egotism no longer nourished his peremptory heart." (20) Nick Carraway is ultimately the only one who does not get lost in life's adventure and finds his way back to his birthplace roots, with scars to show from the adventuring. "We drew in deep breaths of it as we walked back
from dinner through the cold vestibules, unutterably aware
of our identity with this country for one strange hour before
we melted indistinguishably into it again" (187)

Mr. Eric Mills wrote: "The Great Gatsby and perfection

When Fitzgerald set out to write The Great Gatsby, he set his sights high; he intended to write the perfect novel. In nine chapters..."

Katie Luchtenburg
P. 2

Being a huge fan of F. Scott and especially ‘The Great Gatsby’, I believe this novel to be practically perfect in everyway. The detailed descriptions are captivating and able to hold the reader’s attention, the flow of the book finds a steady pattern that is able to capture the summer in a perfect amount of time, and Fitzgerald uses precise language when needed. Although perfection is nearly achieved in this novel, the one fault I would accuse Fitzgerald of, is making the novel too fantastical and borderline unrealistic.
F. Scott is able to build characters that are very honest to the human condition, as he builds them up to be both nothing and everything; more than they truly are. He creates Tom Buchanon to be selfish and restless (as stated to describe him a myriad of times); Daisy to be stunningly beautiful yet self centered, and paints her with an inherently deep unhappiness; Gatsby is larger than life in nearly all ways yet crazy obsessive and entirely stuck in his own mind. In doing this, Fitzgerald seems to create the only realist aspect of the novel, as nearly everything else that occurs is too far fetched to happen in a real world situation. Though this sort of fantastical writing can be appreciated and praised in books like ‘Harry Potter’, novels such as ‘The Great Gatsby’ are viewed by critics on an entirely different level and the book as a whole is practically discredited for being so whimsical.
This level of outlandish action can especially be seen during Gatsby’s party. “This part had preserved a dignified homogeneity, and assumed to itself the function of representing the staid nobility of the countryside” (Fitzgerald, 44) Though these parties are supposed to attract the attention of Daisy, the level of wondrous action that occurs is even beyond realistic to the roaring twenties. Though this brightly painted party is able to captivate the reader, it is confusing and nearly irrelevant to the overall plot as it is primarily used as a door to introduce Jay and Nick, which could have easily been done in a less bizarre way. This, on top of the general description of Gatsby and his childhood is entirely too far-fetched. “For a while these reveries provided an outlet for his imagination; they were a satisfactory hint of the unreality of reality, a promise that the rock of the world was founded securely on a fairy’s wings” (Fitzgerald, 99). Although exciting, the absurdity of Jay Gatsby or James Gatz as a person leaves the reader reaching to connect to the overall plot of the book in a way similar to Gatsby reaching for the green light.