Dr. O'Brien's Talk Time

Dr. O’Brien’s talk time today was my favorite class we have had so far. Not only did I greatly delight in his use of fun lingo such as “chug-a-lug” and “pocket-rocket,” I am a very story-oriented person and loved hearing tales from the war that did not include killing people with shoelaces, skinning and gutting people and displaying them, or eating dead horses (like my uncle’s stories). It was very encouraging to me personally to see someone that has gone through the military and come out for the better, because I really haven’t seen that before. My personal experience hasn’t been the best in that area, and I’m afraid I don’t have as much faith in the institution of the military as I probably should... anyway, it just did something good and healing for my heart to see someone that had endured the military and still seemed like a whole, loving person.

GAC as a Bildungsroman...or not

Honestly, I do not see how this is considered a bildungsroman. Neither the main character, Paul Berlin, nor his friends, nor Cacciato, has “come of age” or stepped from childhood into maturity. Cacciato stays the same silly guy throughout the book, with his most dramatic change being the change of living to dead. Oscar becomes more violent and psychotic as the story progresses. Paul Berlin doesn’t really change that much either, except that he gains exposure to the war, gains a better realization of how awful it is, breaks down multiple times in multiple ways, and failing to overcome his fear complex, machine-guns his friend Cacciato to death out of spastic anxiety. Yes, Paul does a lot of thinking and analysis throughout the book, but these segments of the book almost seem forced to me, not like successfully placed drama. For example, the segment of the chapter made up like an imaginary radio show in which Sarkin and Paul discuss indecision, or the segment where Paul asks about fifteen (or more) questions in a row as he thinks of a young Vietnamese girl whom they have administered iodine to, are two of such false-feeling “thought-provoking” parts. There isn’t substantial transformation.

Problem in Going After Cacciato

A problem that is prevalent all throughout Going After Cacciato is the idea of hopelessness, purposelessness, and especially confusion, all contributing to the war that is so horrible, it is unbelievable. Not only are these issues exhibited through the choppy structuring of the novel and much of the characters’ actions and descriptions (specifically, descriptions in which it is difficult to distinguish reality from imagination, drug-induced hallucination or mental illness), these issues are especially evident in Paul Berlin’s internal processing, which includes entire sections of chapters composed wholly of questions. Indeed, the book does a good job at sharing the emotional chaos tied to the war, as readers surely feel the lack of hope and the confusion very strongly, as well as the disillusionment and thoughts on the war’s lack of purpose.

TVBIA- a bildungsroman

If a bildungsroman is technically a “Coming of Age” story, then it can be argued that The Violent Bear It Away is a coming of age story, despite the repulsive nature of Frank’s developments. Although the level of “maturity” to which Frank ascends is disturbing to readers, it still is a “coming into one’s own” in the context of Old Tarwater’s aspirations for Frank, his raising Frank as a to-be prophet, and his putting the responsibility of Bishop’s baptism on Frank’s shoulders. Frank struggles against each of these throughout the novel, but in the end, accepts them, including the duty and message that he believes God has chosen and asked him to share. In addition, Frank certainly passes from childhood innocence and confusion into full-fledged dementia and degradation as he murders Bishop with the approval of Rayber, and is homosexually assaulted by “the lilac traveler.” He also acquires the insatiable hunger that Old Tarwater had before him (perhaps it is linked to the mental illness), and manages to fight off his spiritual doubts. Even though readers would hope that he might somehow escape, Frank “successfully” grows into his destiny as an insane, self-proclaimed prophet.

Motifs in TVBIA

There are repeating motifs of fire and the color violet within The Violent Bear It Away. Not only does the beginning of the book mention that Frank has longed for a “burning bush” experience to establish him as a prophet (a desire which he struggles with throughout the book), his attempts to clean himself and his mind first after his great-uncle’s death by burning the house and then after his rape by burning the pine and other trees lead to his final “revelation” of the burning bush and God’s mandate for him at the end of the story. Fire is an interesting choice because while it is traditionally a symbol of purification, it is also associated with Hell fire, and is the elemental the opposite of the water that draws Frank and Rayber to baptism and murder. As for violet, in memories, old Tarwater warns that Satan will seek Frank out, offering him cigarettes and liquor...exactly as the “violet” rapist does later. Additionally, it is revealed near the end, in the boat, that the voice of the “friend” that Frank has been conversing with throughout the book has violet eyes, making readers wonder whether it was Satan all along.

The Bear as Bildungsroman

In The Bear, “the boy” as Ike McCaslin is called, grows not only physically, but also mentally and emotionally, making The Bear fit the definition of a bildungsroman. In addition, Ike McCaslin goes on a journey to the woods in order to find his identity as a McCaslin, as a man, as a woodsman, and as an American southerner. Additionally, the end of the piece explains the changes that have taken place. The countryside in which the characters once enjoyed hunting is replaced by locomotives and logging companies, and Isaac’s growth is portrayed in direct contrast with Boon Beauchamp’s deterioration; the story closes with a demented Boon sitting under a tree beating his gun and threatening Isaac, claiming that all of the squirrels belong to him. Growth takes place in Isaac not only on account of the besting of old Ben, the instruction of Sam Fathers, the loss of Sam Fathers and the progression of years, but also on account of the courage that it takes Isaac to read through the ledgers of his predecessors, face his past, and reject the injustice of his inheritance. Each of these elements make The Bear able to be characterized as a bildungsroman.

(Be)Wilderness

What wilderness is in The Bear, and its relationship to nature, is integral to the storyline. Wilderness is definitely tied to Old Ben; for example, once the hunters kill Old Ben, it seems to open up the future of the death of wilderness through progress' confining and cutting off areas of landscape by means of locomotives, train tracks and loggers. Essentially, in the same way that the hunting men have sought identity and validity through their capture and besting/taming Old Ben by means of killing him, mankind in general continually seeks gain and validity through 1)going back to the land from whence he came or reminiscing about it 2)selling and passing down land which really is not his to own or sell, and 3)traversing the land and taking from it for material benefit, regardless of consequences. Nature is more of the peaceful and beautiful side of the non-manmade world, while wilderness is more of the rugged and indominable side of the non-manmade world.