Wednesday, March 13, 2013

Thursday, March 14




In class: content quiz through chapter 3
graphic organizer on tone
Homework for Friday, March 15: please read through page 87,  chapter 4- again, expect a quiz
Homework for Monday, March 18: read through page 128, chapter 7...yup, content quiz
Homework for Tuesday, March 19- finish novel.

Prezi Presentation.
DUE MONDAY, March 25
Although you may not be presenting that day, everyone is responsible for turning in his or her outline.
 
You were to have read through chapter 3. For this exercise we are focusing on the literary element of tone, which is the speaker’s attitude toward the subject. Wharton varies her tone over the course of the text, which is created by specific language, imagery, details, diction and syntax.  For each of the chapters, find a textual example that supports each of the following. (Note that you have a separate sheet for each chapter)
Chapter 1
Language

the overall use of language, such as formal, informal, clinical, jargon, etc.

Images
vivid appeals to understanding through the senses  Note: identify the sense.



Details
Facts that are included, or those that are omitted



Diction*
the connotation of the word of choice (what may be inferred

Sentence
Structure
how the structure affects the reader’s attitude (syntax, that is word order. )



Tone
Speaker’s attitude toward the subject




·         Ideas to consider when analyzing diction
monosyllabic  / polysyllabic
colloquial / informal / formal
denotative / connotative
concrete / abstract
euphonious / cacophonous
Ethan Frome by Edith Wharton  
You were to have read through chapter 3. For this exercise we are focusing on the literary element of tone, which is the speaker’s attitude toward the subject. Wharton varies her tone over the course of the text, which is created by specific language, imagery, details, diction and syntax.  For each of the chapters, find a textual example that supports each of the following. (Note that you have a separate sheet for each chapter)
Chapter 2
Language

the overall use of language, such as formal, informal, clinical, jargon, etc.

Images
vivid appeals to understanding through the senses  Note: identify the sense.



Details
Facts that are included, or those that are omitted



Diction*
the connotation of the word of choice (what may be inferred

Sentence
Structure
how the structure affects the reader’s attitude (syntax, that is word order. )



Tone
Speaker’s attitude toward the subject




·         Ideas to consider when analyzing diction
monosyllabic  / polysyllabic
colloquial / informal / formal
denotative / connotative
concrete / abstract
euphonious / cacophonous
Ethan Frome by Edith Wharton  
You were to have read through chapter 3. For this exercise we are focusing on the literary element of tone, which is the speaker’s attitude toward the subject. Wharton varies her tone over the course of the text, which is created by specific language, imagery, details, diction and syntax.  For each of the chapters, find a textual example that supports each of the following. (Note that you have a separate sheet for each chapter)
Chapter 3
Language

the overall use of language, such as formal, informal, clinical, jargon, etc.

Images
vivid appeals to understanding through the senses  Note: identify the sense.



Details
Facts that are included, or those that are omitted



Diction*
the connotation of the word of choice (what may be inferred

Sentence
Structure
how the structure affects the reader’s attitude (syntax, that is word order. )



Tone
Speaker’s attitude toward the subject



·         Ideas to consider when analyzing diction
monosyllabic  / polysyllabic
colloquial / informal / formal
denotative / connotative
concrete / abstract
euphonious / cacophonous


Friday, March 15 Ethan Frome chapter 4 review


Homework for Monday, March 18: read through page 128, chapter 7...yup, content quiz
Homework for Tuesday, March 19- finish novel.
Prezi due on Monday, March 25. If you have misplaced the handout, all the information is available on Wednesday's blog. If you need a pass to work in the library, see me soon!
In class: you were to have read through page 87, chapter ...so..1) quick content quiz
 2)Today we are reading the novel through the lens of accountable talk. This will count as a class participation grade, so it will serve you well to stay on task and focused on the material. Having read chapter 4, you should be familiar with the content, so now we can look deeper into the text.
assigned partners
1 Joe and   2 Aaron
1. Jamichael and  2. Ashli
1. Allison and  2. Katherine
1. Ariana and   2. Tamia
1. Austin and   2. Chrishell
1. Tianna and   2. Kathy
1. Nalia and     2. Zadejeh
1. Nick and      2. Miranda
1. Chris and    2. Tarek
1. Heidi and    2. Sierra

ACCOUNTABLE TALK DIRECTIONS
1.       Make sure you have your Ethan Frome book
2.       Get with your assigned partner. Bring your book.
3.       Open your book to chapter 4.      
5.       Now you will take turns reading to each other. Read a half a page, then stop.
6.       Choose one of the accountable talk “your responses” and reflect on what you have just read. Do not summarize the passage, but make a reflective observation.
7.       Your partner then will respond from the “your comments” column.
8. Quick write: during the last 10 minutes you will write an expansion on one of the comments make by your partner. It must be able to stand independently, that is include specfic references to what has been previously discussed. For example, when ________ noted that (character, plot, setting, diction reference)...
Your responses:                                                                                               
· I discovered that…
· I noticed that…
· I wonder…
· I was confused…
· This reminds me of…
· I predict that…
· I like…
· I didn’t like…
· I think…

 Your comments:
· I agree because…
· I disagree because…
· In my opinion…
· Why do you think that?
· Can you tell me more about that?
· Why do you feel that way?
· Can you show me?
· Can you explain that another way?





 

Tuesday, March 12, 2013

Wed, March 13 Prezi information

Note that the novel Ethan Frome is available on line, if you have left your book at school.
Homework for Thursday: please read through chapter 3, page- 66; expect a quiz
Homework for Friday, March 15: please read through page 87- chapter 4- again, expect a quiz
Homework for Monday, March 18: read through page 128, chapter 7...yup, content quiz
Homework for Tuesday, March 19- finish novel.
Prezi sample

Ethan Frome by Edith Wharton                              Prezi Presentation.
DUE MONDAY, March 25
At this point everyone should be registered with a Prezi account. As well, be sure you have familiarized yourself with the process by watching the short videos.  Once you begin working on your Prezi, make sure you save it to your Prezi account. It will be accessible from any computer, and this is how you will present in the classroom.  You will not be able to save it to a school site or a jump drive.
Now, what are you going to do with this? Rather than an analysis paper, you are going to demonstrate your in-depth knowledge of the novel  Ethan Frome through a Prezi.
1.       What do you need to have in your Prezi?  The format that will express your understanding will be through literary elements. They are, of course, character, plot, theme, tone, setting, point of view, dialogue and figurative language devices, such as metaphors, similes and imagery.  These are interconnected. For example, tone is created through the other elements.
2.        Keep in mind that the literary style we are looking at here is Naturalism.  Below is a summary that compares it to Realism.  There are four main characteristics of naturalism in literature. 
•The main characteristic of literary naturalism is pessimism, where a character tends to repeat a phrase having a pessimistic outlook, which sometimes emphasizes the inevitability and quality of death.
•Detachment from the main story is another characteristic of literary naturalism. The author tries to maintain an objective tone and sometimes achieves detachment or change by introducing nameless characters. This focuses mainly on the plot and character rather than focusing on the character only.
•In determinism, which is the third characteristic of naturalism in literature, the notion that individual characters have a direct influence on their lives is replaced by a focus on fate or nature and is the opposite of the belief of free will. The author makes the reader believe that the fate of the character has already been predetermined by certain factors, especially environmental factors and he can do nothing to change it.
•One common characteristic of literary naturalism is the surprising twist at the end of the plot. There is a strong sense in the naturalist stories and novels that nature is not affected by human struggle.
3.       Realism vs Naturalism in Literature
        Though naturalism and realism are inter-related, they are different from each other. Here are a few differences between realism and naturalism:
•The history of naturalism in literature can be traced back to the nineteenth century and naturalism was supposed to be the extreme form of realism. As compared to romanticism and realism, naturalism is a more recent movement in the literary cycle.
•The focus of realism is on literary technique, whereas naturalism connotes a philosophical pessimism, where writers apply scientific method to their writings and depict human beings as an objective and impartial character.
•Realism portrays things the way they might appear to be, while naturalism shows a deterministic view of a person's life and actions.
•Realism shows that a person's decision is based upon his response to the situation, whereas naturalism concludes that a person's decision is predetermined by natural forces that make him act in a certain way



To begin your Prezi, start with the essential question. You will randomly choose one.

1. How is the eponymous Ethan Frome emblematic of a character found in Naturalism?

2. How is symbolism employed by Wharton to portray the characters of Zeena, Mattie and Ethan?

3. How does Wharton’s repetitive use of imagery contribute to character development in Ethan Frome?

4. How are sound and voice interwoven in Ethan Frome?

5. What roles do women play in Ethan Frome's life?

6. How does the natural environment impact the character's personalities and behaviors?



To build your argument, you will focus on literary elements. This is where you need to be both knowledgeable and creative.  As with a paper, each paragraph will have a thesis  (this is your essential question),supporting material (textual evidence) and an analysis.   Your paragraphs are your sections of your Prezi.  Within each section, you must include an image(s), textual quotes, comments and / or video. This last may be something you film and insert.  In terms of the analysis statement, this may be spoken when you actually give your presentation.

Suggestions: look deeply into the text.  Look beyond the literal for your images. (Do not include a cover picture of the novel) Try your own photography or filming.
Grading: demonstrating that you know the text thoroughly.
Correct use of the Prezi program
 Answered the essential question.
 Included quotes and images
 Creativity and imagination.
 
Very Important! Obviously, everyone will not be able to present on Monday, March 25. However, everyone is required to turn in a detailed outline of their Prezi presentation. This will consist of your essential question, followed by the specific points you are using to support it and quotes from the text. These need not be full sentences, but must be specific words or phrases.

Monday, March 11, 2013

Tues, Mar 12 Ethan Frome

Edith Wharton, author of Ethan Frome             her home known as The Mount in Lenox, Massachusetts in the Berkshires.



Starkfield is located in the Bershires; below is a quintessential New England village as imagined by Wharton in Ethan Frome

granite outcropping
In what way is Ethan Frome like a granite outcropping?
Due tomorrow: compare / constrast essay on The Story of an Hour and The Yellow Wallpaper.
AND please get yourself registered for a free Prezi account by tomorrow. http://prezi.com/
In class: reading content quiz on pages 3-25.
                review of Ethan Frome so far: Naturalism, flashback format, characters, setting, tone
Below is a review of the literary movement naturalism, which you have already studied in reading Crane's Maggie, Girl of the Streets. Make sure you are thoroughly familiar with the definition and how they impact the literary elements of characterization, setting, tone, plot and theme.
Homework for Thursday: please read through chapter 3, page- expect a quiz
Homework for Friday, March 15: please read through page 87- chapter 4- again, expect a quiz
Homework for Monday, March 18: read through page 128, chapter 7...yup, content quiz
Homework for Tuesday, March 19- finish novel.

The following material was excerpted from http://public.wsu.edu/~campbelld/amlit/natural.htm

Naturalism was a literary movement taking place from the 1880s to 1940s that used detailed realism to suggest that social conditions, heredity, and environment had inescapable force in shaping human character. It was depicted as a literary movement that seeks to replicate a believable reality, as opposed to such movements as Romanticism or Surrealism, in which subjects may receive highly symbolic, idealistic, or even supernatural treatment. Naturalistic writers were influenced by Charles Darwin's theory of evolution.[ They believed that one's heredity and social environment largely determine one's character. Whereas realism seeks only to describe subjects as they really are, naturalism also attempts to determine "scientifically" the underlying forces (e.g., the environment or heredity) influencing the actions of its subjects.

1. Nature as an indifferent force acting on the lives of human beings.
2. The forces of heredity and environment as they affect--and afflict--individual lives.
3. An indifferent, deterministic universe.
4.Naturalistic texts often describe the futile attempts of human beings to exercise free will, often ironically presented, in this universe that reveals free will as an illusion.
survival, determinism, violence, and taboo as key themes.



Sunday, March 10, 2013

Monday, March 11 auspex, nautilus



Notice from Mr. Tirre that I received this morning:
TALKBACK4Teens is inviting SOTA students to join their next forum filming this coming Monday March 18 in Rochester.
How much teen talent does Rochester have?? TALKBACK4Teens airs on Public Television and the web. Filmed in the television studio in
downtown Rochester, this is an opportunity to discuss talent in Rochester and your own talents in particular.  All interested students
please contact us at Participate@TalkBack4Teens.com and put S-O-T-A in the subject line, and go to the website TalkBack4Teens.com

Due on Wednesday: Yellow Wallpaper / Story of an Hour essay.  Note that this is your last grade of this marking period. It will be counted as two writing grades.

In class: finishing up poetry presentations: Auspex and Nautilus
      Collecting the short novel Ethan Frome by Edith Wharton. Please read pages 3-25 for tomorrow. (large print; quick read). Be prepared for short content quiz.  First grade of marking period 5

Note that the novel is on line. Here is the tonight's reading, in case you were unable to collect the novel.

 



ETHAN FROMEI HAD THE STORY, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story. If you know Starkfield, Massachusetts, you know the post-office. If you know the post-office you must have seen Ethan Frome drive up to it, drop the reins on his hollow-backed bay and drag himself across the brick pavement to the white colonnade: and you must have asked who he was.It was there that, several years ago, I saw him for the first time; and the sight pulled me up sharp. Even then he was the most striking figure in Starkfield, though he was but the ruin of a man. It was not so much his great height that marked him, for the "natives" were easily singled out by their lank longitude from the stockier foreign breed: it was the careless powerful look he had, in spite of a lameness checking each step like the jerk of a chain. There was something bleak and unapproachable in his face, and he was so stiffened and grizzled that I took him for an old man and was surprised to hear that he was not more than fifty-two. I had this from Harmon Gow, who had driven the stage from Bettsbridge to Starkfield in pre-trolley days and knew the chronicle of all the families on his line."He's looked that way ever since he had his smash-up; and that's twenty-four years ago come next February," Harmon threw out between reminiscent pauses.The "smash-up" it was- I gathered from the same informant- which, besides drawing the red gash across Ethan Frome's forehead, had so shortened and warped his right side that it cost him a visible effort to take the few steps from his buggy to the post-office window. He used to drive in from his farm every day at about noon, and as that was my own hour for fetching my mail I often passed him in the porch or stood beside him while we waited on the motions of the distributing hand behind the grating. I noticed that, though he came so punctually, he seldom received anything but a copy of the Bettsbridge Eagle, which he put without a glance into his sagging pocket. At intervals, however, the post-master would hand him an envelope addressed to Mrs. Zenobia- or Mrs. Zeena- Frome, and usually bearing conspicuously in the upper left-hand corner the address of some manufacturer of patent medicine and the name of his specific. These documents my neighbour would also pocket without a glance, as if too much used to them to wonder at their number and variety, and would then turn away with a silent nod to the post-master.Every one in Starkfield knew him and gave him a greeting tempered to his own grave mien; but his taciturnity was respected and it was only on rare occasions that one of the older men of the place detained him for a word. When this happened he would listen quietly, his blue eyes on the speaker's face, and answer in so low a tone that his words never reached me; then he would climb stiffly into his buggy, gather up the reins in his left hand and drive slowly away in the direction of his farm."It was a pretty bad smash-up?" I questioned Harmon, looking after Frome's retreating figure, and thinking how gallantly his lean brown head, with its shock of light hair, must have sat on his strong shoulders before they were bent out of shape."Wust kind," my informant assented. "More'n enough to kill most men. But the Fromes are tough. Ethan'll likely touch a hundred.""Good God!" I exclaimed. At the moment Ethan Frome, after climbing to his seat, had leaned over to assure himself of the security of a wooden box- also with a druggist's label on it- which he had placed in the back of the buggy, and I saw his face as it probably looked when he thought himself alone. "That man touch a hundred? He looks as if he was dead and in hell now!"Harmon drew a slab of tobacco from his pocket, cut off a wedge and pressed it into the leather pouch of his cheek. "Guess he's been in Starkfield too many winters. Most of the smart ones get away.""Why didn't he?""Somebody had to stay and care for the folks. There warn't ever anybody but Ethan. Fust his father- then his mother- then his wife.""And then the smash-up?"Harmon chuckled sardonically. "That's so. He had to stay then.""I see. And since then they've had to care for him?"Harmon thoughtfully passed his tobacco to the other cheek. "Oh, as to that: I guess it's always Ethan done the caring."Though Harmon Gow developed the tale as far as his mental and moral reach permitted there were perceptible gaps between his facts, and I had the sense that the deeper meaning of the story was in the gaps. But one phrase stuck in my memory and served as the nucleus about which I grouped my subsequent inferences: "Guess he's been in Starkfield too many winters."Before my own time there was up I had learned to know what that meant. Yet I had come in the degenerate day of trolley, bicycle and rural delivery, when communication was easy between the scattered mountain villages, and the bigger towns in the valleys, such as Bettsbridge and Shadd's Falls, had libraries, theatres and Y. M. C. A. halls to which the youth of the hills could descend for recreation. But when winter shut down on Starkfield and the village lay under a sheet of snow perpetually renewed from the pale skies, I began to see what life there- or rather its negation- must have been in Ethan Frome's young manhood.I had been sent up by my employers on a job connected with the big power-house at Corbury Junction, and a long-drawn carpenters' strike had so delayed the work that I found myself anchored at Starkfield- the nearest habitable spot- for the best part of the winter. I chafed at first, and then, under the hypnotising effect of routine, gradually began to find a grim satisfaction in the life. During the early part of my stay I had been struck by the contrast between the vitality of the climate and the deadness of the community. Day by day, after the December snows were over, a blazing blue sky poured down torrents of light and air on the white landscape, which gave them back in an intenser glitter. One would have supposed that such an atmosphere must quicken the emotions as well as the blood; but it seemed to produce no change except that of retarding still more the sluggish pulse of Starkfield. When I had been there a little longer, and had seen this phase of crystal clearness followed by long stretches of sunless cold; when the storms of February had pitched their white tents about the. devoted village and the wild cavalry of March winds had charged down to their support; I began to understand why Starkfield emerged from its six months' siege like a starved garrison capitulating without quarter. Twenty years earlier the means of resistance must have been far fewer, and the enemy in command of almost all the lines of access between the beleaguered villages; and, considering these things, I felt the sinister force of Harmon's phrase: "Most of the smart ones get away." But if that were the case, how could any combination of obstacles have hindered the flight of a man like Ethan Frome?During my stay at Starkfield I lodged with a middle-aged widow colloquially known as Mrs. Ned Hale. Mrs. Hale's father had been the village lawyer of the previous generation, and "lawyer Varnum's house," where my landlady still lived with her mother, was the most considerable mansion in the village. It stood at one end of the main street, its classic portico and small-paned windows looking down a flagged path between Norway spruces to the slim white steeple of the Congregational church. It was clear that the Varnum fortunes were at the ebb, but the two women did what they could to preserve a decent dignity; and Mrs. Hale, in particular, had a certain wan refinement not out of keeping with her pale old-fashioned house.In the "best parlour," with its black horse-hair and mahogany weakly illuminated by a gurgling Carcel lamp, I listened every evening to another and more delicately shaded version of the Starkfield chronicle. It was not that Mrs. Ned Hale felt, or affected, any social superiority to the people about her; it was only that the accident of a finer sensibility and a little more education had put just enough distance between herself and her neighbours to enable her to judge them with detachment. She was not unwilling to exercise this faculty, and I had great hopes of getting from her the missing facts of Ethan Frome's story, or rather such a key to his character as should co-ordinate the facts I knew. Her mind was a store-house of innocuous anecdote and any question about her acquaintances brought forth a volume of detail; but on the subject of Ethan Frome I found her unexpectedly reticent. There was no hint of disapproval in her reserve; I merely felt in her an insurmountable reluctance to speak of him or his affairs, a low "Yes, I knew them both... it was awful..." seeming to be the utmost concession that her distress could make to my curiosity.So marked was the change in her manner, such depths of sad initiation did it imply, that, with some doubts as to my delicacy, I put the case anew to my village oracle, Harmon Gow; but got for my pains only an uncomprehending grunt."Ruth Varnum was always as nervous as a rat; and, come to think of it, she was the first one to see 'em after they was picked up. It happened right below lawyer Varnum's, down at the bend of the Corbury road, just round about the time that Ruth got engaged to Ned Hale. The young folks was all friends, and I guess she just can't bear to talk about it. She's had troubles enough of her own."All the dwellers in Starkfield, as in more notable communities, had had troubles enough of their own to make them comparatively indifferent to those of their neighbours; and though all conceded that Ethan Frome's had been beyond the common measure, no one gave me an explanation of the look in his face which, as I persisted in thinking, neither poverty nor physical suffering could have put there. Nevertheless, I might have contented myself with the story pieced together from these hints had it not been for the provocation of Mrs. Hale's silence, and- a little later- for the accident of personal contact with the man.On my arrival at Starkfield, Denis Eady, the rich Irish grocer, who was the proprietor of Starkfield's nearest approach to a livery stable, had entered into an agreement to send me over daily to Corbury Flats, where I had to pick up my train for the Junction. But about the middle of the winter Eady's horses fell ill of a local epidemic. The illness spread to the other Starkfield stables and for a day or two I was put to it to find a means of transport. Then Harmon Gow suggested that Ethan Frome's bay was still on his legs and that his owner might be glad to drive me over.I stared at the suggestion. "Ethan Frome? But I've never even spoken to him. Why on earth should he put himself out for me?"Harmon's answer surprised me still more. "I don't know as he would; but I know he wouldn't be sorry to earn a dollar."I had been told that Frome was poor, and that the saw-mill and the arid acres of his farm yielded scarcely enough to keep his household through the winter; but I had not supposed him to be in such want as Harmon's words implied, and I expressed my wonder."Well, matters ain't gone any too well with him," Harmon said. "When a man's been setting round like a hulk for twenty years or more, seeing things that want doing, it eats inter him, and he loses his grit. That Frome farm was always 'bout as bare's a milkpan when the cat's been round; and you know what one of them old water-mills is wuth nowadays. When Ethan could sweat over 'em both from sunup to dark he kinder choked a living out of 'em; but his folks ate up most everything, even then, and I don't see how he makes out now. Fust his father got a kick, out haying, and went soft in the brain, and gave away money like Bible texts afore he died. Then his mother got queer and dragged along for years as weak as a baby; and his wife Zeena, she's always been the greatest hand at doctoring in the county. Sickness and trouble: that's what Ethan's had his plate full up with, ever since the very first helping."The next morning, when I looked out, I saw the hollow-backed bay between the Varnum spruces, and Ethan Frome, throwing back his worn bearskin, made room for me in the sleigh at his side. After that, for a week, he drove me over every morning to Corbury Flats, and on my return in the afternoon met me again and carried me back through the icy night to Starkfield. The distance each way was barely three miles, but the old bay's pace was slow, and even with firm snow under the runners we were nearly an hour on the way. Ethan Frome drove in silence, the reins loosely held in his left hand, his brown seamed profile, under the helmet-like peak of the cap, relieved against the banks of snow like the bronze image of a hero. He never turned his face to mine, or answered, except in monosyllables, the questions I put, or such slight pleasantries as I ventured. He seemed a part of the mute melancholy landscape, an incarnation of its frozen woe, with all that was warm and sentient in him fast bound below the surface; but there was nothing unfriendly in his silence. I simply felt that he lived in a depth of moral isolation too remote for casual access, and I had the sense that his loneliness was not merely the result of his personal plight, tragic as I guessed that to be, but had in it, as Harmon Gow had hinted, the profound accumulated cold of many Starkfield winters.Only once or twice was the distance between us bridged for a moment; and the glimpses thus gained confirmed my desire to know more. Once I happened to speak of an engineering job I had been on the previous year in Florida, and of the contrast between the winter landscape about us and that in which I had found myself the year before; and to my surprise Frome said suddenly: "Yes: I was down there once, and for a good while afterward I could call up the sight of it in winter. But now it's all snowed under." He said no more, and I had to guess the rest from the inflection of his voice and his sharp relapse into silence.Another day, on getting into my train at the Flats, I missed a volume of popular science- I think it was on some recent discoveries in bio-chemistry- which I had carried with me to read on the way. I thought no more about it till I got into the sleigh again that evening, and saw the book in Frome's hand."I found it after you were gone," he said.I put the volume into my pocket and we dropped back into our usual silence; but as we began to crawl up the long hill from Corbury Flats to the Starkfield ridge I became aware in the dusk that he had turned his face to mine."There are things in that book that I didn't know the first word about," he said.I wondered less at his words than at the queer note of resentment in his voice. He was evidently surprised and slightly aggrieved at his own ignorance."Does that sort of thing interest you?" I asked."It used to.""There are one or two rather new things in the book: there have been some big strides lately in that particular line of research." I waited a moment for an answer that did not come; then I said: "If you'd like to look the book through I'd be glad to leave it with you."He hesitated, and I had the impression that he felt himself about to yield to a stealing tide of inertia; then, "Thank you- I'll take it," he answered shortly.I hoped that this incident might set up some more direct communication between us. Frome was so simple and straightforward that I was sure his curiosity about the book was based on a genuine interest in its subject. Such tastes and acquirements in a man of his condition made the contrast more poignant between his outer situation and his inner needs, and I hoped that the chance of giving expression to the latter might at least unseal his lips. But something in his past history, or in his present way of living, had apparently driven him too deeply into himself for any casual impulse to draw him back to his kind. At our next meeting he made no allusion to the book, and our intercourse seemed fated to remain as negative and one-sided as if there had been no break in his reserve.Frome had been driving me over to the Flats for about a week when one morning I looked out of my window into a thick snow-fall. The height of the white waves massed against the garden-fence and along the wall of the church showed that the storm must have been going on all night, and that the drifts were likely to be heavy in the open. I thought it probable that my train would be delayed; but I had to be at the power-house for an hour or two that afternoon, and I decided, if Frome turned up, to push through to the Flats and wait there till my train came in. I don't know why I put it in the conditional, however, for I never doubted that Frome would appear. He was not the kind of man to be turned from his business by any commotion of the elements; and at the appointed hour his sleigh glided up through the snow like a stage-apparition behind thickening veils of gauze.I was getting to know him too well to express either wonder or gratitude at his keeping his appointment; but I exclaimed in surprise as I saw him turn his horse in a direction opposite to that of the Corbury road."The railroad's blocked by a freight-train that got stuck in a drift below the Flats," he explained, as we jogged off into the stinging whiteness."But look here- where are you taking me, then?""Straight to the Junction, by the shortest way," he answered, pointing up School House Hill with his whip."To the Junction- in this storm? Why, it's a good ten miles!""The bay'll do it if you give him time. You said you had some business there this afternoon. I'll see you get there."He said it so quietly that I could only answer: "You're doing me the biggest kind of a favour.""That's all right," he rejoined.Abreast of the schoolhouse the road forked, and we dipped down a lane to the left, between hemlock boughs bent inward to their trunks by the weight of the snow. I had often walked that way on Sundays, and knew that the solitary roof showing through bare branches near the bottom of the hill was that of Frome's saw-mill. It looked exanimate enough, with its idle wheel looming above the black stream dashed with yellow-white spume, and its cluster of sheds sagging under their white load. Frome did not even turn his head as we drove by, and still in silence we began to mount the next slope. About a mile farther, on a road I had never travelled, we came to an orchard of starved apple-trees writhing over a hillside among outcroppings of slate that nuzzled up through the snow like animals pushing out their noses to breathe. Beyond the orchard lay a field or two, their boundaries lost under drifts; and above the fields, huddled against the white immensities of land and sky, one of those lonely New England farm-houses that make the landscape lonelier."That's my place," said Frome, with a sideway jerk of his lame elbow; and in the distress and oppression of the scene I did not know what to answer. The snow had ceased, and a flash of watery sunlight exposed the house on the slope above us in all its plaintive ugliness. The black wraith of a deciduous creeper flapped from the porch, and the thin wooden walls, under their worn coat of paint, seemed to shiver in the wind that had risen with the ceasing of the snow."The house was bigger in my father's time: I had to take down the 'L,' a while back," Frome continued, checking with a twitch of the left rein the bay's evident intention of turning in through the broken-down gate.I saw then that the unusually forlorn and stunted look of the house was partly due to the loss of what is known in New England as the "L": that long deep-roofed adjunct usually built at right angles to the main house, and connecting it, by way of storerooms and tool-house, with the wood-shed and cow-barn. Whether because of its symbolic sense, the image it presents of a life linked with the soil, and enclosing in itself the chief sources of warmth and nourishment, or whether merely because of the consolatory thought that it enables the dwellers in that harsh climate to get to their morning's work without facing the weather, it is certain that the "L" rather than the house itself seems to be the centre, the actual hearth-stone of the New England farm. Perhaps this connection of ideas, which had often occurred to me in my rambles about Starkfield, caused me to hear a wistful note in Frome's words, and to see in the diminished dwelling the image of his own shrunken body."We're kinder side-tracked here now," he added, "but there was considerable passing before the railroad was carried through to the Flats." He roused the lagging bay with another twitch; then, as if the mere sight of the house had let me too deeply into his confidence for any farther pretence of reserve, he went on slowly: "I've always set down the worst of mother's trouble to that. When she got the rheumatism so bad she couldn't move around she used to sit up there and watch the road by the hour; and one year, when they was six months mending the Bettsbridge pike after the floods, and Harmon Gow had to bring his stage round this way, she picked up so that she used to get down to the gate most days to see him. But after the trains begun running nobody ever come by here to speak of, and mother never could get it through her head what had happened, and it preyed on her right along till she died."As we turned into the Corbury road the snow began to fall again, cutting off our last glimpse of the house; and Frome's silence fell with it, letting down between us the old veil of reticence. This time the wind did not cease with the return of the snow. Instead, it sprang up to a gale which now and then, from a tattered sky, flung pale sweeps of sunlight over a landscape chaotically tossed. But the bay was as good as Frome's word, and we pushed on to the Junction through the wild white scene.In the afternoon the storm held off, and the clearness in the west seemed to my inexperienced eye the pledge of a fair evening. I finished my business as quickly as possible, and we set out for Starkfield with a good chance of getting there for supper. But at sunset the clouds gathered again, bringing an earlier night, and the snow began to fall straight and steadily from a sky without wind, in a soft universal diffusion more confusing than the gusts and eddies of the morning. It seemed to be a part of the thickening darkness, to be the winter night itself descending on us layer by layer.The small ray of Frome's lantern was soon lost in this smothering medium, in which even his sense of direction, and the bay's homing instinct, finally ceased to serve us. Two or three times some ghostly landmark sprang up to warn us that we were astray, and then was sucked back into the mist; and when we finally regained our road the old horse began to show signs of exhaustion. I felt myself to blame for having accepted Frome's offer, and after a short discussion I persuaded him to let me get out of the sleigh and walk along through the snow at the bay's side. In this way we struggled on for another mile or two, and at last reached a point where Frome, peering into what seemed to me formless night, said: "That's my gate down yonder."The last stretch had been the hardest part of the way. The bitter cold and the heavy going had nearly knocked the wind out of me, and I could feel the horse's side ticking like a clock under my hand."Look here, Frome," I began, "there's no earthly use in your going any farther-" but he interrupted me: "Nor you neither. There's been about enough of this for anybody."I understood that he was offering me a night's shelter at the farm, and without answering I turned into the gate at his side, and followed him to the barn, where I helped him to unharness and bed down the tired horse. When this was done he unhooked the lantern from the sleigh, stepped out again into the night, and called to me over his shoulder: "This way."Far off above us a square of light trembled through the screen of snow. Staggering along in Frome's wake I floundered toward it, and in the darkness almost fell into one of the deep drifts against the front of the house. Frome scrambled up the slippery steps of the porch, digging a way through the snow with his heavily booted foot. Then he lifted his lantern, found the latch, and led the way into the house. I went after him into a low unlit passage, at the back of which a ladder-like staircase rose into obscurity. On our right a line of light marked the door of the room which had sent its ray across the night; and behind the door I heard a woman's voice droning querulously.Frome stamped on the worn oil-cloth to shake the snow from his boots, and set down his lantern on a kitchen chair which was the only piece of furniture in the hall. Then he opened the door."Come in," he said; and as he spoke the droning voice grew still...It was that night that I found the clue to Ethan Frome, and began to put together this vision of his story.

Wednesday, March 6, 2013

Thurs and Friday, March 7/ 8...poetry presentations


Due today: poetry responses from all except Zadejiah, Heidi, Chris and Allison, who have theirs due tomorrow.

Check the list below for missing work. I know some material is not due until today.
Let me know, if I have made an error.
A Boy's Life responses: Aaron, Chrishell, Naial, Kathy
Poker Flat vocab quiz: Aaron
Vocabulary 9: Nalia, Ariana
Wagner Matinee quick write and graphic organizer: Tianna and Chrishell
Poetry responses: Zadejiah, Chris, Heidi, Allison, Tianna, Jamichael, Aaron and Nalia

Need to make up yesterday's vocabulary quiz: Aaron
Due Wed, March 13....essay. See Tuesday's blog for details. Make sure you read The Yellow Wallpaper a couple of times.
 In class: each group will read and discuss their poem. Note that we will collecting a new novel on Monday, so there will be some reading for next Wednesday. Make sure you are working on the essay.