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A Portrait of the Artist as a Young man defies the uniform construct of typical early twentieth century literature with its stream-of-conscious delivery.  This personal structure offers intimate insights into the mind of Stephen Dedalus, yet this unique approach to such a complex character isolates the reader from Stephen's artistic motives.  The fragmentented delivery is slightly overwhelming but, like art, the pieces shift together and trigger emotional memory.
It is interesting that A Portrait of the Artist as a Young man studies the portrait of a young man, for a portait usually depicts a man in his elderly years after living most of his life.  The title is paradoxical in that this story is the portrait of a young man, while young men rarely pose for a portait unless they know that their death will arrive at an early age.  At an early age Stephen thinks from the perspective of a man much older than himself.  Stephen has an old soul and questions the universal "she," as in the "she" that is the church, his mother, and the women that saturate his thoughts with sin.  He does not understand women and departs from association with any "she" in his life.  At the close of the novel, Stephen discusses his decision to leave the church with his confidant Cranly.  Stephen hears the voice of a woman singing and her voice draws forth an image in Stephens mind of, "The figure of a woman as she appears in the liturgy of the church...a white robed figure, small and slender as a boy, and with a falling girdle.  Her voice, frail and high as a boy's, was heard intoning from a distant choir the first words of a woman which pierce the gloom and clamour of the first chanting of the passion"(Joyce 238).  Stephen's encounter with this "woman," is his final goodbye to the "she" that is the church.  As an artist Stephen undertands that must isolate himself and be alone, completely alone.  He feels the needs distance from even someone as universal as the church herself.  Stephen expresses this detachment from relationships through his internal navigational voice: "A voice spoke softly to Stephen's lonely heart, bidding him go and telling him that his friendship was coming to an end.  Yes; he would go.  He could not strive against another.  He knew his part"(Joyce 239).  It's as though Stephen feels the need to isolate himself from others in order to achieve true artistic bliss.  Stephen stands alone as an artist.  Though his mind does not accept the thoughts and beliefs of others, he is able to create.

Works Cited

Joyce, James. A Portrait of the Artist as a Young Man. New York: Bantam, 1992. Print.

She is Denver

Denver spends her childhood trapped in the montage of her mother's memory.  So many scattered events create a destructive chaos that pushes Denver into the shadows of her sister's death.  Sethe's memory is a mystery to Denver.  Denver thrives off of the bits and pieces of fragmented stories that interconnect in Denver's mind and create a gap between her and her mother.  Just as 124, is missing the number 3, Denver is missing the sister in her life who bridges this emotional disconnect.  The ghost of Denver's dead sister, Beloved, returns as a woman to clear the misunderstandings of the foggy memories shielded from Denver.  Denver obsesses over the concept that, "Beloved is hers,"(104) and begins to understand that Beloved has the ability to unsheathe the portrait of her mother's memory.  The only real memories Denver knows are her mother's memories.  Beloved provides Denver with memories of her own, freeing her from the chains that bind her to a broken past.  The strangulating affect of Beloved's desire for physical love victimizes Sethe.  An odd occurence in the woods causes Denver to question Beloved's true intentions: "She let herself wonder what if Beloved really decided to choke her mother.  Would she let it happen?"(104)  This confusion exposes a personal memory Denver remembers at the curiosity of this event.  The question that little boy, Nelson Lord, asked during Denver's days at Lady Jones' house: "'Didn't your mother get locked away for murder?  Wasn't you in there with her when she went?'"(104)  This question haunts Denver because the answer lies deep within the emotional boundary separating Denver and Sethe.  Beloved begins to feed off of Sethe like a parasite, and drains Sethe of emotional and physical strength.  It is interesting how Denver does not give into Beloved's trap, and escapes Beloved's grasp with intentions of finding her own way.  Beloved is pivotal in Denver's understanding of her own indentity because she provides a reason for Denver to leave 124 and find a job, a way out of the grasp of destructive memories.  It's as though Nelson Lord symbolizes the boundary of confusion built up in Denver's mind, because as she begins to really find her way she experiences the presence of Nelson Lord: "Somebody had to be saved, but unless Denver got work, there would be no one to save, no one to come home to, and no Denver either.  It was a new thought, having a self to look out for and preserve.  And it might not have occurred to her if she hadn't met Nelson Lord leaving his grandmother's house as Denver entered to pay a thank you for half a pie.  All he did was smile and say, 'Take care of yourself, Denver,' but she heard it as though it were what language was made for.  The last time he spoke to her his words blocked up her ears.  Now they opened her mind"(252).  The words of Nelson Lord have such an impact on Denver throughout her life.  In her childhood these words confuse her and paint dark shade concealing the light of memory.  Now these words outline a path for the future, a path of hope.  It is so uplifting to hear Denver say that she has a, 'Self to look out for and preserve,"(252) because it illuminates Denver's revelation that she has an identity and she has the ability to live.  At the beginning of Beloved, by Toni Morrison, Denver holds the plaque for 'least likely to succeed,' but Denver's relationship with Beloved and her emotional distance from her mother allow Denver to find her own identity.  Denver stands tall at the close of Beloved.  She is proud to be Denver. She is aware of who Denver was, and she is ready to embrace who Denver will become.

Works Cited

Morrison, Toni. Beloved: A Novel. New York: Plume, 1988. Print.

While finishing Camus' The Stranger, I thought about my culminating big question and the artistic insights this novel reveals.  Mersault undergoes this massive conversion that opens his eyes to such incredible truths.  Like one of Picasso's paintings, Mersault sees the world as a distant incomprehensible force.  It's Mersault's realization of death that uncovers the similarities between the world and himself, "I opened myself to the gentle indifference of the world.  Finding it so much like myself-so like a brother, really-I felt that I had been happy and that I was happy again"(Camus 121).  Mersault experiences this inconceivable excitement at the thought of dying.  What exactly prompts this revelation?  Something inside of Mersault ticks during his conversation with the Chaplain, and he sees the fatal corruption in certainties that aren't "worth one hair of a woman's head"(Camus 120).  Mersault sees the invalidity of man-made certainties through the words of the Chaplain.  Mersault finds the world as the one being with eternal certainties, and he comprehends the world's vision.  While Mersault may appear to be this indifferent creature, he has an internal complex beyond any person.  He unlocks the door to a life outside of his own, and taps into the vibrancy of what is to come.

I find Picasso's "Boy with a Pipe"an interesting portrayal of a character similar to Mersault.  His bland facial expression reveals an indifference to his surroundings, but his eyes leak emotion hidden somewhere deep within.  Although art serves many purposes, its primary objective is to unveil man's soul.  Whether an artist creates through a complex or simplistic design does not matter.  Although Mersault's existential approach to life may seem distantly detached, he unveils a truth to the real magitude of life and death.  Mersault paints his life with dark shades of charcoal, but ends his life with a splash of punching vibrancy.

Works Cited

"Boy with a Pipe by Pablo Picasso." Pablo Picasso Biography, Paintings, and Quotes. Web. 21 Jan. 2012. <http://www.pablopicasso.org/boy-with-pipe.jsp>.
Camus, Albert, and Matthew Ward. The Stranger. New York: Vintage International, 1989. Print.